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Still sealed with hype sticker.

Gatefold sleeve, with OBI strip, pressed on 140g eco-vinyl: violet marbled.

Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold.

Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir´s sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it´s taken them this long to collaborate. All that´s left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

Following the compass of an entrancing debut, Flore Laurentienne's Volume II presents another palette of rich orchestral sound, where changing forces of water inspire metaphorical markers that navigate passages of life and loss. Mathieu David Gagnon resumes his voyage into environment and emotion with Volume II, drawing inspiration from the rivers and rugged wilderness of the composer's native Quebec. In his return as Flore Laurentienne - the namesake of an inventory documenting St. Lawrence Valley flora - Gagnon assembles vivid melodic motifs and delicate modulation with a vast string ensemble to emulate the tides of human experience. Listeners of Volume I will recognise Gagnon's signature approach towards reworking and reframing an emblematic melody or concept across a series of works in Volume II, a process he likens to that of a painter creating multiple sketches of the same view. Continued from the first album, the enigmatic "Fleuve" series is conjured to evoke the multiple personalities of the great St. Lawrence River, and the "Navigation" works ("iii" and "iv") wade through dappled progressions and expansive streams of string, the latter of which harbors the gentle meanderings of improvised clarinet. In the world of Flore Laurentienne, complexity emerges from simplicity as the composer roams familiar environments in constant flux. Gagnon extracts beauty through repetition and constraint, utilizing the writing style of counterpoint for which one of his greatest musical inspirations, Johann Sebastian Bach, is renowned. The lilting waves of "Canon" possess the eponymous formation of melodic 'leader and follower' motif, and magnify the softness of the album's eighteen string musicians into a force of full euphoric resonance. In Volume II, Gagnon continues his expansion of classical composition archetypes to meet a new realm of sonic romanticism. Thematic conventions of wandering the pastoral sublime become altered into glimmering refractions, relaying the emotional and kinetic power of natural energies. Volume II forms an estuary where streams of auditory microcosm reach a horizon of dynamic contrast, and reflect the parallel tenors of nature and humankind.

All These Years is Phil Cook's first fully instrumental piano release. A prolific songwriter, multi-instrumentalist, solo artist, and in-demand musician whose collaborations have run the gamut of genre - as a founding member of beloved band Megafaun to work with The Blind Boys of Alabama, Bon Iver, Kanye West, and Hiss Golden Messenger, to name a few - here, Cook returns to his primary instrument, the piano, back where it all began.All These Years was recorded at NorthStar Church of the Arts in Durham, NC by his cousin and collaborator Brian Joseph (Bon Iver, Sufjan Stevens, Indigo Girls), on a long-cared-for and much-loved one-hundred year-old Steinway piano. All These Years is near hymn-like, a collection of prayers or meditations, improvisations threaded together by feeling, by the things that matter most. When Cook began these songs, he was in the headspace of meditating on the people in his support network, and those closest to him. Through composing the music, he began to reflect on specific and important presences in his life, and ends up capturing their essence via keys here. He distills decades of friendship, brotherhood, family, love, learning, and loss into flickering piano portraits - impressionistic and fluid and reverent. It's not so much looking backwards as it is just looking around, reflections on all that is human and divine and present, and the roads we've taken to get us there.

Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre and has performed and recorded with many other groups, including The Luyas, Esmerine and Little Scream.

New album of piano pieces by Matthew Bourne, provocatively titled This Is Not For You. The album is a return to solo piano following a series of recent collaborations with other artists playing a variety of instruments, including Keeley Forsyth, Alabaster Deplume, Keith Tippett, MINING, Nightports, Mzylkypop, Visionist, Paula Rae Gibson, Shiver, Jameszoo, Emil Karlson and Marcus Vergette. This Is Not For You. showcases Bourne"s more contemplative side, but there are flashes of the unpredictability that makes him such a unique and inspirational performer.

Clear vinyl!

close to NM

❝ J'aime écrire de la musique de chambre et des chorales, et particulièrement de la musique pour orchestres. Mais il n'est pas toujours simple de voir ces dernières jouées, l'orgue devient alors le meilleur moyen de donner au compositeur de vastes ressources ❞, écrivait Moondog en 1978 pour accompagner l’album Selected Works – confidentiel cousin américain de Moondog in Europe le premier disque enregistré en Allemagne.

Avec New Sound l’Ensemble Minisym fait le chemin inverse, emportant les pièces pour orgue(s) qui constituent l’album A New Sound of an Old Instrument (1979) – ainsi que des pièces composées en Europe durant cette même période – vers une instrumentation nouvelle et singulière. Le travail de l’Ensemble se base alors sur une grande connaissance de l’univers de Moondog qui a lui-même – et tout au long de sa vie – régulièrement donné de nouvelles couleurs à de mêmes compositions en changeant leurs instrumentations. Ce qui est d’ailleurs particulièrement manifeste au sein de l’album A New Sound of an Old Instrument dont la première face est constituée de pièces essentiellement composées aux milieu du tumulte des rues de New-York et marquée par une incroyable science du métissage (« Oasis », « Single Foot ») quand la seconde fait la part belle à de nouvelles compositions inspirées par ce sol européen que Moondog foule depuis peu et de manière désormais définitive (« Barn Dance », « Elf Dance », « Log in B »).
Empruntant des chemins de traverses les musiciens de Minisym déchiffrent par ailleurs des pièces jusque là inédites, parfois jamais jouées ni-même enregistrées par Moondog (« Logrundr in a », « Ground in d minor », « Marche Funèbre (Vercingétorix) », « Shneeflocken »).
Loin des académismes, c’est un monde que l’on rencontre ici, à l’ombre des instruments aussi rares que chers à Moondog. Ce disque, fruit d’un travail au long cours permet un souffle aussi fidèle qu’iconoclaste sur la musique d'un compositeur qui a passé sa vie entière à échafauder une oeuvre d'une naïveté toute particulière.

Jules Archive is a project founded by Marco Marzuoli and Marco Mazzei in 2016.

By employing various technologies, instruments, and approaches, the duo strives to craft a mysterious and fantastical persona named Jules. Through this persona, they aim to immerse listeners in a dreamlike atmosphere, transcending reality and dwelling in imaginary spatiotemporal dimensions.

Platonic Tales is the second chapter of Jules' journeys, more anthropocentric than the first album Adventures & Explorations (Volume 1), but equally exotic and dreamlike. The musical intention of this record was to rework a set of five (plus one) melodic tape loops, already structured in "song form”, through detailed arrangements. The treatment followed an experimental-pop-oriented production approach.

Recorded entirely at home by the artists, the music on the album features analog cassettes containing loops dating back to around 2016. The remaining arrangements were composed during the 2020 pandemic lockdown.

Several international guests collaborated on the album:

Lino Capra Vaccina, the legendary Italian percussionist/minimalist composer, and Jefre Cantu-Ledesma engaged in a musical dialogue on An Ontological Novel.

Andrew Weathers contributed his voice to the tracks A Superior Truth and Exodus.

Christina Vantzou participated in Exodus and concluded the album with a string composition arranged and conducted by Minna Choi, performed by Magik*Magik Orchestra.

Recorded between Città Sant' Angelo (Pescara - Italy, 2016-2020), Francavilla (Chieti - Italy, 2020), and Firenze (2019-2020).

Still in shrink but opened.

incl. CD

Cover with small seam split!

Box closer to VG+

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

Cover with promo stamp and small writing, close to VG+.

Small writing on back cover.