At long last, Rafael Toral delivers 'Travelling Light', his stunning, wildly anticated follow-up to 2024's critally acclaimed ‘Spectral Evolution’, via Drag City. Sprawling across beautifullay produced double LP and CD editions — complete with liner notes by Oto’s own Bradford Bailey — encountering the Portuguese, experimental journeyman embarking into the some of the most ambitious territory of his career, 'Travelling Light' is one of those rare wonders that unfolds over time and has to be heard to believed.

Glenn Kotche, Jim O'Rourke and Jeff Tweedy. Together again, this time with protection. Three guys playing musical songs featuring singing.

"Breathing in, breathing out. Tide comes in, tide goes out. The sun rises and it also sets: beginnings and endings. These are the first impressions given by The Visitor: a build-up and break-down. One seamless, 38-minute piece of music that completely engages its listeners. An extremely thoughtful piece that even a year later, still retains all of the qualities it had upon first listen. This record made me realize the full potential music can have when someone who actually gives a damn does something about it. Here, O'Rourke constructs an intricate and personal piece of music that unveils its beauty with every listen. Open your ears, put this record on the platter, close the door behind you, shut your eyes, and prepare for the trip. Remember to be a good visitor - and visit often..."

Nearly twenty-five years after disbanding, Gastr del Sol have unpacked their archive, stringing together an alternative view to their genre-melting 1993-1998 run. This assembly of previously uncollected studio recordings and beautifully captured unreleased live performances forms a spacious ode to the flux that was their métier; a further set of reinventions that continue to alter the manner in which we hear music, and literally everything else! Mastered by Jim O'Rourke All instruments by David Grubbs and Jim O'Rourke with: Jeb Bishop (trombone, 11) Bundy K. Brown (bass, 4; guitar, 9) Steve Butters (percussion, 11) Gene Coleman (bass clarinet, 11) Thymme Jones (trumpet, 11) Terri Kapsalis (violin, 11) John McEntire (drums, 4, 9; synth, 11) Günter Müller (percussion, 5) Bob Weston (trumpet, 11) Sue Wolf (violin, 11)

The first duo release of Anne Guthrie and Seymour Wright - made back and forth across the Atlantic between 2014 and 2016, of a duo that has existed since 2003. recordings and assemblings, 2014 new york, ny, 2014 limehouse, london, 2016, elephant and castle to chelsea bridge, london and 2016 brooklyn, ny.  anne guthrie: french horn + ny recordingsseymour wright: alto saxophone + london recordings listen to an excerpt letterpress sleevedesign and print by ben owen edition: 300cd

Double Mini CD, one recording on each, stacked inside a 3 inch CD case with printed artwork by Luciano Maggiore Composed and performed by Li Song 03.10.21 (black disc) two snare drums, sine tones, suspended bluetooth speaker, drumsticks Recorded live at Café OTO, London by Shaun Crook on the 3rd of October, 2021 09.10.21 (white disc) two snare drums, metronomes, drumsticks, masking tape, bluetooth speaker, microphone Recorded live at Hundred Years Gallery, London by Graham Mackeachan on the 9th of October, 2021

Killer outing by Lisa Ullén (Piano), Elsa Bergman (Double Bass), and Anna Lund (Drums) — aka Space — ripping live at Cafe Oto in 2023, at long last issued by the Stockholm based fönstret on LP and CD. A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room. It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures. But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.* It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good. It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

Monumental and blistering X5 CD box via Fönstret - the publishing arm of John Chantler’s, Stockholm based Edition festival - capturin  أحمد [Ahmed] - the (not so) best kept secret in the landscape of contemporary free improvistation, over the course of five consecutive nights during the summer of 2022. [Ahmed] is the quartet of Pat Thomas (piano), Joel Grip (double bass), Antonin Gerbal (drums) and Seymour Wright (alto saxophone). Together, the group re-arrange and re-imagine in real time the music of composer, bassist and oud player Ahmed Abdul-Malik (1927-1993). Listening, learning. In the summer of 2022 they played five nights in a row at the fifth edition festival for other music. Fylkingen sweltering under a rare Stockholm heatwave. A different tune each night. Nights on Saturn Oud Blues African Bossa Nova Rooh (The Soul) El Haris (Anxious) Five discs in a big box. Giant Beauty. Wrapped in excavated photographic detail from Stockholm’s legendary Golden Circle club. “Every night the quartet brings a new song, takes it apart, puts it back together again, follows the music on unknown paths, sometimes back, sometimes not, but always remains in motion, flowing like a river in flood.” — Silvia Tarozzi [Ahmed] have played some of the tunes on Giant Beauty multiple times before, and revisit them here, ‘versioning’. Antonin Gerbal kicks things straight into high gear with the propulsive snap of Nights on Saturn’s opening beat (a then recent, now out of print LP on Astral Spirits) and they close out on the fifth day with El Haris (Anxious), the tune they played and recorded at their first public performance in a rural Swedish barn for Joel Grip’s Hagen-fest in 2016 (and later released as the now out of print LP New Jazz Imagination on Umlaut). The second night they played Oud Blues. A tune they’d done just the one time before but under radically different circumstances — a heaving, 600 strong dancefloor for Glasgow’s spirited Counterflows festival. That recording is also coming out now on a double LP via Astral Spirits as Wood Blues — but here they trade the raucous, ragged energy there for something more chiselled and focussed. Traces linger (a perfume) of the spare concentration in Éliane Radigue and Magnus Granberg’s music heard earlier that night. We also hear two new tunes that appear on record for the first time — the vibrant swing of African Bossa Nova giving way to the zoned in drone of Rooh (The Soul) the following night. Rooh opens with Joel Grip’s bass channelling cellist Abdul Wadud who died the same week and the performance is dedicated to him. No discussion. No plan. No solos. The end goal for [Ahmed] is an open, ongoing learning. An ongoing excavation of the past and re-imagination of a future music. It’s jazz but also not (only) jazz, forged through a deep commitment to a variety of musical methods and an appreciation of how the context of the music’s making informs, shapes and becomes what it is. It always comes back to time and space. The five-night residency as idea, history and lived reality provides further cause for investigation, food for thought and prompts for action. You can read Seymour Wright talking through these implications in the extended interview with Edition festival director John Chantler in the accompanying book. The images that appear on the outer covers of the box, discs and book are details of photographs taken at the Golden Circle, Stockholm in the mid 1960s: the outer cover by Christer Landergren, and the others by Leif Wigh during a Dexter Gordon residency in 1965. Looking back into these images of Stockholm-space that the music [Ahmed] made at Fylkingen seemed rooted or seeded in, we discovered that, fascinatingly, plants — rubber (Ficus elastica) and Swiss-cheese (Monstera deliciosa) — were resident in the Golden Circle’s very modern concrete-curtained-glass-and-metal space. They lived on-stage and in-audience as the music took place and grew across nights, days and weeks around, and about them. This unusual and unexpected (to us) organic, holistic musical, architectural, botanical, volatile balance seems to resonate with something that Abdul-Malik told Bill Coss in a 1963 interview for Downbeat: Really, a musician should be in excellent condition, physically, mentally, professionally and scientifically […] I have studied all the elements: animals, insects, plants, space - the universe - old and new jazz but most importantly the Creator. How can you play beauty without knowing what beauty is, what it really is? Understanding the Creator leads to understanding the creations, and better understanding of what you play comes from this. How can you understand fully without knowing the start, the continuation, and the ending?

Tiny number of Original, Numbered Edition Deadstock Copies of Bill Dixon's long out of print, astounding x6 CD box set of solo works, Odyssey, issued bt Archive/Edition in 2001

B.A.N.S. The band features the great pianist Sophie Agnel, saxophone master John Butcher, French double bassist Pascal Niggenkemper, and Stale Liavik Solberg on drums, with the live album “fine&mesh;” recorded during the St. Johann festival  B:A:N:S BANDAgnel / Butcher / Niggenkemper / Solbergfoam & mesh1. foam and mesh I - 35:212. foam and mesh II - 9:33Total Time: 44:54Sophie Agnel - pianoJohn Butcher - saxophonesPascal Niggenkemper - double bassStåle Liavik Solberg - drumsRecorded by Karl Winand and Markus Massinger at artacts – Festival for Jazz and Improvised Music, Alte Gerberei, St. Johann in Tirol, Austria.

Available as 320k MP3 or 24bit FLAC    Tracklisting: CD1 “Put the Brakes On” - 50:08 CD2 “Some Good News” -  56:43Double CD documenting the magic meeting of one of the all-time great rhythm sections in jazz: percussionist Hamid Drake and bassist William Parker, with London’s brilliant Black Top (Orphy Robinson and Pat Thomas) and Elaine Mitchener. Across two sets the quintet are infectiously energetic and inspired, striding from synchronised heavy groove to star bright solos, whilst incorporating dub effects, guimbri and sumptuous blues piano playing.  Formed by Orphy Robinson and Pat Thomas but always realised with an ever changing number of invited musicians, Black Top's blend of lo-fi samples, dub effects and experimental electronics has been daring free improvisation since 2011. Their virtuoso performances draw on their Afro-Caribbean roots with delicious spontienty and humour; the histories of Ridley Road Market, the LIO and Islamic West Africa are sounded out side by side on iPad, marimba and vibraphone. Having met in 2006, Black Top played with bassist William Parker and drummer Hamid Drake as part of their residency at Cafe OTO in 2016; forming a quartet grounded in transatlantic kinship but which looked outward to the Carribean, calypso music and Saharan gnawa rhythms. When Parker and Drake returned to OTO in 2019 Black Top reformed again, but this time with the brilliant addition of vocalist Elaine Mitchener.  Over the last few years the clarity with which Mitchener has explored vocal expression in the global Black Avant Garde has been stunning, but here the range in her influences is manifest, moving effortlessly between phonetic and poetic experimentation and spoken word, all the while at ease with soul soaked jazz and dissonant free fall. A hand drum duet with Hamid Drake astonishes before being laced perfectly with cosmic theremin and Parker’s fantastic acid shehnai.  --- Recorded live at Cafe OTO on Sunday 28th July 2019 by Paul Skinner and mixed and mastered by James Dunn. Photos by Dawid Laskowski and artwork by Oliver Pitt.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. “Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)… Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib!!!

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent “Mother Africa”. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow. It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities. Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note… ends up by playing exactement the note he had to play.

First ever vinyl pressing of Ishmael Reed's beloved The Hands of Grace, jointly released by All Night Flight and Reading Group  Touching homebuilt compositions from celebrated American novelist, playwright and poet Ishmael Reed, channelling a long life immersed in jazz culture.  A joint in-house production from ANF and NYC-based label Reading Group. You’re never too old to learn something new.  Reed credits bebop with keeping him and his friends out of reform school because they were too busy listening to records at each other’s houses to get into trouble.  Finding fame as a distinguished writer, he found his way back to music circuitously, eventually taking the plunge at aged 60 to study jazz piano.  Diagnosed with prostate cancer in 2006 he hastily assembled a quintet to fulfil a lifelong ambition of recording an album. He made the record but thankfully he didn’t succumb to his illness   Cash-strapped during COVID, he became a composer to save on money for his own plays, enlisting his daughter Tennessee as the narrator.   These humble origins and a genuine love (and natural talent) for music are what underpins The Hands Of Grace.  Consisting of works written for Reed’s play ‘The Slave Who Loved Caviar’ alongside new original compositions, it brings in close friends and family to accompany his casual, unvarnished playing style that’s so genuinely heartfelt it feels as if you could be sat alongside them in their living room.  The music carries a lived-in simplicity yet it also holds something ambiguous that draws it away from the predictable. Music papers rustle, a living room chair is dragged up to the keys whilst Reed’s wife Carla contributes violin and daughter Tennessee recites her poetry on standout ‘How High The Moon’.  This is a poignant family affair with no-one left out, ending on a touching tribute and voicemail from their late daughter Timothy.   Ever since it first appeared on CD The Hands Of Grace has become a staple. A record to return to, a uniquely personal tribute, a document of working method, a lifelong passion finally coming to fruition… (Mint / New - with free DL & double sided insert Edition of 250 CDs, with liner note essays by Ishmael Reed and Fred Moten.Mastered by Matt Bachmann. "A great pleasure to play with my favorite writer; he has transformed his literary genius to the piano in one lifetime, Bravo!" -David MurrayNew album of original music by the legendary novelist, essayist, poet, critic, and playwright Ishmael Reed (b. Tennessee, 1938). The Hands of Grace presents for the first time the original music that Reed composed for his 2021 play, “The Slave Who Loved Caviar,” which was read at the Nuyorican Poets Café and premiered at the Theater for the New City in 2021. Also featured on the album are several other solo piano and ensemble compositions by Reed, with accompaniment from Roger Glenn (flute), Ray Obiedo (guitar), Carla Blank (violin), and Tennessee Reed (voice).Reed’s compositions on The Hands of Grace range from humor and pastiche to arresting beauty. The intimate and idiosyncratic sound calls to mind the off-kilter beauty of Charles Mingus’s piano record and Carman Moore’s score (also on Reading Group) for Personal Problems (1980), the brilliant “black soap opera” that Reed co-developed with Steve Cannon and Bill Gunn. Opening with a minimalist meditation on Jean-Michel Basquiat (also the subject of the play), and moving through blues tunes, descriptive pieces, and tributes to poet Lucille Clifton and Reed’s partner Carla Blank, the record closes with a moving ode to Reed’s late daughter Timothy. The Hands of Grace offers a deep dive into the musicality of this inimitable artist. --- Ishmael Reed / piano, compositionsRoger Glenn / fluteRay Obiedo / guitar, bassCarla Blank / violinTennessee Reed / voice

While Haino theatrically sweeps between bleak and uninhibited paranoia, deep-level zoning and bluesy contemplation, Noble's huge set up and graceful approach brings space, light and shade - so much so that at one point Haino unplugs his guitar and picks up a small wooden flute. Dynamic, dramatic and surprisingly uplifting.   --- Keiji Haino / electric guitar, feedback, flute Steve Noble / a lot of percussion --- Recorded by John Chantler on Tuesday 28th February 2012. Mixed by John Chantler. Mastered by James Dunn

You may have heard of Gentle Fire, but could be forgiven for not knowing much about them. They were a 6, then 5 member group of composers/improvisers/performers based in London and Yorkshire. Most of the writings that cover the pioneers of experimental, electronic and improvised music have given them scant attention. In addition to this, their recorded output is slim, the main item being a long out of print LP (for EMI Electrola), featuring their interpretations of graphic scores by Cage, Earle Brown and Christian Wolff. Despite recordings for BBC Radio 3 and many German radio stations, it seems extraordinary that there were no other substantial releases of their repertoire, or any of the 6 Group Compositions they created. Most of the existing Gentle Fire archive was kept privately by Hugh Davies. After Hugh died in 2005 it was shared between various institutions. This release owes much to Hugh’s meticulous record keeping as well as the archives at the British Library and Special Collections at Goldsmiths, University of London. Listening sessions at the British Library were a revelation, it was like discovering a missing link in the evolution of experimental music, but above all it sounded so undated and fresh. The release is divided into 3 sections. The first CD, recorded between 1970 and 1971 contains 4 studio and 2 concert recordings of graphic and text scores: 2 parts of Stockhausen’s Aus den sieben Tagen, and one piece each by Earle Brown, John Cage, Toshi Ichiyanagi and Christian Wolff. Gentle Fire were active between 1968 and 1974 and were especially active during the early 70s, appearing at numerous European avant garde festivals, playing their own Group Compositions and a wide variety of experimental scores. They even ended up in Iran playing in Stockhausen’s Sternklang, and improvising at dawn at Hafez’s tomb. The text and graphic scores that they were innately drawn towards have large elements of interpretive freedom to them, where the composer provides a skeleton and steps back allowing the players to give it flesh. They were in regular communication with the composers of these piece, so it’s no surprise that their interpretations were sought after by concert organisers and composers alike. There are very few examples of groups working at this time with direct contact to the composers, which makes these recordings especially precious. CD2 and 3 focus on their own works, CD2 dates from 1973 and was recorded during a 2 day residency at Radio Bremen. The 5 pieces on this disc cover a wide variety of styles and include a 23 minute version of Group Composition VI which is their only text based piece and uses processed and filtered speech. CD3 is a recording of their appearance at ICES 72, a legendary festival that took place at the Roundhouse in London. Over the course of 2 chaotic weeks a vast number of the world’s experimental musicians took to the stage. Miraculously the whole of the Gentle Fire concert has been preserved. It consists of a performance of their Group Composition IV, centred around a large metal sculpture that all members of the group could play at the same time. The piece actually had its première the previous year on the original pyramid stage at the first Glastonbury Fair. There are several photos of the event included in the booklet that accompanies the CDs. At last it is possible to assess the importance of this group’s work, both their own work and their interpretations of scores, and to give them their proper place in the history of live experimental/electronic music as well as indeterminate and intuitive composition. Released in an edition of 500 with a numbered 48 page booklet.

You may have heard of Gentle Fire, but could be forgiven for not knowing much about them. They were a 6, then 5 member group of composers/improvisers/performers based in London and Yorkshire. Most of the writings that cover the pioneers of experimental, electronic and improvised music have given them scant attention. In addition to this, their recorded output is slim, the main item being a long out of print LP (for EMI Electrola), featuring their interpretations of graphic scores by Cage, Earle Brown and Christian Wolff. Despite recordings for BBC Radio 3 and many German radio stations, it seems extraordinary that there were no other substantial releases of their repertoire, or any of the 6 Group Compositions they created. Most of the existing Gentle Fire archive was kept privately by Hugh Davies. After Hugh died in 2005 it was shared between various institutions. This release owes much to Hugh’s meticulous record keeping as well as the archives at the British Library and Special Collections at Goldsmiths, University of London. Listening sessions at the British Library were a revelation, it was like discovering a missing link in the evolution of experimental music, but above all it sounded so undated and fresh. The release is divided into 3 sections. The first CD, recorded between 1970 and 1971 contains 4 studio and 2 concert recordings of graphic and text scores: 2 parts of Stockhausen’s Aus den sieben Tagen, and one piece each by Earle Brown, John Cage, Toshi Ichiyanagi and Christian Wolff. Gentle Fire were active between 1968 and 1974 and were especially active during the early 70s, appearing at numerous European avant garde festivals, playing their own Group Compositions and a wide variety of experimental scores. They even ended up in Iran playing in Stockhausen’s Sternklang, and improvising at dawn at Hafez’s tomb. The text and graphic scores that they were innately drawn towards have large elements of interpretive freedom to them, where the composer provides a skeleton and steps back allowing the players to give it flesh. They were in regular communication with the composers of these piece, so it’s no surprise that their interpretations were sought after by concert organisers and composers alike. There are very few examples of groups working at this time with direct contact to the composers, which makes these recordings especially precious. CD2 and 3 focus on their own works, CD2 dates from 1973 and was recorded during a 2 day residency at Radio Bremen. The 5 pieces on this disc cover a wide variety of styles and include a 23 minute version of Group Composition VI which is their only text based piece and uses processed and filtered speech. CD3 is a recording of their appearance at ICES 72, a legendary festival that took place at the Roundhouse in London. Over the course of 2 chaotic weeks a vast number of the world’s experimental musicians took to the stage. Miraculously the whole of the Gentle Fire concert has been preserved. It consists of a performance of their Group Composition IV, centred around a large metal sculpture that all members of the group could play at the same time. The piece actually had its première the previous year on the original pyramid stage at the first Glastonbury Fair. There are several photos of the event included in the booklet that accompanies the CDs. At last it is possible to assess the importance of this group’s work, both their own work and their interpretations of scores, and to give them their proper place in the history of live experimental/electronic music as well as indeterminate and intuitive composition. Released in an edition of 500 with a numbered 48 page booklet.