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Lucy & Aaron is the debut collaboration LP from the duo of Lucrecia Dalt (RVNG Intl.) and Aaron Dilloway (Dais Records). Full length LP in full color cover with printed inner sleeve featuring art by artist Pieter Schoolwerth. File under Electronic / Tape Music. ARTIST STATEMENTS “I met Aaron in Madeira around 10 years ago, and I was blown away by his set, when I was going to tour the US for the first time, Forest, my US my booking agent asked me if I wanted to tour with someone from his roster and I suggested Mr Dilloway, the first show we played together was in Toronto, he started with a very groovy loop, some kind of soul extract that felt just right. With that, he levelled the dynamics and the atmosphere of the room, moving back and forth from the stage to the audience to double check if everything was sounding right. I have never seen such an elegant, disturbing and powerful show at the same time, it was a wild combination. We played a couple more shows together and on my journey throughout the states I was never in a place where his name didn’t pop up with a positive comment of admiration. We became extremely close and utopian. We started this record during a two week visit of mine in NYC, we crossed our signals, sometimes his affecting mine, or the other way around, we just wanted to make a fun, weird and inevitably emotive record that somehow captured so many things we love about music, to put oneself in character and go with the flow.” -- Lucrecia Dalt “Lucrecia and I met briefly 10 years ago while performing at a festival together. We traded some releases and I was very excited by what I heard. Her records stuck out to me over the years as something very special. I was a fan. We met again recently while performing on a bill together in Toronto, and while watching her perform, I was mesmerized by her selections of sounds, as well as her movements and control of the mixing board. I felt like we worked similarly. We struck up a very close friendship and what followed was a year of intense discussions about art, music, performance and recording. Immediately we began working on music together and her expertise in mixing and her highly trained ears and overall drive were very inspirational. This album was recorded in 3 different locations, Pioneer Works in Brooklyn, NY where Lu was doing a residency, sessions at Lu’s home in Berlin, Germany and finally at my home in Oberlin, OH. It was one of the most inspirational periods of my life and helped me overcome some intense musical and psychological obstacles. I learned so much by making this record.” Aaron Dilloway
Recorded by Lucrecia Dalt & Aaron Dilloway 2019 - 2020
Mastered by Rashad Becker Cut by Warren Defever Art by Pieter Schoolwerth
Hanson Records, 2021
Aaron Dilloway & Lucrecia Dalt – Lucy & Aaron
"Back in 2018, I was invited by Dave Rempis to participate in the Exposure Series at Elastic Arts in Chicago. The Series was for me a shining example of artist-lead organizing of different yet connected communities around the Music. From my standpoint, it is yet another in the continuum of such actions, specifically in Chicago, and has been a major inspiration for my work as an artist and for the material on this recording. The ensemble was assembled by Mr. Rempis, and was the first time the group had ever played together. The experience was immensely moving and was a major event in my own musical development, having the chance to lead a collective ensemble of true pillars in Creative Music. Later that year, I was invited back to Chicago by Ken Vandermark for the Option Series at Experimental Sound Studio. It was then when I was able to schedule a recording and subsequent concert with the group, revisiting the material conceived by the ensemble earlier that year. As for the actual composition, I wanted to showcase the collectivism of the sounds produced in that first meeting. With that in mind I listened back to the first recording and transcribed different movements, motifs, and themes, plus added a few original composition ideas. We then recorded these collective compositions, first in a private recording session, second in front of an audience at Elastic Arts, where the Quintet first met. What is presented here on this double album is a collection of both sessions. I want to convey again the collectivity of the Quintet. The concept of being a (C)omposer is a result of centuries of musical hierarchy, regarded and celebrated as the ultimate form of a musical artist. The example set out by the journeys of many in Improvised Music, including the gentlemen on this recording, allows for exploration of "composition" in true collective non-hierarchical form. There are no single series of notes, timbres, and dynamics conceived previously by an individual that was then imposed. Rather the Music was allowed to be presented with equal representation from each individual. The "Composer" here, is merely the organizer of the spirit energy of the ensemble. This is the nature of the beautiful offering that This Music provides." - Luke Stewart, July 2020.
Luke Stewart - Bass, Compositions Edward Wilkerson, Jr. - Reeds Ken Vandermark - Reeds Jim Baker - Piano Avreeayl Ra - Drums
Released: Oct 2020, Astral Spirits
Luke Stewart – Exposure Quintet
Astral Spirits presents The Ritual and the Dance by Roscoe Mitchell & Mike Reed. Recorded by Michael Huon at the Oorstof concert series. Zuiderpershuis, Antwerp, Belgium, October 22, 2015. Live concert produced by Sound in Motion.
Roscoe Mitchell: reeds Mike Reed: drums, electronics
Released 2019, Astral Spirits. Artwork by Roscoe Mitchell.
Roscoe Mitchell & Mike Reed – The Ritual and the Dance
The Other Side of Time is the first album to be released by Chicago based percussionist Quin Kirchner. The album features the excellent ensemble of Nick Broste on trombone, Nate Lepine on flute and tenor saxophone, Jason Stein on bass clarinet, and Matt Ulery on bass. The album is comprised of roughly half original tunes by Kirchner and half covers of music by Sun Ra, Charles Mingus, Andrew Hill, Arthur Verocai, Paul Motian, and Kelan Phil Cohran.
Quin Kirchner - drums, percussion, kalimba, sampler, wurlitzer Nick Broste - trombone Nate Lepine - tenor saxophone, flute Jason Stein - bass clarinet Matt Ulery - bass Ben Boye - piano on Together...
Recorded at Minbal & Future House in Chicago, IL
Released 2018, Astral Spirits
Quin Kirchner – The Other Side of Time
Kuzu was formed only in 2017 but the trio already has a stellar reputation in noise-jazz circles, so their torrid pace of production is a windfall. Even if their upcoming third offering got delayed a bit due to the pandemic.
The Glass Delusion— out March 5, 2021 from Astral Spirits Records — was recorded live and without any pre-thought like all Kuzu releases. It even draws from the same 2018 tour as some of those other records were culled from.
Kuzu recordings are highly instinctual and intuitional; the same can be said about any quality improv music unit. Where Kuzu makes its mark is that each of its members, Dave Rempis (saxes), Tashi Dorji (guitar) and Tyler Damon (drums), are highly individualistic musicians who play their instruments well outside the bounds of conformity. There are sounds you don’t often hear from each of these instruments and even less so as a group. Add to that their penchant for zigging when you expect them to zag, and it all adds up to adventurous and rewarding listening experience.
DAVE REMPIS - alto/tenor/baritone saxophones TASHI DORJI - guitar TYLER DAMON - drums
Released 2021. Astral Spirits
Kuzu – The Glass Delusion
حمد [Ahmed] – the quartet of Pat Thomas, Antonin Gerbal, Joel Grip and Seymour Wright – make music of heavy rhythm, repetition and syncopation set deep into an understanding of jazz and the obscure depths of its history. Recorded live at Cafe OTO at the launch of the previous record 'Super Majnoon [East Meets West]’ the group work and rework the music of the late musician Ahmed Abdul-Malik to create a stamping, swinging, relentlessly propulsive record where profundity and physicality root right back to ecstatic feeling
"The journey of self-discovery, communing with the eternal sound. A musician steeped in multiple worlds; oceans apart yet closely connected in ancestral memory. Musicians such as Ahmed Abdul-Malik were able to experience the global community of sound warriors, drawing inspiration from ancient cultures to support personal investigation. The connection was made clear, the music of Africa would certainly influence the African in America despite the atrocities of the Middle Passage, chattel slavery, and continued racist violence that sought to sever any connection to the continent. The beauty of Malik’s investigation is this original fusion of new music (Jazz) of the African in America with ancient music of Africa. It is a shining example of collaboration in culture, where the music is allowed to shine for itself. This is the inspiration that is being tapped, being explored in this collaboration where rhythm is the basis for the sound. Just like Malik, they allow the spirit of the collective push the sound as the music develops into exalted chaos. Joy Be Upon Us!"
- Luke Stewart
Arranged by [AHMED] Pat Thomas - Piano Joel Grip - Bass Antonin Gerbal - Drums Seymour Wright - Alto saxophone
Recorded live at Cafe OTO, London, December 5th, 2019. Recording: Shaun Cook Mixing: Billy Steiger Mastering: Mikey Young
Inner-sleeve text: ' Origins Revisited' by Pat Thomas (2004) Cover photo of Ahmed Abdul-Malik at the Cabana Club, New York City, 1965 Produced: Astral Spirits / Seymour Wright
Released: Astral Spirits, 2021
[Ahmed] – Nights on Saturn (communication)
Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody
Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place.
From Matthew Wright’s new liner notes:
The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout – Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it!
This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century.
Edition of 1000 copies.
Louis Moholo Octet – Spirits Rejoice!
Shapeshifting genius Mica Levi does dream-pop with scorched, screwed effect somewhere between MBV, Spacemen 3 and Arthur Russell, and now available on its first vinyl pressing with their own label.
Thanks to pressing plant lags the physical item ‘Ruff Dog’ finally appears six months after the digital release, and following very much in the vein of their back-to-basics garage scuzz album with Good Sad Happy Bad. However, this is Mica solo, stripped to raw, jangly guitars and drums that sound like they were recorded in her bathroom, emphasising a kind of janky, DIY directness and fidelity that’s always been at the heart of their music, but rarely heard so sore and wickedly strung out as they do here.
Has Mica Levi ever made a bad record?
Self Released, 2021
Mica Levi – Ruff Dog
Alkisah is the new album by Indonesian duo Senyawa. Alkisah is co-released by a multitude of independent record labels from all over the globe each with different packaging and design, with multiple version of remixes by various artists.Senyawa is an experimental music duo with Rully Shabara (extended vocal technique) and Wukir Suryadi (homemade instrument). The music that they create is a combination of extended vocal technique and a homemade instrument. The instrument was handcrafted by master instrument builder Wukir out of one long piece of bamboo, it is a string instrument with guitar pick-ups—it is amplified and processed through several effects pedals but at times is played as an acoustic instrument, percussion and string instrument.They are located in the ancient city of Jogjakarta, Central Java, Indonesia and their music is a reflection of their traditional Javanese heritage filtered through a framework of contemporary experimental music practices. Senyawa try to push the boundaries of both traditions in an attempt to mix the musics’ of the east and the west to create a new sound.
Senyawa – Alkisah
Spencer Clark is back with Vol.2 of his eco-friendly extravaganza Avatar Blue. It’s life on earth as you never heard it. The story goes like this: Spencer wanted to do a soundtrack for the yet to be made “Avatar 2”. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of “Avatar”. If you think about it a little bit, something like “Avatar” could have really come out from the mind of Spencer Clark. But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as “Avatar Blue”. The record we now release is a selection he made from the 2CD released last year on his own Pacific City Sound Visions. Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realisation of music as a medium. “Avatar Blue” is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it. All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come.
Discrepant Music, 2020
Star Searchers – Avatar Blue Vol.2
The Ici Bientôt label arm of wonderful Parisian record store Geminicricket returns with another gem plucked from the world of uncategorisable 80’s French private press records, following up Nef’s ‘Mais Alors!!?... C'est À L'Envers’ with a welcome reissue of Nyssa Musiques’ 1985 percussive deluge ‘Comme Au Moulin’. Their sole self-release is a breathtaking and staggeringly wide-referencing avant-jazz masterpiece, smelting down varied strains contemporary minimalism, spiritual jazz, Indian classical, traditional gamelan and traditional Central African folk whilst retaining an unbelievable sense of cohesion and not confining themselves to a specific genre tag. It’s no surprise that members of the group studied and graduated from one of the most prestigious musical schools in France - the playing and musicianship is sublime - maintaining consistency and rhythm through complex marimba passages that draw obvious comparisons to Midori Takada’s work with Mkwaju Ensemble whilst other members fill the spaces in between.
Elsewhere the group evoke Steve Reich with the use of repetition to build tension and climax, whereas the rainforest atmosphere and track titles ‘Route De Sumatra’ evoke worldly inspiration and an obvious 4th world approach. Genuinely one of the most amazing records of its kind - huge tip for fans of Polish group Osjan or the recent ‘Balafon Sketches’ LP from Contours.
Nyssa Musique – Comme Au Moulin
Musica Elettronica Viva, or MEV for short, was formed in 1966 in Rome by Allan Bryant, Alvin Curran, Jon Phetteplace, Carol Plantamura, Frederic Rzweski, Richard Teitelbaum and Ivan Vandor. From the very beginning the group was based on musical freedom and the shunning of convention. Using contact microphones to record and manipulate sound wherever it could be found – from box springs to vibrators – and improvisationally combining those recordings with tenor sax, homemade synths and the very first Moog to trek cross the Atlantic, MEV made some of the most imaginative and abrasive sounds of the time.
Recorded in live performance at the Academy of Arts (Akademie der Künste) in Berlin on October 5, 1967, Spacecraft is made up of a single piece of the same name – a slow building, jarring and disquieting work that reveals the entire MEV ethos in its lone half hour. As group member Alvin Curran put it "The music could go anywhere, gliding into self-regenerating unity or lurching into irrevocable chaos - both were valuable goals. In the general euphoria of the times, MEV thought it had re-invented music; in any case it had certainly rediscovered it." Our Swimmer is pleased to present this first ever vinyl issue of MEV's Spacecraft, an early piece from the most free-spirited group of the 20th century avant-garde.
M.E.V. (Musica Elettronica Viva) – Spacecraft
Latest in a standout line of collaborations between Japanese dynamo Haino, ingenious synthesist O’Rourke, and limitless shredder Ambarchi, was recorded on the night that Hideo Ikeezumi - a titan of Japanese psychedelic and experimental music, and long-term collaborator with Haino - passed away in February, 2017. In effect a bardo-like soundtrack of sorts, the results can’t help but remind us to Gaspar Noe’s use of Jean-Claude Eloy’s music in ‘Enter The Void’ as much as their own reference to David Behrman’s ‘Wave Train’ as the trio follow their nose along the axes of ‘Each side has a depth of 5 seconds A polka dot pattern in horizontal array A flickering that moves vertically’ to plumb deeply psychedelic, other dimensions and planes of existence.
The album is dominated by the sidereal scope of its side-long ‘Introduction’, where each member elides their respective electronics into an insoluble fluid mass of roiling white noise and starscreaming timbre where it’s difficult, and unnecessary, to pick out who’s doing what. However Haino takes the lead on the other side’s three-part suite, proper; piping up with spine-tracing effect on the suona (a Chinese double-reed horn) over O’Rourke’s descending synths and Ambarchi’s Leslie cabinet amp hum in ‘Part I’ and steering them into shattered bleeps, before the more concise ‘Part II’ erupts with angular free jazz drum machines and wrenched guitar squall, and ‘Part III’ passes out into space music recalling Rafael Toral.
Presented in a deluxe gatefold sleeve with artwork and design by Lasse Marhaug and an inner sleeve with live pics by Ujin Matsuo.
Black Truffle, 2021
Keiji Haino, Jim O'Rourke, Oren Ambarchi – Each side has a depth of 5 seconds A polka dot pattern in horizontal array A flickering that moves vertically
It appears that the award-winning composer is here joined by their Curl collective in ‘Blue Alibi’ for an album that almost preternaturally collapses the vernacular of grunge rock, free jazz, indie-pop, rap, and chamber music, into scenes limned with the skill of a proper soundtrack scorer. At this point we’re just going to refer to this style as Mica Music, because for all intents and purposes, there’s just nobody making anything quite like it in the modern sphere. It’s the type of music that would puzzle a computer tasked with classifying its taxonomy, all asymmetric, bittersweetly discordant and metered off-centre in a way that defies categorisation.
While there’s no explicit mention of lockdown fuckries, aside from Brother May’s “middle finger to Boris Johnson and all the cops now” on the album’s bitterly puckered ace ‘Om Om Om Om’, the album’s sore blue pallor certainly feels like it was sculpted by the experience, or is implicitly realised as a salve for it. From the scratchy, free-jazz Company-isms and deadpan vox of ‘Whack’, to the mumbly introspection of ‘Rose’, thru the Sub-pop styles of ‘Liquorice’, and exquisite nap anxiety ambient in ‘Monk’ and ‘Blue Shit’, or the devastating torpor of ‘Waves’ and biley reflux of Flying Nun-esque guitars in ‘Outro’, it’s an ideal soundtrack to miserable, locked down times.
Mica Levi – Blue Alibi
Since it first appeared in 1976, King Tubby's dub-wise reworking of tracks by Yabby You's Prophets project has become a sought after item amongst reggae aficionados. Remarkably, it has never been reissued before, making this first vinyl edition in 23 years a must-have for those addicted to weighty bass, heavy riddims and echoing effects. There's much to enjoy from start to finish, including the delay-laden horns and gentle grooves of "Fair Lady", the surprisingly cheery skank of "Tear Gas In Waterhouse", the seductive solos of "Tradition Skank" and the low-slung, bass-heavy throb of "Serious Rebellion", a stripped back dub straight from the top drawer.
Pressure Sounds, 2020
THE PROPHETS – King Tubby's Prophecies Of Dub
Bunny Lee recorded a massive volume of remarkably consistent music in the 70s. This compilation brings together rare and unreleased cuts that put the listener bang in the middle of a typical recording session, complete with false starts and studio banter.
Linval Thompson is represented by two unreleased tunes, and is also heard in the runup to 'Tommy's Vibration'. Once the 'flying cymbal' sound had taken off, Bunny often recorded a 'flyers' and a straight version of the same rhythm: 'Tommy's Vibration' is a classic but little known Tommy McCook instrumental on the flyers cut of Linval's 'Jah Jah A The Conqueror'. 'Ethiopian Rock' is a total scorcher, the only recorded tune by the deejay Jah Smile, before Bunny persuaded him to turn to singing and changed his name to Barry Brown.
In a healthy spirit of competition, Bunny often tried out different singers on tunes that he thought would hit, hence Ronnie Davis's soulful take on Johnny Clarke's 'Every Knee Shall Bow', Johnny's version of Horace Andy's 'Better Collie', and Johnny and Horace sharing vocals on 'No Man Is An Island', all unreleased until now. 'No Babylon Shall Escape In This Time' has Johnny Clarke and 'Bongo' Herman Davis recorded over the original version side of Johnny's 'None Shall Escape The Judgement'. 'Life Of My Own' is a beautifully constructed lament by a singer who neither Bunny nor various expert ears have managed to identify: at Bunny's suggestion he is credited as 'The Raver'. 'War Zone' and 'Keep On Running' are examples of Tubby's mixes that have had further effects dubbed on elsewhere; sound systems and foreign record labels occasionally did this to manufacture their own specials from existing mixes. 'Jamaican Fruit Of African Roots' has recently been the subject of the fascinating documentary 'Shella Record: A Reggae Mystery'; the Lennox Brown cut here has only just been discovered. Also included are two stinging dubplates by Cornell Campbell: the first is aimed straight to the head of Arrows sound system, while the second, recorded in the early 80s, sums up the vital partnership of two of Jamaica's musical giants
Produced by and under licence from Bunny ‘Striker’ Lee Recorded at: King Tubby’s, Randy’s Studio 17, Harry J’s, Dynamic Sounds, Treasure Isle, Channel 1 Studios Engineers: King Tubby, Philip Smart, Pat Kelly, Prince Jammy, Sylvan Morris, Errol Thompson, Sid Bucknor, Carlton Lee, Stanley ‘Barnabas’ Bryan, Ernest Hoo Kim Musicians include: Drums: Carlton ‘Santa’ Davis, Lowell ‘Sly’ Dunbar, Carlton ‘Carly’ Barrett Bass Robbie Shakespeare, George ‘Fully’ Fullwood, Earl ‘Bagga’ Walker Guitar Earl ‘Chinna’ Smith, Tony Chin, Jerome ‘Jah Jerry’ Haynes Keyboards Winston Wright, Robbie Lyn, Ossie Hibbert, Keith Sterling, Bernard 'Touter' Harvey Horns Tommy McCook, Lennox Brown, Bobby Ellis, Val Bennett, Herman Marquis, Vin Gordon Flute Tommy McCook Percussion Noel ‘Scully’ Simms, ‘Bongo’ Herman Davis Photography: Adrian Boot Artwork: Teflon aka John Sims Tape Transfers: Newton Williams and Diggory Kenrick Mastering: Dave Blackman at Hiltongrove Sound Restoration: Andy Le Vien Sleeve Notes: Bunny Lee and Diggory Kenrick Special thanks to Bunny ‘Striker’ Lee, ‘Little Striker’ Lee, Chris Flanagan Album Co-ordination: Pete Holdsworth
Various Artists – When Jah Shall Come
If any one individual can be credited with being the catalyst for English reggae and dub then Dennis Bovell is that man. From the mid seventies onwards he has been at the centre of the English reggae scene. Pressure Sounds have now gathered sixteen of Dennis' must have rare dubs and instrumentals as well as a couple of outstanding vocal tracks on one essential album. 'Decibel' brings together some of his heaviest productions out for the first time since their original release in the mid-seventies on Dennis' 'Rama' and 'More Cut' labels. Dennis also produced many dub plates and specials that have never been heard outside of sound system dances and several of these dubs are also featured on 'Decibel'. At the same time as he was producing and playing bass on these records he was doing the same in the band Matumbi and also produced the UK National number one 'Silly Games' by Janet Kay.
Dennis Bovell – Decibel: More Cuts And Dubs 1976-1983
“Hopscotch” is a Berlin based Company and represents Tristan Honsinger’s latest effort in a lifetime search for unity between music, theatre and poetry. This gatefold vinyl contains a collection of songs and compositions invented through the years as musical material for Hopscotch’s performances and plays, along with improvisations and dialogues.
Tristan Honzinger : cello, voice Izumi Ose : voice, toy piano Franziska Hoffmann : violin, voice Tobias Delius : saxophone, clarinet, voice Axel Dörner : trumpet Hiroki Mano : tap dance, voice Klaus Kürvers : bass Antonio Borghini : bass, voice Steve Heather : drums, voice All compositions by Tristan Honzinger.
Umlaut Records, 2021
Tristan Honsingers Hopscotch – Cloud Reading Society