Thomas DeAngelo, known otherwise as T.D. or for his participation in Melkings, Zwangsbeglucktertum, Association Copy as well as his sadly departed Crisis of Taste label/mailorder, returns following his well-received Nothing New Under the Sun cassette (Gift of Music, 2022). From a distinctly leftfield position relative to the gnarled, textural tape noise works of this last output, DeAngelo in Voiceprints… offers an obscure, bloody-minded take on Sound Poetry and voice-based sound art over the course of this full length CD album.AdHuman - 2023

Multitrack composition for pre‐recorded sounds and live percussion performed by Michael Ranta (entirely different work from the Yuen Shan CD released in 2005). All material previously unreleased. Yuen Shan (Round Mountain in Chinese) was conceived in 1972 and finalised in 2014. It's a major work in Ranta's oeuvre (his first solo release in almost 25 years), highly personal and spiritual. A musical cosmogony in 4 cycles based on different levels of ancient asian spiritual principles. …All returns to the origin, to the silence, to the void. This is the way of nature. All things arise and disappear. One observes their eternal recurrence…

Trances, Jules Reidy’s follow-up to the celebrated World in World (2022), takes place in between states, tracing a kind of restless movement in search of—or is it away from?—a center. The twelve tracks shift between fragment and epic, returning to familiar phrases between forays outward into uncertain expanses. Through its exploration of the cyclical movements of grief and emotional turbulence, Trances produces a sonic world as raw, absorbing, and surprising as anything Reidy has created to date. Trances’ primary instrument is a custom hexaphonic electric guitar tuned in Just Intonation. Reidy’s combination of fingerpicked phrases, open strums, and corrugated processing push on the grammar of guitar-driven experimentalism, locating expressive heft in open-ended harmonics and the odd angles formed by overlapping elements. Chords are slowed and stretched as if to examine their resonance, then overtaken by subterranean motion. The effect is that of oceanic depth, but the rippling that passes between the compositions’ sedimentary layers often takes on a metallic edge. The addition of synthesizers, sampled 12-string guitar, field recordings, and half-submerged autotuned voice further denaturalize the compositions. Reidy’s vocal interjections—their particular linguistic content rendered inaccessible—are based on counting and self-observational techniques for bringing oneself back into the present; at times Reidy’s picking also assumes a mantra-like quality, though ultimately the flow of the composition subsumes both. There is a heavy sense of the strange throughout these songs, which bleed at their edges into a continuous, questioning whole. That Reidy’s compositions here have a tendency to engulf the listener, like a wave or a squall, can be variously comforting and disorienting. Either way, we are fortunate to follow Reidy on such a journey.

Room40's brand new reissue of Annea Lockwood's iconic 1970 album Glass Worlds Matte laminate sleeve, insert card and artist book featuring a wide ranging in conversation between Annea Lockwood and Lawrence English as well as previously unseen documentation of her works including Piano Transplants, World Rhythms and more. I have become fascinated by the complexity of the single sound.” - Annea Lockwood A note from Lawrence English To attempt to summarise the journey of Annea Lockwood’s life, as a composer and performer, is difficult if not impossible. For six decades now, she has carved out a multifarious and fluid existence that has orbited various musical movements and approaches. Hers is a life led by intuition, curiosity and listening, one in which passion is paramount and wonderment abounds. If you were to reflect upon one aspect of her way of being that holds the greatest gravity in her day to day, it is perhaps listening that resonates most vibrantly. It is a practice that she has sought to deepen, with an unwavering dedication across her life, and a it is practice that has sustained her in the absolute. It’s here that Glass World comes into focus for it documents some of her first significant studies into sound, object and listening. It is a recording that captures her in a moment of profound fascination with a rather familiar material, glass. This recording celebrates many things, amongst them Lockwood’s willingness to allow single sounds to resonate, fully. Across each of the twenty three vignettes captured here, Annea Lockwood invites us to lean into the material nature of sound with her. Glass World shimmers with an almost fanatical incandescence. It radiates a vibrational intensity that holds as strongly today as it did upon its original release in 1970 on Tangent Records. I had the privilege to re-master these recordings, under the guidance of Annea, and sitting with them so intensely was nothing but a delight. In tandem with this project, Annea and I have undertaken a long-form in conversation, which is collected in the book which sits alongside this edition. The conversation splays outward from Annea’s work on Glass World and it deliberately seeks to visit upon her interests and passions, and through doing so revel a certain perspective that has guided her ways of being, and ways of making. It’s an honour to have the opportunity to share this edition with you. I hope you too can catch Annea’s resonate curiosity and be as captivated by these sounds as I (and many others) have been.

Live in Thessaloniki 11/04/2022, Duende Jazz Upstairs Akira Sakata: alto saxophone, clarinet, vocals, bells Giovanni di Domenico: piano Giotis Damianidis: electric guitar Petros Damianidis: double bass Stephanos Chytiris: drums

CD reissue of the timeless 1979 French folk classic “Maison Rose”. Includes two unreleased tracks. Licensed from Emmanuelle Parrenin An album such as this obviously owes a lot to the atmosphere in which it was recorded, which we can imagine was magical.We know it took place in Fromentel, Normandy, in a farm converted into a studio by the producer Jacques Denjean, known for his work with Dionne Warwick or Françoise Hardy as well as having been a member of the Double Six. It was also at Fromentel, that Denjean would record two fantastic albums with Albert Marcoeur. When Emmanuelle Parrenin followed in his footsteps a year later she was in good company: the sound engineer at the studio was her partner and therefore uniquely capable (we imagine) of creating an adequate soundscape for her delicate universe. What is more, five years previously, Bruno Menny, the sound engineer partner, recorded his first and only album, but what an album: in electroacoustic terms we can hear things which make him appear as the spiritual son of his mentor Iannis Xenakis! What makes Maison Rose unique is exactly this fusion between the two conceptions of Emmanuelle Parrenin and Bruno Menny, creating a perfect marriage of tradition and experimentation. The tradition comes from the songs collected byEmmanuelle Parrenin in rural areas, in a similar vein to the work carried out by Alan Lomax and Shirley Collins. The experimentation is in the sound captured by Bruno Menny, who both arranged and recorded the album. This is not to forget those who came with their guitar (Denis Gasser), or their lyrics (no less a figure than Jean-Claude Vannier). On the one hand we have the humble and non-demonstrative singing, with melodies which remind us of songs we would sing to calm a child's nightmares, and on the other hand a pronounced rhythmic intensity at certain points, such as on "Topaze" where the drums in particular evoke the Motorik of krautrock legends Faust. A real haven of peace, Maison Rose is enchanting with its aura of mystery and spirituality, with soft, gentle songs which seem both ancestral and futurist. Originally published by Ballon Noir in 1977, this album follows on from other folk marvels such as Le Galant Noyé from the pre-Mélusine period. On the subject of Maison Rose, if we had to risk a few comparisons we would mention Vashti Bunyan, Linda Perhacs, Joanna Newsom, Collie Ryan, Shirley Collins, Trees Community,Sourdeline and Véronique Chalot as those which spring spontaneously to mind. But this is too reductive for the timeless singularity of Emmanuelle Parrenin: because Maison Rose was recorded in 1977, in the midst of the punk revolution.

Recorded live at Ringoya Tokyo, Japan - June 2008. Originally released by U-Sound Archive as a CD-r in 2008. Reissued by AKTI Records as a CD in 2021. --- Tetuzi Akiyama / acoustic guitarTom Greenwood / acoustic guitar --- Original mastering of the CD-r by Toshimaru NakamuraRe-mastered by Pasi Salmi at Pori Film Lab Studio Album art: Heikki HautalaLayout: Kai Johansson

Ten Years Alive On The Infinite Plain is the quintessential work of artist/filmmaker/composer Tony Conrad. Comprised of both film installation and minimalist score for amplified strings, Ten Years leaps across genre and medium to connect his revolutionary structural filmmaking with the experiments in long-duration sound that Conrad had begun in the 1960s as part of the Theatre of Eternal Music."Ten Years began with image before sound," writes Andrew Lampert, "a row of quadruple projections arranged side-by-side, all the shuffling stripes cascading into each other. Over the next two hours the music throbbed and the projectors incrementally shifted inwards, their beams gradually uniting to form one pulsating, overlapping picture."For its 1972 premiere at New York's The Kitchen, Ten Years included Conrad on violin as well as Rhys Chatham and Laurie Spiegel performing on instruments of the composer's own making. Chatham played the Long String Drone – a 6-foot long strip of wood with bass strings, electric pickup, tuning keys, tape, rubber band and metal hardware – while Spiegel carried out an arrhythmic bass pulse throughout.Superior Viaduct is honored to present this previously unreleased recording of Ten Years Alive On The Infinite Plain's breathtaking premier performance. As Chatham recounts in the liner notes, "When I first listened to this recording after not hearing it for over 40 years, it transported me back to the early Kitchen and the heyday of early minimalism, played outside the Dream Syndicate."Track Listing:Ten Years Alive On The Infinite Plain (1:28:18)

"ILOG3 was recorded only a little more than a year after the epic ILOG2 session. In-between the two album releases the duo has performed a few high profile festivals like Jazz Em Agosto in Lisboa, A’Larme in Berlin, Meaksuma in Eupen or La Nature in Wallonie. While ILOG3 originally was only intended to be a video shooting session the duo put down another suite of incredible music and decided to release it in triple format as DD, CD and LP. The music is a succession of densely improvised electro-acoustic mayhem, highly abstracted and chopped up beats and surreal textures. Schick and Steidle follow the path they started to engage in on ILOG2: multilayered and thus poly rhythms of the drums contrasted with the rapid crosscut tricks and beat jugglings of the turntables. Steidle who in the meantime armed up with two new midi controller pads integrated in his drum kit with which he can control in a much more fluid and virtuoso way his portion of samples, while Schick for this session brought in a stack of new and quite „ lubby" vinyls which he chops up in his brutalist way not worrying at all about any of the known/classic scratching conventions. ILOG3 comes in two versions, a long extended suite for the CD, and a compact compressed version for the LP. Best if you simply get both to enjoy the different constructions and the each time unique flow of this rather crisp display of music.“

"During one of my early teenage trips to Strasbourg/France in an urgently needed escape from provincial Lower Bavaria and with the aim of making some money by basking in the streets of France with my saxophone I found amongst some other jewels a copy of „Jila-Save! Mon. - The Imaginary Suite“ LP by George Lewis & Douglas R. Ewart in the sales bin of a local Jazz record store. I had already seen George Lewis performing live with Bill Frisell and John Zorn as "News For Lulu", and listened to a lot to his quartet recordings with Anthony Braxton, but Douglas R. Ewart I had only heard and read about and I was eager and keen to listen to his work. Back home when putting the record on the player it was one of those desperately needed shocks: this unique mix of contemporary abstraction with AACM roots and blues on Side A and then a totally outer space electronic drone scape with some spiritual woodwinds and brass on Side B, all this in extreme instrumentation. When buying the record and from what I knew at the time I had expected some Art Ensemble of Chicago type tribal Afro-Americana, but this stunningly abstract, pure and almost naked interplay of extended brass and woodwinds, self-made instruments and electronics combined with a totally non-conformist/unfashionable and honest sound palette opened another window for me, a window that encouraged me to trust isolated/honest nakedness in music making, risking formal extremes and non-obvious collage but also the attempt to achieve musical friend-/kinship in the process. Many years later, we are now talking times of internet and social media, not so very long ago, one of those messages randomly popped up on my screen: it is Mr. Douglas R. Ewarts birthday! After sending a few words we connected online and finally a year later and during a several months long composer residency I had in Los Angeles and thanks to the practical help of different friends (Chris Cogburn from No Idea Festival who connected me with Jesse Goin from "Crow With No Mouth“) I managed to fly to Minneapolis, rent a rehearsal studio and record for two days with this exceptional visionary, multi-instrumentalist, maker-inventor, poet, afro-logical conscience keeper and critical thinker. I still remember how I arrived with a very bad flew that I had caught on a festival in Austin/Texas right before the trip up North, but what to do, this was an one off chance not to be missed. So I tried my best to ignore the symptoms and just set-up the borrowed turntables, my sampler & Zoom H6n recorder, installed two overheard microphones for Douglas’ multi-instrument collection and after a short test recording we started the musical dialogue right away. The tracks of "Now is Forever“ were recorded exactly in the order they are presented, there are no changes, overdubs or edits. The highly critical poems narrated by Mr. Ewart anyway would have not allowed to mess around with the material or the track order. After two lovely but at the same time straining days of recording and receiving wonderful Jamaican rum recipes for treating any cold, we performed a final live-set of electro-acoustic creative music in front of a small but generous audience. What strikes me most with this collaboration is how seemingly natural this two traditions and generations of creation (Afrological AACM aesthetics and post-2000 European Electro-Acoustic Improvisation) blend and connect. For me it was an old childhood dream to come true. After the concert along with some close friends we went for some late food and drinks, killing some time until Mr. Ewart was being so kind to drop me off at the airport ready to fly out to LA at 4:30 AM with my ears close to pop and break with unbearable pain and them needing two days to open up again after landing. For whatever reasons it took quite a while until Mr. Ewart and I got back in touch again, long after this session, but we did, and while listening to and mixing this jewel, it became clear that none of the music should be left out. One, for the delight of witnessing the development of a first time musical meeting and two, for unfolding the whole story and content of Mr. Ewart’s poetry. A narration and cultural/socio-ecological critique of our time that has even six years after it’s recording not lost any of its relevance and urgency. Pls look at and listen to „Now Is Forever" as a pan-generational and pan-cultural warning, an outcry and message from us, with which we are supporting the one and only last generation.“

"With Hawking Extended the two Berlin based musicians Ernst Bier & Ignaz Schick present their duo Hawking (formed in 2013) in addition with the Munich based composer, guitarist and live-electronics player Gunnar Geisse. While Hawking performed entirely with live-electronic instruments – in Hawking Extended however additionally to the three different electronic set-ups the musicians also make use of their original acoustic instruments. The purely acoustic setting (saxophone, guitar, drums) is mirrored with the entire electronic display (Wave Drum/Electronics, Laptop, Turntable). The music consciously uses the tension between acoustic free improvisation, electro-acoustic/electronic music, noise and contemporary jazz and continuously oscillates between those different stylistic poles. Hawking Extended are building obscure sculptural sound objects, risky, sometimes fragile and often eclectic. They allow themselves to touch musical taboos and walk on the thin line between „Kitsch “, sharp electronics and refreshing anti-preset-music often resulting in a music which sounds like an acoustic science fiction film. A year after their first concerts in trio in 2017, the three spent some time in the luxurious recording studio Bonello in Berlin and are now presenting the exciting results of this seance with this CD. A music that picks up on many different elements and influences from past and current waves & inspirations. Each of the three players being an idiosyncrat of their own on their chosen instruments, each of them have created their own personal language and stylistic field. Adding this three unique characters creates an outstanding collage of musical layers, unpredictable and surprising."  Ignaz Schick [alto saxophone, turntables, sampler] Gunnar Geisse [laptop guitar, virtual instruments] Ernst Bier [drums, wave drum, electronics]

This is a 2022 trio recording where the unique Kresten Osgood meets the two living legends: Bob Moses and Tisziji Muñoz. Bob Moses is one of the greatest living drummers in the world. H Started his career in 1964 with Roland Kirk while still in his teens. Since then he has collaborated with such artists as Gary Burton, Paul Bley, Steve Swallow, Pat Metheny, Jaco Pastorius, Steve Kuhn, Sheila Jordan, Todd Rundgren, Larry Coryell, Gunter Hampel, Darius Jones, and many many more. Bob Moses is also a respected educator and drum innovator who is constantly expanding the vocabulary of the drumset.  Tisziji Muñoz is a brilliant guitarist composer, producer, author, and astrologer, who has been active since the early 70s when he worked with Pharoah Sanders. He has released over 65 albums on his own label Anima with such artists as Dave Liebman, Billy Hart, Marilyn Crispell, Paul Shaffer, John Medeski, Cecil McBee, Ravi Coltrane, Rashied Ali, Hilton Ruiz, and Bob Moses. A completely original voice on his instrument and a leading light for many musicians who consider him a spiritual mentor.  Kresten Osgood is one of these people who at the same time defy and totally own categories. An extraordinary drummer and improviser with the fullest respect for tradition, without fear to challenge it at any given moment of his creative endeavors. He has about 100 albums to his credit, toured practically everywhere, and has been performing and/or recording with legends like Roscoe Mitchell, Paul Bley, Lee Scratch Perry, William Parker, Masabumi Kikuchi, Derek Bailey, Wadada Leo Smith, Jason Moran, Michael Blake, Oliver Lake, Kurt Rosenwinkel, John Tchicai, Tim Berne, Justin Vernon, Peter Brötzman, Joshua Redman, Eugene Chadbourne, Billy Preston, Alan Silva, Brad Mehldau, Mats Gustafsson, Bennie Maupin, The National, Dr. Lonnie Smith, Sam Rivers, Henry Grimes, Dr. Yusef Lateef, Warren Smith, and many many others. With two drum sets and electric guitar, the trio's music is powerful and completely unique, played freely and with a fierce spirit. Tisziji Muñoz was the one who named the album Spiritual Drum Kingship. He felt that the meeting of drum kings Bob Moses and Kresten Osgood created energy of a seismic nature, and also considers his guitar a six-string drum on this recording.

Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. This four LP box set includes a 12-page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera. releases November 11, 2023 All music composed, arranged, performed, and produced by Pauline Anna Strom

Ernest Hood’s Neighborhoods was released some two decades after the Portland, Oregon born and raised musician’s first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood’s privately-pressed opus of 1975. Freedom to Spend has restored Ernest Hood’s nostalgic masterpiece with the same care with which he viewed his source material, offering a remastered version of Neighborhoods transferred from the original tapes, expanded across four vinyl sides (the original version was crammed on two). The new edition reproduces Hood’s celebratory liner notes in full, alongside new liner notes by Michael Klausman.

In Catherine Lamb's Prisma Interius series the unpredictability of the outside articulates the field of perception through precise bandpass filters, while acoustic instruments and musicians guide the unfolding of its harmonic space. A series of nine pieces exploring the potential of the Secondary Rainbow synthesizer, an instrument developed in 2016-2017 with Bryan Eubanks, that uses the live environment outside the performance space as a noise generator for basic subtractive synthesis. The intention is to dynamically fuse the outside world and acoustic instruments and what emerges is a sort of Aeolian harp residue highlighting the spectral information the listener might perceive in a given moment. A beautiful addition to an already impressive catalog of recordings and scores by the young composer.

The Tiger’s Mind is an inspirational text (‘score’) where improvising musicians can find hints, pointers, images, metaphors, which can draw them into an unfamiliar orbit where they can respond and react to the characters which feature in the narrative: the insensate tree, the insubstantial wind, the abstract circle, the tiger, the human being (Amy) and the Mind, a ‘non-entity’, hard to recognise. In my performance in Bern Cathedral I introduced pre-recorded sounds of fire, water, birds, and various unidentifiable sounds; the grandeur, as well as the intimacy, and of course the marvellous acoustic of the Cathedral suited these sounds well and people in the ‘congregation’ would look up to spy the birds (the ‘sounds’) they could hear which, they thought, had found solace and freedom amidst the Cathedral’s rafters. By contrast, and felicitously, the grand piano was less dominant than in a concert hall where it always assumes centre-stage. The Tiger’s Mind is in two parts. Here, I perform part 2, Nightpiece, although the early hours of Daypiece may well encroach upon it. The text reads beautifully and demonstrates Cardew's poetic flair, the characters etched with an economy of expression and felicitous turn of phrase: Nightpiece. The tiger burns and sniffs the wind for news. He storms at the circle; if inside to get out, if outside to get in. Amy sleeps while the tiger hunts. She dreams of the wind, which then comes and wakes her. The tree trips Amy in the dark and in her fall she recognizes her mind. The mind, rocked by the wind tittering in the leaves of the tree, and strangled by the circle, goes on the nod. The circle is trying to teach its secrets to the tree. The tree laughs at the mind and at the tiger fighting it.