Klaus Wiese (1942-2009) was a German musician and sound researcher. Wiese brought the teachings of Sufi Hazrat Inayat Khan to Germany from his travels in the East. His album "El-Hadra, the Mystik Dance," which he created with Mathias Grassow and Ted de Jong, made him famous in the genre. Under his own name, From 1981 until his unexpected death in 2009 he released upwards of 60 recordings, not including collaborations(with Oophoi, Mathias Grassow, Ted De Jong, Jim Cole, Al Gromer Khan... to name a few). Wiese’s music exists at the nexus of several overlapping modes - ritual, dark ambient, environmental - yet new age exerted an influence as well, most audibly on these late 1980s outings. On his recordings, Wiese used Persian stringed instruments, Tibetan singing bowls, bells, voice, and other exotic instruments. "Qumra" duology was released in 1986 and 1987 by a German label Aquamarin Verlag and reissued on small run cd-r by Gianluigi Gasparetti (Oöphoi) on his own label Umbra. Since then both parts became extremely rare items and top-wanted albums for searchers of spiritual ambient music. "Qumra II" was included in the 20 best new age albums ever recorded, by FACT magazine. "Qumra" is one of the most beautiful ambient recordings I have ever heard. A sweet stream of otherworldly music dissolves time and space and brings you to a place of perfect and endless tranquility. This is a sound of a moment that is equal to eternity. Being in love with the albums for many years, the idea of reissue always bothered us, and finally, with the help of our friends The Fact Of Being, we're blessed to release it first time on a CD and hope these 2 small beautiful plastic circles, like a right puzzle, will take its place in your heart and collection.

Publisher: Sub Jam Author: Yan Jun (editor) Medium: Book + 2 CDs Pub: 2020 Pages: 180HardcoverA project born from the mind of Yan Jun, who has edited this beautiful velvet hardback book and CD. Yan Jun gave friends and contemporaries very simple instructions - "what comes to mind when you hear the phrase 'music will ruin everyything'?" The responses came in the form of both text and audio. This very special limited run book and double CD is the collection of these results. --- “the very reason i initiated this project was vanished in time. however, it’s not very long time since it has suspending into this “physical object is dying” and “society is dying” situation. and it’s long enough to coming back with ideas of “connecting objects and bodies over language” and “connecting an outer territory”. so i have diving back to the files again, starting editing and translating, inviting few more physical entities and fortunately yihao joined as designer at this perfect moment. The way this project runs is very simple: i show my friends this sentence “music will ruin everything” then ask them to contribute audio track and text or images. i tried my best to show it while we meet physically. but some were sent by emails, exceptionally. there is no rules and no clue. i don’t explain why this title because i have no idea what it means. for me what these people doing is a huge cluster of mass such as constellation. they are connected and growing. there are much more alikes surrounding them. the way they are connected is more important than their works. if you dig more on any one of them, you will find its own genealogy of sense and mind. which i have spent years to following and enjoying. so pls, you make it anything and everything. thanx everybody who participate this project ! you have ruined some parts of me.”Yan Jun - 2016 ---

Almost 40 years since its original release on cassette, Robbie Basho's 13th album is now available for the first time on vinyl. Remastered from the original master recording (discovered during the production of "Voice of the Eagle: The Enigma of Robbie Basho"), it has never sounded better. The four-page insert includes rare photos, images from Basho's illustrated songbook and notes from the original lyric sheet, as well as texts from Glenn Jones, Henry Kaiser and others. Bonus tracks (Digital only) include an epic 13-minute solo version of "Land of Our Fathers". Released with the full approval of Basho's estate.

Edited by Tobias Fischer & Lara Cory Strange Attractor / PB 184 pp / 210mm x 148mm ISBN:  978-1-907222-34-4 Field Recording Series by GruenrekorderDO ANIMALS SPEAK TO EACH OTHER? WHAT DO THEIR SONGS MEAN? WILL WE EVER BE ABLE TO UNDERSTAND THEM AND TALK BACK? Ever since the accidental discovery of whale song in 1967, the idea of complex animal sentience has been gaining strength within the scientific community. A growing number of researchers and academics are exploring the idea that animals enjoy music on a similar level to human beings. Animal Music is the first anthology to present an overview of the current state of this vital debate. Its authors have spoken to the leading scientists, researchers and musicians in the field to uncover hidden meanings and new perspectives. They visit the world’s largest library of animal sounds, hack into the mysterious sonic world of shrimps, travel back in time to the point where animal and human songs diverged, and decode the latest neuroscientific findings about animal music and communication. The book includes exclusive interviews with Chris Watson, Jana Winderen, Yannick Dauby, Slavek Kwi and Geoff Sample as well as features on Bernie Krause, David Rothenberg and Olivier Messiaen and many more.

Coming 8 years after Volume 2 and 23 years after the first installment, Volume 3 of Music And Words is the 4th solo release by Adam Bohman on Paradigm Discs. All 4 releases have focused on his earliest recordings, mostly from the 80s, mostly domestic and all using cassette recorders. There are 4 principle styles that are employed in this early phase of Adam’s work - most unexpectedly there are songs, often constructed with trumpet as the lead instrument, then more typically there are improvised experimental pieces using home made stringed instruments. Thirdly we have ‘pause pieces’ - consisting of rapid edit collages using found media (typically radio and bargain bin LPs), and the 4th element is Adam’s spoken word recordings. Anyone who has met Adam will have seen him recording his observations and thoughts onto a small tape recorder, documenting his way through life. In fact the Music And Words CD series is roughly 50% composed from these peripatetic ‘talking tapes’. On Music And Words 3 we hear him at the seaside in both Brighton and Clacton-On-Sea. Overall the CD ranges widely over these various styles, and bursts with ideas and humour. In addition to the 4 solo releases on Paradigm Discs there is also a compilation track plus his contribution as a member of Morphogenesis on 3 further CDs. I’m proud to say that Adam is by far the most represented artist on the label.

Night Flights is a groundbreaking work from one of the most influential of the first generation sound artists. For some reason this staggering work has been left out of print for over 20 years. Night Flights has been remastered and includes updated liner notes from Christina Kubisch. Night Flights is being released in conjunction with Kubisch's release of new work for Important Records titled, Audible/Inaudible: Five Electrical Walks. “The compositions for Night Flights were realized in Milano in the period between 1983 and 1986. Milan at that time was a vivid and experimental place, with many international (mostly American) guests performing like Robert Wilson, John Cage, Trisha Brown, The Living, Laurie Anderson, etc.. At that time we were a group of several musicians working loosely together, exchanging knowledge about custom made instruments, the latest electronic devices, rare records, and information about where to go and what to listen to. "The lack of digital information and internet was one of the reasons for frequent meetings and musical experiments. We were determined to be the avant garde in a classical world of virtuosity. Davide Mosconi, Raffaele Serra, Riccardo Sinigaglia and others included myself had small but, seen from today's point of view, very artistic and exotic looking studios with many strange, often non-European instruments and all kinds of keyboards, electronic drums and tape recorders. The official studios from the conservatory were not available for us but not interesting as well. We tried to make multichannel recordings and mixes by ourselves, we invented long tape loops going through the whole room, echo effects and reverb. We became specialists in cutting and manipulating tapes. "The so-called non-European musical tradition was a permanent source of inspiration. The meeting and performances with Roberto Laneri, overtone singer and Indian music specialist, opened up new horizons. For several years I worked as well for the record company Raretone and was responsible for the release of the recordings of Giaconto Scelsi. I spent wonderful long days at his home, full with conversations about art and music. Alvin Curran, who took care of Scelsi's tapes and archive, often came by. "There was a special fertile atmosphere in the early eighties in Milano. Somehow all these activities and the search for new sound worlds and techniques were a vital step on the way to what today is called sound art, though the term was not common then. Some characteristics of what is defined as soundscapes or sound environment are included in Night Flights: a special interest in sound colours, musical structure based on may layers of natural recordings and the intent to open up the listener's space even with the limited means of a vinyl recording.” ~ Christina Kubisch

An utterly essential document of early American minimalism from this Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice, also available on LP from Important Records. The Wanderer is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ⅜. Part I, Song, is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, Dance, demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures. The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed 27 January, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting. Horse Sings From Cloud, written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of Horse Sings From Cloud has been recorded on Accordion & Voice. An early version of the score reads, “Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it.” This time, Horse Sings From Cloud is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.

Born of Six, featuring Amelia Cuni, Catherine Christer Hennix and Werner Durand, create exemplary drone compositions rooted in the traditions of Dhrupad, Early Minimalism and Just Intonation. Composed by Durand ,Cuni, Hennix, Svapiti is one long composition measuring 55 minutes in length. "A solid foundation is the best basis for the fundamental." Narada's exposition of the seven notes begins as follows: Because Sadja (the Tonic) arises from the combination of nose, throat, chest, palate, tongue, and teeth, it is known as "six-born." CD is housed in a 6 panel digipack on thick board stock with a matte laminate coating & spot-gloss.

Eliane Radigue's Adnos trilogy was composed between 1973 and 1980 and is among her finest compositions. Adnos is a deeply meditative work of infinite depth and sensitivity; one of the high points of modern minimal electronic composition. Packaged in a heavy duty 3xCD thick coated matte jacket including extensive archival materials.

Blues Alif Lam Mim In the Mode of Rag Infinity/Rag Cosmosis is a new composition from Catherine Christer Hennix's expanded Just Intonation ensemble, the Chora(s)san Time-Court Mirage. This expanded ensemble includes vocalists Imam Ahmet Muhsin Tüzer, Amir Elsaffan and Amirtha Kidambi, an expanded brass section with the addition of Paul Schwingesnschlögl and Elena Kakaliagou as well as the addition of Marcus Pal and Stefan Tiedje on electronics. Packaged in a lavish, oversized letterpressed jacket by Stumptown. "...Hennix has created a sound that reliably taps into our subconscious and frees us from linear time...." ~ The Quietus Catherine Christer Hennix (1948, Stockholm) is an artist, poet, composer and philosopher with a strong interest in logic and formal music theory. She was among the pioneers in Sweden experimenting with main-frame computer generated composite sound wave forms in the late 1960s, and in the 1970s she was a key protagonist in the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions. She pursued studies with raga master Pandit Pran Nath and led the Just Intonation live-electronic ensembles Hilbert Hotel and The Deontic Miracle, the recordings of the latter are presently being released by Important Records. She was a professor of mathematics and computer science, and assistant to and co-author with A.S. Esenin-Volpin for which she was given the Centenary Prize Fellow Award by the Clay Mathematics Institute in 2000. Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, drawing inspiration from the Japanese Gagaku music and the early, vocal, thirteenth-century music of Perotinus and Leoninus, for example. In 2003 she returned to computer generated composite sound wave forms now called Soliton(e)s of which Soliton(e) Star was the first result. Subsequently she formed the Just Intonation ensemble The Choras(s)an Time-Court Mirage which performs Blues Dhikir al- Salam (Live at the Grimmuseum, vol. 1, Berlin, 2011, Important Records 2012). In 2012 Henry Flynt asked Hennix for a new, expanded realization of ISE for an installation at ZKM in Karlsruhe, Germany, to be featured in his retrospective/ prospective show Henry Flynt Activities 1959 – at ZKM. In response Hennix realized a 4-channel composition, Rag Infinity/Rag Cosmosis, her first 4-channel computer assisted composition since 1969.

IMPREC · Catherine Christer Hennix / The Deontic Miracle - Central Palace Music -" type="application/x-shockwave-flash">IMPREC · Catherine Christer Hennix / The Deontic Miracle - Central Palace Music -" /> Central Palace Music, performed by Catherine Christer Hennix's just intonation ensemble The Deontic Miracle, is the first in a series of archival Hennix releases to be issued via Important Records. This previously unheard piece was taken from an eight day festival organized in the Spring of 1976 at the Museum of Modern Art in Stockholm. The group features Catherine Christer Hennix on Renaissance oboe and custom sinewave generators, Peter Hennix on Renaissance oboe and Hans Isgren on sheng. Central Palace Music is packaged in a deluxe letterpress package and is being released at the same time as a recent recording of Hennix's new ensemble, Live At Issue Project Room. "...Hennix has created a sound that reliably taps into our subconscious and frees us from linear time...." ~ The Quietus Catherine Christer Hennix (1948, Stockholm) is an artist, poet, composer and philosopher with a strong interest in logic and formal music theory. She was among the pioneers in Sweden experimenting with main-frame computer generated composite sound wave forms in the late 1960s, and in the 1970s she was a key protagonist in the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions. She pursued studies with raga master Pandit Pran Nath and led the Just Intonation live-electronic ensembles Hilbert Hotel and The Deontic Miracle, the recordings of the latter are presently being released by Important Records. She was a professor of mathematics and computer science, and assistant to and co-author with A.S. Esenin-Volpin for which she was given the Centenary Prize Fellow Award by the Clay Mathematics Institute in 2000. Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, drawing inspiration from the Japanese Gagaku music and the early, vocal, thirteenth-century music of Perotinus and Leoninus, for example. In 2003 she returned to computer generated composite sound wave forms now called Soliton(e)s of which Soliton(e) Star was the first result. Subsequently she formed the Just Intonation ensemble The Choras(s)an Time-Court Mirage which performs Blues Dhikir al- Salam (Live at the Grimmuseum, Vol. 1, Berlin, 2011, Important Records 2012). In 2012 Henry Flynt asked Hennix for a new, expanded realization of ISE for an installation at ZKM in Karlsruhe, Germany, to be featured in his retrospective/prospective show Henry Flynt Activities 1959 – at ZKM. In response Hennix realized a 4-channel composition, Rag Infinity/Rag Cosmosis, her first 4-channel computer assisted composition since 1969.

This dense 11 disc retrospective of Pauline Oliveros’ early and unreleased electronic work includes her very first piece made for tape in 1959. Organized chronologically, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Follow as she participates in the establishment of the legendary San Francisco Tape Music Center and then moves to University Of Toronto Electronic Music Studio, Mills Tape Music Center and University of California San Diego Electronic Music Center. This 10th anniversary edition is packaged in a clamshell-style box containing all the tracks from the 2012 edition spread out over 11 CDs each housed in single pocket sleeves. A 36 page booklet includes extensive liner notes and essays from Pauline Oliveros, Alex Chechile, Ramon Sender, David Bernstein, Corey Arcangel. Pauline Oliveros was a composer, performer, humanitarian and an important pioneer in American Music. Acclaimed internationally, she forged new ground for herself and others. Through improvisation, electronic music, sonic philosophy, teaching and meditation she created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell Pauline Oliveros built a loyal following through her concerts, recordings, publications and musical compositions written for soloists and ensembles in music, dance, theater and inter-arts companies. She provided leadership within the music community from her early years as the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills), director of the Center for Music Experiment during her 14 year tenure as professor of music at the University of California at San Diego to acting in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations. She served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College. Oliveros was vocal about representing the needs of individual artists, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people.She was honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment went unchanged. Oliveros passed away peacefully on November 24, 2016 but her sonic legacy and philosophy continues to grow and inspire. **************************************** 2022 Edition track listing: Disc 1: 1961 Pauline Oliveros Home StudioTime Perspectives1964-1966 San Francisco Tape Music Center Mnemonics IMnemonics II Mnemonics IIIDisc 2: 1964-1966 San Francisco Tape Music CenterMnemonics IVMnemonics VDisc 3: 1966 University Of Toronto Electronic Music StudioII Of IVIII Of IVIV Of IVV OF IVIII Disc 4:1966 University Of Toronto Electronic Music Studio Team And Desecrations ImprovisationThe Day I Disconnected The Erase Head And Forgot To Reconnect ItJar PieceDisc 5: 1966 University Of Toronto Electronic Music StudioAnother Big MotherFed Back 1Fed Back 2Disc 6: 1966 University Of Toronto Electronic Music Studio5000 MilesAngel FixDisc 7: 1966 University Of Toronto Electronic Music StudioBottoms Up 1NiteRinging The Mods 1 HeadsRinging The Mods 2 TailsThree Pieces IThree Pieces IIThree Pieces III Disc 8: 1966-1967 Mills Tape Music CenterBig Slow BogBoone BogDisc 9: 1966-1967 Mills Tape Music CenterBog BogMind BogDisc 10: 1966-1967 Mills Tape Music CenterMewsack1967-1970 University Of California San Diego Electronic Music Studio50/50 Heads(Buchla Piece head out) 50/50 Tails (Buchla Piece tails out) Disc 11: 1967-1970 University Of California San Diego Electronic Music StudioA Little Noise In The SystemRed Horse Headache

“ … an elongated and amorphous soundscape, fogged in reverb and scattered with unsettling percussive detritus. Issued by Faversham, Kent based label False Walls, the piece is a rumbling roam through dimly lit corridors that, over the course of 60 minutes, feels like being swallowed into the belly of reverberant catacombs. Around melodic xylophone-like percussion, [Kay] Logan establishes that this is high fantasy rather than realist terror, melodramatic synth cutting through ferric warble to create a hypnagogic, almost fairytale feel.”— Spenser Tomson, Wire magazine, on Music for Counterflows (July 2022)   “Quietly it fades in, making its origins almost imperceptible as it goes, but ratchets up the brain-throb drama in due course. Taking on information and context from its surroundings, you feel it could go in pretty much any direction next, and often it does. It’s been created in the service of something exciting and will improve your life, no questions asked.”— Noel Gardner, The Quietus, on Music for Counterflows  For the 2021 online edition of the Counterflows festival, Glasgow-based Kay Logan (aka Helena Celle) created the hour-long electronic Music for Counterflows, accompanied by an interview with Stewart Smith. For the CD and digital release, the music has been mastered by Stephan Mathieu, and the interview along with visual artwork by Kay are included in a 20 page booklet. Extracts from Stewart’s interview with Kay can be read here. The first Helena Celle album, If I Can’t Handle Me At My Best, You Don’t Deserve You At Your Worst, was released on the Night School label in 2016. Since then, Kay has released work under an array of aliases, including Helena Celle’s Haunted Mirror, Helena Celle’s Mimetic Desire, Helena Celle’s Correspondence Table, Otherworld and Time Binding Ensemble. Kay’s Patreon supporters also receive regular transmissions from Helena Celle’s Observer Effect. Music and artwork by Helena CelleMastered by Stephan MathieuDesign by David CainesGatefold sleeve, with 20 page booklet

* Please note the CD & LP contain different material*  CD track list1 爆裂 / Fakad / Burst 8:582 势在必行 / Le Kell Tenni / Must Be Done 6:163 只要 / Amíg / As Long As 9:314 逃脱 / Illan / Escapes 12:185 认罪 / Lehet Vallani / May Confess 9:416 轻风 / Fuvallat / Whiff 4:147* 种子 / Magvak / Seeds 4:458** 握住 / Ami Tart / Hold 3:47 DVD 远在此处 / Idekint / Out Here 1:03:20录制于第九届OCT-LOFT国际爵士音乐节，2019年10月18 - 19日B10现场 & *旧天堂书店，中国深圳** 《握住》录制于Magyarkanizsa，塞尔维亚Recorded at the 9th OCT-LOFT Jazz Festival on October 18 - 19, 2019B10 Live & *Old Heaven Books, Shenzhen, China** "Ami Tart" (bonus track) recorded in Magyarkanizsa, Serbia---LP track listA1 爆裂 / Fakad / Burst 8:582 势在必行 / Le Kell Tenni / Must Be Done 6:163 只要 / Amíg / As Long As 6:21B1 逃脱 / Illan / Escapes 12:182 认罪 / Lehet Vallani / May Confess 9:14 Akosh S. (Szelevényi) is a Hungarian saxophonist, multi-instrumentalist, improviser and composer. He has been living in France since '86. As the leader and founder of his group Akosh S. Unit, he has released many records at Universal. He once records and tours with the rock band Noir Désir, and he works with choreographer Josef Nadj, cultivates improvised music with Joëlle Léandre, Gildas Etevenard, Hamid Drake, etc. He composes music for theater, contemporary dance, films, and collaborates with French rappers Marc Nammour. Since 2016, he has been working with Hungarian musicians - double bassist Peter Ajtai and drummer Szilveszter Miklòs. These two young figures are already emblematic of current creative music in Hungary and a joy to see. the trio were invited to play in a trio at OCT-LOFT festival 2019, and the whole show was recorded and released as LP, DVD and CD here.  “Regarding the title of the album what I found by looking further is ‘Inside Out’. To explain in a few words from Hungarian: at the base, there is ‘itt’ = ‘here’, and ‘ott’ = ‘there’. From ‘itt’ derives ‘ide’ = ‘from there to here’, from ‘ott’ follows ‘oda’ = ‘from here to there’, so there is a dynamic in ‘ide’, which there is not in ‘itt’, which is stable. ‘Kint’ is ‘outside’. ‘Idekint' therefore means, that we are outside and we invite to be outside (while ‘Odakint’ would mean that we are inside, to designate the outside), not locked in our certainties, but in outside of it all, like free animals, or like homeless ones too, but also alive, outside our mother...” - Akosh S. --- 作曲 Composed by：Akosh Szelevényi (1, 3, 5, 7, 8)；Akosh Szelevényi, Péter Ajtai, Szilveszter Miklós (2, 4, 6)录音 Recording：曾君 Zeng Jun；罗绿野 Luo Lvye混音 Mixing：刘英 Liu Ying；Akosh S.母带处理 Mastering：David Mascunan at Mastermixlabs制作人 Producer：涂飞 Tu Fei统筹 Coordinator：周雁朝 Zhou Yanchao；尹思卜 Yin Sibo Recorded at the 9th OCT-LOFT Jazz Festival on October 18, 2019B10 Live, Shenzhen, China  旧天堂书店出品 Published by Old Heaven Books 2020

CD + DVD contains full footage of the performace recorded live at the OCT-LOFT Jazz Festival October 20th, 2019, Shenzhen China.The complete performance from Peter Evans' first trip to China, on the invitation of Old Heaven Books and the OCT-LOFT Jazz Festival in October 2019. "Peter Evans believes that his music is closely related to the philosophical concept of "Wu Wei (literally means "doing nothing" or "inaction")" from China. As a composer and improviser, Peter Evans "talks" about "Wu Wei" with his superb trumpet playing, and named his first album released in China "Into the Silence". It's worth mentioning that the artwork on the front cover was made by the closest friend of Old Heaven Books, woodcut artist Liu Qingyuan. Birds and man, noise and silence, freedom and constraint: the artwork is the perfect aesthetic echo to this album." - Old Heaven This release is a collaborative release between More is More and Old Heaven. Recorded live at the OCT-LOFT Jazz Festival October 20th, 2019, Shenzhen China.

1. lll人 = Daichi Yoshikawa + Paul Abbott + Seymour Wright2. Still finding, twisting and hammering out an expanding musical universe balanced only by its own logics – lll人 have few obvious comparisons. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out. 3. Fold out/roll up drumfeedbackreed sausage/pleat, holed and sliced. 4. [cropse after gannen begat gjerhan (ovo) ROKU11] 5. The tools are familiar, the listening is not; 6. The tools are familiar, the spaces are not. 7. Here are recordings of public longform negotiations of: a. the vast of V&A; cast rooms (walkthru); b. the theatron of Spanish Fighters (sitdown). 8. June 28, 2013 VandA cast-coated Huge room full cast of plaster. BORC Ljubljan Friday Spanski - spanski 2013 the 11th year 15 months dark room Escapade Winton, we're playing in front of the emergency; 9. More lll人: absorbing protoplasm dances of doppelnut learnings.

2002 release. Alga Marghen proudly presents the first record ever produced by Ben Patterson: "This is not only my first CD, but also the first recordings of these works available to the general public." Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avant garde music classics, a crossover between John Cage's exploding influences and the experimental art atmosphere of the early 1960s in Europe. The compact disc program includes two essential 1961 documents: "Duo for Voice and a String Instrument" and "Variations for Double-Bass," both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival.   "Duo" was Patterson's most ambitious and lost attempt to combine graphic notation and chance operations for the realization of a performance score, while "Variations" represents the moment when, unexpectedly, out of some unknown place, something new entered the process -- humor! The other three tracks were recorded in Milano especially for this release; a collaboration with Philip Corner, Walter Marchetti, Davide Mosconi, and a few more friends. These newly-recorded pieces include "A Simple Opera" (1995), a repetitive homage to Emmett Williams on his 70th birthday; "Paper Piece" (1960), the work that cut the umbilical cord to all of the author's previous classical and contemporary musical training and experience, and "Pond" (1961), a piece that reminds of Richard Maxfield's electronic music with voice collage. The edition includes a fold-out 16-page insert with original scores and photos. Released by Alga Marghen

Jun Konagaya is best known as GRIM, but in 2012 he published a story and CD called “Organ” about a young girl called Magnolia and a monster called Gamahead. “Travel” presents the second part of the story. Several years have passed and Magnolia has set out on a journey, where she records the many things she sees and hears. It is unclear whether her journey is real or imaginary, and as she wanders between dream and reality she stumbles across some ruins in the middle of a forest. Her feet carry her closer to the ruins, as though she is being summoned there. She then hears a woman singing underground.