Tomeka Reid - celloJason Roebke - bass, cassetteMary Halvorson - guitarTomas Fujiwara - drums

From the 1950s, Masaaki Takano (1927-2007) worked as a freelance "sound planner," mainly creating sound effects for stage productions. In the mid-1980s he began performances called "Sound Play" where he would perform on his own self-created sound instruments and his collection of ethnic instruments. Growing out of his work with sound effects, he became obsessed with the recording of natural sounds from the 1970s onwards, and this album "Shizukutachi" is a record of a high-quality recording of water droplets that he created in the studio using his own self-created suikinchiku system. This reissue recreates the original LP, using special paper to create beautiful packaging and duplicating the original, ultra-transparent vinyl. The reissue includes newly penned, detailed liner notes by Tomotaro Kaneko (owner of the Japanese Art Sound Archive).

Recorded live at Cafe OTO by Billy Steiger on Saturday 18th November, 2023. Mixed by James Dunn. Mastered by Giuseppe Ielesi. Artwork by Norman Wilcox-Geissen. Layout by Maja Larrson.First meeting of two incredible talents - Tyshawn Sorey on drums and Pat Thomas on piano. Recorded live back in 2023, we’ve sat on this for an inexcusably long time, and yet the music is as just fresh and explosive as we remember it in the room. Just a few hours prior to the duo, Tyshawn Sorey had given a deeply meditative solo piano performance in total darkness, windows boarded up and the piano in the centre of the room, Sorey directly facing the audience as he played for almost two hours. A reflective mood set into the room, and the prospect of him being replaced on the keyboard felt a bit off. “When I’d heard he was doing a solo piano set first I thought, well, that’s it,” laughs Pat Thomas. “I’m really going to have to play”. It doesn’t take long for the intensity to rise. A run of the right hand on the keys gives a warning, like the first few drops of rain before a thunderstorm. As Thomas’ left hand joins to plumb the bass notes, Sorey calls his metallics into play, whipping up the air around them before the humidity in the room breaks and the duo drop into momentary silence. Thomas reaches into the body of the piano - sounding some of the familiar language of Elephant Clock of Al Jazari before dropping some of those immense key clusters we’ve grown to know so well through his work in [Ahmed] and stacking them up into dense, rotating rhythms. Sorey mixes light brush work with aeolian tones, at some points striking just the air to meet Thomas’ palm muted rhythms. Midway through the set the two players are joined in percussive pursuits, Thomas’ string slides totally enmeshed with Sorey’s clinical snare work. When Thomas lifts off into more celestial territory as the set builds, Sorey marshals his shuddering field drum towards one extraordinarily clean clasp of the hi-hat - a sort of musical gasp which the crowd can’t help responding to. The pair are wildly dynamic, beautifully precise and in possession of innumerable talents. As Sorey’s mallet rush crescendos and fades, Thomas adds two single bass notes, as if to wryly say, ‘Ta-da!” You have to laugh - it’s ridiculously good stuff from two of the best at the peak of their powers.

limited edition *500 copies in black vinyl copies, inside a revers-board printed sleeve with black inner-sleeve with postcard insert.with new liner notes by LaMont Hamilton To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith.This album is like no other I know, a new world, finding a perfect balance between multiple genres.Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976.Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.

MICHAEL GREGORY JACKSON‘FREQUENCY EQUILIBRIUM KOAN’ EXPANDED!DOUBLE VINYL LP & CD + 2 UNRELEASED TRACKS FROM NEW SUPERIOR SOURCE Michael Gregory Jackson released "FREQUENCY EQUILIBRIUM KOAN" as a 4 track digital release in 2021. We got in contact with him to make an LP copy, as historic loft jazz recordings like this don't crop up every day, and this recording with Julius Hemphill, Abdul Wadud and Pheeroan aKLaff deserves physical form.To make it even more irresistable a project, Michael said he had 2 more tracks from the same session that we could add to the collection, making this our first Moved-by-Sound double vinyl release, and our first record that's not a reissue. The LP is limited to just 500 copies. Michael has signed the photo print insert of the first 100 orders. "These guys are all heroes of mine. I’ve learned so much (still learning) from all of them. To hear them all together like this is a real gift. What a combo! I can’t believe this happened more than 40 years ago. It sounds like the future. I’m so thankful the tape was running to document this extraordinary moment.” - Bill Frisell "FREQUENCY EQUILIBRIUM KOAN"Frequency • the rate at which a vibration occurs that constitutes a wave, either in a material (as in sound waves), or in an electromagnetic field (as in radio waves and light).Equilibrium • a state in which opposing forces or influences are balanced: a calm state of mind.Koan • a paradoxical anecdote or riddle, used in Zen Buddhism to demonstrate the inadequacy of logical reasoning and to provoke enlightenment.Many, many, years ago in a once enchanted place they called The Big Apple, New York City, on the Lower East Side, a scene congealed, a significant cultural revolution/renaissance was happening…it was later to be labeled “The Loft Jazz Scene”.This period was a magical time in my young impressionable life, I was 23 years old, I dove straight into the deepness. This scene was vibrant, encompassing, ebullient, original and incendiary. We all did our own thing, separately and together, contained and motivated, fully immersed in the richly encompassing comfort of our ancestral connections.Musicians, artists, poets, playwrights, actors, investors, galleries, clubs, museums and institutions of higher learning were mostly in cooperation…to showcase and revel at the torrents of music created and played on the Lower East Side, and beyond…reaching out to impact a vast world, to appreciative audiences of adventurous listeners.I was playing and collaborating with musicians that could only be described as autonomous islands of individuality, with whom l connected on potent, spiritual frequencies, and deep aura communing. We shared our ideas, experimentations, and voyages in the most personal of ways.I don’t recall the exact moment that I met Julius, but I do remember being immediately struck by his keenly intelligent, deliberate manner, by the low warm leisurely cadence of his voice, and by his wide, knowing, infectious and mischievous smile. Julius was one my favorite people, a master musician, a pioneer of sound, an innovator and magisterial composer. I was honored to have him play my music…to share ethereal air with him. His contributions were always blazing, heartfelt and breath taking. Rest In Peace Sir Julius.I met Cellist Abdul Wadud around the same period, I didn’t get to know him very well personally, but our connection in the music was strong. Simply put, Abdul is a genius, a man and musician of deep intensity, integrity, fire, knowledge, experience and wisdom. His incredible playing knocked me out, it brought me great joy every time we played together.I met drummer Pheeroan aKLaff at the La Mama Theatre in Alphabet City, not sure what year. Pheeroan was always there, a constant presence at our shows. I was playing a lot with the great master, saxophonist and composer Oliver Lake. Once we heard Pheeroan play it was clear, we knew, aKLaff would be the perfect drummer for our music.“Frequency Equilibrium Koan” is one of my personal documentations of that scene. These pieces were some of the many long form compositions that I was writing and performing at that time. F.E.K. was recorded live at the late great singer Joe Lee Wilson’s venue The Ladies Fort in 1977 on my trusty Sony field recording cassette machine. a stamp of time passed, in music that is wholly present.- Michael Gregory Jackson (2021 ) Michael Gregory Jackson- Electric guitar, acoustic guitar body percussion, chimes, bamboo flutes, recording, post production, digital editing & compostion.Julius Hemphill - Alto SaxophoneAbdul Wadud - Cello Pheeroan aKLaff - Drums

First ever reissue of OFAMFA by CHILDREN OF THE SUN, a legendary and virtually unobtainable artifact of St. Louis' Black Artist Group from 1971 Original released in 1971 by the BAG groups own label “Universal Justice Records” this album has for years been an impossible to find/listen to album, and this is its first reissue ever .. Ofamfa by The Children Of The Sun, a band lead by poet/musicien Ajule/aka Bruce Rutlin Is a heady mix of poetry/jazz/political songs/ and a document of a comunity avent. The BAG group being about all the arts theater and dance. The original liner notes by Ajule are great Insight in to the creative/vibrant politically aware jazz scene of St Louise in the late 60s early 70s. This album is an important piece of black American history, and even as a visual artifact it is the thing! “All of the brothers playing and writing on this record are members of the Black Artist Group (BAG) which is based in St. Louis, "Misery." The Black Artist Group, a loose association of young Black men & women, is a potent/fertile creative force; a group which has contributed strong/fresh/inspirational creativity in the fields of Music/Writing/Dance/Drama. The Children of the Sun is one of the units operating under the BAG umbrella; others are or have been, The Oliver Lake/BAG, The 'BAG' Ensemble (Big Band), Red Black & Green Solidarity Unit, Onawali Dancers, Malinque Rhythm Tribe, BAG Drama Dept., Great Black Music Orchestra of St. Louis, Fire-Earth-Air-Water, Me We & Them, Julius Hemphill Quartet and some others.......all different creative approaches and reflecting a sum of influences and wisdoms which ranges across 500 years from here to Africa.......During their brief creative association the COS etched themselves into many hearts and minds. The group was together for little more than a year. Playing college concerts (when $ lucky), playing benefits for all kinds of groups of Black people and progressive whites. "A spiritual oasis in the baren desert of Amerika..." They would say, sometimes...... The conceptions reflect experiments which sought to establish a balance/harmony between the mediums of muse/ic and the spoken/sung word, (often the motions of dancers added still another depth) a balance which would catch the pulse and flame of the will of our people even tho they and we had already condemned the english language as the criminal insignia of the privileged class/es. (...Still, english wuz the only language we had in common so it was a dilema of how to reinspire the language). But because the members had to spend a majority of their time food getting their experiments and investigations were abandoned short of their goal which was/is to find a way to restablish the natural harmony of the Spiritual World; which has been upset and polluted to the same extent as our physical world: SPIRITUAL ECOLOGY?? Unfortunately, as it was, the experiments had to be cut short just as the techniques of communication were being perfected. Cut short by a manifestation of whut George Jackson called "over oppression." These young Black men look, walk, talk, eat, love, trip like us all but (unlike most) life is incalcuably more important to them than property values, hot dogs, cadillacs, or even "civilization;" if u can dig where i'm comin from! Their compassion for the Black, the poor, and the disadvantaged in general is reflected by the staggering numbers of free concerts they give/have given or the free classes they offer at BAG in the 4 major disciplines. And by the fact that they seek to maintain their comittment to life and creativity even as they exist at or near the starvation level. So these young Black men are emissaries of the Spiritual Universe....... the lost/abandoned universe they seek to describe in their creativity. "The main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe."* All these things are being said ...... u see ...... in an attempt to distinguish them favorably from their contemporaries in the Kapitalist "superstars"/entertainers/puppets who frolic like gelded puppies across the stages/footlights of the nation; at the end of the silver gaudy chains held by the bloody hands of the richest pale faces and their legions of sattelites and lackeys; who do come in all colors and races. This expression was recorded (by BAG) at various concerts and all of it was recorded "live"/accomplished in one taping. Other than regular microphones no electronic devices shaped this creativity (BLACK). we are new yes we are old before and after the mighty winds of change and revolution The "Black Artist Group" wuz there yes we are the shambles, ruined tones of ancient memories and the sound of running waters, singing leaves flirting the silly air and yes sunlight splashed against dark wrinkled faces sighed winds driving the seasons the gifted moans of cherished lovers yes yes yes serene faces of beautiful children Ours..........” *John Coltrane - Ajulé  credits released June 3, 2024 The Muse/icians on the album are…. Rashu Aten / conga, small instruments Oliver Lake / soprano &Alto; sax, flute, poems, small instruments Floyd LeFlore/ trumpet, small instruments Ishac Rajab/ Trumpet Arzinia Richardson/ bass, small instruments Vincent Terrell / cello Charles “bobo” Shaw / drums, small instruments Ajule / poetry, arrangements, small instruments, drums

Stephen McCraven's WOOLEY THE NEWT was his first album under his own name, released on Marion Browns own Sweet Earth record label in 1979 (orignal copies are rare and go for $500). Working with Stephen and the carvery we have remastering the audio and restored the original artwork.Stephen is a master drumer and composer and has worked with archie Shepp for many years,he has also played & recorded with many; Marion Brown, Mal Waldron, Reggie Wokman and Stanley Cowell to mention just a few. Stephens son is the talented drumer and composer Makaya McCraven,, & Wooley the Newt was sampled in his album; Gil Scott-Heron, Makaya McCraven – We're New Again (A Reimagining By Makaya McCraven) Alto Saxophone, Soprano Saxophone, Percussion – Sulaiman HakimBass – Jack GreggDrums, Percussion – Stephen McCravenEngineer – Jean-Louis RizetEngineer [Assistant] – Laurent Peyrom*Engineer [Mastering] – Dave Crawford (2)Piano, Percussion – Michel GraillierTenor Saxophone, Soprano Saxophone, Percussion – Richard Raux

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello , flute and percussion and delivers aplenty. Listen and you will know. Sirone ( Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock,Marion Brown ... and the list goes on.

Adam Bohman / amplified objects and stringsSue Lynch / tenor sax, clarinet, fluteCrystabel Efemena Riley / drums, metallics --- Recorded and mixed by Billy Steiger on 31st January, 2025. Mastered by Taku Unami. Artwork by Adam Bohman. Liner notes by Seymour Wright. Photographs by Crystabel Efemena Riley. Layout by Jeroen Wille.  ‘Me, you and Sue’ - the triangulation of improvisers Adam Bohman, Sue Lynch and Crystabel Riley, and the original name for the hand-picked three way of drums, wind and amplified objects responsible for Lynboril Lisinopril. The informality of their original name belies the groups origins - three players naturally drawn to each other via London’s longstanding Horse Improvised Music Club, each of them more concerned with the action of playing than the naming of their sounds.  However, the occasion of their first trio release forced a title, and Lynboril Lisinopril works perfectly - a play on the words Lyn(ch), Bo(hman) and Ril(ey), searched for and spat back at you. “The second word is what you get if you Google the made-up first word” remarks Seymour Wright in the liner notes - the second word being the name of a drug taken for lowering your blood pressure. And although probably not prescribable for hypertension, the music on Lynboril is approached with such a generosity and tenderness that it feels properly airy and light; as equally positive and playful as it is eccentric and uninhibited. Riley’s bouncy drums keep the trio in a state of permanent uplift, as if being buffeted along by a pleasant tailwind, each player perfectly unhurried in their turning over of a new sound. Alternating between tenor saxophone and clarinet, Sue Lynch is crystalline calm, blowing beautiful lines across the metallics of Riley and Bohman. When the trio dials up for their second half, the intensity lifts but the clarity remains - swirling skin patterns subverted with precision by each scratch and scrawl of the table and the punctuation of the saxophone. Grounding tonic from some of the best free musicians we know.

CD 1, Unitarian Chapel, Warwick, 1994 and 2023:“Andy Isham organised a concert in the Unitarian Chapel, Warwick on 29 June 1994. As part of a longer concert I played a solo piece on soprano which is the first track on CD 1.  It was not long enough to issue on its own and things moved on. Since then I have kept coming back to it because I think it is some of the best solo playing I have ever done. The idea came to me that I should go back to the chapel and see what it was about the space which drew that playing out. As the idea took shape, the saying of Heraclitus about not being able to step in the same river twice started swirling around too. And there it was – I had the title. The “concept”, even – or at least, the conceit … ”CDs 2-4, a sequence of solo recordings made at Arco Barco, Ramsgate, 2018-24:“I was introduced by Matt Wright, the other half of Trance Map, to Filipe Gomes and his Arco Barco studio in Ramsgate on the Kent coast. The studio is located in the upper floors of one of the former chandlers’ work spaces overlooking the harbour. A loft space with control room, a live main room and a smaller, less reverberant room. The acoustic response of the live room and Fil’s passion for sound recording has made Arco Barco my favourite studio and I have recorded there as often as possible.
 Over the many visits Fil has tested various microphones and their positioning. The variation means that some recordings are noticeably “dryer” and/or “closer” than others. Much of the thinking was inspired by the work of the late Michael Gerzon and his pioneering ambisonics. What I brought to the occasions was variability in reed behaviour and embouchure and perhaps most importantly my state of mind.”
THE HERACLITEAN TWO-STEP, etc.
BOOK CONTENTS:-- Writing by John Corbett (writer, curator, producer; Corbett vs Dempsey Gallery, Chicago), Filipe Gomes (Arco Barco, Ramsgate), Richard Leigh (writer), Stephen C. Middleton (writer/poet) and Robert Stillman (musician).-- An extended interview with Evan Parker by Martin Davidson (Emanem label).-- An email exchange between Evan Parker and Hans Falb (Konfrontationen Festival, Nickelsdorf).-- Writing and visual artwork by Evan Parker. 

Helping to mark Evan Parker’s 80th birthday in 2024, the book compiles both historical and contemporary perspectives on Evan’s work, by a range of contributors as well as Evan himself. The book also includes a selection of Evan’s visual collages, which are shared publicly for the first time.

‘May Spring Last a Lifetime’ is the first duo release from improvising tenor saxophonists Tom Challenger and Evan Parker. The album emerged after years of informal practice sessions; then, following two live performances, the duo recorded this session at Arco Barco in Ramsgate. The album is Evan Parker’s fifth appearance on the False Walls label.Extracts from the CD booklet conversation between Tom and Evan:Evan: “Duo is the simplest form of group playing. And so it’s the simplest, the purest in a certain sense, and the most challenging. There’s nowhere to hide, really. It’s about the exchange. With two tenor saxophones, they have a shared language as instruments and I think we both have a relationship with the saxophone which is about: what does this thing do, what can it do? And then I’ve learned things from Tom that he has discovered: you can do this and can I approximate that? Can I incorporate that into my language or my relationship with the output of the instrument?”Tom: “I mean, as much as there is just two of us and you can tell there’s two of us, there are moments where there’s no one [laughs], and then there’s moments where there are four or five. This duo has challenged the way that I listen, or the way I don’t listen sometimes. But there are these weird moments where there might be three perceivable, four perceivable things going on, you know, in terms of what you might call a voice.”

"A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann."

‘Essential Tremors’ is the debut solo showcase of Cathal Roche, an improvising saxophonist based in Co. Sligo, in the Atlantic north west of Ireland. The extended performance for baritone, alto, and soprano saxophones was recorded at St George’s Church and Heritage Centre, Carrick on Shannon, 2021, in the Nyahh label’s native Co. Leitrim, by Willie Stewart.Here, left to his own devices, Roche colours the air with a seductive display of versatility and virtuosity; initially hovering around liminal levels of extended instrumentals, and stealthily growing to a more full-bodied silhouette, and around the 1o minute mark commanding swarming dynamics comparable to Alex Zhang Hungtai. Cathal’s disciplined control of volume and tone is key to its grip, as he proceeds, pregnant with noirish dread, to blow ribbons of anguished blues - sax keys audible in the space - that hits all the right notes for lovers of late night musical introspection.Comes in lovely gatefold card with art by Alan Doyle

“If stained glass windows could sing they would sound like Josephine Foster, and her interpretations of the songs of Víctor Herrero are as artful and finely detailed as motes of dust falling through shafts of light in the libraries of your childhood, engrossing in their restraint. Josephine's naked voice an echoing truth in repose against the existential question mark of Víctor’s guitar. In a world that can feel bewildering and relentless, this music is shelter. Adormidera is the sound of a hypnotised mind; the shadow-dance of old souls.”~ Alex NeilsonJosephine Foster is a Colorado-born singer, composer, and lyric poet. A former opera student turned visionary folk experimentalist, she breathes new life into archaic forms. Her music channels the spectral glow of the cultural archaeology of Harry Smith's old weird America while simultaneously conjuring a scrambled past that exists only in her vision. Across 25 years of singular work, Foster plays at the boundaries of psych-folk hymnody, country blues, lieder and avant-song, lending her characteristic mezzo-soprano and interpretive wit to collaborations with fellow underground musicians around the globe.As homage to her longtime collaborator, Josephine invited Spanish composer Víctor Herrero to curate a selection of his own songs for her voice. Herrero's classical guitar accompanies Josephine's gossamer singing, in compositions that reanimate the lineage of Amancio Prada and Victor Jara.

“artful and disorienting” — Mojo “abstract, unpredictable and weirdly beautiful” — The Quietus. “moving and meditative… plays around with notions of nostalgia, hauntology, the strangeness of place” — Klof Magazine "While playing Midsummer, London, even the longest of days seems too short." A Closer Listen "...there’s a musicality in the shape of a whole ambient suite here sat underneath the clanking of buses, the emptying of bins, the distant chatter of human voices and the occasional playing of station pianos. It’s a wonderful listen, especially with headphones on." -- Moonbuilding "In Midsummer, London everything is real and at the same time nothing is." The New Noise (translated from Italian) "As much about the journey as the destination, Midsummer, London is quite a ride" Electronic Sound "her way of working with recordings and sounds, has something alchemical and transfiguring" Blow Up (translated from Italian) "In the canon of contemporary sound art, "Midsummer, London" is an atmospheric achievement, an artificial facsimile that captures the essence of a city in all its chaotic, beautiful, and ever-changing glory." --Psychonautelite "holds among her evocative best, subtly conveying the city’s unique sort of humidity and barometric pressure with a layered, soupy, miasmic frisson of tones..." Boomkat "it is one wonderful journey through London in all its facets.." Radiohörer (translated from German) "torrential, discreet, spontaneous and equal to a story without words!" Against the silence (translated from Greek) -------- “Midsummer, London was composed with recordings taken on the Summer Solstice June 21, 2023, as I attempted to journey from one side of the city to the other along the Thames on this longest of days. The journey began in Loughborough Junction with stops at Clapham Junction, Staines, Shepperton, Hampton, Twickenham, Ravenscourt Park, Blackfriars, Deptford, Woolwich Dockyard and Slade Green.” Kate Carr, 2024

Reconfiguring the Landscape was an artistic research project investigating how 3-D electroacoustic composition and sound-art can evoke and provoke a new awareness of our outdoor sound environment. The integration of art and technology was central to the investigation that focused on sound, space, time and the utility of outdoor areas. The ideas were tested in artistic creations, and during a three-year period Natasha Barrett created a series of site-specific, outdoor sound installations. These works were installed in public spaces for durations ranging from a few days to a few months. The tracks on this CD are remixes of three installations and one two-part work that hovers in between installation and concert format. They are composed from the installation materials and unmodified site-specific recordings, and intend to capture the immersive personal listening experience of ‘being there’.

This collection of pieces originates from environmental sounds recorded using 3D ambisonic microphones. The recordings have been deconstructed, processed, and composed into abstract musical journeys that no longer transport the listener to the original recording locations. Instead, they tell stories— partly of human-made dystopias and partly in search of a melancholic beauty in what the future may hold.

Persistence of Sound celebrates the composer Richard Orton (1940–2013) with a selection of electroacoustic and computer music from across his career. Orton is known for developing early electronic music in the UK, establishing the country’s first university-based electronic music studio, writing seminal texts on tape composition, then overseeing the transition from analogue tape to computer-aided composition. In 1986 Orton introduced the UK’s first Music Technology course, and authored music software as co-founder of the influential Composers Desktop Project (CDP). As a composer, Orton’s music often ranged beyond electroacoustic music – the focus of this album. He was a founding member of Gentle Fire – the electronic music ensemble including Hugh Davies and Graham Hearn – and of the Monteverdi Choir. The earliest piece here is Kiss from 1968, using open reel tape machines and contact microphones, often pulling the recordings through the tape heads manually at varying speeds. The most recent work on this album is its near title track, Three Monoliths: No.1 The Hemlock Stone, from 2004. This is the only piece on this collection to use tools developed by the CDP – a composers’ collective responsible for generating a vast collection of non-real time signal processing software.