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3CD
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RER MUFG1
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"This box set (3 CDs and a 52-page book) collects and restores two legendary mid-'70s releases, both met at the time with extravagant critical acclaim but few sales outside of Spain. Presents for the first time a set of previously unknown studio recordings by the otherwise undocumented Trio Altisent, featuring members of both other projects -- alongside comprehensive book of background materials, newly conducted interviews, rare unpublished photographs, and overview of Barcelona's mid '70s music scene. On the first CD: Musica Urbana -- one of the most impressive albums of its time: uniquely infuses the languages of rock, jazz and formal composition with the Spanish folk tradition of flamenco and the sensibility of national composers (e.g. Manuel de Falla and Isaac Albéniz). It weaves all these elements into a uniquely Spanish iteration of experimental rock. A work of luminous brilliance. On the second CD: Joan Albert I Felui Gasul, released a year later by Musica Urbana's keyboardist Joan Albert Amargos and flamenco virtuoso Feliu Gasul, a seamless fusion of styles, intensity, a high degree of musical intelligence, edge-of-the-seat playing, and mixture of compositional and improvisational flexibility, with a lightness and sense that conceal the compositions' fiendish complexity. Joan Albert plays acoustic piano, fender electric and clavinet, Jaume Cortadellus adds some perfectly judged flute on one of the tracks. All of Musica Urbana appear on another beautifully recorded and mixed album, with unusually clear, strong sound and exquisite separation, together capturing an explosive cultural moment On the third CD: Trio Altisent, unreleased recordings by Amargos, Gasul, and Cortadellus made in 1984, in a project that grew from their previous work together. Amargos and Gasul went on to become highly respected contemporary composers, later working with Paco de Lucia, Chick Corea, Miles Davis, and Maria del Mar Bonet. This box restores and expands an important moment in music, which rapidly faded as music industry values regained control."
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10CD BOX+DVD
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RER CCBOX1
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"Ten CDs, 1 DVD, 80pp booklet and box. To make public a mass of unreleased material I decided to wrap this musical collection into a box. These ten CDs (and a DVD) include over five hours of unreleased materials, my three previously released solo CDs ('solo', 'twice around the earth' and 'there and back again'); plus a double CD collection of tracks spanning 50 years of official recordings (It Makes Sense to Me), as well as the 22-hour radio program I made for Radio Art Zone last year (that's on the DVD). 36 hours. Comes with 2 fat books of documentation, artwork, photographs, published and unpublished texts. Massive. 32 hours of content in all."
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RER CTA027
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"Bob Drake takes a professional detour to explore an intriguing byway with this atmospheric, uncharacteristic, stripped down, highly intriguing (and I think highly successful) experiment in minimal exposition. There are thirteen chapters -- for voices, organ, piano and cathedral -- on texts drawn directly from the 1893 edition of The legendary lore of the holy wells of England: including rivers, lakes, fountains and springs, by the English antiquary and inventor of the folding umpire's chair, Robert Charles Hope. Hallucinatory, educational, intriguing, mysterious and almost certainly efficacious to the elevation of the spirit -- not to mention some serious compositional heft. This is a unique musical object and whomsoever likes to take the road less traveled, this was meant for you. Written, performed, and recorded by Bob Drake, between May 2021 and June 2022. Recorded June and July 2022 at La Borde Basse, Caudeval France. Instruments: Hammond model BC organ (c.1940), Challen upright piano. Background ambience recorded in Saint Maurice Cathedral, Mirepoix. Cover art by EM Thomas. Photos by BD except booklet back cover by Emily Jones. All lyrics adapted from The Legendary Lore of the Holy Wells of England by Robert Charles Hope (1893)."
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RER HC20
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"Further pieces uncovered since the release of the 18-CD box set that fills in parts of the story still undocumented-even on the bootleg circuit. A further collection of missing pieces uncovered since the release of the 18 CD Henry Cow Box that fills in parts of the story still undocumented (even on the bootleg circuit), Glastonbury, Chaumont, Bilbao and the Lions of Desire contains: The earliest and only known stage recording of the band as it was in June 1972 (Martin Ditcham, Fred Frith, John Greaves and Tim Hodgkinson) at the first Glastonbury Fayre. The recording is quite clean, though the mix heavily favors bass and guitar, which in a way makes it of special interest, both musically and historically. The brief two-week iteration of Henry Cow from April 1978 that featured Fred, Tim, Chris and Phil Minton, and an eclectic program that included a lot of Westbook/Orkhestra materials, none of which has been released before. Taken from a concert in Bilbao in 1977, some otherwise unrecorded compositions from the late Cow repertoire bound into a typical mash up of different compositional snippets. Further unusual extracts from the Chaumont concert in 1976, as well as a brief studio moment captured by a film crew during the recording of Half Awake, Half Asleep, in 1973. This collection supplements the 19-volume Henry Cow Redux Box set released in 2019. Further additions may follow."
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9CD BOX
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RER FRSB2
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"Second of a three-box collection by one of the most innovative guitarists and composers of his generation, containing 8 ReR CDs, a bonus Fred title and a fat historic booklet with artwork, photographs, extensive notes & other comments by Fred, all packed into in a sturdy box -- and at a budget price. Box 2 contains: Live in Japan, Speechless, Prints, Step Across the Border (film score), Impur 2 (large ensemble), Art of Memory II (with John Zorn), Skeleton Crew (double CD with Zeena Parkins and Tom Cora). Plus, bonus CD Helter Skelter (remastered). Cover photo: Heike Liss Biographical: Recipient of Italy's Demetrio Stratos Prize for his life's work in experimental music & Professor Emeritus at the legendary epicenter of American experimental music, Mills College in Oakland, California, Fred still teaches in the improvisation master's program at the Musik Akademie in Basel and as visiting faculty in the Universidad Austral in Valdivia, Chile, where he has been collaborating on the creation of a new School of Music and Sound Art. Also appearing: Guigou Chenevier, Margot Mathieu, Ferdinand Richard, Jo Thirion, Tina Curran, Roger Kent Parsons, Asha & Storm, George Cartwright, Hans Bruniusson, Mars Williams, Steve Buchanan, Bill Laswell, Fred Maher, Bernd "Uimsch' Lehmann, Dave Kerman, Mike Johnson, Sebastian Gramms, Alexandra Schulz, Sheena Dupuis, Tom Cora, Zeena Parkins, Bob Ostertag, John Zorn, Daihachi Oguchi, Jean Derome, Rene Lussier, Kevin Norton, Eino Haapala, Marc Hollander, Lars Holl mer, Tim Hodgkinson, Iva Bittov. Pavel Fajt, Eitetsu Hayashi, Haco, Rabi, Lu, Katrin, Dave Newhouse, Laurent Frick, Pascal Pariaud, Joel Jorda, Laurent Vichard, Samuel Chagnard, Stephane Lambert, Philippe Madile, Serge Sana, Claire Mollard, Stephane Grosjean, Cyril Cambon, Stephen Tissot, Guillaume Quemener, Ghilem Lacroux, Bader Gharzouli, Gilles Laval, Jean-Michel Quoisse, Denis Mariotte, Claude Monteil, Edmond Hosdikian, Fred Giuliani, Kiwi, Nadine Laporte, Richard Peter et al."
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9CD BOX
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RER FRSB1
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"First of a three-box collection by one of the most innovative guitarists and composers of his generation, containing 8 ReR CDs, plus a bonus Fred title & a fat historic booklet with artwork, photographs, extensive notes and other comments by Fred, all packed into in a sturdy box -- and at a budget price. Box one contains: The legendary Guitar Solos, Gravity (with Etron Fou Leloublan and Samla Mammas Manna), Cheap at Half the Price, Killing Time (with Bill Laswell and Fred Maher), Impur (for very large ensemble), Middle of the Moment (film score), Keep the Dog (double CD feat: Rene Lussier, Bob Ostertag, Zeena Parkins, Jean Derome & Charles Hayward). Plus, bonus CD Dropera. Biographical: Recipient of Italy's Demetrio Stratos Prize for his life's work in experimental music and Professor Emeritus at the legendary epicenter of American experimental music, Mills College in Oakland, California, Fred still teaches in the improvisation master's program at the Musik Akademie in Basel & as visiting faculty in the Universidad Austral in Valdivia, Chile, where he has been collaborating on the creation of a new School of Music & Sound Art. Also featuring Lars Hollmer, Marc Hollander, Hans Bruniusson, Eino Haapala, Olivia Bruynhooghe, Chris Cutler, Tina Curran, Catherine Jauniaux, Frank Wuyts, Michel Berkmans, Etienne Conod, Denis van Hecke, Veronique Vincent, Asha Curran Frith, the 13th Street Puerto Rican Summertime Band, Fred Maher, Bill Laswell, Paul Sears, Jean Derome, Charles Hayward, Rene Lussier, Bob Ostertag, Zeena Parkins, Ferdinand Richard, Tim Hodgkinson, Fabrizio Appelius, Mikaela Dietl, Robert Lax, Sandra M'Bow, Ida man walatAkhmudan, Tshanak ag Abalbal, women from the Kel lforas tribe, Josefina Lehmann, Johann le Guillerm, Bertrand Duval, Attila Zombori, Jean-Paul Lefeuvre, Hyacinthe Reisch, Emmanuelle Jacqueline, Didier A, Nasser Sai"dani, Catherine Guinamard, Ensemble Heteroclite, David Wood, Pascal Pariaud, Sophie Dufeutrelle, Laure Michel, Catherine Leuchter et al."
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9CD BOX
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RER FRSB3
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"Third of a three box collection by one of the most innovative guitarists and composers of his generation, containing eight ReR CDs, a bonus Fred title and a fat historic booklet with artwork, photographs, extensive notes and other comments by Fred, all packed into in a sturdy box -- and at a budget price. Box three contains: Technology of Tears, Propaganda, Allies, Accidental, The Previous Evening, Happy End Problem, Nowhere, Sideshow, Field Days. Plus, bonus CD Inimitable (previously unreleased). Biographical: Recipient of Italy's Demetrio Stratos Prize for his life's work in experimental music and Professor Emeritus at the legendary epicenter of American experimental music, Mills College in Oakland, California, Fred still teaches in the improvisation master's program at the Musik Akademie in Basel and as visiting faculty in the Universidad Austral in Valdivia, Chile, where he has been collaborating on the creation of a new School of Music and Sound Art. Also appearing: Tenko, John Zorn, Christian Marclay, Jim Staley, Joey Baron, George Cartwright, Tom Cora, Christian Kaya, Claudio Puntin, Heike Liss, Bernd Settelmeyer, Bernd Weber, Kikutsubo Day, Carla Kihlstedt, Theresa Wong, William Winant, Patrice Scanlon, Gail Brand, Fred Giuliani & Hande Erdem Cover photo: Heike Liss. 'Fred Frith makes music that incorporates transformative, disruptive, revolutionary wisdom while constantly expanding his range of sonic subversion' --lsole che Parlono."
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CD
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RER CTA026
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"A pandemic is just an opportunity for some people to spend even more time in the studio. Bob is a minor cult, and this new CD -- exquisitely recorded (in a previous life he was an L.A. studio engineer) is a compact suite of short, dense, twisty, jaw-dropping -- and highly unusual -- songs; a whirlwind for the uninitiated but still surprisingly accessible. It's his 10th release for ReR, each exploring some new aspect of songwriting, arrangement or production. This time he's added a small menagerie of newly invented instruments to augment his already extensive acoustic and electronic instrumentarium -- and the band of Bob that plays them has seldom been larger or tighter. Beautifully packaged with impressive fold-out artwork by the incomparable Joe Mruk. Biographical: From 1978-1989 Bob played a key role in Denver's underground music scene and was a founding member of both Thinking Plague and Hail. In Los Angeles, in the early 1990s, he engineered sessions with just about everybody... from Ice Cube to Shirley MacLaine, joined the 5UU's, and began to write and record his mind-stretching solo albums. He has lived in his home studio in Southern France since 1994 where he has played on, recorded, or mixed hundreds of albums. A member of the Peter Blegvad Quintet, The Science Group and Vril, he is also celebrated for his definitive re-masterings of classic albums by Art Bears, Henry Cow, ZNR, Cassiber and others."
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4CD BOX
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RER ZNRBOX1
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"Both original ZNR releases Barricades III and Traite de Mechanique Populaire plus two extra CDs covering all the extra released and a great deal of unreleased material from the band's short career. With a definitive book of memories, histories, reflections, photographs, documents, interviews and other memorabilia from the group's brief but extraordinary career and contemporary commentaries by alumni Joseph Racaille and Patrick Portella. Although the band had a very short life and hardly ever performed live, its three main protagonists all went on to rewarding and unusual careers: Hector Zazou: His groundbreaking 1983 album Noir et is widely recognized as one of the earliest and most impressive experiments in fusing African and electronic music. Worked with, amongst others Björk, Suzanne Vega, John Cale, Värttina, Jane Siberry, and Siouxsie Sioux. Joseph Racaille: Now writes for theatre, dance, television and film -- and is an arranger for inc. Kate St John (95-97) Arthur H (90-97) Dick Annegarn (97-2008) Bashung (97-99) &c., as well as being a member of a number of performing groups. He composed music for the Olympic ceremonies, and has written operas, orchestral works, compositions for choir and songs for various groups and singers. Patrick Portella: associate composer with the G.M.E.M. prolific in theatre, the Plastic Arts, sound design and installation work." Includes 60-page booklet.
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CD
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RER TH4
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"Three fascinating contemporary classical compositions from Henry Cow alumnus Tim Hodgkinson for flute, oboe, clarinet, trumpet, horn, trombone, violins, violas, cello, bass, piano, percussion, virtual strings, accordion, Siberian frame drums, gongs, viola, electronics, bowed cymbals, lap steel guitar, Yamaha DX21 and bass clarinet -- an iconoclastic hybrid of materials, real, virtual, imaginary and observed that flatter and puzzle the ear, drawing from many disciplines and taking a phenomenological approach to sound. More rock than academe, Tim Hodgkinson studied social anthropology at Cambridge, and co-founded Henry Cow in 1968. He has a long involvement in improvisation, and came back to anthropology in the 1990s to research music and shamanism in Siberia. Hodgkinson works regularly with the Romanian Composer Iancu Dumitrescu's Hyperion Ensemble and his compositions have been performed by numerous ensembles in many European contemporary music festivals. His composition Fragor appeared in the Martin Scorsese film Shutter Island. As a writer, he has published articles and reviews on improvised music, musique concrète, spectralism, the ethnomusicology of shamanism and the aesthetic problems of the impact of new technology on contemporary music. His book, Music And The Myth Of Wholeness was published by MIT press in January 2016."
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CD
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RER ADR1
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"A limited edition collection of exquisite live interpretations of songs by Japanese pop genius, Haco, taken from the band's first and second European tours in the early 1980s -- technically innovative events at which they set up 5'1 sound systems at every concert. Powerful, delicate music featuring exotic as well as conventional rock instrumentation, and the extraordinary voice of diminutive diva, Haco. Includes previously unreleased materials. Powerfully played and beautifully recorded with full documentation, new photographs, technical diagrams and an introduction by Haco, who oversaw the project. Re-mastered by Bob Drake."
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CD
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RER JRAC1
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"Jon and Alvin on terrifying form: Alvin spookily surefooted in his deployment of an often-counterintuitive palette of sounds, and Jon just brilliant. Living legends: Alvin recently left 80 behind, Jon is facing down 70. The two have known each other since 1985, when they were both living in Berlin, and they've worked together on and off ever since. On this CD they look back to their earlier careers, when they were gainfully employed in bread and butter club bands: Jon in the house band of Club Marconi in Sydney where, in addition to playing Italian favourites and film music, he backed funky soul singers and topless go-go troupes, and Alvin, who says: 'So embedded is the cocktail pianist in my music, there are times when I think in medium bounces, or up-2's, slow 4's or Viennese 3's with the accent on the delayed 1, offset by single triplet rest.' Curran doesn't scratch or filter his samples but takes them straight; it's the choice of the samples that leads away from the main path. Rose responds -- or ignores -- with regular and amplified tenor violins. And when Alvin reaches for the Shofar, Jon picks up his 3-metre drainpipe with strings. And did I mention the singing saw?"
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17CD BOX
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RER HCBRX1
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"17 CDs, 1 DVD and 250 pages of histories, testimony commentaries and photographs -- in a sturdy box. This collection brings together in an inexpensive and definitive edition the full contents of all earlier Henry Cow releases, with the addition of a further 60 page booklet of newly unearthed, or commissioned, band commentaries, pictures and other documents prepared specifically for this box -- as well as re-mastered versions of all the studio CDs and a rare previously not for sale bonus CD -- Cabinet of Curiosities. This collection offers a major retrospective of one of Britain's most resilient and elusive bands -- and a redress to the rather over-tidy story told on their five officially released LPs. Like Frank Zappa or Harry Partch, Henry Cow were mavericks, working without compromise at the edge of their field and systematically breaking the rules and conventions that restrained it. In the 40 years since they disbanded, their work has acquired a formidable reputation, leading finally to this definitive collection -- which replaces a chaotic mass of degraded bootlegs with properly mastered, carefully selected and thoroughly annotated lost projects, compositions and performances."
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RER CTA25B
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"A one-off release of extraordinary instrumental compositions, through-composed and performed by a massed orchestra of Bob on piano, 5-string resonator banjo, Farfisa organ, Korg MS20 synthesizer, electric and acoustic guitars, recorders, drums, bass, chromatic hand-bells, trombone, trumpet and violin. 22 exquisite, enigmatic and compressed vignettes that defy comparison. It's a new departure for Bob, though the mixture of complexity, simplicity, virtuosity and dramaturgy remain the same. It's a release that will reward repeated listening. Bob Drake (b.1957) has played a lot of instruments with -- and has engineered -- all manner of bands, from the early 1970's on. Between 1978-1989 he played an important role in Denver's underground music scene, and was a founding member of both Thinking Plague and Hail. In the early 1990s, when he was living in Los Angeles, he wound up engineering sessions with just about everybody from Ice Cube to Shirley MacLaine."
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RER BCD9
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"After 4 years of work on their 11th release for ReR, this extraordinary, reclusive, and highly individual audio-visual collective continues to evolve through the painstaking accumulation and disposition of a seemingly incompatible range of both exotic and familiar musical languages, instruments, techniques and studio manipulations into one of the few genuinely original bands at work today. It took a long time to refine their unique process of composition to this level of ambiguity and depth and newcomers will wonder how they strayed so far from orthodoxy and yet managed to retain a lucidity and transparency that is quite rare in contemporary music. The bullet points are that Biota is a unique project, defying genre with, like all such cult artists, a small but extremely dedicated public that, over the last 15 years has grown continuously as new listeners discover them. Founded in Colorado in the late 1970s, Biota's first recordings were released under the name of the Mnemonist Orchestra who, between 1980 and 1984, released five albums on its own label, before linking up with ReR."
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6CD BOX
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RER BIOTABOX1
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"After 4 years of work on their 11th release for ReR, this extraordinary, reclusive, and highly individual audio-visual collective continues to evolve through the painstaking accumulation and disposition of a seemingly incompatible range of both exotic and familiar musical languages, instruments, techniques and studio manipulations into one of the few genuinely original bands at work today. It took a long time to refine their unique process of composition to this level of ambiguity and depth and newcomers will wonder how they strayed so far from orthodoxy and yet managed to retain a lucidity and transparency that is quite rare in contemporary music. The bullet points are that Biota is a unique project, defying genre with, like all such cult artists, a small but extremely dedicated public that, over the last 15 years has grown continuously as new listeners discover them. Founded in Colorado in the late 1970s, Biota's first recordings were released under the name of the Mnemonist Orchestra who, between 1980 and 1984, released five albums on its own label, before linking up with ReR."
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Book
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RER ARBOOK1
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"Slim, 44-page perfect bound, paperback containing four stories. Illustrated by Mary Thomas. These four stories were written while Allen was working and touring with the Cleveland band, Pere Ubu, and refer directly to those years. Previously published in The Cleveland Edition, The Re Records Quarterly and The Penguin Book of Rock and Roll Writing. Allen Ravenstine was born in Canton, Ohio in 1950. In 1968 his parents were killed in a car crash. He was a student at Ohio State University when students protesting the Vietnam War were shot at Kent State. All universities in Ohio closed, so he left Columbus, where he was studying English literature, never to return. In the following years he worked with an EML analog synthesizer and a Teac four-track tape recorder and in 1974 bought the Plaza, a ramshackle apartment building in Cleveland's inner city, which soon became the home of painters, poets, writers and musicians. In 1975, he co-founded the legendary Cleveland band, Pere Ubu in which he worked until 1988... leaving to become an airline pilot. Taking up music again in 2012, he appeared with Robert Wheeler in the film 'I Dream of Wires', recorded two album length records, 'Farm Report' and 'City Desk'. In 2014, he released his first solo CD, 'The Pharaoh's Bee'. The critically acclaimed 'Waiting for the Bomb' followed in 2018. Allen lives in New York City with his wife Ann."
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CD
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RER BD22
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"Bob's 10th solo album sees Bob playing all the usual instruments (and a few more this time) in another collection of eccentric, songs with impossible structures, extraordinary harmonies, informative lyrics (rather outré in their subject matter, as Bob's small platoon of fans like it), virtuoso playing (in a casual sort of way), some great production and impressive musical economy. The album comes with a remarkable fold-out map and Arcimboldo-esque design by graphic artist Joe Mruk. Bob Drake (b.1957) has played a lot of instruments with -- and has engineered -- all sorts of bands from the early 1970's on. Between 1978-1989 he played an important role in Denver's underground music scene, and was a founding member of both Thinking Plague and Hail. In the early 1990's while living in Los Angeles, he wound up engineering sessions with just about everybody-from Ice Cube to Shirley MacLaine, and it was there he met David Kerman and became part of 5UU's. It was also around this time that he began to write and record his own solo albums. Since 1994 Bob has lived at his home studio in Southern France, where he has played on and recorded and/or mixed hundreds of albums by artists from around the world. He is also known for his definitive re-mastering of classic albums by Art Bears, Henry Cow, ZNR, Cassiber, Homosexuals, and others. With output this vast, Bob is dangerously close to becoming a cult."
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LP
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RER VAR2-LP
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'"Eccentricity in music is tricky in that it's difficult to embrace it in moderation. There's risk of having it come off as either overly (and gratingly) deliberate, or teetering over the precipice into full-blown novelty. Pere Ubu co-founder Allen Ravenstine's Waiting For The Bomb is one of these rare exceptions where peculiarity, nuance and genuine warmth align in such a way that it's perched right on that edge and all the more evocative because of it. One of the album's most striking and disorienting attributes is its wide and volatile sound palette. Structured episodically, its eighteen vignettes jump between discrete sonic worlds. Dense clusters of raw sci-fi synth noise sit up against soundtracky miniatures while elsewhere, placid ambience emerges from stiff computer funk. Yet as one surrenders to the strange lurching quality of the journey, the uneasiness it produces somehow becomes grounding. Given Ravenstine's post-punk pedigree, it's unsurprising that this defiant sense of malaise and contradiction isn't just a byproduct of his playful genre tourism. It's actually a key unifying element that even lurks on the periphery of the album's most serene or seemingly innocuous moments. You can hear it in the way that the plasticky squareness of his sample-library orchestrations chafe against live brass and percussion on 'Spirits'. The prickly synthesizer on 'Venus Calling' creeps like toxic fumes through a genteel jazz arrangement. On 'Insomnia' Joe Sorbara's rapid drum kit scatterings punctuate a lugubrious throbbing bed of sound, yet as the ersatz fanfares begin to protrude you're not quite sure whether to be terrified or to laugh--or do both. The record's accompanying notes mention Ravenstine's childhood, steeped in second-hand Cold War paranoia. Waiting for the Bomb seems to embody that tension perfectly: a young, unbridled imagination haunted by both the grave threat, and perverse futuristic allure of total annihilation.' --Nick Storring"
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6CD BOX
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RER PBB1
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"ReR released the first Peter Blegvad Trio LP in 1988 and since then there's been a new one along about every 10 years, the latest adding Karen Mantler and Bob Drake, so it's a quintet now. In between, the trio toured Europe, America and Japan, did various projects and mounted a music-theatre performance. 30 years in, it seemed timely to collect everything together, add unreleased materials from concert recordings and out-takes, and write a fat illustrated book to tell the story so far. This box does that. In addition to the original releases, now re-mastered by Bob Drake and comprehensively repackaged, there are two full CDs of unreleased materials -- and the book. That's 72 pages of documentation, recollections, reactions, insights and testimony - alongside priceless drawings and photographs, and all presented in a beautiful sturdy box. Peter's songs have been covered (amongst others) by The Fall and Loudon Wainwright III -- and have featured in movies. With additional help from B. J. Cole, Adam Philips, Eddie Reader, Loudon Wainwright III, Syd Straw, Phil Shaw, Geraint Watkins, Stoffer Blegvad and Jakko Jakszyk."
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RER AR2
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"Eccentricity in music is tricky in that it's difficult to embrace it in moderation. There's risk of having it come off as either overly (and gratingly) deliberate, or teetering over the precipice into full-blown novelty. Pere Ubu co-founder Allen Ravenstine's Waiting For The Bomb is one of these rare exceptions where peculiarity, nuance and genuine warmth align in such a way that it's perched right on that edge and all the more evocative because of it. One of the album's most striking and disorienting attributes is its wide and volatile sound palette. Structured episodically, its eighteen vignettes jump between discrete sonic worlds. Dense clusters of raw sci-fi synth noise sit up against soundtracky miniatures while elsewhere, placid ambience emerges from stiff computer funk. Yet as one surrenders to the strange lurching quality of the journey, the uneasiness it produces somehow becomes grounding. Given Ravenstine's post-punk pedigree, it's unsurprising that this defiant sense of malaise and contradiction isn't just a byproduct of his playful genre tourism. It's actually a key unifying element that even lurks on the periphery of the album's most serene or seemingly innocuous moments. You can hear it in the way that the plasticky squareness of his sample-library orchestrations chafe against live brass and percussion on 'Spirits'. The prickly synthesizer on 'Venus Calling' creeps like toxic fumes through a genteel jazz arrangement. On 'Insomnia' Joe Sorbara's rapid drum kit scatterings punctuate a lugubrious throbbing bed of sound, yet as the ersatz fanfares begin to protrude you're not quite sure whether to be terrified or to laugh--or do both. The record's accompanying notes mention Ravenstine's childhood, steeped in second-hand Cold War paranoia. Waiting for the Bomb seems to embody that tension perfectly -- a young, unbridled imagination haunted by both the grave threat, and perverse futuristic allure of total annihilation. (Nick Storring)"
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2CD
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RER VR1
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"Vítor Rua is one of the key figures of Portuguese creative music, with a career that covers a multitude of idioms and styles -- from rock, as the founder of the hit band GNR (AKA Grupo Novo Rock), through minimalism, folk, punk, thrash metal, electronic and country music to free improvisation (29 years with Telectu, his duo with pianist and musicologist Jorge Lima Barreto). In this world he has worked (amongst others) with Sunny Murray, Gerry Hemingway, Han Bennink, Paul Lytton, Barry Altschul, Gunter Sommer, Chris Cutler, Eddie Prevóst, Louis Sclavis, Jac Berrocal, Carlos 'Zíngaro' and Elliott Sharp. In the other world, since 1987, he has focused more on classical contemporary composition, writing for soloists, chamber groups and orchestras. Interpreters include (amongst others) John Tilbury, Giancarlo Schiaffini, Daniel Kientzy, Peter Rundel, Christian Brancusi and the Remix Ensemble). He has also written five operas. CD #1 is a series of overdubbed improvisations by Portugese guitar virtuoso Vitor Rua. These are orchestrated for quintet on CD #2."
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RER MVCD2018
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"In the late 80s these globetrotting Milanese composers joined forces to produce two acclaimed & prescient records made in equal parts from their own performances and ethnic field recordings, a little in the manner of Eno/Byrne's My Life in the Bush of Ghosts -but rather more evolved. Messages & Portraits combines the vinyl albums on one CD. GIOVANNI VENOSTA Born Udine, Italy, 1961. Apart from his work with Roberto Music, he has mainly worked as a film composer: 16 feature films, various shorts, documentaries, videos, & music for dance and theatre - awarded the Golden Ciak in 2000, 3 nominations for best soundtrack at Donatello's David in 2002, '04, '08, and a nomination for the Cinema Brazil Grand Prize in '09. Since 2002 he has composed the signature tunes for the Locarno Film Festival. He is also a member of the trio diSturb und Drang, Emilio Galante's ensemble Sonata Islands, and several projects dedicated to the music of Magma, After Dinner and Wha Ha Ha. He also plays electric piano with the afro-beat group Mamud Band and teaches a 3-year degree course of Music for Images at the Civic School in Milan. He has made numerous solo recordings, film soundtrack & band recordings on a variety of labels. ROBERTO MUSCI Born Milan, Italy, 1956. He studied alto sax and guitar and then between 1974 and 1985 travelled around the planet studying African, Indian, Near and Far Eastern music, making field recordings, studying and collecting ethnic musical instruments from around the world. In the '80s and '90s he made ethnic and electronic/experimental programs for Italian national radio and the independent Radio Popolare. He also composed and played music for dance, videos, commercials, poetry, theatre and performed live soundtracks for silent movies. He has released many LPs on numerous European labels. Originally released in 1990, Messages & Portraits was re-mastered at Lord Baltimore Recording Studio in 2018 for this reissue, by Martin Guderle & David Andler."
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RER ZNR2
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Originally released in 1978. "The second and last release by this most exquisite and eccentric of groups, who hardly touched the world of working bands, and whose existence was tenuous, flickering, mythological -- and yet who managed, to find its way to legendary status -- rather like Duchamp's fountain, by leaving an indelible trace in recorded form of their verifiable existence. If Captain Beefheart had been Erik Satie..."
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RER PB4
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"After 19 years, Go Figure marks the Peter Blegvad Trio's return to the studio, in supernal form and now a quintet with Karen Mantler and Bob Drake. Peter, John and Chris first met when Henry Cow was touring with Faust, in 1972. Peter was on secondment from his own group Slapp Happy, and in the following year Henry Cow and Slapp Happy merged, making two LPs before they separated again. When John Greaves left Henry Cow in 1976, he joined Peter in New York where they wrote and recorded Kew.Rhone. Peter and John have continued to work together, on-and-off, ever since. After making two solo LPs for the still vaguely experimental Virgin Records, Peter's next LP, Downtime, was made independently by ReR -- and the core players wound up being the Peter Blegvad Trio. Bob Drake first became involved during the second trio recording, Just Woke Up, which he mixed and mastered. Karen joined the trio in 2002 for a festival in Ferrara. Bob's first stage appearance with the band came ten years later, in 2012, at the RIO festival in Carmaux. ReR has been releasing the Blegvad working group's records for 37 years and this is the fourth so far. They don't come easy."
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