Originally formed as DAWSON-DAVIES: HEN OGLEDD by avant folk savant Richard Dawson and improv harp pioneer Rhodri Davies, now they’ve dropped the surnames and become a trio with the addition of Dawn Bothwell, who also performs altered electronic torch songs as Pentecostal Party. It’s been a transformative move, Dawson playing guitar, iPad and a panoply of table top knick knacks, Rhodri cleaving new spaces open with his blazing harp splutterations, with Bothwell’s sweet and sour voice and electronics taking the three of them down unexplored avenues littered with hypnotic diversions and long moments of delirium.
Made over a day and night in the mid-winter 2016, BRONZE was recorded in the space of the former Star and Shadow Cinema. Hollow, cavernous and stripped back to its bare bones the dilapidated building-shell still vibrating with the near and distant sounds of crucial Newcastle expression.
Dawson, Davies and Bothwell are joined from afar by medieval traveller/ virtuoso Laura Cannell on double recorders and New Zealand free-jazz heavyweight Jeff Henderson on blink-and-you'll-miss-it Timpani, on this glistening and sinewy record.... A heady and funny-tasting punch of early 90's synth, dark-ages thumping, space boogie, wild plays and vocal delays, electric crow song, utter nothingness and folkish mumblings. A carnivorous shredding of the old and ethereal reach to new beginnings.
Hen Ogledd - Bronze LP
Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0040). 180-gram vinyl. One-time pressing of 500. First standalone reissue."Brötzmann's regular trio was joined by the trombonist Albert Mangelsdorff, one of the most respected German jazz musicians, who has managed to keep abreast of musical developments for more than a decade. Those who remember him only for those fine early-sixties albums (like Tension, on German CBS) will be in for a shock, because he's updated his playing all the way. On 'Couscouss De La Mauresque', for instance, his tonal distortions rival those of Paul Rutherford, as he backs Brötzmann's wailing with a rip-snorting obligato. He has the advantage of being a virtuous technician, so that some of his wilder flights are truly breathtaking. . . . Mangelsdorff's technique doesn't hinder his fire, either, and he's well able to stand up to the rest of this very hairy band. Van Hove and Bennink obviously know each other inside out by now, and you'll hear few more exciting passages of music than their interlude during the trombonist's solo on 'Couscouss'. Bennink is getting further into textures every day, and on this album makes great play with his steel-drum and many unidentifiable implements, thus giving the music a great deal of variety. If you wanted to buy just one of these records, it would be very hard to choose because the level is so high throughout." --Richard Williams, Melody Maker, February 5, 1972
BROTZMANN/VAN HOVE / BENNINK PLUS ALBERT MANGELSDORFF - Couscouss de la Mauresque LP
Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0050). 180-gram vinyl. One-time pressing of 500. First standalone reissue."The great thing about this trilogy/set is how naturally everything flows. . . . each subdividing of the group, each solo excursion, feels smooth and logical, as though the player(s) in question had nodded to the others as if to say 'Gimme a minute here, I've got an idea,' and received assent in response. There's all the ferocity any free jazz diehard could ask for, but it never goes on so long that it becomes schtick, and it's always countered by passages that are genuinely beautiful in the most conventional, you-could-play-this-for-your-mom sense. Even without Mangelsdorff, Brötzmann, Van Hove and Bennink were a remarkably empathetic and attuned team, and when he joined them (and these records document their second and third times playing together, ever), everyone's game was raised." --Phil Freeman, Burning Ambulance, 2013
BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFF The End LP
Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0030). 180-gram vinyl. One-time pressing of 500. First standalone reissue."What reveals itself in the über energetics on display here is the ability of one quartet to take so much for granted and yet express so much in the process. Van Hove, for instance, shuns all conventions in his approach to the piano: he quotes Liszt and Schubert as well as Ellington and Peterson then wipes all of them out with his elbows as if erasing a chalkboard. His 'Florence Nightingale' is a perfect example. Texturally, he creates diversions from the fury while never disengaging from it. Brötzmann and Mangelsdorff are out and out challenging each other to see who can destroy their instruments first, and Han Bennick is the most proactive percussionist in jazz history. His use of anything and everything while simultaneously playing a trap kit that creates time is astonishing. Elsewhere, on Brötzmann's 'Elements,' African percussion and slow, long opened tonal drones by Mangelsdorff create a backdrop for the other two to explore without rushing in. Brötzmann enters almost tenderly, looking for a room to exit out of, but engaging himself in the microtonalities created by the rhythm section. Van Hove's long augmented chords create a mode for not opening but splintering that exit and Brötzmann ushers the band through in a hurry heading for the outer reaches of the possible. . . . one of the best documents of the period on any continent." --Thom Jurek, AllMusic, 1991
BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFF - Elements LP
Four Perfect Balls Bohman Bohman Ghikas and Thomas Extremely limited £20 vinyl release: 200 numbered copies ‘Shopping list stickers‘ sleeve design by Vincent Oliver Includes digital download code
Four Perfect Balls is a blend of speech, layers of multi-tracked free improvisation using unamplified objects and modified instruments, field recordings and computer generated synthesis. Speech content is derived from a collage of original writing and Police Training Manuals, pulp potboilers, recipes, menus and information relating to the North Sea fishing economy. These improvised interactions took place in the headphone soundstage rather than the live space. The edited results are pieces that self-subvert, gyrating between pulseless baroque pointillism, post-rock-ist incoherence and word beats. For almost 20 years Adam and Jonathan Bohman, Panos Ghikas and Richard Thomas have worked together, as live performers in the large ensemble The Bohman Extended Family as well as in other splinter groups and ad hoc formations. This is their first LP as a quartet.
Adam Bohman: objects, voice
Jonathan Bohman: objects, oscillator, guitar, voice
Panos Ghikas: violin, bass, unreal-time audio
Richard Thomas: guitar, voice, found sounds, other sounds
Performed over 3 sessions in 2014 at Boundary Studio, London.
Edited and compiled by Panos Ghikas and Richard Thomas.
Recorded, mixed and produced by Panos Ghikas Migro Records © 2016
Bohman Bohman Ghikas and Thomas - Four Perfect Balls LP
Authorised reissue of Lol Coxhill's legendary Ear Of Beholder, originally released in 1971. Ear Of Beholder is one of the most beguiling and adventurous records of the 1970s, which is saying a lot as that is a musical decade marked by groundbreaking creativity. Originally released on John Peel's Dandelion label, Lol Coxhill's sprawling double album debut is an avant-garde jazz masterstroke that features Robert Wyatt and much of the Whole World group, Kevin Ayers's backing band at the time (of which Lol was a member). Ranging from straight-up feedback to re-workings of standards, outdoor recordings to spoken word, improvisation to vaudeville, Ear Of Beholder covers more ground in two LPs than most artists do in a lifetime. Difficult, adventurous listening from one of British jazz's most brilliant innovators. 180 gram vinyl; Comes in a gatefold sleeve.
Lol Coxhill - Ear of the Beholder 2LP
William Burroughs was in and out of London from the mid-50s through to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works.The work here is in 2 sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation.
This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves also being cut-ups of words on the page. The first section of the tape uses further processing by means of a 2nd tape recorder.
Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.
The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP.
William S. Burroughs - Curse Got Back LP
On the spectrum of The Dead C's sound output, Trouble could very well be seen as springing from the same realm as the massive "Driver UFO," one of the band's greatest tracks ever, off Harsh '70s Reality. There's a youthful aggression here, a churning anger, deadened by pounding drone. Much like H70s, this record serves as a gateway drug - if you were ever looking for an album to play to a newbie curious about experimental rock, this would be it. The visceral strength of their performance trembles out of the speakers. The magnificence of their stamina survives each album side.Tracklist:1. One2. Two3. Three4. Five5. Four
The Dead C. - Trouble 2LP
"This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voorman and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1971, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today."
Yoko Ono - Plastic Ono Band LP
One of the great 'free' avant garde lp's. As dynamic as it is frustrating. The glory of not caring about what anyone thinks in audio, on wax. "Life With The Lions is the sound of Ono and Lennon validating their love as something impenetrable and timeless. It's when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of 'Our life and our love is our art - every nitty, gritty part of it.' "
JOHN LENNON AND YOKO ONO - Unfinished Music No. 2: Life With The Lions LP
"Turns out the very sound of falling in love is just as abstract, subjective and loopy as the concept itself. Yoko Ono and John Lennon are two of history's greatest lovers, and Two Virgins is the document of the pair falling in love in real time. The album is a curious and amazing suite recorded over one weekend in Spring 1968 at Lennon's Kenwood home: Distant conversations; comedic role playing and footsteps; laughter, birdcalls and plunking piano lines; silly songs and space; tape delay stretching shrieks, bass rumbles and moans to the moon and back again. The now-iconic cover (featuring Ono and Lennon standing nude together) not-with-standing, nothing about Two Virgins is safe. It would be a risky move today for artists in the larger, pop-culture conversation just as it was a risky move in 1969. But this is an uncomfortably private, two-person dialogue about - and celebration of experimentation, inspiration and play. And these two souls bravely let us look through the keyhole."
John Lennon and Yoko Ono - Unfinished Music No. 1: Two Virgins LP
Black Truffle present the first vinyl issue of Keiji Haino's Milky Way. Originally released as a limited CD in Japan by the short lived Mom 'N' Dad Productions in 1993, this release documents a blistering live performance recorded in Kyoto in 1973, five years before the formation of the first line-up of Fushitsusha, and eight years before Haino's first solo album. Working with a mysterious set-up including primitive electronics, homemade acoustic instruments, piano and voice, Haino lets loose a single 48-minute psychedelic maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic 1960s live electronics à la MEV or Robert Ashley's Wolfman. Despite the absence of guitar, this recording clearly lays the groundwork for the epic blowouts which were to make Haino's name in years to come, building up to a point of almost unbearable intensity in its final minutes as Haino's voice wails over a wall of distorted DIY electronics. At times presaging the psychedelic noise of C.C.C.C., Milky Way shows Haino's singular intensity and ritualistic performance style already in full flower at this early date in his long career. Presented in raw and immediate room fidelity (complete with dramatic tape drop-out), this is both an essential historical document and a classic performance in its own right. Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Haino's poetry in Japanese, with an English translation by Alan Cummings. Original design by Keiji Haino & Yasunori Arai. LP reissue design via Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016.
KEIJI HAINO - 天乃川 1973 Live - Milky Way LP
The remarkable series of releases from the trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi continues with I wonder if you noticed "I'm sorry" Is such a lovely sound It keeps things from getting worse, which presents the entirety of an 80-minute set performed at Tokyo's SuperDeluxe in March 2014. While the trio's 2012 performance was divided into two releases (BT 011LP (2014) and BT 012LP (2015)), the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves. Throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. Beginning with chiming percussion reminiscent of Haino's 1995 classic Tenshi No Gijinka, the first side is dominated by Haino's impassioned vocals and performance on the bulgari, a traditional Turkish string instrument. The end of the second side presents a special treat: Haino's first recorded outing on the contrabass harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. O'Rourke and Ambarchi rarely adopt here the classic rock roles essayed on earlier releases. O'Rourke's bass, which takes center-stage surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass; at other times his roving chromaticism suggests a sort of fuzzed-out free jazz. Ambarchi spends much of the set exploring areas of tumbling free pulse; and even when he locks into a constantly repeated figure on the set's third side, he gestures as much toward Ronald Shannon Jackson's stuttering marching band funk as toward any classic rock moves. When the trio finally moves in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a thudding one-chord epic reminiscent of some of the early Fushitsusha classics before Haino returns to the bulgari, bringing the set back to where it began. Continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trio's previous work, this set also brings with it a unique pleasure for the non-Japonophone listener: for the first time Haino sings many of his metaphysically brooding lyrics in English. Gatefold sleeve with gorgeous photographs by Jim O'Rourke, designed by Stephen O'Malley. Cut by Rashad Becker at Dubplates & Mastering, Berlin.
HAINO / O'ROURKE / AMBARCHI - I wonder if you noticed "I'm sorry"... LP
Broken Telephone is an artwork produced as part of the exhibition "Across islands, divides" which occurred in the winter of 2015 at Baltic39.
Conceived as a game (taking its inspiration from the playful linguistic version) between four participants - Laura Cannell, Rhodri Davies, Peter J Evans and Mark Fell - the contributors made an original piece of music which travelled round the other ‘players’, one after the other, who each attempted to recreate from memory what they had heard after just one listen.
The sixteen resultant tracks are contained on four 12” vinyls, each record documenting the journey of the composition as it moves through each of the players. The evolving compositions reveal what gets lost in translation, what distance brings and how one thing interacts with another through a series of complex processes. They illustrate how one thing, through movement and time always becomes something else.
The work was featured as a 10 minute segment interviewing Peter and Rhodri on BBC radio 3's Hear and Now programme - http://www.bbc.co.uk/programmes/b06nr55hand can be streamed from here - https://listentobrokentelephone.bandcamp.com/albu m/broken-telephone
All tracks were mastered by Simon Davey (The Exchange) and pressed by Optimal in Germany on 180g vinyl, thanks to Chris Marlow at Well Tempered. The sleeves were all hand printed and debossed by master printer Lee Turner at Hole Editions on recycled board from Paperback. The set also features a text on the piece by writer Iris Aspinal Priest.
Laura Cannell, Rhodri Davies, Peter J Evans and Mark Fell - Broken telephone 4LP
Combining the searching, raucous spirit of free improvisation, massive guitar textures and slowly shifting moods of the drone/doom-tradition the Saint Francis Duo proves there’s still a place for adventure and innovation in the world of improvised music. Four years after their debut recording as a duo, influential guitarist Stephen O’Malley (Sunn O))), KTL) and master percussionist Steve Noble (Rip, Rig & Panic, Brötzmann, Parker, Edwards …) reach an absolute peak on their third album ‘los bordes de las respuestas’. Mixed by Mark Urselli (John Zorn, Dave Lombardo … ) and mastered & cut by Matt Colton ( Thurston Moore, Aphex Twin) this limited and first release for the Antwerp based Dropa Disc label is an excellent example of the intense and adventurous musical interplay O’Malley and Noble generate as Saint Francis Duo, a must-hear for open-minded music fanatics and doom heads alike.
Steve Noble: Drums & Percussion
Stephen O’Malley: Guitars & Amplifiers
Recorded by Michael Huon at Freakscene’s Summer Bummer, Zuiderpershuis, Antwerp 10 Aug 2014
Mixed by Marc Urselli, NYC 2015
Mastered & Cut by Matt Colton at Alchemy, London 2016
Produced by Stephen O’Malley
Live Concert produced by Sound in Motion
Cover Artwork by Ken Reaume / www.kennethreaume.ca
Photo’s by Geert Vandepoele & Mark Rietveld
SAINT FRANCIS DUO - LOS BORDES DE LAS RESPUESTAS LP
Steve Noble: drums and percussion. Stephen O'Malley: guitars and amplifiers. Stephen O'Malley (cult-guitarist of SUNN O))), KTL) teams up with one of the leading UK drummers of the avant-garde scene, Steve Noble, to build hypnotic sound-sculptures and drones.
ST. FRANCIS DUO - Peacemaker Assembly LP
After a run of extremely under the radar cassette releases, Penultimate Press is proud to present the first vinyl collection of works by the Winnipeg outfit Korea Undok Group. With more hiss than a valley of snakes the various monikers here cover the gamut of contemporary practice traversing industrial decay, rhythmic pulse onwards to piano etudes and fractured possession. All these forms come debossed with the signature destroyed tape aesthetic which makes these sharks so lonely.
180 gram vinyl on beautiful reverse board sleeve with passport style booklet all designed by KUG.
This is a package that befits this unique scene of one, or many.
Sargasso Sea – Richardson Centre
Sargasso Sea – Patria
Sargasso Sea – Winnipeg Downtown Skywalk
Purple Circles – Under the Canopy by the Red River
Sargasso Sea – Richardson Reading Terrace
Sargasso Sea – Canada Trust
Korea Undok Group – This Fantasy Is Unhealthy
Korea Undok Group – Quarto
Korea Undok Group – There Is Always Somewhere Else
V/A - Korea Undok Group LP
NOTE: The LP And CD have different audio from the same recordings.
Outside of the 2CD release ‘Never Too Late But Always Too Early’ (Eremite, 2003) there has been scant documentation of one of the most dynamic pairings in all free jazz. Featuring unique material on each format Song Sentimentale rectifies this anomaly with a full blown audio account of the breathtaking communicative heights obtained by these three legends of the living.
Over 3 nights in January 2015 the trio seduced a winter worn crowd with the kind of organic interplay only these three can conjure. Warm and urgent the material that covers both formats unveils a wide range of techniques and emotions. This is music on the edge of itself; a living, breathing and existing force documented for repeated visits.
PETER BROETZMANN - TENOR SAX, B-FLAT-CL, TAROGATOWILLIAM PARKER - DOUBLE-BASS, GUEMBRI, SHAKUHACHI, SHENAIHAMID DRAKE - DRUMS, FRAME-DRUM, VOICE
Recorded Live at Cafe Oto on the 27th, 28th and 29th January 2015
Recorded by James Dunn
Mixed by John Chantler
Mastered by Andreas (Lupo) Lubich at Calax
Photocollage by Dawid Laskowski
Artwork by bro
Design by Uniet/bro
BROETZMANN / PARKER / DRAKE - SONG SENTIMENTALE