SPIRIT SPIRIT is an improvised suite in nine parts and epilogue by the Scandinavian trio featuring the renowned saxophone player Torben Snekkestad, pianist Søren Kjærgaard, and double bass player Tomo Jacobson. The suite was carefully composed from almost 3 hours of spontaneously improvised studio recordings by the trio. The outcome is a focused, minimal, dark, dynamic, enigmatic 38 minutes of music that unfolds like a ghostly tale. The trio was formed in 2016.

Cairo's Hashem L Kelesh, aka Dijit, razed our minds to ashes last year with ‘Hyperattention' collection, and is here shuttled to new locales for a heavyweight 45 released via Cairo/London based diy imprint. Dub scientist Tapes is up first with a killer, faded rework, shifting 'Natfo' into a 4/4 blur, slowly building into the fuzz with hazy pads before ending on a nostalgic synth-fwd crescendo. It’s miles away from his 8-bit digi dub, instead drawing on a kind of floor-focused, lushly faded Hype Williams vibe, for our money one of his best. Krikor welds his own sound set to the same track, deploying a rolling kick-heavy rhythm before subtly adding SD's distinctive vocals and Dijit's signature percussive clanks smacking snares somewhere between Low Jack & Shackleton. Heavyweight, yass. - boomkat

"key Middle Eastern artist whose sound is timelessly familiar and keyed in for contemplative times." "The most enduring ghosts of ‘90s Bristol surely haunt in the presence of SD who crops up on the sultriest and rudest highlight such as natfo." - BOOMKAT

Steeped in improvisational practice and known for their visceral live performances, the pair’s sound combines Javanese folk and ritual music with metal and psychedelic influences. Rully Shabara’s extended vocal techniques arc from guttural droning to frenetic chants and upper-register ululations, while Wukir Suryadi supplies dynamic instrumentation using the bambuwukir, an amplified bamboo zither of his own invention. Menjadi (meaning ‘to become’) follows from the redose-3 containing “Di Kala Sudah” (reworked by Buchla synth master Charles Cohen on the redose-3) and is the first in a series of new Morphine releases produced by Rabih Beaini and set to arrive over the next year, with artwork by Nathalie Du Pasquier, curated and designed by Tankboys.

Half of Senyawa, Wukir Suryadi known for his Instrument Building skills, delivers 2 pieces of work recorded in Frankfurt Weltmuseum october 2015, on custom instruments he built especially for the occasion. released on 7 Inch Limited, same date as another 7 inch by the other half of Senyawa, Rully Shabara.

Plot Zero is the second album by the late West Coast composer, healer, and medium Pauline Anna Strom. First released in 1983, Strom envisioned the album as a “mind trip without chemicals,” utilizing boundless imagination to cover a canvas with brilliant synthesized shapes and tones. The pieces on Plot Zero flow freely and infinitely, evoking a transportative momentum with Strom’s distinctive synthesizers soaring across infinite horizons into vast, colorful nebulas. Restored and mixed from the original reels by Marta Salogni, and newly remastered, this is the album’s first ever official reissue, and the definitive edition of a visionary statement.

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

Craig Leon revisits the extraterrestrial origins of civilization on Anthology of Interplanetary Folk Music Vol. 2: The Canon. Picking up where the pioneering electronic albums Nommos and Visiting (Anthology of Interplanetary Folk Music Vol. 1) left off, The Canon traces the imparted knowledge of alien visitors as it spread from Africa across the ancient world. Co-produced and featuring vocals by Cassell Webb, the pair engage a sonic pallet familiar from Vol. 1, updated with ecstatic contemporary sound and synthesis, creating a propulsive, exploratory album of cosmic lore and speculative anthropology.

Let the Moon Be a Planet marks the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl., and documents an inspired exchange between guitarist and songwriter Steve Gunn and pianist and composer David Moore of Bing & Ruth. Conjured by a mutual curiosity, and appreciation, for the respective musician’s work, Let the Moon Be a Planet initially took form over a progression of remote sessions and ultimately harmonized when Gunn and Moore completed the album together in the bucolic surroundings of Hudson, New York. Let the Moon Be a Planet is an invitation to relive the intimate moments shared between two artists finding their way along a single path, and into a world where the most subtle of gestures can ripple for an eternity.

Neil S. Kvern’s Doctor Dancing Mask: Pianoisms is a near mythical marker on the map of late 20th century experimentalism transpiring in America’s Pacific Northwest. A sublime, spacious effort of left field DIY minimalism constructed from recurring piano pieces, hypnotic percussion, and a peppering of diverse instrumentation, vocals, and invisible effects, Doctor Dancing Mask illuminates a hidden but remarkable legacy of a young composer at the height of his creativity and consciousness. Originally released in 1983 as a small cassette edition largely distributed to friends and via word of mouth, Neil S. Kvern’s Doctor Dancing Mask: Pianoisms arrives again January 27, 2023 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music’s outermost fringe.

Respires, the second solo album by Ka Baird, blurs the line between word and action, definition and possibility. Spirited yet restrained, bearing its wildly thrummed heart strings and inner calm alike, Respires ventures toward the unknown, charting the shifting ground of experimental music and the rewards born of risk. Tapping the ecstatic energy and cathartic experience of Baird’s live sets, pushing the extremes of psychological and physical release, Respires represents an unquestionable leap for an artist already out on a limb. Largely written and recorded across the length of 2018, the eight pieces align as a series of visceral actions, captured, culled, and intricately shaped by Baird, then expanded with contributions from Zach Rowden (bass), Max Eilbacher and Andrew Fitzpatrick (synths), and Greg Fox (drums). Respires was born from the intertwined etymologies of spirit and breath, the results of Baird’s singular approach to extended vocal technique and radical notions of “body music” which push her performances to uncompromising extremes. Channeling a raw energy from an internal depth, the genetics of Respires construct new bridges of communication, reaching across the perceptual boundaries of spiritual and physical. Informed by indigenous, sacred flute music of New Guinea and vocal music of Burundi, Can, Maryanne Amacher, Don Cherry’s Organic Music Society, and Chaitanya Hari’s Kundalini Meditation Music, and driven by a fearless quest for musical discovery, Respires offers a glimpse into a sacred space of the musical avant-garde. From the unusual folk music of Spires That In The Sunset Rise, to her many collaborative and solo efforts, Baird’s careful artistry and years of experimental exploration, placed in connection with the raw power unleashed by the body, lungs, and reeds, represents an intersection of possible futures on Respires. Tapping the primitive, immediate, unnameable, and fundamentally human, it’s an album which proves the impossibility of failure, when the risk of failure is embraced. An answer – or continuation of – Joan la Barbara’s long standing indication of the voice as “original instrument,” Respires is spirit, movement, and an immersive life force manifested as sound. A sound in which the self is lost, and becomes something universal.

American Rituals collects the recordings of Cheri Knight made during the fertile, DIY movement that flowered around Evergreen State College in Olympia, Washington in the early eighties. With access to the college’s multitrack recording studios, a lending library of instruments, and an unbridled spirit of experimentation, Cheri and her collaborators created ecstatic amalgamations of minimalism, art rock, and vocal technique that illuminate a rich Pacific Northwest counterpoint to the parallel New Music scenes of downtown New York and San Francisco. Restored and remastered from original tape sources by Josh Bonati, the vinyl edition includes comprehensive liner notes by Steve Peters.

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.

Recorded both at home in Leitrim and at neighbour Mat Warren’s studio (Studio Moo Moo – a converted cow shed), ‘Mermaids’ was inspired by two salvaged items: a CRB Elettronica Ancona - Model: Diamond 708 E electric keyboard from the local tip and a photo taken by her father found in a pile of old family scraps.
Smuggled home in the back of the van and ridded of the nine purple crayons lodged inside, the keyboard sounded perfect to Natalia; “The sounds that come from her when I play always move me like water; swimming in rivers and floating in the murk beneath the surface.”The striking image which would become the cover art features Natalia’s mother and two friends during a dip in the ocean. We see three women hanging out on a large rock – their bad-ass hairdos and poses perfectly framed and saturated in sepia. “There are complete siren vibes coming from the rock. Three women, three girls, three witches, three mermaids. I wish I was one of them. Or friends with them.”
After testing compositions and recordings for months on the rescued keys, the discovery of her father’s image formed the final work: “A confluence of the sounds and the image charged through me, and the album began to flicker into being.”

Much like the push and pull of the River Shannon, Natalia’s own local swimming spot, ‘Mermaids’ flow is both organic but unstoppable. Anchored around the album’s hypnotic 17-minute title track, we are fully immersed within this subaquatic suite from the first splash. Alongside the keyboard’s glistening tone, field recordings from Natalia’s expansive archive bring us back up for air; taking stops to check in with the chittering chickens and ducks of Athlone.In keeping with her back catalogue and extensive body of work, ‘Mermaids’ exists within its own imagined universe. This is truly singular work that continues to underline Natalia as one of the finest underground artists of her time. We wholeheartedly encourage you to take a forty-minute sonic dip into a deep, murky, watery world of her own creation.  --- Released Sep 2023, Touch Sensitive Records

"Prolific Japanese artist Masami Akita aka Merzbow teams up with session musician, producer, and singer-songwriter Eiko Ishibashi for a work that showcases yet another side to Akita's monumental catalog.  Kouen Kyoudai consists of two side-long tracks that could be read as a contemporary take on the traditional avant-garde. With its skittering electronics, percussion, piano, doom, and noise, Kouen Kyoudai seamlessly incorporates many strands of experimental thought and practice. The tension that arises from the human use of the tool is made explicit as these works unfold in a storm of ecstatic human/instrument/machine interaction. Drums hammer alongside an ecstatic drone. Notes on a piano jostle with a storm of splintered electronics. Kouen Kyoudai highlights the pull between beauty and chaos; structure and the abyss -- leaving behind a thrilling display of the interplay between the human and the technological while opening up new paths for both musicians involved. --- Masami Akita / noise electronics, computer, drums. Eiko Ishibashi / piano, drums, synth. --- Recorded at Gok Sound and SuperDeluxe, Tokyo. Recorded and mixed by Jim O'Rourke. Cut at Dubplates & Mastering, Berlin 2015. Photography by Shunichiro Okada. Design by Jacob Cates."

Nearly 15 years after the release of the CD "Maison.House II-V" (in duet with his electroacoustic friend Eric La Casa), Vert Pituite La Belle is pleased to collaborate once again with the great musician Jean-Luc Guionnet this time alone and on the organ. For Arantzazu Close & Far, the vinyl medium makes perfect sense: two sides, two versions of the same sound event, the recording of the same improvisation on the organ of the basilica of the monastery of Arantzazu in the Spanish Basque country, realized during a residency of a few days in this high-place of the history of the region at the invitation of the collective AudioLab. On the first side, we hear the recording made by a pair of microphones arranged closer to the organ while on the second we hear the same improvisation but recorded in the bottom of the monastery. Maybe the best way to hear the impact of space in sound reproduction “I work since 1993 to an experimental approach of the church organ (Pentes, Tirets) : 1) we control a machine 2) the organ is halfway between vehicle and artificial intelligence : it is a public transport : a ship, a barque, a boat, a building within a building 3) passing the machinery to the filter of listening, gesture and architecture 4) bringing the blast into the space : ventilate 5) make this organ sound not like this other one 6) express the organ as one says about lemon. The blast is endless". Jean-Luc Guionnet During the week of July 22-27, 2014, French musician, composer and sound artist Jean-Luc Guionnet performed an artistic residency at the Sanctuary of Arantzazu. For that, Guionnet counted on the help of the one who is probably the one who knows best this organ, the famous brother Pello Zabala. This experience is part of a more ambitious artistic residency program proposed by the GANDIAGA Cultural Center in collaboration with the AUDIOLAB association. This project aims to promote artistic creation using Arantzazu and its surroundings, its heritage, its history and its reality as a working material. The Sanctuary of Notre Dame d'Arantzazu is located at an altitude of 750 m, surrounded by mountains and vegetation, in the Spanish basque Country, 10 km from Oñati (Guipuscoa). Its basilica, built in the 1950s, is an architectural, sculptural and artistic work of great importance, taking up the challenge of contemporary aesthetic language, a language that originally seemed totally foreign to religious experience. The new basilica has robust and simple characters, frankly rustic. It is the diamond-point cut that catches the eye when looking at the main façade, in a clear allusion to hawthorn. The Virgin would have appeared in these places in 1469 and gave, by the legend of the appearance of her image in the thorns ("Arantza" in Basque) the name of the sanctuary, the place and the virgin herself Arantzazu. Since 1514, religious of the order of Franciscans reside there. The basilica has a large facade encircled by two twin towers and protected by the tower on the left, on the left. At the bottom of this facade, a frieze of 14 apostles designed by Jorge Oteiza. Large steps give access to the large iron doors created by the sculptor Eduardo Chillida. The apse is the work of Lucio Muñoz. The stained glass windows of Alvarez de Eulate and the painter Néstor Barrenetxea, took care in the 80s of the decoration of the walls of the crypt. The tower with its bell tower measures 44 meters in height and is completed by a simple iron cross of 6m. Designed to comfortably accommodate a large number of worshipers, the Arántzazu basilica is 66 meters long, 20 meters wide and 20 meters high, covering an area of 1200 m2. Its acoustics are exceptional as is its clarity and visibility. In the choir is the organ of the prestigious house of Amezúa, built and inaugurated in 1902, whose project is specially designed so that there is an optimal acoustics throughout the basilica. The keyboards, three manuals and a pedal, are located in the first choir, the one used by the brothers. This choir has 155 seats and has an altar on which the liturgical acts of the Franciscan community are celebrated.

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. GUO - a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright - collaborate with Crystabel Riley (drums), Fran Edgerley [Assemble] (text) and Peter Strickland (film). GUO - a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright - announce GUO4, a new release on Mute available on vinyl and digitally on 20 September 2019. On GUO4, their first release for Mute and the latest in an ongoing series, the pair have collaborated with Crystabel Riley (drums), Fran Edgerley [Assemble] (text) and Peter Strickland (film). Peter Strickland's film has just been announced to premiere at the 76th Venice Film Festival on 6 September. Watch a teaser for the film - a confrontation between two swimmers in a locker room - here: https://youtu.be/f031c56f_5E Strickland explains, “The framing of traditionally macho scenarios in a homoerotic context takes its cues from the covert porn of Bob Mizer. The combination of muscle and beat-up lockers somehow evoked the music in my mind.” The name ‘GUO’ itself is ancient Chinese for a metal vessel, or cooking pot, and the resulting work layers alto saxophone, electric guitar, feedback and metal distortion alongside the distinctly-voiced 'ekphrasis' response from a range of collaborators operating across different mediums. The album was mixed by Marta Salogni. It also features original etchings by GUO and stills from the film. Previous releases have included ekphrasis by the English musician, author and professor, David Toop (GUO1) and the American filmmaker (Childhood of a Leader & VOX LUX) Brady Corbet (GUO2).

Edition of 250 copies. Sculptor Relly Tarlo (° 1949) is mostly known for his large scale installations which he specifically designs for certain locations, i.e. an outside staircase, a park or the space under a bridge. His work is interdisciplinary: a mix of visual arts, architecture and resonance / noise & it explores the functional relationship between architecture, form and sound. Relly Tarlo has been active since the 1970s. The art-works always involve mechanically produced sound, that may or may not be amplified. Sound is always a central material in Tarlo's art and performance work. in 1987 Relly Tarlo participated in the Documenta 8 in Kassel.