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viewing 1 To 25 of 173 items
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RER F6
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2016 repress. "In 1971, Polydor entered a deal with Uwe Nettelbeck to assemble a musical ensemble that could compete with the likes of The Rolling Stones, The Kinks, and Small Faces. Before the release of their debut, Faust would send tapes to Polydor containing anything from studio experiments to recordings of someone washing dishes. Allmusic critic Archie Patterson lauded the band's accomplishment, writing that 'The impact of Faust cannot be overstated; their debut album was truly a revolutionary step forward in the progress of 'rock music'.' He awarded Faust four and a half out of five stars, concluding that 'the level of imagination is staggering, the concept is totally unique and it's fun to listen to as well.' The first 1971 Polydor (transparent) album and one of the great testaments to originality and innovation in the field, this album took two years to create, but in the 45 years since has come to be recognized as a breathtaking achievement, which hasn't aged. Remastered, repackaged for the ReR Megacorp release, which is also a part of the Faust 'Wumme Years' Box Set."
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3CD BOX
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RER JR60
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"Jon Rose is one of the most productive, original and focused people I know; he's also an extraordinary musician and an inspired composer. To mark his 60th anniversary we are releasing this three CD box of previously unreleased works ranging from radio documentary and radio fiction to virtuoso performances taken from all manner of contexts, using both the acoustic violin and the hyperstring interactive bow system. There's a remarkable improvised violin concerto (the rest of the mini-orchestras' parts are written out), as well as collaborations with Australian locals (multiple brass bands, musical whips, lounge pianists, aboriginal choirs, orchestrated corrugated iron, musical gum leaves, auctioneers, chainsaws, singing dingos, bowed saw orchestras, and so on). There's a duo with George - an Albert's Lyrebird, and concerts with contemporary ensembles and heavy earthmoving equipment. It comes accompanied by a great deal of extraordinary film - and some purely audio - material collected together on a supplementary data disc. Plus there's a generous booklet of texts, documents, and photographs - and, of course, a souvenir sample of bow-hair."
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RER PA6
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"Welcome to Paulo's sixth release for ReR, an extraordinary collection of pieces that explore the full range of his highly modified, extended and prepared Sardinian guitar. And although it's just him and electricity, it seldom sounds like fewer than three people playing. There are twelve fine compositions, each as crafted as a short novel, and beautifully recorded. Paulo's is a music that pretty much defies genre or category; accessible, experimental, tuneful, tactile and ambient - with a folk root, a rock inflection, and a contemporary outlook."
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RER KB1
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"Contemporaries of Pere Ubu and best known for their work with the Numbers Band, Bob and Jack Kidney were also key members of David Thomas's late '90s Mirror Man extravaganza. Early members of the Ohio generation - which included Rocket from the Tombs, Devo, Pere Ubu, Tin Huey, The Dead Boys, and the Waitresses - the Numbers Band (aka 15 60 75) was formed in 1969, in Kent. The quickly became established as a local fixture, playing for four nights a week in a series of local club. With periodic changes of personnel, they continued to do this over the following decades, still performing sporadically today. 'This group' Davd Thomas wrote, 'inspired everyone, regenerated everyone, and was a nagging doubt in the back of everyone's minds... the Numbers are better than you can ever hope for.' On this CD, Bob and Jack play their own kind of stripped down, guitar-based, narrative songs -- stained dark with deep, bluesy roots -- and a gravitas born of five decades of concentration and club audiences."
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RER CCD5
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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. Through a deep connection between instrumentation, form and topicality, their musical evolution tracked and anticipated the political and technological changes of their time. Thus, in the course of their ten years of intermittent touring and four records they evolved significantly through the high stakes energy of the earlier releases into their later, more complex and composed, studio works (by which time they had become a trio: Goebbels, Anders, Cutler) with access to the new (first) generation of polyphonic samplers. Highly radical, their music opened up song form by abandoning, extending, or crashing sideways into it -- and was built mainly out of noise, libido, high musicality and, uniquely at the time, a great deal of cultural debris. 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."
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RER BCD7
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"After 5 years of extensive and careful work, the new and much anticipated CD by this extraordinary collective, who have no parallels, no rivals and no peers, is at last complete. It's a dense and indescribable orchestration of electric and acoustic guitars, clavioline, trumpet, Hammond organ, micromoog, biolmellodrone, electric and acoustic violins, bass, mandolin, accordion, piano, rubab, kit percussion and sometimes voice, layered and radically processed in the unique Biota manner. There is a leitmotif of folk elements in this piece that emerge from the roiling, swirling quicksand of sound we now expect from Biota, with texts by WB Yeats and snatches, arrangements and influences floating by way of Christy Moore, June Tabor, Judy Collins, Sandy Denny, Bert Jansch, the Bothy Band and older traditional sources. Biota craft sonic worlds that relate to, but are not built like, the music with which we are familiar; for them time is a continuum rather than a sequence of events; a simultaneous present in which past and future possibilities exist conterminously. With a 24 page full colour art portfolio from the Biota collective."
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RER CCSM1
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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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2CD/BOOK
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RER PC3
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"Two remarkable and important CDs of very diverse site recordings, made in Chernobyl (occupying the whole of CD1), the Caspian Oilfields around Baku (Azerbaijan), and in various UK sites, including Lakenheath, Dungeness, Sellafield, Snowdonia &c. (CD2). The CDs are accompanied by a beautifully made 90 page hardback book filled with a huge number of original colour photographs, background information, interviews and detailed documentation of the recordings, their collection, the history of the environments recorded and the curious and inadvertent inverse relation between human hazard and broader environmental recovery. This is an essential and unusual document. Peter Cusack is best-known as a member of the avant garde musical quartet, Alterations (1978-1986; with Steve Beresford, David Toop and Terry Day), and as the creator of field and wildlife recording-based albums."
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RER NECKS10
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"Now in their twenty-fourth year, the Necks' new release, Mindset, their sixteenth album, and first LP - features two starkly contrasting tracks: the pulsating, raw, 'Rum Jungle' and the slower building, rather hypnotic 'Daylights.' Polyrhythms imbue both pieces with powerful forward motion, embroiled with which ethereal piano patterns interweave with bass, drums, electronics, churning Hammonds and noise-guitars. Drummer and percussionist Tony Buck writes: Mindset shares some elements in common with our previous album Silverwater (RER NECKS9), mostly in some mixing approaches and rhythmic devices - a reflection of our ongoing fascination with polymetric material and varying simultaneous pulses, but it's a whole other thing again, and the two tracks are very different from one another --'Rum Jungle' captures the live approach of the piano, bass, and drum trio a lot more, while 'Daylights' features a bed of electronics and little sounds that slowly converge, coalescing into a multi-layered, multi-tempo, swirling soundscape."
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RER CTA17
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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; 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. A study, if you are so inclined; fun if you isn't. That's the sort of thing I call experimental." --Chris Cutler
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RER SM5
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"Careful compositions converse with focused improvisations under the precise direction of Steve MacLean who, on this CD, after various excursions that took him through experimental works for piano, interactive insect/guitar compositions and pure electronics, returns to a performing band and a journey through complex polyrhythmic compositions imaginatively intercut with careful, atmospheric inventions, for guitar, bass, keyboard, percussion and various objects. There is a quiet rigor, almost a formality, about this release, quite unusual in modern electric music - the compositions, which follow the remarkable parallel-metre style pioneered in his under-rated classic Opposite of War, are almost understated and, throughout, overproduction is strenuously avoided so that the recordings can concentrate on the human scale of the performances. The improvisations, too, don't strive for effect, the players concerning themselves exclusively with structure and content. In other words, this is a solid, almost old-fashioned, unashamedly musical, record that celebrates distinctive compositions, high performance values and imaginative playing."
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LP
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RER 966550LP
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"This is a limited edition of 1,969 numbered copies, pressed into 180 gram virgin vinyl and rather extravagantly packaged. The music was recorded in California in 1999 with guest Beth Custer (clarinet) on one track and carefully mastered by Tom Dimuzio in wide frequency, solid footprint, broad compass stereo. Though we waved goodbye to vinyl decades ago, we felt this release was made to be an LP -- a CD just wouldn't be the same, sonically, visually or ontologically. And of course we took advantage of the exaggerated dimensions and physicality to make it a thing visually to savour. Off the groove, Dimuzio, Cutler, Frith and Custer do what they do and you get a ringside seat. The first 500 will be pressed on white vinyl."
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CD/DVD DUALDISC
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RER PA4
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Paolo Angeli's live soundtrack to the film (viewable on the DVD) by Nanni Angeli. "This disc will play in stereo on a CD player and with film and 5.1 surround sound (or stereo) on a DVD player or computer. The music, as always, is prodigious, sounding like a small band, but played by one person in real time (as the film attests). In this format, you can also see the instrument -- close to a highly rebuilt and extended giant Sardinian guitar -- with many sympathetic and extra strings, motor-driven hurdy gurdy wheels, whirling strings, springs and other appendages, played like a cello, vertically, with bow, fingers, plectra and machines. However Heath Robinson it may appear, it is clearly under Paulo's hands, a highly serious and extraordinarily flexible beast that requires and has given rise to new playing techniques. The programme of compositions here navigates through highly-organized additive rhythms, freer Frith-like pointillism and some seemingly impossible mini-orchestrations. The film, professionally made, follows the performance, occasionally interpolating abstract passages and processed images. A remarkable player with a unique instrument, playing a music entirely his own."
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5CD BOX
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RER HC42
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"Dagmar Krause, Fred Frith, Tim Hodgkinson, Chris Cutler, Lindsay Cooper, John Greaves, Georgie Born, Geoff Leigh. Featuring: Robert Wyatt, Peter Blegvad, Anthony Moore, Ann-Marie Roelofs, Jeremy Baines, Sarah Greaves, Maggie Thomas, Cathy Williams." Contains all of Henry Cow's studio albums: Legend, Unrest, Desperate Straights, In Praise of Learning, Western Culture.
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RER NECKS9
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"Their first studio CD for three years - named after an industrial suburb in Sydney -- famous mainly for its correctional facility -- Silverwater ranges further and wider than the Necks' former releases, exploring a more sectional structure that counterposes extremes and contrasts, and possesses a greater sense of forward motion than we are accustomed to with this most economical of bands -- though it still retains the long, hypnotic single-track iterative form for which they have been praised. Layers and skeins of overdubs and shifting textures give way to almost empty stretches as the piece evolves, and there is much play with asynchronous time. Paradoxically, for a band renowned for its slow, cycling, repetitions, the Necks show again that they are a band who try constantly not to repeat themselves."
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RER U01
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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. Play it loud. Special mention -- guitarist Jim Jones; mind-bogglingly great. Recorded 1989; transcription and file mastering by David Thomas; edited by Chris Cutler; CD re-mastering by Bob Drake."
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RER FRFC2
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"Totally different from Impur I (ReR FRFC1) -- 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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RER RSM1
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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. Instruments used: Red plastic Hagstrom electric guitar, Gibson SG Junior electric guitar, Fender Precision Bass, Yamaha acoustic guitar, Alvarez classical guitar, Premier snare drum, upside-down cardboard box bass drum, various full drum kits, Fischer grand piano, Franz metronome, Maracas, Tambourine, Cry Baby Wah Wah pedal, Jordan Creator sustain pedal, Korg synthesizer, Elka string synthesizer, Magnus chord organ, Realistic frequency equalizer, Maestro phase shifter, Univox echo chamber, hi-hat cymbals, extra cymbal (old), Panasonic cassette player, Koss and Vanco headphones, Fender Twin Reverb and Eenque amplifiers, Cords, Picks, Voice."
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5CD BOX
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RER HC40
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"40th Anniversary Box Set Volumes 1 & 2. 9 CDs and 1 DVD with 2 60pp books, in two solid boxes. Limited edition. A substantial collection of all-new material that puts the depth and breadth of the work of one of the most controversial and edgy of the British bands of the '70s into an altogether new perspective. Even at 10 discs it still represents only the tip of the iceberg, but even this will oblige the histories to be amended. Henry Cow was a band viewed by almost all its contemporaries as outsiders, but embraced equally on the art fringes of rock, jazz and contemporary music (as evidenced by the festivals and venues at which they appeared) as innovators and mavericks. It was also a band that walked the talk, finessing its way out of a stifling commercial contract with Virgin and then taking control of every aspect of its life and appearances, remaining unfashionably political and evenly divided in gender (band and roadcrew) until the end. The music was extreme, often complex, constantly changing and driven, on the one hand, by an intense dialogue between craft and tight-knit composition and, on the other, radically open improvisation and experimentation - all expressed through a deep root in popular music and rock. These nine CDs embody some extraordinary and prescient music; then there is the DVD, 80 minutes of the 1976 band in performance - the only known video recording in existence, professionally made, multi camera and unseen since its original broadcast. Last but not least, there is a great deal of historical documentation in two 60 page booklets: photographs, posters, memorabilia, facsimiles -- as well as a complete biography and a series of specially written essays, recollections, histories and commentaries on the compositions by all the members of the band, and a few close friends. This 40th anniversary collection comes in two sturdy limited edition boxes, one covering the period between 1971 to 1976 and the other (Vol.2, which includes the DVD) following through to the end in 1978."
"Volume 1 of the definitive collection of unreleased recordings, unrecorded compositions, one-off events, radio and concert recordings. These 5 CDs cover the period from 1971 to 1976 and include the legendary Hamburg radio concert, many otherwise unrecorded compositions and two remarkable one-off projects: Halsteren and Trondheim. With a substantial 60-page book of information, unpublished photographs, documents, an annotated concert list, recollections and substantial notes written by Chris Cutler, Fred Frith, John Greaves, Tim Hodgkinson, Peter Blegvad, Dagmar Krause and Geoff Leigh."
Contents of this box:
Vol. 1: Beginnings CD
Vol. 2: 1974-5 CD
Vol. 3: Hamburg CD
Vols. 4 & 5 Trondheim 2CD
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4CD/DVD BOX
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RER HC41
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"Volume 2 of the definitive collection of unreleased recordings, unrecorded compositions, one-off events, radio and concert recordings. These four CDs and one DVD cover the period from 1976 to 1978 and include the legendary Stockholm and Bremen radio concerts, many otherwise unrecorded late compositions, and the only known video ever made of the band (a complete 75 minute concert from 1976). With a substantial 60-page book of information, unpublished photographs, documents, recollections and substantial notes written by Lindsay Cooper, Georgie Born, Chris Cutler, Franco Fabbri, Fred Frith, Tim Hodgkinson and Chris Wangro."
Contents of this box:
Vol. 6: Stockholm & Göteborg CD
Vol. 7: Later and post-Virgin CD
Vol. 8: Bremen CD
Vol. 9: Late CD
Vol. 10: DVD - Vevey 1976 DVD
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RER VRIL2
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"After a break of six years, Chris Cutler, Bob Drake and Lukas Simonis, now with added ingredient Pierre Omer, present the second volume of recordings by the elusive VRIL -- a band who revive and update both the great institution of the guitar instrumental and the now sadly neglected practice of collective arrangement, intense rehearsal and live studio performance. Appropriate to the half century that has passed since the birth of the form, these hits dodge about, get bored easily and blend both concentration and complexity with the still indispensable traditional qualities that made the genre great: hummability, crafted sounds, nifty arrangements, ridiculous gimmicks and ensemble playing. 'Neither tribute nor parody, these enigmatic pieces are never more nor less than exactly what they are,' wrote Lothar Preen in his Melbourne concert review, 'but perfectly realised'. With film stills, misleading sleeve-notes and storyboard by the Diogenesian recluse Frank Key."
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RER BLAST2
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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. Founded in 1989, Blast's line up and musical focus have evolved considerably over the years, from complex, composed art-rock to a much more open style that combines elements of improvisation and austere contemporary composition."
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2CD/BOOK
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RER RAG1/2
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Subtitled: Sound Experiments In The Russian Avant Garde -- Original Documents And Reconstructions Of 72 Key Works Of Music, Poetry And Agitprop From The Russian Avant Garde 1908-1942. "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. But what makes this collection doubly valuable, and unique, are the contents of CD1, which consists of 40 painstaking reconstructions -- made by the Laboratorio de Creaciones Intermedia, Dept. of Sculpture at the faculty of Fine Arts in Valencia, Spain -- of documented sound-works that have subsequently been lost, above all the now legendary 'Symphony of Sirens' at Baku, by Arseny Avraamov. This massive open air composition, for two artillery batteries, several full infantry regiments, all the foghorns of the Caspian flotilla, several sea-planes, twenty-five steam locomotives, multiple choirs, arrays of pitched steam whistles and all the city's factory sirens can now, for the first time, be approached as a physical event through this careful and accurate spatialised audio reconstruction (using original contemporary source materials) as well as 39 other priceless lost works, including the legendary Victory over the Sun (mayak &c) and other works by Vertov, The Orchestra of Noises, Prokofiev, Mayakovsky, El Lissitsky, The Nothingists, Jandinsky, Malevich, Rozanova, Larionov, the Psycho Futurist Group, Kamensky, Jakobson, and others. The CDs give body to Miguel Molina Alarcon's comprehensive overview of the complexity and breadth of the many early C20 Russian avantgarde movements, and there are extensive detailed notes and contexts for all the individual recordings, as well as biographies of the artists, additional work-notes on the process of the Baku reconstruction, a bibliography, rare photographs, web research links, related artwork, facsimiles of contemporary documents, a comparative timeline of European and Russian Avantgarde movements, and the first English translation of an article by Avraamov about his events. Apart from a general appeal, this is a work particularly suitable for libraries, educational institutions and galleries."
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RER OM1
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"A signature collection of exquisite works for onde Martinot and piano by Olivier Messiaen, N'Guyen Thien Dao, Jacques Charpentier and Tristan Murail, exploring the many voices of this extraordinary instrument. The onde (or ondes musicales or le Martenot) was first demonstrated at the Paris Conservatoire in 1928 and immediately attracted the attention of Varese, Milhaud, Koechlin, Jolivet, Honegger and Messiaen, who all wrote for it -- cumulatively ensuring its survival. Although only a year younger than the theremin, the onde is a far more sophisticated, complex and versatile instrument, not least because of the combination it offers of pitched and glissando tones, and the wide range of filters and different resonating media through which it can sound: loudspeakers, gongs, sympathetic resonating strings and reverberant enclosures. The compositions here exploit every unearthly aspect of the instrument and are beautifully performed: a remarkable and exquisite collection."
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RER HC12
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"The first new release for 30 years from this legendary audience-splitting British group, and the first featuring Georgina Born, the group's bassist between 1976-1978. 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 Göteborg 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. Stockholm and Göteborg is the first volume of a 9CD and one DVD set of unreleased material commemorating the band's 40th anniversary."
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