"A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann."

Bumper pack of mind-frying, fuzzed out psychedelics from three masters of the medium, with Neil Campbell (Vibracathedral Orchestra), Noel Meek (End of the Alphabet) and Alexander Tucker (Grumbling Fur) performing solo and in a very special trio set.  --- Tracklisting: 1. Alexander Tucker Solo - 18:58 2. Neil Campbell Solo - 14.41 3. Noel Meek Solo - 21:56 4. Trio - 29.34 --- Recorded on Sunday 24th April 2016 by Shaun Crook. Mixed by James Dunn, Abby Thomas & Noel Meek. Mastered by James Dunn.

Co-written, performed (synths, drum machine, sampler), arranged, produced & mixed by Pouya Ehsaei Co-written and performed:Koroleko Moussa (Balafon, Djembe)Sam Warner (Trumpet)Hammadi Valdes (Drums, Congas, Bongos)Tamar Osborn (Bariton Sax, Clarinet)Parham Bahadoran (Duduk)Kareem Dayes (Cello)Yelfris Valdes (Trumpet) Spoken Word:Tara FatehiMA.MOYOMaureen OnwunaliNomakhwezi BeckerTim EtchellsOluwaseun OlayiwolaNisha RamayyaTasneim Zyada Cover Artwork by Farhad QashqaiDesign and Layout by Nahal MarzbanMastered and cut by Frank Merritt at The CarverySound Enginner: Dave HolmesRecorded by Dave Holmes at Lightship 95 StudioArt direction by Pouya Ehsaei & Tara FatehiCreated in Peckham, LondonThe exact number of times one needs to walk on an untrodden mountain for a path to start to appear. All the vibrations that remain from the first time a word is uttered. A flood from another planet, approaching Earth. When you look at a tree and all the ones who looked at the same tree appear for a blink of an eye. A thing you can only fully see from the moon: so scattered, so fluid, and always shifting. Created by London-based Iranian duo Pouya Ehsaei and Tara Fatehi, From the Lips to the Moon brings together a cast of London’s fierce, current, and transcultural voices, fusing live electronics, performative poetry, unearthly melodies, noise, and twisted beats. Their debut album delves into four years of live encounters, remembered as much for their spontaneity as for their unity. This is a record defined by its contrasts: gritty, sharp-edged electronics, raw vocalizations, and organic instrumental textures give way seamlessly to moments of soft, profound tenderness.

Available as 320kbp MP3 or 24bit FLAC  "Pickelhaube is the solo album of one of the most active improvisers and music activists of today. This is the result of an unique and completely analogue recording and reproduction, and brings to you the very full body of a wooden battle ship of an instrument, the contrabass, and the breath of a musical mind." “This is a solo in duet with the current era of silent repression of every mind that’s not in line for the mental pawnshop. In these times, most shallow behaviors are presented as if the deepest of engagements and beliefs. We are dressed up in a fictional all-in-one hat, the helmet and the warhead: Die Pickelhaube. Blow yourself out of your own mind or simply step out of your helmet. And listen.”

Available as a 320k MP3 or 24bit FLAC download.  Tracklisting: 1. What Do We Mean By Coaching? - 0:362. Why Are Some Cricket Coaches Better Than Others? - 4:283. How Will You Learn More Successfully From Your Coach Than By Just Looking And Listening? - 2:464. What Do People Mean When They Say, "He Played Cricket"? - 1:345. What Do We Get From Cricket That We Don't Get From Other Games? - 4:016. If You Want To Succeed At Cricket, What Attitude Should You Adopt Towards The Game? - 1:577. How May Your Parents And Your Employer Help You In Your Cricket Career? - 7:588. What's The Correct Way To Stop A Ball? - 0:369. How Do You Know That You Have Taken Your Eyes Off The Ball When You Attempt To Catch It? - 1:4110. What Movement Helps You When You Are Trying To Run Out A Batsmen? 1:5311. Why Should You Watch The Striker's Bat? - 2:3512. How SHould You Pick Up The Ball And Throw It? - 1:5613. How Do You Know Where To Throw The Ball? - 1:5514. When Should You Throw The Ball At Top Speed? - 2:0715. How Should You Throw It On Other Occasions? - 1:4716. Are You Going To Keep Alive The Spirit Of Cricket? (Bonus Track) - 2:39   "The Young Cricketer plays out like a showreel for Corsano’s miraculous dexterity and virtuosity as a drummer. It’s a set of recordings made during Corsano’s time living in Manchester back in 2006 utilising all manner of objects and apparatus to offset and treat his drumkit, often morphing its sound into something unrecognisable. The Young Cricketer is a beautifully recorded album, with Corsano’s expanded kit occupying a vast stereo field, and every percussive gesture allotted its own distinct place in the mix. Consequently, this is probably the most thorough representation of Corsano’s near peerless drumming yet committed to record and stands as a pretty indispensable document for all lovers of free music and percussive invention. Stunning.” - Julien Héraud  --- Chris Corsano / percussion --- Recorded in Manchester England Feb 1-3, '06 (Except for side a track 2, recorded Jan. 6). Using drums, cymbals, baritone & alto saxophone mouthpieces with plastic tube and/or funnel, and/or shower attachment apparatus, pot lids, lamp base, scotch tape, violin-string-snare-drum contraption, bows, sticks, butter knives, and a superball on a stick, some distortion used on side B when mixing tracks 7 and especially 8, but other than that, no electronics either.

/ For Rob Green (1964-2010) “A bydded i’r arth a ryddhawyd drochi ei gorff yn llifoedd y gogledd rhewllyd a pheidio â dihoeni yn acwariwm dŵr distyll yr ardd academaidd.” Kazimir Malevich, O Giwbiaeth a Dyfodolaeth i Swprematiaeth: Y Realaeth Arlunyddol Newydd (1915) “And may the freed bear bathe his body amid the flows of the frozen north and not languish in the aquarium of distilled water in the academic garden.” Kazimir Malevich, Suprematist Manifesto (1916)creditsreleased February 24, 2021 Telyn benglin / Lap harp Telyn benglin, troswr, meicroffon cyffwrdd (Trac 7), pedal trosyriant, pedal sain a dau chwyddseinydd. Lap harp, transducer, contact microphone (track 7), overdrive, volume pedal and two amplifiers. Recordiwyd ar Rhagfyr 11, 2011 yn Tŵr Morden, Newcastle upon Tyne / Recorded on 11th of December 2011 at Morden Tower, Newcastle upon Tyne.Cynhyrchydd gweithredol / Executive producer: Richard Dawson.Recordiwyd a chymysgwyd gan / Recorded and mixed by Phil Begg.Meistrolwyd gan / Mastered by Sam Grant.Dylunio gan / Design by Anna Peaker.Darlun gan / Drawing by Jean-Luc Guionnet. Benthycwyd y teitlau o weithiau / Titles borrowed from the works of Thomas Bernhard, Jorge Luis Borges, Heather Fuller, Elizabeth Price, J H Prynne, Sarah Riggs, Alain Robbe-Grillet, Leslie Scalapino. Rhyddhawyd Wound Response yn gyntaf ar finyl gan Alt Vinyl, av038 (2012).Wound Response was first released on LP with Alt Vinyl, av038 (2012). Diolch i / Thank you to: Paul Kelly, Adam Parkinson, Connie Pickard, Sioned Puw Rowlands, Angharad Closs Stephens and Graham Thrower.Rhodri Davies self reissue of  Wound Response originally released by Alt Vinyl in 2012. Reissued alongside the solo acoustic 'An Air swept Clean Of All Distance', Wound Response is loud, distorted and forms an attempt to work with rhythm and pitches in an open and fluid way. --- Wound Response was first released on LP with Alt Vinyl, av038 (2012) and formed a radical departure for Davies’s solo work. Inspired by the ‘Destruction in Art Symposium’ (1966). Davies used two main techniques: over-articulate the strings (what harpists are taught notto do) and attack the strings with a plectrum, forcing the tuning into new relationships until the strings eventually broke. This is the first time that this album will be released on CD. “Wound Response is a raw recording scored for solo lap harp, overdrive, volume pedal and twin amplifiers. The fuzz is particularly cranky here, giving Rhodri’s obsessively repetitive harp soundings the kinda scorch of solo Masayuki Takayanagi.” - David Keenan, Volcanic Tongue 2012 ---