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Search Result for Artist or Label or Title or Catalog like mark gergis
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2LP
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BEWITH 174LP
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$43.00
PREORDER
RELEASE DATE: 6/20/2025
Originally released in 2000, Mark de Clive-Lowe's Six Degrees captures the early essence of what would later be known as broken beat, club-jazz and future soul; bridging the sounds of '70s jazz-fusion, jungle, hip-hop, house and Afro-Cuban rhythms. With Fender Rhodes, synths and an MPC2000 at the core of his production, de Clive-Lowe blended live musicianship with beat-driven sensibilities in a way that was ahead of its time. Originally released in New Zealand via Kog Transmissions, the album found its way onto the global stage when Universal Jazz UK picked it up. Now, 25 years later, Be With presents a special anniversary vinyl reissue, celebrating a landmark album that laid the foundation for an international career spanning continents, collaborations, and countless musical evolutions. Limited to just 400 copies for the world. In 1998, a 23-year-old Mark de Clive-Lowe set off on a year-long journey that would shape his career and musical identity. Fueled by an insatiable curiosity and a grant from New Zealand supporting emerging artists, he traveled across the globe -- digging through record stores in San Francisco, immersing himself in the rhythms of Havana, collaborating in London's underground studios and experiencing the jazz legacy of New York. Along the way, he crossed paths with pioneers, mentors and kindred spirits who would deeply influence his sound. Six Degrees is the sonic diary of that transformative year -- a musical world tour distilled into one groundbreaking album. It's both a snapshot of a pivotal moment in de Clive-Lowe's life and a timeless statement of creative exploration. Speaking to Be With, de Clive Lowe explained just how much celebrating the 25-year anniversary of this album means to him: "Since then, I've released so much more music, but Six Degrees still resonates -- it captures a really special moment in my life. A turning point, a fork in the road that ultimately changed everything." Mastering for this 25-year vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life by de Clive-Lowe himself, with updated liner notes written specially for this landmark reissue.
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Book
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9781878972446
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$30.00
PREORDER
RELEASE DATE: 6/10/2025
Paperback. 480 pages. "The legendary French filmmaker's labyrinthine memoir, first published by Exact Change in 2002 as a CD-ROM, now reconfigured into book form after a laborious process initiated by the artist before his death in 2012. Filmmaker, photographer and writer Chris Marker never adhered to the conventions of a particular art form. Each of his films, from La Jetée to Sans Soleil, pushes the boundaries of its medium, merging at times with the essay, political manifesto, personal letter, art installation and even, finally, a computer game. For Immemory, first published in 1998 (French) and 2002 (English), Marker used a CD-ROM to create a multi-layered, mixed-media memoir. The reader investigates 'zones' of travel, war, cinema and poetry, navigating through image and text as if physically exploring Marker's memory itself. The result is a veritable 21st-century Remembrance of Things Past, an exploration of the state of memory in our era. With it, Marker both invented a literary form and perfected it, just before the digital format he chose for the experiment was quickly rendered obsolete. Immemory: Gutenberg Version reinvents this unique work for the printed page, a project the author dreamed up, titled, and began working on with Exact Change before his death. Now finally realized, it brings this seminal work into the present and future through a time-tested, durable format of the past: the book. Chris Marker (1921-2012) served in the French Resistance, and then the US Air Force, during World War II and worked as a journalist while honing his film career. He received international acclaim with La Jetée in 1962, and became a critical voice in film theory and production as well as a widely admired 'cult' artist, a filmmaker's filmmaker."
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9783955752378
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Paperback, 251 pages, illustrated, 13x19.5 cm. Existing for a few short years (1984 - 1988), él records was perhaps the most "cult" of the UK so-called "indie" labels. él records was created in 1984 by Mike Alway. Alway was A&R man for Cherry Red signing artists such as Everything But the Girl, The Monochrome Set, and Felt. Alway left Cherry Red to help run Blanco Y Negro (an offshoot of WEA) but soon felt constrained but the conservativism of the commercial music sector and left to set up his own label. él was once described as "the most innately English record label there has ever been" and yet had a global appeal. Alway's mercurial approach was to take complete control of the repertoire, the philosophy of the label's releases and even the titles of songs in the manner of pop impresarios of the past. He became a curator, selecting, shaping and overseeing the records issued on él. He employed songwriters proficient in classical pop techniques such as Nicholas Currie (AKA Momus) and Philippe Auclair (AKA Louis Philippe) who in addition to issuing their own records wrote, arranged and performed for other él artistes and used creative talents such as photographer Nick Wesolowski and designer Jim Phelan to create the él "look." él had a unique flavor eschewing the traditions of rock and indie music of the mid 1980s, exhibiting instead a taste for 1960s bubbelgum and chamber pop, the European chanson tradition, Latin rhythms and film scores (one of él's key players was child prodigy Simon Turner who wrote music for the films of Derek Jarman). The ethos of the label was decidedly un-macho and many of él's key artists were female. Él's first single "I, Bloodbrother Be" by Shock Headed Peters was an uncompromising gay anthem. Alway saw él as a celebration of elegance and beauty, in his own words, "a pop world beyond leather jackets and jeans". While record sales were disappointing, this unique blend was critically acclaimed in the UK and popular in America and mainland Europe while in Japan él had a profound effect, directly influencing the Shibuya-kei phenomenon that included Pizzicato Five, Cornelius, and Kahimi Karie. Bright Young Things is the first book to tell the fascinating story of él, one of the most influential indie labels of all time.
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LANRH 006LP
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Fully licensed and remastered, limited to 500 copies. Gary Marks' Gathering is exactly what you would call a miracle. Self-produced in 1974 and engineered at Vitra Sonic Recording Studios in New York, the album introduced the crispy talent of the guitarist/pianist and producer. A genuine blend of folksy harmonies and jazzy arrangements, the record could have been possibly the missing link between Tim Buckley Starsailor and some early seventies Impulse! session. Now it's about time to get a hold of this masterpiece. Gathering includes guitar legend John Scofield, the amazing jazz pianist Michael Cochrane, and one the of the top vibraphonists in the world, David Samuels.
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MIA 060LP
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ISKRA is the debut album by Polish multi-instrumentalist and composer Olga Anna Markowska. Starting at "Dawn" and ending at "Dusk," it is a journey of melancholic depth and true beauty filled with warm memories from what was and what could be. Using zither, cello, electronics and occasional wordless voice, Olga weaves together something so affecting and under the skin beautiful that it is hard to shake, bringing to mind classics from artists like Jacaszek and William Basinski, or the films of Kieslowski. However, there's a personal touch in her playing and compositions that stands out. Olga explains: "The cello pieces, in particular, were born from a desire to reconnect with the instrument I've known intimately since childhood. However, I had to step away from it for two years to gain perspective and find a fresh approach when I returned." She continues: "ISKRA is an album about 'ignition' -- a gradual shift in how I think about music and a search for new values. It also marks the closing of a chapter, blending archival recordings with the dawn of new ideas." The album feels deeply personal from the first note, and bridges the difficult point between classical and ambient music in a truly natural way, leaving any typical tropes far off, instead demanding your full attention. Olga uses plenty of loops throughout, which together with the cello and zither builds a transcendent atmosphere. Standouts contain amongst others the stunning "Train Ride Home" -- a seven-minute piece with zither as main focal point; "Fever Dream" -- a plunge into warm static noise and deep plucks, as well as the beautiful "Helix," which sounds like a washed out dream with its minimal tape loops and ambient vocal washes. Overall, the album connects very well with Olga's subjects of identity, memory of the places and human relations with nature. There is a deep humanity burrowed within these 40 minutes of music which feels immensely appropriate in these contemporary times. ISKRA was recorded in different times and places from 2017 to 2022 and lands with perfection on Miasmah -- connecting the dots from the early years while reaching into the stars.
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INT 34372CD
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"When Markus Stockhausen composes, he creates a multi-dimensional cosmos from sounds. He succeeds in doing that even with compositions for small ensembles. However, when he does this for a large orchestra as here, then he has an almost inexhaustible range at his disposal. And he understands how to use it: The two pieces 'YIN' and 'YANG' were composed between March and May 2011 and were first performed in the Amsterdam Concertgebouw in the same year. 'The idea was to compose specifically for the Metropole Orkest and its soloists. I tried to make 'YIN' softer and more colorful with warmer qualities of sound. On the other hand, 'YANG' starts powerfully with a sudden heightening; it has a great deal of expressive power with a high energy level and clear rhythmic grooves. The end is then again carried by the four soloists from 'YIN.' With that, the circle is closed and Yin and Yang are reconciled,' Stockhausen wrote about his thoughts concerning the two compositions. A composition follows with 'Tanzendes Licht' that Stockhausen once composed for the Camerata Bern and Swiss Jazz Orchestra and enhanced for the Metropole Orkest. The piece was intended as homage to Paul Klee, and Stockhausen was inspired by the shimmering light at sunset on a large body of water. These reflections are again found in the music and stimulate the tones to dance in an unusual beat (9/8), but which is played around with so easily and loosely that you hardly notice it. The encore piece 'FELICE' was -- as are YIN & YANG -- composed for this concert evening, which was recorded live. Judged by the thunderous applause, he certainly succeeded in that. The radio orchestra, which has existed since 1945, has earned an almost legendary reputation since its founding and is considered the last of its kind in all of Europe. The influence of the conductor Jules Buckley is not to be underestimated either; he carefully led the orchestra into Stockhausen's style."
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NA 5275LP
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"The last great rock LP from Nigeria's post-Civil War underground. Be Nice to the People was recorded in 1977 by Fela producer Odion Iruoje as he chased the runaway success of high school band Ofege. The Western world was in the throes of peace, love and flower power as Nigeria descended into civil war in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the modern Nigerian, and propel Fela to stardom after the conflict ended in 1970. The members of Question Mark were children when the Nigerian civil war ended and by the time they recorded their only album in 1977 they were college students, chasing rock n' roll dreams as Afro-beat turned to Afro-disco. Theirs is a fiery reminder of a once vibrant scene."
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3LP
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BT 125LP
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The 2015 edition of Winnipeg's send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle now presents the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters. For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch's phrase, "establish silence." Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don't often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.
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GUESS 254LP
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Recorded when he was just nineteen, Dreaming With Alice by British folk musician/artist Mark Fry was (barely) released only in Italy in 1972, making it one of the rarest and most desirable acid-folk/psychedelic albums ever. Tracks like "The Witch" or "Mandolin Man" are considered nowadays classics of the genre. Original artwork in hard cardboard sleeve. Sourced from the original master tapes. Includes insert with liner notes by Mark Fry and photos. RIYL: Donovan, Nick Drake, Incredible String Band, Dr. Strangely Strange, Comus.
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FAITICHE 037LP
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Mark Templeton is a Canadian media artist and the founder of Graphical, an audiovisual label dedicated to publishing his own musical and image-based experiments. Mark's audio compositions are constructed from reel-to-reel tape loops and sampled cassettes that are contrasted with contemporary sound techniques. In his published photobooks, he incorporates his own 35mm pictures and found images, focusing on intangible fantasies and realities. During his audiovisual performances, he utilizes digital instruments while projecting his own photographs, VHS footage, Super 8 film, and other sampled video. Mark Templeton's reinterpretation of outdated media as musical instruments makes him a compelling artist for the Faitiche label roster. For his debut on Faitiche, he browsed his old hard drives and invited Andrew Pekler to listen through and co-produce a selection of Mark's unreleased works. The compositions act as a series of snapshots: a look back at a decade of archived sounds, re-envisioned and re-imaged for Faitiche. The album contains nine tracks that follow an AB song structure. Each piece begins with verse A, transitions into verse B, and then ends. This simple formula creates a dichotomy that is also present in Mark's diptych photographs, featured in the artwork. Throughout the album, both juxtaposition and inherent connections are simultaneously at play. One way or another, Two Verses provides a beginner's guide to Mark Templeton's highly idiosyncratic catalog.
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CVSD 109CD
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Joe McPhee is one of the great multi-instrumentalists of contemporary improvised music. His instrumental battery has included saxophones, clarinets, valve trombone, pocket trumpet, sound-on-sound tape recorder, and space organ, but another arrow in his quiver is text. McPhee has been writing poems since the 1970s. He occasionally introduces one into performance, as an introduction or afterword to music, and in recent years he's been known to do full-on readings, text only, featuring his inimitable sense of dramatic timing intoned in his rich voice. The poems range from the observational to the political to the surreal. They're composed in rhyme or according to an internal rhythm, sometimes utterly prosaic, sometimes fantastic and flamboyant. A few of them capture the immediacy of improvised music more acutely than any critical writing on the subject, his half-century immersion in the craft of free music having given him a bottomless cup to draw on and his sensitivity to the nuances of language providing a host of palpable metaphors and metonyms, similes and strophes. The poems are marvels on the page, but they really take flight in McPhee's mouth. In 2021, during a flurry of pandemic-inspired poetic activity, he traveled to Chicago expressly to record a program of his poems. For the studio date, he invited saxophonist and clarinetist Ken Vandermark to play duets as interludes between groupings of the poems. Then Vandermark, engineer Alex Inglizian, and the CvsD team sat breathless in the Experimental Sound Studio control room as McPhee proceeded to perform his poetry nonstop and without repetition for nearly two hours. The result is Musings of a Bahamian Son, the first full-length release dedicated to McPhee's writing, with 27 poems interspersed with nine musical interludes and a postlude.
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EDDA 064LP
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"I like to work with a variety of instruments and set ups," says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018's Invisible Threads (TO 104CD). "Sometimes it's literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a four-track tape machine and small modular synthesizer set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It's also about my own reaction to my environment, and what's going on in my life at the time." Mark Van Hoen has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother -- their Stars Are Our Home was released in 2013. Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It's a collection of tracks recorded over the past few years, released on Bandcamp -- despite his apparent absence, Van Hoen works constantly. Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho's memory. Album mastered for vinyl by Stefan Betke at Scape. Artwork by Ian Anderson (Designers Republic).
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SNS 025CD
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Audio Archaeology Series Volume 3: Brest. Sheet Erosion is the third episode in a series of works based around ideas of audio archaeology and found sounds. The setting this time is the city of Brest in France. It is composed of field recordings made in early 2020 during the storms Ciara and Desmond plus a batch of found open-reel tape recordings dating from the '70s and '80s. The tapes include domestic home recordings but mostly document recordist Michel's tastes in music and radio programs of the time. Daily life bleeds into these lo-fi recordings of radio and TV shows. Captured with a mic in front of a speaker rather than directly cabled, ambiguous activities can be heard in the background; babies crying, feedback, chairs scraping and muffled conversations. In the composition, family histories and musical tastes are transposed over a more contemporary soundscape of Brest. Over-saturated tape distorts time as well as sounds. Speeds change. Chronologies become confused. Different instances in time are blended and fused. What seeps through these chronological crevices are events and incidents unmoored from linear time taking place in a chimerical non-space.
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SCIE 3123LP
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LP version. Reissue of Home Comfort by Mark Glynne and Bart Zwier, originally self-released in 1980. With this album, Glynne and Zwier, based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty.
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SCIE 3123CD
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Reissue of Home Comfort by Mark Glynne and Bart Zwier, originally self-released in 1980. With this album, Glynne and Zwier, based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty.
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BKEDITDS 037LP
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Dreams are made and displaced on Mark Fell & Rian Treanor's oneiric electro-acoustic inception Last Exit, borne from long days in the family garden, and assembled into a mesmerizing masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It's a bit like listening to Virginia Astley's From Gardens Where We Feel Secure, with washes of Autechre seeping into the mix from outside. Last Exit originally appeared in a different form as a cassette release for Boomkat's Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. Across four parts, they kern, juxtapose and diffract synthesized percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature. While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognize, however, that Last Exit effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalized but highly relatable meta-musical language. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics. A longform isolationist fantasy, consider it crucial listening if you are into Robert Ashley's Automatic Writing, Graham Lambkin, Autechre or Nuno Canavarro.
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SCR 233EP
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The EP features two brand new tracks alongside two remixes of songs from last year's acclaimed album Red Sunset Dreams. The Dot Allison-featuring "Sundowning" gets an almost Balearic makeover by Richard Norris which flows perfectly from "Silver River," featuring B.J. Cole, which has been turned into awe-inspiring ambient Americana by the Indianapolis collective Dawn Chorus And The Infallible Sea. The two new tracks, despite sharing a common theme with the album in terms of their sunset-themed titles, signal a change in musical mood. Both are much more propulsive and driving, inspired by Mark Peters' recent live shows which he has played as a trio with bassist Dean Roby and drummer Chris Smith. "Alpenglow" came about more recently after Mark bought a Boss RC-300 Loop Station. It has a dark, post-punk feel, like a souped-up "Shadowplay," but as it cranks into krautrock gear it could almost be Neu! with the late, great Tom Verlaine replacing Michael Rother on guitar.
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7"
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NWT 2009EP
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Sonor Music Editions is presenting under our New Tape label Mark Saddlemire's debut release Sound-In-The-Round, that draws a deep inspiration from the golden era of Italian library and soundtrack music. Something akin to the legendary prog-rock ensemble Goblin and the avant-garde composer Giuliano Sorgini, but with plenty of grooveness. Mark Saddlemire is a multi-instrumentalist, composer, and producer from Philadelphia, passionate about creating instrumental compositions from a blend of acoustical and electronic sounds using analog techniques. An electrical engineer by trade, he's customized and repaired much of the vintage gear used for his recordings -- his studio is a collection of unique and rare analog instruments from the 1960s to the 1980s.
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ESPDISK 5041CD
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There are some jazz musicians long known by cognoscenti for a mere handful of recordings: Dupree Bolton, Earl Anderza, Hasaan Ibn-Ali, Alan Shorter, Dewey Johnson. Add saxophonist Mark Reboul to that list. Before the release of this album, his discography consisted of four tracks on three albums on which he was a sideman. On Higher Primates' Environmental Impressions (GM, 1987), he plays sax on two of the percussion-heavy album's five tracks: a fragmentary track, and a sixteen-and-a-half-minute improvisation; he has a percussion cameo (playing waterphone) on Bill Gerhardt and Cotangent's Stained Glass (SteepleChase, 2007); and on Gaelen McKenna's self-released 2004 album Woodbach, a Reboul improvisation is manipulated and looped. ESP-Disk is a label with a history of albums by under-documented musicians (Byron Allen, Lowell Davidson, Marzette Watts, Nedley Elstak) and thus the perfect label to redress the situation. The other musicians in the trio heard here have been more prolific in the recording studio. Piket, daughter of a classical composer and a standards singer, got a degree from the New England Conservatory, studied with pianists Richie Beirach, Stanley Cowell, and Fred Hersch, and was a finalist in the Thelonious Monk BMI Composers Competition. She has a baker's dozen albums as a leader, a smattering of collaborative projects, and work as a sideperson stretching back to a 1995 Lionel Hampton album. Mintz is Piket's husband (they married well after this recording was made). Three years ago, she made a solo piano recording of an entire CD's worth of his compositions. He also has a fascinating bio: already a gigging musician at the age of fifteen, and in his twenties recorded with Lee Konitz Nonet, Perry Robinson, and Gloria Gaynor, among others; during a period living in Los Angeles, he worked with an equally eclectic range of musicians, from Vinny Golia to Mose Allison to the Merv Griffin Show band. The style is free improvisation, but a quieter and more subtle form of free jazz than ESP is famous for. Reboul is a unique player, and that's why ESP considers this an important release that adds to fans' knowledge of the NYC free scene.
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CREP 102LP
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"This device isn't a spaceship, it's a time machine. It goes backwards, and forwards... it takes us to a place where we ache to go again. It's not called the wheel, it's called the carousel. It lets us travel the way a child travels -- around and around, and back home again, to a place where we know we are loved." --Don Draper
Call Back Carousel is an audio time-travelogue, a slideshow of the mind's eye -- projecting Kodachrome memories directly into the listener's mind by means of sound alone. It is a way of travelling without ever having to leave the home. A vicarious vacation for the imagination. Pure audio escapism. Each episode is based on a found tape of a pre-recorded slideshow commentary. Most of these tapes were made by amateur tape-recording enthusiasts and hobbyist photographers of the '60s and '70s. Their recorded commentaries would at one time have been used in conjunction with a sequence of 35mm slides but only the taped voices now remain. The recordings themselves come from Vernon's own archive of found reel-to-reel tapes that he has collected over the past twenty years. Using these found slideshow commentaries as a framework, a series of musical soundscapes have been created to bring the absent images to life, activating the listeners' imagination in the classic tradition of "cinema for the ears". It's a little like looking through a family photo album where only the handwritten captions and mounting corners remain; the photographs themselves have all been removed. The evocative rattle and clack of the projector shuffles through different slides as the fragile voices of tour guides accompany you on a sonic journey that fractures time -- and through the cracks, the past bleeds through into the present.
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CVSDLP 005LP
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On their first stand-alone record as a duo, Ken Vandermark and Hamid Drake celebrate their 30+ year playing relationship with an electrifying live set of pieces, all featuring music composed by legendary free jazz musician Don Cherry. Restricting himself here to tenor saxophone, Vandermark has developed an almost telepathic understanding with Drake, whose masterful work on the drum kit has rarely been more focused and relaxed. The music was recorded in Corbett vs. Dempsey's main space on the closing day of the gallery's exhibition of work by Moki Cherry, Don's partner in the Organic Music Society, whose powerful tapestries and paintings were often key elements in the Cherry's performances. Drake and his family in fact lived with the Cherry family in their home in rural southern Sweden in the 1970s, and the drummer's personal experiences with her visual art added a special depth to the concert with Vandermark, diving into music from across the great trumpeter's songbook. The program, some of which runs as medleys of different tunes, comes from as far back as Cherry's groundbreaking '60s Blue Note LPs (Elephantasy, Complete Communion), up through the title track of the killer 1975 A&M side Brown Rice, and more culled from later LPs on ECM, including the band Old And New Dreams (Guinea, Mopti) and Cherry's beautiful duo album with drummer Ed Blackwell (El Corazón, Solidarity). During the concert, mid-set, Drake stopped playing to tell the story of his time with Don Cherry, including his harrowing experience contracting malaria while playing in Africa; this stirring narrative is transcribed as the liner text in the LP's gatefold. Gorgeously recorded, with Moki Cherry's tapestry "Spirit" on the cover, Eternal River keeps flowing with the ease and wonder of two brilliant Chicago musicians at the top of their game, in their hometown, playing the music they love.
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NA 5241LP
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2024 restock. "The first time since 1971 that this album has been pressed from the original master tapes, recently discovered in Italy. Lacquered directly from tape in an all-analog transfer by Bernie Grundman. This is the single LP version that we issued after the Now-Again Reserve Edition sold out. Mark Fry was 19 -- recently graduated from high school and in Italy studying painting -- when he walked barefooted into RCA's Italian subsidiary, played some songs he'd written on his guitar and was signed to record the album that would become legend. The first recordings he made proved stuff, so he was paired with members of the Scottish band Middle of the Road, who were in Rome while under contract to RCA Italiana. Convening in a basement home studio with two 4-track reel-to-reel recorders, Mark's visions coalesced in a dreamy, airy manner -- 'Nick Drake meets Dr. Strangely Strange with a touch of Lewis Carroll' The Word Magazine would later write. Pressed in small amounts for Vincenzo Micocci's RCA sub-label It, Alice remained an out of reach masterpiece for many but its creator, who returned to England in 1971 and subsequently traveled the world, playing music, sometimes recording and painting. By the time of its rediscovery, its master tapes were assumed lost. Their rediscovery allows this pristine transfer to reveal nuances not heard on anything but original It pressings."
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LP
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DC 685LP
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2017 release. "Mark Fosson's been playing music for nearly 50 years now. Solo Guitar is the 5th album released under his name in all that time, which gives an insight into the nature of his music; when it is time for Mark to commit to something underneath his fingers, regardless of whether that is after two years, ten or twenty, that's what's right. Sure, it makes for a funny career arc, but as far as the music that falls out of a guitar over the span of a lifetime is concerned, any old curve will serve. Mark's picking career was destined to be weird anyway, based on how it started: in 1976, a demo sent to 'American Primitive' label Takoma Records received a personal response from founder (and its primary artist) John Fahey himself, who invited Mark out to the west coast to rerecord the material for forthcoming release. Mark showed up, they recorded, it sounded great . . . then Takoma went bankrupt, John Fahey sold the whole company and the release of Mark's record was abruptly cancelled. No new destination for the recordings immediately presented itself, so Mark moved on, eventually making music with a band called The Bum Steers and writing songs for motion pictures as well. Once the tapes from '77 came to the attention of his niece, Tiffany Anders (she noticed them sitting out in his garage), things started happening fast. We put The Lost Takoma Sessions out in 2006, after which Mark made a full-band album of rockin' Americana called Jesus On a Greyhound. In 2012, Tompkins Square released the original demos for the Lost Takoma record as Digging In the Dust. Then in 2015, Mark released a new album of solo picking called kY, drawing on memories from his childhood in Kentucky to create sweet impressionistic vignettes played on six- and twelve-string guitars, as well as banjo and mountain dulcimer. Two years later, and there's another collection to hear! Solo Guitar shares something with kY, as Mark continues to use his chops and enthusiasm to wander musically, drawing up pieces of sparkling, nimble fingerstyle with an eclectic vision. As the title implies, this time Mark is focused on the austerity of the guitar, plain and simple, to bring out the music. Whether on six- or twelve-string, his sure touch is transported by crystal-clear recordings that belie their down-home origins, as they catch the contours of every string as it is pressed, bent and struck -- a full-bodied sound projecting soulful dips down into bass strings and shimmering upper register runs with equal power. The air around these performances is colored with curving waves of steel-stringed beauty, and the pungency of free-wheeling wit and recollection..."
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ACOLOUR 043LP
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Over the past five years, Mark has forged a unique identity in underground drum'n'bass, alloying traditional junglist motifs and electroacoustic ambience through a series of singles on A Colourful Storm and Unterton. A Colourful Storm now presents the culmination of his work and debut album, a shapeshifting expression of luminescence and rhythmic complexity. Mark's ambitions with Integrier Dich Du Yuppie (ACOLOUR 009EP, 2017) and The Least Likely Event Will Occur In The Long Run (2018) reflected upon the relationships between -- and division of -- people, place, and power. Now he responds with two pieces featuring his signature skittering drums, seismic sub-bass, and atmospheric passages recalling Roland Kayn, Luigi Nono, and Bernard Parmegiani. Moonlight shines, choral voices appear from above. Arresting, unnerving tranquility. Recommended for fans of Eli Keszler, Hiro Kone, Torsten Pröfrock, and Kali Malone.
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2LP
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AUS 017LP
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Mark Hawkins readies Venn Diagram album for Aus Music. Mark Hawkins's early releases on labels such as Djax Up Beats and Ugly Funk lit flares in the world of underground techno, with a sense of humor and tougher-than-thou sonic palette enforced via his jacking live sets. Across the following decades, Mark has delivered razor sharp cuts that encompass pretty much anything that has an electronic heart -- leaving his own unique trail for others to follow via his work for labels as diverse as Dixon Avenue Basement Jams, Sonic Mind, Mistress Recordings, Houndstooth, and Aus. With his latest album, it feels like Mark has pushed ahead with a change of direction he started with 2021's The New Normal. Venn Diagram carries on this journey into uncharted lands; molten, distorted drum assaults weave around glistening melodies, kitchen sink soul glides below fractured sound pools. Opener "Verblex Oscillos" immediately demands your attention grabbing, with a so-happy-it's-sad melody spiraling around a cascade of tough-as-fuck dance floor destroying beats, along with the urgent combination of strings, acid, and Chicago-tough electro beats on "Isolated". Other cuts on the album share a similar approach, the restless energy of "Maladayfun Friction" derives from a fusion of skittering drums and deranged synths and the dreamy super saw pads and plaintive vocal of "Still Have Time" espouses a kind of wasted elegance, roaming the city nightlife in a Gucci dress and Doc Martin boots. "Nlasckhdsjk" and "Frederikalstublieft" propel forward with such a sleek and effervescent aesthetic, recalling fast drives along picturesque European highways or heady take-offs to unknown urban territories. The aesthetic becomes more elegant on the album's centerpoint tracks "Rebula Conundrum" and "Nlasckhdsjk", where optimistic bleeps, bass and 707 drums underpin jazzy chords and soaring leads. Other tracks show the arc of Mark's direction of travel, with soulful vocals that share a well of deep-rooted optimism that was so evident on his breakthrough 2016 Social Housing album. "L.O.V.E." breaks into post-Sophie territory with a catchy modulated vocal joyfully two-stepping across to the nightclub bar and "How Do I Know" providing a heart-rending torch song for 6am kicking-out-time refugees to help them find their way back home.
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