Marking and celebrating their 50th anniversary, Cadillac Music delivers this special reissue of their debut release: Mike Westbrook's 'Live from 1973', featuring Westbrook on Electric Piano/Harmonica, George Khan on Tenor Saxophone / Electric Saxophone / Flute, Gary Boyle on Guitar, Alan Jackson on Drums / Alto Saxophone, and Butch Potter on Bass Guitar / Pogo Stick / Flute. With additional tracks*, mastered by Jon Hiseman of Colosseum, and released with the blessing of Mike Westbrook, Live 1972 stands out as a document of the Westbrook project in transition, and as a bloody great slab of music in its own right played by a brilliant collection of musicians. (* the unreleased tracks are additional to the original LP issue, but appeared on the Hux set that came out in 2017 but is no longer available) Mike Westbrook - Electric Piano/Harmonica George Khan - Tenor Saxophone / Electric Saxophone / Flute Gary Boyle - Guitar Alan Jackson - Drums / Alto Saxophone Butch Potter - Bass Guitar / Pogo Stick / Flute

LP - Edition of 300 copies, handmade textile artwork w/ printed inner / CD Edition of 150 copies, handmade textile artwork Sylvain Chauveau has been releasing quiet and minimal compositions on various labels for more than two decades. ultra-minimal marks his debut for Sonic Pieces and takes the minimal approach even further, centring on reduction and limitation. The album was recorded live at Café Oto, London in March 2022 - one of Sylvain’s rare solo concerts and the first time he performed publicly with only acoustic instruments; no machines, no recorded sounds have been used, only piano, guitar, harmonium and melodica, played one at the time. While some of the compositions are completely new, others are live versions of previously released pieces which have either been performed close to their original or stripped-down, reduced to a single instrument and partly rearranged. This reveals a predilection for repetitions and variations that Sylvain shares with Jim Jarmusch, and at the same time it is a personal attempt to avoid electronic devices as a tool for live music. The artwork and track titles follow this reductionist idea and an aesthetic of miniaturization that Sylvain has developed for many years. They refer to the minimalist, concrete poetry that he writes regularly. In this context rewriting some of the original titles was a consistent implication to achieve a complete work, an album that perfectly represents Sonic Pieces’ aesthetics, both musically and visually.

"Vibrating the piano’s strings and manipulating the soundboard, Agnel spends a good portion of the live concert as often inside the instrument as on the keyboard. Moving from cord-strumming and  outside wood raps, backed by ratcheting bass string scrapes, irregular drum ruffs and gong resonation, she creates a dynamic introduction backed by irregular drum ruffs and below-the-bridge double bass rubs. “Part 2” captures the heart of the matter as Agnel’s opposite end keyboard slides emphasize both gentle plinks and pedal point thickness with the repeated and nearly identical patterns often interrupted by glissandi and string reverb. Meantime Edwards’ buzzing arco stops and Noble’s sharp cymbal cracks follow a parallel line. Occasionally there are brief Edwards-Agnel duets involving elevated keyboard emphasis and low-pitched string abrasions. But her piano command is such that elsewhere she creates call-and-response between her own strings and keys from opposite edges of the keyboard. A mid-track silent interlude leads to rhythm section intensification with Noble’s door-stopper-like reverberations and chain rattles making more of a impression than Edwards’ constant string swabbing. Meantime Agnel’s processional strokes and stopped piano keys preserve the exposition until she winnows the narrative down to isolated single note stabs. Double bass string shakes and drum hand patting similarly descend until the pianist’s key slapping signal the finale. A terse encore allows a patina of swing to peek through the otherwise bumping variations from all as a final cymbal splash marks the concert end." - Ken Waxman https://www.jazzword.com/ Sophie Agnel plays the whole piano. Its body matters as much as its strings. The keyboard's lid is just as good closed as it is open - in fact it’s best slammed open and closed rapidly. Joined by bassist John Edwards and drummer Steve Noble, Three on a Match explodes the piano trio - each player sparking off the other so quickly that it’s impossible to figure out who lit the flame.  Recorded at OTO in 2023, this was the second two night residency for a trio that has fast become one of our favourite improvising groups. Each individually brilliant, Agnel, Edwards and Noble’s enduring connection is in their seriously playful approach to their instrument - in their way of looking at it as a whole and then tearing it apart, breaking it down into its raw materials - wood, brass, steel.  Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel is classically trained and had a turn in modern jazz. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the piano’s outside and inside.” If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Steve Noble surrounds his drum kit with whistles, tubes and towels alongside gleaming brass cymbals and gongs. Their stage is a heady mix of high and low - the grand piano and the gong alongside rubber balls and tiny bells; players half stood up, reaching in, bending toward - relentlessly working their instrument to unburden its sound from genre.  Free improvisation is always a leap of faith, a test of commitment, and these three players are completely unafraid. The music switches deftly from super taut string manipulation to extremely loud percussive collisions. The trio can play microscopic mutations on a bass note and then scale up on the turn of a pin to plunge into huge, black chords and ricocheting sonority - dissolving the boundary between body and sound. The crescendo of Part Two is shaped by such cumulative repetition that it feels like a confrontation - a controlled test for breaking point. What happens if we keep going?   As so we left Part Three as the last encore of the residency. It’s a totally exhilarating, skittering reprise - short and energetic - delivered with the kind of grounded abandon you hope to see improvisers play with but rarely do.

Available as a 320kbps MP3 or 24bit FLAC or WAV. Edition of 300 standard LPs, 100 LPs with screenprinted artwork inserts and 200 CDs Totally beautiful and rare piano performance from Loren Connors, joined on guitar by long time collaborator Alan Licht.  Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. On the second night, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer. A run up the keys, the drop of a feedback layer on a sustained and bent note. The two begin to exchange notes in tandem and brief touches of melody and chord hover. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s guitar. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.  --- Recorded live at Cafe OTO on Saturday 6th May 2023 by Billy SteigerMixed by Oli BarrettMastered by Sean McCannArtwork by Loren Connors Layout by Oli BarrettScreenprint by Tartaruga Manufactured in the UK by Vinyl Press.  Edition of 300 standard LPs, 100 LPs with screenprinted artwork by Loren Connors printed as inserts. Also available on a limted run of 200 CDs.

"…the total past sensation, not its echo nor its copy, but the sensation itself, annihilating every spatial and temporal restriction, comes in a rush to engulf the subject in all the beauty of its infallible proportion … Death is dead because time is dead … time is not recovered, it is obliterated." - Sunik Kim from the accompanying essay"Beyond excited to announce the new album Formenverwandler by Sunik Kim, a Los Angeles-based musician, writer and filmmaker who has previously released music on Notice Recordings, Rope Editions and OTOROKU. Spanning almost 2 hours, Formenverwandler is a detailed and considered study on time and duration.Drawing from her extensive research on composer Conlon Nancarrow, Formenverwandler sees Kim exploring the time or tempo canon, which can pull and project the listener's senses, melting the temporal and spatial perception of presented sounds. As in previous works such as 2022’s Raid on the White Tiger Regiment and 2023’s Potential, Kim deploys patches and tools she has designed for SuperCollider, which take raw, utilitarian General MIDI notes and multiply and spray them into frenetic webs and networks of spiraling sound.It is within these networks that sounds, recognisable and familiar, are placed, scattered and gathered into new structures that appear to shapeshift, constantly morphing in meter. The album's title Formenverwandler (German for shapeshifter, taken from the classic Der Zyklus track) perfectly encapsulates this collection of pieces that are in constant motion and in a state of reflection and restructure. The four pieces are mirrors and refolds of one another, both stretched and condensed in various directions and examined to the point of near exhaustion.Along with the music, Kim has written an essay which outlines the thoughts, actions and reflections that make up this body of work. Reading the essay—and rereading it—is an endlessly insightful way of entering and understanding the headspace that produced this deeply considered music and its inner ecology. Along with rationale and reasoning, Kim interjects quotes from writers, poets and thinkers—from Lenin to Woolf—who have ruminated on and have existed within the confines of time."

This residency was produced in partnership with Professor Paul Hegarty as part of the funded project on Innovative music in Japan, with thanks to University of Nottingham and the AHRC impact ‘accelerator’ fund for support. Huge thanks to Paul Hegarty and Sam Thorne. “Chwalfa” (Welsh for “dispersal, rout, upheaval, upset, or a confused or chaotic state”) documents the first return of Incapacitants to the UK since 2016. With the windows boarded up and the subs doubled, two ordinary looking blokes Toshiji Mikawa's and Fumio Kosaka obliterate OTO’s usual whisper hush with clipped out, scorched earth tape loops and pedal chains - creating such an excoriating din it transports the room to the planet’s furnace core and back again. It’s all music, all at once -  a whorling vortex delivered at time bending velocity.  For Vymethoxy Redspiders, who writes the release’s extensive liners, “[the music] is a transcendental outpouring of raw consciousness and firmamental emotion, more in line with the “fire music” of free jazz players like Albert Ayler and Dave Burrell or Sun Ra in his most apocalyptic moments of Moog sorcery than most of the things I long came to associate with the practice of Noise. Incapacitants’ unholy racket morphs from vista of tormented glitch shimmer to crater of obliterated tape loop to deafening light pouring down on disaster fathoms. I'm struck by how Modal or Raga-like it sounds at points, where a deep tremor drone burrs like a wide open plain; for a “pure” noise that is often considered “not musical” it sure hits me where music hits most affectingly and more so than most sounds daring to call themselves music!”  “Chwalfa” contains two tracks, one from each night of the residency. It arrives as a glass mastered CD in a digipak. Edition of 500 with liner notes by Vymethoxy Redspiders.  --- Recorded live at Cafe OTO on the 6th and 7th of September, 2024 by Billy Steiger. Mixed by Oli Barrett. Deemed best left unmastered. Cover photo by Paul Watson. Layout by Abby Thomas.

"The seemingly irreverent approach to the instruments, the repetitive repeats of certain motifs; ‘institutional music’ could be something that comes to mind for the listener. The inmate, free of all musical convention, behaving childishly, almost manically. The result is a polyphonic counterpoint that comes close to falling apart and leaves the impression of being something new." - SAJ, 10-10-24 "The first major document of Johansson’s music since his passing, two days at cafe oto is a reminder of his galvanizing presence, his conceptual range, and his skill set as an instrumentalist. It deserves more than a passing mention in the commentariat’s attempts to cement his legacy." –Bill Shoemaker, PoDDrummer, visual artist and one of the original European free jazz players, Sven-Åke Johansson was never willing to settle for a single route of exploration. As a musician and composer he appeared on key recordings for the legendary FMP, delivered marine weather reports for Edition Telemark, crooned love songs for Ultra Eczema and was at the heart of the recent free music revival in Berlin via Umlaut alongside Joel Grip and Axel Dörner. “My work is not actually jazz, but rather the exploration of sounds,” he said. “In that sense, my music defies some categorizations. Jazz is only a small part of what I do”. When asked to play at OTO last year, Johansson proposed two nights with four musicians half his age - alto saxophonist Seymour Wright, his fellow [Ahmed] member and double bassist Joel Grip, and French alto saxophonist Pierre Borel. Grip and Borel both played alongside Johansson in Stumps; Wright had previously recorded a trio with  Johansson and Grip almost a year earlier in Johansson’s Berlin studio - due to be released later in the year via We Jazz as The Jazzy Stork. A quartet of two saxophones, bass and drums sounds like jazz, but all four players perpetually reach outside of the genre for inspiration. Opening disc one, Grip’s and Wright’s staccato melodies are drawn delicately together with the lightest of threads, little playful buzzrolls and tom taps: if this is jazz it's the gentlest sort we’ve heard in some time. Grip and Wright stretch a handful of notes over a trickle of toms, the room thick with listening.  For his next act, Johansson changes tack, bringing out his accordion. Like his frequent collaborator Rüdiger Carl, Johansson's work on the accordion is full of expression and humor - his sometimes short, pointillistic improvisations suddenly cohering into brief melodies that flicker with nostalgia. Grip picks up a swing, and the quartet head out on a warm adventure before the saxophones and accordion satisfyingly drift out of the room together.  It feels important to mention Sven-Åke Johansson dressed sharply.  He was a man of intention with a touch of melodrama and it kept his music from drying out. Amidst the great volume of German Free Music in the 1970s, Johannson's first solo LP ‘Schlingerland’ (1972) swishes cymbal and snare, tom and hi-hat, sometimes almost imperceptibly. Skin, metal, plastic and wood, always in a tank of developer; quite melodic, beautifully concentrated. Fifty years on, Borel, Grip and Wright continue this gradual investigation of music and there are no better collaborators for Johannson. All three can shred jazz into its microparts, can swing, can groove and shriek. Over Two Days at Cafe OTO, buoyed by Johannason’s light touch, a sort of minimalist bebop emerges - the last track dividing and multiplying melodic fragments until its motifs print the inside of your skull. It’s totally luxury music - full freedom, full commitment. If it doesn't hit the first time, you’re sure to come back for it. We’re blessed it was recorded and grateful to have shared in this music. Thank you, Sven-Åke Johansson. — Recorded live at Cafe OTO by Rory Salter on 8th & 9th April, 2025. Mixed and mastered by Werner Dafeldecker. Photos by Dawid Laskowski.

With But remember what you have had, Stephen O’Malley continues and expands his musical approach by transposing it to multiphonic electroacoustic writing and acousmatic listening. Drawing not only on his extensive experience as a composer and live instrumentalist, but also on the countless studio production and mixing sessions he has taken part in the course of his many projects (in solo, with SUNN O))) or KTL, to name but a few), Stephen O’Malley’s work on this new piece is ambitious, engaging in an inspired research that delves into the deep intricacies between polyphony, intonation and timbrality, enhanced by melodic motifs. To do this, O’Malley summons up his own very personal sound universe, constellated with amplified textures, instrumental sustained tones and raw energy, in order to diffract them into wavefronts, waves and blows that weave a complex, rich and fascinating matter. But remember what you have had stands out as an important work in Stephen O’Malley’s repertoire: it brings together the multiplicity of his musical approach in an exemplary way, while laying the foundations and promises for the future of an already extraordinary journey.

Andrew Batt-Rawden is a Sydney based composer, performer & publisher. His practice is cross-platform & all-embracing. Though initially stemming from an almost traditional sense of ‘the composer’, Andrew fuses elements of gesture, choreography, new technology, text, performance art & mixed-media into his work & has a wide-ranging history of inter-disciplinary collaboration. His current focus is on incorporating all the senses into the audience experience by integrating data feeds to affect live electroacoustic performance, particularly with the use of heartbeat & movement data & by building algorithmic software that works with both light & sound; a collision of chamber/art music & technology. Chris Mansell has been called 'a significant voice in Australian poetry’. She began as an editor & poet in the 70s & since then has chosen to live an isolated rural life. She is the recipient of multiple awards for her work & continues to publish with regularity. Her writing has been described as ‘stylistically & thematically ground-breaking’. One emerges from the experience of reading it disturbed & challenged. Its haunting rhythms do not easily let go. Seven Stations is a collaboration between a young composer & a multi-award winning poet, combining elements of contemporary chamber music, electric instruments, electronics & voice with a vivid text. A cheerfully profane song-cycle, using the railway stations of the city’s centre as the focus of its imagery. "Like every city, the soundscape is a constant hum of people, traffic lights, cars, buses, birds. Depending on where you are, you also hear water, trains, music. Depending on when you are, your ears pick up the scurry of rats & possums, the asymmetrical rhythm of drunken steps in cloppy heels punctuated by profane outbursts, laughter & conversation in many languages. Some people open their mouths & the sound of bank notes flap with their tongues. Others speak with a smile full of shark teeth, ever-ready to take a nip. The lucidity of the dream that created the structures holding this city together - something beautiful yet strange.” - ABR

Zubin Kanga is a modern day David Tudor. He is at the forefront of 21st century avant-garde piano music, not only as a performer but also as a prolific commissioner of new works. Zubin has collaborated with many of the world’s leading composers including Steve Reich, Beat Furrer, Thomas Ades & Michael Finnissy. His teacher & mentor Rolf Hind was a pianist signed to the infamous Factory Records (Joy Division, Cabaret Voltaire) who instilled a borderless view of ‘classical’ music in him. Zubin has performed for the BBC Proms, ISCM World New Music Days & The London Festival as well as with the Bang-on-a-Can Allstars, Eighth Blackbird & Ensemble Plus-Minus. The heyday of the graphic score was the 1960s. A small group of composers like Bussotti & Cardew picked up on the ideas first put forward by pioneers like Morton Feldman & Earle Brown, developing non-conventional music notation into elaborate & artistic scores. Not Music Yet for solo piano is a watercolour graphic score by Berlin-based Australian composer, David Young. Composed for Kanga, the performer is to consider it a time-space score (pitch read on the vertical axis & time on the horizontal). They should make three equal passes, reading left to right, playing only the black parts of the painting first, followed by white then blue. The work can be performed in either 7 or 42 minute versions. Young recommends the use of a stopwatch to aid exact timing. Further, every attempt should be made to realise the graphics’ contours & shapes as carefully & precisely as possible. Recorded with incredible detail on a 102-key Stuart & Sons piano (1 of only 6 in the world).

Jack Symonds is a composer, conductor, pianist & the Artistic Director of Sydney Chamber Opera. SCO is a resident company at Carriagworks, Australia’s answer to The Park Avenue Amoury. His productions are always daring, both musically & theatrically. They tend to garner 5-star reviews and affronted walkouts in equal measure. He studied composition at the Royal College of Music, London & the Sydney Conservatorium of Music, where he received the university medal. He has written pieces for Jane Sheldon (John Zorn Band) & New York’s JACK Quartet & staged almost 20 modern opera productions included 3 of his own - Nunc Dimittis (2011), Climbing Toward Midnight (2013) & Notes from Underground (2011 & rewritten in 2016 for Carriageworks). Jack has conducted works by Pascal Dusapin, Fausto Romitelli, George Benjamin & Gyorgy Kurtág. He has been involved in the Sydney Festival, Sydney Biennale, Bendigo Festival of Exploratory Music & Resonant Bodies Festival. Jack on the pieces - The pieces on this album reflect my obsession with miniaturisation & love of song. They are all related by a desire to cannibalise - in the most loving way - vocal works I find endlessly fascinating from composers as diverse as Schubert & Sciarrino. Song Cycle, the earliest work here is modelled on the proportions of the songs that its various movements reflect. At the time I wanted to find a rigorous way of making a very personal ‘history of art song’ coexist across purely instrumental movements of extremely diverse expression, without pastiche or sarcastic deconstruction. It has been an ongoing preoccupation of mine to filter a kind of Romanticism through what I believe to be a still-living tradition, & Song Cycle showed me the way to find hundreds of points of connection along the complex continuum of harmonic history. This is equally true of Ein Fremder in fremden Land - another suite-like piece but here a portrait of a single composer who I shockingly omitted from Song Cycle due to received ignorance - Zemlinsky. I find enormous personal resonances with the way he viewed the world & the music around him. The two smaller violin works perhaps betray my immersion in Kurtág as I was preparing to perform his life-changing song cycle …pas à pas- nulle parte… Dealing with his music for an extended period applied a harsh mirror to any extraneous development or gesture & I felt a healthy compression of my own ideas take place. These pieces’ focus on warped classical processes gave me a platform to apply the same to actual song: the Rilke Lieder give literal & metaphorical voice to the whole gamut of my preoccupations, all in the smallest possible space. 01 - 06 Still the Light Burns (10’) 07 - 11 Ein Fremder in fremden Land (20’) 12 - 19 Two Rilke Lieder (8’) 20 - 28 Song Cycle (33’) 29 - 33 Five Postscripts (5’)

Bud Petal is the stage name of musician Eran Asoulin. His music has been described as ‘cerebral art-folk’ & ‘the music Lord Byron would be making had he lived in the 21st century’. Bud is a true outsider, a freak-folk wunderkind who has been compared to Syd Barret & Daniel Johnston. But don’t for a minute think him primitive or naive - Bud is worldly & word-wise beyond his years. He was ‘discovered’ when his self-produced first album was pulled from the trash at a local radio station. A self-taught musician from The Levant, he spent his teenage years immersed in the bohemian/DIY art scene of Newtown, Sydney. His music collides Mediterranean 70s/80s folk pop (Lucio Battisti, Nada Malanima, Aviv Geffen), the Middle Eastern/Arabic music of his childhood (Marcel Khalife, Oum Khaltoum) & from the West: early Joan Baez & elements of free jazz. His voice is a glorious, effortful glissading din with stuttering vibrato. Lyrically you’ll find an oddly surreal, socialist-utopian world with strands of Emile Zola, A. B. Yehoshua, Yaakov Shavtai, Andre Breton, Noam Chomsky, Howard Zinn & Stephen J. Gould. The making of Fabric Cordial was a two year adventure. Written in small German towns, cities of The Levant & the inner west of Sydney. It sees Bud Petal create an idiosyncratic world of sounds & stories. Folk songs dressed in screeching sax, free-form guitars, makeshift choirs, droning e-bows & Bud’s mesmerising voice.

The Topography of Ascending Frameworks marks the final instalment of the Constructions Trilogy; a longform conceptual recording project that explored a large scale idea-based framework to guide improvised composition. The trilogy began in 2011 with The Geography of Collapsing Structures, a study of deconstructive forces as applied to composition. In 2012, Cycle~ 440 recorded The Cartography of Shifting Planes, an exploration of the musical potential of the line and of constant variation through minimal gestures. Finally, 2015's The Topography of Ascending Frameworks explores the power of growth, utilising musical structures characterised by excessive development & departure. The Topography of Ascending Frameworks boasts a strikingly scientific title, but it is by no means a cold or clinical listen. It ticks forward with quiet, sanguine momentum, bubbles under its still surface, surges with warped strands of noise pitted against contemplative piano chords & seethes with ominous drones & unsettling oscillations. Every moment exudes a unique blend of granular detail & zoomed-out expansiveness. - Lyndon Blue

A Hiss of Light is the first recording made by sound artists Alanas Gurinas and Sholto Dobie. Both artists work with acoustic sound sculptures and self-made instruments made with everyday materials. In the case of Gurinas, vibrating and taught paper objects emit pulsing sine tones, organic chirps and shimmering noise that drift like weather fronts whilst in Dobie’s work, air is the main material, compressed and channeled through a set of valves, tubes and timers, into pipes of various origins. In these pieces, assembled and recorded in Dobie’s studio in Vilnius, Lithuania their sonic world's combine, and fold into an embrace with each other. Forming invisible landscapes and channels, in which the listener, with an ear to the ground, moves through.

A beautiful edition of only 150 glass mastered CDs in a clear poly sleeve with hand stamped cover and a 22 page full color booklet featuring photos, drawings, and text by Laura Steenberge, with additional text by Michael Winter, Rebecca Lane, and Catherine Lamb. "In medieval chant, music seems to have come from elsewhere. It is the angels that are singing, they said, like gourds hung up for purple martins. By the time notation started coming around, hundreds of chants were already hundreds of years old. New chants followed in their footsteps, trying to seem unwritten. In some monasteries, the monks sang for six hours a day. Through the daily toil of reenacting eternity, subtler shapes become audible. Sometimes the angels show up when the consonants are taken away, or some other change is made that renders the language unintelligible. Swedenborg said there are some angels who speak with U and O and other angels that speak with E and I, but that in the center, inmost heaven, language is made of patterns of numbers. The labor required to hear the angels is mundane and physical. Singing for hours a day sounds idyllic but also laborious. Singing for so long in such reverberant spaces, I wonder about the complexity of harmonics, combination tones or whatever other sonic artifacts that the monastic singers gained sensitivity to. In this collection there is a piece for one performer, a piece for two performers, a piece for three performers, and a piece for four performers. But even in the solo it is about relationships, as the two parts are created with the same breath. The demonic energy is in between things, the sounds cast shadows upon each other." - Laura Steenberge all music by Laura Steenberge Performers: Rebecca Lane - bass flute, voice Catherine Lamb - voice Julia Holter - voice Yannick Goudon - voice Evelyn Saylor - voice

Limited edition of 300 glass mastered CDs in gatefold card with arwork by Gwendolyn Lovequist  "Recorded in one sitting in 2016, the four pieces of Natural Realms present a rather crude, yet elegantly networked system of musical logic combining natural harmonics, rhythm, and feedback. Ringing in increased zones with the shimmer and tempo of audible processes, Lopez and Eubanks assemble visions of a music both old and novel. Foreshadowing the sonic edifice of their 2019 collaboration Wave Forming with Catherine Lamb, this is truly a music at play with the proliferation of ellipses, bifurcations, and doublings and in the sabotage of time and number." - Jenny Haniver Between 2014 and 2018 Bryan Eubanks and Xavier Lopez developed an analog networked duo music based on the harmonics of random feedback, using this information to shape generative rhythms and other juxtapositions in real time. Adding soprano saxophone and percussion to the mix made what could be a stable machine system human again – a machine is not a thought - flaws and fluctuation giving life to momentary crystal time forms. The music in this debut recording captures this idiosyncratic work at it’s height, recorded on an August afternoon in the front room of Studio 8, a bar in Berlin-Wedding which regularly hosted concerts from 2013 – 2018. The recordings are raw, unprocessed improvisations, capturing a decisive music at work.

An extremely limited numbered and stamped edition of 50 glass-mastered CDs with individual covers painted by artist and philosopher Tim Bradley. Packaged in a beautiful painting on paper and polyvinyl sleeve. Three live recordings of an electro-acoustic work developed and performed in 2013. A mesmerizing fusion of sine tones, open-circuit electronics/feedback, samples, and tuned noise, these structuralist compositions navigate the intersection of compositional rigor and the spontaneous energy of live performance. Captured during a double solo tour across the Northeastern USA alongside Hong Chulki in February 2013. Series (E/A) [2013[ sine tones, noise, samples, open-circuit electronics Bryan Eubanks

Magazine is a new work for solo cowbell by Sean Meehan. It began with the serendipitous purchase of a small cowbell from the bric-a-brac section of a charity shop, and was composed initially on walks in the city and country, as the bell was an easy companion. As the piece was beginning to take form Meehan was visiting Governors Island, off of the southern tip of Manhattan. There he happened upon the powder magazine of Fort Jay and began finishing the piece over returned visits. The powder magazine is an underground vault and therefore very quiet (rare in New York City). It is also entirely made of stone, has an arched ceiling and no parallel surfaces, so it is live and responsive but with a quick decay. Ideal conditions for recording an entirely staccato work. Just as the acoustics of the space began to inform the piece, so did thoughts of the room's history and purpose, its modern day equivalents, and their mutual futility. Though not originally intended (or desired), these ideas became inseparable from the work for Meehan