B-STOCK: Sleeve damaged but otherwise in excellent condition
Plantagnet Street In The Morning (5:04)
Cobbles & Slate (1:18)
Blue Bell Hill (3:17)
Donkey Hill (3:01)
Grafton Terrace (0:42)
Plantagenet Street In The Afternoon (3:54)
Corporation Oaks (3:46)
The Arboretum (3:25)
Ford Street St Mary's (2:36)
A New St Ann's (4:36)
Along The St Ann's Road (4:38)
Abbotsford & Hunger Hill (4:04)
Pebble Dash & Green Grass (2:44)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
David Boulter returns to Clay Pipe with St Ann's, an evocative tribute to the Nottingham council estate that shaped his early years. Since his Yarmouth LP in 2020 and Lovers Walk in 2021, Boulter has focused on soundtrack work, scoring films like Volkan Uce's Displaced and Gregorio Graziosi's Tinnitus. St Ann's chronicles Boulter's childhood, contrasting the harsh conditions of the old estate with the improved, vibrant new development. The album's subtle use of guitar, double bass, vibraphone, tenor recorder, and field recordings vividly recreates the atmosphere of crumbling Victorian streets and the optimism of the post-1960s renewal. Boulter's narrative delves into personal memories, painting a poignant picture of community transformation. His reflection on moving to a new house with modern amenities, while still attending an old Victorian school being demolished, adds depth to the story. The project was deeply influenced by Boulter's emotional experience of clearing out his family home at the end of 2022. St Ann's is more than a personal memoir; it's a celebration of inner-city renewal and the enduring spirit of community. This album resonates with nostalgia, capturing the key moments of Boulter's formative years.
Review: The Cosmic Tones Research Trio's All Is Sound is a profound blend of healing music rooted in gospel, blues, and spiritual jazz. Led by alto saxophonist Roman Norfleet, alongside cellist Harlan Silverman and pianist Kennedy Verrett, the trio creates an immersive soundscape perfect for meditation and mindfulness. Each track unfolds with a peaceful, meditative quality, gently building layers of sound through the interplay of sax, cello, piano, flutes and even didgeridoo. The album's melodies are delicate yet rich, reminiscent of the spiritual jazz of Sun Ra, Alice Coltrane, and Pharoah Sanders. Tracks like 'Creation' and 'Black Rest' invite deep introspection, while 'Peace Prayer' and 'Nada Brahma' echo with a restorative, almost mystical atmosphere. With its slow-building compositions and organic instrumentation, All Is Sound offers a unique, serene listening experience a d a powerful healing force. The trio's commitment to creating purposeful, mindful music shines through, making this a great example of work in the contemporary spiritual jazz genre.
Review: Mary Lattimore's standing as one of the foremost harpists in active service is without doubt at this stage, but even by her considerable reputation this record is a standout moment in a glittering career. Over the course of two years, the dedicated improviser committed herself to focused sessions and collaborated with an impressive cast of characters from The Cure's Lol Tolhurst to Slowdive's Rachel Goswell. The over-arching theme is one of the inescapable nature of change, as crystallised in the crumbling Croatian hotel Lattimore references in the album title. It goes without saying the musical results are achingly beautiful, nuanced and fathoms deep.
Review: Christian Schoppik, aka Lauten der Seele, concludes his 'Water' trilogy with Die Reise zur Monsalwascheia profound exploration of spiritual journey and fulfillment. Following Die Mariengrotte als Trinkwasseraufbereitungsanlage (2022) and Ertrunken im seichtesten Gewasser (2023), this final chapter is a compelling odyssey from departure to salvation. While previous works leaned heavily on experimental soundscapes, this album shifts focus to classical influences, creating a more refined yet emotionally rich experience. Schoppik's expertise in blending samples and audio collages remains evident, but here it's woven into a more accessible and evocative narrative. The album's structure, from 'Decision, Farewell & Departure' to 'Losing Way, Arrival & Salvation,' show off Schoppik's growth as an artist, presenting a seamless conclusion to his trilogy. Die Reise zur Monsalwasche stands out as a testament to his evolving craft and emotional depth.
Review: Dive into the stunning world of Saint Seiya with the first-ever vinyl issue of Volume 3 of the anime's cult soundtrack. Composed and arranged by Seiji Yokoyama, known for his work on Gatchaman, this album features the best music and songs from the beloved series. Saint Seiya, also known as Knights of the Zodiac, follows the heroic Knights of Bronze as they protect the goddess Athena. The series has become a massive franchise since its debut in 1986, inspiring TV series, films, video games, and more. This limited edition, pressed on stunning blue marbled vinyl, offers fans a deeper exploration of Yokoyama's iconic score. With its beautiful packaging, this release is ideal for collectors and enthusiasts.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Theme Song (9:53)
Main Titles (4:20)
Mirage (1:53)
Old Town (4:51)
Chase (4:19)
Long Shadows (4:26)
Chase (part 2) (2:44)
Theme Song (instrumental) (4:31)
Chase (part 3) (2:34)
Old Town (part 2) (3:22)
Cantina (2:12)
Ballata Dei Vestiti (1:39)
Under The Sun (2:22)
Theme Song (single version) (3:05)
Solitudine (2:51)
Main Titles (IIa Colonna) (2:24)
Fischio (1:40)
Ghosts (3:19)
Hey Gente (feat Corrado Pani) (3:27)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Four Flies has released an extraordinary vinyl edition of Mario Migliardi's soundtrack for Matalo!, a unique score that breaks all the conventions of the Spaghetti Western genre. This 1970 film by Milanese director Cesare Canevari features a dark, atmospheric take on the traditional Western, with minimal dialogue and visually experimental techniques that elevate the music to the forefront. Migliardi, a versatile composer, conductor, and Hammond organist, blends psych-rock, electronic textures, and concrete sounds into a compelling auditory experience. Drawing on influences from Jimi Hendrix to Luciano Berio, he mixes acoustic guitars and folk percussion with innovative electronic processing, creating a sound that feels both groundbreaking and timeless. The album's centerpiece is a nine-minute hard blues rock jam featuring vocals by Giano Ton (Giacomo Tosti), finally available on vinyl in its extended version. The score's dynamic phaser effects, created with a Leslie filter, add to the soundtrack's distinctiveness and its packaging - in a beautifully designed gatefold jacket by Eric Adrien Lee - adds a great visual touch to the overall package.
Review: Max Richter's ninth solo album, In A Landscape, is his first recorded at his tranquil new studio in rural Oxfordshire, Studio Richter Mahr, which is a minimalist, eco-conscious retreat he shares with his wife. The album explores "reconciling polarities" and blends electronic and acoustic elements with the human experience and elements from the natural world. Comprising 19 exquisitely well-crafted and coherent tracks, this record serves as a reflective counterweight to the urgency of previous projects and focuses on Richter's immediate surroundings and a range of influences from Bach to Keats. In capturing moments of introspection using a simple palette of string quintet, piano, organ, and analogue synths, Richter impresses once again here.
Ce Que Dit La Petite Princesse Des Tulipes (Menus Propos Enfantins) 1913
5eme Gnossienne 1889
Colin-Maillard (Sports Et Divertissements) 1914
Danses De Travers (Pieces Froides) 1897
2eme Gnossienne 1890
2eme Gymnopedie 1888
Harmonie 1895?
Idylle (Avant-Dernieres Pensees) 1915
Idylle Cynique (Preludes Flasques) 1912
Lui Manger Sa Tartine (Peccadilles Importunes) 1913
La Peche (Sports Et Divertissements) 1914
Petite Ouverture A Danser 1900
Petit Prelude A La Journee (Enfantillages Pittoresques) 1913
Priere 1895?
4eme Gnossienne 1891
4eme Nocturne 1919
Reverie Du Pauvre 1900
Son Binocle (Les Trois Valses Distinguees Du Precieux Degoute) 1914
Songe Creux 1906-08?
Sur Un Vaisseau (Descriptions Automatiques) 1913
Tyrolienne Turque (Croquis Et Agaceries D’un Gros Bonhomme En Bois) 1913
Vexation 1895?
Voix D’interieur (Preludes Flasques) 1912
Review: An originally 1984 vinyl release by Satsuki Shibano - the Tokyo-based piano-ambientist who, aside from his many talents, studied under Erik Satie historian Jean-Joel Barbier. 'Wave Notation 3' contains 14 tracks of solo piano interpretations of Satie's 'furniture music', which proposed the idea of music made to soundtrack daily life. Something of a prototype for 'domestic electronic music', it was the final album from the Wave Notation environmental music series curated by Satoshi Ashikawa, who sadly passed away in a car accident before the album was completed.
Review: You had us at hello. Or at least you had us at weird French sounds from the 1970s, a decade that played a pivotal role in modernising musical processes, techniques and instruments, among other things. With names like Gilbert Becaud & Christian Gaubert, Jean Schwarz, Jacky Chalard & Gilbert Deaez and Alain Goraguer, those more in tune with this era in Gallic sound culture will know this is going to be a varied ride. Hence we open on 'The Organization', a piece that nods to the classical heritage of screen scores and captures the laidback attitude of the late-1960s perfectly, before moving through a wealth of styles, including proto-New Wave, post-punk, Kraut and meditative moods. For want of a better description. Nothing you won't have encountered before, but certainly pushing in new directions at the time.
Review: 2024 marks the hundredth anniversary of the birth of legendary Japanese filmmaker Seijun Suzuki, a director whose B-movies - mostly themed around 'yakazu' crime syndicates - became cult classics in the mid 20th century. This celebratory release focuses on the eleven years (1956-67) he spent making films for the iconic Nikkatu studio and showcases music by Japanese composers including Naozumi Yamamoto and Hajime Kaburagi. Musically, it's surprisingly varied, with swelling, lavishly orchestrated themes and movements being joined by big band jazz workouts, gentle acoustic numbers, moody choral musuic and the kind of harmonica-heavy compositions most often associated with Ennio Morricone's spaghetti western soundtracks.
Review: Gregory T.S. Walker's Minstrels & Minimoogs is a stunning reissue of a rare and groundbreaking 1988 album. Originally self-released as a micro-edition, this avant-garde masterpiece was crafted to accompany an immersive multimedia performance at the University of Colorado Boulder's Fiske Planetarium. Blending ancient Egyptian myths with futuristic soundscapes, Walker conjures a unique sonic universe where electronic drums, synth guitars, and the iconic Minimoog weave together in a dazzling display of three-dimensional sound. Born into a prestigious musical family, Walker was steeped in classical traditions yet driven by a rebellious spirit. His deep knowledge, combined with a passion for electronic music, led him to create this otherworldly album that defies easy categorization. Recorded in a DIY spirit with a group of eclectic musicians, Minstrels & Minimoogs is an inspired fusion of prog, pop, and baroque elements, drawing comparisons to the playful experimentation of Gregorio Paniagua. With its cosmic-futuristic vision and baroque subversion, this reissue from Freedom to Spend's uncommonA series breathes new life into an album that was nearly lost to time. Minstrels & Minimoogs is a triumphant reminder of Walker's boundary-pushing genius, an album that continues to inspire. An album that's simply begging to be discovered.
Review: Ash Grey And The Gull Glides On marks the debut collaborative album from composers Andrew Wasylyk and Tommy Perman. Their synergy, built through years of audio-visual collaborations, culminates in this meditative ten-song collection. Rooted in Perman's ambient-acid-house rhythms and multi-textural percussion, the album features sampled sounds from Wasylyk's upright piano. Drum machines, transcendental piano motifs, fluttering synthesizers, saxophone swells, and choral vocals weave through the fabric of this album. Inspired by 'Recording Instructions', 'Tempo Cards', and 'Chord Cards' sent by Tommy to Andrew, the project encourages exploration and improvisation, akin to the Fluxus movement. Standout tracks include 'Communal Imagination,' with Wasylyk's ethereal piano floating above Perman's dynamic rhythms, and 'Root Grow Emerge,' blending brass and children's field recordings. 'Blessing Of The Banners' evolves into a hopeful cinematic jazz piece, while 'Spec Of Dust Becomes A Beam' crescendos into a kosmiche groove.The album's closing track, 'Be the Hammer,' features Aidan Moffat's reflective vocals over ascending chords. A highlight for those already raving about this soundtrack. Ash Grey And The Gull Glides On radiates warmth, curiosity, and a profound sense of artistic unity, reflecting a place where community, love and creativity converge. A wonderful ambient album with a lot to offer.
Buried At Westwood Memorial Park, In An Unmarked Grave, To The Left Of Walter Matthau
Tissue Of Lies
Pelagic Swell
Stock Horror
Dim Hopes
As Above Perhaps So Below
Mexican Helium
We Were Vaporised
(Don’t Go Back To) Boogerville
Review: Adam Wiltzie is an American-born, Belgium-based ambient composer, sound designer, film soundtracker and one half of A Winged Victory For The Sullen. His latest album-length suite was inspired by two things: a recurring dream in which people die after listening to his music, and a fascination with sodium pentathol, a barbiturate routinely used as a general anaesthetic. It's a kind of musical exploration of - to paraphrase his label's accompanying press release - tiptoeing between beauty and oblivion, or sleepiness and wakefulness. Mixed by Loop man Robert Hampson and featuring strings recorded in Budapest, the album ebbs and flows majestically, with billowing orchestral moments nestling side by side with creepy ambience, immersive and dream-like soundscapes, simmering melodic motifs and the kind of arty but enveloping fare that reminded us a little of the Orb and Robert Fripp's mid-90s FFWD project.
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