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5uu's: Crisis in Clay
Code:769
Price:
$13.95
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Angeli, Paolo & Takumi Fukushima: Itsunomanika
Code:7792
Price:
$16.95
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| This is Paulo Angeli's fifth release, this time with ex-After Dinner, ex Volupuk violinist and singer Takumi Fukushima. A high quality, hi-fidelity concert performance in which Paulo and Takumi deliver an impressively well integrated, complex - and largely composed - program of sharply focused pieces, making the most of their not inconsiderable talents and, somehow, managing to sound like a much larger ensemble. In part, this is sheer virtuosity and, in part, it's the exoticism of the instrumentation - in particular, the sonorities of Paulo's extended, customized, prepared Giant Sardinian guitar, which does extraordinary, chameleonic work as bass, chord accompaniment, melody instrument, viola, cello, and sometimes percussion. There are some palpable After Dinner atmospheres here, but mostly the music occupies its own ambiguous, highly convincing, cultural space.
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Aranis: Roqueforte
Code:7787
Price:
$17.00
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| This latest Aranis is probably their best yet. They have added viola and percussion to the sonic palette, and the result is more driven, more powerful and rockier, whilst not losing any of the beautiful classical elements that make them the most unique Chamber-Rock group to date. Fans of Univers Zero, Art Zoyd, Dun, etc. will have found an ally here, and should not miss this one.
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Bill Gilonis - Chantale Laplante: Zurich / Bamberg
Code:7631
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$15.95
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| Bill Gilonis and Chantale Laplante worked on Zürich-Bamberg intermittently for three years. The CD comprises a series of pieces that fall loosely into a category that could be called "electro-acoustic Hörspiel." However, with Bill in Zurich and Chantale based firstly in Bamberg, Germany and later in Montreal, Canada, it was difficult to find a way of collaborating by conventional means. But, by ping-ponging audio file CDs between these cities they managed to develop a practical, and in some ways advantageous, composition and recording strategy. For this project conventional instrumentation has been virtually abandoned. What we hear on these recordings - collaged and sometimes manipulated via processing technology - is street noise, household clatter, fragments of radio, close-miked objects, etc. By and large the pieces are constructed from precisely the sounds that our ears are constantly and automatically filtering out; but by orchestrating these sounds into pieces to be listened to - as opposed to heard - listeners are introduced to a radically personal world.
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Blast: Sift
Code:7698
Price:
$15.95
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| This is the second release, after a long wait, from this unique ensemble. Equally at home with the discipline of composition and the tightrope of improvisation Blast have evolved a fluid, pointillistic, unfathomable but transparent musical language that seamlessly integrates - over very short durations - highly complex writing and very free ranging improvisation, allowing the two languages to merge and combine into a new kind of logical exposition that makes sense but can't be reverse-engineered into its component parts. This is a music that lives through detail and exposition; neither resolving into composition, nor able properly to be understood as improvisation. In this respect Blast have solved a problem that has defeated many in the last 40 years.
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Camberwell Now: All's Well
Code:6911
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$15.95
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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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Cutler, Chris & Steve Maclean: Year of the Dragon
Code:7798
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$16.95
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| A collection of 5 songs and 4 instrumental pieces that explore equally - and simultaneously - spontaneous performance values, close compositional detail and extensive processing. Made out on the rocky coast of Maine with just a TV eye keeping tabs on a world skidding to hell in a handcart, all the basic work was done by MacLean and Cutler with Julie Thompson (voice) added later alongside additional parts played by Frank Gross (bassoon), Michael Bierylo (laptop, samples, circuits) and Titus Abbot (bass clarinet and saxophone). These are complex, focused pieces, some highly rhythm-rooted - mostly at rapid bpm rates - generally wide open with a close receptivity to timbral nuance and non-linearity.
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Cutler, Chris: There And Back Again
Code:6909
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$15.95
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| Like its companion 'Twice around the Earth (ReR CC2), 'There and Back Again' is derived from a selection of the 365 location recordings made for Cutler's daily Resonance FM radio programme 'Out of the Blue Radio' (2004-2005). It takes extracts from 44 of these environmental recordings to explore - amongst other things - the way memory works, and how the experience of passing time is constructed. That's subtext. More important, it should make enjoyably complex listening: surprising, serendipitous, mundane but alien - the commonplace transfigured. There and Back Again offers an agglomeration of inadvertent sounds, made haphazardly by the world - and some of its inhabitants, that were never meant to survive, and were certainly not meant to be listened to repeatedly. And yet... Since about a quarter of the locations, though not the extracts are the same as those on 'Twice', reading across the two CDs adds another dimension of listening to the memory puzzle that these fleeting but permanent works explore.
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Drake, Bob: Bob's Drive-In
Code:7793
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$16.95
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| A set of twisty, forty-ideas-a-minute, niftily arranged, irredeemably eccentric, but strangely brilliant songs that skip blithely across genre borders - from Nashville through the Miskatonic by way of the Beach Boys... even the production values range across the history of recording, sometimes switching inside a single song; so - a high-information ride, but still engagingly listenable. Finished with his new CD, Bob sends the raw songs - just chords and melody - to Dave Kerman (ds), David Campbell (bs, vc) and Kavus Torabi (guit, vc) and, a few months later, they assemble at the Crumbling Tomes studio to work up the songs for a performance. Bob is in the band but the band is not being taught his interpretations and arrangements. It finds its own. After a week of rehearsals, there is a show for an invited audience, recorded live. So now we have a second great album - quite different from Bob's own. On the CD, both versions sit side-by-side, each very different, but still intimately linked to one another.
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Frith, Fred: Impur II
Code:7708
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$15.95
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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
Code:6910
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$15.95
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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: Live In Japan
Code:7783
Price:
$15.95
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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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Frith, Fred: Nowhere, Sideshow, Thin Air
Code:7709
Price:
$15.95
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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: The Happy End Problem
Code:6912
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$15.95
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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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Hayward, Charles: One Big Atom
Code:7796
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$17.95
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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
Code:6745
Price:
$25.95
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Henry Cow: Stockholm & Goteborg
Code:7608
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$15.95
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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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K-Space : Going Up
Code:5337
Price:
$15.95
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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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News from Babel: News from Babel Box
Code:6782
Price:
$24.95
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Pere Ubu: London * Texas
Code:7710
Price:
$15.95
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| A missing piece of the Ubu jigsaw, and a fine memento of a great band, London Texas is a satisfyingly hi-fi live recording of the sadly short-lived line-up that toured briefly between the arrival of Eric Drew Feldman and the departure of Chris Cutler. Certainly it's the best recording of the Scott, Cutler, Maimone rhythm section - though the whole band is on lean-back-intense concert form. Coming back to it, this was the end of a particular era, of a certain kind of band: the songs are economical and tightly arranged but harmonically elaborated - with strongly performative and musical underpinning (there's a new aesthetic in place now); it's an approach that takes no prisoners. Then there's the bonus of that scary live energy. Studio recordings just can't do this. London Texas stings like a bee - in a beret.
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Picchio Dal Pozzo: Abbiamo Tutti I Suoi Problemi
Code:6746
Price:
$15.95
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Pox: Borgnine
Code:7772
Price:
$12.99
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| POX (not to be confused with the French pop group that bears the same name) is the long-standing project by CHRIS BLOCK, ex of Cheer Accident. A few years in the making, this recording goes well beyond the group's previous offerings, and will enthrall fans of C.A., Star Period Star, Flying Luttenbachers, Hail, Fortrangt Hushallsarbete, Sleepytime Gorilla Museum, This Heat, Combat Astronomy etc. There's a lot of juicy, hard-hitting tunes here, and a great amount of variety in their approaches. A few guest musicians too, including four different drummers: Thymme Jones, Brad Schlueter, Jim Widlowski and Dave Kerman. This is a disk that takes pleasure in breaking many rules of "Rock" music, while somehow managing to be ultimately fun and listenable. Certain elements of instrumental harmony are just so "wrong", but that was the point; and hence they become idiomatic certainties by means of purposefully re-writing the musical language explored. Though self-produced, it doesn't sound DIY or cheap, and with these old hands at the helm....well, experience is speaking loudly here. Give it a shot, wontcha ? Think Ernest Borgnine; no Star Trek references, please.
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Recommended Records' Artists: The Recommended Records Double Sampler (1983)
Code:7609
Price:
$26.95
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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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The Blitzoids: Stealing From Helpless Children + Look Up (Dbl. Cd)
Code:6779
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$25.95
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| Way back in 80's, before the term "Alternative" was hijacked to correspond with Seattle "Grunge", the genre was held in high-esteem for its "D.I.Y. / Low-Fi" ethic. The Blitzoids - along with The Residents, R. Stevie Moore and Eugene Chadbourne - epitomized this school of thought in the USA. From the headquarters of their native Chicago, Illinois compound (ie. The De Chiara brothers' record store, which was infamous for its somewhat crude but workable 8 Track recording studio conditions), The Blitzoids created songs that went well beyond normally written forms. Aside from the band's basic "rock" instrumentation, they exploited Musique' Concrete, found sounds and strange instrumentation to define their sonic palette. Different sections of music were seamlessly butted-up against one another to tell musical stories in sharp and clear detail, often giving way to rich, open passages of sound, only to be quickly countered by kitschy, pop-influenced stabs of humor. In the long run, the band's music was at once witty, whacky, artfully strange and wonderfully unique.
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The Hat Shoes: Differently Desperate
Code:7630
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$15.95
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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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The Work: Rubber Cage
Code:6777
Price:
$15.95
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| These are powerful recordings of the band's most densely composed material., musically akin to another of their classics, "Slow Crimes", but honed into even more mature fashion. (The band had broken up after a tour of Japan in 1982, and reformed for this record 7 years later. In the interim, each of the musicians' talents and compositional abilities had grown by leaps and bounds). This album was a new beginning for The Work, and set them off in a slightly different direction than they had previously employed: Much of the energy of this music came from the sheer "tenseness" of the compositions; they didn't need to bludgeon the ears to get the point across. Besides collecting what could arguably be their most finely crafted songs, this disk best displays the group's unusual sense of individual soloing: The singularly-plucked cello during "Dangerfish", and the free-form piano of "Jay", both seem to be the intrinsic opposite of the musical settings they embellish. Capturing such disparate approaches sets up a dichotomy of styling throughout this exceedingly intense album, offering startling (and usually brutal) results.
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The Work: See
Code:7781
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$16.95
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| SEE was the final The Work album to be issued during the band's lifetime. It showcased some of the very best material of their later years, and a penchant to move into a different, more mature setting. The electronic experimentation here perfectly meshes with post-punk appeals and terrorist-like energy, giving the listener plenty of reasons to be drawn-in to their psychotic world of extremes. Each instrument plays perfectly off of the others to send everything, "somewhere else", whilst somehow holding together perfectly amidst some fiendish, "white knuckler" time relations. Though the vocals on this album were more "sung" that "shrieked" (as evidenced on their earliest recordings), the instrumental parts, especially the drumming, keep the group in line with its radically apparent love for showcasing a primal approach. This has been out-of-print for a number of years, so it's great to have it back again.
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The Work: Slow Crimes
Code:6778
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$15.95
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| Originally issued on vinyl in 1982, this music, along with that of compatriots This Heat and Unrest Work & Play, set the stage for a unique type of new British Invasion; one that seemed to absorb the complexity and slickness of Progressive Rock, whilst throwing its aesthetics to the dogs, in lieu of the energy and power of early Punk. THE WORK were amongst the first few to purposefully break their own mold in an attempt to break new ground, concomitantly creating music that seems more comfortable resting on a bed of nails than precious laurels. The drums are primal, and hold the entire band together in a polyrhythmic way that was, at the time, unheard-of in Punk music. The vocals are offered unapologetically, sometimes in semi-screams of anguish and insolence. The guitars & bass chug along, daring the listener to tap their foot in time to regain one's bearings. Over it all is the collective penchant to add experimental noise, to further a state of shock. The group worked tirelessly within these guidelines on the road for 2 years before disbanding, only to reform some seven years later, releasing two additional and equally excellent albums.
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The Work: The 4th World
Code:7782
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$16.95
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| THE 4th WORLD is the band's long-lost, never before issued, very last album, from 1994. Succeeding "SEE" by some two years, it shares that album's aesthetics and approach - an economy of means, and superior song-writing/ playing - even when compared to their earlier albums. One wouldn't guess it was recorded live at a gig in Breisgau, because the sound is, quite honestly, superlative, and is even better than any of their studio albums. The original, mono recordings (by Volkmar Miedtke) were meticulously reprocessed into stereo years later by Udi Koomran, and the sound has really been, "opened up". The playing itself is also powerful and thoughtful. Especially important is the fact that only two of the twenty songs on this disc were released on previous albums, thus making The Work's entire catalog finally complete, and now wholly in print.
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This Heat: Deceit
Code:6985
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$15.95
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This Heat: Health & Efficiency (EP)
Code:6986
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$13.00
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This Heat: Made Available (BBC Sessions)
Code:6987
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$15.95
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This Heat: Repeat
Code:6988
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$15.95
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This Heat: This Heat ("The Blue And Yellow")
Code:5340
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$15.95
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Work, The: Live In Japan
Code:5335
Price:
$15.95
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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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