"A ground-breaking blend of concentrated funk, electronica, soul, and futureheaded jazz rock. William S. Fischer, musical director for 1960's soul funk experiments of Eddie Harris, Eugene McDaniels and Les McCann, released this amazing debut solo album for the Embryo label in 1970. Some of these songs would appear in the 1971 streets of New York drug movie Born To Win starring Robert De Niro & Karen Black. Featuring Ron Carter and Billy Cobham. First time on CD with liner notes and rare photos"
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"Ex-Fairport Convention lead singer Ian Matthews recorded a pair of inspired albums for Elektra in the early '70s. Valley Hi was produced by Michael Nesmith and contains many original Matthews classics plus songwriting contributions from Richard Thompson, Jackson Browne and Randy Newman. Somedays You Eat The Bear continued the mellow L.A. country-rock sounds with songs by Tom Waits, Gene Clark and Crazy Horse with guest guitarist David Lindley among others. A unique blend of British folk and American country rock. Featuring a new detailed interview with Ian Matthews, complete lyrics, rare photos and more."
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"After four blissfully stoned albums (all recorded for Reprise), 1972 seemed to be the perfect time for a Pearls Before Swine "best of" LP. Rather than use previous recordings, Tom Rapp and pals entered the studio to re-record some PBS classics and the results become known as Familiar Songs (released here on CD for the first time). Featuring new liner notes from Tom Rapp on the origins of these 1972 recording sessions that are "like that disturbing yearbook picture of you that you now see through a haze of nostalgia and good will""
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"An unlimited reissue of the out of print Anomalous Records LP (released 2001 in an edition of 530 copies only) with new cover artwork. This reissue sees the original A side extended from the original length of 17 minutes to the new length of 50 minutes. It still includes Colin Potter's 17 minute remix "Periodic" which was featured on the B side of the LP "Period" is beautiful piece based entirely on sounds from a Bluthner grand piano, looped and extended into long, drifting, calm drones with occasional punctuation of recognizable notes slowly resonating. The piece becomes "Periodic" at the hands of Colin Potter, whose remix turns it into a more dark and haunting experience which reveals even less of the characteristics of a piano than the original. Two complimenting, yet also contrasting, views of the same material which both show a great deal of depth and cohesion. All wrapped in a full color cover designed by Jonathan and featuring his photographs.
A review of the LP version from The Wire:
Jonathan Coleclough is a relatively new Deep Listening composer, but one who deserves a place with the experimental Ambient pantheon that glorifies the work of Pauline
Oliveros, Brian Eno, and :zoviet*france:. "Period," a vinyl only release and his third solo album, draws all its sounds from a Bluthner grand piano. With each key that Coleclough strikes, he has rigged up an undefined set-up (perhaps a series of interlocking delay pedals creating a delicate feedback loop or an acoustic device of various strings and springs which act as a modified Aeolian harp) to generate beautifully resonating tones, which appear at first to sustain indefinitely yet
almost imperceptibly begin to show signs of decay. When a spartan cluster of impressionistic notes trickles from the piano's soundboard, Coleclough has an amazingly rich drone to work into gradual shifts and modulations until another series of gentle piano notes is required. The flip side of the record is an exceptional
piece on which Nurse With Wound and Ora collaborator Colin Potter reworked the original source material. Potter's contribution entitled "Periodic," effectively erases the obvious references to the piano, leaving behind a densely tangled web of calm reverberations. - Jim Haynes
Tetsu Inoue & Andrew Deutsch - Field Tracker ""Field Tracker" was recorded at the Institute for Electronic Art, Alfred NY during the Winter of 2000. Inoue, utilizing his digital sound processing systems in combination with bells, guitar, and other odd sound making objects, constructed tiny improvisational sound moments each one having a shape and gesture of their own. These micro compositions were at times highly abstract and noisy and at other times extremely melodic and calm. Many of these micro compositions were used in the production of his recent release "Object and Organic Code", the others (almost 2 hours worth) were handed over to Andrew Deutsch who was to construct another release combining sounds of his own. Being responsible for the overall
"Auskomponierung" or compositional unfolding of the work, Deutsch combined synthesized sounds, drones, chatter, loops and other
d.s.p. techniques to produce what he hoped would be a kind of
"Gebrauchsmusik" or useful music that one might use in the home. The work has a notion of
"ambitendency" built into it, that is, the tendency toward change combined with an equal tendency toward stasis. The work could be described as "meta-divisionism", 'Baroque Minimalism", or "expanded systemic digital minimalism". Sound works for our new recombinatory world" |
