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Audiophile reissue, lacquered directly from Axelrod's original EQ'ed master tapes at Capitol Records by Ron McMaster, housed in a deluxe gatefold jacket. 'Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.' - David Axelrod. Songs of Experience is visionary composer/arranger/producer David Axelrod's second album; it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality - the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk. This is the next Now-Again issue in a series of reissues centered around Axelrod's Capitol Trilogy - Song of Innocence, Songs of Experience and Earth Rot - which will see release through 2018. LP Contains oversized, 28 page booklet that delves into Axelrod's incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics' Brian Digenti. (CD 32 page booklet) 'There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.' - T-Ray.

Mutima is the debut album led by bassist Cecil McBee recorded in 1974 and first released on the Strata-East label. In his review for Michael G. Nastos called it "A landmark recording in early creative improvised modern music" and states "McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era... Mutima (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player". Dustygroove now calls it: 'A great bit of spiritual soul jazz - and one of the few albums as a leader recorded by the legendary bassist Cecil McBee! Cecil's joined here by a large group of players that includes Billy Hart on drums, George Adams on tenor, Onaje Allen Gumbs on piano, Jimmy Hopps on percussion, Art Webb on flute and Dee Dee Bridgewater on vocals - adding in just a touch of soulful color to the record as she did on a few other 70s sides like this.' Plus: 'The music's got that essential Strata East sound, with a rich and spiritual vibe on all tracks, and slight bits of funk hiding somewhere in the mix! Tracks are long and freely expressive - but never too outside, either.' A long lost classic we call it. And this latest reissue is the best vinyl version ever since it first appeared almost 45 years ago!

In September 2016 Chouk Bwa met the Brussels-based duo The Ångstromers. A traditional Haitian Mizik Rasin — roots music — band, Chouk Bwa, formerly Chouk Bwa Libète, realizes the source of a drum and dance style using percussion and call-and-response vocals that are infused with Haitian Vodou.

'Chouk Bwa' means 'Root' in Haitian Creole. Three percussionists and two dancers are led by composer Jean Claude 'Sambaton' Dorvil on vocals and the fer, an iron bar/bell that announces different rhythms employed to call up the spirits, assisted by Gomez 'Djopipi' Henris.

Chouk Bwa display the deep African heritage of Haiti, torn from Africa and secretly re-planted in a new land. The band members speak for Haiti, a nation that has seen the hardest of times and maintains a relentless spirit and strength through its culture.

The two tracks were selected from the first meeting with the Ångstromers at Café Central, Brussels, recorded live in September 2016. Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa's music.

"As members of one of New Orleans' most esteemed soul/funk groups of the 60's and 70's (The Delltones) Roland Treaudo & Manuel Herrera Jr. made a name for themselves recording iconic albums and sharing the stage with the likes of Lou Rawls, The Commodores, Dorothy Moore, Etta James, Bobby Womack and Jackie Wilson.
As a duo, Roland & Manwell went on to produce some of the best electronic funk tracks of the time and this record is our effort to shine a light on these underappreciated masters.
The tracks on this new 12" are some of their home recordings from 1980-1985 which showcase their massive talent as composers, instrumentalists and vocalists. Truly a must-have record for anyone interested in obscure 80's Synth Funk."

Genre: Electronic, World (Arabic). 180gram vinyl includes 12'x24' art print poster + 320kbps DL card. RIYL: Matar Mohammad, Pauline Oliveros, Nadah El Shazly, Lucrecia Dalt, Chino Amobi, Sote, Arca, Fatima Al Qadiri, Tacita Dean, Stan Brakhage. Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If I f If If If (ye ar-end li sts at The Wire (#39), The Quietus (#24) and A C loser Listen (Top 10), among other accolades).
Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'i q Tudaiq translates as 'minutes that bother/oppress/harass'—which presumably needs no further explanation—and features two distinct album sides of music. Side One realizes a long-held dream of Moumneh's to record a modern orchestral version of the popular Egyptian classic 'Ya Garat Al Wadi' by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of mallet and percussion instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh's melismatic lead vocals and electronic production sensibility pay homage to the genre's documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission.
The song's original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as 'Oh Neighbour Of The Valley', but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. 'Wa Ta'atalat Loughat Al Kalam' (' The Language Of Speech Has Broke Down') is an expression of wordless love and transcendent communication between two lovers' eyes in Shawqi's poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning - also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century. Side Two comprises four tracks of non-ensemble 'solo' material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory - voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loopdriven instrumental 'Bein Ithnein' ('Between Two' ) and the stunningly unsettling processed vocal track 'Thahab, Mish Roujou', Thahab' ('(The Act Of) Departing, Not Returning, Departing'). Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. Thanks for listening.

Limited Edition heavyweight 180g Vinyl EP - PURSUIT by KWALIA, available now! Following the success of his 'Wallflower' and 'Cloak' LP's, breakthrough artist Jordan Rakei has teamed up with classical composer Richard Melkonian for something entirely new, releasing their debut EP 'PURSUIT' under the name 'KWALIA'. Joining the dots between their respective musical sensibilities, a hybrid sound incorporating free moving jazz rhythms, Rakei's soulful vocals and Melkonian's Armenian harmonies came to fruition. A deep, melodic and emotive journey, the EP features string quartet, woodwind live band and heavy synths throughout. 'PURSUIT' is an authentic blend of two entirely different musical worlds that complement one another in an entirely new way. Rakei's expressionist lyrics unashamedly explore questions about faith, God, identity and power structures. Several of these themes came about through discussions between Rakei and Melkonian and the musical structures of each track follow this free-form enquiry; ideas are allowed to flow, unexpected tangents form and no predetermined song-form is ever adhered to. Running at 22 minutes in length, the EP is comprised of three long compositions.

"On Pursuit, they continue the fruitful partnership with three-long compositions that meld meandering jazz rhythms with Rakei's achingly beautiful vocal work". - XLR8R

"'The Waves' is a superb fusion of their disparate influences, the mellifluous arrangement in a perpetual state of flux, grinding dissonance leading to soothing ambience.

Jordan Rakei's vocal continually strains against the rules, displaying the same daring that flooded through Tim Buckley's late 60s work." - CLASH

Written and produced by Jordan Rakei and Richard Melkonian

Recorded, mixed and mastered by Rick David at Pink Bird Recording Co.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

Soundway Records present a special summer tribute double a-side 12" with two tracks from African musicians that both passed away within a couple of months of each other at the end of 2013 / start of 2014. Both tracks are perfect smooth summer tropical DJ fodder for the dancefloor.

On the first side South African singer Shaluza Max's massive Mashkandi / house anthem from 2002 gets a first release on vinyl. This track was a huge hit in South Africa and around the world on its release. With a soaring Zulu vocal and big sound it's a fitting reminder of a very talented musician who worked as a very well respected producer, composer and arranger who died tragically young at the age of 47 in January of 2014.

On the flip we drop a fairly unknown track from the mid 1980s from one of the biggest names in African music, Tabu Ley Rochereau. With a kind of almost balearic proto-house congolese pop cut with drum machines, and trademark sweet congo horn section, Hafi Deo is a beautiful track that fell into obscurity by perhaps being too smooth for the world music crowd in the mid 80s. Tabu Ley passed away in November 2013 in his late 70s with over 250 albums and 3000 songs to his name. A true pioneer of the congolese soukous sound, he was also one of the most influential African musicians of his generation.

Born in 1974, Aymeric de Tapol is a composer living in Brussels. He writes scores for contemporary dance projects, cinema, radio, and aims to tell stories through his audio creations and recordings. His music has been played on The Word Radio, Radio Panik, and NTS in shows including The Hot Selection, featured first on 26 July 2015. Songs played include 'La ronde des beaux yeux', 'J'ai dansé avec elle' and 'Les attractions'. He is a prolific producer of audio across styles and mediums.

The double 7-inch, BOMBINA, is Aymeric de Tapol's third release for Ångstrom Records. Each track evokes a different compositional mood, although the entire release can nicely fit into the traditions of drone & continuous music.

BENJAMIN FINGER, JAMES PLOTKIN and MIA ZABELKA craft a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory.

"Pleasure-Voltage" was born in the mind (and studio) of BENJAMIN FINGER - a composer, electronic music producer, DJ, photographer and film-maker based in Oslo / Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where FINGER set the musical frame before passing it on to his inspired collaborators: MIA ZABELKA who for decades now has been involved in countless projects, be it as musician (violin / electronics), curator or founder of the international sound art centre klang.haus and who has worked with a.o. JOHN ZORN, FRED FRITH, ELECTRIC INDIGO, ROBIN RIMBAUD (SCANNER), DÄLEK or PHIL MINTON. And last but not least there's JAMES PLOTKIN who entered the scene with his first band OLD LADY DRIVERS (or OLD) on EARACHE in 1987 and later was a member of KHANATE (with a.o. STEPHEN O'MALLEY) while also exploring the areas of dark ambient and electronics by working with or remixing SCORN / MICK HARRIS, K.K: NULL and many more.

On "Pleasure-Voltage" which had its live-premiere at the REWIRE festival 2018, the trio craftsa mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient / drone / psychedelia.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

Beautiful debut album from the incredible, Ce´lia. Conducted & arranged by Arthur Verocai and Roge´rio Duprat; featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others.
Ce´lia recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017, aged 70. This is her debut album from 1970.
Ce´lia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful 'Abrace Paul McCartney' and her husband at the time, Nelson A^ngelo, recorded some of the songs.
Features an exclusive insert of a translated interview with Celia, completed in 2011 in her hometown of Sa~o Paulo. Focusing, in particular on her recording work with Arthur Verocai, it showcases her wonderful sense of humour and how she was embracing her new legion of fans, particularly in the world of hip hop.
Official Mr Bongo reissue. Licensed from Warner Music.

Estimated shipping date: 18.01.2019

In 2012 Important Records released a historic 12 CD box set compiling much of Pauline Oliveros' early and unreleased electronic work. Reverberations 1 is the first release in an ongoing series dedicated to releasing the entire 12 CD box set on vinyl.

Organized chronologically by studio (here: Pauline Oliveros Home Electronic Music Studio, 1961 & San Francisco Tape Music Center, 1964-1966), the complete Reverberations not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself.

Pauline Oliveros, composer, performer and humanitarian was an important pioneer in American Music. Acclaimed internationally, for four decades she explored found, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and it eludes many who try to write about it.

In partnership with the Pauline Oliveros Trust, Imprec will be releasing essential titles from Pauline Oliveros' catalog on vinyl including the complete Reverberations box set, Tara's Room, Sounding/Way (with Guy Klucevsek) and many more.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

In the cracks that sprawl between electronic and analog music, visual art, and craft creation, Yamila dances on the edge of sound and conceptual heights. The Spanish composer, cellist, singer and producer is based between Belgium, Holland and Spain. In recent years Yamila has created music for contemporary dance productions in places such as The Gothenburg Opera, Netherlands Dans Theater, and Dance Forum Taipei, among others. Her projects have been presented at festivals such as Sonic Acts Festival (Amsterdam), Arts Electronica (Linz), Seoul International Computer Music Festival, STRP Festival (Eindhoven), and Today's Art festival (The Hague) to name a few.

With 'Iras Fajro' (Forbidden Colours), her debut album, Yamila, summons in 11 songs with the strength of electronic sounds in front of a fragile voice that at times unfolds in small coral clusters. The brilliant electronic arpeggios and rhythms dissolve in the velvety voices of the cello, which are sometimes intertwined with the creations of two collaborators, the British producer and composer Clark (Warp) and the multifaceted ex- flamenco Nin~o de Elche (Sony).

My love wears forbidden colours My life believes My love wears forbidden colours My life believes in you once again

'Sometimes it's hard to say how you feel,' says songwriter-vocalist
Jade Vincent. 'These songs are vulnerable stories for me to tell -
they're things I couldn't say out loud. But I found that I could sing
them. And then I closed my eyes when they would listen.'
Listening to Vincent's songs were her partner - producer/composer
Keefus Ciancia - and DJ and producer/composer David Holmes.
Together, Vincent, Ciancia and Holmes make up Unloved, the musical
project that evolved out of a late-night Hollywood bar in 2015,
releasing a stunning debut album the following spring and this year
crafting the soundtrack to Phoebe Waller-Bridge's acclaimed new
series 'Killing Eve'.
Introduced to Ciancia through soundtrack work, Holmes found
himself invited to DJ one night and to curate other nights at the
Rotary Room. To invite Holmes to DJ is to unleash a kind of whirling
dervish of musical enthusiasm but through those nights the trio
discovered a shared love for 60s girl groups and French pop and film
noir soundtracks, Brigitte Fontaine, Shuggie Otis, George 'Shadow'
Morton, Bruno Nicolai, Lee Hazlewood and Jack Nitzsche, along with
a tremendous desire to work together.
Their debut EP - 'Guilty Of Love' - and the full-length, self-titled
album that followed in the spring of 2016, offered a quite remarkable
thing: a sound at once hauled out of the silty depths of the past and
simultaneously wholly modern. There was the soft hiss of a lo-fidelity
recording - the murky crackle of sample, beats and half-remembered,
long-lost favourite tunes. However, much of the songs' success
belonged to Vincent's sublime voice and lyrics, both possessed of an
aching, rich-smoked tone of loss and love.
Unloved's second album, 'Heartbreak', is about love. The album plays
out each song like a vignette of nothing but love. The songs that rose
up were in some ways surprising, but also felt insistent. 'They're real
feelings and real experiences that I had the guts to finally say, but
always ambiguous, this is very important to me,' she explains, 'and
always about love, one way or another.'
LP pressed on red coloured vinyl with digital download code.

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie "Shoo-Be Doo" Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music. Thom Jurek/AMG

Beautiful 1 Lp Edition 140g Vinyl, Heavy 350gsm Sleeve, Sticker

- Official Reissue Of Hard-to-find Favorite L'univers De La Mer By Dominique Guiot, Considered By Some The Greatest Library Album Ever Recorded. Available On Vinyl For The First Time Since 1978 And For The First Time Ever On Vinyl And Digital.
- For Fans Of Synthesizers, Library Music, Prog-rock, Experimental, Ambient, Folk, Medieval, Movie Soundtracks, Sci-fi, Schicke Führs Fröhling (sff), Tangerine Dream, Mike Oldfield, King Crimson, Didier Bonin, Claude Perraudin, Jacques Wyrs, Oceanic Vibes And Giant Squids.

Wrwtfww Records Is Honored To Announce The Official Reissue Of Super Rare And Fabled Prog-rock/library/synth Album L'univers De La Mer By French Composer Dominique Guiot. The Full Length Release Is Sourced From Original Masters, Available On Vinyl Lp For The First Time Since 1978 And Housed In A 350g Sleeve With A Spellbinding Artwork By Surrealist Sci-fi Artist Jacques Wyrs. It It Also Available On Cd And Digital Formats For The First Time Ever.

Written, Composed And Played By Dominique Guiot With His Mellotron, Minimoog, Clavinet, Organ, And Guitar, L'univers De La Mer Draws Its Inspiration From Deep Sea Exploration, Oceanic Creatures, And Underwater Kingdoms. The 12-track Album Navigates Organically Through Diverse Mutations Of The Prog-rock And Synth Kind, From Scenic Meditation Pieces ("wind Surf Ballad"), To Medieval Electronica ("une Ballade Pour Une Goélette"), Spacey Smooth Jazz ("les Deux Poissons"), Funked Out Fantasy Folk ("l'univers De La Mer"), Or Even Incredible Sega Mega-cd Vibes ("la Danse Des Méduses") - Altogether Painting A Fascinating World Of Eerie Magic And Subaquatic Sensuality. It's Escapism At Its Best With Subtle Overtones Of Schicke Führs Fröhling, Mike Oldfield, And Claude Perraudin.

The Sound Of The Album Is Brilliantly Captured By Its Surreal Cover Art, The Work Of Legendary Artist Jacques Wyrs, Whose Memorable Record Sleeves Include Klaus Schulze's Picture Music, Eloy's Floating, Ange's Le Cimetière Des Arlequins, And The 1974 Reissue Of Larry Coryell's Spaces.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya