Wonderful, previously unreleased recordings by Derek Bailey and his guests at Company Week in 1983. What's remarkable throughout this album is the respect and affection the musicians show for each other, exemplifying the dictionary definition of "company" as "the fact or condition of being with another or others, especially in a way that provides friendship and enjoyment." It starts with "Landslide", a brilliant, spiky, spluttering, twanging reunion of Music Improvisation Company members Evan Parker (tenor sax), Hugh Davies (electronics), and Jamie Muir (percussion). Next up, "Seconde Choix", with Joëlle Léandre's close-miked prepared bass and Bailey's acoustic guitar seemingly heading in different directions before coming together miraculously in just four minutes. The opening of "First Choice", a duet between Bailey and Muir, is a revelation for those who moan that the guitarist plays too many notes. His patient and truly exquisite exploration of harmonics is beautifully counterpointed by Muir's metallic percussion. On "Pile Ou Face" (Heads Or Tails) Davies concentrates on his high register oscillators, carefully shadowed by Parker's soprano until Léandre's deft, springy pizzicato lures them into the playground. "JD In Paradise" is a surprisingly delicate wind quartet, with John Corbett's trumpet, fragile and Don Cherry-like, punctuating the sinuous interplay between Peter Brötzmann and J.D. Parran (on sopranos, flutes and clarinet), while trombonist Vinko Globokar growls approvingly in the background. Igor Stravinsky's magnificent definition of music as the jeu de notes comes to mind listening to Bailey's duet with cellist Ernst Reijseger (executing fiendish double-stopped harmonics with staggering ease). Technical virtuosity has never sounded so effortless -- it is, as its title "Een Plezierig Stukje" simply states, a fun piece. On the closing "La Horda", Bailey and Reijseger team up with the horns for what on paper looks like it could be rough and rowdy sextet but which turns out once more to be a thoughtful, spacious exchange of ideas, shapes, and colors.

"Since my childhood I have been interested in listening under water. That's exactly what we do every summer in Bern, when we dive into the river Aare. A universe of sounds opens up." Edition of 200 vinyl, all copies numbered and signed by the artist. His work explores the relationship between sound, silence and action in space. He studied music in Basel, Paris and Zuerich, with a concentration in experimental music and improvisation. Kobi performs and creates with various musicians, composers and artists in context of long term partnerships with artists such as Phill Niblock, Jürg Frey, Taku Sugimoto and Keith Rowe. Since 2004 he curates the „zoom in“ festival for improvised music at the Minster of Bern. Christian Kobi teaches improvisation at the Bern University of Arts (HKB).2004 Founder and artistic director of »zoom in«, a festival for improvised music at Berne Minster.

Available as 320k MP3 or 24bit FLAC from the 16th June Tracklisting: 1. Potential - 22:50 2. Morning Star - 10:37     CD-R version comes in trigger case, with artwork printed on disc. No liners. Musician, writer and filmmaker, Sunik Kim follows up ‘The Bent Bow Must Wait to Be Released’ (Takuroku 2021) with their second LP - a deadly serious dismantling of the limits of contemporary computer music, delivered with playful dexterity and a touch of slapstick humour, a la Henry Cow.  Enlisting General MIDI to create frenetic, vital patterns of dis-organisation made up of gleeful synthetic trumpets, wry orchestral sweeps and brutal key clusters, Sunik Kim explodes a kind of simplistic sound into complex, beautifully uncertain structures. Rather than attempting to overwhelm or stun the listener into subjectivity, ‘Potential’ is ever shifting; regularly breaking form and unfolding, discreetly nibbling at the concept of the Spectacle and un-doing fatally closed systems of cyclic music.  On first listens we recalled Cecil Taylor’s Unit Structures, Stockhausen’s Gruppen, and even those weirdo attempts at making music from inside the world of Animal Crossing, Lil Jürg Frey. The overflowing ideas of Henry Cow (to which Kim dedicated a fantastically blended mix for the Wire in 2021) never drift too far from view, but contemporary counterparts lay few except for Yorkshire's most eminent polyceleratrix, Gretchen Aury, who we asked to write the liners. Gretchen’s words are unsurprisingly as extraordinary as the record itself, so we’ll close out the call to elicit a Media response to possibly the wildest OTOROKU yet with their words: “Potential reads as a rare honest response to the disaster capitalist era of the apparent nearing end of the anthropocene, a cyborg music which is not hopelessly psychotic like so much contemporary and especially computer-requiring music, but lucidly possessed with rapture, pain, madness, empathy, ecstasy, torment, fragility; all those vital feelings and incentives which our atrociously depressing times seem engineered to quash and bleed out of us. This sound is a blistering Electro Magnetic Pulse wave of revolutionary hope, exclaiming defiantly that History is not over, that the future is not ‘history,’ that there is still a vast multitude of ideas and identities burning brightly and resiliently, despite the fact that they are inconceivable to the tyrannical Hegemonic axis of global capitalist tech-culture. I ask of you, listener, if you truly wish to plunge beyond The Known, give yourself over in full to this record.” — Artwork by Sunik Kim Layout and design by Jeroen Wille  Liner notes by Vymethoxy Redspiders Mastered by Anotine Nouel at Sound Love Studios Track 1 edited by John Wall —

Reet’ is a lost treasure of late 1960s folk/psych-folk. The only album she ever put to tape, with clear pure voice and guitar. luckily recorded by Andres Raudsepp in 1969. Reet will be loved in the same breath as ;Sibylle Baier, Vashti Bunyan, Molly Drake & Bridget st John. Reet Hendrikson deserves wider listening and we hope this reissue will help . Reet Hendrikson was born in Estonia only months before the “great escape” into exile in 1944. Brought up and educated in Sweden, she went to study in the US in 1967 on a Fulbright scholarship, before she made her mark as an Estonian musician in Canada. While her arrangements of Estonian folksongs on the guitar reflected the styles of the sixties, her voice and choice of material sounded authentic and made a connection with ages past. When Hendrikson arrived in Canada in 1968 via the US, her Estonian was native-like because of the high quality of Estonian schools in Sweden. She was thus able to characterise the identity of young ex-patriate Estonians – especially those born in exile from Soviet occupation – in a new and meaningful way. A formal musical background allowed her to create the arrangements that accompanied her simple but pure singing voice. Having heard her under northern Muskoka pines at an Estonian summer seminar, it didn’t take Andres Raudsepp ( of raindeer records) long to bring her to a recording studio. “Reet – Estonian folksongs” appeared in 1969. Hendrikson soon found her way to the scholarly atmosphere of Boston where, as a multi-instrumentalist, she joined a group of musicians who favoured traditional folk music. Back in Sweden in the 1980ies, she was invited to join a scholarly society of Estonian young women, which she led during musical sessions. She visited Estonia as frequently as possible, trying in particular to be helpful to Estonian musicians by providing sheet music and much-needed repertoire from the Swedish National Radio Archives, where she worked for a while.. Reet Hendrikson died in Stockholm in the autumn of 2000.

Sholto Dobie puts forth ‘23’ on Infant Tree, his debut solo LP. A wildly accomplished document of practice. After many years spent working with pipes and air, ‘23’ offers us his current developments. Recorded in a year in which the artist worked in Lithuania, Vietnam and Sweden, the record distills a broad approach to sound, using a wide net to gather recordings from performances, gatherings, walks and personal life. Sholto carefully leads the listener between distinct environments and the intimately documented network of compressed air, tubes, reeds, flutes and timers which he works with. In these recordings, life is welcomed in, interiors are heard and felt, obscured voices, insects, forests drift in and out of focus, as we are transported through an unfamiliar landscape.Sholto Dobie was born in Edinburgh and lives in Vilnius, he performs with self-constructed wind instruments, using a frankenstein-like set up which has evolved over many years. An air pump is attached to a series of reeded and metal pipes from various sources - organs, bagpipes and khene - which are brought to life by an interrelated system of timer modules, valves and swinging microphones. ‘23’ captures the rich world of pulses, beatings and breaths that have emerged from Sholto’s performance settings, whilst weaving them into a distinct and unique audio work.For anyone more familiar with Sholto’s work you will no doubt be warmed by recognisably delicate and evocative styles reminiscent of previous solo recordings such as ‘Nevery’ and ‘The Ringer’ as well as influences from friends and collaborators such as Judith Hamann, Malvern Brume, Ahti & Ahti, Rie Nakajima and Shakeeb Abu Hamdan.The 12” LP comes with beautifully matched artwork by Zoë Annesley and printed on reverse board, pressed by Monotype Pressing. Limited to 300 copies.

* ltd to 400, black vinyl, color silkscreened jacket with obi (white, dark blue), inserts and a postcard * Je prie pour que la goutte ne tombe pas (I pray that the drop does not fall) is the first international release by Japanese trio Chi To Shizuku. While they have released five albums and a 7” in Japan, their spectral, haunted rock songs haven’t yet reached a much wider audience overseas. With this album, then, a live recording taken at Koenji HIGH, Suginami, Tokyo on 23rd November 2021, the unique, quartz-like character of Chi To Shizuku’s music is writ large, the bleak bliss of their songs carved onto twelve-inch vinyl.

Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English. A1. Culto Solar - In Altepetl Tonal / A2. Suite Al Culto Solar - Xochiyaoyoloh / A3. Suite Al Culto Solar - Ketzalkoatl Yauh Miktlan / B1. Ipan In Xiktli Metztli Luis Pérez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of the pre-Columbian instrumentation of Mesoamerica. This research allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico. He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old. He continuously utilises these instruments in performances, concerts, lectures, exhibitions, and recordings, keeping them alive. ‘El Ombligo de la Luna’ delves deep into the past but also exists entirely outside of time, as Luis Pérez ‘Ixoneztli’’s offering to the world – the soul of Mexico channeled through the hands and heart of a master musician.

Via Bridman comes The Numbers, the latest outing of Michael Morley's (The Dead C.) solo alter ego, Gate, the project's first LP since 2018. Glacial, distorted guitar fuzz and drones meet downer folk, this is the best of Morley doing what he does best. Highly recomended!

O’Rourke’s process – sourcing resonant sounds to enmesh together into a music that supersedes their resident parts – makes a fitting soundtrack for Kyle Armstrong’s “prairie gothic” tale of down-on-the-farm horror way up north in Canada. His minimalist score inhabits the wide open, big sky landscape, flowing into suddenly-deep (and opaque) emotional waters, then panning out to a chilly omniscient remove.

2023 marks the 35th year of Idea Fire Company’s ongoing commitment to the radical avant-garde. To mark the occasion, Horn of Plenty is proud to present the band’s latest campaign statement Bathroom Electronics. IFCO’s core members are Scott Foust and Karla Borecky who operate from rural Massachusetts. Early despatches came via Scott’s Swill Radio imprint alongside titles by The Shadow Ring, RLW, and Asmus Tietchens. The last decade or so has seen them work with other notable labels including Kye, Recital, Feeding Tube and Ultra Eczema. Early IFCO releases included mission statements like the Anti-Naturals manifesto where they outlined their pursuit of a new total-aesthetic to challenge the ongoing pervasion of the Spectacle. Their growing catalogue, although honouring these early intentions, also nodded to the sacrifices undertaken in their pursuit. References to being Lost At Sea, or coming Live From The Impossible Salon acknowledged a wry sense of resignation and a dogged romanticism. By avoiding sequencers, computers and overdubs and focussing on drawing the most from their instruments and recording equipment their music carries a seductively human character that allows the music to breathe and puts the listener in the room with the band. Although rooted in their formative post-punk / early industrial years, IFCO have incorporated kosmische, minimalism, jazz, classical and avant-garde techniques into their always-the-same-but-always-different sound. Staying true to an original concept yet constantly pushing it in new directions is no easy task but IFCO can claim the mantle and show no signs of tiring. On Bathroom Electronics Scott and Karla are joined on two of the four tracks by long-term compadres Matt Krefting and Timothy Shortell. As the title implies, the LP consists of electronic instruments recorded in bathrooms. The stark interior certainly plays a role here. Side A’s three tracks have a compellingly unsettling and claustrophobic feel. Side B’s The End of the Line (alternative versions of which appeared on a limited Recital tape in 2018) feels like a long, ambiguous goodbye. It’s what not said here that speaks the loudest though, this is much more of an odyssey than a comfort break. Bathroom Electronics marks IFCO’s 35th year in confident and uncompromising fashion. Here's to the next 35 years and, as ever, here’s to love!

Early acoustic guitar improv performances from the Bhutanese expat, who’d come to Asheville, NC to study in 2000 and discovered worlds of anarcho-punk and avant garde such as he’d only dreamed. Having made recordings of his newly-located improvisational conception, he intuited a desire to go deeper in his explorations of the recorded sound of the guitar, melding and colliding traditional music with his feeling for the range of textures within. All tracks except "April" recorded by Flora Wolpert Checknoff and Michael Flanagan, Nov. 2012 Lipinsky Studio. "April" recorded by Dorji, at home, Nov. 2012 Artwork by Luciann Waldrup aka Housefire

vinyl copies have a seem split on top, and are marked down / cheap to reflect that Black Truffle is pleased to announce The Leisure Principle, a new solo LP from London-based bassist and sound artist Otto Willberg. A key player in the London underground, Willberg is often heard on acoustic and electric bass in free improv settings and bands with Laurie Tompkins (Yes Indeed) and Charles Hayward (Abstract Concrete), as well as the fractured No Wave unit Historically Fucked. His previous solo releases have ranged from extended technique double bass to explorations of the acoustics of a 19th century artillery fort. But nothing Willberg has committed to wax so far prepares a listener for The Leisure Principle, six unashamedly melodic improvisational workouts created almost entirely with heavily filtered bass harmonica and electric bass.On the opening ‘Reap What Thou Sow’, a single-note bass harmonica loop pulses along underneath a roaming bass solo, the side-chained envelope filtering (where the dynamic behaviour of the bass determines the filter for both bass and harmonica) fusing the two instruments into a single stream of burbling shifts in resonance. After several minutes of patient exploration of this low-end landscape, the music suddenly opens up in widescreen with the entrance of Sam Andreae’s graceful melodica chords, spreading out across the stereo field. From this epic opener, each of the remaining pieces goes on to explore a slightly different aspect of the terrain. On ‘Shadow Came into the Eyes as Earth Turned on its Axis’, a similarly buoyant harmonica bass line provides the foundation, but this time playing a soulful descending riff, its almost R&B; feel abstracted and half-obscured by the filtering. On ‘Mollusk’, echoed bass arpeggios skitter between elegiac chords somewhat reminiscent of the opening of John Abercrombie’s ‘Timeless’, before settling into a hypnotic groove.On the record’s second half, Willberg pushes further into the possibilities of his idiosyncratic instrumentation. On ‘Wetter’, bass and harmonica come together into a monstrous, growling jaw harp; on ‘Had we but world enough and more time’, the subtly shifting pulsating patterns start to feel almost like a kind of evaporated, drum-less dub techno until an eruption of wheezing bass harmonica gives the piece a comically folkish turn. Willberg’s melodically inventive and virtuosic bass performance calls to mind any number of fusion touchstones, from Jaco Pastorius to Mark Egan’s singing tone in the early Pat Metheny Group—even Anthony Jackson’s work with Steve Kahn. But with its radically reduced instrumentation, The Leisure Principle is also an exercise in minimalism, and the absence of percussion gives even its funkiest moments a strangely abstracted quality. At times, its uncanny blend of the abstruse and the immediate suggests the fried pop experiments of David Rosenboom or the skewed but deeply musical DIY of 80s underground groups like De Fabriek. Both easy on the ear and profoundly strange, The Leisure Principle proudly takes its place among the most eccentric offerings on the Black Truffle menu.

"You can hear it before it’s been said, and before you hear it, the space for its anticipation is someplace you’re already in. And if you were there, you would have seen it, taking place, taking shape, becoming, between them, an event, no less a body than a route, no more a method than a calling or a having been called, an affirmation of the phantasmatic nature of the divide separating the arrhythmia of improvised music from dance music’s foundational investment in the number four. An affirmation which is also an affective, questing, generative disinvestment in this opposition, a negation set in motion by a trialogical listening and playing into materiality new conjunctures of space, time, thought and sound." (Edward George, 2024) ----- YESYESPEAKERSYES is the first vinyl release of the remarkable collaboration between Chicago foot-work founder Kavain Wayne Space (aka RPBoo) and London duo experiment XT (drummer Paul Abbott and saxophonist Seymour Wright). The trio’s synthesis of rhythms, sounds, strategies, technologies and traditions collapse genre, distance, boundaries and preconceptions into a total, and totally unique, brain... morecreditsreleased March 15, 2024 Kavain Wayne Space/XT (Paul Abbott + Seymour Wright) – Trio ----- Kavain Wayne Space – CDJs Paul Abbott – real and imaginary drums Seymour Wright – actual and potential saxophone ----- Recorded live Friday October 8th, 2021, at Cafe OTO, LondonRecorded by Shaun CrookMixed by Billy SteigerMastered by Amir ShoatCover paintings by Benedict Drew Thank you – Fielding Hope, Jackson Burton.

Those who have caught @xcrswx live have seen the intensity at which drummer Crystabel Riley and saxophone player Seymour Wright blast improv's cobwebs away. Utterly ripped drum patterns meet subs and sax for their first physical release. A hot 7". Edition of 150.  "Feedback Moves launches with ‘Call Time / Hard Out’ by @xcrswx. @xcrswx are London based artists Crystabel Riley (drum-/human-skin) and Seymour Wright (saxophone), who alongside performing as a duo have appeared in projects such as أحمد [Ahmed], GUO, Maria & The Mirrors and RP Boo & XT.
Call Time / Hard Out presents us with a contrast of opposing recording techniques - the LIVE and the ANDROID. Call Time is largely made up of phone recordings, mashed up to create a layered mix of mini aural breaks, which scatter barbed sax and motoric drum patterns through a cloud of bass tone and feedback. Hard Out is an edited in-house live recording from Cafe Oto which sees the duo communicating through a live language of repetition and interplay. Sparse, rotating snare and sax blows are met with pulsing subs as the mix gradually folds back on itself. 7” comes with folded @xcrswx artwork, A4 insert by @xcrswx with words by Janina Pedan and label business card. Edition of 150."  Call Time recorded by @xcrswx
. Hard Out recorded by Shaun Crook, with reflections from Amy Gwatkin and Billy Steiger. Mastered by John Hannon

Feedback Moves kicks off 2023 with a new record by @xcrswx and Lolina. @xcrswx are Crystabel Riley (drum-/human-skin) and Seymour Wright (saxophone), they released ‘Call Time/Hard Out’ on Feedback Moves in 2020. Lolina is an electronic and digital musician, who has previously released music as Inga Copeland and was a member of the band Hype Williams. Their collaborative relationship stems back to 2020. Lolina invited @xcrswx to contribute new work to a radio residency on NTS. They made 3 pieces played across 3 episodes. After these were broadcast, further ideas were exchanged which led to a collaborative audio-visual piece, streamed on Cafe Oto’s website in February 2021. They also performed as a trio live at Café OTO in 2022.The artists now present a split 10” vinyl. @xcrswx weave the above-mentioned pieces into a 10 minute piece titled ‘FIXES’. The duo strip their sound to bare components. Beginning with the sound of fireworks, the pair then work through stuttered snare shots and warbled, interplaying saxophone.Lolina presents ‘FM’; some of her strangest and most subtle work to date. Echoing and furthering the abstract turntablism found on previous records ‘Who Is Experimental Music?’ and ‘Fast Fashion’. We hear found sounds, close and distant, rhythmically gathered and dissolved in a swirl of dub tone and timbre.

"Perhaps a drum is a space wrapped in material. With some excitement the space and the material interact to produce vibrations, which we hear. Separately, yPLO prepared some sounds in advance of a performance based on the components of a speculative drum kitob TRU was performed and recorded live on 6/8/18 at Cafe OTO. During this live performance yPLO used amplified mylar, floor tom bass drum, mixers, audio recordings and microphones. The recordings were mixed and edited into 8 discrete tracks.yPLO (Paul Abbott & Michael Speers) is a project about imaginary drums and rhythms, using acoustic percussion and synthetic sounds.Michael Speers is a musician from Northern Ireland who works with various sound materials — using drums, computer, microphones, feedback — in performance, installation and composition. Other collaborators include John Wall, Louise Le Du, Olan Monk, Niklas Adam, Lee Fraser and Seijiro Murayama.Paul Abbott is a writer, sound and performance artist. He has played at venues and festivals internationally and was a resident at Cafe OTO. He completed a PhD at the University of Edinburgh under the supervision of Florian Hecker and Nikki Moran, and is currently undertaking research at Royal Conservatoire in Antwerp. He is also the co-founder and editor of Cesura//Acceso, a journal for music, politics and poetics."ob TRURecorded by Adam Asnan & James DunnMastered by Amir ShoatArtwork by Louise Le DuReleased: Feedback Moves 2024

The strange thing about the music of Anima is that it’s often considered as strange, while it’s actually very natural. It has a free spirit, analog to nature. For this release the natural spirit is strengthened by the participation of indigenous American flute player and composer R. Carlos Nakai who did a series of concerts in the US and Europe with Paul and Limpe Fuchs in the 1980’s. As with almost all Anima work, the natural feel manifests itself not only by the musical approach but also through sounds generated by natural materials as metal, wood, stone and air, and of course the absence of electronic devices. This LP is a reissue of a rare privately released cassette from 1988 and was recorded by the Bayerischer Rundfunk. May this slice of timeless free spirit be a trigger to more awareness concerning our decaying freedom.

‘A Late Lunch’ is the soundtrack to Akiko Iimura’s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects and juxtapositions of sounds. The players were prominent musicians of the 1970’s, including Maggi Payne, George Lewis, David Rosenboom and Blue Gene Tyranny. ‘A Summer Day at Stony Point’ was composed in 1969, with participation of David Behrman, Shigeko Kubota and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. ‘A Summer Day at Stony Point’ is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur’s APELAC Studio in Brussels, 1969. The soundtrack for Akiko Iimura’s ‘Mon Petit Album’ was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavour. Jacques Bekaert (1940-2020) was a man of many gifts: author, journalist, composer, photographer, visual artist, wine connoisseur, radio talk show host, diplomat and expert in Southeast Asian affairs. His whole life Bekaert has been actively involved in music but not much of his work got recorded or published. In the early 60’s Bekaert studied with Pousseur and through his frequent visits to the US he became friends with artists like John Cage, David Tudor, Charlotte Moorman and most of all David Behrman with whom he had a close friendship ever since. Bekaert helped organize the first European tour of The Sonic Arts Union (David Behrman, Robert Ashley, Gordon Mumma, Alvin Lucier) and in the early 70’s he formed the group Transition (with Belgian jazz pianist Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers). His meeting with Japanese experimental film-maker Akiko Iimura resulted in two film soundtracks featured on this one of a kind discreet avant garde album. When asked in a 1979 interview about his double life as a musician and a journalist, Bekaert replied, “I suppose they’re both unsafe, unstable, questioning jobs—composing and reporting. Journalism takes me to places, shows me the world as it is. My music is my wish for the kind of world I’d want to live in. The little peaceful state I dream for everyone, where you can be yourself, and happy, and as collective as possible without giving up total privacy.” Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez.