ll人 = Daichi Yoshikawa + Paul Abbott + Seymour Wright lll人 came from London in 2012, and played there, and internationally: Berlin, Bratislava, Budapest, Dala Floda, Glasgow, Hong Kong, Ljublana, Paris, and Tokyo. With lll人 the tools are familiar, the listening is not. VICTOR is a 2-CD for lll人's friend Victor Schonfield (1940-2022). released March 7, 2024 CD1 = yE Recorded (after a John Tilbury solo) at Cafe OTO by Shaun Crook on August 31, 2016. Mixed by John Chantler CD2 = Ah Recorded (before a KK Null solo) at Cafe OTO by Shaun Crook on December 8, 2016. Mixed by Paul Abbott

Two new solo works by Kieran Daly and Luciano Maggiore ‘Complex envelope functions from nonlinear I/O and feature extraction etc’ and ‘Automatic Love’, sharing one disc. The first instance of these two presenting work in company; they play well together, forming a cohesive ‘split’ disc from beginning to end. Composed in 2023, both pieces deal with electronic and acoustic recorded sound, whilst presenting the distinctive, recognisable and acute styles of both artists. The music is available in digital and physical formats, with mastering by Taku Unami.

Joe McPhee and Ingebrigt Haker Flaten at the Sugar Maple/Okka Fest on Saturday, June 6th, 2015. Joe McPhee - tenor and soprano saxophone. Ingebrigt Haker Flaten - double bass. Recorded live by Dave Zuchowski. Mastered by Martin Siewert in July/August 2016.

Switchback - Plywie Kacza 201 Paradiso Infernal - Live 2022 Schlippenbach / Johansson - The Fox Let's Go 2017 Full Blast - Moods 2007 Uruk - Live 2019 Last Dream Of The Morning - Shaken Light 2021 Snekkestad / Guy / Fernandez - Ripples 2018 The End - Translated Slaughter 2019 Schnee - No Time 2018 Jim O'Rourke - Live 2010 InAWhirl - Nido IV 2021 Joelle Leandre - Live 2013 Also - Twelve 2021 Amado / Corsano - Seeking 2019 Caspar Brötzmann Bass Totem - When Black Days Never End Part 1 2021 Bruch - Sugary 2017 Vandermark / Kurzmann / Kern - Swan Song 2021 The Thing - Live 2017 Part 4 They Shall Not Pass  /  No Pasaran!Live on planet earth - in the spirit of freedom, peace and solidarityAs we saw the horrible events going on in the Ukraine, we wanted to do something as a label as well beside donating on a personal level. many (trost related) artists answered right away and were enthusiastic to participate. the material-collecting and mastering took some time, but sadly it is still an issue and no-one knows how long this despicable war will last. the title of the compilation is "No Pasaran" (they shall not pass) translated into Ukrainian. it was a shout in the 30s to defend democracy in spain, to fight against the fascists.big thanks to all artists, bookers, venues and helpers involved.the great work of Martin Siewert and Lasse Marhaug was happening in support of this project, longtime cd pressing company Gusstaff Records made a special price and the austrian SKE fonds gave financial support.all proceeds of this compilation are donated to an artist-run Ukrainian aid organisation helping victims of the war, recommended by Ken Vandermark

Long known as Cecil Taylor's most reliable and loyal colleague, alto saxophonist Jimmy Lyons has a select discography as a leader, and among its best entries is Push Pull, originally issued by Hat Hut as a massive 3-LP set. Recorded during a single marathon performance at the Collective for Living Cinema in New York in 1978, Push Pull features five extended pieces, all by Lyons, with his working quintet that included his wife Karen Borca on bassoon, Hayes Burnett on bass, Munner Bernard Fennell on cello, and Roger Blank on drums. Jolting, quicksilver free jazz with terse themes and brilliant interplay, the music is quintessential Lyons – searching, pliant, and sincere. Remastered from the original tapes, this first reissue of Push Pull compiles the original tracks – two of which were split to accommodate the 20-minute limit of LP – into their original full length, fitting the whole program onto two CDs, lovingly repackaged featuring the original Klaus Baumgärtner cover. 1. Mary Mary (32:50) 2. After You Left A (15:55) 3. After You Left B (6:55) 4. Tortuga (17:40) 5. Push Pull (14:30) 6. Breakout (21:30) Jimmy Lyons, alto saxophone Karen Borca, bassoon Hayes Burnett, bass Munner Bernard Fennell, cello Roger Blank, drums Compositions by Jimmy Lyons. Recorded by Karen Borca, May 6, 1978 at the Collective for Living Cinema, New York.

Joe McPhee’s response to the challenge of making a new CD of solo music during COVID was to go at it head on, to address the present in its starkest aspects, to reach for comfort in the music of great composers, and to speak directly to the virus in no uncertain terms.  The result is unlike any other of McPhee’s many records, a variety show of improvisations, favorite compositions, field recording, multi-tracking, incantation and recitation.  After searching for the right studio-like setting with an ideal sound, but hampered by the restrictions of quarantine, he abandoned such hope and dug out a clothes closet in his Poughkeepsie house, where he could approach the task with an unconventional intimacy.  In the dead of night, McPhee played luscious versions of compositions by Carla Bley and Charles Mingus, extrapolating on their melodies, even singing a Joni Mitchell lyric to Mingus’s “Goodbye Porkpie Hat.”  Elsewhere he plays harrowing tenor saxophone improvisations, a plaintive tone entering his melancholic melodic sensibility.  On the title track, McPhee layers a dozen aching blues lines atop a field recording of the namesake highway, and in another piece he discovers an entire drum choir in the noise of dripping water on a tin plate in his sink, something he dedicates to Ruth Bader Ginzburg, whose death was announced moments before he noticed the environmental sound.  On one of several very short, intense tracks, McPhee literally attempts to reverse the virus by intoning a spell-like chant: “Out, damned bug/Out, damned bug!”  The package includes extensive track-by-track liner notes and a poem by McPhee, with artwork and design by Christopher Wool. A Reflection On Ida Lupino [06:28] A Self Portrait in Three Colors [13:14] Route 84 Quarantine Blues [06:53] Cuernavaca ’79 [02:23] Goodbye Porky Pig Hat [06:59] Be Gone Damn Bug [01:24] Forget Paris [01:25] Do You Still Love Me? [01:22] Improvision For The End Of COVID [01:01] Im-Pro-Vi-Sation [3:01] Tzedek, Tzedek (For RBG) [05:49] Joe McPhee, saxophone Cover design and artwork by Christopher Wool. CD design by David Khan-Giordano. Produced by John Corbett and Christopher Wool.   CvsDCD081

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood’s Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin, with new liner notes by Michael Klausman.

A fantastic new release by Rory Salter aka Malvern Brume on Index Clean The two main ideas behind the music are to make use of domestic and work situations. Most of it was recorded in a new flat I moved into last year. The place had a really interesting acoustic and after so many years of making music in whatever flat I was living in I wanted to do something where you could really hear the place it was recorded/the surrounding area. So a lot of the recordings are done in different locations in the flat, and often re-played back into the flat and recorded using different speakers and microphones. A lot of material was recorded whilst performing usual domestic activities and would spend quite a lot of time running between rooms doing other tasks at the same time as recording. The name of the 'On the Floor, by the Door' track is because that's where I recorded a fair bit of it, by the front door. It's in a similar way that I used and included my job in the pieces. I work as a sound technician at a university in the day and as a sound engineer in the evenings a couple times a week. I've been thinking (and talking a lot of shit) about work and art making recently and I’m really into stuff where the persons found some way to include their day job in their art in a way that sort of re-purposes the skills, materials, time etc of work. So anyway I did a lot of this, really thinking about skills I've picked up and making the effort to borrow some really otherwise unattainable equipment. I thought a lot about space and acoustic-ness during the process so a lot of it again is about me wanting sound to exist within a space; reamping sounds into spaces, or recording synthesised sounds through different speakers positioned in ways to filter and alter the sound. A lot of these practices are things I've developed and talked about a lot at work. Friends also feature quite a bit in relatively candid ways and crop up in recordings here and there. I guess there's a desire to get to a point of a 'life' music, where it feels a bit everyday and blurs the line a bit, that's when things are most interesting to me.- Rory Salter

A tremendous collection of recordings from famed Fluxus poet and artist Jackson Mac Low (1922-2004).  Originally published on New Wilderness Audiographics as a cassette in 1977, these recordings have been cleaned up and remastered by Sean McCann in 2018.  Jackson’s beautiful text formulas are supplemented by stereo multi-tracking, creating a spatial jungle of wordplay. One gem of this CD is the live foray into tape manipulation from 1966 featuring the assistance of James Tenney and Max Neuhaus. It is fabled that they took Jackson’s voice and slowed it down to a guttural thunderstorm during playback, resulting in a manic blend of words darting through a black cloud of reverberation.  Only a small amount of Jackson’s sound poetry is available, making this collection a delight to swallow and digest. Produced with Charlie Morrow, we are thrilled to re-present this history to the ears of both young and old. Edition of 250 Glass-mastered CD housed in Jewel-case 8-page insert with scores and introduction by Charlie Morrow

Danish pianist Tom Prehn was one of the first Europeans to deeply explore free music. With his quartet featuring Fritz Krogh on tenor saxophone, Poul Ehlers on bass, and Finn Slumstrup on drums, Prehn recorded Axiom in October, 1963, for Sonet, though it went unreleased until 2015 because the band felt that their music had moved beyond it already. To hear the music they were talking about, one could only turn to two privately-made reel-to-reel tapes, Centrifuga and Sohlverv, recorded in August, 1964, and January, 1965, respectively. Both sessions took place under casual circumstances at Prehn’s summer cottage outside Aarhus, but the music was dead serious – some of the most adventurous improvising yet made by a group on the continent. --- Piano: Tom PrehnBass: Poul EhlersDrums: Finn SlumstrupTenor Saxophone: Fritz KroghRemastered by Sigurd Djurhuus ---TracklistA Side A 22:28B Side B 21:49 --- Released: Corbett vs Dempsey

The original soundtrack performed by Tomeka Reid & co. for the critically-acclaimed, feature-length 2014 documentary, "Hairy Who and The Chicago Imagists," directed by Leslie Buchbinder of Pentimenti Productions. "Hairy Who and the Chicago Imagists" is a lavishly-illustrated romp through Chicago's art history, and the first film to tell the Imagists’ whole story. The narrative begins with the artists' explosion onto the scene in the 1960s, follows their precipitous fade from prominence in the 1980s and '90s, and concludes with their 21st century resurgence in popularity. Over the last 50 years, the Imagists have influenced generations of artists, including contemporary figures like Jeff Koons, Chris Ware, Kerry James Marshall, Peter Doig, and Gary Panter. The Imagists' roller-coaster ride through art history is re-created in this film with a wealth of archival footage and photographs, and over forty interviews with the Imagists themselves, critics, curators, collectors, and contemporary artists. Chicago-based cellist and composer Tomeka Reid, a mainstay on the Windy City scene and an important contemporary member of the A.A.C.M., was commissioned to create original music for the first documentary to chronicle the Imagists, Chicago’s hometown post-surrealists who exhibited together starting in the mid-1960s. Reid composed theme music for the film and made a wide range of multi-track improvisations based on moods, creating a tableau from which the film drew as it unwound the artists’ circuitous tale. For the CD, Reid returned to the studio to make new versions of some of the tracks and to transform the extant material into a fully realized suite of music. It retains a sense of light-heartedness and depth, whimsy and melancholy, adding voice and percussion to her indelible cello.

Three Things is a new full-length album of pieces conceived, performed and recorded by long-term collaborators Luciano Maggiore and Louie Rice. The pair are known for multi-pronged activities as artists and organisers which have quietly but surely informed the shape of the United Kingdom's experimental audio underground for many years. Under the guise of NOPAON, they developed a series of events and performances in which they realised scores by Alvin Lucier, Robert Bozzi, Ken Friedman, Emmet Williams, Walter Marchetti and of their own creation. These outputs, described by the duo as 'unrewarding task-based actions' or simply 'two people in a room, doing something’ have resulted in an ongoing performance practice based on prompts actions and scenarios which they continue to explore.A persistent quality in Maggiore and Rice's work is a wilful embrace of humour and the acknowledgement of their performances as a basis for absurdity. This element runs throughout Three Things, starting with Hissing for White Shoes (#6), where an otherwise unremarkable recording of a drive around London is punctuated by loud hissing whenever their vehicle passes an unwitting participant in the street, their footwear acting as a prompt for the vocal intervention. The same sense of humour looms large in Pocket Fascinator (#7) where audio derived from EMS Stockholm's Buchla synth is played back and re-recorded via mobile phone speakers in the duo's pockets as they attempt to walk in sync with its pulses. Phone Work, the first piece realised outside of the project's typical real-time approach, is a sequence of voice recordings exchanged via WhatsApp where they mimic each other's contributions until all memory of the original has been lost. The results are set to synthesiser in a nod to the duo's long-standing interests in electronic music as solo artists.Like everything Maggiore and Rice turn their hands to, the maddening audacity of Three Things is fundamentally driven by sincere observations of the historic avant-garde. At the heart of these recordings lurk conceptual strategies recalling the core methodological projects of Fluxus, classical sound poetry, field recording, electronic music, movement-based performance and contemporary composition. Their willingness to direct such methods toward nakedly silly outcomes whilst poking subtle fun at the emergent tropes of these cultures reinforces an entirely serious inquiry into the modern-day application of avant-garde technique in sound creation. When accepted in full, Three Things is a challenging, amusing assertion of genuine commitment to experimentation and aesthetic stress-testing.

Conducted by Mats Gustafsson for two 9 piece chamber ensembles, 4 soloists, tape machine, turntable Recorded at the Avant Art festival, Warsaw, Poland, 2022 Mixed by Mikael Werliin and Mats Gustafsson spring 2023 Mastered by Mikael Werliin 2023 Produced by 'In Between Norway & Poland Culture / Avant Art'', Mats Gustafsson and TROST. Original art and images for Hidros 9 Mirrors by Mathias Pöschl Graphic Score by Mats Gustafsson

Recorded by Mikael Werliin May 5th, 2022, At CODES Festival, Lublin Additional recordings by Mikael Werliin Sept 30th 2022 at Polish Radio, Warsaw Mixed by Mikael Werliin and Mats Gustafsson autumn 2022 Mastered by Mikael Werliin April 2023 Produced by 'In Between Norway & Poland Culture / Avant Art'', Mats Gustafsson and TROST. <

Ergodos is proud to announce the release of "Strange Waves", an enveloping new record from cellist Kate Ellis and composer Ed Bennett. A large-scale work in six parts, "Strange Waves" blends music for eight cellos with field recordings made on the County Down coast and on Ireland’s northernmost island, Rathlin, in the North Atlantic. The music unfolds with an extraordinary sense of inevitability: Dense constellations of rapid figures evolve into rich, swirling synth-like textures. Ravishing microtonal sonorities overlap hypnotically with the steady pulse of lapping waves. Surreal chorales are revealed slowly, deliberately – at once mysterious and reassuringly, uncommonly elegant. Kate Ellis on the evolution of the project: "This record began with an email in my inbox from Ed early in 2020 saying: 'I'm dabbling with a piece at the moment for 8 multi tracked cellos... I’m thinking quite big, and it could be record in itself with multiple movements...' Ed sent a first draft of the score in June of 2020. The music he had created was immensely beautiful and resonated strongly with the strange sense of calm and slowing of time that I was experiencing and so began the recording of ideas between lockdowns. The final recording of the piece took place between May and June of this year at home in Crumlin, Dublin." Ed Bennett on the inspiration for the work: "Growing up by the Irish sea, the sound of waves has been ever present in my life and in recent years has found its way into the music. At first, I didn’t notice this, but as I started to hear overlapping textures and loops in my work, I realised that there was something about this seemingly endless quality I was seeking." "Strange Waves" can be performed by a soloist with seven pre-recorded parts or as a live octet. On this recording all eight parts are performed with extraordinary poise and precision by Kate Ellis. This record marks a major statement from two of Ireland’s most dynamic and prolific contemporary music practitioners.

Legendary double bass player, multi-instrumentalist, composer, writer & activist William Parker is back with the music for AquaSonic waterphone quartet – a mystic instrument built by Jackson Krall. The band consists of two acclaimed visual artists, Anne Humanfeld & Jeff Schlanger, and two versatile musicians, William Parker himself & an Estonian drummer and composer, Leonid Galaganov. The music probably sounds like nothing you've heard before: tribal? contemporary? electronic? free improv? future? …? It's a one way trip. He did it again.

VHW7 stands for VELOCITY HOLOMATRIX WARP 7. This music is also featured in its totality in the virtual reality immersive digital visual-sonic experience designed by Theo Triantafyllidis & Sun Araw. VELOCITY HOLOMATRIX WARP 7 was shown at: Berliner Festspiele, Zeiss-Großplanetarium in Berlin, MIRA Festival in Barcelona, Eugenides Foundation Planetarium in Athens, and continues to travel the world.