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First Terrace Records is thrilled to announce that Justin Wright - the Montreal cellist & composer hand-picked for support duties by luminaries such as Colin Stetson, Hauschka,  Bing & Ruth, and the late great Jóhann Jóhannsson - is gliding calmly into the spotlight with his debut long player.

With an assembled quartet of violin, viola, cello and double bass, the record was tracked in Rolston Hall at the Banff Centre, in the Canadian Rocky Mountains, and carries in its sound the location's stately beauty.

Over the duration of Music For Staying Warm, nine experimental compositions and improvisations are unwound for the listeners pleasure, each with its own gentle patience, as Justin invites you to 'relinquish your sense of anticipation' and enjoy the drift.

Announcing itself like sunshine on frost, Harmonic Loops opens the record and begins to thaw the path ahead. Throughout the album, woollen strings swell at their unforced pace and combine to swaddle the brain's pleasure sensors in frequent moments of pure hygge.

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition vinyl LP of Morton Subotnick's landmark 1967 debut electronic release, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition vinyl LP special:

All-new, full-colour gatefold jacket.
Vinyl edition is strictly limited to 1,000 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.
Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.
Featuring rarely-seen, newly-scanned photos of Morton Subotnick in his Bleecker Street studio where "Silver Apples..." was recorded.

Also includes a scan of the LP's original Nonesuch-edition liner notes

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition cassette tape of Morton Subotnick's landmark 1967 debut electronic LP, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition cassette special:

First-ever cassette tape reissue, and first new cassette edition since the LP's original 1967 release!
Cassette edition is strictly limited to 300 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.

Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.

All-new, full-colour J-card artwork, + slick silver tape shell.

Jazz isn't dead. Well, actually, in this case, it is... but in the most thematically appropriate way for the 20th Anniversary edition of the Grim Fandango soundtrack. Composer Peter McConnell's trumpet-y and rambunctious big band lounge act can finally be listened to the way it was always intended - on vintage black vinyl. Real human orchestras were rarely used for videogame music back in the 90s, but in this Remastered Director's Cut, every note was re-recorded and performed by actual fleshy people. The results are foot-tapping and chill, turning your living room into a veritable smokey club (smoke not included).

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
Music Promenade (1964-1969), 20'29

Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
" Hétéro-Concert ""

Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

SIDE B
Unheimlich Schön (1971), 15'40

Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

"How does a young woman breathe when thinking about something else "
To be listened to at a low volume.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

A unique voice within the new UK jazz generation, 'Infection in the Sentence' is shaped by London's thriving and diverse live music scene.

Swiftly rising to become one of the most in-demand players of her generation, Sarah Tandy has performed on keys for Jazz Jamaica, Nu Civilisation Orchestra, Maisha, Where Pathways Meet, Camilla George, Nubya Garcia, Nerija, Daniel Casimir, Binker Golding, Clark Tracey and many more. She is also a member of Ronnie Scotts House Band, the W3 Collective.

On 'Infection in the Sentence', Tandy's technical virtuosity showcases a fearless approach to her own individual brand of piano-led jazz. "The music developed gradually through many years playing on London's underground music scene... In the album I'm seeking to find a continuum between the jazz music which I grew up listening to, and the multi-faceted, genre-melting sounds of present day London", she says.

A finalist in BBC Young Musician of the Year, she also held a residency at Servant Jazz Quarters in Dalston where she met band members Femi Koleoso (Ezra Collective, Jorja Smith), Mutale Chashi (Kokoroko, Jorga Smith), and Binker Golding (Binker & Moses), who were pivotal to her development. The inimitable Sheila Maurice-Grey plays trumpet in the band.

She's performed at Love Supreme, Berlin Jazz Festival, and twice with her her trio at the Ronnie Scotts International Piano Trio Festival supporting Robert Glasper.

In an earlier incarnation, she has also appeared as a classical soloist with the BBC Symphony Orchestra. In 2019, Tandy will be one of many jazz re:freshed artists to appear at SXSW. She will be performing songs from 'Infection in the Sentence' at the album launch at Ronnie Scotts, London on the 4thMarch.

Arrow is a piano album - the sound of Hebden Bridge on a Saturday afternoon, embellished with wisps of Glasgow. Recorded especially for Preserved Sound in Hebden Bridge, "Arrow" is sound of Richard Youngs alone at the piano, embellished with light drums and an old organ. This collection of solo improvisations is all about capturing the moment - that piano and that afternoon in Hebden Bridge.

'I sat down at the piano and just played,' says Richard. 'No preconceptions, nothing worked out. I wasn't trying to achieve anything other than to enjoy playing the piano.There was also an organ in the room, so there are touches of that. I then took these back to Glasgow and knocked it into shape - a few overdubs, nothing drastic.'

Richard Youngs - organ, percussion, piano, synth, tape, voice

You can hit beats so that they betray an intention - through accentuation or emphasis. Or you can hit them so that they seem mechanical, devoid of intention, a pure pulse, as in much minimalist music. Both possibilities abound in different genres. But there is also a third one, and that is what Sven-Åke Johannson has concerned himself with again and again: to hit so as to produce one or several accents, or in any case traces of intention, and then to frame them by means of repetition and regularity so that the intention as such fades and appears as a regular, planned part of a now quasi-mechanical process. - Diedrich Diederichsen

Sven-Åke Johansson - percussion

Recorded at SÅJ Studio/Fichtestraße, 2017

Aaron Martin's album "A Room Now Empty" sees him returning to the memory-based recordings of previous albums such as "Almond", "River Water" and "Chautauqua", where layered meanings in the music and titles don't allow a single clear-cut reading of the music.

'A Room Now Empty is similar to the concept of Day Has Ended where Christoph Berg and I created music to encompass the passing of a day, but stretched out for the passing of a lifetime or at least a portion of a lifetime,' says Aaron.

Using cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls and lap steel, "A Room Now Empty" keeps the same intimacy and directness of Aaron's previous albums, with a slightly more processed sound creating distance within the music.

All music by Aaron Martin: cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls, lap steel

Silent Figure with Landscape LIX by øjeRum

Words and Music is a rare and sought-after album by artist Tom Phillips (b. 1937). Fueled by painting, opera, and concrete poetry, this LP was originally published by the king, Hansjörg Mayer, in 1975 (this LP has never been repressed).

Most are familiar with Tom Phillips' "After Raphael" painting used on the cover of Brian Eno's Another Green World LP, along with the television series he made with director Peter Greenaway, A TV Dante (1990). However, Tom's crowning achievement is his art-book A Humument: A Treated Victorian Novel. A reworked version of the obscure book, A Human Document, by W.H. Mallock, each page laboriously painted and collaged over. Spools of text are re-discovered from the original book, stitching together a new story surrounding the protagonist, Toge. Six editions have been published from between 1970 and 2017, each with different texts and paintings imagined. Phillips' work has the air of forlorn fantasy to it ... a designed romance.

The first side of Words and Music contains four chamber works grown from impressionistic and graphic scores. A lovely flavor of British experimental composition à la Cornelius Cardew (with whom Phillips collaborated in the Scratch Orchestra). Tom's music incorporates touchstones of visual art: in his Irma opera, a band of voice colors wash over slides of chamber melodies; in "Ornamentik," (commissioned by Stuart Dempster) acoustic and electronic instruments are played as extended shapes along a piece of paper. The piano piece "Lesbia Waltz" augments sheet music, cut-up measure by measure, placed and replaced.

The second side of the LP holds readings from his famed book, A Humument. Recited by Tom, whose chestnut voice perfectly carries the stanzas of bizarre, romantic poetry. Dancing between discoveries and meanings with gentle blood and ink soaking on each word.

Double vinyl LP in Tri-Fold sleeve, with A2 Poster and 4 glossed behind the scenes prints.

where's the drop Recorded with the 73 piece CMG Music Recording Orchestra in Hollywood's famous East West studios, deadmau5 and musical composer Gregory Reveret are happy to bring you the full 15 track album on a Limited Edition double vinyl package.

Based around Joel's "7" EP and including classic deadmau5 records such as "Strobe" & "HR 8938 Cephei", "where's the drop" was performed live at The Wiltern and is now a must-have for any vinyl fan.

Only 500 copies available

Auf seinem Debüt-Album bei Sony Classical beschreibt der Oscar-nominierte Komponist und Pianist Hauschka (Volker Bertelmann) die Erfahrung des Waldes als Metapher für die Suche nach dem Sinn des Lebens. 'A Different Forest' ist das erste Solo-Album, für das er gänzlich auf die Präparation seines Pianos verzichtet. Mit dem Album thematisiert Hauschka das Erleben der Natur als Grundlage für sein Verständnis des Lebens und seiner Art zu komponieren. Versinnbildlicht ist die Naturerfahrung für Hauschka durch das Bild des Waldes: In 'A Different Forest' beschäftige ich mich mit dem Wald als Naturraum und Kontrast zum städtischen Alltag; zu meinem Lebensraum. Wo möchte ich leben und arbeiten, welche Umgebung benötige ich, um mich zu verwirklichen In der Auseinandersetzung mit diesen Fragen komme ich immer wieder zur Natur zurück. Beim Wandern geht man oftmals einfach drauflos, ins Ungewisse. Man befindet sich in einer Umgebung, die einem keine Sicherheit gewährt, und muss sich ganz auf die eigene Wahrnehmung verlassen, um Orientierung zu finden, erklärt Hauschka und findet hierin nicht nur eine grundsätzliche Vorstellung zur Orientierung in der Welt, sondern auch den Ursprung seiner Art zu komponieren: Meine Art zu Komponieren hat viel mit den freien Wanderungen in der Natur gemein. So sind musikalische Ideen für mich Wegpunkte beim Spielen und das Spielen selbst die Wanderung, die diese verbindet. Ich ordne klingende Ideen in einer musikalischen Reise an.

*** UNRELEASED AFRO-CUBAN JAZZ FROM 1967 ***

Ulysses Crockett studied classical piano from 6 to 14 years old, adding alto saxophone and flute at 16 years old while attending Oakland California's McClymonds High graduating in 1956 as student body president and Valedictorian entering Stanford University in the fall of 1956.

During the Lawrence Ferlinghetti Bay area beatnik era (circa 1957-1960), Ulysses' group was known as The Latin Jazz Quintet which included an early female bongo drummer named Joyce Zavaleta. Joyce had an extensive vinyl LP collection of afro-cuban records including compositions and performances of legendary bassist Israel 'Cachao' López and international known singer Celia Cruz. Joyce met U.C. Berkeley Student John Miller and taught him the Cuban piano styles. The regular members of the Afro-Blue Persuasion band consisted of John Miller - piano, Harald Haynes - congas, Robert Belinksy - drums, Ulysses Crockett - vibraphone, and Robert Bing Nathan - upright contrabass.

At nineteen years old each, bassist Paul Jackson (who appears with genius composer, performer and pianist Herbie Hancock) and tenor flautist Robert Harvey were both serving in the U.S. Army station located in the San Francisco base known as the Presidio. On weekends, both Paul and Robert would sit in with the Afro-Blue Persuasion band.

"Live at Haight Levels" is the one and only recorded live performance by the Afro-Blue Persuasion. Finally, the songs are going to see the light of the day after 52 years! This is afro-cuban jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!

Key selling points:

- all songs previously unreleased

- deluxe vinyl LP with old school tip-on cover

- incl. full album download code

- limited to 500 hand-numbered copies

Teresa Winter's LP debut Untitled Death is a hallucinogenic wormhole of sensuously ambiguous pop and electronic experiments primed for the after-after party and altered states of reception.
Realised thru a mesh of strategies from live, lo-fi tape recordings of synths, samplers and vocals to nascent experiments with algorithmic software, Untitled Death is both a divine revelation of new aspects to Teresa's sound and an expansion of The Death of Rave's as-yet-unidentified aesthetic.
Teresa's zoomed photos of magic mushrooms spattered in popping fluorescent oils which adorn the cover of Untitled Death hint at a more personalised insight and psychoactivity, a proper, lush trippiness. Just like the putative psilocybic experience, Untitled Death naturally comes on in waves of synaesthically-heightened sensuality, from strangely libidinous stirrings to utter, eat-your-heart-out euphoria with a spectrum of hard-to-explain and unexpected sensations between.
We can hardly recall a more seductive album opener than Oh, which blossoms from plaintive drum machine and chiming pads to a half- or mis-heard beckon I really like it / when you let yourself go / I really want you inside me / I want to make you my own', before curdling into bittersweet partials and deliquescent hooks as earworming as anything from AFX's SAW 85-92 classic.
It's devastating in its simplicity and almost blush-worthy in effect, and is soon enough lopped curtly into the soundtrack-like enchantment of Untitled Death, which could almost be a cue from some '60 Polish or Czech art-house film, serving to neatly set up the prickling, windswept scene of romantic introspection and dereliction in Pain Of Outside - perhaps Teresa's most accomplished and affective pop turn to date, think Grouper awkwardly blissing out at 9am in the corner of a successful sesh/campsite/free party.
From that perfectly damaged side closer, the B-side opens to a different sort of spine-freezing beauty and sense of abandonment with plangent, dissonant harmonics describing rugged Yorkshire wolds and coast as much as a radiant lightshow on the back of flickering eyelids.

Blood, Sweat & Tears' fourth album B, S & T: 4 was written by different band members. The record peaked at number 10 on the Billboard Pop albums chart and two singles made their way into the Pop singles chart. The tracks are generally shorter compared to their previous albums. The band moved a little bit to the mainstream direction, offering some impressive performances. Their musical style is still a mix of rock, blues, jazz and folk. The warm atmosphere is recognizable and it's great from beginning to the piano led end, a charming, energetic and lively album.

In their almost 50-years of existence Blood, Sweat & Tears covered a lot of famous songs by James Taylor, The Band and The Rolling Stones, among others. They also incorporated different music from artists like Thelonious Monk and Sergei Prokofiev in their songs.

Picking up exactly where Disaster left off, Evryman For Himself features a full band and larger arrangements. Includes contributions from David Coulter (Damon Albarn, The Pogues), Fred Lonberg-Holm, Jason Toth (The Handsome Family) and the horns of Ralph Carney (Tom Waits, B52s). Second entry in the "Disaster Trilogy".

His work has inspired a diverse cast of collaborators that lie inside and outside his realm of alternative Americana, such as Jarvis Cocker, Thor Harris (Swans, Freakwater), and The Handsome Family with recent performances that include the likes of Rufus Wainwright, Andrew Bird, and Swans.

This record documents music made by two women - one American and one Korean - who have both made a profound impact within experimental music. Ellen Fullman's Long String Instrument has been a long-term life-work of incredible ambition and dedication. The results are immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres.

The Air Around Her was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet - the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city's Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room.

Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016.

Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas LUPO Lubich at Calyx, Berlin. Artwork by Bill Nace.

Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, 'The Air Around Her' is a quote from 'Vermeer Interiors' a poem by Margaret Rabb, from her book, 'Granite Dives'. This release has been supported by the Swedish Arts Council.

Released by 1703 Skivbolaget in cooperation with Ideell Edition.

The title gives an indication as to what this cycle is about: 'Lines' as a catch-all phrase for melodic relationships.

Differently formed - from a unison melody for two instruments to counterpoints of independent voices. Composed in different ways - from 'calculated' proportioning to spontaneous writing. Expressive in different ways - from lament to competition.

If nothing else, these pieces are also a journey through all registers of the clarinet family, from Eb- and Bb clarinet through basset horn and bass clarinet all the way down to two contrabass clarinets.

Alexander Stankovski - omposition Petra Stump-Linshalm - Bb Clarinet, basset horn, bass clarinet, contrabass clarinet Heinz-Peter Linshalm - Eb Clarinet, Bb Clarinet, bass clarinet, contrabass clarinet

Zeitkratzer member Reinhold Friedl revisits the piano guts some years after his much album Inside Piano (2011). While Friedl's first solo album defined the practice of playing on the strings of a grand piano," Music For Piano, ... Spring/Flower/Cracker/Stream" mixes piano with concrete and quasi-electroacoustic, freely moving from moving from plain motifs to walls of noise. A truly beautiful and ear-pleasing record that unashamedly shows the composer's and performer's love for the piano.

Reinhold Friedl studied the piano with Renate Werner and Paul Schwarz in Stuttgart, Alexander von Schlippenbach and Alan Marks in Berlin, composition with Mario Bertoncini (nuova consonanza) and Witold Szalonek. He has collaborated with musicians like Phill Niblock, Elliott Sharp, Alvin Lucier, Keiji Haino, Lou Reed, Carsten Nicolai, Laurie Anderson and has released more than hundred CDs.

All tracks composed and performed by Reinhold Friedl Recorded at the School of Music of the Aristotle University of Thessaloniki on the 11 and 12 March 2017 by Yannis Paxevanis Mixed by Yiannis paxevanis and Reinhold Friedl at Subway Studio Mastered by Nikos Lavdas at Kiwi, Athens Cover photo by Reinhold Friedl

Being introduced to the work of Ludovico Einaudi at a young age, Joram started composing and home recording his own neoclassical piano pieces. The thread that runs throughout his compositions is the minimalist character: repeating structures that slowly build and fade. The works are electroacoustic spaces of sound with a felt, warm, melancholic undertone - translating indefinable moods into music.

Piano Music is a release with two short tracks which are based on piano recordings Orphax made at De Ruimte in Amsterdam Noord in Mid and End of Summer 2017. On this release musically Orpax breaks with his other work by using more melodic ambient sounds and focus less on the drone. It is one of his most personal works to date. The music on this 7" is about closure and trying to leave things behind, how difficult this might sometimes be. It is about making the wrong decisions and regretting those, but also learning to cope with these and to move on.

Sinfonie Nr. 9 in D-Moll ist die letzte Sinfonie, an der Anton Bruckner gearbeitet
hat. Der letzte Satz war zum Zeitpunkt seines Todes 1896 unvollständig.
Der niederländische Dirigent Van Beinum war ein Spezialist für die Musik von
Bruckner. Eine der besten Aufnahmen der 9. Sinfonie von Bruckner, von denen
einige behaupten, sie sei die beste, wurde im September 1956 mit dem
Concertgebouw Orchestra in Amsterdam aufgenommen. Diese ist nach allen
Maßstäben eine großartige Konzertleistung; eine dramatische und epische
Performance, die dieser großen Symphonie im ihr gebührenden Rahmen mehr als
gerecht wird.
Eduard van Beinum ist für die Bruckner-Tradition des Concertgebouw Orchestra
verantwortlich. Eduard van Beinum war ein großer - wenn nicht der größte -
Brucknerianer.

The very first studio radio recordings of Jacques Brel performing in three of the most mythical French cabarets : Chez Geneviève , Chez Gilles and l'Échelle de Jacob, between 1954 and 1956.

In the early 60's in France, Léo Ferré leaves the cabaret's stage where he used to perform for the music-hall scene where he keeps singing the Paris of lovers, night owls and misfits.

Piano always had a central role in my discography and this selection of short pieces showcases what might be my musical signature: quietness, slow pace, long resonances, a close as possible to silence. Music to be played at night.

Pianisme is a collection of unreleased and out-of-print piano works composed and recorded since 2004. Most of them are part of soundtracks for feature films by french director Sébastien Betbeder (from 2007's Nuage and the very rare short film Nu devant un fantôme - whose music was completely unpublished until now). Also released for the first time: In the twilight of Paris (written the day after Luc Ferrari's death, as a quiet homage to a composer whose works have often been part of the Sub Rosa catalogue) and Soñando, straight repetition and variations on a minimal pattern, created for choreographer Christian Rizzo's 2010 show L'Oubli, toucher du bois.

This Manifesto Of Outsider Orchestrations, Teenage Symphonies And Cultivated Concrete Is The Debut Album Of Experimental Irish Avant Garde And Electro Acoustic Innovator Roger Doyle. A Pianist, Composer And Improvisational Jazz Drummer With A Penchant For Experimentation That Would Marginalise Him From Traditional Seats Of Learning In His Native Homeland But Embrace Him To The Bosom Of Europe's Leading Forward-thinking Research Centres For Electronic And Computer Music. Here He Would Piece Together Two Highly Sought After Experimental Albums Before Returning Home To Channel His Multi-disciplinary Work Ethic Into The Agit Pop Theatrical Company Operating Theatre And Play A Leading Role In The Burgeoning Irish New Wave Scene As An Early Signing To U2's Mother Records.

A Collection Of Some Of Doyle's Earliest Works As An Indomitable Scholarship Student Of Composition At The Royal Irish Academy Of Music In Dublin And Then As Founding Member And Drummer Of Experimental Jazz Rock Outfit Jazz Therapy (who Would Later Become Supply Demand & Curve), This Patchwork 1975 Debut Long-player Draws From What Was An Already Bulging Portfolio That Included Academic Assignments, Living Room Compositions And Soundtrack Collaborations With Irish Filmmakers.

Originally Part-recorded And Subsequently Aborted When The Would-be Label Vanished Without Trace Overnight, Oizzo No Was Shelved Indefinitely Until A Scholarship At The Prestigious Institute Of Sonology At The University Of Utrecht In Holland Afforded Doyle Not Only The Opportunity To Partially Revise His Humble Opus In Their State Of The Art Studios (as Well As Those Of The Ems Studios In Stockholm) But Also The Money To Press A Limited Run Of 500 Copies And Help Further Cement The Foundations Of His Future Status As One Of Ireland's Leading And Most Versatile Contemporary Composers.

As our maiden voyage into an expansive vat of unreleased music by Polish composer Andrzej Korzynski, Finders Keepers Records presents his previously unreleased electro/orchestral/experimental score for Andrzej Zulawski's surrealist 80s horror classic, Possession. These 25 cues were written and recorded exclusively for the 1981 award-winning film starring Isabelle Adjani and Sam Neil, but due to the progressive, stark and modernist nature of the finished film less than half of them made it on to the actual director's cut - leaving many of the tracks on this spackage totally unheard outside of Korzynski's studio.

The intended Possession score in its entirety marks an important axis in Korzynski's career where his various musical disciplines overlap. In one respect it marks his first forays into to synth driven electronics and disco drum machines, while other tracks epitomise the well honed techniques used in previous Zulawski scores, such as Third Part Of The Night and The Devil, which rely on his inimitable orchestral arrangements and combination of clavinet, Rhodes, piano and electric guitar.

This is the first time any of this music has been released outside of the films original context and is packaged on CD, 12" vinyl and conceptual green compact cassettes housed in miniature clamshell cases reminiscent of the films original VHS release that briefly adorned UK video shops in the early 1980s (before being banned by over excited censors as one of the unproscecuted 'video nasties' in the infamous 1983 tape cull). The important restoration of Korzynski's music aims to shed new light on the seldom manufactured productions of the composer whose vast cinematic catalogue warrants overdue global status alongside other golden era Eastern European composers such as Kryzstof Komeda, Jan Hammer and Zdenek Liska - not to mention the best of the French and Italian soundtrackers, such as Roubaix, Vannier and Nicolai.

Duplicated and carefully remastered directly from Korzynski's original master tapes this album boasts the uninhibited studio experiments and retains the pre-cut ambience.

Boomkat Editions is honoured to present a first vinyl edition of Akira Rabelais' sophomore album, 'Eisoptrophobia' a spellbinding, uniquely decayed rendering of solo piano pieces by Erik Satie and Bela Bartók. The 2001 release forms a poetic farewell to the
20th century and a bittersweet embrace of new technological possibility. It's required listening for lovers of The Caretaker's haunted ballroom elegies, Stephan Mathieu's electro-acoustic microphony, or indeed the original, classical pieces.
First released in 2001 on CD by Ritornell, a sub-label of Mille Plateaux, 'Eisoptrophobia' is an early iteration of Akira applying his Argeïphontes Lyre software to classical music, and opening a fascinating schism between the original object and his modern, subjective perspective in the process. This process would also generate rarified and haunting results on Akira's 'Spellewauerynsherde' (2004) CD, which was coincidentally issued on vinyl by Boomkat Editions for the first time in 2017.
The original piano recordings of Satie and Bartók pieces were made at Wave Equation Studios in Hollywood, California, and subsequently transformed with Argeïphontes Lyre, Adobe After Effects, SoundHack, Peak, and Pro Tools with beautifully elusive results.
The recognisable melodies here ring out in myriad new ways, sometimes fractured and indented by patinas of crackle that echo the original contours, while, at other times, they're smudged into mind-bending obfuscation or spectral, timbral thizz. They have
the uncanny capacity to resemble exhumed artefacts, dug up after decades of decay, and riddled with potently psychedelic mycelium ready to spore on the listener's mind.
In its unique process and disjointed effect, 'eisoptrophobia' is arguably an album without precedent, and one that never ceases to yield anything less than a deeply reflective, perhaps even transformative experience with keener ears.

a1 | Notturno
a2 | Troisième Gnossienne
a3 | Aphorisming, Second
a4 | Rhythme Bulgare
a5 | Aposiopesis
a6 | En Y Regardant À Deux Fois
b1 | Gymnopedie No. 1
b2 | Gymnopedie No. 2
b3 | Gymnopedie No. 3
b4 | M2s Broken & Together
b5 | Berceuse
b6 | Bociumeana
c1 | Cinquième Gnossienne
c2 | Première Gnossienne
c3 | Aphorisming, First
c4 | Notturno (Lovely)
d1 | Quatrième Gnossienne
d2 | Aphorisming, Third
d3 | À L'Orientale
d4 | Impromptu In Second Person
d5 | m2s M7s (Fragmented)
d6 | Pe Loc
d7 | Sarabande No. 2

Original released 1977 on 'Alpha Brussels', this LP includes two compositions by Karel Goeyvaerts, who created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen and laid the foundations for generalized 'punctual' serialism in the 50s.
In 1970s the BRT appointed him as producer at the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. Since 1974 he was in charge of the New Music productions for BRT-3 in Brussels.

Mica Levi returns to Slip with six piano pieces played by Eliza McCarthy in 'Slow Dark Green Murky Waterfall' - a crepuscular suite riddled with Mica's inquisitive, conversational phrasing and
smartly expanding upon their 7' track, 'Riding Through Drinking Harpo Dine' (Foom, 2017), a new recording of which also appears in this set
The culmination of three years work between Mica and Eliza - winner of the 2013 British Contemporary Piano Competition - 'Slow Dark Green Murky Waterfall' follows up their collaboration on the Oscar-nominated score for Pablo Larrain's 'Jackie' score with a finer-shaded, patient space for low-lit, smoky expression that's so intimate and personal it almost feels like eavesdropping a private recording.Ineffably bound by a sense of unreal poise, Eliza's interpretations are subtly, dynamically rendered in-the-mix by Mica to present the pieces as though in flux, like poignant, unresolved statements that occur in the flow of quiet, intent dialogue and linger in the air. It's testament to the pair's well-honed intuition that the results connote this feeling so naturally.
And it's maybe our familiarity with Mica's work, from her earliest chopped 'n screwed orchestrations, to her 'Under The Skin' score and her mutant pop pieces, that we keep expecting
hers or Tirzah's voice to match her melodies with wordless vocals or harmonious limns throughout the six pieces. That's probably simply down to the fact that Mica writes with such a pop-wise appeal and soulful sensitivity that it prompts subvocalisation in every listener, or maybe it's just us, but either way the hook of these instrumentals will be floating your head for days, weeks, or a lifetime after they're imbibed...

This is a brand new recording of the best of legendary film composer John Williams with the London Symphony Orchestra. The LSO's close connection with John Williams goes back nearly 40 years to the first notes of Star Wars in 1977 and this release Includes Hedwig's Theme from Harry Potter recorded by the LSO for the very first time. Another highlights is the remarkable soundtrack to Schindler's List, featuring a solo cello - the first time this arrangement has been recorded. Later on this year (October) and for the first time in 22 years, John Williams will conduct the LSO at the Royal Albert Hall. Marketing Spend: £3k print - John Williams is conducting the LSO in concert at the Royal Albert Hall on 26th October // Radio ads on Classic FM, Heart, Radio X.This is a brand new recording of the best of legendary film composer John Williams with the London Symphony Orchestra. The LSO's close connection with John Williams goes back nearly 40 years to the first notes of Star Wars in 1977 and this release Includes Hedwig's Theme from Harry Potter recorded by the LSO for the very first time. Another highlights is the remarkable soundtrack to Schindler's List, featuring a solo cello - the first time this arrangement has been recorded. Later on this year (October) and for the first time in 22 years, John Williams will conduct the LSO at the Royal Albert Hall. Marketing Spend: £3k print - John Williams is conducting the LSO in concert at the Royal Albert Hall on 26th October // Radio ads on Classic FM, Heart, Radio X.

Recondite has announced his fifth album, Daemmerlicht , due out in February on his own Plangent Records. Translated as fading light,' the new album finds the Bavarian musician exploring novel territory, combining his love of instrumental hip hop and downbeat with ambient and classical music.The result is Recondite's most focused, meditative work yet. From the haunting soundscapes of Lichtung,' to the cinematic beauty of closing track Immer Da,' the album demonstrates a new level of sophistication to Lorenz Brunner's venerated catalogue of work. Making conscious use of atmosphere and space, the album ultimately harkens to Brunner's unique upbringing in Lower Bavaria.

Mary Jane Leach has played an instrumental role in NYC's pioneering Downtown avant-garde community since the 1970's, working alongside peers including Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner and Arnold Dreyblatt, as well as devoting years to the preservation of Julius Eastman's legacy since his death in 1990. Her vinyl debut Pipe Dreams arrived last year via the Blume imprint. For (f)lute songs, Modern Love is honoured to bring together four pieces composed for flute and voice, spanning a period of over 30 years and triggered by a fascination with sound and performance. As Mary Jane explains: 'In the late 1970's I was practicing playing and singing with tapes that I had made of myself performing long sustained tones. It had started out as an exercise in intonation, and ended up with a fascination for sound phenomena: difference, combination, and interference tones. The first piece I wrote for an instrument that I couldn't play was Trio for Duo (1985), for live and taped alto flute and voice. I had noticed that my voice matched the sound of the bottom fifth of the alto flute, and so the voice in this piece is sung to sound as much like an alto flute as possible. By using glissandos, more 'extra-notated' sounds are created than appear on the page. Bruckstu¨ck (1989) was originally written for eight sopranos, but is played on flutes on this recording - using the same pitches, but sounding very different. The piece is polyphonic, with a lot of closely resolving intervals - primarily major and minor seconds. I initially wrote Dowland's Tears (2011) for nine flutes, thinking of it as a recording project and not a concert piece (it now has a 'solo' tenth part added), while Semper Dolens (2018) is for solo and six taped flutes, with sustained harmony and dissonance in mind'. These four recordings feature noted Roman flutist Manuel Zurria, who has worked with some of the most important composers around the world. In 1990 he founded Alter Ego, a leading group for contemporary music in Italy. Numerous composers have written pieces for him, and he has expanded the repertoire even further by re-orchestrating compositions into pieces for multiple flutes, as heard on almost forty albums.

- 180 GRAM AUDI OPHILE VINYL
- GATEFOLD SLEEVE
- PVC PROTECTIVE SLEEVE
- INCLUDES 2 PRINTED INNER SLEEVES WITH LYRICS AND PICTURES
- BRAND NEW 2018 ALBUM

The Soldier's Tale is a theatrical work 'to be read, played, and danced' by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.

As the work opens, Joseph, a Russian soldier, marches toward his hometown on leave, pack in tow. ('Marche du soldat'/'The Soldier's March') He rests by a stream and rummages through his pack. First he takes out his lucky St. Joseph medallion, then a mirror, then a photograph of his girlfriend. Finally, he finds what he was searching for: his fiddle. He begins to play. ('Petit airs au bord du ruisseau'/'Airs by a Stream') The devil appears disguised as an old man carrying a butterfly net, but Joseph does not notice him and continues to play. The devil sneaks up on Joseph from behind and startles him.

The Soldier's Tale package includes 2 printed inner sleeves with lyrics and pictures.

- 180 GRAM AUDI OPHILE VINYL
- GATEFOLD SLEEVE
- PVC PROTECTIVE SLEEVE
- INCLUDES 2 PRINTED INNER SLEEVES WITH LYRICS AND PICTURES

The Soldier's Tale is a theatrical work 'to be read, played, and danced' by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.

As the work opens, Joseph, a Russian soldier, marches toward his hometown on leave, pack in tow. ('Marche du soldat'/'The Soldier's March') He rests by a stream and rummages through his pack. First he takes out his lucky St. Joseph medallion, then a mirror, then a photograph of his girlfriend. Finally, he finds what he was searching for: his fiddle. He begins to play. ('Petit airs au bord du ruisseau'/'Airs by a Stream') The devil appears disguised as an old man carrying a butterfly net, but Joseph does not notice him and continues to play. The devil sneaks up on Joseph from behind and startles him.

The Soldier's Tale package includes 2 printed inner sleeves with lyrics and pictures.

Andrew Bernstein is a Baltimore-based multi-instrumentalist, composer, sound artist, and a member of ecstatic rock quartet Horse Lords. One could be forgiven for believing at first that An Exploded View of Time's

ceaselessly tumbling billows of tone and self-consuming recursive mantras are the product of loop pedal or delay manipulation, when in fact Bernstein performed each session in real time using only his saxophone.

As such, his pieces stand not only in the realm of heady minimalist composition but within the physical world as one human body engaged in a marathon of dexterity, breath control, manual repetition, and constant self-regulation.

Bernsteins protracted circular breathing techniques and superhuman finger work stun at every turn, as he flits between passages of glistening major key bliss and tumultuous expanses of overblown skronk.

The new intimate studio film from the highly praised Russian duo recorded on a remote Norwegian island. Album of the year winners at the Progressive Music Awards '18 with

their previous release 'Lighthouse' Available on heavyweight 180g vinyl with a printed inner sleeve. Following the success of two highly-praised albums on Kscope, 'Belighted' and

'Lighthouse', Russian duo Gleb Kolyadin and Marjana Semkina are releasing a new studio film shot at and named after a remote recording studio on a Norwegian island. The footage offers a behind-the-scenes insight into the

recording techniques of two of modern progressive music's most talented composers. The content captures Iamthemorning's live set-up from the last three years, with the setlist consisting of songs from their first three studio

albums and an unplugged recording of 'Blue Sea', the first track to be written for their upcoming fourth album and exclusive to a Blu-ray version. The studio was designed with panoramic windows that allow the stunning backdrop

of Giske Island and the Norwegian Sea to be baked into the performances, a location that is featured in glorious high-definition on this Blu-ray. 'Ocean Sounds' builds on the recent success of Kolyadin's self-titled debut

solo album on Kscope, which has been nominated as Album of the Year at the Progressive Music Awards '18: an honour that Iamthemorning have already achieved with Lighthouse, and which is also backed by Semkina winning

Female Vocalist of the Year in the 2016 Prog Magazine Reader's poll. The pair's live performances have included the likes of London's Bush Hall, Ramblin' Man Fair and the Netherland's Midsummer Prog Festival.

The audio recording, mixing and mastering were handled by regular collaborator Vlad Avy, the film was produced and edited by Miles Skarin at Crystal Spotlight, and the watercolour artwork was designed by Constantine Nagishkin.

One of the rare women in the neoclassical world, Alexandra Stréliski is hardly a conventional pianist. Hailing from a classical background yet free-spirited, she creates music that enthralls listeners, filling their minds with rich, cinematic images.

She made her debut with the album Pianoscope in 2010, but the general public discovered her via Jean-Marc Vallée's films Dallas Buyers Club (2013) and Demolition (2016) and, more recently, the trailer of the Quebec director's acclaimed HBO series Big Little Lies (2017). Building on this momentum, the composer and musician is now fully prepared to make her next artistic statement with the album Inscape, due out on Secret City Records.

'Inscape' is a portmanteau combining the words 'interior' and 'landscape.' This philosophical concept has been associated with both visual art and psychoanalysis, and it becomes wonderfully musical in the hands of Stréliski.

'To me,' says Stréliski, 'Inscape was an existential crisis. A year where everything capsized and I had to go through various interior landscapes - hectic, beautiful and painful at the same time. I found myself in a space filled with grey areas that I didn't know how to escape. It was a crucial turning point for me. A year of creative evolution during which I reconnected with my deep nature, my essence, my X.'

Inscape is the work of an artist unconcerned with conventions, whose approach of neoclassicism is resolutely current. In her attempt to fill a certain emotional emptiness, she follows a creative urge that commits to taking the listener back to a form of lost sincerity. 'A piano, on its own, is a very vulnerable thing, and I want to share this moment with the listener.'
An artist of Polish Jewish origin who grew up between Paris and Montreal, Stréliski was steeped in music from the two continents during her childhood. From an early age, she was interested in classical artists such as Chopin and Satie as well as film music composers like Zimmer, Glass and Nyman. Recruited by the advertising community at the onset of the new millennium, the musician won several awards for her creations in that field: the CRÉA for Best Quebec campaign in 2007; the Best Pan-Canadian advertising music award at the Toronto Marketing Awards. Nevertheless, she heard the call of free creation, which led her to recording the more personal Pianoscope.

Thanks to the aforementioned support of director Jean-Marc Vallée, which allowed Stréliski's music to resonate live during the Oscars ceremony, the pianist enjoyed a priceless showcase that brought her streaming numbers up to nearly 15 million streams on the various digital platforms. UK newspaper The Telegraph praised her, writing that her debut album was 'distinguishable by its simplicity, its sensitivity and softness' and 'imbued with both melancholy and light.'

Stréliski describes the first single off Inscape, Plus tôt, as 'a piece evoking the space-time in which we find ourselves before things happen to us. The calm we feel when we don't know that some events are about to transform us. It's the beginning of the journey. The beginning of the Inscape.