80-page book with audio CD. Housed in vacuum and heat sealed poly wallet. Edition of 150
““I brought the happy jug home the day I found out about a grant, which would eventually lead me to write this novel. The grant is a Paul Auster-style narrative device, in that it makes me unanswerable to material demands, and projects my life into a boundedlessness vertigo … the happy jug a concrete marker of my vulnerable but precise re-emergence into the world of matteringlessness: theory.”
At this time, Nina has migraines. She goes for an MRI scan but we hear nothing, her exhaustion apparently just an example of the general pressure of living under austerity. This austerity is due to be relieved when a left-leaning coalition gain control of government. A year later, I smash the jug. The MRI scan is transformed. Nina now has a brain tumour which has been growing for more than fifteen years. The result of the general election is also rewritten.
Presented here as novel and CD audio work, The Happy Jug uses a combination of verbatim text, fiction, granular synthesis and speculative philosophy to interrelate these formally distinct events in a weird causal relationship, reflecting on the palpable emotional and physical suffering connected to austerity politics — in particular the UK 2015 general election and its aftermath.The audio CD, produced by Kepla, features this narrative spoken by the author, Nathan Jones with his wife Nina. The book acts as a libretto for the audio, but deviates from it at times, and adds an experimental text
dimension to the glitchy textures of the sound and voice.
Nathan Jones is a writer and artist. His work often reflects on the relationship between the textual and temporal, the irregular measurethat a text’s progression keeps, and the ruptures of time into eras, contemporanaeties, histories and speculations that writing inaugurates. Nathan is co-editor of mind-language-technology publisher Torque, director of new media and performance agency Mercy, and Lecturer in Fine Art at Lancaster University. He has curated various projects such as The Act of Reading (2015), Syndrome (2014–15), and Electronic Voice Phenomena (2009–13). His solo work includes commissions for Cape Farewell, Abandon Normal Devices, and Liverpool Biennial/
Mathaf Arab Museum of Modern Art.
Kepla is the musical works of UK-based artist Jon Davies since 2015. His compositions comprise of sculpting salvaged audio from various secondary sources to create psychogeographic and speculative environments, embedding the listener into otherworldly, and all-too-worldly spaces. His practice aims to conceptualise the capitalocene and how people and things are organised, mined and exploited. Over the past three years Kepla has produced a self-released EP; co-created Absent Personae with media theorist DeForrest Brown, Jr. and video artist Chris Boyd and composed the soundtrack for The Happy Jug.”
Something special from DDS - the long awaited album debut of avant-Dancehall mutations from Jamaica’s Equiknoxx, already tipped by everyone from Jon K to Mark Ernestus, featuring productions dating between 2009-2016, mastered and cut by Matt Colton, all on vinyl for the first time ever...
Equiknoxx are one of the weirdest, most innovative dancehall squads from Jamaica right now; Bird Sound Power is their debut collective show of strength, packing 12 avant, crooked riddims by core members Gavsborg and Time Cow, plus Bobby Blackbird and Kofi Knoxx, with vocals by Kemikal, Shanique Marie and J.O.E. (R.I.P).
The set was parsed and pieced together by Jon K & Demdike Stare , and now thanks to link ups via Swing Ting’s Balraj Samrai (a longtime livicated supporter), it’s issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design.
Easily identified by the squawking bird idents peppering their cuts, Equiknoxx productions have been big in the dance since Gavin Blair a.k.a. Gavsborg produced Busy Signal’s billboard hit Step Out in 2005, followed by key instrumentals for Beenie Man, Aidonia, Masicka, and T.O.K.
Bird Sound Power is weighted with the potential to open up perceptions of current dancehall thanks to the mad character and broad reference points of its producers, encompassing King Jammy’s foundational digi-dub and Dave Kelly’s Mad House sound as much as rugged New York hip hop and the wigged-out, feminine pressure of Virginia Beach’s Timbaland or The Neptunes.
The oldest tune inside dates to 2009, but the rest are recent dancehall mutations, including a number of exclusives produced in the last 12 months. Each one reps for Equiknoxx’s unique aspects, such as Jordan Chung a.k.a. Time Cow’s brilliantly bizarre, layered arrangements of sawn-off hooks and digi-tight beats, also a result of their distinguished family vibe.
Bird Sound Power exists in a paradox, utterly fwd but classic, and with as much potential to turn new heads onto current JA sounds as Mowax’s Now Thing set back in 2001, which remains a key touchstone for so many contemporary producers. It’s one of the sharpest, most crucial DDS issues yet, check the clips and get sweaty...
Leyland Kirby's The Caretaker returns with a long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald.
'Patience (After Sebald)' is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book 'The Rings Of Saturn'. Much like The Caretaker's oeuvre, Sebald's works are particularly focused on themes of memory, both personal and collective, making Kirby the ideal candidate for this score.
Grant tasked him with soundtracking responsibilities, but rather than thrift shop shellac, the source material for 'Patience' was sourced from Franz Schubert's 1827 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear. Mastered by Lupo at D&M, the album is adorned with another specially commissioned painting by Ivan Seal.
James Kirby's work as The Caretaker has always dealt with the suggestion of haunted memory and the obscuring of temporal motion, and this - perhaps his most iconic album - made that more explicit than ever, with titles that reference amnesia, Alzheimer's, past life regression and other such memory misfires and short circuits.
Musically, this album might be compared to Philip Jeck's manipulated vinyl tracts, featuring similarly oceanic swells of crackle and dust, with faded pianos or big band sounds wafting wraith-like across the mix. After conjuring the sinister atmospherics of The Shining with his debut album Selected Memories From The Haunted Ballroom, The Caretaker has been chasing this idea of sound leaving its indelible mark on a space and time, so consequently these creepy, semi-dissolved musical passages sound no more tangible than shadows, and the album for the most part comes across as some sort of séance held via wax cylinder.
C L A S S I C.
Compiling the first 3 albums in the 'Everywhere At The End Of Time' series - two and a half hours long, each album reveals new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness...
Embarking on the Caretaker’s final journey with the familiar vernacular of abraded shellac 78s and their ghostly waltzes to emulate the entropic effect of a mind becoming detached from everyone else’s sense of reality and coming to terms with their own, altered, and ever more elusive sense of ontology.
The series aims to enlighten our understanding of dementia by breaking it down into a series of stages that provide a haunting guide to its progression, deterioration and disintegration and the way that people experience it according to a range of impending factors.
In other words, Everywhere At The End of Time probes some of the most important questions about modern music’s place in a world that’s increasingly haunted or even choked by the tightening noose of feedback loops of influence; perceptibly questioning the value of old memories as opposed to the creation of new ones, and, likewise the fidelity of those musical memories which remain, and whether we can properly recollect them from the mire of our faulty memory banks without the luxury of choice
Glass offers the sublime results of a collaboration between Ryuichi Sakamoto and Carsten Nicolai (Alva Noto), as performed and recorded at Philip Johnson’s Glass House in Connecticut during the private opening to Yayoi Kusama’s installation marking the 110th anniversary of Johnson’s birth.
Making sterling use of the landmark architectural work’s pellucid dimensions, the pair fixed contact mics to its glass walls, which they effectively played as an “instrument”, rubbing it with rubber gong mallets to generate delicate tones which they combined with a sympathetic palette of singing glass bowls, crotales, keyboards and mixers.
The seamless performance of floating, weightless tones and exquisitely quivering timbres is without doubt one of their finest. For the duration we’re held static and spellbound by the pair’s interplay of microtonal shifts and plasmic chronics, keening the listener thru hazes of digital dust and vortices of angelic harmonics to locate, alchemise and resolve a rarified, deeply mysterious spirit before the piece closes.
As the follow-up to their OST for The Revenant  and the warbling keys of Summvs  before that, the achingly lush tension of Glass is perhaps the purest testament to the clarity of vision and endless minimalist mutability of this highly revered duo.
First part in an unmissable survey of hard-to-find Caribbean zingers from Guadeloupe and Martinique released on the important Disques Debs International label...
“Strut present the first ever compilation series to access the archives of one of the greatest of all French Caribbean labels, Disques Debs out of Guadeloupe. Set up by the late Henri Debs during the late ‘50s, the label and studio has continued for over 50 years, releasing over 300 7” singles and 200 LPs, covering styles varying from early biguine and bolero to zouk and reggae. Debs played a pivotal role in bringing the créole music of Guadeloupe and Martinique to a wider international audience.
Volume 1 of this series marks the first decade of the label’s existence and takes in big band orchestras, home-grown stars, touring bands and a new generation that would emerge at the end of the ‘60s. Early releases were recorded in the back of Henri’s shop in Pointe-a- Pitre, from his own sextet playing percussive biguines to young saxophonist Edouard Benoit, leader of Les Maxels and regular arranger for Debs bands. Other artists ranged from big bands like Orchestre Esperanza and Orchestre Caribbean Jazz to poet and radio personality Casimir “Caso” Létang and folkloric gwo ka artist Sydney Leremon. Debs also capitalised on recording foreign touring artists visiting Guadeloupe during the early ‘60s including Haitian trumpeter Raymond Cicault and Trinidadian bandleader Cyril Diaz.
Compiled by Hugo Mendez (Sofrito) and Emile Omar (Radio Nova), ‘Disques Debs International’ is released in conjunction with Henri Debs Et Fils and Air Caraibes. The package features a host of rare and unseen photos from the Debs archive with both formats featuring extensive sleeve notes and interviews with Philippe Debs and Max “Maxo” Severin of Les Vikings. Volumes 2 and 3 follow in 2019.”
Maike Zazie is a composer influenced by her passion for both music and literature, performing unconventional piano compositions. She operates at the crossroads of these two art forms, her medium being a type of sonic literature in both form and content: she composes pieces of music as she puts stories down on paper; she chooses notes as carefully as she chooses words.
"For Maike, sound is a language which enable storytelling. Her music is to be received as an experimental radio play or voice theatre or as a sonic essay. Only 50 cassette copies were originally distributed when Fragmente was first released a year and a half ago.
Fragmente is sophisticated, original and dreamy, the album is the first stage in a collaboration between Berliner Maike Zazie and 7K!, the label created as part of !K7, that is focused around avantgarde music and modern composition."
ZANTi are Anni Hogan and Derek Forbes. Anni has worked with Nick Cave, Paul Weller, Barry Adamson, Gavin Friday. If the midnight cowboy went electro…
"After a momentous magical meeting at SCI-FI LONDON film festival, Anni Hogan and Derek Forbes realised they had a lot more in common than their favourite sci-fi The Zanti Misfits!
A compelling combined musical history, Hogan’s success as Marc Almond‘s MD and key collaborator throughout the 80’s culminating with a UK no 1 with Almond and Gene Pitney plus Derek Forbes success with Propaganda and Simple Minds (resulting in a recent prestigious Ivor Novello award) inspired the sonic pair to create ZANTi..."
Johnny Jewel unfurls a breathtaking hour of ‘Themes For Television’, including his ‘Windswept’ piece from ’Twin Peaks: The Return’, as well as alternate versions of the Chromatics songs performed in the series’ Roadhouse scenes and other unreleased cuts.
No hype: Themes For Television may well be Jewel’s finest moment in a catalogue already studded with gems. As is now well known, Jewel created some 20 hours of music for Twin Peaks: The Return, but only a small fraction of that amount made it to the final cut. The best of those, and some of the “employed” parts, are now collected to make up this superb suite of themes, each blessed with Jewel’s rarely paralleled knack for creating haunting situations that stay with the listener long after the music has stopped.
The spirit of Lynch and Badalamenti’s classic soundtracks perhaps unavoidably loom large over all 21 pieces, beautifully rendering a sort of twilight uncertainty and mystery native to Lynch’s imagery on one level, but also scoping the last 40 years of TV and Hollywood soundtrack history in the broadest sense; weaving electronic experimentation hinting at sci-fi and thrillers, with a command of melodic hooks and haunting harmony that could feasibly colour and accentuate the most palpable or pulpy scenes of romance or heroism in any number of ways.
We highly recommend copping this album and drawing up your own script to fit its fleeting play of emotive signposts, and maybe post the results to YouTube, then wait for the producers to come knocking.
In a handful of improvised albums circumnavigating the troubled waters of the contemporary Mediterranean - Greece, Turkey, Sicily and Lebanon Oiseaux-Tempetes has stretched its electric arc over musical genres and borders, imposing itself in a river of tours and releases within the hexagonal indie scene.
"Tarab (in literary arabic - euphoria, secular exaltation, ecstasy) is the result of live recordings captured during the Al-An! tour which led the group, after a preliminary residency at l'Autre Canal in Nancy, to cross Europe and into Canada, performing at the prestigious festival Le Guess Who? in Utrecht, opening for Suuns & Jerusalem In My Heart in Montreal and Toronto, through France then from Brussels to Berlin, and finally closing the loop at the Irtijal festival in Beirut.
A record, rooted in the soil, hypnotic in pulsation, Tarab is a meeting of the Parisian founding members and the Lebanese musicians Charbel Haber, Abed Kobeissy and Ali El Hout (aka Two Or The Dragon). The studio pieces are stretched, deconstructed and rearranged while new works from the road, poems 'Grasse Matinée' by Jacques Prévert and "Tuesday And The Weather Is Clear "by Mahmoud Darwish, find unique musical settings, weaved, twisted and reimagined.
It is in symbiosis, in the fever and visceral experimentation of the concert, that the musicians seek rapture. Arranged in a semicircle, they invoke the elements and attempt the catharsis, inviting the spectator to spiral with them, entwined in the sonic explosions, finding beauty and peace in the spaces of improvisation and elaboration. Marrying free-rock, organic electronics, traditional instruments and unbridled electricity, Tarab, far beyond the vibrant testimony, is a generous invitation to experience, to meditate and to share."
The first authoritative compilation of American dream pop artist Happy Rhodes, whose singular songwriting and four-octave vocal range emanated from the pastoral confines of upstate New York in the 1980s.
"Her melding of classical music influences with synthesizer and acoustic guitar, and her enchanting and idiosyncratic singing, are favorably compared to heralded English chanteuse Kate Bush. Fans of such artistic pop music would be remiss to overlook Rhodes’s similarly remarkable and otherworldly sonic transmissions, traversing tales of dreamers, outsiders, lovers and other lovely and terrifying creatures born of a wellspring of wild creativity and bold imagination.
Affectionately remastered from the original tapes, Ectotrophia gathers essential songs from Rhodes’s mid-’80s salad days, many written when she was just a teenager—wildly ahead of her time and unafraid to bare her soul to regional audiences, the ectophiles who’d eventually coin an entire subgenre of pop music in her honor. Dive deep into ecto, with the woman who started it all."
One of Coil’s most prized and distinctive albums, ‘Black Light District’ arises again on 2LP reissue with Dais Records, with all remastering and reproduction under the auspices of the group’s Drew McDowell. A phantasmagoric soundscape for those who shine darkly…
“During the transitional period in which Coil’s primary leadership, Peter “Sleazy” Christopherson and John Balance, reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldy influence.
Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.”
Legendary ethnomusicologist and field-recording pioneer, Hugh Tracey founded the International Library of African Music (ILAM) in 1954. Today, ILAM preserves thousands of historical recordings and has become the greatest repository of African music in the world. Dust-to-Digital have partnered with ILAM to present “Listen All Around” – a compilation of newly-transferred and remastered recordings that Hugh Tracey made between 1950-1958.
"The recordings presented here were made in central and eastern Africa -- specifically, the Belgian Congo (now the Democratic Republic of the Congo), Kenya, Tanganyika and Zanzibar (now Tanzania). The genre of music Tracey documented, and the focus of this double album and book is rumba and its variations -- Congolese rumba, dansi and benga. The recordings, photographs and detailed liner notes included in this set provide a rich point of immersion into the mid-20th-century music of eastern and central Africa."
C93’s David Tibet confesses his recent night traumas in a deeply absorbing tapestry of serene chorales, spectralist classicism and half-heard oneiric narrations in ‘The Stars on Their Horsies’; a seamless, single 39 minute piece he describes as “Textually based around two NightMares I nightmared recently..."
Tibet also informs that this CD version will differ from the LP, which was issued at his Stockholm ‘Channelling’ in April, 2018, although we’re not sure how, other than that the CD is logically better to experience the work as an unbroken spell, and let the alchemy of his tonal juxtapositions and hallucinatory mixing work its magick, only occasionally revealing glimpses of Tibet’s dream from below the surface,
Waking dream-like poetry, smoky ambience and concrète ‘tronics from Open Corner, a collaboration between Asha Sheshadri (Isolde Touch) and Christian Mirande for Sean McCann’s wonderful Recital Program; warmly tipped to fans of Félicia Atkinson, Robert Ashley, Teresa Winter or Pinkcourtesyphone...
Riffing on themes of suburban ennui and human despondency to a mix of richly textured “musical” and “non-musical” backdrops, Open Corner’s Empty Pool For No One connotes a curious shade of day-to-day surreality underlined by a palpable melancholia and dissociative timbres.
Its hypnagogic air and textural juxtapositions of ASMR-esque vocals low in the mix with oblique scenery naturally recalls Asha work on the PVC Burn album as Isolde Touch for Entr’acte, but it’s Christian Mirande’s input that really separates the projects with his absorbingly fractured and porous instrumentals serving to diffract and reframe Asha in fascinating, abstract ways.
“Emotionally and sonically claustrophobic. A unique take on voice and sound: in-between an audiobook and a sound-map. Exhausted and hungover, the frequencies and intense proximity really fit the digital CD format. Here is your chance to revitalize the ? Records weapon of choice…”
Raw, fuzzily intimate recitals of John Cage works, made in an attempt to bring Cage’s ‘Harmonies From Apartment House 1776’ closer to the artist’s intentions thru the “destruction of privileged musical space”, blurring distinctions between performance and non-performance in a way which Cage would surely approve of
Cop Tears write: “Thirteen Harmonies is a selection from John Cage’s 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage’s Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an “apartment house” among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the ‘multiplicity of centers’ of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty 4-track on bled-through tape in Cameron’s apartment house in Queens, New York.”
Four beautiful, exceptional ambient nocturnes bloom again on a very welcome 30th anniversary reissue, newly packaged together by Grönland for the benefit of your health...
David Sylvian and Holger Czukay’s Plight + Premonition  & Flux + Mutability  bouquets remain some of the most enigmatic ambient recordings of the ‘80s since their conception at Czukay’s converted cinema studio in Köln, 1986. But, while Sylvian was ostensibly coming to record vocals for the last track on Czukay’s Rome Remains Rome LP, the legendary Can figure ended up surreptitiously recording Sylvian improvising on whatever was at hand, only stopping the recording when the results started to become too “structured”, in effect capturing moments of less conscious, more freeform expression, and preserving them for what would become some of the most spellbinding and transportive recordings in either artist’s catalogue.
Recorded during their fateful first meeting just as glasnost was beginning to thaw the cold war, the two parts of Plight + Premonition tentatively mirror this transition from the shadow of nuclear war towards open windows of possibility in the dawning mists and gently windswept synths of Plight (The Spiralling of Winter Ghosts), and the again with a genteel flush of harmonic colour perfusing shortwave radio signals and glimmering keys hinting at the promise of seductively warmer uplands in Premonition (Giant Empty Iron Vessel). On the follow-up side, Flux (A Big, Bright, Colourful World) that horizon comes clearer into view with the earthy percussion of Jaki Liebzeit joining Czukay and Sylvian to beckon the light along with Can’s Michael Karoli and woozy, Hassell-ian Flugelhorn by Markus Stockhausen, son of Karlheinz, before the lead pair calibrate a mutual vision of reserved but quietly optimistic lushness in Mutability (A New Beginning is in the Offing).
Kamasi Washington clearly doesn’t do half measures, as his sprawling 2.5 hour follow-up to The Epic proves in no uncertain terms. Prepare to immerse in a worldly but highly personalized bebop and jazz fusion style, brilliantly lit up by the main man’s searchingly expressive tenor sax for Young Turks
“Heaven and Earth is a double album containing 2.5 hours of new music. The Earth side represents the world Kamasi sees outwardly, the world that he is a part of. The Heaven side represents the world he sees inwardly, the world that is a part of him. “The world that my mind lives in, lives in my mind.””
Martyn comes ruff, rugged, and emotional on ‘Voids’, his first album in four years, underlined with a signature knack for tactile bass and restlessly syncopated percussion
Voids is the first fruit of Matyn’s labour following a heart attack and recovery period which pushed the artist to rethink his music. During that time, the first album he properly paid attention to when out of hospital was Max Roach’s M’Boom , an album of heavily percussion-focussed arrangements whose space and production instantly struck a chord with the producer and seemed to resonate with his personal sonic ontology.
We can only imagine that whatever strife he was going thru was only compounded by the untimely 2017 death of Marcus Intalex, the D&B legend behind Soul:r and Revolve:r, who issued the earliest Martyn records c. 2005. After a surreal intro collage, Voids, he deals with those issues in the best way on Manchester, which reprises the swing and dubby depth of his early Broken/Shadowcasting as a fine tribute to the man and city before rolling thru some solid classic business in the acidic stepper Mind Rain and the tabla coda of Why, saving a melancholy moment of reflection for the dark blue modal jazz of Try To Love You, and ultimately resolving to a mix of raved-up feeling between the bolshy torque of Cutting Tone and the drizzly jazz abstraction of Dreamers.
Kazuashita – the first record by Gang Gang Dance since the acclaimed Eye Contact in 2011
"It's an intoxicating mix of shoegaze and electronic ambience, all held together by Lizzi Bougatsos and her otherworldly vocal. Bougatsos, alongside founding members Brian DeGraw and Josh Diamond, formed the group as an improvisational outfit in the early 2000s, and have consistently worked to blur the boundaries between music and art; as comfortable today performing at the Whitney Biennial as they are at Coachella, and count Dash Snow & Nate Lowman, Tinchy Stryder and the Boredoms as previous collaborators.
Kazuashita was produced by DeGraw after recording sessions across several New York studios and art spaces, the band worked with drummer Ryan Sawyer (who met the band through the Boredoms’ BOADRUM project) and Jorge Elbrecht (who worked on additional production and mixing duties).”
An evening in a coffee house in Kyoto forty years ago has lingered fondly in the memories of those who were there. Now, the stellar performance of John Renbourn that night is available for all to hear on ‘Live In Kyoto 1978’.
"John Renbourn, along with his sometimes partner Bert Jansch (with whom he formed Pentangle in the 1960s), has been passed away for these past few years - but the music that he made continues to inspire, alongside the works of fellow travellers like Jansch, Davey Graham, Wizz Jones and John Martyn. Over fifty years ago, Renbourn and these men were at the forefront of the British folk revival as it mingled with the blues boom that was exploding at the same time.
Renbourn’s style mixed these traditions with classical, jazz, world and early music techniques and his picking was second to none. John made records and toured from the early 1960s until his death in 2015. His repertoire was vast and among the songs he played on this night at the Jittoku coffee house were pieces played at many of his concerts over the years, including songs by Reverend Gary Davis, Davey Graham, Mississippi Fred McDowell, Arthur Smith, William Byrd and Charles Lloyd.
‘Live In Kyoto 1978’ is a remarkable document of Renbourn’s talent spun out over an evening’s-worth of performances, during which his ease of playing left the audience speechless afterwards. The recording was made by the late Satoro Fujii, whose archive of recordings was discovered posthumously and have begun to see release in recent years. Satoro captured the performance with pristine detail, allowing us to hear the fine detail of John’s fretwork and the warmth and delight in the room as he played."
Geir Jenssen (Biosphere) wraps up both of his Fires of Ork albums with Pete Namlook in a handy dose of ambient techgnostalgia for Biophon Records.
Originally dispatched in 1993 on Namlook’s Fax label, The Fires of Ork tends to the darker side of the early ‘90s ambient paradigm, pairing samples of Rutger Hauer from Bladerunner which gave the project its name, with a mix of robust slow techno throbbers and expansive, head-engulfing beat-less black holes, including a killer trance techno night-flight in Talk To The Stars, featuring lyrics cadged from an old KLF Communications press release.
With The Fires Of Ork 2 , they emerge the other end of the preceding decade with a sparser, more spacious sound, letting a little light into their aesthetic with the shimmers of In Heaven, but pulling back into atmospheres redolent of Lynch’s Mulholland Drive score in When The Night Was Black, before peering into and dancing around an electro-acoustic abyss with Nouvelles Machines.