{"title":"Aguirre","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eAguirre is a Belgian label that specializes in releasing experimental contemporary music. With a focus on pushing boundaries and exploring new sounds, Aguirre has become a leading force in the underground music scene. As the sister label of [l166405], they have established themselves as an authoritative voice in the industry.\u003c\/p\u003e\n\u003cp\u003eWith an impressive roster of talented artists, Aguirre consistently delivers innovative and thought-provoking music to its audience. Their dedication to showcasing cutting-edge talent sets them apart from other labels, making them a go-to destination for those seeking unique and boundary-pushing musical experiences.\u003c\/p\u003e\n\u003cp\u003eWhether you're a seasoned fan of experimental music or simply curious about exploring new sonic territories, Aguirre offers an extensive catalog that will captivate and challenge your senses. Discover the future of contemporary music with Aguirre's carefully curated releases.\u003c\/p\u003e","products":[{"product_id":"since-time-is-gravity","title":"Since Time Is Gravity","description":"\u003cp\u003eThe next chapter of the Natural Information Society is here. Since Time Is Gravity, credited to Natural Information Society Community Ensemble with Ari Brown, presents a newly expanded manifestation of acclaimed composer \u0026amp; multi-instrumentalist Joshua Abrams nearly 15 year, 7 albums \u0026amp;-counting flagship ensemble. Joining the core NIS of Abrams (guimbri \u0026amp; bass), Lisa Alvarado (harmonium) Mikel Patrick Avery (drums) \u0026amp; Jason Stein (bass clarinet) are Hamid Drake (percussion), Josh Berman \u0026amp; Ben Lamar Gay (cornets), Nick Mazzarella \u0026amp; Mai Sugimoto (alto saxophones \u0026amp; flute), Kara Bershad (harp) \u0026amp; Chicago living legend of the tenor saxophone Ari Brown. \u003c\/p\u003e\u003cp\u003eRecorded live to tape at Electrical Audio \u0026amp; The Graham Foundation, cover painting Vibratory Cartography: Nepantla, by Lisa Alvarado. 2xLP on Eremite USA 2xLP \u0026amp; CD on Aguirre\/Eremite Europe. Since first developing Natural Information Society in 2010, Joshua Abrams has been gradually expanding the group’s conceptual underpinnings, its musical references \u0026amp; the sheer number of the group’s members. Its music is, in a sense, an expansive form of minimalism, based in repeated \u0026amp; overlaid rhythmic patterns, ostinatos \u0026amp; modality. Its roots, its scale \u0026amp; its meaning become clearer in time. If time is gravity, it also allows us to carry more. Having begun as fundamentally a rhythm section with Abrams’ guimbri at its core, the version here can stretch to a tentet, including six horns.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LPx2.","offer_id":50383145763147,"sku":"2015625","price":42.99,"currency_code":"GBP","in_stock":false},{"title":"CD.","offer_id":50383145959755,"sku":"2015637","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Natural_Information_Society_-_Since_Time_Is_Gravity_ZORN99_f6e70f54_thumbnai.jpg?v=1726264469"},{"product_id":"i-try-to-be-another-dancer-2","title":"I Try To Be Another Dancer","description":"\u003cp\u003eAnother Dancer deal in utopian music - of the open, welcoming and whatsoeverish kind. It’s fresh, snotty, neurotic art-rock deeply rooted in 80s\/90s DIY aesthetics. The songs on their debut album balance gently between forgotten pop hits and broken sound experiments. In their world, any shitload of weird, random, and badly synchronized sounds unveil broken-hearted pop mastery. In the Another Dancer universe, radios are stuck to WFMU and Soulseek is a self-conscious AI producing 80ies psychedelic FM-rock. Brussels-based Another Dancer is outdated, wild at heart and elegantly shy. \"Flashes of the shambolic post-punk of Good Sad Happy Bad and the goofy, fraternal synth-pop of the blog-era gem Teenagers can be seen, often simultaneously, across the new single from the Brussels-based band Another Dancer. Vocals are layered on top of each other to a conversational near-cacophony, like you’ve been placed at the center of a Dry Cleaning show where everyone is, improbably, in a good mood. Sunny synth sweeps jostle next to bent, jangly guitar lines for a song that finds a special kind of vibrance in its mess. — Jordan Darville”\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"LP","offer_id":50384248865099,"sku":"2217090","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Another_Dancer__I_Try_To_Be_Another_Dancer_ZORN106_8878db59_thumbnail_4096.jpg?v=1726292176"},{"product_id":"clearing-3","title":"Clearing","description":"\u003cp\u003eIn addition to the unique musical proposals and the large body of work that they have developed separately, Amelia Cuni and Werner Durand have been performing together as a duo as well as in collaborations (Tonaliens, Born of Six) for more than 20 years. Fusing her Indian Raga singing in the Dhrupad style with his minimalist and experimental approach, they have expanded the reach of their soundworlds as well as proposed new paths for contemporary music. On this occasion, Uli Hohmann joins them in a range of hand drums from the Middle East and North Africa, plus a dulcimer-sounding hammered guitar. Durand's various self-made wind instruments, soprano sax, and blown kalimba shine along with Cuni's astounding vocals, which are sometimes sung through a mirliton (a medieval type of kazoo). Clearing is the trio's first published recording. Seconds of Thirst, recorded in one session at Uli´s studio in Bavaria in early 2014, is truly a conjuring where distinctive balances come to gather. A deep drone unfolds patiently in a hypnotic manner, comprised by Werner's characteristic PVC clarinets, a hammered guitar played by Hohmann, and subtle electronic tones. Above all, Amelia's singing voice, filtered through the mirliton, drifts buzzing along the gradually shifting harmonic waves, meandering through serpentine melodic lines and microtonality. In the middle pieces, vocals turn into an ethereal multi-layered chorus, an exotic and astonishing instrument pulsing delicate and vaporously, like a gliding silk sail without a mast to bind it. Misty ambiances linger on as the soft atmosphere disperses the weight of undelivered syllables. Just intonation aligns the pan-ney's winds with vocal navigation. Foe to scattering, hurry, and affectation, Clearing's pace has lifted a fog translucent enough to reveal treetops calmly appearing, efficiently condensing damp into definite drops that fall drumming, forecasting what's yonder. With a condensing sound going from Buddhist morning chants down to Indian festive traditional music, the title track, which closes the album, is the most vibrant of all, permeating a bit of commotion through buzzing drones and galloping percussion. Without disorder, yet without measure. Clearing is therefore this shuttle into the distance, this space that weaves, unites, and tenses the different cords that we are made up of.When the clouds advance silently, gray, until they become dark in a few minutes, it means that the monsoon is coming. It reaches us without apparent noise, but then resounds in its images, leaving behind lightness, freshness, clarity, and a tremendous 6 luminosity that comes from so far away: from the Himalayas, from so ancient, from Sanskrit, from a sound where the darkness and the divine, where the concrete and the landscape, where the rock and the humidity leave a mark that brings together and ties a sky loaded with new clouds.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP.","offer_id":50395892908363,"sku":"2164092","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Werner_Durand_Amelia_Cuni__Uli_Hohmann__Clearing_zo_796ef835_thumbnail_4096.jpg?v=1726474933"},{"product_id":"feral-lands-forbidden-cities","title":"Feral Lands \u0026 Forbidden Cities","description":"\u003cp\u003eRecorded in Brussels in 2019, Feral Lands and Forbidden Cities is Timelash's second delivery of a 4 album projected series. In their debut, A Morphology of Wonders (Aguirre Records, 2021), the duet formed by Embassador Dulgoon (Nonlocal Society, Archimboldos) and Corum (Psychic Sounds, Million Brazilians) revealed a unique musical journey that unfolds and expands like a cluster of organic matters and mechanical dialogues lit by iridescent fluorescences. Timelash's musical proposal is firmly rooted in retrofuturism, reminding us of exotic and library music artists such as Martin Denny, Egisto Macchi, Bernard Fèvre, and Eric Vann, reaching up to Mark Dwane's cinematic soundscapes, or Constance Demby's Novus Magnificat. Feral Lands and Forbidden Cities digs precisely into what the title indicates: civilizations not yet explored, untraceable ruins, and the unknown. Digital synthesizers, samplers, flutes, percussion pads, and effects are assembled as stirring sprouts of life and evolutionary dream cycles. Spacecraft bustles, strange body noises, tolling bells, plasticine murmurs, and boiling potions ring under harmonic synth soulful crescendos, building up a sense of both machinery and wonder; the emotional significance that the mechanical contains. The tactile quality of detail and the flourishing motifs join and bloom in poignant, even epic manners, as in \"Outside Grottos of Time\". A mood more dizzying and suspenseful speeds up \"Sandrunner's Pass\" until the puzzling closing track \"Shadows of the Skyfish\" wraps it all up. Chromatic glares, mechanical abstractions, and multicolored visions emerge like fumes radiating from electric dreams; melodic layers drift, rise, and finally lay down subtly. There's a feeling of mystery and motion in several directions, sometimes even simultaneous, although limited, all of them equally full of meaning, since this is a coherent musical tale. The Great Nebula of Andromeda swims like a phosphorescent amoeba. Far away yonder in forbidden cities, foreboding creatures are planning to abduct us while we sleep. In the dark, we cook our macaroni and eat by lantern light. Stars cluster all over our table like fireflies. We watch the turning moon through our little telescope. The unknown stumbles around the dying campfire. As breaths gather firm, an auroral stain illuminates the sky once again. Great geometrical winter constellations lift up over sinuous litmus gleams. We walk under the stars, our feet on the unknown round earth. Our eyes follow the lights of a deep glowing spaceship. Engine tones rise, shrill, faint, finally inaudible, and its lights go out in the southeast haze beneath the feet of Orion.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP.","offer_id":50395894251851,"sku":"2164087","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Timelash_-_Feral_Lands__Forbidden_Cities_zorn101_ac3e65d0_thumbnail_4096.jpg?v=1726474957"},{"product_id":"seikatsu-kojyo-iinkai","title":"Seikatsu Kjy Iinkai","description":"\u003cp\u003eA rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs \u0026amp; liner notes by Alan Cummings. Following hot on the heels of the first, mid-sixties generation ofJapanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. \u003c\/p\u003e\u003cp\u003eUmezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan. Then, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like David Murray, Arthur Blythe, and Oliver Lake.\u003c\/p\u003e\u003cp\u003eHere, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate.When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air againstAbdullah’s trumpet.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black | LP","offer_id":50406332137803,"sku":"1151524","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8b26ce51-a039-4521-a3f0-0e864b69fb27_thumbnail_4096.jpg?v=1726585424"},{"product_id":"aprilnacht","title":"Aprilnacht","description":"\u003cp\u003eOriginally released on tape by SicSic in 2014, Aprilnacht commemorates a decade of music from Brannten Schnüre and marked the spring in a tetralogy of albums about the four seasons when it came out. Back then the Würsburg-based project consisted solely of Christian Schoppik, who later welcomed Katie Rich to take over the vocals. He used to perform as Agnes Beil, but dropped the name 8 when, while making this album realized his music was becoming \"much gentler and more fragile\". Aprilnacht already captured the particular musical ideas that Schoppik would thoroughly keep exploring, delving deeper and deeper into the use and manipulation of samplers from sources so diverging as to wander between the five continents to post-war German family television and cult cinema. Heir of the ritualistic intensity of Coil, of the intricate sampler assemblies of Ghédalia Tazartès', and of the dusty, dismal old ballads from around the world, Brannten Schnüre manages to make these paths cross in a territory that is as inherent as it is uncanny; sieged by the past and intimate as a hearth. An organic approach to folk, ambient, and sound collage, where ethereal yet thoroughly textured pieces coalesce in enthralling, delicate, and innermost musical rituals. The album cover paintings reveal the temper: dreary old towns where shadows come to dim the slow passage of crepuscular colors, a soft area of reanimation where wind and light come close and foresee the night of spring. Aprilnacht was inspired by the stories of German philosopher and writer Friedrich Alfred Schmid Noerr, whose work exhaustively examines the conflict between paganism and Christianity, safeguarding myth in a way that Schoppik describes as boldly modern, humorous and unpredictable in its variations of the Germanic folklore motifs. \"I wanted to do the same with the music,\" he states, and the music here could as well be suitable for a night when household deities welcome wandering will-o'-thewisps, water nymphs, and gyrovagues to discuss Perchta's leadership of The Wild Hunt, but this album is not a folk tale, it's not an elegy to worlds already gone, hidden in years; it's an intersection of routes that open mysteriously before our ears like a congregation of vapors. Aprilnacht is a gathering of voices; \"There are too many children, and none of them keeps quiet,\" reads the last verse of «Requiem für eine Ringelnatter.» Sensuality drips over the music to celebrate both the voluptuousness and tragic quality of nature; \"It's raining on me, urine from your flowers,\" Schoppik sings in «Urin deiner Blüten» and later on, faced with a snake's erotic features, as if he wanted to be embraced by it: \"Your quick, sharp tongue and your warm venom; that's what the pond is missing.\" Orality is where this profusion of contents thrives. When the voices get closer and condense, the words reveal the saliva employed to pronounce them; we feel the mouth and the tongue, but when breath envelops them in sorrow and softens their edges, they sound distant, diffused in the atmosphere, letting go of the body that held them. These two vocal facets oscillate permanently and interact naturally with the fertile assembly of samplers and instruments that develop throughout the album, which condense and disperse impersonating each other, interweaving to search for a specific syntax. Tangled whisperings of enigmatic phrases, timid voices that stick out to check the scene but hide away quickly, shivering trance chants and monastic ambiances, distant screams and clamors in between chaos and warfare swirl until bursting into subtle songs where even Mother Mary comes forth softly. Soothed by foggy atmospheres and crackling punctuations, these voices shape a vulnerable crowd, an occasion of fragility. Along this swarm of songs thrown into thin air, accordions sound like heavy-breathing lungs; clarinets sigh like curtains shaking; violin solos wander around like bees; Gjallarhorns cries distend like fleeing cattle; glockenspiels evoke remote music boxes and inherited toys; backward emanations emerge like slender waves retreating. On the banks of stretching loops and ember textures is where the songs slowly nest, collecting the words to find their tone.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP","offer_id":50413472448843,"sku":"2191717","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/BRANNTEN_SCHNURE_-_Aprilnacht_zorn81LP_9e4f0458_thumbnail_4096.jpg?v=1726674179"},{"product_id":"star-op-med-solen","title":"Star Op Med Solen","description":"\u003cp\u003e‘Står op med solen’ (Rising with the sun) is the second album by Amalie Dahl’s Dafnie. With this album, the band continues the exploration of their collective sound. We hear influences from both old school free jazz, and contemporary Scandinavian jazz like Fire! Orchestra and Christian Wallumrød Ensemble, as well as clear connection to the Trondheim milieu, where the group was founded in 2020. The energetic and expressive band explores their more subtle side with this record. ‘Står op med solen’ is an album longing for humans to be one with nature. The music comments on the world’s ultra-capitalistic power structures of today. The band navigates like one organism through parts of organic free jazz, strict structures and composed cells. They start out where their first record ended, in the familiar free jazz sound with riffs and melodies and take us safely on their onward journey. Amalie Dahl’s Dafnie brings together five well-known names from the Norwegian jazz scene, also known from other projects like Kongle Trio, Bliss Quintet, I like to sleep, Veslemøy Narvesen, Galumphing Duo, Treen and Trondheim Jazz Orchestra, among others.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP","offer_id":50413537460555,"sku":"2191716","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50550556262731,"sku":"2191726","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Amalie_Dahls_Dafnie_-_Star_Op_Med_Solen_ZORN105LP__C_b24a69d2_thumbnail_4096.jpg?v=1728412048"},{"product_id":"vatterns-parla","title":"Vatterns Parla","description":"\u003cp\u003eAs an important agent of Gothenburg’s underground scene, Dan Johansson has been a member of several experimental harsh noise projects such as Sewer Election, and lo-fi indie folk bands like Enhet För Fri Musik and Amateur Hour. Ordeal is his latest solo output, and might as well be ashes stuck in the blast furnace's edges of his last longing career. Not by means of summing up genres or as a culmination of his musical development, but as a profound music piece weaved in his own household. With not much more than a synthesizer, Vätterns Pärla is built by trembling, dissonant drones stained in feedback and reverberation, thickly textured by the no-fi quality of the recording, depicting a menacing atmosphere congested with heavy fumes. In Johansson's words, Ordeal \"takes inspiration from the early 80’s albums of Maurizio Bianchi, filtered through a Gothenburgian no-fi bleakness. It’s an album for inner voyage, childhood memories, and places that now lost purpose and meaning”. There's certainly intimacy and nostalgia, yet a claustrophobic, hypnotic ambiance wraps it all up in a contained and narrow space. Emphasis is put on texture rather than on detail, on colour rather than on progression, on suspense rather than on conclusion. Tension varies stiffly, sometimes a drone layer dismantles and the mood seems to filter, but ragged edges are never polished. We can feel the walls and the air, which although tarnished, can be breathed in somehow. It's as if waking up in a dark room and having to recognize it with our ears and tact, testing its dimensions and its surface. The stillness in the chamber is like the stillness between gasps of storms. Without visible stars, an enclosed share of night sky hides a heavy load of industrial debris underwater. These remnants are maybe the pearl regarding the album's title. It all can seem like a dream, a grim mechanical soundscape deafened by hefty, yet sporadic winds. Soil strives to make something grow, but sprouting is kept suspended, held by a dismal presentiment. Long shadows on the ground prove that darkness is about to befall. And as these shadows stretch, almost about to break up in a loud strike, the noise turns white.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP.","offer_id":50432145883467,"sku":"2164071","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ZORN95ORDEALFRONT_540x_e5d5a33e_thumbnail_4096.webp?v=1726864321"},{"product_id":"out-to-lunch","title":"Out To Lunch","description":"\u003cp\u003eEric Dolphy's final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would have moved past or away from the album in 1965, had he lived. \u003c\/p\u003e\u003cp\u003eThough Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of \u003ci\u003eOut To Lunch\u003c\/i\u003e have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final \"Straight Up and Down, extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue colour scheme, although a photo taken by Daidō Moriyama inside Tokyo's massive (and massively busy) Shinjuku railway station replaces the Dolphy's album's enigmatic \"Will Be Back\" sign, whose clock hands indicated no conventional time of expected return. \u003c\/p\u003e\u003cp\u003eOtomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. The always surprising and sometimes confounding turntablist, sound artist, onkyo improviser and now avant jazzer heading up a 15-piece aggregation of Japanese and European experimentalists. Who better to grapple with Dolphy's legacy -- so idiosyncratic in its day and yet so influential to creative improvisers who followed -- than a musician with his own singular take on how sounds can be organised in the jazz realm over 40 years later and half a world away? In other words don't expect the conventional from Otomo any more than you would from Dolphy himself. That's not to say that recognisable themes (\"Hat and Beard,\" \"Out to Lunch,\" \"Straight Up and Down\") don't appear, or that individual players -- including Alfred Harth on bass clarinet bursting into the mix and leaping across the instrument's tonal range in a way that recalls the master himself -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage. However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko in far less prominent role than that of Bobby Hutcherson) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, \"computer.\" (Otomo himself plays skronky electric guitar.) \u003c\/p\u003e\u003cp\u003eFrom composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wildman Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. The middle section of \"Something Sweet, Something Tender\" somewhat belies the original's title with elongated howls and cries from the horns over slo-mo bass, drums, and electronic noise poised somewhere between dirge and drone, and the sudden explosion of punk-ish rock energy in the following \"Gazzelloni\" is a startling contrast. At times, the feeling is that of listening to the original \u003ci\u003eOut To Lunch \u003c\/i\u003ewhile a séance is going on to contact Dolphy's ghost, with supernatural sounds swirling around the stereo. The effect is disconcerting, as is the post-apocalyptic cloud hanging over the arrangements, but it makes the effort more than an unnecessary tribute album. Instead, Dolphy is transported into the 21st Century and allowed to romp through modern developments in music. An inspiring concept and an album that will stretch the boundaries of anyone who comes into contact with it.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black | LP | x2","offer_id":50455915823435,"sku":"1162108","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cf2ad780-82a9-4d6c-bcb9-1e2aa31b3708_thumbnail_4096.jpg?v=1727195086"},{"product_id":"mondays-at-the-enfield-tennis-academy","title":"Mondays at The Enfield Tennis Academy","description":"\u003cp\u003eLong-form, lyrical, groove-based free improv by acclaimed guitarist and composer Jeff Parker's ETA IVtet. Recorded live at ETA (referencing David Foster Wallace), a bar in LA’s Highland Park neighbourhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, and alto saxophonist Josh Johnson to convene in extraordinarily depth-full \u0026amp; exploratory music making. \u003c\/p\u003e\u003cp\u003eGleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 and 2021 by Bryce Gonzales, \u003ci\u003eMondays at The Enfield Tennis Academy\u003c\/i\u003e is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, and patience and grace in its own beautiful strangeness. 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Both traffic in subtle shades of contemplative electronics, marked by patience, space, and poetic restraint. And both have rich histories of curation and collaboration – Edren in the duo Spirit \u0026amp; Form alongside Bent Von Bent, and Takahashi as proprietor of the Kankyō record shop, as well as one fourth of cosmic ambient quartet UNKNOWN ME. \u003c\/p\u003e\u003cp\u003eMutual fans of one another’s work, they began sharing stems in the latter half of 2020, which slowly blossomed into a collection of multi-hued compositions inspired by notions of connectivity and impermanence, translated for east and west: Flow | 流れ. Opener “Dusk Decorum | 黄昏 礼節” maps the mood of what’s to come, elegantly pirouetting and percolating through an expanding vista of looming stars and half-light horizons. Takahashi describes Edren’s arrangements as evoking “a strange feel, something we haven't heard much of before.” The sensation is one of “in-betweenness,” a restless current whispering beneath the beauty, like seasons seen in time-lapse footage: flickering but infinite, transience turned permanent. \u003c\/p\u003e\u003cp\u003eTakahashi’s signature sculpture garden tones plot spiral patterns over which Edren cascades dazzling pointillist synthesizer coloration. The pieces veer between delicate and dilated, micro and macro, their aperture forever softly in flux. From the oscillating orchestral lullaby of “Stalactime | 鍾乳石時計” to the sweeping, sparkling dream sequence closer, “Shift Register | シフトレジスタ,” the album achieves the elusive goal of being more than the sum of its parts. This is music of rare air, elevated and amorphous, shimmering just out of reach. Though Edren and Takahashi have yet to cohabitate the same room in person (a fact that should be rectified soon by an astute festival booker), their palettes and poise are perfectly paired, twin fragilities woven into seven radiant and regenerative vibrational states. The cover design of a beatific, beaded leaf rippling on the surface of a hidden pond aptly captures the record’s muted majesty. Takahashi’s quiet pride is justified: “We are very happy with this time-consuming and carefully crafted work.”\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP","offer_id":50478733656395,"sku":"2006668","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/David_Edren__H._Takahashi__Flow_ZORN97LP_d89de83b_thumbnail_4096.jpg?v=1727490080"},{"product_id":"occitanie","title":"Occitanie","description":"\u003cp\u003eSavage pulsating drone-rock from France. 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The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jéricho, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and \/ or experimental music. In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditional-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. 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Jericho is just one of many available permutations of La Nòvia members, with the line-up including Yann Gourdon, Clément Gauthier, Jacques Puech and Antoine Cognet – you could say it’s La Nòvia’s flagship, or super-group. There are no dramatic stylistic shifts here, this is a story of gradual evolution within parameters that Jericho, and La Nòvia, have set for themselves. That also applies to their interpretation of individual songs, which are largely traditional. They can build from almost nothing to reach a furious, near-hallucinatory pitch, underpinned by Gourdon and driven higher by Cognet’s banjo and Gauthier and Puech’s cabrettes (Auvergnat bagpipes). Gauthier and Puech also sing in unison but drift marginally in and out of time with each other, creating a natural delay effect. 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Thirty years after its release, the album’s tapestry of sound, fearless abstractions, relentless grooves, cool swing, flashes of ecstasy, and pan cultural embrace remain powerful and beyond category. One of only three albums released on the Philadelphia-based Dogtown label, it was barely distributed beyond the city’s limits when it came out in the early ‘70s. Finally available again, a really stunning document of musical exploration, a classic session. In its improbable fusion of free jazz expressionism, black psychedelia, and full-on dub production techniques, Drum Dance remains a bracingly powerful outsider statement fifty years after it was recorded live at the Catacombs Club in Philadelphia, 1972. \u003c\/p\u003e\u003cp\u003eComparisons to Sun Ra, King Tubby, Phil Cohran \u0026amp; BYG\/Actuel merely hint at the cosmic otherness conjured by The Khan Jamal Creative Arts Ensemble \u0026amp; by sound engineer Mario Falana's real-time enhancements. 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While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the timestretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end. Their last two albums Frozen and Notes Campfire will now be re-issued in limited, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP","offer_id":50545427579211,"sku":"2222568","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Souled_American_-_Frozen_ZORN114_a36f89bc_thumbnail_4096.jpg?v=1728345397"},{"product_id":"patterns-5","title":"Patterns","description":"\u003cp\u003eClassic free jazz album reissued for the first time since its original release in 1973. Old-style Gatefold LP, with liner notes by Ed Hazell. Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to \"sound paintings.\" His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like \"patterns\" and \"shapes\" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy. Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements. The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid \"sound painting\" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP","offer_id":50812430156107,"sku":"2232180","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Noah_Howard__Patterns_ZORN91_8e59b9c0_thumbnail_4096.jpg?v=1734065927"},{"product_id":"natures-consort","title":"Natures Consort","description":"\u003cp\u003eObscure \u0026amp; outstanding free jazz album reissued for the first time since its original release in 1969. Old-style Gatefold LP, with liner notes by Ed Hazell. In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period. Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the \"loft jazz\" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present. Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time. Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP","offer_id":50812431728971,"sku":"2232179","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Natures_Consort_-_Natures_Consort_ZORN84_10970d3b_thumbnail_4096.jpg?v=1734109610"},{"product_id":"the-ancients","title":"The Ancients","description":"\u003cp\u003eThe debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, \u0026amp; William Parker formed by Parker to play concerts in conjunction with the Milford Graves Mind Body Deal exhibition at the Institute of Contemporary Art Los Angeles \u0026amp; now a working group. Across two LPs of side-length long-form improvised sets recorded at 2220 arts \u0026amp; archives in LA \u0026amp; the chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit \u0026amp; Ornette Coleman’s - Golden Circle band (expanded upon in later eras by Sam Rivers' Trio \u0026amp; Parker’s collective trios with Charles Gayle\/Graves \u0026amp; Peter Brötzmann\/Hamid Drake) into their own unique \u0026amp; scintillating realms of expression. As we tumble further into the throes of history’s tides, people of hope \u0026amp; creativity rely on the works of our great artists to lift our spirits \u0026amp; focus our resolve. -Ascension- was recorded less than a year after the passage of the civil rights act \u0026amp; four months after the assassination of Malcolm X. -Journey In Satchidananda- was recorded the month Reagan was re-elected governor of California. M’boom made its debut recording weeks after the Watergate scandal broke \u0026amp; a couple months after the Wounded Knee occupation ended. The music of The Ancients builds on these great musical legacies. it resounds with the pride of survival \u0026amp; the joys of making \u0026amp; sharing music. It delivers to us hope \u0026amp; balm. something real in you, real in history, \u0026amp; real in the music is shared, right on time.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Black LP","offer_id":51245616496971,"sku":"2239171","price":37.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":51245617414475,"sku":"2239179","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_f29f022c_thumbnail_4096.jpg?v=1739225937"},{"product_id":"adyton-dy","title":"Adyton","description":"\u003cp\u003eJapanese free jazz legend Akira Sakata and Greek avant-garde guitarist Giotis Damianidis present \u003cem\u003eAdyton\u003c\/em\u003e, their first-ever duo recording. Having collaborated since 2018, the two musicians have developed an intuitive and electrifying musical dialogue, culminating in this live performance at Haekem, Brussels—the final concert of a two-week tour with Entasis in September 2023. Sakata, who turned 80 on February 21st, 2024, delivers his signature fiery alto saxophone, evocative clarinet, expressive voice, and resonant bells, while Damianidis expands the sonic spectrum with textural guitar and effects, weaving a dynamic interplay between structure and chaos. Titled after the \"Adyton\"—the innermost, most sacred part of an ancient temple—this album invites listeners into a raw, unfiltered space of musical exploration, where spontaneous energy and deep-rooted tradition converge. A testament to Sakata’s lifelong commitment to improvisation and Damianidis’ boundary-pushing approach to guitar, Adyton is a powerful, transcendental journey into the unknown.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"LP - Black","offer_id":51598213087563,"sku":"R2137-3674","price":31.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/AKIRASAKATAGIOTISDAMIANIDIS-ADYTON_ZORN107.jpg?v=1744044408"},{"product_id":"orchid-alto-pz","title":"Orchid Alto","description":"\u003cp\u003eBelgian musician and filmmaker Jef Mertens has been an active force in the experimental music and film scene for nearly two decades. Known for his documentaries on artists like Sonic Youth and Borbetomagus, as well as his work with the now-defunct Dadaist Tapes label, Mertens continues to push the boundaries of sound exploration. His previous solo works include NO MATHEMATICS, released on KRAAK\/Feeding Tube Records. With Orchid Alto, Mertens dedicates himself to the taishogoto, a Japanese stringed instrument that became a new focal point in his sonic explorations. Initially drawn to its unique tonal qualities, he approached the instrument with an open-ended curiosity, using it as a means to reshape his musical language. The transition to taishogoto marked a shift away from guitar-based compositions, offering a fresh perspective on texture and resonance. Through these explorations, Orchid Alto serves as a blueprint for new sonic possibilities. A bold and immersive sonic journey, Orchid Alto merges traditional resonance with modern experimentalism, further shaping Mertens' artistic voice—one influenced by artists like Mick Flower, Turner Williams Jr., and Bill Nace.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"LP - Black","offer_id":51598213316939,"sku":"R9153-1689","price":31.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/JEFMERTENS-ORCHIDALTO_ZORN108.jpg?v=1744044512"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_066b4025_thumbnail_4096_68dac04e-dd74-44a8-8f49-98b6b103dea7.jpg?v=1726264438","url":"https:\/\/shop.roughtrade.com\/collections\/aguirre-1.oembed","provider":"Rough Trade","version":"1.0","type":"link"}