Evan Parker's monumental LP of solo soprano saxophone improvisations, recorded direct-cut and issued by Incus in 1978. Lovingly reissued by Treader — the CD is from PSI — using the original stampers, in a gorgeous hand-assembled sleeve, with glossy front and matt back, flaps out. Unmissable. ‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic). ‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

■NB the content of the LP and CD versions is not identical.■The LP includes four pieces: three selected from the original exhibition pieces by Art into Life, and one new piece (“Dialogue”) by Hirose that was not included in the exhibition. “Dialogue” only appears on this LP version.The CD includes all of the original pieces from the exhibition. The vinyl comes with DL code that has all CD tracks. The Kiyosato Museum of Contemporary Art was located in Kiyosato, Yamanashi prefecture from 1990 to 2014. It was a private art museum with a permanent exhibit based on a collection of unrivalled scale. The museum also collected and mounted exhibitions on the work of radical contemporary composers, including John Cage. The museum’s primary informant on music was sound designer Yutaka Hirose, one of the pioneers of Japan’s environmental music (kankyō ongaku) movement in the 1980s. In 1992, the museum mounted a John Cage Memorial exhibition, and this release showcases Hirose’s work on the overall exhibition design and the creation of the sounds that were played in the museum during the exhibition, through a re-edit and reissue of the sound materials.The sound materials that Hirose created for the exhibition environment were only ever distributed on CDr to members of the curatorial team so this is their first formal release. Hirose’s work for the exhibition was radical in its use of musique concrète and collages of noise and everyday sounds, and in his homage to Cage’s methods, these pieces represent a distinct departure from his normal approach at the time.The A4 booklet includes texts about the exhibition by members of the team, Hirose’s own description of the pieces, and photographs of the exhibition. (Text in Japanese and English).

Manon Anne Gillis has been creating music using primitive systems since the 1980s. Her ninth solo album weaves together her voice, breathing, words and sounds using ingenuous methodologies. She has remarked that her sound is not something conceptual and that feeling and immersion matter far more to her than understanding. Her latest collection consists of ten pieces that approach sound as a tactile, sensory experience. She transforms spoken word and singing into blurred noise and irregular repetitions, plunging them into rhythm tracks to create new inner worlds.

LAFMS musician Joseph Hammer creates unparalleled works of tape manipulation. However, as yet there are comparatively few solo albums by this phenomenal artist. To rectify this situation, Art Into Life has decided to release Roadless Travel, his latest album. The album comes with a dense 24 page booklet of liner notes (essentially a full history of Hammer) by T. Sakaguchi, who has enjoyed a long friendship with him and is the foremost Japanese historian of the LAFMS scene.Comes in a heavy cardboard box.

For over four decades, composer-performer David Rosenboom has developed unique circuitry and software for making musical models of the wondrous natural world come alive. Traversing the raucous and the sublime, ROUNDUP TWO presents live performances with vacuum tube analog computers, solid-state manifestations of chaos and harmony, musical interventions on political tunes, virtuoso performers interlinked with hybrid processing, and more. ROUNDUP TWO is an essential, historical document containing important examples from a sixteen-year period in this innovative artist’s extraordinary, pioneering work."Several of these pieces appeared in an audio, cassette package released in 1987 by Slowscan editions, ‘s-Hertogenbosch, The Netherlands, titled Roundup, A Live electro-acoustic retrospective (1968-1984). For Roundup Two, all those pieces have been re-mastered from tapes in audio archives that were in various states of preservation. Several that were originally presented only in excerpts are now presented in complete, unedited versions, and other works not on the original Roundup have been added." - David Rosenboom

Infant Tree is excited to present a new solo release by Crystabel Efemena Riley, recorded In July 2024 at Ormside Projects, as part of Susu Laroche’s Seraph FM series. Crystabel performs on a kit constructed of recycled skins of drums and shells, specifically centered in the space. This performance inter-connected with an exploration of metal smelting and sculpting that was happening in tandem in her work as a make-up artist uniquely preoccupied with the the infinitely recyclable and ritualistic nature of these materials. This later overlaps into the sonic space. Listening to the recording, the crossing rhythms ricochet from skin to speaker, creating complex and exciting patterns. The materiality of the instrument feels totally entwined in the audio, with the space, the sound system and everyone in it. Crystabel's interest in patterns on skins — human and drum, started during the late noughties when she toured Japan and Europe using drums, make-up and electronics in power-noise/post-club trio Maria and the Mirrors. Her interest in dimensional patterns existing on (and off) different surfaces has continued to evolve through exploring the idea of 'care and uncare' of various skin surfaces. Crystabel has been a long-term collaborator with Sue Lynch who welcomed her into the Horse Improvised Music Club and later played in the London Improvisers Orchestra. She is currently working on the multi-format project @xcrswx with Seymour Wright who's last release was a split vinyl with Lolina. She also performs as part of the X-Ray Hex Tet with Edward George, Pat Thomas, Billy Steiger, Paul Abbott and Seymour Wright, who released an album on Reading Group in 2024.

Beautiful entry via Old Heaven from Czech avant-garde violinist, singer, and composer Iva Bittová

李带菓 Li Daiguo：古筝 Guzheng, 低音提琴 Double Bass, 大提琴 Cello, 塔不拉鼓 Tabla, 模拟合成器 Analog Synthesizer, 中国鼓 Chinese Drum, 锣 Gong, 踩镲 Hihat, 地鼓 Bass Drum 录制于2021年11月 云南·大理Recorded in Dali, Yunnan in November 2021 录音/混音 Recording & Mixing: 李带菓 Li Daiguo母带 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei统筹 Coordinator: 陈铁梅 Chen Tiemei / 尹思卜 Yin Sibo封面木刻作品 Front Cover Woodcut Artwork: 刘庆元 Liu Qingyuan设计 Design: 林溪 Lin Xi（来信收悉工作室）

Recorded at the 8th Tomorrow Festival, B10 Live, Shenzhen May 25th, 2024

David Murray — 萨克斯 Saxophone Kahil El'Zabar — 打击乐 Percussion / 卡林巴 Kalimba / 人声 Voice 录制于第十届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2023 年 10 月 27 日 Recorded at the 10th OCT-LOFT Jazz Festival, B10 Live, Shenzhen October 27th, 2023

"On the night of December 18, 2021, Mamer and his newly formed psychedelic folk band Mask were about to record a live album at Shenzhen B10 Live, a few audiences were invited. Before the recording, Mamer improvised on sherter for nearly 40 minutes. This album was therefore born.Xêrtêrmin / Sherter Solo may be, or should be the world’s first sherter solo album—although we don’t want to overemphasize it for the sake of sales. Most of the time, this ancient Kazakh instrument is used as a tenor dombra in ensembles, rarely as a soloist—but on this night, its old soul was awakened." - Tu Fei --- 切尔铁尔独奏: 马木尔 Sherter Solo by Mamer2021 年 12 月 18 日录制于深圳 B10 现场Recorded on Dec. 18, 2021 at B10 Live, Shenzhen制作人 Producer: 涂飞 Tu Fei录音 Recording: 曾君 Zeng Jun, 罗绿野 Luo Lvye母带 Mastering: 刘英 Liu Ying封面绘画 Album Cover Artwork: 张咏瑜 Zhang Yongyu摄影 Photography: 阿瓜 Wain设计 Design & 统筹 Coordination: 尹思卜 Yin Sibo曲目翻译 Tracklist Translation: 唐加力克 Karatorhay (哈译汉 Kazakh-Chinese), 骆炜湘 Lowi (汉译英 Chinese-English)旧天堂书店 & 深圳 B10 现场联合出品Published by Old Heaven Books & B10 Live, Shenzhen 2023

This album is a special production for IZ's 2025 China Tour. The selected tracks include the live recordings from the "Koxpendi" tour in 2023 and from the BBC radio show in 2010. Over the years, as an important branch of Mamer's many music projects, IZ has been on a path of self-innovation and even self-denial. We hope you can feel this from these recordings spanning 13 years. As Mamer said, "We need to learn from tradition, and give back as much new content to it as possible, at the same time embrace the challenges that instruments bring. This is the meaning of IZ's existence." Heart like the ocean, zeal like shining stone.

Man from the East This album was recorded at Liu Ying Studio in Shenzhen. An improvised session on acoustic guitar from start to finish, it nonetheless demonstrates a highly original, coherent artistic conception: a distinct “Oriental” aesthetic redefined by Mamer’s own creative vision. In tracks like “Sleepless”, “Man from the East”, and “Backyard”, Mamer ingeniously deconstructs and deploys traditional Han Chinese music scales to serve his own purpose, adding artful ambivalence and rich subtleties to an unmistakable lingering ambience of ancient Chinese spirituality. Tracks like “Punk Long Johns” and “Bande”, on the other hand, are sonic and rhythmic experiments upon “Nearer East” musical traditions: techniques of strumming, typical to Central Asian plucked string instruments, are applied to an acoustic guitar with constantly changing tunings, sometimes by the help of drumsticks or a screwdriver. In the track “Tursun Matia”, Mamer plays his guitar as if it was possessed by the spirit of a Dolan Rawap—an emotional tribute to his lifelong friend Tursun Matia, the late master of Mekit Dolan Muqam. Uyⱪesez (or Sleepless) sees Mamer reimagines the “Orient” from a unique position as an other of the othered. A man from the East with pale fire snatched from the sun, with strings that transcend the boundaries of time.

Otomo Yoshihide（大友良英） is Japan’s most prominent experimental musician and composer. Over the years, Otomo’s music has spanned across Free Jazz, Noise, Free Improvisation, Sound Art, popular music, film scores, and compositions for large amateur ensembles. Carrying the lineage of the Japanese Free Jazz movement that developed in the 1960’s, Otomo has exploited the sonic possibilities of both the electric guitar and turntable. He is one of the key figures who defined a now internationally recognized genre of Japanoise. His band Ground Zero, which as active throughout the 1990’s, has become legendary for their extreme stylistic collages and hyper energetic live performances. In the late 1990’s, Otomo lead Tokyo’s Onkyo (音響) movement, which crossed between minimalistic improvisations and Sound Art. Parallel to these, he also lead his jazz big band Otomo New Jazz Quartet (ONJQ) and scored award winning sound tracks for independent films and documentaries. After the tragic earthquake and tsunami that hit North-Eastern Japan in 2011, he initiated Project Fukushima, an outdoor festival and community art project in areas of Fukushima where he grew up during his youth. Together with local residents and artists, every year they host events that aim to remind people that life still goes on there, even after such severe calamity and environmental destruction caused by the nuclear reactor meltdown. In 2013, Otomo won national recognition for his soundtrack for TV drama “Ama-chan” which aired every morning on the national public broadcasting network, NHK. Combining many musical styles from Jazz, Pop, Big Band, and hints of experimental music, the soundtrack became a household hit. Interestingly, during the early 90’s, Otomo spent much of his time in Hong Kong before extensively touring Europe and the U.S. On each visits to Hong Kong, he actively collaborated with local experimental musicians. This album is a live recording from 2014 when he performed in B10 Live.

Tracklisting: A. Part 1 - 22:44B. Part 2（Featuring ここ）- 16:33C. Part 3 - 25:42D. Part 4 - 22:37The Meaning of Blackness, More Decorous than DutyHaving become faster than everything A smile that was never birthed into the light (Live at the 3rd Tomorrow Festival 2016 @ B10 Live) This release from Shenzen's Old Heaven Books documents a blistering live performance, recorded in B10 as part of the 3rd Tomorrow Festival. Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances, Haino has staked out a ground all his own, creating a language of unparalleled intensity that defies any simple classification. Haino lets loose a 90 minute performance maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic wall of noise intensity that he's known for. This is both an essential historical document and a classic performance in its own right. Keiji Haino considers this live album as an integral work that cannot be separated. Released by Old Heaven Books, Dec 5th 2019