Pharoah Sanders is an American jazz saxophonist. A member of John Coltrane's groups of the mid-1960s, Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound".

Artwork By [Cover] - eRikm , oh3o
Electronics [3-k.pad ∞ System, Md], Turntables, Edited By [Reorganized], Mixed By - eRikm
Electronics [Electroacoustic Devices], Edited By [Reorganized] - Jérôme Noetinger
Mastered By - Jean Luc Therminarias*

Pharoah Sanders is an American jazz saxophonist. A member of John Coltrane's groups of the mid-1960s, Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound".

IMPORTED FROM JAPAN BY RYKODISC

This collector’s dream set completes our 20-disc series of limited edition Frank Zappa Japanese imports. Packaged in deluxe mini-album jacket sleeves, these 10 classic albums are packaged to re-create the original vinyl packaging in miniaturized form!

Pharoah Sanders is an American jazz saxophonist. A member of John Coltrane's groups of the mid-1960s, Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound".

Jay Clayton (vocals), Joan LaBarbara (vocals), Janice Jarrett (vocals), Leslie Scott (piccolo), Steve Reich (percussion/piano), Russ Hartenberger (percussion/piano), Bob Becker (percussion/piano), James Preiss (percussion/piano), Tim Ferchen (percussion), Steve Chambers (percussion/piano/organ), Cornelius Cardew (percussion), Glen Velez (percussion/piano), Ben Harms (percussion)

Vampillia's Candlelight Records debut album "Some Nightmares Take You Aurora Rainbow Darkness" which was
produced and mixed by Ben Frost(his new album "AURORA" is selected BNM of pitchfork) and mastered by Valgeir
Sigurdsson. This album's all work process include recording had been done at Greenhouse studios, well- known as
the studio created albums of Bjork and Sigur Ros in Iceland.
This album show you overwhelming sense of beauty and explosion of non-standard from Track1 beautiful which calm
and disquieting to The last track which Jarboe(ex,SWANS) sing with her voice supreming enlightenment.

Bass – Kohichi Yamazaki, Yasushi Yoneki
Drums – Akihiro Ishiwatari, Kenichi Kameyama
Piano – Shoji Aketagawa
Producer – Shoji Aketagawa
Tenor Saxophone – Kazunori Takeda

Having already achieved varying degrees of commercial and critical success with Roy Ayers' Ubiquity project and Robert Flack, Harry Whitaker went into the studio to record Black Renaissance: Body, Mind & Spirit, a tone poem reflecting on the state of African American music in the 1970s. Debunking the myth of the record's rarity aside (scarcely available for decades until its 2002 reissue by Ubiquity), this album is a map of the African American musical canvas -- a symphony of melding influences as far reaching as Sun Ra's call and responses to the future, John Coltrane's tonal meditations to the holy spirit, and the electronic wizardry of Herbie Hancock's "Raindance" all nestled together in unison. The strength of this album lies in all these variables and Whitaker's own unique composition sensibilities bringing it all together in a way that's accessible to people unfamiliar with any of the aforementioned artists. Black Renaissance: Body, Mind & Spirit is a haunting echo of progression in a time where innovation was the norm, not the exception.

British experimentalist Leifur James preps new EP The Year Turns To Air.
Fresh off the back of a fruitful few years that saw the release of the artist’s much lauded debut album, notable live performances and audio-visual collaborations, the London based composer returns with a brace of new recordings. James builds on the success of his breakout with a dense and emotive new offering wrought with organic sound design and accomplished instrumentation.
Born in part as a response to challenges that continue to be felt worldwide, the backdrop for the music is the Neolithic stone circle at Avebury in the UK near to the home of the artist’s father and where James spent much of the past year. Returning to a simpler existence, closer to nature and landscapes infused with such prehistoric lineage provided valuable insight during the composition process. The combination of acute isolation and remedy worked to draw a new energy upwards and into the light that transferred itself almost by osmosis into the music. The transformation is best described by the artist themself, recalling a new moon rising, gleaming on the horizon during a period of particular intensity in February 2021, “like a tide was turning for... us all.”
Opener Sirens introduces the EP with cinematic verve before building patiently, propelled by an undulating piano riff. Buoyed by the gentle hiss and crackle of audio noise and complete with softly engineered field recordings, the track waxes and wanes in James’ characteristic style before opening up into a rousing and energetic piece of left-field techno music. Ethereal follow up Marianna eschews the kick drums in favour of soft modular bells that drive the work throughout its runtime. If Sirens hinted at James’ ability to draw intensity out of the restrained and economic use of instrumentation, Marianna certainly proves the point: as a single, swirling synth lead gives the track it's almost trance-like energy. On Locked James returns to drum programming–hi-hats shuffle while bells reignite to deliver a simple but hypnotic hook; piano riffs drop in and out alongside rising synth components and washed out vox to create an immersive experience made powerful by the artist’s admirable production techniques. New Moon bears all the hallmarks of an artist whose primary concerns include density, texture and moving songwriting. Opening simply enough, a processed piano riff introduces the piece while soft live drums draw and pull to create space for playful guitar and synth parts that drive the work onwards, simultaneously creating moving gestures across the sonic landscape. A mesh of glistening sonics executed with considerable assurance, the ebb and flow of the track makes for an invigorating outro to the EP, fading to silence in its final seconds to close the door–even if just momentarily, on the next exciting chapter in the artist’s development.
Released November 24th, The Year Turns To Air is supported by a new Leifur James European tour beginning in October this year, including stops at AB in Brussels, London’s Village Underground and Melkweg, Amsterdam.

by Charlie Wilmoth
The Austrian trio Radian is a post-rock/electronic group who uses both acoustic and electronic instruments. The group's members often play even their acoustic instruments in such a rhythmically precise manner that Radian sounds more like an electronic act than a band.
Radian -- which includes bassist John Norman, drummer Martin Brandlmayr, and synth player Stefan Németh -- formed in Vienna in 1996, although the group did not play its first show until a full year later. Soon after, the Rhiz label released the group's self-titled EP in Austria. The group's first full album, TG11, was released jointly by Rhiz and Mego in 2000. In 2002, Radian traveled to Chicago to record with producer John McEntire, and the Thrill Jockey label released the resulting full-length, rec.extern, later that year. Rec.extern was the first Radian release to receive widespread distribution in the U.S., and in October 2002 the group toured the Northeast and Midwest to support the album. Juxtaposition saw Radian team up with John McEntire again and was released on Thrill Jockey in August of 2004.

"Music is like the wind, it never stops. We are the ones who stop listening". Alain Damasio
The Grand Sbam, a bastard music ensemble, embarks with Furvent on a new journey in octet, to meet the wind and the natural elements, inspired by A. Damasio's novel: The horde of the counterwind and by the symbolism of the Yi King (I Ching).
Carved in the continuous flow of sound, the music of the ensemble is a de-fluence, a circumvention, an inflection of air and time. An impetuous flow of sound defying musical boundaries. Nowhere between rock, contemporary music, ancient music, jazz, electroacoustics, it draws sharp lines and curves on the back of our disintegrating present. It plunges the listener into a familiar universe with an unpredictable future, caresses him like a soft zephyr and propels him straight into the eye of a cyclone.
Powerful and delicate, virtuoso and sensitive, Furvent's music, composed for four hands by Guilhem Meier and Antoine Arnera, is nourished by contrast, developing a furious madness charged with symbols and poetry. It explores the multiple and hybrid possibilities of a singular instrumental ensemble with generous tones, mixing electric and acoustic sounds.
Singing is omnipresent, oscillating between solos, duets, choirs, in polyphonies, monodies and counterpoints, made up of onomatopoeia, invented words and French sometimes distorted or compressed in order to shift the meaning in the sounds and to infuse the speech with strange and musical colors, de type " soufli blastou sifloventéoval rafali tonutriyè tiotiènio éolié laliéné ", ou encore " chu yu yu you yo ya wa ya kin, dwendet dwen det ". This broad use of the voice is wrapped in an avalanche of acoustic and electric sounds, with the presence of rare instruments such as the Mellotron, ancestor of the sampler, or the Cymbalum, ancestor of the piano. Synthesized, Bass, Piano, Rhodes, Semi-electric Drums, Marimba and percussions collide and implode, generating a cosmic Blast, which is also called Grand Sbam.

People Clasp Imagination EP by Wood Pushing Melon
木推瓜2020年新单曲《人民抱住想象力》通过BandCamp线上首发！

Jazz-Rock, Krautrock