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.

This album by Italian experimental / noise artist Torba (Mauro Diciocia) is the follow-up to "Musica Conventionale" (2019) and marks the second installment in "Le Musiche" trilogy. "Musique Inconcrète" is a macro cut-up of sound-screens reorganised as quasi-organic narration: Fragments of unfinished compositions, roughly assembled according to a mere aesthetic criteria. Beyond the sporadic use of oscillators and 1/4" tape manipulations, the LP is made out of field recordings collected in the region of Salento in southern Italy. All environmental sounds were captured with a walkman or mobile phones in order to give back the domestic feeling of an abandoned opera. The concept behind the album revolves around the idea of the inconcrète. MD was strongly influenced by the work "Incompiuto - The Birth of a Style" by Italian contemporary art collective Alterazioni Video. They claim that "Incompiuto" (the unfinished) is the only Italian art style of significance in the past 50 years: publicly funded architecture or infrastructure which, for a variety of reasons have had their construction interrupted, leaving behind a series of "ruins in reverse". --- Lacquer cut by Andreas Kauffelt. Ltd x 300 copies with photography by Gabriele Albergo. --- Fragment Factory, 2019

Stellan Veloce’s first record for Hyperdelia is not only their debut album but simultaneously the inception of a band: Stellan Veloce’s Complesso Spettro. At Veloce’s disposal, the players have turned into a Frankensteinian super group: with Andreas Dzialocha on electric bass, Bridget Ferrill doing electronics & processing, Julia Reidy on guitars, Marta Tiesenga on baritone sax, Earl Harvin and Jesse Quebbeman-Turley on drums, Elena Kakaliagou playing horn, Carlo Spiga aka Makika at the launeddas, Pierpaolo Lorenzo playing harmonium and Stellan Veloce on cello.The A-side (‘Brackish’), initially recorded live at Robbie Moore’s Impression Studio, is the result of hours of improvisations loosely based on Veloce’s graphic scores. In the hands of the composer, the recording material soon turned into an abstracted collage. Despite the asynchronous addition of further drums and saxophone, the piece remains the outcome of a noisy live band due to the heavy leakage on the different takes and spatial distancing effects inherent in the recordings. The B-Side (‘Briny’) responds to the staggering layers of space and time. ‘Briny’ is a drone piece that emerges from the interplay of cello, bass and horn and acts as a Romanticist counterpart to ‘Brackish’ while the addition of launeddas – a Sardinian woodwind instrument –, harmonium and electronics returns it to rougher timbral territories.Stellan Veloce’s Complesso Spettro is an exceptional music that combines the power of band playing with Veloce’s sense for deconstruction and rearranging. The record takes its cues equally from Talk Talk’s meticulous recording and editing processes, the grand narratives of Nate Wooley’s Seven Storey Mountain, Animal Collective’s textured noise or the free-wheeling play of Zeena Parkins. The album is the work of a shoegaze ensemble that is indebted to Italian prog rock and Free Jazz as much as to pastoral post rock and spectral composition.Stellan Veloce is a Sardinian composer, performer and cellist living and working in Berlin. They compose pieces for acoustic instrumental ensembles and develop installations and performance pieces focusing on timbre, repetition and sound densities. Veloce also works as a touring band member and studio musician, recently with Peaches, Kat Frankie, Dear Reader, Kenichi & The Sun. They have collaborated with composers Marta Forsberg and Neo Hülcker, choreographer Sheena McGrandles and others. They are co-founder of the collective and online platform Y-E-S.org and are part of the group Fem*_Music*_.  ---   Composition, editing, production by Stellan VeloceStellan Veloce - cello, additional bass (A, B)Andreas Dzialocha - electric bass (A, B)Bridget Ferrill - electronics, processing (A, B)Julia Reidy - guitars (A)Marta Tiesenga - baritone sax (A)Earl Harvin - drums (A)Jesse Quebbeman-Turley - drums (A)Elena Kakaliagou - horn (B)Carlo Spiga aka Makika - launeddas (B)Pierpaolo “the coach” Lorenzo - harmonium (B)Recorded by Robbie Moore, Stellan Veloce, Andreas Dzialocha and Ole Jana in Berlin; and by Marta Tiesenga and Jesse Quebbeman-Turley in Los Angeles. Mixed by Robbie Moore at Impression Studio, Berlin. Mastered by Stephan Mathieu at Schwebung Mastering, Bonn. Artwork by Ale Rodriguez, Design by Xerox Martins.Grazie a Silvia e alla Monterico Fam.

Roland P. Young is back for his fifth release on EM Records, back in the United States, back in San Francisco after sojourns in New York and Israel, back where he resided several decades ago. But despite all this talk of return, he continues to resolutely forge forward, combining his tradition-rooted horn mastery with an ever-expanding electronic palette, fusing wind with electricity, fusing American roots with an outward global vision. Recorded in his home studio, Young’s expansive multi-instrumental mastery and studio skills have created a dense yet uplifting set of tunes, very melodic and groovy with a joyful sense of return and renewal. Roland is here.

Zea is Arnold de Boer: minimal, full-on, electric, acoustic, eclectic, strange-edge. Deploying guitar and sampler for intense and high energy songs.

Career Spanning Survey by Punk / Art Rock Legends, The Work It was that time of the century: punk had seen prog off the premises and the New Wave had clambered over their exhausted bodies to claim the citadel for itself. The genius of the New Wave was that it didn’t represent any particular musical idea; it was just a name, so anything could fly under its banner – as long as it observed the accepted musical, attitudinal and sartorial conventions. Poorly disguised hangovers from prog, jazz or metal would be rooted out but, in the newly polymorphous cultural climate, rebranding – if honest – would not be punished; indeed, everyone was at it. And the prize was a novel and reinvigorated aesthetic. extract from the text of Chris Cutler 2017 Mick Hobbs : bass, guitar Rick Wilson : drums, percussion, voice, ‘cello Tim Hodgkinson : flat guitar, keyboard, alto sax, main voice Bill Gilonis : guitar

Spittle Records present a reissue of The Work's Slow Crimes, originally released in 1982. From the heart of the late '70s/early '80s British underground scene, an extraordinary album at the very edge between art-rock and punk. The Work were a full electric band featuring Tim Hodgkinson, his very first project after the seminal experience of Henry Cow, and three younger maverick figures from the London underground scene. Guitarist Bill Gilonis (The Lowest Note, News from Babel, The Hat Shoes), bassist Mick Hobbs (Officer!, Half Japanese), and drummer Rick Wilson (Family Fodder). The Work embodies the crucial step between two unrepeatable decades in music. An unprecedented mixture of rock complexity and punk attitude. Unapologetically raw and direct, Slow Crimes, The Work's first album originally released in 1982, stands as one of the most essential and uncompromising pieces of vinyl in the field of experimental rock. This edition comes in printed inner sleeve with unpublished pictures and various memorabilia; Includes CD containing the album along with four extra tracks, three of which are from The Work's first and only 7", including the anthemic "I Hate America".

A bootlegged record of a space and its echoes. Recorded on Grain Tower Battery, a Victorian fort on the Isle of Hoo only accessible at low tide which has led a life of repurposing and eventually decay. By the time it was completed in 1855, the original purpose and technology was outdated, and it has never really been in proper use since. A mysterious fate. The base material for the music was made from reverberations of spaces in the tower in a feedback loop, which was then re amplified back into the building, in a sense amplifying what was already there.

Walser, the new album by Robert Piotrowicz is a reiteration of the artist’s soundtrack for the eponymous film by Zbigniew Libera, in which the fictitious Concheli tribe enacts its ritual gestures through music and performance. Rather than following a traditional soundtrack format, where music is written after the film and cut to illustrate the cinematic form, Piotrowicz approaches the film as a point of departure to create an altogether autonomous sound work. While its aesthetic narrative echoes the one that we are submerged into throughout the film, the record’s underlying structure and dramaturgy have been reconfigured and reworked into a new spatial and affective arrangement. Unlike Piotrowicz’s previous works, Walser is predominantly an acoustic album, with a nod to his previous projects that imagined fictional music ensembles (such as Rurokura and Eastern European Folk Music Research Volume 2). The instruments’ idiosyncratic sound is a result of a multifaceted composition process, which took custom-made instrument design (wind, percussion and strings) as its starting point, prototyping the music’s structure and meaning, and the composer-led choreography of actors’ gestures that took place during the film shoot and in its originating performance workshop. In the film, Piotrowicz’s original music score is thus enacted by a body of sound, rather than the by actors on the film set, as it fills up the metastructure devised by the composer. Of course music always influences the way one views a film, but in Walser it becomes a cinematic language of its own kind, an extension of the camera, an omnipresent observer and narrator that sculpts our experience of watching and listening. In the album, sound returns to its first and foremost dimension, time, and while the storyline is no longer in the foreground, its immaterial traces persist in the LP’s structure and narrative, incorporating a myriad of mood changes and dramatic turns. The album is an analogue recuperation of the primal, original sound where music finds a new form of embodiment and occupies a new territory, beyond the screen and beyond the image. It is a sensuous body of sound that carries meaning beyond traditional ways of verbal and pictorial communication.

Literally taking off where the acclaimed Precious Waste in our Wake LP finished off, London based outfit Triple Negative return with another exemplary amplified jigsaw puzzle. The playback of this reality is garnished with humour, bedlam, beauty and a robust fear of the predictable. As payback for your acknowledgment our international line-up deliver a disparate mix of genres and histographies rendered into a devious dish of rhythm, song, balladry and nerve. This is Not This Heat. A.Kostis/Kostas Bezos’ ‘Stin Ypoga’ (1930) is the template for Bad emotional investments whilst the haunting Fine Cargo Lacquer takes flight from the morbidly on point novel The Death Ship by B. Traven. God Bless the Death Drive could be construed as a compass to navigate the wayward wonder we inhabit or it can just be enjoyed. This second full length steers into scathed realms of everyday junk and poignant punk, all pressed down on the lowest quality ethylene and chlorine. Triple Negative return with another stamped digest of hope as joke, noise and song, rollicking rhythm and seasick soul. Edition of 500 copies in high gloss sleeve with printed comic book inner sleeve.

12" Vinyl LP of Z'EV's The Invisible Man / The Old Sweat released by Coercion.  --- Element/L 1-6 Recorded May 1987, Processing June 1981 O.D Studios NL "Q" 3 Recorded July 1981 at O.D Studios NL Additional Percussion by Gerrd Beuken and Rekk Iersen Phase Relations July 1981 by Z'EV  --- The Old Sweat Selections from KPFK Radio in Feb 1987 recorded by Carl Stone Selections from Rijksmuseum Kröller Müller Otterloo, NL in Feb 1984. Recorded by Dorohea Franck