"Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time."
ARTHUR RUSSELL - Instrumentals 2LP
The first-ever compilation of χαβάγιες ("havagies"), the nearly forgotten Hawaiian-influenced music of 1930s Greece, focused on the compositions of Kostas Bezos and his ensemble White Birds. A world-class slide guitarist, political cartoonist and sleepless Bohemian, Kostas Bezos created some of the most unique music of any era: surrealist guitar portraits blending Athens and Honolulu, haunting tropical serenades, wild acoustic orchestras, and heartbreaking steel guitar duets. Incredibly, this is the same musician responsible for the legendary "Kostis" rebetika recordings (see A. Kostis "The Jail's a Fine School" [OLV-002 / MRP-098]).Includes a 32-page booklet with extensive notes by Tony Klein and Dimitris Kourtis, many rare photographs, lyrics, obituaries and a bonus CD containing 18 additional tracks. Restored and mastered from original 78s by Michael Graves, this release is limited to 1,000 copies. Co-released by Olvido Records (OLV-002) and Mississippi Records (MRP-098) on January 30th, 2017.
Produced by Gordon Ashworth, Tony Klein, Dimitris Kourtis. Articles by Tony Klein, edited by Gordon Ashworth. Newspaper Research and Bezos Drawings provided by Dimitris Kourtis. Photographs provided by the Kalliris Family, Stavros Kourousis, Lia Dimitriou, Hugo Strötbaum. Translations by Tony Klein, assisted by Dimitris Kourtis, Charles Howard and Vasilis Varelas. Audio Sources courtesy of Manthos Manios, Les Cook, John Marsden. Audio Transfers by Norman Field, Stavros Kourousis, Manthos Manios. Restoration and Mastering by Michael Graves at Osiris Studio. Lacquer Cutting by Adam Gonsalves at Telegraph Audio. Vinyl Production by Cascade Record Pressing. Design by Gordon Ashworth. Cover Production by Dan Fried. Offset Printing by Eberhardt Press.
Kostas Bezos and the White Birds LP
Following her recent Oscar & BAFTA nominations for Best Score, Foom presents two new pieces by Micachu (Mica Levi)—one for cello, played by Oliver Coates, and one for piano, played by Eliza McCarthy. "Peace," written for her mum, was first played publicly by Oliver Coates live on Micachu's radio show on NTS in October 2014. It was re-recorded especially for this release in November 2016, and follows Mica Levi & Oliver Coates' recent collaborative album, Remain Calm. "Riding Through Drinking Harpo Dine" is the first of an ongoing series of piano compositions written by Mica Levi for Eliza McCarthy (winner of the 2013 British Contemporary Piano Competition, and pianist on the Jackie soundtrack). Mixed by Micachu, the piece is a reworking of "Harpo Dine" from Micachu's 2014 Feeling Romantic Feeling Tropical Feeling Ill mixtape.
Micachu - Peace & Riding Through Drinking Harpo Dine 7"
Born in Bolgatanga in rural Ghana, King Ayisoba was a prodigy on the kologo, playing locally until he’d outgrown the possibilities of the area. Moving to Accra, the country’s biggest city, he eventually released the song “I Want To See You, My Father.” There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream.
“It was Song of the Year and Traditional Song of the Year,” says album producer Zea. “He also had a song called “Modern Ghanaians” that said we shouldn’t forget the tradition. Instead we should use it to fight modern problems.”
With that mantra, King Ayisoba became the unlikeliest star. His music was a strong weapon for Ghana’s traditions. What he wanted, though, was to play with a band, to bring what he called the “man-power” to give the full drive to his sound. On the album Wicked Leaders, with Zea producing, that’s exactly what he did.After that Ayisoba toured Europe together with Zea, opening up solo, providing guitar, vocals and live electronics on stage, and Francis Ayagama joined King Ayisoba’s band on djembe and bemne drums
Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. It’s there in every musician. They all go home and farm. They’re connected to the land, and the songs are part of the harvest they bring from the fields and from their own families.“Ayisoba’s grandfather played the kologo,” Zea says. “But only in the house. He was a healer, a shaman. People would come and tell him their problems. He’d make a connection with the spirits, then play and start singing, and his stories would include solutions.”
On 1000 Can Die, King Ayisoba is digging a new future from Ghana’s soil.
King Ayisoba - 1000 Can Die LP
"Great songs form one of Ethiopia's most beloved singers - Talhoun Gessesse (English spelling varies). These recordings span from 1969 to 1975 and cover the range of Talhoun's styles and moods. Some mystical modal songs, some straight up rockers, and some ballads. All totally killer songs from the golden age of Ethiopian Soul Music. Talhoun's voice, alongside Mahmoud Ahmed's, is one of the strongest in the land. Don't miss out on this monstrously good LP."
Tlahoun Gessesse - Sima! LP
Locusts follows up the highly acclaimed ‘Music for Church Cleaners’ release from Irish artist Áine O’Dwyer. Whilst continuing to explore the church organ as the primary instrument, this release steers away from Church Cleaners in both sonic content and themes explored.
Recorded & performed in 2015 at St James’s Church, Barrow-in-Furness, England & The First Unitarian Congregational Society Church, Brooklyn Heights, New York. Locustspresents itself as a celebration of the pipe organ’s acoustical abilities of tapping into electronic pulses along with O’Dwyer’s liturgical memories which are at times, pushed into horrorthon states.
Aine O'Dwyer - Locusts LP
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
Cien Fuegos present a reissue of Peter Kowald Quintet's self-titled album, originally released by FMP in 1972. Personnel: Günter Christmann - trombone; Peter Kowald - tuba, bass, alphorn; Peter van der Locht - alto saxophone; Paul Lovens- drums; Paul Rutherford - trombone. Composed and produced by Peter Kowald. Recorded by Eberhard Sengpiel at Akademie der Künste, Berlin, on January 19th, 1972. First released on FMP as FMP 0070.
PETER KOWALD QUINTET - s/t 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