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This famous Alexander Gibson/New Symphony Orchestra of London collection from 1958 debuted at the dawn of the RCA Living Stereo era. It became one of the most sought-after Living Stereos with music by Arnold, Liszt and Mussorgsky amongst others, all with a spooky, witchy theme. The performances remain today as characterful and incisive as they were then.
We've taken this classic and given it the full Analogue Productions reissue treatment, featuring a remaster by Germany's Willem Makkee from the original analog tapes, and plating and 200-gram pressing by Quality Record Pressings. Toping it off is a thick cardboard Stoughton Printing tip-on jacket.
If such music didn't cast the right sort of spell, so many listeners wouldn't be returning to it on so many occasions, somehow feeling constantly refreshed.

Hogan’s involvement with new wave, new romanticism, post punk and all-things-avant makes her a uniquely placed character through the last four decades on the scene - her recording/performing biography intersects with everyone from Soft Cell, The The and The Human League through to Simon Fisher Turner, Barry Adamson, The Style Council and more recently with Karl O’Connor aka Regis’ Downwards universe. For ‘Without the Moon’ (a title borrowed from Cathi Unsworth’s book of the same name), Hogan pulls out some of the most satisfying collaborations from her archive, featuring a couple of tracks originally released in 1985 on Cabaret Voltaire’s Doublevision label, as well as recordings that are here issued for the very first time. It’s properly all-over-the-place brilliance, ranging from Nick Cave’s incredible 1983 piano blues slo-mo grind ‘Vixo’ all the way thru to the Paul Kendall (Nitzer Ebb/Depeche Mode) engineered ‘Come Take My Hand’ produced and featuring Barry Adamson and sounding like some vintage Les Disques du Crépuscule poolside obscurity. Opening with ideas mapped out while staying at Lydia Lunch’s gaff in summer ’83, the record lassos 30 years of Hogan’s personal highlights, harking to a time circa 1984 when she regularly caught The Birthday Party playing Leeds or London, often crossing paths with Cave, and right thru to 1989’s ‘Come Take My Hand’. While ‘Delirious Eyes’ is a gorgeous slow dervish of swaying middle eastern scales featuring Gini Ball’s elusive smoke trail vocals, it’s best heard in context of the sequencing, which soon erupts with Marc Almond’s vocals on the arsonist thrill of ‘Burning Boats’ and JG Thirlwell’s signature clangour, while ’Scattered Carelessly’ was written in 2008 and gives the sweetest canvas for Hogan’s keys complemented by a whispering Jarboe ov Swans, and ‘Black Nocturne’ stars a perfectly tempered guitar shimmer by Kid Congo Powers, a longtime accomplice, whom Hogan first heard playing guitar on The Cramps’ records that she played in DJ sets at the time. Illuminated by Hogan’s favoured solo piano, ranging from flickering candlelight to hammering theatrics, and even including a rare appearance of her vocals on the could-have-been-a-popsong closer, the six songs on ‘Without The Moon’ speak to an incredibly rich artistic life spent immured at the core of her practice. Song to song, she outlines an extraordinary oeuvre that ties together and leaps between eras, drawing on decades of experience as a performer, composer, collaborator and ardent listener to portray a full spectra of styles she’s been involved in shaping for decades. Stunning.

British experimental musician, composer, performer and producer Anthony Moore was a founding member of Slap Happy and has worked with Henry Cow, Kevin Ayers, and Pink Floyd among other great names in the British scene. In 1971 he moved to Hamburg, Germany, and worked in the boiling experimental scene of the city. As a result, two LPs were issued on Polydor in 1971 and 1972, right before forming Slap Happy with old school pal Peter Blegvad and Dagmar Krause.



"Pieces From a Cloudland Ballroom" is the first of those early solo LPs by Moore on Polydor. It was released in 1971 under the production of Uwe Nettlebeck and featured Anthony Moore on conduction, Ulf Kenklies, Glyn Davenport and Gieske Hof-Helmers on vocals, plus Werner 'Zappa' Diermeier on hi-hat.



Pure minimalist experimentation with echoes of Richard Young's "Advent" or even Moondog, done just a month after Faust (who included Werner 'Zappa' Diermeier) recorded their first LP. The missing link between British "art-rock" and the German "krautrock" scenes!



This is a 500 copies only reissue done in collaboration with Anthony Moore himself. Comes housed in its original artwork.

Secrets Of The Blue Bag', Moore's second solo LP for Polydor, was issued in 1972 but recorded in the Fall of 1971, just a bit before Slap Happy were backed by Faust on the recording sessions of their first album. Anthony Moore was joined by soprano Geeske Hof-Helmers, violinists Toni Sen and Patrick Strub, celloist Rolph Braun and Wolf Schreiber on fagott.



The missing link between British "art-rock" and the German "krautrock" scenes!



This is a 500 copies only reissue done in collaboration with Anthony Moore himself. Comes housed in its original artwork.

still sealed. Cover has slight ring wear.

CD Release: Limited edition of 100.

Since the age of six, multi-instrumentalist Aya Suzuki has been developing a musical universe informed by classical training and emboldened by a prodigious, almost innate feel for sound.

Her precocious leanings into percussive instrumentation led her to study at the pioneering Toho Gakuen School of Music in Tokyo under the mentorship of world-renowned marimba player Keiko Abe, after which she left her native Japan to pursue a Master’s in percussion at the Royal Conservatory of Ghent.

Winged Seeds, her debut album recorded during a summer residency at Stuk in Leuven, presents the work of a musician whose ingenuity is in full flight. Clay pots, vibraphone, aluphone, bowls, and, of all things, rice, are her tools for conjuring arresting atmospheres through intricate fantasias and serene abstractions.

Aya’s mastery of percussive techniques goes hand in hand with her gift for poetic improvisation, as sound and silence have an equal and deliberate weight that charge each moment, suspending time and place into a magical stasis.

The surprising spoken word intermezzo “To The Earth” anchors these floating tones to the temporal spaces of our humanity, instilling a sense of humility which, despite her acumen, Aya deploys in all her artistry.

Winged Seeds is an unspoiled ode to the elements, honoring the earth we dwell in through the music that lifts us every higher.

Still sealed with hype sticker. Red vinyl Limited edition. 2022 reissue.

Pianist and composer Bas Bulteel turns his gaze inward after a successful track record as leader of the adventurous energy bomb Wasdaman and as inspirer of his own trio, with which he won the 2014 Klara Music Prize for best CD in the jazz category for the album Coming Home, his debut as a bandleader.

Bas went into residency with visual artist Jan Frederik De Cock which resulted in a unique collaboration where image and sound dialogue with each other, feeding off each other, cursing against each other, loving each other ....

The result has become a profound and layered solo piano record that showcases Bas' versatility as a pianist and composer. Musically hovering between minimalism and avant-garde. Sometimes melancholic and always compelling.

Ben Glas (b. 1992) is an experiential composer based in Berlin. Through ephemeral compositions Glas' work questions preconceived notions between the acts of passive hearing and active listening. In seeking to discover open ended forms of music and pragmatic listening perspectives, Glas' compositions focus on the realms of subjective perception and cognition, via the use of acoustics, psychoacoustics and space as tools for sonic composition. His work has been exhibited and performed internationally, including the Portland Institute for Contemporary Art (pica), Glasgow's Radiophrenia Festival, the Soundwave Biennial (sf) and the Czong Institute for Contemporary Art (cica). He is currently receiving his M.A. in Sonic Studies at the UdK.
Ben Glas writes… "Anonymous Sextet for Perverted Piano is a conceptual performance piece that combines a traditional grand piano, six long-distance remote controlled vaginal/anal vibrators and the prolonged use of the piano's sustainer pedal.
The six vibrators were strategically (and preparedly) placed atop of the strings of a various grand pianos (and one harpsichord), while random strangers around the globe connected to and operated the sex toys remotely. After the random and unwitting performers had befriended and synced-up with a catfishing account linked to the six individual vibrators and controlled by three different smartphones, they then sent vibrational patterns and pulses to stimulate their assumed target. The then-kinetic vibrators bounced, slid and bopped aleatorically through the tonal possibilities that the piano and piano's soundboard itself permits. The piano's sustain pedal was held down throughout the performance, elongating the triggered notes and the good vibrations.
All tracks on side A are performed by those unwitting performers, while side B's single track was performed with (more than) a little help from my friends (Anonymous (1), Genesis Victoria, Harry Hudson-Taylor and Hayden Dean)." – Ben Glas, Berlin, 16 February 2023.

CD comes in a soft case, instead of the original crystal case. All booklets included.

Still sealed.

In November 1985, Bérurier Noir and his band of agitated*e*s returned to the studio, in the middle of a social strike. The surprise strikes that plunged the country into a "Joyeux Merdier" were the ideal setting for this new Christmas prank and tinged with rage but also with fun, 4 new tracks and not the least. It is THE record that contains "Salut à toi" and opens the door to the first radio broadcasts of the group, before becoming the eternal anthem of a youth always in solidarity with the peoples of the world zone.

Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki.

The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you canhear on this release.