Ston Elaióna is John Also Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours - bending time at the otherworldly juncture of consciousness and place. Translating from Greek as “in the olive grove”, Ston Elaióna is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound.Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade - performing and recording as a solo artist (JAB), with the trio Forma and with CV & JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations. However, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year. Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, Ston Elaióna is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides.Following two solo albums defined by outward facing temperaments - 2022’s Out there in the middle of nowhere (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) - the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound. In parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across Στον Ελαιώνα (Ston Elaióna)’s two sides.The album’s title track and opener “Ston Elaiona” is but one key to opening the album’s multilayered worlds: swells of intertwining of bass flute, oscillators, and DX7ii channel feelings of playful contentment felt by Bennett when “in the olive grove” or in his apartment, reflecting quiet moments spent among the ancient hills of the noisy city that he now calls home. Drawing upon chance encounters within daily life, the flowing synthesizer tones of “Gecko Pads” dance in motions that seem to mimic the movements of a house gecko that appeared on a wall of Bennett’s studio - a quick dash, and then stillness - while “Hailstorm” expands this vision of domestic intimacy, playing the rise and fall of bass flute melodies against the captured sounds of an intense storm outside: a potent sonic metaphor for his intra and extra worlds. As the sharpness and depth of Ston Elaióna comes into focus, playfully threaded amongst its seductive tonal interplay, we encounter Bennett moving across dimensions of time, topical experience, and layers of cultural conjunction. Like “Hailstorm”, “Easter Daydream” incorporates field recording, but here his flute tones are joined by urban ambience and subtle punctuations of melody and rhythm, captured from a day long bell procession at the small church across the street from his apartment during Orthodox Holy Week, seeding the composition with a deep sense of immediacy and place that draw consciousness well beyond the limits of sound.Moving the narrative possibilities further out into the landscape, “A Handful of Olives” utilizes Bennett’s technique of triggering long synthesizer tones with another instrument - in this case, fluctuating modular synth drones underscoring the glacial melodies of his bass flute. Immersive and meditative, the piece’s title nods to the resilience of a character from a Nikos Kazantzakis novel, who begins a long journey across the countryside with nothing but some wine, a piece of cheese, and a handful of olives. “First Lament” is the oldest work on Ston Elaióna, having been performed live by Bennett, in evolving states, for the past three or four years. A strongly affecting exercise in deep listening, meditation, and sometimes emotional catharsis, like “A Handful of Olives” it utilizes his technique of triggering long synthesizer tones with the flute, extending and overlapping resonances to create tone clusters that hang in the air with an otherworldly effect, echoing Bennett’s heartfelt yet restrained melodies of lament.Tapping a sense of dualism endemic to Greece, where the ancient world continues to occupy the present day, both “Sacred House” and “Oracle” refer to the building that housed the Oracle of Ancient Dodoni in Epirus, where people have continued to seek guidance or assistance from the gods for thousands of years, in modern times by hanging small notes on the tree within its grounds. Unaccompanied pieces composed and played on Bennett’s just intoned synths, each positions haunting, slow paced melodies - imbued with metaphysical and spiritual weight - as bridges that span the millennia and diverse states of the conscious and unconscious mind. With “Seikilos Epitaph”, Bennett takes his immersion into the subcutaneous depths of Ancient Greece one step further. The piece is a version of the oldest known surviving complete musical composition, found notated in Greek on a stone pillar / stele on the site of an ancient village. Played on his DX7ii, and subtly permeated with field recordings of environmental sounds, his brilliant rendering builds bridges between the present and the distant time Bennett calls forth: another key, equal to the title track, to unlocking the album’s lingering depths.John Also Bennett’s Ston Elaióna forms an elegantly rigorous world of electroacoustic sonority, bridging the expanse of time with the immediacies of environment and happening in the here and now: a profound sonic mediation on the countless dimensions unlocked by life in Greece.

When they performed a handful of concerts as a duo in the summer of 1998, Kristen Noguès and John Surman had already worked a lot on the interweaving of genres: Noguès had confronted traditional Breton music with contemporary music and Surman had changed his jazz into atmospheric numbers that would be amongst the finest recording on the ECM label. As a duo, the harpist and the saxophonist would go on to invent something different: free folk, traditional ambient, modal ‘fest-noz’ … it is difficult to label, because the duo Noguès / Surman is one of a kind. Diriaou, means “Thursday” in Breton. It is also the title of the first piece that Kristen Noguès and John Surman played together in 1991. Noguès learned the Breton language as a child, at the same time as the Celtic harp, – taking lessons with Denise Mégevand, who would go on to teach others, notably Alan Stivell. At the beginning of the 1970s, Noguès discovered Breton singing (soniou and gwerziou) At the beginning of the 1970s, she discovered the Breton song tradition (soniou and gwerziou) and became involved in Névénoé, a cooperative of traditional expression founded by Gérard Delahaye and Patrick Ewen. She recorded a single with the two musicians in 1974, then her first album, two years later. Everyone who has listened to Kristen Noguès debut Marc’h Gouez, is now aware of her mysterious plucked strings. Her art, leaving Brittany, would go on to take in all landscapes and folklores, in the same as that of John Surman, conceived a little further north including vernacular jazz, international fusion with Chris McGregor or Miroslav Vitouš, and exploring more personal territory. Remember the Cornish landscapes in one of the best albums on the ECM label : Road To Saint Ives. Kristen Noguès and John Surman thus shared an ‘extra-Celtic’ inspiration infused with free improvisation. On this recording, made in 1998 by Tanguy Le Doré at the Dre Ar Wenojenn festival, the duo uses original compositions which refer back to traditional songs (Maro Pontkalek, Le Scorff). The musicians then create fantastic impressions: Baz Valan, on which Noguès and Surman have a heavenly exchange; Kernow, on which the shared theme slowing disappears into the mist; Maro Pontkalek and Diriaou which move from the storm to the calm. Elsewhere, there is singing, first with Surman (Kleier) and then moving on to Noguès (Kerzhadenn and her signature song Berceuse). On a canvas of traditional music, the two musicians weave countless memorable landscapes.

Les Disques Bongo Joe are pleased to announce the fourth album of La Tène ! Collaborating for the third time with the band, we're proud to release Ecorcha/Taillee, a two track project in between drone, folk, experimental and occitan music. La Tène’s long, hypnotic, wordless pieces are built from traditional folk instrumentation, wild percussion and blurred, subtle electronic embellishments, and feel as ancient and earthy as those millennia-old artefacts – with all the metal, wood, dedication and craftsmanship they entailed. As on their previous release Abandonnée / Maleja, a double set running to over 80 minutes, Cyril Bondi, Alexis Degrenier and Laurent Peter expand to seven members in total. Cohorts Jacques Puech (cabrette – a small bagpipe associated with the Auvergne region of France), Louis Jacques (cabrette and a larger, 23” bagpipe), Guilhem Lacroux (12-string guitar) and Jérémie Sauvage (bass) each return to add colour, layers and intrigue. Ecorcha/Taillée was recorded in a barn converted into a ballroom and cultural centre which exists to promote the folk music of region Auvergne. Both L’Ecorcha (eighteen and a half minutes long) and La Taillée (just under a quarter of an hour, brevity by this group’s standards) were recorded live and what you hear is a single take, with no editing after the fact. L’Ecorcha goes into space with simple, minimal tools. Beginning with a single, doomy chord circling in perpetuity and a metallic shaker by way of rhythm, a drone of unspecified provenance is joined a little under halfway through by Alexis’ hurdy-gurdy, adding bucolic buoyancy while Laurent uses the wooden surface of his harmonium as an extra percussive source. La Taillée is spikier, danceable even thanks thanks to Cyril’s insistent drumming and the harmonium and hurdy-gurdy moving in a glorious lockstep. If you were to think of the relationship between Lou Reed’s guitar and John Cale’s violin while taking in La Taillée, you wouldn’t be OTT by any means. nspirations, soundalikes and kindred spirits are elusive and fleeting in the case of La Tène. There are a couple specific to Ecorcha/Taillée, both brought to the table by Alexis : a Christian song titled La Passion, collected in 1883 by French folklorist Félix Arnaudin, and a reggaeton hit single from 2022, Saoko by Spanish star Rosalía. La Taillée adapts its crunchy central riff in La Tène’s own image. It’s that link between the past and the future that also rings out in the music of La Tène.  Alexis Degrenier : Amplified Hurdy-Gurdy - Vielle À Roue Amplifiée Cyril Bondi : Percussions - Percussions D’Incise : Indian Harmonium, Electronic, Percussions - Harmonium Indien, Electronique, Percussions Jacques Puech : Cabrette - Cabrette Louis Jacques : Cabrette, 23'' Bagpipe - Cabrette, Cornemuse 23'' Guilhem Lacroux: 12 Strings Guitar - Guitare 12 Cordes Jérémie Sauvage: Electric Bass - Basse Electrique

Nominated for 10 Academy Awards, including Best Original Score, which it won, and shot in the glorious, vintage VistaVision format, Brady Corbet’s The Brutalist stands as a monumental achievement in filmmaking. Opening with a mesmerizing and continuous 10-minute overture, composer Daniel Blumberg’s music sets the stage for the film’s epic narrative, which spans multiple decades and follows fictional Hungarian architect László Toth (played by Adrien Brody) as he rebuilds his life in post-war America.  Encompassing large-scale brass orchestrations, intimately lyrical piano melodies and freewheeling, improvisational jazz, The Brutalist’s score is as ambitious and broad in scope as the film itself. Envisioning the score as slabs of sound – rich and resonating while also measured and restrained – the music developed into the sonic embodiment of the Brutalist design aesthetic, where imposing scale and raw textures meet values of simplicity and economy. To craft its singular sound, Blumberg worked with a cast of boundary-pushing musicians and improvisers, traveling across the UK and Europe with a custom-built remote recording setup to capture his players on location. Exploiting the tension between the fluidity of improvised music and the meticulous precision of film scoring, Blumberg coaxed out beautifully rich and resonant performances from his collaborators, including avant-garde innovators Axel Dörner (trumpet), Evan Parker (saxophone), Sophie Agnel (piano), and John Tilbury (piano), to name a few.  For the film's frenetic and intoxicating jazz club scene, Blumberg assembled a jazz quartet (comprised of Pierre Borel on saxophone, Simon Sieger on piano, Joel Grip on bass, and Antonin Gerbal on drums) to perform improvised versions of his themes live on set, resulting in one of the film’s most electrifying numbers, as well as additional period-specific pieces that appear throughout the soundtrack. For the film’s 1980s-set Epilogue, Blumberg traveled to New York to work with synth-pop pioneer Vince Clarke (Depeche Mode, Erasure), deconstructing and rebuilding the film’s main theme into a redemptive, synth and drum machine-driven dance track befitting of the new era.  The score was mixed and co-produced by longtime Scott Walker collaborator Peter Walsh, who also worked on Blumberg’s past three records.

Glenn Kotche, Jim O'Rourke and Jeff Tweedy. Together again, this time with protection. Three guys playing musical songs featuring singing.

Continuing our work on Sao Tomé and Principe with curator DJ Tom B., we are pleased to announce the release of an anthology of the group África Negra.This first volume includes 12 of their key tracks, remastered for the occasion and selected only from those officially released on different media. A second volume containing only unreleased material, digitized from the studio tapes by their tour manager, and filled with period photos, is expected soon. Formed in the early 1970s by Horacio, a butcher by trade, and his guitarist friend Emidio Pontes, África Negra is the best known of the great São Tomé and Principe bands. The catchy melodies in the local Forro language, provided by lead singer João Seria, and subtly harmonized by the enchanting backing vocals of the rest of the band, quickly ensured their influence outside the archipelago. Their incomparable blend of Puxa and Rumba rhythms and subtle melodies made them the most regular touring band from Sao Tome.Their first album (Aninha) was released in 1981, followed by three more in 1983. They contain an incredible collection of timeless hits and have achieved high ratings on the second-hand market. Then came the excellent San Lena in 1986, which was unfortunately only released on cassette, but for which we were able to digitize the original tape. In 1990 their last album in vinyl format (Paga me uma cerveja) was released, the rarest. Three CDs and five cassettes followed in the 1990s. Like most São Tomean bands, they recorded their compositions at Radio Nacional STP, the only studio on the island at the time, whose cramped premises forced the big bands to do sessions outside in the courtyard, at night, facing the ocean and in front of their fans. Reformed around João Seria, the band has recorded three albums since 2012, and has been touring again for a few years, offering, always with the same energy, their frenzied rhythms, their graceful harmonies, their poetry full of social metaphors, and their typical dance steps.

"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.  Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.  For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.  The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.  Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag. Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth. By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism. This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music." - Thurston Moore, London, 2025  For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.  --- Bill Nace / electric two string taishōgotoEvan Parker / soprano saxophone --- Arrives in a tip on sleeve with artwork by Bill Nace. Edition of 500 released as a split with Bill Nace's Open Mouth Records. If you're in the USA we advise you buy locally.  Recorded live at Cafe OTO on Friday 25th May, 2024 by Billy Steiger. Mixed and mastered by Brian Haran. Cover art by Bill Nace. Photo by Dawid Laskowski. Layout by Neil Burker & Bill Nace.  --- "The piece possesses exceptional cathartic beauty, with a power that seems to emerge from the mists of time, yet it feels more essential and compelling than any modernity. The 40-minute performance, built on loops and repetitions, forms a seamless whole that is impossible to pause, let alone stop. It is an experience that hypnotizes the mind into a marvelous trance, where the intensity of the performance fades behind the beauty of the perfect complementarity of sounds and the music shared by these two musicians. Branches is an exceptional release." - Best of Jazz

In the late 1960s, Antonio Infantino linked his name to the Beat world and to italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of Trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.

Colonia Dignidad was the settlement of a German evangelical sect.After being prosecuted for child abuse in Germany, the group fled to Chile in 1961. Like similar religious sects, it was characterized by the outward appearance of a unified, godly community with well-tempered cultural activities and social welfare, but inwardly and in its environment by oppression, sexual abuse, and exploitation. In the 1970s, it unquestioningly inserted itself into Pinochet's regime of terror, aiding in the imprisonment and torture of political prisoners, weapons production, etc. Since the end of the 1980s, there has been a legal reappraisal of the C.D.'s crimes in Chile.Its successor organization makes a living from tourism.The C.D. project uses, on the one hand, a series of documentary recordings of contemporary witnesses, and on the other, a set of melodic improvisations (MIDI files), improvised in the spirit of the impressions of terror, tension, claustrophobia and fear associated with the Colonia. CD 2 (Knochenstückchen) directly reflects this atmosphere. CD 1 (Reue?) on the other hand, is characterized by the contradictory breadth of the statements found after the dissolution of the sect: Denial of atrocities to glorification of the C.D. by leaders who returned to Germany against the professed traumas of formerly abused inmates and exploited community workers.For this purpose, the eyewitness recordings were sound-modified to a considerable extent. The MIDI files were played back with a variety of virtual instruments (piano, guitar, sax, turntable, lung machine, barrel organ, synths, etc.) in a multitude of modifications (speed, pitches, loops, harmonic and tonal variations), so that the 11 pieces from CD 1 and the 16 pieces from CD 2 each represent a closely interwoven overall composition.Ralf Wehowsky is one of the most respected practitioners of radical music of our day. He was the founding member of the seminal German group P16.D4 and ran the legendary experimental label Selektion whose ground-breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Andrew Chalk, Jim O'Rourke, Achim Wollscheid, Lionel Marchetti, Kevin Drumm, Kouhei Matsunaga and Bruce Russell.

Available as 320k MP3 or 24bit FLAC Tracklisting: PART 1 1. RO 276 - 1.272. E - 3.283. FB II - 2.274. ORKA (Feat RAPHAEL ROGINSKI) - 3.195. RO27 - 1.516. RO1619 (Feat RHODRI DAVIES) - 3.287. 3KO - 2.578. CHESHIRE HOTEL - 3.419. OAM - 3.2210. 6465 - 3.2811. ONCE - 5.13 PART 2 12. 1920 - 2.3613. FB - 3.3314. 396267 - 4.1715. E II - 3.2716. 12c7 - 1.4917. CHETZE - 2.0318. MU - 2.2419. OSOL - 1.5720. OG - 3.3721. RO730 - 3.5222. 12c7 II - 1.1623. RO20 - 3.14Otoroku is proud to present a prodigious, captivating album of solo guitar improvisations from Basque musician, Joseba Irazoki. Ranging across 23 tracks, the two parts of the album act almost as fractal mirrors; each reflecting the other in myriad ways, teasing out fresh threads and intricacies with each listen. Gitarra Lekeitioak (Onomatopeikoa II) follows on from Irazoki's 2017 Gitarra Onomatopeikoa release, and that album's sense of untethered, questing curiosity is not only carried over but expanded upon even further here. Combining a fully committed approach to the guitar with an almost egoless lightness of touch, Gitarra Lekeitioak (Onomatopeikoa II) builds upon the already impressively scopious range of Gitarra Onomatopeikoa to dizzying effect. From the gated tone-and-noise and abrasive melodies of opener RO 276, to the driving, mesmeric thrust of 3KO; the yearning, twilight refrains of 396267, to the delicate, harmonic patter of MU; the acoustic virtuosity of CHESHIRE HOTEL to the semi-scrambled electronic ‘duet’ of OSOL, Irazoki makes full use of an impressively broad palette. Yet nothing feels forced, nothing is for show – there’s just a sense of open-hearted generosity. In lesser hands such a whirlwind tour of style and form might risk failing to get its hooks in deep enough, yet not only does Irazoki have the imaginative scope to tackle these varying approaches to the instrument, he has the technical chops to pull it off. Each composition seems to have an openness of intent that is utterly disarming; all cards are on the table and nothing is held back, resulting in a creative tour de force that builds, piece by piece, to a unifying cohesiveness that makes the whole far greater than the sum of its parts. Featuring contributions from long-time OTO favourites Rhodri Davies and Raphael Roginski, Gitarra Lekeitioak (Onomatopeikoa II) is nevertheless unmistakably a work of singular craft and vision. -- "I recorded this album between November 2023 and May 2024 in the studio of Eztegara's house. Iñigo Irazoki has done the mixing at Atala studios. This album is the continuation of "Gitarra Onomatopeikoa" that I released in 2017. I have continued to look for new paths with the guitar trying to work on my own voice, using "instant composition" formula. All the music has been created by me, except for the "Hotel Hor Cheshire", composed by Sazem. In two pieces I have been accompanied by the Polish guitarist Raphael Roginski and the Welsh harpist Rhodri Davies. The cover has been made by Ramón Zabalegi. Thanks to everyone who has helped me making the album." - Joseba Irazoki, October 2024, in tribute to Mikel Laboa.

Greta Lindholm is an absolutely unique personality in the contemporary dance scene. She toured in India, Mexico, Japan, Scandinavia, Italy and France, during the '70 and '80 making known her synthetic and experimental approach in the choreographic field. Her art explores new boundaries and is essentially pure celebration of the body language and voice in its intimate relationship with the fluidity of movement. Using mainly foot drumming and vocal rhythms, she makes her body the only instrument of continuous exploration, halfway between traditional songs and rhythmic-gestural improvisation. Greta seems to treasure different vocal cultures and give them an avant-garde reinterpretation: from Scandinavian folklore to jazz scat singing, from baroque arias to the African Pygmy. Particular influence is given by the metric-vocal spelling of Karnatic and Hindustan music. All these differents suggestions serve to reinforce and accompany her plastic movements. Greta's performances are studded with imaginary phonemes, onematopeic patterns, rhythmic phrasing, phonetic articulations, breathing, spiral structures, frenetic drifts, clap handings or feet like timpani or snare drums. In this way her dance becomes "silent music" and can have analogies with other noteworthy vocal explorations, such as those of Meredith Monk. For the first time an audio document is a available on LP and CD, a co-production with our beloved friend: Sing a Song Fighter.

Folk Magic Band represents one of the most interesting and original, yet lesser-known experiences of the italian jazz scene of the 1970s. In the legendary alternative environment of the Folk Studio in Rome, an open 18-members lineup is inspired by the free jazz of its time, a music that encompasses the whole world and its polychromy of sound. The echo seems to resonate the pan-ethnic motifs of Don Cherry and his Organic Music Society, but also the spiritual jazz of Pharoas Sanders and the orchestrations of the Sun Ra Arkestra. The textures chase a chinese melody, ignite with african scents and south american jungles, flow into fusion violin drifts a la Archie Shepp's Attic Blues or Mingus-like orchestral sections. The fascination of this collective affair still strikes for its playful and ironic nature, still impressing for its strength and willingness to open and influence new directions.

1. Luna Turca - 01:44 2. Om Shanti Om - 06:55 3. Chenrezig - 11:49 4. Nana's Solo - 03:56 5. A Chi Chi Ou - 01:39 6. Koye - 06:32 7. Flute Song - 05:16 8. Dissolution - 09:29An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community’s musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms , while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.

Very pleased and grateful to announce this ‘Home Comfort’ reissue by Mark Glynne and Bart Zwier, originally self-released in 1980. Maybe a bit of an unexpected title to appear in the LSD catalog but my love for this album goes back to my late teenage years and has had an addictive effect since, like a spleen infused magnet.  With this album Glynne and Zwier (†), based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty.   My long-time Japanese friend You Ishihara (White Heaven, The Stars) who bought the LP when it came out in 1980 still considers it as one of his all-time favourites. This is what he writes about ‘Home Comfort’:   “Resignation and fear in a desolate mental landscape. This album, which exists like a shelter for those who have quietly escaped through the backdoor of the world, vividly reflects the inner depths of the devastated Amsterdam of the early 80's. A beautiful and sad, unmistakable masterpiece.”

Tracklisting: 1. 老来难 = Old Man Blues - 8:052. 吹牛 = Big Talk - 18:183. 老妈妈劝闺女 = Mama's Counsel To The Girl - 12:554. 十大劝 = Ten Commandments - 14:18Born in 1945, Guo Yongzhang is a true maestro of Henan Zhuizi, a traditional Chinese talking-singing art that has a history of over 100 years. Almost blind, he plays Zhuihu and Zhuibang to accompany his own singing. His vocal style is peculiar, resounding yet smooth, adopting various types of arias from traditional local operas such as Shandong Bangzi and Shandong Zaobang, and he always sings with deep feelings and great verve. Originated in Henan, Zhuizi is included in the national intangible cultural heritage list and has been popular in Henan and its nearby regions. Its main accompaniment musical instrument is Zhuihu, a two-stringed bowed instrument made of wood, and secondly the Zhuibang, a wooden percussion played with foot tapping. Since Zhuihu has a wide diapason with a soft sound and relatively high volume, the performer can use it to imitate the voice of human and animals. Guo was born with bad eyesight. Growing up in poverty, he never had enough food and had been living on begging in the nearby village with his parents. It was during that period he discovered Zhuizi for the first time, and was so obsessed with its unique charm that he decided to learn playing by himself. He bought a second-hand Zhuihu from the local opera troupe with wages from hard physical labor, and soon managed to play some short pieces by hard practice. However, it was still difficult for him to gain respect from the local folks without training under the traditional master-apprentice system that he couldn’t afford, and even worse, his eyesight went worse and worse to nearly blind. Not until he turns 17 was he reluctantly accepted by a Zhuizi master and has been assiduously learning and playing until now. Lyrics of Guo’s Zhuizi are about respecting the old, valuing the righteousness and compassion, while keeping a sense of humor. Today, he is widely-known in the border region of Suzhou, Shandong, Henan and Anhui, and is commonly regarded as a Zhuizi master. Guo has been playing among people tirelessly for decades. As he ages, Guo knows there is not much time left for him, and he feels sorry that nowadays only few people want to learn Zhuizi. He is worried that this precious art form would disappear someday. This studio album is recorded after Guo Yongzhang performing on the 5th Tomorrow Festival stage. Released by Old Heaven Books, 2019

Oscar Jan Hoogland piano, electric clavichord, record players, cassette players, megaphones, crackle box Han Bennink drums All music composed by Oscar Jan Hoogland and Han Bennink except Hornin’ In, Epistrophy and Ugly Beauty by Thelonious Monk, Peer’s Counting Song by Misha Mengelberg, Aanhanghuis by Oscar Jan Hoogland, Rhythm Three by Cor Fuhler and Fleruette Africaine by Duke Ellington.

French-born, Amsterdam-based clarinetist Joris Roelofs has built his career balancing intense discipline and a deep commitment to post-bop tradition with a measured exploratory streak. He’s worked extensively in the Vienna Art Orchestra and maintains a wonderfully buoyant trio with the American rhythm section of Ted Poor and Matt Penman. But this new recording suggests that his attraction to freedom is growing stronger. Icarus is a lovely duo project with veteran free-jazz drummer Han Bennink, a perfect match for the reedist. The percussionist is both a master of chaos and one of the most naturally swinging musicians on the planet, and he provides both grounding and provocation to his much younger associate. Most of the music is freely improvised and the album opens with a blast of disorder on “Carmen,” with Bennink banging out piano clusters and injecting some discordant cymbal explosions, while Roelofs blows harsh squawks. Suddenly, a wild gear-shift occurs and a tender, breathy melody that sounds like a lost standard and a rumbling groove takes over, indicating the sort of polarities that the pair giddily explores throughout. The clarinetist’s lyrical gifts are so strong that when the duo tackle jazz standards like Eric Dolphy’s “Something Sweet, Something Tender”—presented with an attractively slack drag from Bennink that deftly adds tension to the in-and-out-of-focus treatment of the theme—or Charlie Haden’s indelible “Song For Che,” they feel entirely of a piece with the spontaneous creations. Icarus captures an electric dialogue: raw, giddy, trusting. Here’s hoping this conversation continues. - Peter Margasak

The long-awaited reissue of rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally released in 1968. The first time, extended Edition with 2 bonus tracks: radio version of Fire Dance / Ferris Wheel from single 7” 1969. Remastered by Martin Bowes at Cage Studios (UK). Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling with his family in California. He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton’s innovative quintet featuring Charles Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the energy music of Charles Lloyd’s fiery and underrated quartet featuring Ron Carter and Tony Williams. Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and “Gypsy Queen,” the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late ’60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more commercially oriented forms of jazz. During the ’70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the ’70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.