DAUNIK LAZRO / PHIL MINTON
Alive at Sonorités
THE PASCHALL BROTHERS
On the Right Road Now
[Smithsonian Folkways, www.folkways.si.edu]
[Warp Records, www.warprecords.com]
JACK WRIGHT / JOHN M. BENNETT / BEN BENNETT
[Luna Bisonte Prods/Spring Garden Music, www.springgardenmusic.com]
TAYLOR DEUPREE + CHRISTOPHER WILLITS
The Black Wood
[Last Visible Dog, www.lastvisibledog.com]
Leave Your Wet Brain in the Hot Sun
[Digitalis Industries, www.digitalisindustries.com]
Dear Robert Hanoy
[Not Not Fun Records, www.notnotfun.com]
The Short Night
Neither Speak Nor Remain Silent: Three - Allure
[Die Stadt, www.diestadtmusik.de]
[Lovely Music, www.lovely.com]
[Fallout / Soundlink Music, www.soundlinkmusic.com]
[High Note Records, www.jazzdepot.com]
[Thrill Jockey, www.thrilljockey.com]
SONIC OPENINGS UNDER PRESSURE
[Clean Feed Records, www.cleanfeed-records.com]
Only The Devil Has No Dreams
[Southern Lord, www.southernlord.com]
Here Comes Everyone
[Benbecula Records, www.benbecula.com]
Folk and Pop Music of Myanmar [Burma] Vol. 3 - Music of Nat Pwe
[Sublime Frequencies, www.sublimefrequencies.com]
FRED ANDERSON & HARRISON BANKHEAD
The Great Vision Concert
[Ayler Records, www.ayler.com]
GOLDEN DEATH MUSIC
[Helmet Room Recordings, www.helmetroom.com]
HENRI TEXIER STRADA SEXTET
Alert A L'eau
[Label Bleu, www.label-bleu.com]
PENUMBRA / HEQAT
Penumbra / Heqat
[Sol Disk, www.soldisk.com]
[MoonJune Records, www.moonjune.com]
[Polyvinyl Records, www.polyvinylrecords.com]
[EM Records, www.emrecords.net]
WILLIAM PARKER / RAINING ON THE MOON
Corn Meal Dance
[Aum Fidelity, www.aumfidelity.com]
The Sky Behind The Sea
[The Social Registry, www.thesocialregistry.com]
The Boy Who Couldn't Stop Dreaming
[Labrador Records, www.labrador.se]
Summer Love EP
[Louie Austen, www.louieausten.com]
[Silber Records, www.silbermedia.com]
LUCAS NIGGLI ZOOM MEETS ARTE QUARTETT
[Intakt Records, www.intaktrec.ch]
SON OF GUNNAR, TON OF SHEL
Son of Gunnar, Ton of Shel
[Edgetone Records, www.edgetonerecords.com]
IGNAZ SCHICK / DAWID SZCZESNY
The View Underneath
OLIVER LAKE TRIO
Music for an Untitled Film by T. Zarkkof
[Etude Records, www.etuderecords.com]
[Monochrome Vision, www.monochromevision.ru]
MARC BARON / BERTRAND DENZLER / JEAN-LUC GUIONNET / STEPHANE RIVES
Missing You / A Musical Discovery of India
The Library Book of The World
[Bloodshot Records, www.bloodshotrecords.com]
GROUNDTRUTHER + JOHN MEDESKI
[Thirsty Ear, www.thirstyear.com]
The Furniture Moves Underneath
[Drip Audio, www.dripaudio.com]
[Other Electricities, www.other-electricities.com]
The Ghost That Carried Us Away
[Morr Music, www.morrmusic.com]
NOSTALGIA 77 OCTET
Weapons of Jazz Destruction
Time and Tide
[Topic Records, www.topicrecords.co.uk]
MARY HALVORSON / JESSICA PAVONE
On and Off
[Skirl Records, www.skirlrecords.com]
The heaps of music keep on piling and the world keeps on spinning round. With that said, here is a selection of albums that have left a durable impression over the last little while.
French multi-instrumentalist Gabriel Hernandez is the brains behind an oddly named project GoGooo. Playing a bundle of instruments - guitar, melodica, piano, organ, carillon, laptop - he also utilizes a thick dose of field recordings on his first "professional" full-length [the other ones are apparently less professional as those were released on CD-Rs]. If any tangible term exists to describe GoGooo's music, it would have to be electronic folk-field music. In taking distinct elements of field recordings [kids playing, sound of wind and leafs rustling] and blending them with whisper quiet carillon waves, ultra-serene organ motifs and delicate guitar strums, Hernandez has come out with a real winner. Quiet yet distinct enough to be able to make waves, "Long, lointain" is a slab of superior music.
Staying in France, we find baritone saxophonist Daunik Lazro who during the 2005 Festival Sonorités put together a duo project with British phenomenon, vocalist Phil Minton. Man who needs no further introduction, Minton has been known to impersonate the sound of a variety of instruments as well as human sounds. Here, while Lazro spurts out considered and carefully measured breaths into his baritone, Minton replies with complementary squeals, squelches, belches, farts, laughs, whistles, nostril-breaths and even heavy breathing. His ever popular Donald Duck on helium routine is back in full force, which should delight older and newer fans alike. So much fun it is to listen to the way the duo closely interacts, one forgets this is not just fun, but actually serious improvisation of the highest order.
Quarter century old, The Paschall Brothers take what is best about soul and do it right in the way of full-throttle harmony. Going back to the gospel of New Orleans, barbershop and civil rights movement, the Brothers have a true harmonious spirit that's rarely heard nowadays in popular music. If anything, the gospel aspect seems to be the strongest one in their music. Nearly every one of the thirteen tunes on their new CD is either a tune of praise or one that gives glory. Forget about any other vocal quartet you may have heard in the past, The Paschall Brothers are the ones with perfectly timed harmonies, rising crescendos and overlapping multi-part vocals that will send shivers down your back. Devotion, passion and conviction, "On the Right Road Now" can easily be considered one of the great gospel records of the present day.
Grand nephew of the late Alice Coltrane, Flying Lotus - producer Steve Ellison - has just released another winner, this time courtesy of the Warp imprint. "Reset" is a six track EP, which serves as a warm up to a full length which should be coming out sometime early next year. Though instrumental hip-hop is what he's most known for, he doesn't necessarily shy away from vocals. Andreya Triana gives a rich, silky reading on the EP's first track "Tea Leaf Dancers", which also features sharp slabs of fade-in, fade-out meshed sounds. Elsewhere, the beats are varied - from the medium-paced, over-amplified drama on "Vegas Collie", to the echo-chamber doo-wop vocal samples on "Massage Situation". The most exciting track is the out-there "Spicy Sammich", which features ultra-light samples of percussion that builds up to mayhem, along with record-surface noise and a few tid-bit vocal samples that are repeated ad infinite. Rich and sultry debut, one that makes me lick my lips in scorching desire, while waiting for his proper full length.
Saxophonist Jack Wright has been making exceptional out-there music for decades. His drive and DIY determination has made him a winner amongst the faithful fans. "Rotty What" - a collaborative effort with vocalist John M. Bennett and percussionist Ben Bennett - sees Wright in a much more relaxed mode. It's not that he's lost his bite, but rather he's increased his agility. His saxophone work is now more adaptable to the team he plays with. While John M. Bennett refutes grumbles, buzzes and growls, Wright tries to imitate his partner in a complementary fashion. All the while, Ben Bennett is ultra-light on percussion, radically purring on his kit and allowing only a few scrapes of the cymbals or a few drops on the tom to escape. Much hilarity is exuded on the record as Bennett gets lost in the semantics of "The Shirt The Sheet". You're not sure whether he's coming or going, which is always a good indicator that a great record is just being spun.
Commissioned specifically for Yamaguchi Center for Arts and Media, "Listening Garden" is a quiet and reflective piece proposed by Taylor Deupree and Christopher Willits. Their audio installation was supposed to intensify the listener's senses as they visited the listening garden, which is full of trees. It is not background music, though oddly enough, we're asked to listen to the CD at a low background level without the use of headphones. Its authors are keen on matching the listening experience for the listener at home to the one the visitors to the installation did. Quiet but never demure, still, though not lifeless, "Listening Garden" is full of nuances and subtleties at every turn.
A superband of sorts, The Stumps are made up of three members of other better-known New Zealand outfits. Guitarist Antony Milton comes from Pseudoarcana, The Nether Dawn, Mrtyu. Drummer James Kirk is best known for his work with Sandoz Lab Technicians, while bassist Stephen Clover has played in Palindrome and seht. As a trio, they make the most flamboyant walls of noise and literally go for the jugular. While rhythm section is loose, Milton likes to play around with equal amounts of sheets of feedback and scorching guitar riffs. It's not all-out noise and it rocks but only to an extent, "The Black Wood" is too early in the game to make any definite calls as to the band's future. Let's just say, this writer is hoping for lots more exploration on future albums.
A re-issue of an out-of-print Belgian CD-R release by Warmth [which at the time was knows as Roxanne Jean Polise], "Leave Your Wet Brain in the Hot Sun" is a grueling exercise in manipulated, layered noise. The Michigan native hiding under the Warmth guise is one Steev Thompson. His electronic palette on these five tracks [two pieces are actual bonus tracks tacked on to the original release] is as dense as it is heavy on a storyline. The pieces go from serene to heavy-handed noise in a manner of minute. What you perceive to be a safe drone record turns out to be a trip through the darker realms of hell.
Formed in 2004 by Silvie Margot Deutsch and Zoe Ruth Cusmus Latta, Belly Boat is as fucked up as music gets, which is what can be expected from the people at Not Not Fun imprint. First of all, who the hell is Robert Hanoy in the album's "Dear Robert Hanoy" title? Second of all, why does much of this stuff come across like two first-graders being goofy on vocals, piano and accordion? There's screaming, crying, name-calling, nursery-rhymes and sing-alongs. Lo-fi, yet complex in a fashion most of us will never be able to understand, the duo somehow manage to glide through a visionary quest that is as mysterious as it is hilarious. Not for the faint at heart or those who believe music should be serious at all times, Belly Boat hits all the wrong chords the right way.
Following up on last year's extraordinary duo project with Chris Watson ["Storm"], Swedish audio-artist BJ Nilsen delivers "The Short Night". The album is composed of seven pieces which were recorded in Sweden, England, Italy and Iceland. Much of the equipment [tape machines, filters and generators] Nilsen used to record the material was highly outdated. Regardless of its age, the sound is crystalline and highly evocative of chilly, desolate places. Movements are arranged in series of multi-toned shapes that continue to roll and weave themselves on the landscape. Hildur Ingveldardóttir Gudnadóttir plays morin khuur on the highly dramatic "Black Light", which ends in a fury of noise. "The Short Night" is a sensual, mysterious and provocative journey through the dark, abandoned echelons of the neither regions.
As with all goods fortunes, things must eventually come to an end. So is the case with Fovea Hex, who with "Allure" are wrapping up a very ambitious trilogy of EPs entitled "Neither Speak Nor Remain Silent". The Fovea Hex collective this time around includes Clodagh Simonds on vocals, zither, harmonium, string arrangements, Laura Sheeran on vocals, violinist Cora Venus Lunny, cellist John Contreras, Steven Wilson on treated guitars and bass drones as well as guitarist Robert Fripp, Donal Lunny on bodhran, Michael Begg on piano treatments, Percy Jones on bass, and Geoff Sample on field recordings. The music is even more haunting and allegorical than the EP's two predecessors. Fripp's recognizable guitar shimmers populate the haunting "Long Distance" in an even-flow fashion, while Simonds' vocals are as breath-taking and caressing as ever. The string section simmers the rest of the music in a strange and eerie bath of incredulous steam. The final piece, instrumental called "Neither Speak Nor Remain Silent" allows for a lot of relaxed, breathing space to be exuded. As the field recordings of moorland birds and lake water die out, you realize this is a flawless end to a trilogy that is a sound world unto itself.
Inspired by the life of Milarepa [11th century great yogi and poet from Tibet], Eliane Radigue's "Jetsun Mila" is an almost 90 minute ride through the life of this influential figure. Performed exclusively on arp synthesizer, the 2 CD set takes us seamlessly through nine distinct chapters in Milarepa's life. We travel from "Birth and Youth" through to "Misdeeds", "Practice" amongst others and end up at "Death/Nirvana". The sounds Radigue produces are mostly drone-based, as constant repetition is drilled into the listener's ears. In fact, so much drone is produced here; one forgets there are distinct chapters that are supposed to be recognized. Nonetheless, the drifting quality of the music is superfluous, as the synthesizer under Radigue's control works its mystical magic.
Thomas Dybdahl is a 27 year old Norwegian multi-instrumentalist and vocalist who is making a quiet storm over in North America. After a release of four records in Europe, he's now been signed with Recall Records to do great things on this side of the pond. On "Science" his style is reflective, quiet and certainly introspective. Folk music or pop rock, regardless of category, his guitar playing is moody but never over-whelming. His vocals are reminiscent of a more up-front, more crooning Nick Drake, though the music has a much more easy-going feel throughout. Intense without a real punch and introspective without being hushed, "Science" is an easy album to wrap your ears around.
Featuring members of Gabor Szabo's band and Bill Plummer's Cosmic Brotherhood, The Advancement was a collective of musicians that brought jazz sensibilities into the psychedelic world. Neither here nor there, neither pure jazz, nor full-blown psychedelia, their 1969 self-titled debut boldly ventures into the world of folk music and seems to come out with its head raised high. Along with smooth organ lines and propelling rhythm section; along with Art Johnson's mellow guitar motifs, the one thing that is prevalent on the release is the vibraphone. Played by Lynn Blessing, the sound of the vibes takes on the role of the melodic instigator. The air is so thick in vibes; one is led to believe Blessing was the leader of the band. An excellent release full of easy melodies and nicely constructed music that should've been reissued on CD decades ago.
Best known recently for his work with Dave Holland's band, vibraphonist Steve Nelson has enough imagination and drive to produce work that is as sensual as it is challenging. His latest release "Sound-Effect" sees him leading a quartet. Made up of pianist Mulgrew Miller, bassist Peter Washington and Lewis Nash on drums, the band makes up a perfect setting for Nelson's vibe frenzy to dwell in. Sometimes though that frenzy is somewhat dulled, as Nelson covers Jobim's classic "Desafinado", where the vibes are a tad too mellow to express the joy of the song's true essence. If anything, I would much rather prefer to hear Nelson on a true ballad, like the haunting "Sound Essence". It's here that Nelson's true grit is realized. This is where the listener is invited to share an authentic tender moment.
As if OOIOO didn't raise enough ruckus already, in comes Boredom's Eye to the rescue to remix a couple of tracks from their "Taiga" album. "Eye Remix" EP is a 4 track release, featuring two Eye remixes of "Umo" and "Uma" along with original album tracks. Eye versions are denser, exhibiting thicker layers of multi-rhythm, orgasmic glory. While Yoshimi, Kayan and Aya scream vocals in a hammer-drill fashion, Eye adds stupendous contraptions and obstacles for them to sing against. I don't speak Japanese, but I wish I did, if only to understand what this quartet is on about so fervently.
According to Lenape tribe, Hudson River was Muhheankuntuk, which meant a river that flows two ways. On Sonic Openings Under Pressure's latest CD, that analogy goes to point out two pillars in their musical beliefs. First pillar is free music, while the second pillar represents composed music. Within those two structures, the music of the trio exists. Made up of alto saxophonist Patrick Brennan, bassist Hilliard Greene and David Pleasant on percussion, harmonica and voice, the trio explores both the fierce and the more meditative aspects of free and composed music. One aspect that sends chills up and down my spine is Pleasant's soulful harmonica work, which at odd times meshes up into one neat shelf along Brennan's alto work. Masterful music from a trio that I hope is as good in a live setting as they are in the studio.
An off-shoot of the infamous Peter Brotzmann's Chicago Tentet, Sonore brings together the tentet's leader along with Mats Gustafsson and Ken Vandermark all playing a variety of brass instruments. Though the music is written [two Brotzmann tracks and four being credited to all three members], there is an inherent looseness that defies categorization. As always, Gustafsson and Vandermark speak a common language, which must've been partially learned from their musical father, Peter Brotzmann. Whether playing alto, tenor or clarinet, Brotzmann is always a unique voice. His intense conviction comes through most clearly when he picks up the tarogato. As for Gustafsson and Vandermark, the more tenacious the horn, the more malicious their sound becomes. Bold as fuck, with melodies to spare, "Only the Devil Has No Dreams" is a fine exercise in tandem communication of the best kind.
The secret to Om is the way they marry the chants with the ultra-heavy pulsing of the rhythm section. Their latest Steve Albini engineered [should be a selling point already] "Pilgrimage" is a reflective journey into the more transcendental side of metal. Title track is a ten minute vision of ultra-wispy vocals [see Pink Floyd's "Set The Controls for Heart of the Sun"] along with slow tempo rhythm section. Only on "Unitive Knowledge of the Godhead" does Om explode in a heavy-riffed mayhem orgasm. The extended "Bhima's Theme" features more of the sludge-feast for the senses, while the album ends where it began, with a reprise of the title track. At the end of the journey, I am left with an impression members of Om have traveled a long mental slope to get where they are musically today.
After a three year break from his previous album, Reverbaphon [aka Paul Smith] returns with a juicy album entitled "Here Comes Everyone". Full of disjointed beats, rhythmic patterns that are skewed and cacophonous samples, Smith turns the knobs in a most chaotic fashion. Still, there is a feeling of space and exquisite eye to detail. What a gentile sounding melodica is doing on the jittery "Sea Minor Grave" or a warmly flowing guitar on "The Existential Sheriff", I'm not exactly sure. Fact is, Smith makes the disjointed some alive. Superfluous in his ability to put traditional instruments with electronic aspect, "Here Comes Everyone" is one solid slab of music that dances, breaks, beats, whips and amuses. Highly recommended for late nights alone at home.
Gene Bowen [or Eugene Bowen as he was known at the time] is a California based singer/songwriter. In 1981, together with Harold Budd, he released "Bourgeois Magnetic" on the short-lived Cantil imprint. This is the only album from Budd's back-catalogue that has never been re-issued until now. Released as a 12" 45 RPM, people would often inadvertently play the record at 33 RPMs, therefore extending its short lifespan. With a ton of lovely piano playing from Budd, the pieces blend into each another in a superfluous fashion. The style is reflective, pensive and hauntingly beautiful, until we come to "Bourgeois Magnetic/The Phase of a Dynasty", which is a Fripp-like, almost intrusive number that features heavy doses of Brazilian single-string percussion instrument, berimbau. EP comes to a close with Budd's feather-light meditation on "Amethyst". All would be perfect in the world, if it wasn't for the fact that clocking under the 20 minute mark leaves one with a huge hunger that needs filling as soon as the album comes to a close.
Ghost spirits called Nats are common place in Myanmar [formerly Burma]. Many people believe in these spirits that long time ago became historical figures. A large number of these met their end through tragic or violent deaths. Apparently these spirits have a power to either help or devastate lives of those who recognize them. Pwe is a ceremony that is held with specific purpose of appeasing Nats. Ceremonies are held every day in Burma for a number of reasons - for a successful business venture, to celebrate a happy marriage or for improvement of one's health. MC of the Pwe ceremonies is a Kadaw, who is always dressed in elegant, often flamboyant costumes. Kadaw fulfils many roles - singer, dancer, storyteller, magician but mostly the spirit mediator. "Music of Nat Pwe" is a collection assembled by Alan Bishop [formerly of Sun City Girls, who now heads the Sublime Frequencies imprint] that highlights a fraction of some of the Pwe ceremonies. Don't expect any soothing, melodramatic ceremonies on this release. What you'll get are quite intense, dramatic incantations. With corralling vocals and complex rhythmic patterns and mostly percussion mayhem, the music is rich in flavour and appealing in a strange way. Mandatory listening.
A generation apart, Chicago natives, tenor saxophonist Fred Anderson and bassist Harrison Bankhead made some unforgettable music during 2003's Vision Festival. Lucky for us, Ayler Records has just released their much-applauded duo gig. Much trajectory is set early on, as each musician seems to go his own way. While Anderson wails on the tenor, his playing that night sounds a tad toned down. This doesn't mean he doesn't inject a healthy dose of fire underneath Bankhead's illustrious finger-picking. Far from it, Anderson confronts his partner with much gusto and fervour. For his part, Bankhead's approach is rather calm as he runs the scales of his acoustic bass in a natural fashion. When he switches to arco, his movements are open-ended. It's at this point, that the two souls meet. Anderson's complementary horn approaches his partner ever so carefully and if by some super-natural power, the two become one. Superb in every way imaginable, "The Great Vision Concert" is communication of superfluous fashion - distinct and potent.
Golden Death Music is one Michael Ramey, whose sense of the unreal, the twisted and the unspeakable is somewhat blurry. The haze is permanently stuck on every one of the twelve songs on his debut "Ephemera Blues". It's as if one were watching the music through broken 3D glasses that allowed peripheral vision to form all around. It's like drinking tap water to discover it tastes like glue. Weirdness and sweet textures go hand in hand in Ramey's world. Ethereal landscapes are populated by folk-drenched guitars, and post-gloom, echo-filled atmospheres. Structures of the songs are left with open ends and oftentimes, the melodies break up on a whim or are simply incomprehensibly lapse. Psychedelia with tinges of neo-folk flavour, the music leaves me wondering if Ramsey's debut is about coming or going. Am I fulfilled or am I still feeling hunger pains? Is it all for real or just a nauseous dream?
As if to prove that the fruit doesn't fall far from the tree, Henri Texier's Strada Sextet consists of bassist/leader/father Henri and his son Sebastien on clarinet and alto saxophone. Together with baritone saxophonist Francois Corneloup, trombonist Gueorgui Kornazov, guitarist Manu Codjia and percussionist Christophe Marguet, Texier's band plays audacious music, full of vigour and passion. The fact that delights me most about "Alerte a L'eau" [Water Alert] is not so much its social message [that humankind is screwed unless we preserve our most precious resource, water] but the subtlety of its delivery. Very few passages of outright anger are heard. Rather, the band chooses to deliver its message through restrained tones, such as Kornazov's carefully measured, quiet trombone blasts, or Codjia's light but twangy guitar phrases. Bassist's finger-picking is of rather understated quantity, which serves the core of the music perfectly. Wonderful record, full of nuances and hints of greater things to come in years ahead.
For its first release in three years, Seattle-based Sol Disk imprint has issued a split album. The common denominator is guitarist/composer Chris Pugh, who appears on two tracks with percussionist Jack Gold as Penumbra. The last track was composed by Pugh and features Trio Recherche. Penumbra's music is angry - full of intense turns and scraping conflict. Best parts are the controlled feedback altercations that Pugh sets up, to which Gold responds with a fury of abandoned percussive rolls. It's not until "Talus" that we get a glimpse of the duo's less frantic side, as Pugh revels in edge-wise slides across the strings, while Gold responds with gentile tinkling on the cymbals. "Heqat" is an all-string piece which dates back to 1994. Performed by Trio Recherche - violinist Melise Mellinger, Barbara Maurer on viola and cellist Lucas Fels - the music is more jagged, more demanding than Pugh's work with Gold. Through its ups and downs, the trio of musicians takes on a lot of clashing passages, where conflict is born out of sheer necessity. Bearing witness to this musical clash first-hand is worth the price of admission alone.
Canadian natives, brothers Davin and Kevin Chong, aka Northern understand the meaning of the word quiet. Their debut "Drawn" eschews many of the pitfalls of traditional ambient music - little substance and much fuzz. It's obvious these two have been listening intently to the micro-sound principles brought forth by 12K mainstays Taylor Deupree and Richard Chartier. Not much of a beat to speak of, Northern's sound moves in a cyclical fashion. Its emphasis lies on concrete samples of delicate clicks and passing glitches. Complete atmospherics are built from scratch, allowing listener to glimpse the foundations of the duo's craft. Rich in imagery and luscious in delivery, "Drawn" is a blank canvass, which is filled to the brim with slowly passing musical brushstrokes.
While SimakDialog began as a band back in 1993, it is only now that I've stumbled on their music. Leader Riza Arshad propels the band with a tasteful blend of subtle piano motifs, and wavy synth work. Joining him is Tohpati Ario Hutomo, who is given leading duties much of the time on echo-filled, sustain-heavy electric guitars. Rhythm section - made up of Adhitya Pratama and percussionist Endang Ramdan [who mostly plays Sunda kendang along with a variety of toys] - is keen on giving the other two a nice, bottom-heavy, though quite loose backbone. Add to this Nyak Ina Raseuki "Ubiet" and her highly evocative vocals on a couple of tracks and Emy Tata's wildly innovative, multi-layered percussion, and you've got yourself an excellent document a band, whose music is barely noticed outside of its Indonesian homeland.
How do you make the transition from meditative form of jazz spiced with world elements to punk-thrash? If anyone remembers Minutemen and their 2 minute opuses from early 80's, then you'll feel right at home with XBXRX's ultra-violent spews of anger on "Wars". What I love the most about the band's aggression is how direct they are. There's not a wasted second on this all-too-brief album. How can you go wrong when the bass pulses along with ultra-heavy percussion and to top it off the vocalist is spitting his frustration right into your drum ears? Lovely, disturbing and jagged all in one go; "Wars" is as unforgiving as your three year old who's just been denied a scoop of ice cream.
Thirty-five year old Argentinean multi instrumentalist, Alejandro Franov is best known outside of his country for his contributions to Juana Molina's last three records. Having released five solo albums in his native country [as well as Japan], "Khali" [named after Croatian island where his grandfather was born] is the first international release for this musician. Besides playing three main instruments - mbira, Paraguayan harp arpa and sitar - Franov also dabbles on kalimba, glockenspiel, whistles, keyboards, bass, bells, bamboo rattle, accordion and rain stick. What he achieves on this album is ethereal sanctity. It's a world of minimal means, where no instrument overshadows the other. Such subtlety and gorgeous, heart-felt playing is rare to hear nowadays. "Khali" is essential listening for all music fans; especially those that don't believe in musical borders.
Translating as "first daughter", "Walatta" is without doubt one of the most potent albums that reggae artist Brenda Ray has put together. Each of the seventeen numbers was played/recorded/mixed/overdubbed and engineered by Ray alone at her NAFFI studio in the UK. Though her career ranges as far back as late 70's, Ray has never really received half of the praise that she deserves. The album is a rich union of Ray's multi-instrumental wizardry [she plays a multitude of instruments, from melodica, koto, chimes, claves, bells, reverse cymbals, xylophone, cabassa to the whistle], her harmonious, tender vocals on top of original rhythm tracks recorded in Jamaica during 1970's and 1980's. Prince Far I supplies his instantly recognizable rough vocals on "Sweet Sweet Wine"; Knowledge adds his vocals on "Lend a Helping Hand", while Scientist production team do some knob twitching on the head-busting "Swirling Hearts". Never-ending echoes, expertly produced from a dub perspective, "Walatta" is full of honey-sweet riddim. Guaranteed to satisfy.
With "Corn Meal Dance", bassist William Parker goes back to his vocal-centered Raining on the Moon project. Featuring the sturdy vocals of Leena Conquest [who amazed the crowd at this year's Guelph Jazz Festival not only with her vocal prowess, but with her improvised dance feats on stage], the band features the ever-reliable percussionist Hamid Drake, alto saxophonist Rob Brown, trumpeter Lewis Barnes and pianist Eri Yamamoto. Every song deals with a particular social issue - lack of compassion, poverty, environment, land issues - and each one is executed with absolute precision and utmost care. Yamamoto adds some highly polished ivory details to the proceedings, as Brown and Barnes exude some long-sleeping ghosts with their horns. With Conquest set right in the centre, "Corn Meal Dance" is an especially accessible album, which comes recommended to those adverse to Parker's more outside music.
Rova mainstay, saxophonist Jon Raskin has just released a terrific effort, which also marks the debut of his quartet. Featuring trumpeter/percussionist Liz Allbee, bassist George Cremaschi [who also contributes electronics in the mix], Gino Robair on percussion and electronics and Raskin on variety of saxophones, the music contained here touches on a variety of sources. In the liner notes, Raskin affirms the music is a mix of composed and improvised and "the compositions are from a series of works for improvisers where score elements are chosen from plant material gathered from walks in my neighborhood and graphic elements I created to realize a specific set of musical concerns." Perhaps the most intricate interaction occurs between Raskin's wispy but direct saxophone barrage and Allbee's perfectly phrased trumpet blows. Add to this Robair's sparse percussion flurry and Cremaschi's up-front, mid-tempo bass onslaughts and you've got yourself a fine piece of improv music with generous hints of the written. One can only hope that Raskin steps out of Rova's cage long enough to produce more works as rich as this one.
Ollie Bown and Sam Britton who make up Icarus are onto something. With their "Sylt" release, they continue their quest to mesh break-beat, no-wave, improvised mentality and wrap everything in an electronic mish-mash. Their concoction of broken-up beats, flurries of incongruent percussive mayhem, along with layers of electronic goodness lead to interesting audio conclusions. A couple of the longer pieces work best as the duo's ideas are more clearly defined and everything is allowed to breathe on its own accord. Don't take this for music that is complete or something that can be defined within a single category. Rather, take it for what it is - music in a state of disarray and construction.
New York-based guitarist Mike Bones [real name Mike Strallow] is one of these hidden treasures of the local scene, and luckily for us, with the release of his solo debut "The Sky Behind the Sea", his talents will spread far out from the Big Apple. Neither folk nor pure rock, his music reminds me of what Neil Young was doing throughout the 70's. His voice is clear but his wariness pierces right through in the vocal delivery department. The songs are lulling, while the pacing is dream-like. That doesn't mean that one will go right to sleep when the CD is played. Whenever things get too comfortable, Bones changes key and urgency in his voice becomes more direct. I suppose the major drawback is the way Bones displays utter self-empathy and drowns out what could be a rich album from simply a great one. Greatly illustrative in its sense of human suffering, Mike Bones has just delivered one of the greater gems at the tail end of the year.
After half a dozen albums, Swedish duo Club 8 has pretty much mastered the art of polished pop productions. Following a long hiatus [and what seemed like a permanent break-up], they return with the very dreamy release "The Boy Who Couldn't Stop Dreaming". Vocalist Karolina Komstedt manages to retain her dreamy vocals that were so apparent on previous efforts, though here they're even more lush. Check out her tenderizing, whispery magic on "Hopes and Dreams" or her wispy breaths on the minimal "Where Birds Don't Fly". Not all the tracks come with that same amount of gentility. The other half of the duo, Johan Angerg?rd ensures the string sections are luscious [without becoming too precious], while the percussion is sparse. Elements of Bill Pritchard, The Smiths and even The Sundays are felt through the album's duration. It's as if the band was looking backwards to find inspiration necessary to propel them forwards. Great release which calls to mind the hot, lazy days of summer that just passed.
Speaking of summer, unrelenting lounge lizard Louie Austen comes back with a four song EP. Entitled "Summer Love", the release showcases a more exotic side to Austen. Shaking up equal amounts of salsa, rumba and Brazilian vibes, the songs go from sultry to straight-ahead dance-floor hits. "Coconut Girl" sees Austen at the strength of his powers as he sings his way about a girl he worships, while "Barcelona" drowns the listeners with an unforgettable mix of Latin percussion, Spanish vocalizing and guitar revelry. A bit more on the reflective side, the title track is a wispy blend of Austen's spoken vocals while adding more electronic aspects to the music. Only regret is that Austen didn't come up with more material for this all-too-brief release. Tropicalicious!
Switching gears, we run into mwvm, which is actually British-native Michael Walton. On his proper debut "Rotations", the guitarist goes knee-deep into guitar wave manipulations of the most tranquil kind. Some may mistakenly label this ambient music [it's quiet and audaciously still], but Walton ensures there is plenty of variety in the ten tracks present on the record. Layered meshes of guitar fuzzing is interspersed with the rise and fall repetition of delay pedals. Textures are key to Walton's music as every single piece is centered around those. Surprisingly enough, though the sounds are quite minimal in nature, there is an unspoken warmth that is apparent from beginning to end, welcoming the listener in for a repeat helping. Highly satisfying and very essential to those madly in love with unspoken possibilities of composed sound.
Nearly four years ago, when I asked Swiss percussionist Lucas Niggli what one project he was most proud of, he replied, "It has to be my working band ZOOM which became a pool of musicians (Nils Wogram, Philipp Schaufelberger, Peter Herbert and recently also the Ensemble für Neue Musik Zürich) with whom I can play my compositions. We're touring all of Europe, and it has become a real family." Having said that, ZOOM is back, this time together with the Swiss Arte Quartett for "Crash Cruise", one of the stronger bodies of work I've ever heard from Niggli. No surprise, all compositions and arrangements originated with Niggli, which may sound like individuals have little room to maneuver. In fact, each player, in the smallest way imaginable gets to express a share of his unique musical identity. Highlights include the impeccably arranged and tightly played tribute to Evan Parker, "One for Evan" and the longish suite [with variety of shades, tones and door-slamming changes] called "Collision Coalition". In Niggli's world, grey is white, while black has many shades of blue. All of this makes "Crash Cruise" a record of many intensely satisfying contrasts.
In the world where electronics come together side-by-side with more traditional instrumentation, just about anything is possible. Son of Gunnar, Ton of Shel is a duo that proves that point quite nicely. In amassing Aram Shelton's saxophone, bass clarinet, trumpet along with Steini Gunnarson's prepared guitars together with massive electronic sound from both musicians, the music gets crunchy, distorted and certainly, quite ear-opening. In a space of five medium-length and some extended pieces, the duo drills your ear-drums with intense layers of clarinet, sax, trumpet and processed guitar slabs that are finely washed amongst a sea of an electronic wind that propels the music forwards and sideways. At the pinnacle of this music, there is a heart that shouts that best sounds can be improvised, though the processed array of sounds is very impressive as well. Not sure where to file this release? Improvised madness or electronic mayhem?
Spanning a timeframe of two decades, The Necks modus operandi has been to create music out of nothing. This Australian trio's minimal explorations run for an hour or more and they've never performed a concert that was similar to one that happened before. "Townsville" is yet another example of their sprawling stylistic approach. Recorded live in concert in February of this year, the band line-up remains the same, with pianist Chris Abrahams, drummer Tony Buck and bassist Lloyd Swanton. As with any Necks album, this one builds up quite slowly. With hints of repetitive percussion [for the most part, Buck is heavy on cymbals], the band comes alive. As Abrahams establishes washes of tickles on the piano, Swanton fits in comfortably with some laid-back finger-picking. As the minutes pass, the piece continues to build up in intensity. As the theme is established, the trio again emerges as champions of the minimal. Once again, they prove there is vast strength that can be sucked out of thin air.
Multi-instrumentalist Ignaz Schick and laptop enthusiast Dawid Szczesny met for the first time only a couple of years back. Their first session took place the first night of Schick's residency at Radio Copernicus in Wroclaw, Poland. Next morning, they jumped into the studio to work on first tracks for this record. Schick plays a mixed palette, ranging from turntables, objects and sine waves, while Szczesny manipulates the sounds on his laptop. Outcome is a warm buzzing feeling - one of subtle changes, ebbs and flows. Static clings to most sounds, while general feel is surprisingly warm and welcoming. After only eight pieces, the music on "The View Underneath" disappears, just begging for the play button to be pressed yet again.
Final work in a five-part series of works, Austrian multi-disciplinary artist Heribert Friedl arrives at the finish line with "Trac[k]_T". As before, Friedl's exploration of the cymbalon is the main preoccupation on this release. The composer states on the back-cover of the CD, "I feel that trac[k]_t should convey the scope of using an instrument without losing both its intrinsic nature of engagement as well as the sound of how it is played. Being a conceptual work, rather than a kind of "tract", the process of this recording has become a kind of instruction for myself to understand not only my work with this instrument in of itself but also its communion with digital processes." Sure enough, the sounds of the cymbalon are impeccably recorded. Each single click, pop and clunk is heard magnified by a thousand. Distinctive, mostly indescribable sounds are the bread and butter of this CD. There is no destination, just the journey. Wonderfully thought out and realized with utter perfection, the series that Friedl started a few years back makes a bang of a finale.
Other than his Black Saint output, and his work with Trio 3, I've not been a huge fan of much of Oliver Lake's work. Having said that, it's good to look back into history to get the gist of earlier days, when the saxophonist was raging hot. Recorded back in September 1979 at the Jazz Festival Willisau, "Zaki" sees Lake and his trio at the top of their form. Joined by guitarist Michael Gregory Jackson and percussionist Pheeroan AkLaff, Lake creates music that is fresh, biting and nearly thirty years ago, was challenging for its time. Title track sees him blowing a mad, fervent series of circular patterns, while Jackson goes off on few string tangents. AkLaff is great at keeping the strings grounded. Without a pulse, his work works best when Jackson slows down his maddening scales on the guitar. When Lake switches over to tenor on "Shine", the energy seems to simmer a bit, though his quest for novelty stays pretty much on par. An important date for Lake and company and one can only be too glad that hat hut made the decision to issue this again.
I've no idea what T. Zarkkof's untitled film looks like but Lngtché's soundtrack is worth the price of admission alone. Fourty four minute piece of continuous music is a dark and brooding work. Then again, dark is an understatement. Heavily controlled feedback, along with lava-like, slimy pacing provides for quite uneasy listening to say the least. Add to this, trickles of water, cavernous sounds, doors squeaking, airplanes, saws and unidentified objects being thrown about, and you've got yourself the soundtrack for a hellish time. Ominous, grime-filled music that is frightening and stomach-churning, for his debut, Lngtché has scored a perfect ten.
The man behind Batchas [along with Freq63, Mydaus, Trebor Semas, Microscope, Myiase and Mental Showdowns], Robert Masse recounts ten years of sonic experiments on "Explorations 85-95". Currently, he's employed on various multimedia projects and as a Flash developer, this album was the last proper Batchas release. It's filled with unreleased materials, along with re-worked and re-mastered stuff as well. Composed mainly on analogue synths, expect this music to be ambient, though it's darker than the deepest, most isolated cave you imagine. It stays in the ambient spectrum, while giving out nods to industrial genre, with its deadly ominous, underlying intensity. If you're scared of the dark or being left alone in a huge house, pass this one by. Otherwise, Batchas offers up quite an intense head-trip.
Best part about "Propagations" is how sublimely quiet this saxophone quartet is. Featuring Marc Baron and Jean-Luc Guionnet on alto, Bertrand Denzler on tenor and Stephane Rives on soprano, the four musicians approach quartet material from an entirely different perspective. They're not worried about melodies, pitch or actual harmonies. Their main concern is getting just the right sounds to escape from their horns. Subtle bursts of pops, clicks and high-pitches escape for a few minutes, only to be replaced by the same amount of silence. Silence is then interrupted by bubbling-pops with underlying spittle. As someone has already pointed out, listening to these discreet, possibly carefully though-out sounds is like watching paint dry. Which leads me to conclude that there's nothing I'd rather be doing more now than painting.
Nearly a decade after his untimely death, composer Ananda Shankar [who happens to be the nephew of sitar-god Ravi Schankar] sees two of his records reissued on CD. "Missing You" dating back to 1977 is a tribute to his late father, dancer Uday Shankar. Accompanied by a full orchestra, the music contained within these seven tracks is reflective and truly moving. As it flows in between the traditional Indian and western instruments, one finds a fitting tribute to Shankar's father expressed from first-hand perspective. Released the same year, "A Music Discovery of India" tends to be somewhat more on the joyous side. As walls of percussion erupt on "Kaziranga Beat", one is able to step inside India's musical heritage. "Brindavan Revel" features an uplifting motif which raises the spirits. It's great to see Ananda Shankar's legacy lives on with the re-issue of these two fascinating albums.
Chumbawamba founder, anarchist to the core, vocalist/guitarist Danbert Nobacon surprises with his solo release "The Library Book of the World". Featuring his back-up band, The Pine Valley Cosmonauts, don't expect to hear too many similarities to his main outfit on this CD. If you imagine a completely sober Shane MacGowan with actual causes to rally up against, backed up by a feisty bunch of players [Mekons guitarist/front-man Jon Langford, guitarists/mandolin/bouzouki/dobro/sitar/tack piano player John Rise, percussionist Dan Massey, bassist Al Doughty and piano/organ/accordion player Pat Brennan], then you'll be able to image the sort of ruckus Nobacon raises. Meant as an accompaniment to Nobacon's "Smart Lies, Secret Wars and Climate Revolt" book or as a stand-alone, the volume of fifteen songs is heavy on social issues, though these never get in the way of simple enjoyment of the music itself. Regardless of whether you agree with Nobacon's political and social agenda, "The Library Book of the World" stands out as one of the absolutely great post-folk, enlightening releases of this year.
Closing off its trilogy, Groundtruther invited keyboardist John Medeski to make a trio on the two CD "Altitude". Key element of Groundtruther remains unchanged. Guitarist Charlie Hunter and percussionist/electronics guru Bobby Previte are still at the helm. No surprise, Medeski tends to add a soulful element to the duo's mixed bag of musical array. His Wurlitzer and Hammond organ bursts, along with clavinet, mellotron and melodica shake things up and give a more earthly flavour. When he touches on Moog motifs though, things tend to get a little bit crazy. In a spacey kind of way, Medeski actually outdoes his hosts on a few of the numbers. Hunter's guitar playing is impeccable [swaying on single motifs and straying away from cumbersome solos], while Previte lays down a fairly thick electronics mish-mash. Forget about his percussive machinations [which are heard on every track], it's electronics that get top marks on the album. A couple of the longer pieces on the first disc allow each member of the trio to really stretch out and work out their chops to the limit. Fitting way to end an exhausting, five year-long trilogy - with a bang, not a whimper.
Arriving via a Vancouver jazz label, Inhabitants' second release "The Furniture Moves Underneath" is the furthest thing from jazz one can image. Made up of guitarist Dave Sikula, bassist Pete Schmitt, drummer Skye Brooks and trumpeter JP Carter, this quartet of Vancouver natives really want to shake things up a notch. Every one of the seven tracks presented on this CD sees the band in heavy rock mode. They mash, they crash and they aggravate. The only reference to a jazz album exists in JP Carter's prosaic trumpet patterns. Every time he plays, the band adjusts tempo or melody to fit his scheme of things. Sikula's guitar playing has Bill Frisell references written all over, while the rhythm section is dark, gloomy and based in the rock idiom. Imagine a hard rock ensemble with jazz sensibility, that one day discovers the real meaning of the blues and you've got Inhabitant's latest album all wrapped up and ready to go.
Not sure where to place the trio of Fessenden, other than to say, the music they erect is a mish-mash of styles. Neither musique concrete, nor eai, they seem to rely on their gut to get these sounds out. Put together by bassist Joshua Convey, guitarist Stephen Fiehn and percussionist Steven Hess, each of the band members also dabbles in electronics. From that point of view, it's the electronic aspect that is the loudest on their debut record "v 1.1". Subtlety is the trio's greatest strength. None of the musicians outright plays any over-the-top materials. In fact, the rhythm is only slightly hinted at, while Fiehn stumbles on minute guitar riffs that are heavily processed. Hess's contributions are often reduced to light slaps on the tom, or sparse cymbal crashes. To that end, electronics are quite intense and even reach abrasive levels, which never takes away from enjoyment aspect of the recording. Highly recommended to those who appreciate electronics in instrumental music and those who believe experimentation is a key prerequisite to all music creation.
Debut from Icelandic formation Seabear "The Ghost That Carried Us Away" stresses the bloom of folk music element that is raping the music industry for the last few years. Prevalent in the band's music is Sindri Mar Sigfusson's subtle set of vocal chords, wispy choral section and a sense of unabashed freedom. Orchestral arrangements and unusual instrumentation [glockenspiel, harmonica, toy piano] drives the music forward, while each one of the twelve tunes has a na?ve and haunting tendency to it. Not too ethereal and never weighed down by its own ideas, Seabear produce music that is as delicate on the ears as it is warm to the touch.
The ever productive composer/guitarist/percussionist Benedic Lamdin resurrects his Nostalgia 77 Octet and returns with an oddly titled "Weapons of Jazz Destruction" release. Much like Nostalgia 77's "Everything Under The Sun" from earlier on this year, this incarnation sees the band explore a soulful, very tender side of jazz. Though some tracks have an amazingly robust, funk feel [check out "Journey Home" as proof], it's the more reflective ones that grab my attention the most. This is where individuals in the band are allowed space to breathe, where life pauses for a few minutes. Vocalist Sophie Smith adds highly emotive vocals on three tracks, though even those don't grab me as much as the instrumental numbers. Nostalgia 77 Octet is better when they mellow out, slow down and look to the past for inspiration to drive their music into the future. Essential listening for chilly winter morning or some solitary time by the fireplace.
One of the original members of Albion Country Band, vocalist/guitarist Steve Ashley has been in a long marriage to folk music. As far as trends are concerned, his latest offering "Time and Tide" has little in terms of pleasing those who look at such things as record sales or popular tastes. Don't expect these fifteen tunes to end up on your local pop/rock station anytime soon. If you're fortunate, you might catch his music on a local college station and even then, that will require great luck. The topics he covers in his songs vary from growing old, reminiscing of old days, tributes to those that have passed away, as well as actual history lessons. Even a political, anti-war tune like "Still Waiting" ends up on the record. With sparse additions of fiddle, mandolin, trumpet, harp, hurdy gurdy and guitars, the music is reflective, while Ashley's voice is sturdy and is drenched in great deal of life experience. Fine record, one that I bet will stand the test of time.
Though they've worked before in ensembles fronted by composer Anthony Braxton, violist Jessica Pavone and guitarist Mary Halvorson are best heard on their own terms. Heard together as a duo, "On and Off" sees the two musicians share ideas across a broad spectrum of pieces. Concoction of blues, folk, klezmer music with a heavy emphasis on chamber aspect, the album pays little attention to any genres and lets the two individuals interact freely. When they vocalize together, it's two mouths attached to one head. There is such an intense and warm relationship that is built between the two in the span of this record, one is invited to visit this music again and again. Glowing with the same warmth of a family meal or a cold beer with a long-lost friend, "On and Off" resonates with music that is as beautifully composed as it is based in freedom, while retaining a humane face.
+ Zion Train - Live As One
+ Yam Yam - Eatdubafrobeat
+ Gregor Tresher - A Thousand Nights
+ We Are Punks 2
+ Necessary Intergalactic Cooperation - NIC
+ Einsturzende Neubauten - Alles Wieder Offen
+ Move D - Tonspuren 1-10
+ Tom Middleton - Lifetracks
+ Leggo Beast - Tales From The Crib
+ Kostas New Progrram - And End Pleasure
+ Headcount - To The Point
+ Faust - Od serca do duszy
+ Ellboy - Mixed By Hell
+ Collective Individualities
+ Classic Cuts
+ Canola Tenderfoot - Winning Is For Losers
+ Xenia Beliayeva - Music
+ Mark Fry - Dreaming with Alice
+ Mani Neumaier/Peter Hollinger - Meet the Demons of Bali
+ Moby Grape - Moby Grape
+ Oren Ambarchi - In the Pendulum's Embrace
+ Gavin Bryars/Philip Jeck/Alter Ego - The Sinking of the Titanic
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+ NEGATIVLAND - Our Favorite Things DVD/CD
>> GoGooo - Long, lointain / DAUNIK LAZRO / PHIL MINTON - Alive at Sonorités / THE PASCHALL BROTHERS - On the Right Road Now / FLYING LOTUS - Reset / JACK WRIGHT / JOHN M. BENNETT / BEN BENNETT - Rotty What / TAYLOR DEUPREE + CHRISTOPHER WILLITS - Listening Garden / THE STUMPS - The Black Wood / WARMTH - Leave Your Wet Brain in the Hot Sun / BELLY BOAT - Dear Robert Hanoy / BJ NILSEN - The Short Night / FOVEA HEX - Neither Speak Nor Remain Silent: Three - Allure / ELIANE RADIGUE - Jetsun Mila / THOMAS DYBDAHL - Science / THE ADVANCEMENT - The Advancement / STEVE NELSON - Sound-Effect / OOIOO - Eye Remix / SONIC OPENINGS UNDER PRESSURE - Muhheankuntuk / SONORE - Only The Devil Has No Dreams / OM - Pilgrimage / REVERBAPHON - Here Comes Everyone / GENE BOWEN - Bourgeois Magnetic / VARIOUS ARTISTS - Folk and Pop Music of Myanmar [Burma] Vol. 3 - Music of Nat Pwe / FRED ANDERSON & HARRISON BANKHEAD - The Great Vision Concert / GOLDEN DEATH MUSIC - Ephemera Blues / HENRI TEXIER STRADA SEXTET - Alert A L'eau / PENUMBRA / HEQAT - Penumbra / Heqat / NORTHERN - Drawn / SIMAK DIALOG - Patahan / XBXRX - Wars / ALEJANDRO FRANOV - Khali / BRENDA RAY - Walatta / WILLIAM PARKER / RAINING ON THE MOON - Corn Meal Dance / JON RASKIN - Quartet / ICARUS - Sylt / MIKE BONES - The Sky Behind The Sea / CLUB 8 - The Boy Who Couldn't Stop Dreaming / LOUIE AUSTEN - Summer Love EP / mwvm - Rotations / LUCAS NIGGLI ZOOM MEETS ARTE QUARTETT - Crash Cruise / SON OF GUNNAR, TON OF SHEL - Son of Gunnar, Ton of Shel / THE NECKS - Townsville / IGNAZ SCHICK / DAWID SZCZESNY - The View Underneath / HERIBERT FRIEDL - Trac[k]_T / OLIVER LAKE TRIO - Zaki / LNGTCHÉ - Music for an Untitled Film by T. Zarkkof / BATCHAS - Explorations 85-95 / MARC BARON / BERTRAND DENZLER / JEAN-LUC GUIONNET / STEPHANE RIVES - Propagations / ANANDA SHANKAR - Missing You / A Musical Discovery of India / DANBERT NOBACON - The Library Book of The World / GROUNDTRUTHER + JOHN MEDESKI - Altitude / INHABITANTS - The Furniture Moves Underneath / FESSENDEN - v 1.1 / SEABEAR - The Ghost That Carried Us Away / NOSTALGIA 77 OCTET - Weapons of Jazz Destruction / STEVE ASHLEY - Time and Tide / MARY HALVORSON / JESSICA PAVONE - On and Off
+ JAMES SAUNDERS - # [unassigned]
+ TEXTILE RANCH / CHARLES ATLAS - Textile Ranch / Charles Atlas
+ THE NOBORU JONES EXPERIENCE - The J.O.B.
+ ISAAC BABEL - The Sin of Jesus
+ PLURAMON - The Monstrous Surplus / MARCUS SCHMICKLER - Altars of Science
+ VARIOUS ARTISTS - Airport Symphony
+ SMALL SAILS - Similar Anniversaries
+ MY CAT IS AN ALIEN / STEVE RODEN - Cosmic Debris - Split Art-LPs Series - Vol. II / MY CAT IS AN ALIEN / KEIJI HAINO - Cosmic Debris - Split Art-LPs Series - Vol. III
+ LUCA FORMENTINI - Tacet
+ TRIO M - Big Picture / MUHAL RICHARD ABRAMS - Vision Towards Essence
+ ANNEA LOCKWOOD - Early Works 1967 - 82
+ MARC MANNING / YANN NOVAK - Pairings
+ CARIBOU - Andorra
+ RAPOON - Alien Glyph Morphology / RAPOON - Time Frost
+ THE JESUS LIZARD - Live DVD
+ MARTIN TETREAULT / KID KOALA - Phon-O-Victo
+ L-R & RADIOMENTALE - I Could Never Make That Music Again
+ VARIOUS ARTISTS - Rufs / VARIOUS ARTISTS - Shapes 07:02 - All New Amazing Sounds / VARIOUS ARTISTS - Future Sounds of Jazz Vol. 11 / VARIOUS ARTISTS - Return of the Instro-Hipster Vol. 2 / VARIOUS ARTISTS - Cotton - Dragon's Eye Second Anniversary / VARIOUS ARTISTS - Binary Oppositions / VARIOUS ARTISTS - Corbett vs. Dempsey - Eye & Ear: Artist <-> Musician / VARIOUS ARTISTS - A Field Guide to Table of the Elements
+ JOHN LUTHER ADAMS - Red Arc / Blue Veil
+ TOMAS KORBER / CHRISTIAN WEBER / KATSURA YAMAUCHI - Signal to Noise Vol. 2 / JASON KAHN / NORBERT MOSLANG / GUNTER MULLER - Signal to Noise Vol. 3
+ RICHARD LEO JOHNSON / GREGG BENDIAN - Who Knew Charlie Shoe?
+ LITTLE DRAGON - Little Dragon
+ AL MARGOLIS / IF, BWANA - An Innocent, Abroad / IF, BWANA - Radio Slaves
+ SUN RA - Disco 3000
+ Z'EV / DAVID LINTON - Untitled
+ GRAVENHURST - The Western Lands
+ MORGAN PACKARD - Airships Fill The Sky CD / DVD
+ KEIICHIRO SHIBUYA - Filmachine Phonics
+ BENEVA vs CLARK NOVA - Flotsam/Jetsam / DANNY NORBURY - Dusk / VOLE - Vole Radio1
+ STEVE PETERS - Three Rooms
+ TBA - Size and Tears
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WYWIADY / RELACJE
+ Dedicated to the dancefloor - wywiad z Gregorem Tresherem