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2LP
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VP 2773LP
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"Limited edition double LP set. For the first time together, the complete Torch Of Freedom sessions. The acclaimed follow up to the classic Pick A Dub And Flesh Of My Skin album. Original raw manmba label Jamaican mix, plus Keith's UK remix and re-sequence. Includes bonus dub crying previously only available on rare import 7" single. Features the classic 'Turn The Heater On' as cover by New Order. Extensive sleeve notes by Keith Hudson biographer Vincent Ellis."
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VP 4145LP
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2026 repress. Reggae anthology. Tracks includes: "Promise Land [Extended Mix]", "Whip Them Jah Jah", "Song My Mother Used To Sing", "Let Me Down Easy", "Created By The Father", "Rebel With A Cause [aka I'm A Rebel With A Cause]", "Words Of Wisdom", "I Am The Conqueror", "What About The Half", "No More Will I Roam", "Voice Of My Father", and "Children of Israel [Special 12" Mix]".
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LP
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VP 4218LP
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2026 repress. LP version. "During the latter half of the seventies very few came close to emulating the success of the productions of Joe Gibbs and Errol Thompson. 'The Mighty Two' took the greatest of Kingston's musical and technical innovations and transformed the cutting edge into a commercial proposition that crossed over the rest of the world. Under Heavy Manners was an essential purchase as well as a defining statement on the somber mood of the times in the year that 'Two Sevens Clash' and forty years after its original release, the raw reality of Under Heavy Manner continue to hit home."
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3LP
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VPRL 4213LP
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2026 repress. "Two Sevens Clash from Culture was the must-have reggae accessory for any self-respecting music fan back in that long hot summer of '77. Loaded up with hit anthems like 'See Them A Come', 'I Am Not Ashamed', 'Natty Dread Taking Over' and the prophetic title track. 40th Anniversary edition is 3 LPs in deluxe packaging. 'Two Sevens Clash' remains the defining album statement of the year that reggae crossed over -get ready to ride this lion to Zion!"
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LP
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VPRL 4222LP
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2026 repress; LP version. "Recorded at Randy's Studio 17 and Lee Perry's Black Ark, Max Romeo's Revelation Time is rightfully regarded as one of the cornerstones of Jamaican music. Released in JA in 1975 on Black World the album was picked by United Artist for US release and later by listed in The Rough Guide to Reggae as one of the essential reggae albums to own. Includes the classic Lee Perry production 'Three Blind Mice' and one of the all-time killer herbman anthems 'A Quarter Pound Of I'Cense'." CD includes bonus tracks, dubs and DJ cuts from I Roy and Prince Far I.
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3CD BOX
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NMN 051CD
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2026 restock; last copies, reduced price. In 2000, Henri Pousseur was asked by Philippe Samyn, a Brussels-based architect who liked to work in collaboration with other artforms, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus marking the hours between 6 a.m. and 10 p.m. Henri Poussuer imagined then a connection between Nivelles-time (a city 40 km south of Brussels, where this large project would be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last research in the office) correspond to the 24 hours of a complete terrestrial revolution. He then divided the globe into eight large north/south "slices," themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated three regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe. Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc., there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized as quasi-traditional music. This work once finished (realized in the studio of the composer's son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous Etudes paraboliques) in 16 Paysages Planetaires. The titles of the landscapes express by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" is a sort of play on something between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circumplanetary movement of the work. Michel Butor wrote the luminous prose-verse alternating poetic structure which accompanies these landscapes. His text is included in the 60-page documentation booklet, also featuring two long essays by Henri Pousseur: "Paysages Planetaires" and "Atmospheric and Cultural Sources for Each of the Landscapes." Finally, with this work, Henri Pousseur makes an homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvelous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life's multiplicity. All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer. Housed in a heavy cardboard slipcase with 3CDs and a 60-page booklet.
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2LP
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N 104LP
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On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years. None of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble. With the Songbook, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom added some haunting electronical ideas. The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. The concluding "Nordlead" turns out to be a revenant of the instrumental "N.L." from The Notwist's legendary album Shrink from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognizable in every single note of this fascinating Songbook.
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LP
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BKE 024CL-LP
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Clear vinyl version. In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room. Back in Mogard's studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centers and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard's layering and subtraction reassembled everyone's parts into the final arrangement. The album opens with "In the Eastern Wild," building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. "Over the Domes" widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with "A Blue Descent," centered on Bertoni's cello, whose growling timbre introduces a melancholic depth. At the album's center, "In a Quiet Radiance" unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli's violin lines and Bertoni's lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli's processed voice to the fore, its emotive, operatic presence becoming one of the record's pivotal moments. "Of Blessed Ages" suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music's internal drift. The closing "Among Shadows" settles into a darker resonance as layered textures recede. Mogard and Irisarri's shared language balances restraint and maximalism.
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LP
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BKE 024LP
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In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room. Back in Mogard's studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centers and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard's layering and subtraction reassembled everyone's parts into the final arrangement. The album opens with "In the Eastern Wild," building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. "Over the Domes" widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with "A Blue Descent," centered on Bertoni's cello, whose growling timbre introduces a melancholic depth. At the album's center, "In a Quiet Radiance" unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli's violin lines and Bertoni's lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli's processed voice to the fore, its emotive, operatic presence becoming one of the record's pivotal moments. "Of Blessed Ages" suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music's internal drift. The closing "Among Shadows" settles into a darker resonance as layered textures recede. Mogard and Irisarri's shared language balances restraint and maximalism. Also available on white (BKE 024WH-LP) and clear (BKE 024CL-LP) color vinyl.
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LP
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BKE 024WH-LP
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White vinyl version. In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room. Back in Mogard's studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centers and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard's layering and subtraction reassembled everyone's parts into the final arrangement. The album opens with "In the Eastern Wild," building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. "Over the Domes" widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with "A Blue Descent," centered on Bertoni's cello, whose growling timbre introduces a melancholic depth. At the album's center, "In a Quiet Radiance" unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli's violin lines and Bertoni's lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli's processed voice to the fore, its emotive, operatic presence becoming one of the record's pivotal moments. "Of Blessed Ages" suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music's internal drift. The closing "Among Shadows" settles into a darker resonance as layered textures recede. Mogard and Irisarri's shared language balances restraint and maximalism.
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CD
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BB 447CD
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Released in 1974, Zuckerzeit marks a clear turning point in Cluster's work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo's earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster's catalogue, capturing a pivotal moment of transition and refinement. In 1974, Cluster entered the sugar era. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. Strictly speaking, Zuckerzeit is not really an album by Cluster. More precisely, the LP contains two mini solo albums by Moebius and Roedelius. Those who were familiar with the stylistic peculiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster managed to keep both feet on the ground without becoming plain or even sterile. The friendliness of the music is clearly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album's coproducer. When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of losing themselves in long-windedness -- all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today.
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LP
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BB 447LP
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LP version. Released in 1974, Zuckerzeit marks a clear turning point in Cluster's work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo's earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster's catalogue, capturing a pivotal moment of transition and refinement. In 1974, Cluster entered the sugar era. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. Strictly speaking, Zuckerzeit is not really an album by Cluster. More precisely, the LP contains two mini solo albums by Moebius and Roedelius. Those who were familiar with the stylistic peculiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster managed to keep both feet on the ground without becoming plain or even sterile. The friendliness of the music is clearly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album's coproducer. When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of losing themselves in long-windedness -- all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today.
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LP + 7"
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CELPACK 001LP
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The cult album, fully remastered. Recorded in Paris with Jean-Yves Messan, Patrick Francfort, and François Corea, leading figures of the African diaspora, Na Bo Ndedi is one of the pinnacles of makossa's golden age. A classic by Ngallé Jojo, with a unique sound that blends traditional rhythms with modern arrangements, vibrant grooves, and a powerful rhythmic drive. Thirty years later, Celluloid Records is reissuing this essential album in a remastered version. For collectors who know it by heart, and for all those who are finally discovering it.
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LP
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RECELESP 001LP
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The cult album, fully remastered. Recorded in Paris with Jean-Yves Messan, Patrick Francfort, and François Corea, leading figures of the African diaspora, Na Bo Ndedi is one of the pinnacles of makossa's golden age. A classic by Ngallé Jojo, with a unique sound that blends traditional rhythms with modern arrangements, vibrant grooves, and a powerful rhythmic drive. Thirty years later, Celluloid Records is reissuing this essential album in a remastered version. For collectors who know it by heart, and for all those who are finally discovering it. Also available with bonus 7" (CELPACK 001LP).
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LP
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CT 119LP
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2026 repress; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."
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LP
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CT 124LP
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2026 repress. Recorded at Channel One Studio in 1982. Tracks include "Having Fun With The Klingons," "Rocking Time Warp Dub," "Jah Love All Aliens," "Conversation With Kahn" and "Smerf Wak Head Beat."
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7x7" Box
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CT 3388EP
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2026 restock. Tracklist: Cornell Campbell - "Gun Court/Gifted And Black"; Johnny Clarke - "Creation Rebel"/The Aggrovators - "Creation Dub"; Augustus Pablo - "Jah Light"/"Jah Light Drum And Bass"; Devon Irons - "When Jah Comes"/Lee Perry - "Jah Dub"; Burning Spear - "Travelling"/"Walking In Dub"; Johnny Clarke - "None Shall Escape The Judgment"/King Tubby - "Judgment Day"; Lee Perry And The Aggrovators - "Ski-Wa-Wa"/Junior Byles - "When Better Will Come"
"The 7'' box set first of the series featuring, rock classics reggae from the Clocktower catalogue. We know you will enjoy this 1st 7'' collector box set with a magnetic lid. All of these are from the 70''s and are in mint condition and some are in color vinyl. To all our fans who continue to buy and support the Clocktower releases whether on 12'', 10'' or 7'', we thank you! So please add this to your personal collection and listen and enjoy to the music of life." -- Alfred Newman
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LP
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DKR 198LP
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"A long overdue return to the Chopper label, after some singles from way back in 2010. This 12 song LP corrals all our favorites from the label. The album features a mix of early '80s style live rhythms laid at Channel 1 and some great classical late '80s digital style. Lionel Barrett was the original and perhaps the core artist of the Chopper stable, and is featured heavily here. A few of his tracks as well as a couple others here are now issued on vinyl for the first time. The remaining are retrieved from long out of press albums and singles. The jacket features a survey of all of Chopper's excellent graphic design. All told this LP is a great overview of a prolific JA-NYC connected label from dancehall's best era."
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12"
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DKR 320EP
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"Well-necessary reissue of Little Roy's Uprising classic, which was previously featured on the Roots Aggregation compilation LP in 2019. This time it's with the dub version as on the original 45, both tracks from master tape. On the B-side are two more previously unreleased instrumentals from the 12 Tribes musical maestro, Pablove Black. 'Reaching Our Goal' is an instrumental cut to George Beaufort's single of the same name on the Orthodox label, while 'Kissinger in Africa' is a wild synthesizer cut to the classic 'Black Star Liner' rhythm that's been spotted on dubplate a few times over the years."
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12"
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DKR 333EP
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"A best of both worlds reissue of the two most sought-after tracks on Keith Cole's Lovebird imprint. Keith cut some sides for producers in Jamaica in the early '70s before coming to New York and starting his own Lovebird label, mostly self-producing thru the first half of the '80s. The A-side here 'Honey Bee Fantasy' is a killer slow burner of mid '80s boogie/funk, featuring a couple of well-known American jazz/funk session players on the rhythm track. The picture sleeve is a near replica of the one that came with the original press. For the B-side comes Keith's production of Canadian singer Ann Marie, who also does backing vocals on 'Honey Bee Fantasy.' On 'Together Again' she's singing on a well known and loved moody early '80s rhythm, laid by the first incarnation of the Roots Radics which featured Blacka & Bingy Bunny of the Morwells."
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12"
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DKR 339EP
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"A little something out of the ordinary for DKR here, a four track dub 12" featuring one old and three new mixes, the latter done in excellent faithful fashion to the sound and Music Works dubplate style of their time. Junior Moore's 'Atlantis' is one of our favorite Gussie tunes, very underrated and under the radar. For the other three tracks, these are new mixes done from the original multi track tapes, in faithful style to the way they would have come on dubplate for sound systems, right out of Gussie's original Music Works studio on Slipe Road. If you like the spare, raw drum and bass style of the Taxi label, or the early '80s sound of Channel 1, these mixes will be right up your alley. These two early Hopeton Lindo roots tracks should be familiar to hardcore roots heads. The Pam Hall is another sleeper cut, a dark lovers take on the Stylistics' soul classic, which gets harder and moodier when stripped back like this -- indeed some raw rhythm cuts of this one were played by sounds like Jah Shaka."
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LP
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DKR 351LP
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"10-song compilation LP. Comes with insert detailing full musician and studio credits. Howard 'Sir Tommy' Mapp is one of the original guards of New York sound men, playing sound system since 1974. Around a decade after that, he began producing for his newly formed label of the same name. Later in the 1990's he established his own studio, which became a hub of New York's dancehall scene. In true independent fashion, Tommy covered nearly every aspect of the reggae business himself, marking him firmly as a peer in the NYC scene with others who blazed a similar path, like Wackie's, Jah Life, and Philip Smart. This is the first reissue of the early gems in Tommy's catalog and makes some more classic New York reggae accessible again. So what better to start with than a new compilation, 100% heaters, culled from long unavailable singles and albums. This LP is packed with prime cuts of just such music. Absolutely essential stuff for 1980's reggae heads."
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2LP
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EMEGO 322LP
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Pon is Tujiko Noriko's sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance. Noriko's palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023's Crépuscule this is an epic work, released as a 2LP by Editions Mego. The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure. Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface -- strange voices emerge on "Boku Wa Obaka." "Knife of Yonder" is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent. "Kikoeru Pon" is brimming with childlike wonder -- a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus. There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Pon feels like a colorful photo album, documenting Noriko's inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen. The emotional range of Noriko's latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.
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LP
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FAITBACK 006LP
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2026 restock. A long-lost vinyl album is back in stock: for the last 20 years, Kosmischer Pitch by Jan Jelinek, originally released in 2005 on ~scape, existed only as a digital download. Right on time for the 20th anniversary, the remastered album is available again on vinyl. What the press said about Kosmischer Pitch back in 2005: "For Kosmischer Pitch, Jelinek draws from the obsessed-over rock produced by his German countrymen in the 1970s. Trance-inducing repetition is constantly modulated by variations that hover on the threshold of audibility. One of the more remarkable bodies of work in electronic music." (Pitchfork). "Like the cosmic compositions it delicately references, Kosmischer Pitch is proof that the higher and lower pleasures can triumphantly combine." (The Wire Magazine).
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LP
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1FFJT176
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Limited 2026 repress. Alga Marghen/Formalibera present the first of a series of released documenting the work of Danish composer and multi-instrumentalist John Tchicai. This new LP features two previously unpublished recordings, "Beautiful United Harmony Happening" with Don Cherry and "Education Of An Amphibian" with Sahib Shihab. Tchicai returned to his native Denmark in July 1966 after spending a remarkable four years in New York City. In that short span, he helped redefine and expand the relationship between soloing, collective improvisation, and composition in small free jazz ensembles such as the New York Art Quartet, the New York Contemporary Five, and on albums such as New York Eye and Ear Control with Albert Ayler and John Coltrane's Ascension. It certainly counts as one of the most fertile periods in any artist's career. Yet when he returned to Europe, Tchicai turned his attention primarily (although not exclusively) to large ensemble music. The breakthroughs made in New York were not lost, but transferred to a large group context, opening up further avenues of exploration. "The Education of an Amphibian" by the John Tchicai Octet represents a first try at "Komponist Udøver Ensemble," or "Composing Improvisers Orchestra," an approach that further blurred boundaries between improvisation and composition. Recorded in October 1966, the piece presents Tchicai as composer and guiding presence; an organizer of sounds; and an explorer of a widening musical vocabulary drawn from contemporary classical and African influences. "Beautiful United Harmony Happening" is something different -- an opportunity to embrace new modes of interdisciplinary performance. From the beginning of his return to Denmark, Tchicai sought out not only musicians, but artists in all artforms and began to organize happenings. Although rarely noted, ideas linked to Fluxus, performance art, and happenings were a large influence of Tchicai's thinking at this time. All these related movements sought to blur or erase boundaries between media and set up juxtapositions between styles and artforms that disrupted received ideas of "high" and "low" art. Participation by non-artists introduced elements that challenged ideas about virtuosity and legitimate expression. Random elements were embraced, and non-Western music and concepts were welcome. This performance, heard here in an excerpt from the full two-hour performance, is very much in this vein. It is one of the last performances involving members of Cadentia Nova Danica, but they are only one component (and hardly the focus) of an ensemble that included a five-member chorus of disciples of the Swami Narayanananda (Tchicai lived at the yogi's ashram and had organized the choir himself), the Diane Black Dance Theatre, and trumpeter Don Cherry. Includes insert.
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