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Frith, Fred: Impur II Frith, Fred: Impur II
Code:7708
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Impur II is totally different from Impur I - which was a deconstructed, spatialised simultaneity of musical events that could only be heard through open windows or by wandering through rooms - Impur 2 took the form of an unannounced performance across which audience members had to stumble by chance (and then collect their friends - or not). Both events formed part of a commission by L'Ecole Nationale de Musique de Villurbanne in May 1996.This recording, painstakingly edited and re-mastered by Fred, appears as a full-on concert by a large 19 strong ensemble with Fred conducting as well as playing. It's built on rhythm, harmony, rock noise, exotic instrumentation, power, complexity and melodic writing - with intermittent stretches of chaos, eccentricity and theatre, and fits comfortably into the aesthetic of his earlier performing ensemble projects, like Gravity, Skeleton Crew and Keep the Dog.

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Frith, Fred: Impur Frith, Fred: Impur
Code:6910
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In 1996, at the end of a two year residency, Fred organised an event at L'Ecole Nationale de Musique de Villeurbanne in France involving as many of the students as possible, grouped according to their departments - early music, rock, African drumming, classical &c. Each group was set up in a different room in the school building and during the concert the public was encouraged to wander around creating their own mix, or to sit in the courtyard and listen to the sound drifting out through the open windows. For their part, each group of musicians had to play musical material Fred had prepared for them - occasionally they could improvise. In order to co-ordinate all the groups, who naturally couldn't hear each other, everyone followed a precise time-score prepared by Fred (55 minutes regulated by synchronized stopwatches). The entire event was recorded on 4 A-DAT machines, to be mixed down later, and this CD is the result: a lurching, complex and capricious beast with many heads: an orchestra tuning up; a salute to Sonny Blount; a roiling chaotic mass of sound splitting into layers, colliding back together, pullulating, ululating, roaring and sometimes mewing like a kitten.

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Frith, Fred: Keep the Dog: That House We Lived In Frith, Fred: Keep the Dog: That House We Lived In
Code:6289
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KEEP THE DOG is a double disk, live recording of Fred's all-star group, which includes Jean Derome & Rene Lussier (Les Granules), Zeena Parkins (Skeleton Crew, News From Babel), New York sampler artist Bob Ostertag and the legendary drummer Charles Hayward (Quiet Sun, This Heat, Camberwell Now). To call the performances "lively" would be an understatement, and although there is a fair amount of excellent group improvisation (each of the members are known for their expertise in the field) the composed sections, which far outnumber the ad libitums, are played as tightly and energetically as any group could ever hope for. Herein we are treated to a musical smorgasbord of Fred's past repetoire from albums like "Cheap at 1/2 the Price", "Country of Blinds", "Who Needs Ememies ?" "Step Accross the Border" and "Gravity", as well as lesser known pieces rejuvenated especially for this ensemble. While each composition has kept its integrity in these live settings, the strengths of these particular performers breathes new life into them, and eagerly sheds light on each of their best assests. Needless to say, there has rarely been so much accredited talent together on one stage before, and the result is thrilling.

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Frith, Fred: Middle of the Moment Frith, Fred: Middle of the Moment
Code:6292
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Field recordings of traditional singing and drumming, the jaunty accordion and violin music of a travelling circus troupe, the sounds of trucks, trains, wells, winds, flies, fire, thunder, camels, goats and a jackal are woven into a multi- layered, subtly shifting cinematic aural journey. This is Fred's poetic soundtrack CD accompanying the Nicolas Humbert and Werner Penzel documentary film of the same name. Middle of the Moment is a poetic evocation of nomadism; The filmmakers travelled with the Tuereg people in the Sahara desert, and also experienced the exotic wanderings of Cirque 0, an avant garde circus troupe. Fred says:
"I 'travelled' through this material, formed my impressions, and created a 'sound -movie' from them, using a process analogous to that of editing a film. I've never been interested in making a typical film soundtrack record ... My idea is more to create a parallel narrative, free to draw on music that wasn't in the film but was part of the process of making it."


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Frith, Fred: Nowhere, Sideshow, Thin Air Frith, Fred: Nowhere, Sideshow, Thin Air
Code:7709
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This is Fred's sixth CD of music for dance, featuring three commissions by three different choreographers each sharing, as Fred says ' a certain obsession with melodic deconstruction.' Two of them feature - and were especially written for - the remarkable violinist Carla Kihlstedt. Fred and Carla perform one of them (Fred playing a huge array of instruments here as on all pieces), are joined by Fred Guiliano, (samples) and Gail Brand (trombone) on another, while the third features Fred, Hande Erdem (violin) and Threresa Wong (cello). These are complex studio compositions characterised by a deceptive simplicity, layers and plateaux, rhythm and colour.

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Frith, Fred: Prints Frith, Fred: Prints
Code:6284
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Dabbling around within song forms, while a particular forte for Fred, sometimes seems to take a back seat to his more improvisational or academic outings. So when a full album of "Songs" is issued, it really is cause for celebration. The amazing thing here is that these songs were produced with very little preparation before entering the studio, leaving Fred to compose, arrange, perform and mix these pieces using the recording medium as a compositional tool. While the initial impressions might be those of "Pop" music and its regenerative forms, each piece is tweaked, tho just enough to belay the necessary amount of subversive elements required to go "beyond" that genre, and into a world where chance happenstances and experimental tendencies give rise to much more. To these ends, the subject matter in each case was developed around whatever happened to be a hot story in the newspaper on the day of the recording. The music is all over the map, and each topic is examined in a spur-of-the-moment sort of way, but with long-lasting and infectious results.

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Frith, Fred: Speechless Frith, Fred: Speechless
Code:6290
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SPEECHLESS was recorded the next year, and takes up where "Gravity" left off, but is an even more intense endeavor. By this time (Summer 1980) Fred's multi-instrumental virtuosity could not be questioned, and his unison guitar/violin lines had reached stag- gering proportions of complexity, whilst perfectly accompanying his compositional prowess. On this disk effects abound, and more intense field recordings add to the overall energetic approach, while understated rhythms (particularly effective is a recording of a misfunctioning drain-pipe) are sometimes the glue holding together the more quiet pas- sages. Not only is this recording less compact in sonic nature than "Gravity", the level of energy is both more hard-hitting and compelling as well. This is somewhat due to the fact that the backing bands here are MASSACRE and ETRON FOU LELOUBLAN; the latter's drummer (Guigou Chenevier) is especially animated, and brings with him a most fanciful, percussive approach to the music.

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Frith, Fred: Step Across the Border Frith, Fred: Step Across the Border
Code:6286
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The soundtrack for the documentary film made about Fred over a decade's period of time, following him from NYC, to Japan, through Europe, etc. Many guest artists appeared over the years, and many of them are caught here, either accentuating things musically, or acting as the impetus for Fred's endeavors. The multiplicity of styles, brought about by circumstance, chance, and necessity makes this, probably more than any other single recording, a showcase for the broad scope of Fred's versatility, both as a performer and a composer. We are treated to rare, sonic glimpses of the New York scene's glory days, woodshedding with Bittova and Fajt in the Czech Republic, an intimate encounter with Haco in Japan, and an English seaside improv with Tim Hodgkinson (during which the seagulls join in), to mention a few. Each setting is as completely different as its location and place in time, and each piece acts as a sort of musical "snapshot" of that particular moment in Fred's musical career.

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Frith, Fred: The Happy End Problem Frith, Fred: The Happy End Problem
Code:6912
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An instant Fred classic, 'Happy End' presents two, related, small-ensemble works for 6 and 7 musicians respectively - mostly strings of one sort or another, with percussion, flute, clarinet and electronics. Fred, violinist Carla Kilsteht and percussionist Willie Wynant play throughout providing continuity across the pieces, as the music constantly unfolds into new textures and dialects. Melody, harmony and rhythm are omnipresent, though not always obviously colluding, and the music moves with a constant assurance, never hesitating and never marking time. There are some affinities with Nicola Kodjbashia's luminous 'Solitary Walker' here (which it predates), particularly in its use of minimal instrumentation to maximum effect, popular materials, exquisite articulation and a kind of modest transcendence. The necessity and simplicity of these pieces conceals a catalogue of experimental techniques and novel ideas - there are those who'd have squeezed a score of albums from this material.

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Frith, Fred: The Previous Evening Frith, Fred: The Previous Evening
Code:6276
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Former Henry Cow guitarist FRED FRITH pays homage to three giants of contemporary classical music, John Cage, Morton Feldman and Earle Brown. In his own inimitable fashion, Frith has incorporated the chosen composer's own working methods into each of the three pieces that make up The Previous Evening. As he explains in the enclosed booklet regarding his John Cage homage; "Fragments of text heard in Part 1 were taken at random from John Cage's book Silence. Tape editing, the structure of events, and dynamic markings in this section were also determined using chance methods." Elsewhere an Australian dawn chorus illustrates a section of "Part 3 (Homage To Earle Brown)", while other sound sources include works by Cage, Schumann, Mozart and "some bits and pieces of my own earlier work." The result is a record which shines new light on the work of Cage, Feldman and Brown, as well as illuminating another side of Fred Frith's constantly evolving career as a musician and composer.

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Glandien, Lutz: Lost in Rooms Glandien, Lutz: Lost in Rooms
Code:2187
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Glandien, Lutz: Scenes from No Marriage Glandien, Lutz: Scenes from No Marriage
Code:884
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Glandien, Lutz: The 5th Elephant Glandien, Lutz: The 5th Elephant
Code:858
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Goebbels & Harth: Hommage / Von Spengen Des Gartens   (dbl. disk) Goebbels & Harth: Hommage / Von Spengen Des Gartens (dbl. disk)
Code:7436
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A long and extraordinarily fruitful partnership started here - continuing through the Sogennantes Linksradikales Blasorchester - where Alfred and Heiner picked up Christoph Anders, the three of whom then went on to co-found Cassiber, with Chris Cutler. A critical success in its own time, this duo recorded two more CDs before parting company, each more musically open than its predecessor. These first two sorties are a kind of jazz-inflected, punk-inflected, highly spirited and imaginative – series of adapted Hanns Eisler compositions - as well as some original pieces by the duo itself, who between them cover a lot of instruments, and combinations of instruments, and – ah youth – are never less than hurling themselves into their performances. Heiner went on, after Cassiber, to become one of Germany's leading music-theatre writer and directors, as well as composing for the ensemble modern, orchestras and opera companies (he had an orchestra premiere to mark the opening of the Festival Hall complex in London on July 12th). Alfred went on to form several other bands, including Gestalt et Jive before relocating to Seoul in Korea, where he now lives and works. He is currently part of Otomo Yoshihide's New Jazz Orchestra. Both original LPs have been re-mastered for this release by Bob Drake.

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Ground Zero: Consume Red Ground Zero: Consume Red
Code:2300
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Ground Zero: Revolutionary Pekinese Opera (Ver 1.28) Ground Zero: Revolutionary Pekinese Opera (Ver 1.28)
Code:692
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HET: Let's Het HET: Let's Het
Code:5343
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This compact disk is the first CD issue of the long-out-of-print and highly coveted, "Let's Het". The band were co-led by Dominique Weeks and Cass Davies, two of the prime movers in London's underground music scene during the 80's, here joined by Catherine Jauniaux and Tim Hodgkinson . Though many fans have likened them to a melding of Harry Partch with The Residents, Het performed music which defies categorizing, other than to say that it was a unique and intense product of its time and place: Complex, highly percussive, primal, densely orchestrated, angst-ridden, artful, meticulously constructed and intense. This classic project is a monumental achievement of sound production, and was expertly recorded and mixed by Tim Hodgkinson (who is responsible for this digital reissue) at the legendary, "Cold Storage Studio".

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Haco + Hiromichi, Sakamoto: Ash in the Rainbow Haco + Hiromichi, Sakamoto: Ash in the Rainbow
Code:1793
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Haco: Haco Haco: Haco
Code:693
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Haco: Happiness Proof Haco: Happiness Proof
Code:2574
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Hayward, Charles: One Big Atom Hayward, Charles: One Big Atom
Code:7796
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Charles Hayward (This Heat, Camberwell Now, Quiet Sun etc.) continues his unique and extraordinary journey through music with the release of ONE BIG ATOM on the artist-led label CONTINUITY... From the 1970's to the present day, Charles has developed and built some of the most radical music of the European underground. Following on with a series of solo projects that have each made bold proposals for possible futures, his new recording ONE BIG ATOM is yet another departure for Charles, taking his song writing further into the personal and political, shifting focus towards a "dread bass" sensibility. It was devised, performed and engineered by him in his South London studio, affording an even more integrated and radical approach to his sound. ONE BIG ATOM stands outside of genre and any easily identified signifiers, jump-cutting between song, collage, sound field, noise, signal, melody. Made over the space of a year as the world went through a series of far-reaching changes, the music is a sort of tangential response. In order to enable a worthwhile and genuine process, no computers were used until final mastering. 'Certainly, computers are convenient and clean sounding,' says Charles 'but the paths and routes within the creative act are becoming proscribed and increasingly useless as strategies for survival and independence because of the constraints of digital protocol. Just as my work needs to have a sci-fi proposition, so it also needs to commit violence against the representation project, the idolatrous need to push our technologies towards a more and more 'realistic' capability that leaves no room for the audience to fill in the spaces and trace their own connections. Instead, I've tried to look at the plasticity of sound, to mould and shape it as material towards a consciously 'recorded' artefact.'

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Henry Cow: Concerts Henry Cow: Concerts
Code:6745
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Henry Cow: In Praise of Learning Henry Cow: In Praise of Learning
Code:1311
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Henry Cow: Leg End (Original Mix) Henry Cow: Leg End (Original Mix)
Code:1304
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Henry Cow: Unrest (Remastered) Henry Cow: Unrest (Remastered)
Code:1306
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Henry Cow: Western Culture Henry Cow: Western Culture
Code:1312
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Hodgkinson, Tim: Pragma: New Works Hodgkinson, Tim: Pragma: New Works
Code:879
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Hodgkinson, Tim: Sang Hodgkinson, Tim: Sang
Code:878
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Ilaiyaraaja: Ilaiyaraaja's Music Journey Ilaiyaraaja: Ilaiyaraaja's Music Journey
Code:2743
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Ilaiyaraaja: Wings Ilaiyaraaja: Wings
Code:2576
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Iolini, Robert: Songs from Hurt Iolini, Robert: Songs from Hurt
Code:2658
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Iolini: Electroacoustic, Chamber Ensemble, Soundscapes & Works for Radio Iolini: Electroacoustic, Chamber Ensemble, Soundscapes & Works for Radio
Code:867
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Jauniaux, Catherine With Hodgkinson, Tim: Fluvial Jauniaux, Catherine With Hodgkinson, Tim: Fluvial
Code:5342
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This is the first digital issue of Belgian songsmith Catherine Jauniaux's classic recording from 1983. Her main co-conspirator is Tim Hodgkinson (Henry Cow, The Work, God, K-Space), himself a mainstay in the world of modern, experimental music.Together they perform a work which defies both categorization and genre labeling, offering up almost as many different styles of music as the instruments that played them. Besides capturing what could arguably be Catherine's most unique and auspicious vocal work, this disk also displays an amazing amount of baffling, scored percussion by Tim H. and some timeless and perfectly intonated performances by the late, great master cellist, Tom Cora. Other guests include Georgie Born (Henry Cow, I.O.U), Charles Bullen (This Heat), Lindsay Cooper (Henry Cow, Comus), Bill Gilonis (The Work, The Lowest Note) and Dominic Weeks (Het).

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Jon Rose: Rosin Jon Rose: Rosin
Code:7808
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To mark Jon Rose's 60th birthday, we are releasing this 3 CD box of previously unreleased works ranging from radio documentary and radio fiction to virtuoso performances - taken from all manner of contexts, using both the acoustic violin and the hyperstring interactive bow system. There's a remarkable improvised violin concerto (the rest of the mini-orchestras's parts are written out), as well as collaborations with Australian locals (multiple brassbands, musical whips, lounge pianists, aboriginal choirs, orchestrated corrugated iron, musical gum leaves, auctioneers, chainsaws, singing dingos, bowed saw orchestras, and so on). There's a duo with George - an Albert's Lyrebird, and concerts with contemporary ensembles and heavy earthmoving equipment. It comes accompanied by a great deal of extraordinary film - and some purely audio - material collected together on a supplementary data disc. Plus there's a generous booklet of texts, documents and photographs and, of course, a souvenir sample of bow-hair.

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K-Space : Going Up K-Space : Going Up
Code:5337
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Gendos Chamzyryn – Tim Hodgkinson – Ken Hyder
For "Going Up" these musicians have superimposed performances from different occasions and places, some dating back to Hyder and Hodgkinson's initial trip to Siberia in 1990, but also concerts staged in Western Europe. These recordings, with their disparate acoustic properties, are overlaid and overlapped to form dense sonic thickets alive with action and event, palpably embedded in the multi-idimensional flux of the world and lived social structures. Human voices conversing, footfalls on frozen ground, a blackbird singing, the sound of the wind or water, the crackling of wood in a fire, audience applause - sounds from specific sites with their own peculiar resonance and significance leak through the K-Space mesh into the listening present.

The crucial thing is to hear and feel it. It's made for those of us who want listening to remain a real adventure and an ongoing process of discovery."-Julian Cowley-Wire Magazine

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K-Space: Infinity K-Space: Infinity
Code:7606
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COMPUTER ONLY DISC (PC or MAC) that re-composes all musical parameters when loaded + 4 Quicktime movies + full-color photo album



A new, revolutionary album which is different every time you play it has been created by Tim Hodgkinson, Ken Hyder and Gendos Chamzyryn.

At a time when the music industry is making a dramatic shift from CDs to downloads, K-Space's Infinity presents a different option. First of all, this disk plays on a computer, not a CD player. And this is a whole piece of work - you can't download tracks from it. In fact the disk contains software that performs the 'pieces' on the album differently every time you play them. These performances are in no way random and this has nothing to do with shuffle-culture. The software is specially programmed to make choices from the available material. Furthermore you can't pause or fast-forward this album: the music is indivisible, and you can only turn it on or turn it off. In fact everything that happens is there to create a special listening experience... The sensation for the listener is of being in one space which encompasses different locations and different moments in time. And each space is different each time the piece is played. On the same disc, there's also 4 videos of the band, and a full-color photo album.

Faust's Jean-Hervé Peron says: "Great great piece of work on the musical/spiritual level as well as this very ingenuous technological twist: you buy one cd and you get x-times the length of always good music ! A genius strike ! And magic...... it is always new.. I was UP UP AND AWAY !!"



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Kalahari Surfers: The 80'S / Volume 2 Kalahari Surfers: The 80'S / Volume 2
Code:5111
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ReR released the first installment some years back; Here then (finally) is the remainder, aptly called, Volume 2. This disc completes the digital collection of songs from "BIGGER THAN JESUS" (named after the famous, John Lennon indiscretion) and its predecessor, "SLEEP ARMED". Since these are the 2 best Surfers records, this one's a no-brainer. Already a classic.

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Kampec Dolores: Sitting on the Buffalo Kampec Dolores: Sitting on the Buffalo
Code:885
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Kodjabashia, Nikola: Explosion of a Memory Kodjabashia, Nikola: Explosion of a Memory
Code:7769
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Performed by the Macedonian Symphony Orchestra with Balkan electro legend Kiril Dzajkovski, Chris Cutler (percussion), Nikola Kodjbashia (prepared piano), Patric Driver and Valere Novarina (readers). Text fragments are by Heiner Muller and Valere Novarina.

A four-dimensional explosion in which stretches of Baroque, folk themes and Byzantine liturgy exist contemporaneously with modern and post-modern materials - much as strata emerge where tectonic plates fold one time over another - settling eventually into long, beautiful, tonal stretches, lighter than air, that drift and attenuate to reveal, dreamily, the old simplicities. Immersive, timeless and unmistakably new, this music respects but definitively breaks with existing schools to explore instead its own geographically unique influences and contradictions.

'Explosion of a Memory' is a homage to my literary heroes: James Joyce, Heiner Muller, Valere Novarina, William Gibson, Euripides and Colin Teevan; it's also a deeply personal epic about the complex relationship between childhood myths, history and perpetual homecoming'. NK it."



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Kodjabashia, Nikola: Reveries of the Solitary Walker Kodjabashia, Nikola: Reveries of the Solitary Walker
Code:2568
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Performed by the Macedonian Symphony Orchestra with Balkan electro legend Kiril Dzajkovski, Chris Cutler (percussion), Nikola Kodjbashia (prepared piano), Patric Driver and Valere Novarina (readers). Text fragments are by Heiner Muller and Valere Novarina. A four-dimensional explosion in which stretches of Baroque, folk themes and Byzantine liturgy exist contemporaneously with modern and post-modern materials - much as strata emerge where tectonic plates fold one time over another - settling eventually into long, beautiful, tonal stretches, lighter than air, that drift and attenuate to reveal, dreamily, the old simplicities. Immersive, timeless and unmistakably new, this music respects but definitively breaks with existing schools to explore instead its own geographically unique influences and contradictions.



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Kovak, Boris: Ritual Nova I & II Kovak, Boris: Ritual Nova I & II
Code:855
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Lagos / Venosta / Mariani: Electronic Adventures in Flamenco Lagos / Venosta / Mariani: Electronic Adventures in Flamenco
Code:883
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Les 4 Guitaristes de L'apocalypso-Bar: World Tour 1998 Les 4 Guitaristes de L'apocalypso-Bar: World Tour 1998
Code:864
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Lingam: Musiche Per un Film Immaginario Lingam: Musiche Per un Film Immaginario
Code:2745
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Lussier / Derome / Cutler: Three Pieces Suite Lussier / Derome / Cutler: Three Pieces Suite
Code:872
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MCCB (Mass Culture Control Bureau...): ...Things From The Past MCCB (Mass Culture Control Bureau...): ...Things From The Past
Code:5341
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This disk compiles the entire back catalog and previously unreleased recordings of the combined Dutch/English underground label, MCCB (1978-82), and marks the first time any of these works have been issued on compact disk. Great efforts were made to locate, restore & re-master the original tapes, and the entire process was personally overseen by MCCB's chief, the legendary musician/singer Geoff Leigh. Under the auspices of The Black Sheep, Kontakt Mikrophoon Orchestra and Red Balune, Geoff is joined by long-time affiliates Loek VanSaus, Colin McLure and Kathy Williams. This is "pop" music gone terribly right for a change, where imagery supersedes fashion, and sound knows no rules. Features cameo appearances by members of Henry Cow: Fred Frith, Tim Hodgkinson and Chris Cutler.

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MacLean, Steve Ensemble: The Opposite of War MacLean, Steve Ensemble: The Opposite of War
Code:881
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An interesting and innovative ensemble (keyboard, bass, drums, guitar) with a chamber approach. Nothing aggressive or flashy, no electronics or noise, but carefully composed, cleanly performed pieces which play with complexity concealed inside simplicity. Outwardly simple and engaging, it holds attention through ingenious use of overlain time relations, additive rhythms and metric shifts. Subtle but very strong. Recommended.

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MacLean, Steve: Bridges MacLean, Steve: Bridges
Code:7466
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These recordings collect together works spanning two decades of composition and experimentation that balance traditional musical resources (the band, compositional skills, instrumental techniques, acoustic and amplified instruments) and the new technologies (computers, software, processing). The first CD showcases polyrhythmic, careful compositions (like those on his last ReR CD, Opposite of War), which still no-one has tried to emulate. The second is more meditative, abstract and electronic, moving from Kora through electric and acoustic guitars - with and without radical effects processing - to piano and virtual orchestra, putting various softwares through their paces.

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MacLean, Steve: Expressions on Piano MacLean, Steve: Expressions on Piano
Code:7770
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A remarkable set of pieces for mediated acoustic piano that operates in the shadowy territory between what is playable and what is programmable; between narrative simplicity and performative complexity; between hopeful intetionality and flawless execution.. Unusually, Steve has put our ear right inside the piano, sans artificialreverberations and blurring tools and, over the course of the CD, various musical dialects are explored and extended - from the plausible, through the exquisite, to the impossible.

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MacLean, Steve: GPS MacLean, Steve: GPS
Code:7790
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Careful compositions converse with focused improvisations under the precise direction of Steve MacLean who, on this CD, after various excursions that took him through experimental works for piano, interactive insect/guitar compositions and pure electronics, returns to a performing band and a journey through complex polyrhythmic compositions imaginatively intercut with careful, atmospheric inventions, for guitar, bass, keyboard, percussion and various objects.

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