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CD
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2MR 029CD
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2019 repress; 2017 release. Moscow's Kedr Livanskiy (real name Yana Kedrina) confesses, "Synthesizers help me maximally feel the present moment." Livanskiy was born into a shifting and critical time for Russia. The Soviet Union had exhausted and old values were anathematized because of reconstruction. A sense of displacement drove Kedr to find herself. She's escaped reality repeatedly in her explorations into the imagery and ideas of romanticism, mythical, and fairytale themes which visibly bleed throughout her work and especially on her debut full-length Ariadna. The title track which was named after the Greek goddess, Adriane, debuted via Thump who've stated it "anchors its elegantly drifting shoegaze melodies with a knocking electro beat." Ariadna marks a change in her recording approach: her critically-acclaimed breakthrough EP January Sun was written and recorded completely in Ableton, while Ariadna was written using the Roland SH-101, Roland Juno 106, and Korg Minilogue synthesizers, then mixed down in Ableton. According to Kedr, "This way, one gets into a flow of live interaction, here and now, with the instrument." There is a definite leap in production values this time around, but Kedr manages to keep true to her sound despite the greater polish and depth. "ACDC" features Martin Newell.
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2MR 035EP
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Saine & Smith's Dirty Games is the second project from Jaja Saine and Leo "Love Tiger" Smith. The duo has been making their mark both as DJs and producers in the electronic music scene in Stockholm. Dirty Games is a wide range of tracks for various moods and settings. None of the tracks are alike; this EP highlights the various elements and styles they have been influenced by as artists, the title track "Dirty Games" and "Moon Monster" being the tracks to which one just can't help but dance.
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3000GRAD 016CD
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Green Lake Project's GLP is an album that vibrates with the endlessness of space and an intense atmosphere of rocket-powered departure. It finds expression in the heaving waves of the basslines and the sharp spray of the hi-hats, but just as much in the hypnotic play of all those subtle elements that are less obvious: The spiraling vortex of melodies and acidic synthesizer departures creates a sonic texture of organic beauty that is reminiscent of the intricate perfection of nature down here on planet Earth -- clearly a signature element in Green Lake Project's unique space techno style. Altogether 11 tracks summarize what the mysterious duo has become well-known for at festivals and parties over the last years: Big productions for big emotions in front of big sound systems.
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ACMOSLPX1
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AllChival present a reissue of Michael O'Shea's self-titled album, originally released on Wire's Dome Records imprint in 1982. Having sold his instruments to fund a nomadic 1970s lifestyle, eccentric Irish experimentalist Michael O'Shea was forced to create his own handmade answer to the sitars and zelochords he'd become accustomed to playing on his travels around the globe. Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerizing and soulful new way. Born in Northern Ireland but raised in the Republic, O'Shea was keen to travel and escape the troubles of his home. Wandering throughout Europe and the Middle East, O'Shea found himself living and working in Bangladesh in the mid-Seventies where he learned to play sitar. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O'Shea's idea of combining both instruments as a homebuilt instrument -- Mo Cara (Irish for "My Friend"). A combination of dulcimer, zelochord, and sitar, O'Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of the many Asian artists he'd encountered on his travels. Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden. His work with Rick Wakeman never saw the light of day but O'Shea's contact with the world of post-punk London ensured his name would live on. Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O'Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after. The first side features the fifteen-minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound. After an aborted LP with The The's Matt Johnson the following year, O'Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end with O'Shea's passing in 1991. Remastered and reissued with the approval of both Dome and his surviving siblings.
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ARA 001EP
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ara is a new record label curated by David Letellier, aka Kangding Ray. ara is a platform for recording artists with unique sonic identities that seeks to induce deep emotions through sound; focusing on singular artistic endeavors, created with patience and dedication. Each edition will be individually numbered. The first release, by label curator Kangding Ray, will be the first step of this journey: organic, emotional club music, for the body and mind. Each vinyl sleeve is individually painted with highly-pigmented acrylic, using a single-movement brush technic; Edition of 500.
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ABX 078CD
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Golden Ashes is the project of Mories, known for his long running extreme metal project Gnaw Their Tongues, as well as SEIROM, whose album 1972 was released on Aurora Borealis back in 2008. Golden Ashes present the debut release Gold Are The Ashes Of The Restorer on Aurora Borealis. Synth-heavy dark droning black metal. The keen eared will find all is not as it seems, elements that recall other genres entirely. There is much here for the sonic explorer to enjoy, as generic labels are defiled, incinerated, and their ashes picked over. Golden Ashes on the release: "The black chaos of despair and hopelessness calls through the mist. A dreamlike descent into the realm of death. A mystified swansong to the days of hope. A dark return of myths through dying light. Eternity admired through the eyes of the dead. A restorer of all things abandoned by light and life. CD comes in a digipack; Edition of 300.
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12"
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BAO 071EP
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Berlin-based BEIN kicks off his Be As One debut with a mental shaded and well-crafted four-tracker, Undo Redo, his own take on modern-meets-old-school techno. From the darkroom melodies and pads of "Undo Redo" through the Detroit-ish touch of "Ante Litteram" and "Crystal" to the broken beats and heavy bass of on "Rawk", this is a classic not-to-be-missed release from Shlomi Aber's long-standing imprint.
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2LP
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BT 048LP
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Black Truffle present the first ever vinyl reissue of David Rosenboom's legendary Brainwave Music, originally released on A.R.C. Records in 1975. This is an expanded double-LP edition with over 40 minutes of additional contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley, and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems. Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long "Portable Gold and Philosophers' Stones", four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analyzed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In "Chilean Drought", three different variations of a text about a drought in Chile, read by a different voice in a different style, are associated with the beta, alpha, and theta brainwave bands. Alongside an insistent piano accompaniment, three constantly shifting vocal recordings are controlled by the relative preponderance of each of the brainwave bands in the soloist. "Piano Etude I (Alpha)", the earliest piece included here, is based on research into the link between alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands, two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average alpha amplitude increases. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom's "On Being Invisible", in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to "Portable Gold and Philosophers' Stones" but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the "performer's active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge." Includes archival images and new notes from the composer. Gatefold sleeve design by Lasse Marhaug. Mastered by David Rosenboom from the original analog tape masters. Cut by Rashad Becker at Dubplates & Mastering, Berlin.
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BETBC 017LP
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Decadent Sprinter a bizarre and yet comforting scene. You feel you understand and know what is happening, a connection to the movements. But in reality, you don't exist to them and in their world, you are just another adoring spectator. Recorded in the confines of industrial North Greenwich with producer Euan Hinshelwood in his analog tape studio, Ice Baths present four new pieces. Stitched together with ambient, droning noise -- the ghosts of their predecessors -- a haunting reminder that beneath the sometimes sunny exterior of the songs lies a constant anxiety in the songwriting and performance. "We spent so long on the album process, we really wanted to get back into the studio as soon as possible and write/record something new, without giving ourselves too much time to ruminate on external input -- a reset of our senses and the perfect way to bridge the divide between albums." Released on one-sided 12" vinyl because the band wanted the EP to have a "seamless unbroken listening experience". Housed in a die-cut black outer sleeve and color inner sleeve.
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12"
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BOND 12048EP
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Bondage Music reveals the latest installment in its Bondage Games series as Sascha Dive, Frink, Toman, and Philipp Gonzales deliver four original compositions for Part 5. Frankfurt's Dive opens the package with "Dark Night," a slick house cut guided by deep, dubby chords and entrancing vocals, before Frink's bubbling "Vega" ups the energy and welcomes bright melodies amongst rolling percussion. Next, emerging talent Toman fuses skipping hats and a heady low-end groove as he reveals "Time To Time," before Philipp Gonzales combines hypnotic lead synths, refined percussion arrangements and suspenseful builds throughout "Open Hips."
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BPX 001CD
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From beyond our universe, the Alientronic invasion arrives on Planet Earth. One of the great ambassadors of Berlin techno, Ellen Allien presents her brand new album Alientronic. This is a body of work rooted in the city where it was recorded, Ellen's home and the place where she discovered techno sparking a love affair which will burn for infinity. Alientronic was recorded during the cold winter months in Berlin at the end of 2018, a time when creativity hits a peak in the city. Sub-zero temperatures and dark nights keep the artists locked away indoors, finding time and space to journey inwards and tap into the deepest recesses of their creative energy. Alientronic represents an artist who is brimming with ideas, years of experience breathe life into Ellen's work -- it's refined, yet liberated, informed by the past but very much looking to the future. Ellen disseminates classic techno and acid tropes through her visionary lens, vocals are looped and warped, tough beats slam down as stirring pads coax you into an emotive realm and you're privy to a spellbinding other world full of mysterious exotic allure. Is it a hallucination or are the electro-terrestrials already here among us?
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BB 319CD
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"They say that the avant-garde moves faster than light and therefore has to travel under cover of darkness, flying blind, destination unknown. Little of today's realpolitik-related gloom casts its shadow over Strategies, the new album by restless avant-garde auteur Andreas Spechtl. On the contrary. Whereas the two preceding albums Sleep and Thinking About Tomorrow (And How To Build It) (BB 278CD/LP, 2017) documented quietly intimate, personal journeys along the margins of Europe or Iran, casting a skeptical eye on neoteric political shifts, Strategies is an altogether more explosive affair, buzzing with beats, effervescent with the energy of techno, dance, a celebration of resistance. The sense of unease engendered by global politics has given way to a new sense of self, to new strategies, an eagerness to escape into ecstasy, madness, anarchy. Right from the word go, as the first melodies take shape, as the first lines unfold, even as quiet, intimate moments from prior recordings linger on, a piano fades away, a saxophone passes by and then the beats kick in -- an almost anthemic 'yes, we will change the world/because we've done so/many times before' sets the euphoric tone for the rest of the album. And oh, the voice; following its disappearing act on the previous discs, it returns here on a wave of charming dandyism, dancing, screaming, whispering, moaning, striding unwaveringly, casually, aggressively, through techno, tribal and disco beats, scanning lyrics whose palpable, newly-gained coolness might just be a universal antidote against the world's political vacuum. It is also a voice which suddenly switches to Spanish on 'When We Were Young,' joined by Anna Seghers as a ghostly witness. The album was written in Santiago de Querétaro, not far from Mexico City. It was crafted mostly on a modular system and two synthesizers, without VST or digital equipment, the computer downgraded to the status of a mere multitrack recording device. Andreas Spechtl appears to have arrived at the core of his own self, all new, as if he had rewired himself amongst all the modules -- without having even tried to find himself, yet discovering someone in the circuits who had almost been forgotten or would be forgotten again, someone who only existed right there. With the philosophical and musical activism on Strategies he offers us the clearest, most readable signs pointing into the future." --Thomas Köck, January 2019.
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CF 108LP
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LP version. "'Thee Hounds of Foggy Notion / Live Performances Sans Stages And Whatnots With Thee Oh Sees (2008), is a film we made just over a decade ago, and this record is the soundtrack. I loved making it, and I love all that were involved. I'm honestly blissed-out proud to hear over the years that it somehow is loved by so many others, too. I first met John Dwyer on Flag Day. I was blown away by a trio of roving Coachwhips guerrilla street shows that climaxed at the scenic vista parking lot high above San Francisco atop Mt. Sutro. Amongst the gathered uninitiated hordes of souvenir sweatshirt selling families, and puzzled elderly global tourist translators, and a white weirdo tuxedo wedding party, was the sonic corruption of the Coachwhips... I'm certain that this exact event was the idea seed for Thee Hounds Of Foggy Notion, and that it saved my life a little bit. When JPD asked me to consider making a video for Thee Oh Sees with the sole stipulation that he didn't want to do anything fake-y to playback, my head started swimming. What we mutually agreed upon was to essentially reprise Flag Day, and film Thee Oh Sees performing live, but not on stages. I rented a 15-passenger van, a generator, and the minimal cinematic equipment my trusted cinematographer friend James Wall deemed we needed. Everything sound wise was JPD territory and went through an ancient mixing board that Johnny had housed within a Samsonite suitcase. We ran all the plate mics from the drums, and the li'l pedestal mics from the amps through this old mixer, and we all believed that all would be well and swell.' --Brian Lee Hughes"
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2LP
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COMP 439LP
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2019 repress; Double LP version. "In this compilation I am inaugurating a style: vintage futurism. The best metaphor for this genre is Charanjit Singh's 1982 album Ten Ragas to a Disco Beat, in which he created a sound which mirrors, but more importantly pre-dates, the first acid-house record by five years. It is no novelty record, but truly captures the hypnotic potential of acid/house music. It became my key track for Elaste Volume 04. Previous incarnations of Elaste have aimed to catch the spirit of the late '70s Italian cosmic discotheque, a place where the history of DJing was rewritten. For this latest installment, I was most intrigued by weird of-the-time (or 'out-of' as the case turned out to be) electronic disco, a vast genre that brings together those progressive avant-garde tracks that were expanding the genres of house, disco, acid, new wave. I ultimately use Elaste as a vehicle to highlight those tracks that were ahead of their time. These legendary works range from 1978 to 1996, a wide spectrum of musical history in which some of the older tracks may sound modern, and newer ones may sound vintage. Many of these authentic back-to-the-aural-future moments were initial sparks for whole genres -- Larry Heard's Disco-D alias happened just before house music. Greg Wilson's 1984 project Equip was produced for a UK electro compilation, but never made the LP because it sounded too futuristic. Michael Rinder's 'Gluttony' can't be called disco any more -- not even post-disco. For Elaste Volume 4, we have built vintage futurism as a home for these ultramodern mavericks." --Dompteur Mooner
Artists include: Charanjit Singh, C Cat Trance, Cybotron, Rinder & Lewis, Barbara Norris, Nad, Equip, Sandee, Disco D, and Dopplereffekt. Includes a vinyl-only bonus track by Tambien.
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CPT 296EP
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Compost Black Label 36 introduces Mladen Solomun to the Compost Black Label Crew. Solomun who was born in the heart of Bosnia, grew up and still lives in Hamburg. Beside his residency at "Uebel & Gefaehrlich" he is the host of Club "DIY" in his chosen hometown Hamburg since five years now. His first releases were on labels such as Diynamic Music, Sonar Kollektiv, Liebe*Detail, and Steve Bug's Dessous Label.
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CONNECTED 037EP
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Floyd Lavine and David Mayer's Afro house bomb "Sondela" gets remixed by a carefully selected list of names including Jimpster, Auntie Flo, Tunnelvisions, and Kususa. Jimpster serves up a cool and immersive journey bringing new soul and feeling to the original. Dutch duo Tunnelvisions masterfully flip the track "Xi". Kususa pump up the beats: their percussion, arps and big synths will get hands in the air. Highlife artist Auntie Flo brings his authentic understanding of worldly groove to a fantastic remix. An acapella version is also included as an exclusive addition to the vinyl release.
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12"
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CRACKI 049EP
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Renart, a young producer, is one of the proudest representatives of the new French techno scene. Known for his production, it is on stage that he impresses the most, with intense sets with textures worked and tinged with trance, true techno epics. Making music with mythological accents, Renart has released several EPs since 2010, at Cracki Records, Versatile, Dawn Records, and Fragrant Harbor. Inspired by ancient techno, Romanesque, and traditional music sounds, and sometimes Oriental, Renart tells a story of hypnosis and psyche, made of throbbing repetitions, reminiscences of happy mornings where the stars are dying.
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120THCYCLE
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"We're glad to welcome Belgian artist Peter Verwimp and his shamanistic guitar driven soundscapes. The first instalment for the Rites series touches on the importance of ceremony and ritual in our daily lives. It deals with our interconnectedness with nature as a whole and the necessity to acknowledge and use this connection as an amplifier of thoughts, ideas and emotions. Minimal, meditative ambient drones with layers of meandering guitars and voices mixing elements of doom, drone and ambient experimentation. Rites I & II take a shamanic and animistic approach to our surroundings, unveiling inner and outer visual landscapes, a journey through flesh, sound and spirit."
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CDDM 301CD
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At the time of the film's release only a 45rpm single of this original soundtrack was issued which contained the song "Can Be Done", with lyrics by Sergio Bardotti and sung by Rocky Roberts (in 1966, Luis Bacalov had already collaborated with Roberts, performer of the main theme from the highly successful 2012 western movie Django). Only in 1995, Point Records released a CD which contained the instrumental score coupled with the OST from Il Grande Duello. For this issue, Digitmovies' new digitally restored and remastered record, the label had access to the mono master tapes of the recording session which gave them the chance to discover some unreleased takes which we have assembled in a nearly eight-minute suite. In addition, a special bonus track features the very rare stereo-mixed version of the original 45rpm single song. Luis Bacalov succeeds in representing in his music the whole sentimental side of the plot (the friendship between the corpulent, but good-hearted Thompson and the child Chip) by writing a sweet and cheerful main theme that is introduced in the opening credits in a pop key and with a little Bacharach flavor called "Can Be Done", sung by Rocky Roberts and accompanied by a children's choir. This theme is reprised with orchestral variations sometimes dramatically, sometimes in an epic western context with the use of the harmonica of the great Franco De Gemini and alternated with saloon as well as instrumental and choir folk music. This CD is dedicated to all the fans of the mythic Bud Spencer, of the Italian Western, and the music art of the Academy Award winner Luis Bacalov.
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DGST 039CD
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Digitmovies present a reissue of Piero Piccioni's original soundtrack for La Citta' Prigioniera, originally released in 1962. Piccioni, one of the colossal names of international film music, composed this symphonic OST in the early '60s where gloomy and tense passages frequently recur to perfectly describe the dramatic situation in Athens during the Second World War. The author alternates a melancholic love theme that timidly emerges to contrast with suspense music and exciting battle pieces, all enriched with Greek folk music. Originally C.A.M. released a vinyl LP containing fifteen tracks in mono and an EP single with two tracks in mono. In 1991, the same material was re-released for the first time on CD in the series C.A.M.'s Soundtrack Encyclopedia with audio filtered in Dolby Surround. For Digitmovies' CD, the label was able to use a first-generation master tape with the LP recording along with the mono master tapes from the original recording session, discovering almost forty minutes of previously unreleased material, all specially restored.
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DIYNAMIC 114EP
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The dramaturgy of "Sirius", the opening track of Frankey & Sandrino's first Diynamic EP, puts you right into the strain of mission control, mere moments before the launch. One-by-one, the different protocols are being engaged, the fumes of the carbon cooling system slowly haze around the jet propulsion engines, as the shuttle begins its slow and uncertain ascend. "Lambda" is a telescope looking into the exuberant night sky. Shifting focus. Tracing shiny objects, slow bleeps, and rapid sweeps on the near-black canvas. A collage of details, collectively creating one big picture.
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ELP 042LP
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Not Glass is the debut collaboration between Alessio Natalizia (Not Waving) and his longtime correspondent Dimitris Papadatos (Jay Glass Dubs), paying tribute to Latin and Greek authors Ovid and Heraclitus in a suite of dramatic electronics and cryptic rhythms comparable to a theatrical soundtrack. Knowingly, ironically pretentious, yet serious with it, Forma is the result of years of daily Facebook chats between the London and Athens-based artists where they cemented the album's concept around key quotes by the legendary poet/philosophers, who hail from their respective homelands of Italy and Greece. The results are in effect a spellbinding attempt to transmute those notions within the collaborative, contemporary framework of their music, using patented palettes of hardware, vocals, and FX to render and reflect core classical mythological and philosophical ideas about drama, love, metaphysics, cosmology and the "unity of opposites". On this timeless plane, Natalizia and Papadatos both step outside of themselves to find "what opposes unites", spaciously consolidating their typical, yet contrasting, rhythm-driven approaches in a reverberant, often beatless sphere of exploration. Removed from their usual handrails, the artists operate at their most open-ended and subtly suggestive, amorphously shapeshifting from gloaming shadow plays of synth and keys to investigate arcane percussive impulses and iridescent ambient whorls. The result is a perfect, finely shaded marriage of their mutually esoteric, outsider Southern European energies, which intuitively acknowledges and inhabits the paradoxes of their respective styles. The illusively static yet mercurial ebb-and-flow of the atmospheric intro "Fallite Fallentes" sets the scene, where "Dum Loquor, Hora Fugit" invokes a viscous but brittle tangle of wide bass and pointillist rhythms beside a stately cello vignette "Ludicrum" that recalls aspects of Scott Walker's mystic charm "Soused". The rapid arps and slow moving, glassy pads of "Pauper Ubique Iacet" conjure a sublime tension that becomes diffused into the cavernous, hollow dub dread of "Ut Ameris, Amabilis Esto", possessed with its throaty, processed vocal, and the lonely strings and plasmic electronics of "Forma Bonum Fragile Est" connotes a psychedelic coming-to-terms with their artistic/philosophic duality. Mastered and cut at Dubplates & Mastering, Berlin. Edition of 500.
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12"
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EF 091EP
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Happy to welcome Luca Bacchetti on Endless Flight. Title track "Disco Blast" is super killer techno disco tune. The B side is different mood -- "Nadir" is percussive break beats house and "Nelson" is nice minimal Latin house.
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ESK 510719
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Solar Nights is the long-awaited second album from German nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings Solar Nights follows on from Bernhardt's critically acclaimed, and Gold certified, debut Panorama Pacifico (ESK 507583/ ESK 507585, 2016) and features 14 tracks of smooth disco and leftfield pop sounds with guest appearances from the likes of Future Classic's Panama, David Harks, Niya Wells, Emma Brammer, and Anduze. The global success of Panorama Pacifico has seen Bernhardt coaxed out from his remote studio in one of Germany's ancient forests to play to fans across the world, from South Korea to Mexico and beyond, experiences that inspired both the album itself and its title, Solar Nights. In recent years the world's become smaller, a more inter-connected place. It can be dark and cold here, with snow all around, and the next day I can be playing to people on a beach. Somewhere on the planet it's always daytime or summer, but beyond that day and night just blend into each other these days," Tim explains. "We have daytime discos so you can go and party while the sun is still high in the sky, and you can go and hit the gym at night. Be it day or night, Satin Jackets is your soundtrack." And what a soundtrack it is, from the first chords of opening 'Welcome Back' it's clear we're in safe hands here, the warm pads, delicate guitars and pianos providing the perfect introduction to the album. Solar Nights takes everything we loved from Panorama Pacifico and polishes it to an ultra-high sheen. And in an age when rough and raw production is seen as an easy shorthand for authenticity, Tim's love of über-smooth production has made him an unlikely iconoclast, producing music that reflects the glamour and glitz of '70s Manhattan, artfully updated for the 21st century.
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8CD BOX
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ESPDISK 5034CD
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Saxophonist/guitarist/composer/music historian/ provocateur Allen Lowe spans the history of jazz in his music in a way that few besides Jaki Byard, Beaver Harris, Steven Bernstein, and Air have ever done, intertwining blues, early jazz, bebop, and the avant-garde. A prolific composer who was incorporating American roots music into his jazz decades before it was hip, he has led project bands featuring a broad array of jazz greats ranging from Doc Cheatham, Randy Sandke, Joe Albany, Don Byron, Ken Peplowski, and Percy France to Matthew Shipp, Julius Hemphill, Marc Ribot, Roswell Rudd, David Murray, Gary Bartz, Nels Cline, Ray Anderson, DJ Logic, Kalaparusha Maurice McIntyre, and Hamiet Bluiett. With two notable but out-of-print exceptions, most of his work has been released on his own Constant Sorrow label. ESP-Disk' has long admired his work and is happy to partner with him on the career-spanning An Avant Garde Of Our Own: Disconnected Works 1980-2018, which consists of four CDs (3-6) of previously unreleased material and four thematically arranged CDs (1-2, 7-8) collecting a wide variety of material that was mostly previously -- but not widely -- available.
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