It was some line up, even for the most open-minded: Emmanuelle Parrenin and her musicians, in 1981, opening for the Clash in Paris, at the Zénith! Unsurprisingly, the crowd roared the name of the English band as soon as the French musicians appeared on stage. Didier Malherbe responded with a saxophone improvisation with all the others joining in behind. If we believe the musician improvising, rather than following the cult playlist of Maison Rose, was what saved them. Created from previously unpublished recordings from 1978, 1981 and 1982, Pérélandra is a wonderful array of the experiments so unique to Emmanuelle Parrenin. Rather than being improvised, like the legendary show at the Zénith, these experimental tracks have a more composed instrumental form and were conceived for choreographers: mainly Pérélandra, staged with dancers from Carolyn Carlson's troupe, but also Nomade, some of the sonic environment of which can be discovered here in (superb) bits and pieces found on cassettes. In total, just under a dozen tracks are presented, including contributions on bandoneon from the Argentinian Juan José Mosalini, electric piano from the ex-Double Six Jacques Denjean, or elsewhere great electroacoustic work from the wonderful and ever-faithful Bruno Menny. All of this steeped in a sonic mix typical of the most way-out acid-folk freak-outs of the 1970s. Didier Malherbe (who just before was still playing in Gong with Daevid Allen) is on three tracks, his heady graceful agility instantly identifiable, adding to a magical and spiritual universe created with spinet dulcimer, flute, hurdy-gurdy and other-worldly vocals (amongst other ingredients). Though very difficult to label, Pérélandra could evoke a meeting between Trees Community, Heron and Robin Williamson with Ellen Fullman, Meredith Monk and Ligeti. The whole thing is steeped in an atmosphere as intense as the ecstatic hymns of Hildegard von Bingen. Emmanuelle Parrenin continues to explore similar territory in her concerts, always surprising us with, Etienne Jaumet, Pierre Bastien (in what is a most promising collaboration) or (occasionally) Jandek. 

1. Masani Cisse ... a rich nobleman, a very important person, close to god. Began very poor, making a living cutting and selling firewood. One day he saw a big dead tree. Long long time ago a rich warrior, a king, stranded at the tree, dying. A ghost promised him to guard the money at the tree. Masani Cisse started to cut. After three times, the ghost appeared and asked what he was doing. "I'm hungry," Masani answered. The ghost answered that he could do anything because the money was there in the spirit of the king. "If you are really hungry, you can take the money. But some things you are not allowed to do with it. You can not seduce women from someone else with it, for example." The story of Masani Cisse runs parallel with the beginning of the kora. The founder of the kora is called: Moussa Boulouge... 2. Enkonen Sava ... "my sweetheart, everything goes well." A song of joy and love. Important for all generations... 3. Kouyate ... praise to the Kouyate family. Djibrils real mother is a Kouyate. "The door of the tradition." The Kouyates are one of the most important and best griot families... 4. Amadi ... a nobleman, very rich, has everything, but cannot get children. If he is crying, the griots sing this song to support him... 5. Adjamadinaka ... a welcome for the people who have been to Mecca. At the return the older women in the village sing this song... 6. Alfayaya ... if you play this song for a nobleman, you give him something good. You support him in the struggle against unjustice. And while you play this song, you say to everyone who listens, "do something good." Everyone likes this song... 7. Noumou Fasa ... praise for the families of the blacksmiths. In the tradition, the toolmakers were always very important, for the harvest etc. The family Kouloubali even had a kingdom, one time... 8. Mande Fasa ... if you say this, you talk about the history of the Mandingues, the descendents of Soundjata, the famous king from the 12th century, the founder of the kingdom of Mali... 9. Fakoli ... song of all the Sissokos, the family who "knows". They are magicians and prophets. They are a "bit" noble, a "bit" griot, but they do many incredible things! Fakoli is the name of a man with a lot of success... 10. Kasumama ... for all the tailors, the people who make the "boubou", the traditional dress. It is about measuring and seeing that it is alright... 

A compilation of cassette recordings by the Azmari (traditional Ethiopian singer) Bahru Kegne. Woozy and hypnotic tracks lulling the listener with its hypnotic air, which really exemplifies the singer’s talents. It’s certainly a worthy work of historical documentation, but this is also an accessible compilation that will deservedly further our knowledge of Ethiopia’s music and traditions --- Music By, Masinko, Vocals – Bahru Kegne Bass Guitar – Abijou Solomon Keyboards – Berhane Kidane Saxophone – Yared Tefera Arranged By – Abebe Melesse, Yilma Gebreab --- Terp Records Released November 22nd 2013

'In March 2001, Andy (also guitarist in The Ex) and I were in Addis Abeba, checking out possibilities for The Ex to play some concerts in Ethiopia. But also to check out other music. There is so much amazing stuff there. One day, in the middle of the Mercato, we were struck by something that we had never heard before. Out of the street speaker of a little cassette shop, flowed a sound that was dark, heavy and serious, but also light, fragile and spiritual. We couldn't quite pin it down. We knew the great Ethiopiques 11 of Alemu Aga, but this was different. Slightly embarrassed at the fact that the shopkeeper had had to take the cassette out of the machine and that the street was suddenly silent, we bought the tape. It turned out to be Zerfu Demissie. In March 2004, we organized a series of concerts in Holland called "An Ethiopian music night". The programme consisted of The Ex + Han Bennink, nine of the greatest Azmaris from Addis and Alemu Aga on the begena. Quite a contrasting line-up! In Ethiopia, the Azmaris and Alemu are from completely opposite sides of the musical spectrum. The Azmaris' music is about drinking, politics, sex, dancing, jokes. Playing the begena, on the other hand, is rooted in meditation, concentration and prayer. Deeply devoted to the Orthodox Christian tradition, Alemu was in his fasting period during the tour, which for him meant an even stronger spiritual commitment and no meat and alcohol. He played his songs and right after, The Ex performed. A very different music from a very different background. But when we were finished, Alemu was there standing at the side of the stage, offering us some cold beers. This is not a rigid religion and culture. This is about people. We became more and more intrigued by Ethiopian music and culture. We were also intrigued by the begena, an instrument that dates back thousands of years; with its mesmerizing buzzing sound and its special role in the musical, sociological palette. There are the fascinating lyrics, sometimes hundreds of years old and occasionally very contemporary. At times biblical, at other times tapped from different sources. But all including this typical Ethiopian phenomenon known as "Wax 'n' Gold", the subtle poetry with double meaning, which is deciphered as an abstract art form. This music is unique to this worid. We had to find out more. August 2006, and we were back in Ethiopia. Jeroen took his mobile studio and Emma her camera. We were hoping to find Zerfu to make a recording with him. And we did find him. He agreed to the project, and a few days later, we recorded him in his empty bedroom at home. Beautiful! Enjoy the sounds within!' Terrie Ex - Wormer, November 2007. --- Zertu Demissie - begena, vocals --- Recorded August 12, 2006 at Zerfu's home in Addis Abeba, Ethiopia Mixed & Engineered By – Jeroen Visser Terp AS 12 Released 2007

Saltern presents Al Di Là, the first full-length collection of recordings by renowned dancer/choreographer, artist, and writer Simone Forti. Forti (born 1935, Florence, Italy) has influenced generations of artists through her innovative approaches to dance and movement. Forti is noted for her extensive work with musicians, including Charlemagne Palestine, La Monte Young, Jon Gibson, Peter Van Riper, and Z'EV, among others. With Al Di Là, we hear Forti musically in her own right through a diverse collection of never-before-released pieces, ranging from the early '60s to mid-80s, that highlight Forti's use of her voice, folk songs, handmade instruments, and physical space. The album, compiled by Forti with the assistance of Tashi Wada, includes a rare guest appearance by La Monte Young and Marian Zazeela and features a 28-page color booklet of writings, drawings, and photos by Forti. Al Di Là is a uniquely personal and intimate portrait of one of the truly visionary artists of our time. Edition of 550. Printed at Stoughton Printing Company. Mastered by Stephan Mathieu. --- Produced by Simone Forti and Tashi Wada Mastered by Stephan Mathieu Cover image by Simone Forti --- Saltern, 2018

PERSONNEL:JOE McPHEE, tenor saxophone and valve tromboneDAUNIK LAZRO, baritone and tenor saxophonesJEAN-MARC FOUSSAT, analogue synthesizer and voiceMAKOTO SATO, drumsRecorded live at the Nickelsdorf Konfrontationen Festival,La Garenne-Colombes, France, July 20, 2017.TRACKS:01. Sweet Oranges02. Encore

Schall und Klang is the result of Christina Kubisch's extensive fieldwork on the trail of Hermann Scherchen (1891-1966), conductor and key figure in 20th century new music. After moving to the village of Gravesano (Ticino/Northern Italy) in 1954, Scherchen established an electroacoustic experimental studio on his premises and created a meeting place for scientists, composers, musicians and sound engineers from all over the world. Among his guests were Iannis Xenakis, Luc Ferrari, Edgar Varèse and Luigi Nono, just to name a few. Originally commissioned and broadcasted by Deutschlandfunk Kultur, »Schall und Klang« is a personal portrait of Scherchen and his time in Gravesano. Kubisch brings together archival footage from the Scherchen estate and the Scherchen archive at Akademie der Künste in Berlin, tape recordings, recited texts from Scherchen's own quarterly »Gravesaner Blätter« as well as her own compositions and field recordings referring to her research made on site in 2016. --- Christina Kubisch, born 1948 in Bremen, belongs to the first generation of sound artists in Germany. Studied painting, music and electronics. Own compositions since 1972. From 1980 increased sound installations, sound sculptures as well as electroacoustic compositions and radio plays. International scholarships and awards. Teaching as a professor of audiovisual art from 1994 to 2003 at Kunsthochschule Saarbrücken. Christina Kubisch is a member of the Berlin Academy of Arts. In 2016 she was awarded the Karl Sczuka Prize together with Peter Kutin and Florian Kindlinger for the piece "Desert Bloom" (WDR 2015). Her musical works have been released by labels such as Important Records, Edition RZ, Cramps Records and Gruenrekorder. Kubisch lives in Hoppegarten near Berlin. --- Fragment Factory, 2019

Luc Ferrari -- along with Pierre Schaeffer, Pierre Henry, François Bayle, and others -- is one of the pioneers of the particular style of tape music known as 'musique concrète'. More significantly, he must be counted as one of the most complexly, most idiosyncratically compelling of post-War composers. Ferrari has time and again ranged far afield of musique concrète, and Interrupteur/Tautologos 3 is one such foray into instrumental music. But what a setting-forth! Mon dieu! These particular realizations came about through Ferrari's directed improvisations of Konstantin Simonovitch's ensemble, and the recordings were originally released in 1970 by EMI in their 'Perspectives Musicales' series. 'Interrupteur' is largely static music, a music of long tones periodically interrupted by aleatoric events. If it references musical minimalism (particularly Terry Riley, Steve Reich, and Robert Ashley), this surely counts as an intuitive, very personal result. 'Tautologos 3' pursues the idea of the superposition of cycles of different lengths that, once set into motion, will continually result in new events. Conventionally understood, a tautology is a redundancy in which the same meaning is expressed in different works; the same things are 'said' repeatedly in 'Taulologos 3', but as the context shifts through the displacement of the various cycles, how could there be no gain, no furtherance of both logic and sensation? In a world: exhilarating.""Interrupteur" is from 1967 and features the following instrumentation: English horn, clarinet, bass clarinet, French horn, trumpet, violin, viola, cello, two percussions, two electric organs. It is one of the most outright powerful and devastating recordings within the avant garde realm. "Tautologos 3" is form 1970 and features: flute, oboe, clarinet, trumpet, trombone, viola, cello, double bass, electric guitar, electric organ & vibraphone.

Rock. It's still angular, rubbery and twitchy, but this fifth full-length contains their most straight-up Rock 'n Roll since their debut.

Loose Trax presents Roots of Empathy, the debut album from London-based artist Henry Cyer. Roots of Empathy is a collection of songs written between 2019 and 2022 about fear. Conceived as an act of purging, the album explores empathy and fear through the perspective of different people. Roots of Empathy manifests itself as an album of songs, a collection of photographs and a series of videos.

"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

Yes, indeed! The emphatic duo of Laurie Tompkins and Otto Willberg return for their third release, ‘Rotten Luck’ - a record we fell in love with watching the two of them gleefully headbanging in time, shrouded in the much beloved fog of Spanners club.Their first LP ‘Exorcise’, clobbered those that dared drop the needle with a brand of shrieking dadaism that lay impermeable but to the insane. It freaked us out, that cacophony soup. On ‘Rotten Luck’ - their funkiest number yet - there are tunes instead, good ones, meaty ones, soaked in bass riffs and lairy lyrics. There are hooks to grip on to and little silly grins to catch in the gloaming synth holds.Around the time of Yes Indeed's last release I was listening to a lot of Blue Gene Tyranny, working in the shop and selling loads of copies of the boxset that sadly marked his death. Listening to Willberg's squelching synth slap on ‘Our Dads’, I’m reminded of Blue Gene’s ‘Any Fine Afternoon' - a goofy kind of song whose bass line caused me to listen to the whole Theme Hospital soundtrack in earnest appreciation. ‘Awe’ on ‘Rotten Luck’ has a kind of Dreamtime energy to it, it’s jazzy double bass laced with wavy keys. It would seem I wasn’t the only one listening to the boxset.Primarily a composer, Laurie Tompkins is one third of the energy behind pop mulchers Slip. In the year between Yes Indeed releases, Tompkins has done 3 more CDs (33–33, Entrac’te and Hyperdelia), in a marvellous flurry of productiveness. Otto Willberg is bass player in Ray (alongside Ashley Paul and Yoni Silver) and Historically Fucked - a band who make songs as quick as they can and tear them down even faster. The mutual ground between the two is rich then, in pop, rock and the nonsensical. On ‘Rotten Luck’ it seems at its most fertile. Weirdness isn’t a mask - it’s not self conscious. It’s headbanging without realising it, slaying your arranged oddities with your mate, grinning the whole time and giving that out generously.  Extra samples on 5 by Gwilly EdmondezSax and melodica on 8 and 10 by Sam AndreaeMusic by Laurie Tompkins & Otto WillbergMastered by Mark KlonArtwork by FridgeLayout by Carey Alborough

Previously released on accompanied by “Gone, Gone Beyond”, “The Mirror” is the dreamy soundtrack of an a/v project from collage artist extraordinaire Vicki Bennett aka People Like Us.With ‘’The Mirror’’ Bennett continues her eternal disassembling of popular music by exploring how the narrative of familiar sounds/songs can change dramatically under a new context, with that context always changing, in a never-ending flow.Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, his unique comprehension of those specific songs applied in a new context.Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe. Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage. 

The latest chapter in the unfolding musical story of Bill Wells finds the Scottish jazz outsider’s compositions played by a trio of tuba players with contributions from young brass players from his adopted hometown of Glasgow.The results, The Viaduct Tuba Trio Plays The Music Of Bill Wells, are alternately ruminative, playful and profound, ranging from the cyclical opener Fanfare For Three Tubas to a mischievous interpretation of The Midges, a comic tribute to the entomological scourge of the Highlands by Scottish singer Kenneth McKellar, and the doleful Chorale 4K before the arresting finale of Stone Throw Dream Anthem. Throughout the record you are reminded of both the power and tenderness of brass instruments – their capacity to astound and reassure, to soothe and tickle.The trio in the title – Antony Hook, Danielle Price and Mark Reynolds – formed in 2018 to perform in the lee of the Glenfinnan Viaduct as part of the Loch Shiel Festival. Built on the West Highland Line and opened in 1901, the 21-span viaduct is nowadays best known for its appearance carrying the Hogwarts Express. Wells contributed three tunes for the performance, including Fanfare For Three Tubas, and composed the remainder after being commissioned by Glasgow’s underground/experimental festival Counterflows as a direct result of the Glenfinnan Viaduct performance. The trio subsequently performed Wells’ tunes in Glasgow with the Gorbals Youth Brass Band, who play on three of the album’s 10 tracks, sharing a bill with a duo featuring Chicago composer, flautist and educator Nicole Mitchell and London-based percussionist Mark Sanders. The Viaduct Tuba Trio Plays The Music Of Bill Wells represents another creative achievement for the prolific composer and multi-instrumentalist, whose output in recent years includes an album for an Estonian indie label (Remixes For Seksound, 2018), the eponymous debut LP by The Sensory Illusions, his guitar-and-tuba duo with Danielle Price (Karaoke Kalk, 2019), and Standards Vol V by his mischievously titled National Jazz Trio of Scotland (Karaoke Kalk, 2019), featuring the voice of Gerard Black (Rozi Plain, Charlotte Gainsbourg, Francois and the Atlas Mountains).Prior to these Bill collaborated with artists including Yo La Tengo, Amy Allison and Syd Straw on Nursery Rhymes (Karaoke Kalk, 2015) and Aidan Moffat on Everything’s Getting Older (2011) and The Most Important Place In The World (2015), both on Chemikal Underground. He has also recorded albums with Jad Fair, Maher Halal Hash Baz and Stefan Schneider of To Rococo Rot among others.The Viaduct Tuba TrioMark Reynolds studied in Glasgow and Munich. During his time there he performed with, among others, the Munich Philharmonic, Bavarian Radio Orchestra, Bavarian State Opera and the Munich Symphony Orchestra. In 2001, he was appointed principal Tuba of the Royal Philharmonic of Flanders, Belgium and became a founder member of the Ottone Brass Quintet. He has frequently performed as a soloist including performances of the Vaughan Williams Tuba Concerto with the Royal Philharmonic of Flanders and the Royal Scottish National Orchestra.Rising star Antony Hook was Loch Shiel Festival’s Young Artist for 2018 and currently studies at the Guildhall School of Music and Drama.Supported by the Countess of Munster Trust, Danielle Price studied at the Royal Conservatoire of Scotland and graduated with distinction from the Master of Music Course in 2013. She has since enjoyed a versatile career playing in a range of projects and ensembles including Pure Brass Quintet, The Sensory Illusions, Dopey Monkey, Red Note Ensemble, The Old Fountain Jazz Orchestra, New Antonine Brass Quintet (current Live Music Now Scotland artists) besides traditional jazz ensembles The Copper Cats and The Red Hot Rhythm Makers. She has also performed in the bands of Bill Wells and Aidan Moffat, Ashley Paul, Bella Hardy and Oxbow, and as an extra musician with the BBC Scottish Symphony Orchestra and Royal Scottish National Orchestra.The Gorbals Youth Brass BandThe band was formed in 2012 in Glasgow to offer local children free instrumental tuition. Each child is provided with a brass instrument and attends weekly lessons and rehearsals. GYBB also attend competitions, masterclasses and concerts.    The Viaduct Tuba Trio Plays The Music Of Bill Wells was recorded at Castle of Doom studios in Glasgow by Tony Doogan, mixed by Bill at Loathsome Reels and mastered by Norman Blake of Teenage Fanclub. The cover art is by longtime collaborator Annabel Wright.

This album is blooming with energy and full of nature vibes. The three artists accomplished each other in a perfectly relaxed state. Just like being blown by the wind at the same time, they and the instruments mingled and resonated freely in harmony to an enviable state, where both self and the external world evanesce; in a few times driven by passion, they couldn't help but shout out, as if it was a reward from free will. Mr. Sabu has been to China several times and many fans regard him as a legend. In his performance, we can feel the profound meaning of "nature", which easily dissolves the confusion caused by style, genre, and skill. It gives more freedom to music. Sabu shows us a kind of "innocence", simply leaving the secular world behind. In 2014, we interviewed Sabu during his first gig in Shenzhen and had it titled "I am a Thick Candle". His obsession with the word "nature" inspired me so greatly that I can still remember it vividly. At almost the same period, Lao Dan had the chance to perform with Sabu during his stay in Shanghai, and that was when he began to think about his own musical direction. What this album has documented, is this young Chinese artist’s journey of self-discovery － fearless, just like the day half a century ago, when Sabu walked into Chicago's free music scene... I believe more stories like this are yet to come – if art always favors the brave, this album could be an evidence. Tu Fei (Curator of OCT-LOFT Jazz Festival, Shenzhen)

"Drummer Deng Boyu's debut solo electronics release. Being almost obsessive about constructing a minimalistic ambiance, his works are full of exquisite and whimsy compositions which shows his characteristic aesthetic of sampling and collage. Deng Boyu has collaborated with many important musicians and bands at home and abroad, including Mamul, Xiaohe, Wu Na, Da Wang Bar, Lee Ranaldo, Marc Ribot, Akira Sakata, Sabu Toyozumi, Steven Buchanan, Federico Casagrande." --- Deng Boyu / electronics --- Mixed by Liu Ying 设计：魏籽. Design by Weizi 发行：旧天堂书. Recorded in 2011 Released in 2012