Brazilian post-punk, art rock and DIY from 1988, released here for the first time, by the duo Celso Alves and Kodiak Bachine (whose records with the band Agentss are desperately sought-after nowadays). Dubwise and rhythmic, percussive and synthy, with tangy Brazilian roots, and a droll humour to its reflections on embalming, LSD and zombies, the music freewheels roughly and vividly from the truffling, chattering, tropical atmospherics of the opener, through to the machine-funk, Romeroesque terrors of the Greenhouse Massacres, to close.  Sung in Portuguese and English, studded with Spanish, French and German, the lyrics are reproduced on an insert. --- KODIAK BACHINE Synthesizers Electronic percussion Samplers Vocals Production Mixing CELSO ALVES Synthesizers Electronic percussion Samplers Vocals --- Lugar Alto, released July 23, 2020

A celebration of the ever expanding and evolving label family. LLI008 comprises of an LP, a 50 odd page booklet (+ 8 page photobook & insert), further digital tracks and some web based stuff contributed by friends new and old from far and wide. Music mastered by Rupert Clervaux. Booklet contains contributions by Patrick Benjamin, Izzy Bolt, Daniel Breuer, Martyn Brown, Cloé Brunerie, Eben Bull, Ju Canon, Charlie Case, Sophie Chapman + Kerri Jefferis, Rupert Clervaux, Rachel Connolly, Coline Cornélis, Leah Ellis, Disciples, Mireya Heider de Jahnsen, Fielding Hope, Kim Kahan, Hannah Marine, Jay Massey, Ragnhild May, Claudine Roux + Rosie Scott, Gil Shani, Prue Singh and Romy St John. If you bought the record elsewhere and want the digi only tracks just message me and I'll be more than happy to send you a download code. Also, if you want the tracks but are skint just ask.

Debut solo album by Ruth Mascelli of New Orleans no wave/glam/industrial group Special Interest. A Night At The Baths is a progression from their previous work under the Psychic Hotline moniker, as well as the electronic rhythms they supply as part of Special Interest, drawing on techno, acid house and ambient music. An album as journey in the best sense, starting with the late night pulse-racing dancefloor menace of “Sauna” and ending with the melancholy dawn chorus of “Missing Men”, with a strong narrative arc in between, told through a deft use of instrumental textures. Ruth Mascelli comments: “This album is an audio diary of adventures had at various bathhouses, dark rooms, and gay clubs while on tour with Special Interest and traveling on my own. It was a way of wrapping my head around my own experiences in those very specific surroundings but also an attempt to connect to the current of queer history flowing through those spaces. Cruising dystopia, libidinal contact, anonymity & risk - rites of passage with a potent lineage. I was in a particularly dark and cavernous sex club when I heard an unstable melody crackling from down the hall. Instead of a proper sound system this place had the kind of network of tinny intercom speakers you would find in a school. The sound of a degraded pop song several rooms away getting lost amidst the chorus of heavy breathing was the starting point for this project. I think of each individual track as it’s own room or physical space. Some may be lonely, some crowded, but I tried to leave them open enough to walk around and explore.”

Mesmerizing D-I-Y electronic music from Cumbria, UK. Influenced by the Berlin School but, even more, by Tim Blake. "Call For World Saviours" features music which is both timeless and very much of its time, a disappearing act on the part of its creator whose character nevertheless resonates in every note. Released 1984 on cassette only.

Poole Music is thrilled to announce its inaugural commission, the Habu, the latest full-length from Belgium’s Lieven Martens. For the better part of two decades, Martens has been expanding his Aloha-bedecked musical vision, transitioning from the basement tape environments of his Dolphins into the Future project to the rich compositional tapestries of more recent post-exotica modernist works. The Habu represents a true culmination of these identities in one of his most ambitious works to date. The album’s three pieces cast an omniverous net that explores those fragile tendriles between imagined and real, natural and fabricated, unity and chaos; concrete sounds enabling abstract inner landscapes. With the ecstatic revelry of Marco Polo returning to his queen, Lieven brings us gems from all corners of the navigable world: tales of an impossibly guilded Portugese palace, a fertility tonic conjured from a poisionous serpent, a simulacrum of Honolulu. At a moment when the world is more geographically isolated than it has been in generations, Martens’ the Habu is a welcome odyssey, a Charybdian travelogue of the psyche. About face. --- Poole Music, 2021

Large ensemble improvisation has a history and already many historical references such as Globe Unity Orchestra, King Übü Örchestrü, The Celestrial Communication Orchestra, London Improvisers Orchestra… or more recent ones like Splitter Orchester, Insub Meta Orchestra, GGRIL, ONCEIM… How to combine energy, individuality, unexpectedness… with 26 people? How to develop different improvisation strategies without falling into the obvious drone? How can you simply improvise freely with 26 people? Le UN (new version) was initiated by David Chiesa in 2019. Le UN acts as an improvisation society: each member is involved in the artistic realisation as much as in the social, non-hierarchical organisation of the ensemble. The individual and their practice – and not its dilution in the collective – are at the centre of this orchestral experimentation. Importantly, each individual preserves their singularity within a protean mass without obstructing the collective space. This LP (+ CD) was recorded during a three-day residency at Le Volcan, Scène Nationale du Havre, in April 2021. This recording is a manifestation of a collective practice of free improvisation beyond genres, a music full of effervescence and turbulence, where the acoustic and electric sources attempt the wager of spontaneous collective fabrication without any direction, irradiated by strong flickering light, with a flight of incongruous actions!

Outernational Sounds proudly presents one of the most unusual and mysterious private press albums of all — Betty Lou Landreth’s Betty Lou, a stunning, under-the-radar soul-jazz set, available again for the first time since its original 1979 release. Beautiful, one-of-a-kind blends of funk, disco, country, soul and jazz, from lush head-nodder I Can’t Stop to the snapping disco funk of Get Up And Dance. An outsider classic featuring heavyweight Detroit insiders like Tribe trumpeter Marcus Belgrave, Motown’s Funk Brothers, Geri Allen, Grant Green sideman Emmanuel Riggins (Karriem’s dad), and Isaac Hayes collaborator Travis Biggs. Licensed from the Landreth family. --- Outernational Sounds

Modern Nature's "Live At Cafe Oto" vinyl 140g Black Vinyl OBI Strip Limited to 200 Copies Led by Jack Cooper on vocals and guitar, the band appear as one natural organism, working in harmony to give each instrument its own space to breathe without ever dominating the whole. Although the playing between each member is intricate and dynamic, it never sounds cluttered. It is subtle and understated, yet incredibly powerful. ‘Dunes’ sets the scene for the night: “Some brave new morning – curtain rises again | An overture plays out”. The delicate percussive rhythms and subtle playing of the double bass provide a sense of forward motion throughout the performance, while Jeff Tobias’s sublime sax playing is able to unfurl, flourish and float across the room. Like the instrumentation, Cooper’s beautifully composed and softly sung lyrical snippets can sometimes be cryptic and abstract, and sometimes beautifully simple. The band encourage the audience to listen closely. On ‘Ariel’, Cooper almost whispers as he sets the scene over woozy, lazy guitar chords and an eerie saxophone melody. “In a flash the veil has gone | And there’s nowhere to hide”. There are brief bursts of energy amongst the intimacy in the form of the syncopated rhythms of ‘Brigade’ and an onrush of excitement from Tobias’s sax. The majestic crescendo of ‘Build’ ends the evening as Cooper asks, “Do you see it? Do you see it?” over an increasingly frenetic and untamed backing track. It’s here the band showcase their control of dynamics and shifting moods through their delicate and precise phrasing. They are masters of their craft and true experts in their field.

Second edition limited to 250 copiesDouble sided 12"x12" insert with program notes & photos A new expanded reissue of the sold out & extremely limited LP from 2017. Her son Loren Connors writes... "These recordings, no matter how rough the sound quality, capture the essence of the art of bel canto soprano Mary Mazzacane. Born in an Italian American neighborhood (Fairhaven) near Yale, she was one of the first women to graduate from the Yale School of Music. Ms. Mazzacane, who was active on the opera stage from 1947 through the 1970’s, playing leading roles in Madame Butterfly, Tosca, Amahl and the Night Visitors and other works, left no commercial recordings. All we have is a shoebox full of muddy practice sessions and live performance recordings on barely playable cassette tapes, along with a few radio broadcast acetates... Throughout these pieces, her voice has a unique inner warmth and a beautifully clear tone, the closest I know to the pure clarity of bells."

In the late '60s, Pip Proud recorded two of the oddest records ever to come out of Australia – Adreneline & Richard and A Bird In The Engine – before vanishing into obscurity for the better part of three decades. Often called the "Australian Syd Barrett," yet Proud actually released his second album in 1969, a year prior to The Madcap Laughs, and developed his indigenous psychedelia in virtual isolation. A Bird In The Engine is even more rare than his debut. From the extraordinary "Eagle-Wise" to the remarkable title track (which includes the uncredited performance of a friend hitting a cardboard box with a microphone), Proud's unrestrained genius is laid bare, a delicate tension of simple melodies and maddening form. While other compilations of Proud's music have been released in recent years, this is the first time A Bird In The Engine has been reissued in its original format. Recommended for fans of Alvarius B., Donovan and Jandek.

Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma(1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petalsever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation"

‘Plagne’s songs admit to another time, and extend to take in another, possible projection of what the world could be – carefully scripted everyday fantasias, with his backing group playing in thoughtful service to the song. Stripped back to essentials, this music plays tricks with the temporal compass. Funeral Mutes’ hermetic spirit might remind, in passing, of Mayo Thompson, Tyrannosaurus Rex, and/or Canterbury prog. Following singular logic, however, its gilded glide is all its own.’ - Jade Pillar, 2015Francis Plagne is pleased to announce his new LP, Funeral Mutes, the second release on his vanity label, Mould Museum. Although there have been some collaborations (with Food Court and Andrew Chalk) and a tape in the meantime, Plagne's songs were last heard in long-player form on Tenth Volume of Maps, released in 2011. Here, aided by long-term collaborators Alex Garsden, Yuko Kono, James Rushford and Joe Talia, he continues his exploration of idiosyncratic, extended song forms and fragmentary lyricism. Primarily recorded over a few days in late 2013 in conditions approaching ‘live-in-the-studio’ (with overdubs added in 2014), Funeral Mutes presents six songs that detour through silence, blown bottles, Stormcock-influenced prog folk, a hint of chicken scratch and a drum solo. Alex Garsden: bottle, guitar, organ, voice Yuko Kono: bass, voice Francis Plagne: bottle, guitar, organ, piano, voice James Rushford: bottle, organ, piano, voice Joe Talia: bottle, drums, percussion, voice Recorded, mixed and mastered by Joe Talia, 2013-2015. Design by Annie Portelli. Drawings by Hanna Chetwin.

This album is definitely a one-of a kind unique release on Strata East - out of print for nearly 50 years and unbelievably hard to find. Do not miss out if you want one as Strata East always sell out! --- 'Handscapes' is a double live album by The Piano Choir featuring an absolutely HEAVYWEIGHT set of pianists together - Strata-East co-founder Stanley Cowell alongside Nat Jones, Hugh Lawson, Webster Lewis, Harold Mabern, Danny Mixon, and Sonelius Smith recorded and originally released in 1972. At the time of release Ebony reviewer Phyl Garland said "One needn't be a "piano freak" to appreciate a truly new recording. First of all imagine seven gifted and talented pianists sitting down to seven grand pianos (with electric piano, organ, harpsichord, a few tambourines for spice) and proceeding to tear up these instruments - musically, that is. ...the torrrent of sound springing from their 70 fingers is so powerful and majestic as to be unlike anything one has ever heard." ---

The piece develops while complex layerings of chords and musical sentiments shift in and out of focus, yet all take center stage all the time. Ending the piece, Palestine excitedly shouts out that the organ is still the best synthesizer ever made. In typical Palestine fashion, his performance made the whole church resonate, an effect that can be repeated easily when listening at home, because this record demands volume and lots of it. Brooklyn-born Charlemagne Palestinehas long been hailed as one of the originators of modern minimalist and experimental music. He very firmly describes his music as maximalist. His immense body of work features many solo albums, collaborations, performance-driven video works and much more. In his work in performance, music, video and related media since the late 1960s, he uses certain emblematic objects such as teddy bears, cognac and scarves. They serve as signatures, he calls them symbols of identification."

x2LP + flexi The original soundtracks by DIRK SCHAEFER for the films of PETER TSCHERKASSKY.Newly mastered and available for the first time, this release covers the heroic partnership of SCHAEFER and TSCHERKASSKY, from 2005’s ‘Instructions for a Light and Sound Machine’ through to the forthcoming ‘Train Again’. Each 12” double vinyl album comes with a 7” flexi disc of TSCHERKASSKY’s own soundtrack for ‘Outer Space’

numbered + handmade in an edition of 200 numbered copies only; 180gr vinyl in custom-made screen-printed outer (sealed), containing two risograph inserts with a specially commissioned essay by DAVID ROBERTS JOCELYN POOK had composed and recorded only one film score before she was commissioned by STANLEY KUBRICK for Eyes Wide Shut - and that was Blight by JOHN SMITH. Newly remastered, the soundtrack is presented here in full for the first time, with an additional track composed by POOK (revisited and extended for this release): Tango with Corrugated Iron.This record has been produced to coincide with JOHN SMITH: INTROSPECTIVE (1972, the most complete survey of his film work to date, presenting 50 films from a 50-year career.

Lost Derek Bailey sessions recorded with his friend and collaborator Charlie Morrow. In 1982, Bailey and Morrow organized a series of live concerts and studio sessions around New York. This new LP is a boiled-down rendering of the master tapes that lived dormant in Charlie’s archive, until now. LP Edition of 400pc, 180gram black vinyl 8-page booklet with program notes and artwork Throughout the album, Bailey and Morrow are joined by a rotating cast of New Wilderness players including frame drum percussionist Glen Velez, sound poet Steve McCaffery, publisher and artist Carol E. Tuynman, composer Patricia Burgess, and multimedia artist Michael Snow. The results are surprising and marvelous. The energy of the live concert, which makes up the first half of the record is particularly exciting, with Morrow and McCaffery’s visceral sound poetry and Glen’s frame drum echoing off of Derek’s fret stabs, and Carol, Patricia, and Michael’s horns swirling through the air between. A very raw and intense recording. The second side of New York 1982, is a session recorded at The Record Plant, and is clearly more ‘produced’ with panning and tape echo processing, plus experiments with water whistles and other devices. Derek Bailey stands out for personal achievements as a guitarist and for his way of bringing together performance meetings ranging from duos to large ensembles. Working across style and genre, his music and musical unions have inspired the breakdown of boundaries, embracing all flavors of musicians as improvisers. Players focusing on the moment, "without memory."

Puck is here. Music for Public Ensemble, my previous album, was released three years ago. And three years before that was Private Ensemble. Puck is both public and private in nature. A smear of chamber works from Stockholm, Moscow, New York, and Kansas. Three aged personal recordings from 2008, 2009, and 2010 are also poured in the batter: a bedroom violin trio, ambient music, and a sad plucked guitar piece. A marbled blend of new chamber works and older, boisterous recordings from the late-2000s. The first side is subtitled “Folded Portraits” – a three part suite: Nightfall, Broth, and Damals: German for “back then…” (or Remember When: the lowest form of conversation). The spine of it is an informal rehearsal session of Portraits of Friars (2018). Recorded at the fabled Fylkingen in Stockholm, the 10-person text and chamber piece grows and shrinks. False starts and stops and tests are outlined with the black ink of editing. Little moments become big moments. Nailed above that spine is Folded Rose (2018), a piece for piano and humming. A dainty march out of context, immersed in recordings of me gagging and yowling in my car. Sound artist Lia Mazzari shared the titular spoken piece with me. “Puck,” a duet for dialogue about eggs and jewelry, premiered at Café OTO in 2018. I recorded my text in a dark bathtub in Toronto on my 30th birthday last year. The text is a mold growing on top of a quintet I wrote called Vilon (2017), sweetly performed by the Russian Kymatic Ensemble. Jackson Graham, skilled American percussionist, is a rod bolted through the album. He commissioned a work by me called Violet Fat (2017), which is spliced across both sides, hammered and bent to fit in place. A fusion of jubilation and gut clenching, Puck balances on the rooftop, tipping side to side in the fog.