Published and sold on an audiocassette by Ulises Carrìon (recently rediscovered thanks to an important Alga Marghen retrospective LP) , who in 1975 "created" the legendary Amsterdam bookshop-gallery "Other Books & So," the first space dedicated exclusively to artists' publications such as artists' records, books, magazines, postcards, etc.. only 12 cassettes were actually sold. Reissue of a cassette from 1978, a collection of sound poems and concrete poetry by G.J. de Rook, Michael Gibbs, Greta Monach and Ulises Carrión himself. The initiative for the release at the time originated from Ulises Carrión, who wanted sound poetry to be better known in The Netherlands. His plan was to release a series of sound poetry cassettes through his bookstore Other Books & So in Amsterdam and to distribute them among Dutch conservatories and libraries. The plan was to publish sound poets from all over the world. The series, called ‘Sound-Proof’, was introduced with a zero issue dedicated to sound poets living in The Netherlands. The recordings for Sound-Proof no. 0 were done by Greta Monach (assisted by technician Herman Kooy) at the Institute of Sonology of Utrecht University in 1978. With Sound-Proof no. 0 as an example Ulises Carrión and Greta Monach applied for a grant from the Dutch Ministry of Culture to realise the series they had in mind, but their request was denied and consequently no other cassettes appeared in the series. To make matters worse, only a handful of copies of Sound-Proof no. 0 were sold and the rest of the edition was destroyed by mistake. All that makes Sound-Proof no. 0 a rare set of recordings, which Slowscan released on vinyl in 2014 after they had been digitised by Greta Monach. The LP comes with English and Dutch inserts that contain background information on the recordings and biographical information on the artists.

An incredible compilation featuring unreleased before pices by sound related artists such as Charles Dreyfus, Ferdinand Kriwet, Julien Blaine, Richard Maxfield, Bob George, Henri Chopin, Rolf Julius, , Diana Spodorek, Milan Knízak. Editon of 250 copies, non-gatefold cover. Recorded live at "Artists Talking Back To The Media " November 1985 at Time Based Arts, Amsterdam curated by Ulises Carrion and Max Bruinsma in a live radio broadcast by VPRO radio. Ferdinand Kriwet's piece recorded by KPFK-FM in 1972"Talking Back to the Media was a manifestation that took place in Amsterdam during november 1985. It focussed on the media and its influence and how artist reacted to this influence. Talking Back to the Media was a concept by David Garcia and Raul Marroquin and took place in Amsterdam in november 1985. The aim of Talking Back tot the Media was to show work by artists who were making use of one of the mass media and who attempted to deconstruct the 'reality' evoked by the mass media or commented on that media in some other way in their work. It consisted out of numerous events as a photography-exposition, artist-conservations, a theater-play, a film festival, a publication, and local television broadcasts."

Slowscan’s MOCA/FM release is an anthology of audio art pieces by 26 performance artists from the late 1960s-early 1970s that was broadcast on KPFA-FM radio, Berkeley in 1971. The radio broadcast consisted of one-minute works presented by the Museum of Conceptual Art (MOCA), San Francisco, which was initiated and realised as a ‘non profit corporation with paying memberships and a permanent collection’ by Tom Marioni in 1970. Marioni’s MOCA existed until 1984 and was a specialized museum for sculpture, performance and site-specific works. Shows included ‘Sound Sculpture As’, ‘Body Works’ and ‘Terry Fox’ in 1970, ‘Chris Burden’ and ‘Comedy Sonatas’ in 1971, All-Night Sculptures’ in 1973 and ‘Vito Acconci’ in 1975. From 1972 to 1975 there would be free beer at MOCA as part of the sculpture ‘The Act of Drinking Beer with Friends is the Highest Form of Art’ by Tom Marioni and Allan Fish. The steadily growing rows of empty beer bottles lined up on shelves along the wall recorded the progress in time of this sculpture. The entire 1971 broadcast MOCA/FM was released on vinyl by Slowscan in 2015 and contains works by Tom Marioni, Warner Jepson, Allan Fish, Paul Kos, John Woodall and many more. As such it is a unique document of the conceptual art and sound art of the period.

Edition of 250 copies Giuseppe Chiari (1926–2007) was a Fluxus artist from Florence, Italy. In cooperation with Archivo Silenzio and Chiari’s friend and assistant Paolo Coteni, Slowscan has now released an LP with two previously unreleased piano pieces by Chiari, both recorded in Rome, one in 1974, the other in 1980. ‘Chiari’ it says on the front the cover of the LP and ‘Down With Classic Music’ on the back. Chiari and Slowscan don’t beat around the bush. Already experimenting with new combinations of avantgarde music and visual arts in the 1950s, Chiari became affiliated with Fluxus in 1962. In that open-minded, subversive and experimental group he developed into one of the leading artists and theorists. Among his many Fluxus writings are: ‘Music without counterpoint’ (1969), ‘Mother Music’ (1973), and ‘Method For Playing’ (1976). In these writings Chiari embraces chance as a formative principle and promotes interdisciplinary works of art, combining music, performance, speech and visual arts. Chiari himself experimented with what he called ‘visual music’ and ‘action music’, the latter of which this Slowscan LP contains excellent examples. Started when he joined Fluxus in 1962, the ‘Gesti sul Piano’ developed into Chiari’s central works of deconstruction. They always mark a break with every structure. Demolition by piano hammers. Chiari – Down With Classic Music!

Edition of 200 copies, with printed inner sleeve. Great sound performance held at with an introduction by Charles Amirkhanian. Enzo Minarelli is one of the most significant sound poets of our time. First and foremost, he is a distinguished, important, even profound creative artist. His body of work, which he most appropriately terms "poly-poetry", includes not only conventional sound poetry, but also embraces inter-media sound poetry (his performances frequently include slide projections, musique concrete and the use of instruments and noise/sound emitting objects), concrete poetry or what Minarelli calls "phono-graphies", visual art works utilizing the written word and images associated with music and geometry, video poetry, and performance art

‘Exorcise’ is Yes Indeed’s bats debut: a death disco plate of syrupy bass, ratty violin and keys, stir-crazed vocals, and clobbered spinnet, magicked and minced by FX.   London burbs’ Laurie Tompkins (composes, performs); Otto Willberg (improvises on basses) are long-time friends, and this 12” - their first release as Yes Indeed - departs from a clump of raucous and intermittent shows, and a 2016 live tape on Willberg’s Heavy Petting.   The EP measures the pair’s clotted, foolish overdubs against a backbone of dubbed-out spinnet and pit percussion, played cosmic and blood-spattered by guest Aaron Parker. Laurie’s keys and violin are trapped and tart, Otto’s electric slinky and gruff, Laurie-Otto voice the fever dream of a train through Woking.   ---   ‘Exorcise’ is available from June 2021 on the pair’s newly-minted Why Eye label as a 12” vinyl and/or download. released June 17, 2021   ---Paintings by Mio Ebisu. Music by Laurie Tompkins & Otto Willberg, feat. Aaron Parker. Recorded by Andrea Rocca at Baby Microbe. Mastered and pressed at Curved Pressings.   ---  

'Workaday Strangeness: Gyrating Death Throes From a Void Axiom' is the new LP from Glasgow-based music originator Wormhook. The music therein, we understand, emerged for highly personal therapeutic reasons; nevertheless to describe it as ‘idiosyncratic’ would do a disservice both to Wormhook and to the concept of idiosyncrasy. While the record is certainly a profoundly unique, irreplicable creation, its music is nevertheless based on a visceral, breathing human rhythm which is common to all living bodies. It represents a celebration of the act of creation as a means of processing psychic and spiritual conflict, unconscious thought leading to spontaneous musical discovery.   Through something approaching the musical equivalent of automatic writing, Wormhook gives birth to fluid, home-woven spectral incantations and an untutored, backward-masked concrète hymnody. Brittle-as-glass guitar and grainy, hand-processed electronics underpin cantorial, intuitively modal vocals delivering a kind of raw, revelatory yet anti-prophetic ur-poetry, bridging the centuries between Hildegard von Bingen and Lonnie Holley and fixing the solitary star of Wormhook within the hermetic constellation which these visionaries inhabit. - Alasdair Roberts

Trost presents Disquiet. -- Christof Kurzmann / lloopp, vocals,  Sofia Jernberg / voice Joe Williamson / double bass Mats Brandlmayr / drums. --- Recorded by Hans Holler at Nickelsdorf Konfrontationen festival 2018. Mixed by Mats Brandlmayer. Mastered by Martin Siewert.

Recorded during the 105th NDR Jazzworkshop, November 19, 1974 at the Funkhaus Hamburg, großer Sendesaal.This album was originally released on FMP in 1979 (FMP 0560)Liner notes by Alexander von Schlippenbach (in German)Manfred Schoof: trumpetKenny Wheeler: trumpetPeter Brötzmann: reedsRüdiger Carl: alto & tenor saxophoneGerd Dudek: soprano & tenor saxophoneEvan Parker: soprano & tenor saxophoneMichel Pilz: bass clarinetGünter Christmann: trombonePaul Rutherford: tromboneDerek Bailey: guitarAlexander von Schlippenbach: pianoPeter Kowald: double bass, tubaHan Bennink: drums, percussion, clarinetPaul Lovens: drums, percussionand the Choir of the NDR-Broadcast conducted by Helmut Franz --- Recording: Werner Münchmeyer Production: Alexander von Schlippenbach & Jost Gebers Mastering: Olaf Rupp Re-Mastering: Martin Siewert (2021) Artwork: Dieter Hahne Publisher: FMP

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde -- Akira Sakata on saxophone and Takeo Moriyama on drums. Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician. Recorded at Kashiwa Church Chiba Pref. in Japan on May 24, 1986 by Yukio Tezuka on Sony stereo cassette recorder. Mixed by Jim O'Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug. Liner notes by Kazue Yokoi.

Three great jazz masters are demonstrating their best abilities of improvising - This album is a great occassion to hear a marvelous record of three great stars of avant-garde jazz – Avantscena, 2018 True to their name they play like a force of nature, something substantial to be reckoned with akin to an aural tsunami - A decidedly enjoyable listen, I recommend it at maximum volume. - Nick Metzger, Free Jazz Blog, 2018 The speed that the sound is presenting is astonishing, with gales of saxophone, notes of bass that become a blur and lightning fast drumming- The music is more than raw noise however, there is depth and breadth to it and it exists in three dimensions plus time, enveloping the stage with its relentless power and glory – Jazz´n´Blues Blogspot, 2018 --- Peter Brötzmann / reedsMarino Pliakas / e-bassMichael Wertmüller / drums --- Recorded by Pedro Azevedo, João Paulo “Binos” Franklin. Mastered by Martin Siewert. Artwork by Peter Brötzmann.

Raised into a unique pop-cultural landscape surrounded by Giallo Comic books, whistling Morricone film scores, vibrant religious imagery and expensive furniture design, Italian born Emma Tricca’s childhood playground formed a very different backdrop to that of the many whispery femme-folk revivalists that have popped up and pooped-out over the last hum-strummed decade. Emma Tricca didn’t fall into a comfy kaftan via her parents bottle fed record collection during her pre-paid college off-years nor was she torn out of a style mag via a few guitar lessons to decorate the post-club chill-out festivals. Emma Tricca is the real deal, unaffected by whimsical press-penchants and influenced by long European road-trips, heavy guitar cases and tough love relationships. In danger of spitting paganistic fluff, Emma is simply an ergonomic reaction to her environments and their stories – folk music personified. While splitting her time between Rome and London she awkwardly melts a stiff upper-lip into the hot-blooded passion which has fuelled her finger-picked momentum through all of her adult life. As folk slips from the newspaper colour supplements and becomes a four letter word once again, Emma Tricca basques in its exorcism and stands hand in hand with her peers, counting the likes of John Renbourne, Bonnie Dobson and Judy Collins as friends and stage mates, while eerily drawing comparisons with the lost music of English-Italian 70s acidic folk mystery Mark Fry. Tricca was first recognised by her long black hair, battered guitar case and sturdy Italian heeled boots by Jane Weaver and Andy Votel on stage in 2006. It was ultimately her unique and infectious vocals talents that inspired the Northern non-label bosses to release her unanimously five-star rated debut LP Minor White via the Bird Records imprint, a family of which Emma has been a faithful friend and ambassador ever since. Taking trips across central Europe to the West coast of America and stopping off at too many English, Irish and Welsh Festivals to count in between (Jarvis Cocker’s Meltdown, Festival Number 6, Green Man) the emergence of Emma’s new set of songs-of-experience come from a creative soul that has travelled far, practiced long and shared a heart, through intimate songwriting, with unfaltering abundance. Previously honing her craft with minimum means fuelled by maximum motivation her ability to spontaneously exude yearning melodic handcrafted folk songs to dewy-eyed audiences still renders todays hi-tech back-lines and expensive studios surplus to requirement. 2014 will see Emma undertake more live commitments, as well as her first musical appearance in a film starring Sir Patrick Stuart as she winks back to Cinecittà. On her new LP, Emma, for the first time, embraces the minimal use of mechanical percussion and home-made orchestrations collaborating with Italian and English musicians such as members of Welsh proggists Colorama, Edwyn Collins producer Carwyn Ellis and Sam Mcloughlin (N.Racker) who brings some Northern rural radiophonics to this ROMANtic relic. To subtitle a John Fahey song… behold the Giallo princess. 

A rarities album of the first incarnation of Marc Bolan's Tyrannosaurus Rex featuring Steve Peregrine Took. The first LP collects all the tracks from the early first two sessions from the summer of '67. The second LP collects rare and unused alternate versions recorded over the following two years until the departure of Took. Deluxe gatefold sleeve with unpublished photos and liner notes by Andrew J Gardner.

Ut was an American band which originated from New York City's no wave scene, forming in December 1978. The inheritors of the fertile collision between rock, free jazz, and the avant-garde that first manifested itself in the Velvet Underground, Ut soon became a serious force within the New York music scene 2 x 12" 45rpm EPs, Including inner sleeves with Lyrics and Photos

Ut was an American band which originated from New York City's no wave scene, forming in December 1978. The inheritors of the fertile collision between rock, free jazz, and the avant-garde that first manifested itself in the Velvet Underground, Ut soon became a serious force within the New York music scene The UT reissue series. The band is reissuing its remastered catalogue on Out Records through Forte Distribution in 2017 and 2018. The UT reissue campaign starts with the Ut EP and the Confidential EP, remastered by Dominique Brethes at Wolf Studios and repackaged as a double 12” (both cut at 45rpm for maximum sound fidelity) and a CD version. The double 12” has both 12”’s in a PVC outer bag (with DL code), and the CD is a 3-fold digifile. There will be 500 only of the double-pack 12” set. Ut is a radical rock group founded by Nina Canal, Jacqui Ham and Sally Young in NYC in Dec 1978. Originating in the downtown No Wave scene and inheritors of the collision between rock, free jazz and the avant-garde, Ut exploded the rigidity of conventional rock, constructing songs through collective improvisation, swapping instruments and rotating the role of singer/director. Migrating to London in 1981, Ut played with bands like The Fall and The Birthday Party and released music on their own label, Out Records. Ut became a favorite of BBC's John Peel and recorded sessions for his show. Joining forces in 1987 with the label Blast First, they released the critically acclaimed In Gut's House in 1988 and made the NME ‘Top 50 Albums’ that year. As The Washington Post exclaimed, “With In Gut’s House, Ut has scraped and droned one of the finest underground rock albums of the year... The tightly interwoven, firmly focused sound... is rich, spooky, urgent and quite unexpectedly beautiful.” The album Griller followed in 1989, engineered by label mate Steve Albini, who shared Ut's raw aesthetic and captured the band’s intensity. Ut disbanded in 1990 and began performing again in 2010. They have since toured the US, UK, Ireland and Europe. 

Ut was an American band which originated from New York City's no wave scene, forming in December 1978. Recorded live at The Venue, London November 24, 1981

Tapscott and Winds encounters one of improvised music’s greatest minds embarking into introspective and restrained territory, his piano lines carving their way across the LP’s two sides via intoxicating melodic structures that would produce an almost meditative effect, were it not for the bristling tension that bubbles below each combination of notes. Into this tapestry of tonal, rhythmic, structural and intellectual complexity, Hart and Roberts intervene with brilliant responses, building upon years of collaboration and mutual respect between themselves and their leader, that culminates as a quite discourse - channeling numerous threads of African American music - with one of the most strikingly individual pianists of the 20th Century. Beautiful and creatively immersive from start to finish, Tapscott and Winds holds countless revelations for his fans who have thus far been only exposed to his work within the Pan-Afrikan Peoples Arkestra, unfurling an entirely new dimension from his hands. Never before issued on any format, Nimbus West issues this brilliant statement as an all-analog vinyl cut, mastered from the original 1/4” master tapes recorded in 1983, housed in a tip-on sleeve, complete with an insert containing liner notes by Mark Weber. They’ve only pressed 1000 copies of this wonder, so move fast. It’s not going to sit around for long.