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Angeli, Paolo: Tessuti
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| Another extraordinary release by Sardinian virtuoso Paolo Angeli, this time featuring compositions by Fred Frith and Bjork – all played solo in real time (though when you hear it, it's hard to believe it) on his highly customised and extended, electrified, giant Sardinian folk guitar. A tour de force of technique and at the same time highly musical; and there is so much going on here at any given time that it is difficult to relate what your ears tell you to just one Frankenstein instrument. Dense enough that it rewards listening to a few songs at a time, though you could probably also dance to it.
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BAKU: Symphony of Sirens
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| These two CDs and 72 page clothbound book offer the most comprehensive presentation of the experiments and innovations in the exploration of sound by the historical Russian Avantgardes ever attempted. This publication is based around the sounds themselves. Though much was not documented at the time, and some has been lost, what remains is collected on the second CD, which centres around Dziga Vertov's prescient environmental sound composition for the 1930 film Enthusiasm..The Dombass Symphony - and also collects together for the first time 22 original recordings of Mayakovsky, Mossolov, Jakobson, Khlebnikov, Lenin, Lunacharsky, Kollontay, Trotsky, Pasternak, Meytuss, Akhmatova, Mandelstahm, Naum Gabo, Shostakovich, and others.
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Berliner Ring: Orbital
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| What the London orbital is to the English capital, the Berliner ring is to Berlin: a circular highway that surrounds the city.
The first contemporary release from Art Yard amalgamates disparate elements: electro mechanical devices, invented instruments, modified keyboards, delays, customised rhythm and string machines: a half man, half machine driven trip into the Electro-Mechanical sub-underground, built around a combination of moods and themes drawn from the Berlin landscape.
Berliner Ring work toward a brew of forms and techniques, creating geographical references and representations, 'tonal landscapes', an unfolding of ambient instrumental stereologues.
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Camberwell Now: All's Well
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| This definitive edition collects the entire released output of Camberwell Now (two EPs and an LP), newly re-mastered by the band and repackaged with full notes, lyrics, additional photographs and artwork. Chronologically, Camberwell Now immediately succeeded This Heat, Charles Hayward continuing to work with This Heat's last bassist Trefor Goronwy, and the two of them joining forces with Stephen Rickard who, for the new band, designed his unique 'cassette switchboard', a kind of proto-sampler - though that's not the half of it (Steve's article fully explaining the device is reprinted in the new, expanded booklet that comes with the CD).
Musically, Camberwell both followed and departed from the style of This Heat. Formally and gesturally there are common elements, but there is far greater transparency and the sound palette is quite different: the music is more placed than grown, as the slow accumulation and evolution of material in This Heat gives way to a more immediate and orderly development of the material in Camberwell Now. The songs - nostalgic, scary, and quietly desperate - peer into the future to find harbour but confront only fragments of ruin.
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Cassiber: The Way It Was
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| Cassiber (phonetically: 'a message smuggled out of prison') crashed like a locomotive into the Deutsche Neue Welle. Founded by Heiner Goebbels, Alfred Harth, Christoph Anders and Chris Cutler (his first major project after News From Babel), Cassiber managed to fuse materials and attitudes drawn from experimental rock, fringe jazz, punk, pop, plunderphonics, improvisation, close structure and musique concrete into an energetic and complex form of studio (and then concert) composition unique in its fusion of highly diverse experimental approaches to form with risky, emotional and expressive execution. This CD collects unreleased live recordings and studio sketches, sequences like a typical concert and, as luck would have it, these turn out to be great recordings that paint the best - and most devil-take-the-hindmost - picture of this extraordinary, groundbreaking band. The sound is exemplary and the music constantly thinks itself around corners. Plus you have all the complexity and serendipity of live interaction and spontaneous rearrangement - you can hear the band is having a good time, even when some of the sounds seem to come out of nowhere. The programme is radical, mixing music, dramaturgy and cultural debris with organised noise, rhythmical intensity, lyricism and semantic complexity.
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Drake, Bob: What Day Is It ?
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| What Day Is It ? is the re-issue of Bob's very first solo disc (originally self-manufactured in art packaging – here tho, professionally packaged for mass market sales). It already exhibits Bob's characteristic traits: golden fingers, hi-wire vocals, eyebrow-raising country-picking, loose-but-right-in-the-pocket drums, eccentric chord inversions, and a bass-guitar sound to die for. Sitting happily with the fantasy 'Yes' Euro-progressive surface is the rather more substantial depth of a bluegrass and rooted-rock American culture; an almost unique combination and one hard to imitate (or even imagine, until you hear Bob do it). But then, Bob has always marched to the beat of a different drummer, manifestly careless of the fashion or of the easier, more superficial aspects of the music he has absorbed.
Listen to a sample of this release
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Fred Frith : Technology Of Tears
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| Stunning performances from John Zorn, Tenko, and turntable revolutionary Christian Marclay, with idiosyncratic use of the latest (1986) digital technology made this one of Fred's most successful releases. Painstakingly re-mastered from the original tapes.
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Frith, Fred: Live In Japan
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| First time on Compact Disc - Fred's classic table-top guitar album. Says Fred: "These concerts were part of a solo tour of Japan organized by the now-defunct magazine Fool's Mate. The music on the CD was first released in 1982 by Recommended Records Japan as a 2 LP box set in a limited edition of 1000. The tapes were returned to Japan after mastering in New York, and at some time during the ensuing 20 years they disappeared. All efforts to unearth them failed. This version was meticulously re-created from 96K vinyl transfers by Tom Dimuzio over a period of several months in 2007, an amazing labour of love.
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Goebbels & Harth: Hommage / Von Spengen Des Gartens (dbl. disk)
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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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Henry Cow: Concerts
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Henry Cow: Stockholm & Goteborg
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| This is the first new release in 30 years from this legendary audience-splitting British group, and the first featuring Georgina Born, the group's bassist from 1976-78. Remixed and re-mastered from the original Swedish radio tapes. Henry Cow were never going to fit in. Their compositions were way too composed and their improvising was way too improvised - a tendency that only got more extreme as time went on, as these recordings from 1976 and 1977 demonstrate. Stockholm and Goteborg fills in some of the missing history between In Praise of Learning (1975) and Western Culture (1978) and offers music that has not been heard on record until now. First is Tim Hodgkinson's late and fiendishly complicated epic composition 'Erk Gah' (a working title), that took many months of sweat to learn and resolutely eschews any hint of riff, solo or modular assembly. At the other extreme are the two wide-ranging improvisations built around heady extended instrumental techniques, aleatorics, quotations, more-or-less randomly inserted prepared materials and a blithe disregard for genre rules. Between, constantly shifting ground, are a straight-ahead version of Phil Ochs' No more Songs (one of only two covers ever performed by the band), an unreleased composition by Fred Frith, and a version of the Ottawa Song: a typical live set from that period. Finally, Stockholm is a snapshot of a band of exceptional talents having fun. And it reflects what the studio albums could not - that Henry Cow's natural habitat was the stage - and the real-time pressure of public performance - because it was there that the music could live and breathe. And evolve.
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Kodjabashia, Nikola: Explosion of a Memory
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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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Moore, R. Stevie: Phonography
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| "Phonography was Stevie's first LP release, and an out-of-the-blue masterpiece: terminally idiosyncratic but with all the compositional qualities of great pop. A gifted songwriter, R Stevie (son of Bob Moore, Elvis' bassist) grew up and was steeped in Nashville's countrypolitanism; but, as a recidivist rebel, he inevitably slipped into strange byways, following his own, unique path into celebrated obscurity - as this strange and compelling record attests. Hans Arp said, 'My paintings are like fingernails: they keep growing and I keep cutting them off'. R Stevie's songs seem to follow the same rule. They create worlds, tell stories, trifle wantonly with form, harmony, structure and execution, and throw off passages of casual brilliance on the way. Lo-fi is integral to its purpose. You can't pay to get a sound like that. So, when nobody seemed to want to keep Phonography in print, ReR Megacorp were happy to oblige - it's history. We took the opportunity to re-master and restore it to its original form."
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Picchio Dal Pozzo: Abbiamo Tutti I Suoi Problemi
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Recommended Records' Artists: The Recommended Records Double Sampler (1983)
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| Faust, Art Bears, ZNR, Robert Wyatt, The Residents, Henry Cow, This Heat, Art Zoyd, Univers Zero, Stormy Six, Aqsak Maboul, Picchio Dal Pozzo, Decibel, Goebbels and Harth, The Homosexuals, The Work, Amos and Sarah, The Black Sheep, Feliu Gasul, The Muffins, R.Stevie Moore, Robel Vogel, Ron Pate/Raudelunas, Conventum, Joseph Racaille and Patrick Portella Originally released in 1982, this is a collection of specially commissioned and (at the time) newly recorded pieces by the most interesting groups and individuals then in the Recommended catalogue. Never reissued, it has slowly become a prized collectors' item - and remains an indispensable snapshot of the range and musical brilliance of this critical moment in the history of a small community of left-field groups struggling towards new musical languages. The breadth of imagination displayed is exemplary and it is amazing how fresh and original this music still sounds, and how much things have changed in only 25 years.
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Sun Ra And His Solar Arkestra: Horizon
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| Horizon (also known as Starwatchers and Sun Ra in Egypt Vol.2) contains a big chunk of the now legendary Balloon Theatre concert (it burned down soon after their visit, as did the hotel in which the Arkestra stayed while they were in Cairo). The Balloon extract is an uncut block (tracks 1- 4 on the CD, side 1 of the LP) and features a lot of Sun Ra's all-hell-let-loose Moog soloing, as well as a great version of Discipline 2. The rest of Horizon is from the Heliopolis concert, kicking off with an instrumental version of Enlightment and Love in Outer Space (neither are on the original LP) segueing slowly into Space is the Place - followed by drum orchestra, more Ra soloing on Moog, Tiger Organ and detuned piano (bloops, hoovering, whistles, concords taking off) leading to a first lurching, then wild, Discipline 8. Two bonus tracks, for the first time restored from the original concert, follow: We'll Wait for You (with June Tyson) and The Satellites are Spinning - which ends in full-on percussion. A classic recording of a classic band in great form. Nidhamu & Dark Myth Visitation Equation complete the Egypt trilogy. Most remarkable is Nidhamu (the second release of the series, half recorded at the Balloon Theatre, the other half at Hartmut Geerken's house in Heliopolis) - a remarkable document: austere and very out there. Eeliopolis sessions aoppear on lectric keyboards and an eerie Discipline No.11 set the scene, and after some solo Moog there's a spooky miniature Discipline No.15 introducing another long Moog and keyboards solo: 35 pretty abstract minutes that just slip by. Dark Myth Visitation Equation follows (this was the first LP release, and has also been known as Sun Ra in Egypt Vol 1 and Nature's God). The first tracks are from the Cairo TV broadcast and the whole collection features more familiar groove-based pieces characteristic of the period, interspersed with Moog and electric keyboard solos. June Tyson reappears for To Nature's God and the highly eccentric Why go to the Moon?
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Sun Ra: Beyond The Purple Star Zone + Oblique Parallax
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| Two related classic Saturn LP reissues on a single CD, both recorded at the Detroit Jazz Centre - in 1980 and 1981 respectively. They share an excellent sound quality and great playing - there's a classic version of Rocket No.9 and plenty of otherworldly Moog and electronic keyboards - up there with Ra's best on record. Rocket excepted, all the pieces are original to these LPs and don't appear elsewhere, though the first track of Purple Star Zone is heard again at the end, with another name (exactly as it was on the 2 LPs), so it was clearly much liked by the boss. These were 10 -14 piece bands, featuring the regulars, including June Tyson, and some visiting guests. The first LP features prominent electric guitar (not identified in the personnel list on the CD - but every listing I've seen for these LPs is different; this one should be fairly accurate in general, since the promoter helped to get the CD together). A fine release, touched with greatness. And with a good sound. Comes in the usual elaborate gatefold digipack covers for which the Artyard label is justly praised.
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Sun Ra: Disco 3000
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| In the winter months of 1977-1978, philosopher, pianist and bandleader Sun Ra was in Italy. The Italian tour resulted in releases on Sun Ra's own Saturn label, all of which have long been out of print and all but impossible to find. With the re-release of DISCO 3000 one of the most celebrated of these elusive Saturn gems is once more available. This release, and it's companion MEDIA DREAMS, capture a side of Sun Ra's work - small ensemble, close form, original composition, rather minimal - that is otherwise under-represented. Depending heavily on Ra's electric and electronic keyboards (including the mysterious Crumar Mainman - of which even the company has no record) and, more unusually, on his intelligent use of sequencers and rhythm machines, this is an important window on the evolution of Ra's musical thinking, rendered even more transparent by the economy of its means; a quartet comprising only saxophonist John Gilmore, trumpeter Michael Ray and drummer Luqman Ali.
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Sun Ra: Nidhamu + Dark Myth Equation Visitation
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| Nidhamu & Dark Myth Visitation Equation complete the Egypt trilogy. Most remarkable is 'Nidhamu' (the second release of the series, half recorded at the Balloon Theatre, the other half at Hartmut Geerken's house in Heliopolis) - a remarkable document: austere and very out there. Electric keyboards and an eerie 'Discipline No.11'set the scene, and after some solo Moog there's a spooky miniature 'Discipline No.15' introducing another long Moog and keyboards solo: 35 pretty abstract minutes that just slip by. 'Dark Myth Visitation Equation' follows (this was the first LP release, and has also been known as Sun Ra in Egypt Vol 1 and Nature's God). The first tracks are from the Cairo TV broadcast and the whole collection features more familiar groove-based pieces characteristic of the period, interspersed with Moog and electric keyboard solos. June Tyson reappears for 'To Nature's God' and the highly eccentric 'Why go to the Moon?'
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Sun Ra: On Jupiter
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| "Righteous Ra from the end of the 70s -- one of the most soulful albums ever by the Sun Ra Arkestra, and a lost treasure that's got some nice funky moments! The vibe here is very much in the Lanquidity/Disco 3000 mode -- an extrapolation of styles best known from the Space Is The Place era, tightened up into more of a groove at some points, but also relaxed and more reflective at others. Our favorite track on the set is "UFO", a snapping bit of funk that comes as a real surprise from Sun Ra -- and a tune that's got some nicely noisy guitar jamming alongside straighter electric rhythms -- all topped off by vocals from the group and some really strong horn work! The tune's a great party funk number that shows the Arkestra at its most joyous -- and other tracks include "On Jupiter", which has a great blend of light vocals, spacey moog, and snakey sax -- plus the side-long "Seductive Fantasy", a laidback number that unfolds with a really gentle grace." - Dusty Groove
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Sun Ra: Sleeping Beauty
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| One of the most soulful Sun Ra albums ever -- very much on the Lanquidity tip, and done with a great mix of electric and acoustic instrumentation! The vibe here is really mellow, spiritual, and warm -- and the album actually feels a lot more like a session recorded for the Strata East label than it does for Saturn! Keyboards pervade the session -- electric piano and organ drifting around in moody, laidback lines -- augmented by occasional vibes, bits of guitar, and some wonderfully well-blown sax solo work by Marshall Allen and John Gilmore! The title track "Sleeping Beauty" runs for all of side two of the album -- and it's an amazing little number that mixes instrumental passages with some great mellow Roy Ayers-styled vocals. "Door Of The Cosmos" is a bit of a groover, and even gets a bit funky at times -- and the album also features the laidback spacey number "Springtime". - Dusty Groove
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Sun Ra: Space Probe
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| Recorded mostly in the early Ô60s with Ra, Marshall Allen, John Gilmore, James Jacson, Nimrod Hunt and Thea Barbara, Space Probe explores stripped back forms and colour combinations that are far from jazz Ð or that attempt, very successfully, to take jazz into wholly new territories. Especially notable is the extraordinary Conversation Of J.P. for piano and percussion which, along with the opening track - an 18-minute Moog solo, probably recorded in 1970, just after Ra had newly acquired the instrument and was still putting it through its paces - make this an essential release in the Ra canon
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Sun Ra: Sub Underground
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| A classic Saturn experimental studio/rehearsal release, starting with 8 delirious minutes of Kora and Piano frame - almost certainly the Strange Strings instruments, whatever they were... and then Ra's signature clavinet of the period and an unidentifiable double- reed instrument, probably Marshall Allen... enter the xylophone.. I sense you're getting the picture; all in all 21 great later-1960s minutes. Followed by a lyrical standard with Ra playing acoustic piano and John Gilmore saying what has to be said: a live recording, as is the next; congas, bongos, Ra on Rocksichord and singing in the Ra-African style. Some fine straight ahead jazz follows - with serious electric guitar and great tenor playing. And so it goes on, winding up with full-on Space is the Place Angel rant from Ra - not the best sound, but heartfelt. A fine, eclectic collection with enough gems.
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Sun Ra: The Antique Blacks
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| Another much sought after and long unavailable title recorded in 1974 with a smallish ensemble consisting (probably) of stalwarts Marshall Allen, John Gilmore, Danny David, James Jacson, Akh Tal Ebah, Clifford Jarvis, Artakatune, and a new electric guitarist, Sly, and released on Saturn in the same year. This sounds like a studio recording and careful thought out - most of the compositions appear only on this record (apart from versions of Nature's God and Space is the Place), and include a chain of very interesting accompanied /interpolated) spoken texts: There is a Change in the Air, The Antique Blacks, The ridiculous "I" and the Cosmos "Me" as well as a very long and scary coda to Space is the Place. Ra plays Rocksichord and Moog throughout (solo on track 7 and at the end of track 8). Theatrical and political; a fascinating release.
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Sun Ra: Wake Up Angels (2 CDs)
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| Recorded live at the Ann Arbor Blues And Jazz Festival 1972-73-74. The classic big band with a full complement of singers, Tracks 1 -10 (1972) feature the great Space is the Place Suite. After the first few minutes the sound is surprisingly good with great drums throughout; crystal clear. Presence and excitement are well captured, along with some blistering Ra electronics and the crowd cheering everyone on. A bass solo even: rare event. Tracks 11 - 18 (1973) roll straight on winding up with the long declamatory, dramaturgical, chant that gives this set its title and, so far as I know, appears here for the first time on any LP or CD.
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The Hat Shoes: Differently Desperate
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| Ad Hoc Records' new, four-panel digipack reissue of THE HAT SHOES' debut album will be especially welcomed by lovers of intelligent and thoughtful Progressive music, with a hint of Romanticism. Originally released in 1991, "DIFFERENTLY DESPERATE" is a studio offering of diverse avant-pop songs by a "Super-group", comprised of members BILL GILONIS (The Work), CATHERINE JAUNIAUX (Fluvial), CHARLES HAYWARD (This Heat, Camberwell Now) and TOM CORA (Skeleton Crew, Curlew). There's also a slew of well-known guest performers: David Thomas, Amos, Chris Cochrane, Tim Hodgkinson, Hahn Rowne and Rick Brown, among others.
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This Heat: Deceit
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This Heat: Health & Efficiency (EP)
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This Heat: Made Available (BBC Sessions)
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This Heat: Repeat
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This Heat: This Heat ("The Blue And Yellow")
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Work, The: Live In Japan
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| Bill Gilonis / Tim Hodgkinson / Amos - Chris Cutler
By 1982 drummer Rick Wilson had left The Work to study Katakali in India, and bassist Mick Hobbs followed shortly afterwards over disagreements about what the group should be playing. The remainder of the band then asked Amos (bass) and Chris Cutler (drums) to join them for a tour of Japan that had already been scheduled before the breakup. Together with sound engineer Chris Gray, the group flew there in June to play three concerts in Tokyo and one in Osaka. The recording that became "Live in Japan" was taken at the Osaka concert, the only one on the tour that was recorded. A Japan-only release followed (on Recommended Records Japan), which has been out of print for over 20 years and is virtually impossible to find anywhere. This disc re-issues the concert for the first time, adding the extremely rare, red flexi-disc, live version of the classic, "I Hate America", as a bonus track.
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