These recordings were collected by William English from the floor of Captain Seddon’s cottage shortly after he died and just before the building was demolished. Many other tapes were left behind. The only recordings he made were audio letters, diaries and most prolifically, his phone conversations. The 12 pieces on this LP were recorded between 1968 and 2003 and mainly consist of phone calls, incoming and outgoing; to TV and radio stations, friends, relatives, his dentist and sundry others. That anyone would routinely record their phone conversations on a 2-way system of their own devising is odd enough, but the sheer range and sometimes bizarre nature of these calls turns them into a strange ‘objet trouvé’, and offers a glimpse into the life of a man who undoubtedly left a strong impression on everyone he came into contact with. Edition of 500 numbered copies, Comes with an 8 page 12” insert to help explain it all.Captain Maurice Seddon -- a living anachronism. A unique combination of eccentricity and military discipline. He also bore the confidence endowed by an elite public school education, but due to a change of family fortune he was left with no money, and eventually, no job. Far from being snobbish, he faces the world anew and becomes an inventor of heated clothes, with a tremendous willingness to talk to and meet people from all walks of life, cheerfully maintaining and advocating his own exacting standards, occasionally proclaiming a well measured indignation towards the modern age. Somehow he manages to stay (most of the time), on the right side of pomposity, by exuding a calm, forgiving good nature and natural charm. Speaking English, but lapsing into German, only adds to the eccentricity.

12" Vinyl Record, single sided screen printed sleeve with risograph insert Ed. of 300  "Fore Main Mizzen is made entirely from sound recordings taken on visits to Southend-on-Sea and Sheerness that are specifically focused on The SS Richard Montgomery, a ship that sank in the Thames estuary during World War Two. It is lying on a sandbank packed full of the high explosives it was transporting. At low tide its masts are visible from Southend and Sheerness either side of the water. The ship is corroding in the salt water and it is unknown when it might explode, or how much of the Kent and Essex coastline would be affected. Taking inspiration from this impending bang, Hannah Dargavel-Leafe is approaching the underwater architecture from both sides of the estuary on repeated excursions to record, re-record and re-experience the landscape. The work is driven by the impossible task of reaching the ship, its corrosion, slow entropy, potential for catastrophe and the lacuna before the '1 big 1' (as Russell Hoban's 'Riddley Walker' would call the explosion). The vinyl features two locked grooves so that the process of listening reflects the unfinished intentions of the high explosives: repeated tides, getting stuck, starting again but never reaching the 'bang'."

A reissue of the demo tape by the New Orleans band who combine elements of no wave, glam and industrial music. First time vinyl pressing with bonus track, new sleeve designed by Studio Tape Echo and 8 page risographed zine insert. Four of the tracks here are raw early versions of songs that would appear in slightly more refined form on their debut album, 2018’s Spiralling. The other four pieces are unique to this release, including a cover version of Italian new wave band Chrisma, raging opener “Disease”, the over-saturated shoegaze-punk of “ATC” and comedown lament “I’ll Never Do Ketamine Again”. The band’s second album The Passion Of (2020) was widely acclaimed and appeared in many album of the year lists. It was recently followed by a companion album of remixes on Boy Harsher’s Nude Club label, with all profits going to NOLA charity House Of Tulip. “A blistering vision of punk as possibility.” - Pitchfork “Members Alli Logout (vocals), Ruth Mascelli (synth and drum machine), Maria Elena (guitar), and Nathan Cassiani (bass), together manage to make their instruments and vocals sound like a fight for our existence.” - The Quietus

Klaus Roeder is a guitar virtuoso and electronic music artist who studied with Kelemen and joined Kraftwerk for their famous "Autobahn" LP. He often works with very small sound particles, whose sound comes from different sources like tearing paper, the voice, a musical instrument, synthesizer or computer sounds. Sound structures are built by joining together those sound particles and by mixing those structures Roeder forms chords. Then the process of crystallization begins. Usually crystallization means that small parts are deposited around a germ and form a growing crystall. The shape of the complete crystall is a consequence of outer influences. A series of sound crystals forms then the complete musical composition.  Side 1 presents two electronic music works: "10: 11: 12" (1980) for self-built Impulse Generator is an obscure, very minimal and abstract pulsating piece, while "Kristallisation 4 (1991) for Computer Sounds and Yamaha DX 802 might be considered one of the peaks of Klaus Roeder "Kristallisation" series. Side 2 introduces us to a different formal result of Roeder crystallisation process: the short "Haenschen Blues" (1993) for children singing and crying, Yamaha TX 802 controlled by selfmade programs for Atari TT is a both playful and sinister electronic assemblage anticipating the peak of this record, "Potpourri" (1985) a Collage of short sound particles from German Pop Hits of the 1970s and 1980s. In the perspective on sound collages (from Battiato "Ethika Fon Ethica" to Bladder Flask first LP, from NWW most surrealistic works to John Oswald classic plunderphonics) "Potpourri" might be more close to the brut masterpiece "InOut" by Anton Bruhin, only constructed in a more advanced and scientific way.

Mine is the Heron” is the new Tom James Scott record, the first document of his solo work since 2017. Over the past decade, the UK-based composer has released a diverse body of recordings via labels such as Bo’Weavil, Carnivals, Where To Now?, and his own impeccably curated Skire imprint.This album finds Scott in half-remembered, sanguine moods, some of which are likely to remind listeners of his collaborative work with Andrew Chalk. Fragile acoustic piano runs are meted out with painterly finger strokes, buoyed by subtle, idiosyncratic FM sound design, chimes, and guitar. Culled from recordings composed and put to tape over the past several years, the collection has the feel of a poet's selected works, or perhaps more appropriately, a compendium of letters - exquisite vignettes that feel simultaneously private and important to disseminate into world. The hermetic nature of this quietly stunning music is evocative of abandoned shingle beaches and misty marshes, and of the Virginia Woolfe novel from which the album takes its title: “Mine is the heron that stretches its vast wings lazily; and the cow that creaks as it pushes one foot before another munching; and the wild, swooping swallow; and the faint red in the sky, and the green when the red fades; the silence and the bell; the call of the man fetching cart-horses from the fields - all are mine.”

Following her debut LP (KRAAK, 2018) and a string of tapes and 7-inches, Red Brut drops her second album, Cloaked Travels. It is a joint release by the Finnish labels Ikuisuus and Lal Lal Lal. In many aspects, Cloaked Travels is an amazing realisation of what Red Brut does best: molding the absurd, the amateurish, and the crude into beautiful and elegant sound pieces. These eight “songs”, organised in two suites, dwell between abstract avant-garde and pop sensibility. Working with cassette tapes, Red Brut enhances the ambiguous qualities of her sounds with the warm distortion and background hiss typical of the medium. The music leaves the listener to him- or herself, happily lost in small universes that contain many layers of beauty, discomfort, and intimacy. Susan Sontag once claimed that diaries, despite secretly kept by the author, are meant to be read by others. Red Brut’s intimate and highly personal take on musique concrète is characterised by a homely feeling: sounds of doors, kids outside her house, a synth that sounds like a house pet, muffled whispers of her voice. Her compositions sound like you are secretly reading her diary. You are in the uncomfortable position of watching someone chasing her own tail, unaware of the fact that she is being the object of our gaze. Unaware? Cloaked Travels displays on a certain point the sound of a squeaking door. Over and over until it starts sounding like a wild free jazz solo. Is Verbiesen playing tricks on our minds? Is she actually the Unconsciously Watched? Or is she cloaked as that character, and in fact very well aware that we are peeping into her inner emotional universe; maybe she is even projecting a fake version of what sounds like here day-to-day, intimate environment — making us conscious of our own gaze? Again Sontag comes to mind: she deliberately projected a well-constructed character in both her diaries as in public life. Cloaked Travels contains distinct and carefully composed pieces that play upon the tension between the concrete and the abstract. Every song acts like a Cave of Plato: we are unable to see what is actually happening, we only see the shadows of a door moving or the sounds of someone gurgling. The album suggests some fundamental questions: is what we conceive as reality nothing but a derivative of the Ideal? Is there really something behind the shadow, or is the shadow the actual reality? --- Released July 2020, Ikuisuus and Lal Lal Lal.

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. This is a true art record with cover art by famous German painter Albert Oehlen. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music. Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque. When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like... sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride. I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary... and that’s the soundscape. Dramatic, normal, boasted, silly, urgent... Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the well- schooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff. The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little ... “They told us, they told her. I told everybody.”

“‘Rhea’ begins as an event and concludes as printed matter. Much like Cage’s ‘Water Walk’, the event of ‘Rhea’ consists of a series of fragmented performative gestures each with their own sonic characteristics. These movements will have auditory qualities that contradict their symbolic meaning; such as stepping on a bag of crisps or spreading butter on toast. Over time, these actions accumulate to reveal various rhythmic and melodic structures to be repeated or interrupted. This will be documented and then printed into an auditory and visual format. The conceptual essence of ‘Rhea’ is that the event oscillates between the symbolic and the auditory, whilst the printed matter amplifies this oscillation by projecting it into past and present.” Released by Calling Cards Publishing

This is the third release from The Slowest Lift who are a West Yorkshire based band comprising of Sophie Cooper (Tor Festival) and Julian Bradley (Vibracathedral Orchestra). This record is being self-released by The Slowest Lift on limited edition cassette and on digital download. There will be a vinyl version coming later released by Feeding Tube Records.

"The band seem to move together as one, crawling and then leaping like a lurching animal, with each musical event getting slightly more crazed as it progresses forward on stamping paws." – Ed Pinsent, The Sound Projector 2010 - 2020 compilation album: Tracks 1 and 5 are taken from "Inwards opened the floor." (2020) Tracks 2 and 3 are taken from "Kadita sessions" (2016) Track 4 is taken from "From inside the log" (2010) Track 6 is taken from "Still life with apples" (2020) Played by: Gosha Hniu, Ran Nahmias, Maya Pik, Grundik Kasyansky, Amos Ungar, Tom Wheatley, Lior Lerman, Andrea Serafino, Yoni Silver, Jonathan Shohet, Matthias Moos, Uri Eichelmann, George Priymenko, Ig Yu Kun, Timurti, Guillaume Viltard, Hans Grusel and Gretel Grusel. Lyrics are based on the poems by Arthur Molev and Avenir Snyatkov.

Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade. VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable. SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

Originally recorded in 1984, “Jumping and Standing” consists of a live performance at Musashino Art University by pioneering Japanese sound artist Akio Suzuki, accompanied by five toy rabbits. This long-awaited release epitomizes Suzuki’s approach to performance, imbued with a characteristic sense of humor and an organic interplay with his audiences, as evinced by uproarious laughter heard on the opening track. Now some three decades later, contemporary listeners are likewise drawn ever deeper into this novel noisescape featuring an ensemble of wind-up bunnies on broken boards, metallic fragments, and a reel-to-reel tape deck on the fritz. --- “Jumping and Standing” 1984"Akio SuzukiNovember 30, 1984 1-103 Hall, Musashino Art UniversityRecorded by Akio SuzukiMastered by Kiyoharu Kuwayama (Lethe).

Steve Swell: trombone Jemeel Moondoc: alto saxophone Dave Burrell: piano William Parker: double bass Gerald Cleaver: drums released April 25, 2016 All compositions by Steve Swell Recorded by Jim Clouse, Park West Studio, June 2015 Mixing and mastering: Jim Clouse Liner notes: Steven Loewy Photographs: Ziga Koritnik, Peter Gannushkin, Jacques Bisceglia, RogueArt Cover design: Max Schoendorff Cover realisation: David Bourguignon Executive producer: Michel Dorbon So, listen closely, and savor the sounds: treat them with delicate abandon, indulge in their intricately measured poignancy; but don’t forget to relax (a little) and enjoy: You are in the hands of a master soul traveler. Steven Loewy

Stemming from Speers’ background as a percussionist and technician testing large amounts of audio equipment, ‘xtr’ctn’ pairs nanoscopic recordings of electronic equipment’s internal behaviours with samples of the natural world and feedback from no-input mixers to yield a visceral and inventively personalised view on sound phenomena and resonant spaces that lay beyond the threshold of human perception. Arranging his unique palette of field recordings, SFX library, YouTube samples and original instrumentation by Olan Monk into non-linear, non-narrative structures, he invites the listener to immerse in a form of sonic fiction which highlights the fine line between referential, objective reality and pareidolic subjectivity. Distinguished by an otherworldy, meta sense of detachment shared with music by Giuseppe Ielasi, Mika Vainio, and :Zoviet*France:, the four pieces form a fascinating sonic weltanschauung that acknowledges and articulates the complex role of non-human and material sound generators upon the self. From the way seagulls resemble death metal screams in ‘obturo’ to the uncanny manner in which Olan Monk’s piano pulse and samples of Liam Byrne’s viola de gamba in ’tombeau’ recalls a scene of ravenous whistle and horn blowing at The Eclipse in Coventry c. 1992, each piece is densely packed with acousmatic data that will stimulate a broad range of reactions as listeners fill in the perceptive gaps according to their own sferic conditioning and grasp of worlds natural, and synthetic. Where the first two pieces steer clear of any blatant emotive cues, the fragmented shrapnel that opens ’sul. locus’ changes at the mid-way point with the suggestively gloomy strokes of a Kemençe, a stringed middle-eastern instrument held in subtle contrast with the sound of ice hacking taken from a 1984 BBC SFX library sample to sound like a location recording from an alchemist’s lab, or passages of When’s proto-BM classic ‘The Black Death’, while ‘ορμή’ follows with an eerie vent of percussive improv, the sound of filing metal, and a pressure washer that recall the lurching rhythm and gauntlet grasp of textures also found in the remarkable debut by Cairo’s 1127. It all points to a penetrative pair of ears and mind that sees the world differently, and should inspire listeners to pay closer attention to the world around them. --- C.A.N.V.A.S., 2019

Souffle Continu presents the seventh release in its series of reissues from the catalog of the cult French underground Futura label. Travelling was a keyboard-based trio that probably represents best what the Futura's RED series was about -- jazz, rock, and experimental inquisitiveness. Often described as the French answer to the Canterbury scene, Voici la Nuit Tombée contains echoes of Soft Machine, Caravan, and Supersister, especially on the sidelong opening track, "Voici la Nuit Tombée." It's the album's tour de force, with its fuzz bass, distorted organs, piano jazz, and complex meter. This is the first-ever vinyl reissue of this pioneering 1973 prog jewel, fully licensed by Futura founder Gérard Terronès. Presented in a 350-gram reverse-printed sleeve with obi strip. Limited edition of 500.

Souffle Continu Records present a reissue of Jean-Francois Pauvros and Gaby Bizien's No Man's Land, originally released on Un-Deux-Trois in 1976. Whether it is with the label Palm, or for Un-Deux-Trois, Jef Gilson has produced some of the best albums of French free jazz and improvisation. But that's not all: he also offered perfect recording conditions enabling some of the fresh young talent to emerge, including Daunik Lazro, André Jaume, and Jean-François Pauvros, all three of whom released their first recordings on one of those labels. Recorded by Jean-François Pauvros (guitar, but not only...) alongside Gaby Bizien (drums, percussion, aquatic trombone, marimba, bird calls), and, of course, produced by the audacious Jef Gilson, the appropriately named No Man's Land had virtually no equivalent in France (nor worldwide) when it came out in 1976. Radical, free, primitive, timeless: in the image of the musicians, it is not for nothing that it appears in the famous Nurse With Wound list of major influences concocted in 1979. No label can be placed on this vertiginous sensory adventure: an explosive flow of shrapnel and tearing intensity, full of mystery and life. To be clear, No Man's Land is the key recording of French improvisation. So much so that it is difficult to imagine it coming out of nowhere, the two musicians must surely have been listening to the latest forays of the British Music Improvisation Company and decided to reply in their own way. But not at all! If you believe what the protagonists have to say, these experiments were carried out in secret isolation, and with a total lack of awareness of everything that was going on in the avant-garde of improvised music. Indeed, it was only after the album was published that Jean-François Pauvros and Gaby Bizien learned that there was a movement going on with similar ideas. That tells us something about the level of invention of this album, which comfortably bears comparison to other similar duos such as Derek Bailey and Tony Oxley, Fred Frith and Chris Cutler, John Russell and Roger Turner, or Gary Smith and John Stevens... The Frenchmen were well served by their unbridled variety and poly-instrumentalism Edition of 500

Extracts from the Farewell performance at Kings College, London 1978. Jgjgjgjg formed at the  London Sound Poetry Festival in June 1976. Reissue of tape on Balsam Flex. 200 copiesIn those days a number of British poets were producing works influenced by radical international currents in sound art, conceptual art, visual poetry and performance art. Bob Cobbing (1920-2002) was a central figure in this continuation of the ‘British Poetry Revival’, a rather loose poetry movement of the 1960s and 1970s which can be seen as an internationally oriented modernist reaction to the English traditionalist and nationalist approach of poetry of ’The Movement’ (Kingsley Amis, Philip Larkin et al.) Many of the Balsam Flex cassettes brought poets connected with ‘Writers Forum’, a small publisher, workshop and writers’ network founded in 1963 by Bob Cobbing, Jeff Nuttall and John Rowan. After Cobbing’s death in 2002 ‘Writers Forum’ has been directed by poet and artist Lawrence Upton (1949), who is one of the poets of the improvisational group JGJJGJG (‘as long as you can say it that’s the name of the band’). The other two members are Cris Cheek – originally from London but currently on the staff of Miami University in Oxford, Ohio – and Clive Fencott, who lectures at Teesside University. Slowscan #37 contains extracts from the Farewell performance of the group at King’s College, London 1978.Lawrence Upton(b. 1949) – poet, prose writer, essay writer, critic, publisher. Author of a great number of publications in literary magazines, collections, miscellanies both in Great Britain and abroad, and also of www-publications on various literary sites. Editor and publisher of a number of magazines and international anthologies, author of numerous books of poetry and prose. For many years he has been collaborating with different literary and artistic associations and perform-groups.

**Regular edition of 350 copies, gatefold sleeve** John Driscoll is a composer who is a founding member of Composers Inside Electronics (CIE) and collaborated on David Tudor’s Rainforest V starting in 1973. He has toured extensively in the U.S. and Europe with CIE, David Tudor, Phil Edelstein, Douglas Dunn & Dancers, Maida Withers & the Dance Construction Co. and as a solo performer. His work has focused on robotic instruments, music for dance and compositions and sound installations for unique architectural spaces. He’s exhibited his sound installations at the Fridman Gallery (NY), the Museum of Modern Art (NY), Museum of Modern Art (Warsaw), Museum der Moderne (Salzburg), Lyon Biennale, Subtropics (Miami), Univ. of Maryland (College Park). Driscoll has collaborated with Phil Edelstein on numerous works including their recent sound installation Cluster Fields.His collaboration with Edelstein on Rainforest V (variations 1-4) has resulted in acquisitions in the collections of Museum of Modern Art (NY), Museum der Moderne (Salzburg), Arter Museum (Istanbul) and Musée d’art Contemporain (Lyon). For the first time on vinyl, this essential publication includes 4 key audio works spanning an era from 1979 to 2018.