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To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened.

Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling.

“Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s.

In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world. (Jérôme "Kalcha" Simonneau)

Keeping his carbon footprint at a minimum, Santilli sails from Sydney to Hamburg via ten textured vignettes delicately drawn with guitar, bass and organic percussion. Relaxing, reflective and endlessly
beautiful, ‘Tidal’ explores elemental inspiration through a humanistic gaze.
Whether you know Max Santilli through Ken Oath duo Angophora, previous releases ‘Surface’ and ‘In Circles’, or this is your first time making his acquaintance, you’ll agree he’s right at home on the
Growing Bin. The multi-instrumentalist crafts exquisite acoustic music in tune with the finer moments of Windham Hill and ECM; a perfect fusion of talent, balance and the emotion shared by each release on the Hamburg label.

As befits its inspiration ‘Tidal’ is an organic affair, related through bright acoustic guitar, hazy chimes and hand played percussion. Where the Australian draws you in with hypnotic repetition, the subtlety, warmth and tonal variation serve as a welcome reminder we’re living off grid. Though expert fretwork
often takes centre stage, especially on the delicate B1 ‘Warm You Give’, it’s the blend of kalimba, woodblock, hand drums and shaker which truly transport the listener through open waters; a rhythmic
breeze carrying us through the maritime drones and bowed squall. At times the salt air is spiced with cardamom and cloves (‘Sea’) or lemongrass and galangal (‘Valleys’), as we skirt the Indian Ocean or
the Java Sea. ‘Lapse’ provides subtle hints of fourth world jazz as mallets take the lead, leaving the guitar to provide its own shimmering texture.

Clear your mind, clear your schedule and make some time for ‘Tidal’, an opportunity to breathe in time with the planet

The first in a series of Worship Recordings dub plates that features the music and not the artist. Only 200 copies will be available so once they are gone thats it.

Split Single from the garage combo of The Panturas and Sundancer sung entirely on their
regional language. An exclusive 7” split from Indonesian surf-garage-rock behemoth The
Panturas and Sundancer, hailing from Jatinangor and Lombok Respectively. It was the
first series from their upcoming “"Singel Klub" series.
"Lasut Nyanggut" by The Panturas their first song sung entirely in Sundanese language.
The band appointed Ricky Virgana from White Shoes and The Couples Company fame to
be their producer, and successfully produced a garage psych-surf-calypso with a mixture of
traditional oriental sundanese pop aesthetics. The lyrics of the song itself paints a picture of
someone fishing.The title itself is a popular term among fishing enthusiast on the western
parts of Java.
“Dedare Tanjung” or “Gadis Tanjung” roughly translates to “the girl on the cape”, was
inspired from “Dark Eyes” a russian folk song and Ismail Marzuki’s very own “Panon
Hideung” which is a song sung in Sundanese language. The band translates the song to
their own mother tongue language which is the Sasak, a language that the band originated
from.

Ten years after of the passing of Dutch blues singer Harry Muskee on
September 26th 2011, the Cuby + Blizzards Foundation presents the very
last encore of the legendary blues band.
Internationally Cuby is best known for The Window Of My Eyes, which, apart
from being a national chart hit in Netherlands, was also featured in the
soundtrack of the George Clooney film “The American”.
Sound engineer Ed Roose delved into his archives and came up with a memorable live album. One more time Grolloo Blues with Harry ‘Cuby’ Muskee, whom
we miss but who shall never be forgotten.
National blues lovers cherish his body of work, which is now complete.
Harry Muskee - Vocals Erwin Java - Guitar Helmig van der Vegt - Piano & Organ Herman Deinum - Bass Guitar Hans Lafaille - Drums Horns: Mikl s F rst Bert
Pfeiffer Peter van Soest Wouter Schueler

Rico started his career in the late 1950’s playing with the likes of Prince Buster, Laurel Aitken and Max Romeo as a session musician in addition to creating his own recordings. He moved to the UK in the early 60’s and continued performing live and playing as a session musician. He signed to Island Records in the 70’s, releasing his first solo albums.
In 1979 Rico met Jerry Dammers and began playing with The Specials. He became an honorary member of the band and featured prominently on some of their most famous tracks, along with Dick Cuthell, which produced a distinctive sound. In 1980 he released his first album for the 2 Tone label, That Man is Forward.
Jama Rico was the second album released on 2 Tone Records in 1982. This album felt like a celebration of Jamaican musicians - Jama Rico was an altogether different beast. This was a more resolute statement, more African in its rhythms and a hidden treasure within the 2 Tone label.
This time the recording sessions were split between Joe Gibbs studio in Jamaica and sessions at London’s Town House Studios. The Jamaican sessions again were produced by Dick Cuthell and comprised of musician friends Sly Dunbar, Robbie Shakespeare, Headley Bennett, and Ansel Collins. The London sessions, produced by Dick and Jerry Dammers, featured Specials John Bradbury and Horace Panter, along with Tony Utah and Satch Dixon.
This new remaster, originally released in May 1982, is a part of the ongoing 2 Tone ‘40th Anniversary’ releases.
The package is a 3mm Spined Sleeve, 180gm Heavyweight Black Vinyl, printed inner and bellyband.

Weird.ltd presents its second reference in the hands of the AREA 51 duo made up of Camilo Gil & Rodrigo Valdivia.

Four fresh house cuts in their deep nuances, and hypnotic cuts of minimalism with a South American flavor.

Plus two remixes, like ASTRAL, by UK legend TOMMY VICARI JNR.
And the Venezuelan based in Berlin, ARGENIS BRITO.

Undoubtedly a must for lovers of dance worship.

Here I leave you the support, and the feedback from the djs, so you can listen, and hopefully these days contact Jordan, to make that possible.
support of Djs such as:

Rick Wade - Dj Aakmael - Dorian Paic - Maher Daniel - Sascha Dive - Jef K - Norm Talley - XDB - Delano Smith - Politics of Dancing - Djebali among others ..

Feedback:
Jorge Caiado: Remix for Argenis its for me.
Dorian Paic: Remix for Vicari Jnr Killer!
Gari Romalis: All the stuff its for me, thanks
Amir Javasoul: A2 and B1 for me, strong stuff.
Mariano: All tracks for me !!!
XDB: argenis brito did a killer remix --- from first listen seems to be a dancefloor weapon,
Norm Talley: World of deep, yeah!
Peter Grummich: Solid Ep, Remix Argenis Brito its for me
Djebali: "Love the Ep, great music with superb remixes! Will play"

Arkada records is excited to announce our 3rd release - forthcoming split EP featuring the sounds of Phausis and JFrank.

We are very happy to present the first part of the EP and the sounds of one of a kind underground producer and the man behind Arkada label artowrks Phausis also known under his Dj alias Agent2.

Born in London and raised on a mix of electronica and Detroit techno, Phausis doesn't put his head above ground to release music very often. With the occasional release on Earthlings compilation, acre recordings, Subgrade and the Anti- The Social Network here he presents two rare tracks of electro/acid especially brewed for Arkada records.

Second part of our EP presents the music of the Rome based most talanted electronic music producer JFrank.

Co-founder and Generalissimo at brainstormlab, and master General at Distant Future with well over 10 years of live gigs under his belt, JFrank is well known for his late night dancefloor breaks and has played everywhere from the arthouse to the doghouse – London warehouses and Berlin basements to Spanish squats and Roman ruins – with his special brand of space-age electronics. Along with a broad portfolio of releases, he currently has vinyl out on Pyramid Transmissions, Kaer'Uiks and The Irrational Media Society

On the second chapter of Arkada003 - 2 outstanding Electro/Glitch tracks of Julien which were also produced especially for the release.

"On March 2, 1991 Serge Gainsbourg bowed out and left France orphaned by one of the most important singer-songwriters of French song. Thirty years later, his songs are still with us, proof of their quality. Indeed, beyond the many successes that have marked a career spanning more than thirty years, Gainsbourg's repertoire is abundantly rich. Always at the forefront of innovation, he has been able to adapt his delicate and classical writing with the most modern musical styles: jazz, reggae, funk ... without ever losing his eloquence or his soul. This 2LP Set sends us back and shows how Serge Gainsbourg was an emblematic and major figure.Reviews L’Echo, London Macadam,
ADS - L’Echo, London Macadam"

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 made up of 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.

As a duo they have been performing and playing together extensively for the last 3 years and we have toured Indonesia several times over. Last year they were invited to perform internationally for the first time at the Melbourne International Jazz Festival sharing the stage with many great musicians such as Faust, Yoshida Tatsuya, Tony Conrad and Charlemagne Palestine.

“The earth shall rise again...”
AMOR/LEMUR finds the Glasgow quartet AMOR in partnership with Norwegian improvising ensemble LEMUR to hopeful and ecstatic effect. Conceived before the onset of Covid 19 but finished during spring lockdown, their eponymous EP is the most loose, alive and elevated recording in AMOR’s catalog. AMOR/LEMUR takes the template of throbbing avant disco expanded upon on previous recordings for Night School and lifts it into new

territories, with new tonalities and unexpected turns on the journey. More than anything, the expanded, near- cinematic expression of human connectivity feels like a lightning new energy to grasp in the dark.

Following a revelatory concert in Glasgow in January 2020 wherein the two sets of musicians met and performed together for the first time, a recording session was arranged the following day, resulting in the most elevated permutation of AMOR’s art to date. Each track was built upon a rhythmic bedrock of percussion and drums performed by Paul Thomson and samples/synthesizer by Luke Fowler. Thomson used bamboo Javanese gamelan (most notably on For You) and scrap metal, as well as traditional percussion and drums while Fowler incorporated processed ambient field recordings recorded in enclosed acoustic spaces around Glasgow. Singer/pianist Richard Youngs contributes some of the most bright and mindful work of his career. Acoustic bass player Michael Francis Duch, whose lush playing as ever provides the elastic spine to each song, scored the string parts for LEMUR on piano at home in Norway. The addition of swelling strings and drones fills out the AMOR sound significantly, lending a sonorous tone to 8 minute, epic closer For You or an ascending melodic introduction to Stars Burst that feels like a new morning dawning on a world saved from certain death. With the circumstances of lockdown forcing the musicians to work differently, a thread of optimism and utopia grounded in the moment weaves through these tracks. Unravel reveals a spine tingling vocal from Youngs. It’s a song about the simultaneously grounding and ecstatic effect of love, feeling connected to others. It’s a simple message, “I’m finding myself in your smile, always unravels me” speaks of ego death, the dissipation of the material into a nirvana of pure energy, the power of surrender. This isn’t a quasi-religious message, this is the power of each other, a love song to connection in a temporary age of isolation. Stars Burst is a play on the inner and outer cosmos, with narrator Youngs exploring wonder to a pounding galloping rhythm and snake-charming synth. It’s an open dance, with the group locked in together for the wild ride. Fear is the centerpiece of the record, starting with drones and scraped overtones before swirling synth notes filter upwards to meet reverberating minor chords. Over 8 minutes of tight but loose playing, Youngs is the shaman instructing us to use Fear as a celebration of the moment, embrace it and jump into the unknown. The only way to overcome your fear is to feel it, use it as an energy. The use of the studio as an instrument throughout side 2 is particularly important, with the dubbing and mixing prowess of engineer Paul Savage (who mixed unattended due to lockdown restrictions) and tape manipulations performed by Jason Lescallet coming into play. For You closes out with a largely instrumental, evolving composition that uses many of the abstract and novel aspects of this permutation to aid the trance. It’s massive, an unfurling creature with unexpected tonalities and serious heft.

Take Five is probably one of the jazz titles that is best-known to a mass audience. It was composed by Paul Desmond and it appeared on the album Time Out by the Dave Brubeck Quartet.

Pianist Brubeck had studied veterinary medicine before turning to music, and in 1949 he formed an octet, and then in 1951 his famous quartet with Paul Desmond playing saxophone. He signed with Columbia in 1954 and built up an excellent reputation, but in 1959 he became famous around the globe thanks to two titles, Take Five and Blue Rondo à la Turk.

In France, the singer Claude Nougaro made the quartet’s work popular when he wrote the French lyrics for versions of Three to get ready (adapted as Le jazz et la Java) and Blue Rondo a la Turk (with the title A bout de souffle). Dave Brubeck was “quiet man”, far from the legends and excess often linked with jazz: he would spend six decades in a world where life, and jazz, was “cool.”

Classious mental techno deepness... Thin and mystical... A space travel. SCIFI Techno sound !

Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser 'BT027', Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia.

The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat.

However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for 'IDEAL', Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details.

Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.
'Nist-Nah' presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’.

On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog.

Treating Anger Disorder” is a frantic 4 tracks fast paced techno E.P.
that wraps murderous drums, dangerous acid bass lines and unsettling digital synthesisers. On “The Voice”, discomfited Underworld reminiscences leak out the struggle between the artists and the code, knocking over all the ravers.
“Rage Therapy” is the name of a laboratory research on the wretched conditions of dancing humans conducted with a self developed javascript computer program by two expert researchers of Techno social semiotic.

Multi-instrumentalist and composer David 'Dijf' Sanders combines a broad mix of styles with a boundless approach full of multicultural blends. The Ghent based artist has always been working on various projects, collaborations or productions at the same time - lately he worked with Warhaus, Sylvie Kreusch, Mattias De Craene's MDC III and Wim Vandekeybus (Die Bakchen - Lasst uns tanzen), to name a few - but that did not keep him from releasing successful solo records as well.

Dijf, who was a member of the (synth)pop bands Teddiedrum and The Violent Husbands, already raised excitement with the exotica-oriented 'Moonlit Planetarium' (2016), an album that created an experimental clash between percussive, ethnic sounds and rather Western beats, occasionally topped off with his mysterious vocals.

After the acclaimed eclectic gem Java (2017) for which he recorded in Indonesia, Dijf Sanders sets off on another musical adventure to another part of the world. This time it is a world infused by Nepalese, Tibetan, Chinese and Indian culture. Dijf traveled to Nepal, and used his field recording and impressions to create a new universe together with drummer Simon Segers, Saxophone player Mattias De Craene and sitar player Nicolas Mortelmans.

Expect a sound trance where monk chanting, eclectic beats but also mantra style techno will be fused. Namaste!

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

360 degrees of freedom is overwhelming in music, and you need not truly begin to find freedom until you put yourself under extremely narrow constraints.” It was with this quote that Don Slepian laid the groundwork for over 40 years of musical output. Slepian’s work draws equally from the harmonic terrain he explored while performing with a Javanese gamelan ensemble, as well as his time spent building and modifying electronic audio equipment for studios and fellow musicians. Gravitating towards improvisation and experimentation, Slepian built a breathtaking sound-world that stretched the briefest of moments into an eternity of detail and depth. In 1980, Slepian self-released a series of cassette albums that built upon and perfected this practice, offering “New Music for Digital Orchestra”.

New Dawn is one of those albums - an enthralling example of New Age euphoria, and early-electronic
experimentation.

New Music For Digital Orchestra? An ironic subtitle for an album without any traces of digital technology found within. The instruments, tools, and recording techniques are entirely analog. A Korg PS3100, Mellotron voices, Mellotron flutes, analog tape echo and analog recorder were used to create both of the pieces found on New Dawn with both tracks being recorded live with no overdubs