“Common Eider, King Eider return to Cyclic Law with their 13th full length album "Yearn". Since 2012, A.C. and B.S.s. have been crafting a unique aesthetic vision around modern composition, dark ambient, and black metal using voice, viola, percussion, and organic objects such as bone and antler to create a sonic world drenched in animism and project mythology. "Yearn" follows suit with five extended arrangements for viola, percussion, and voice. The pieces slowly unfold as if remembering a dream…

This is a really good collaboration from hugely talented folks who you would not expect to work together, but, actually, if you think about it, make total sense to work together.

"Musicians separated by age, style, and demographic, Elvis Costello and the Roots are nevertheless natural collaborators bound by wide taste, insatiable appetite, and fathomless record collections. This is particularly true of Roots drummer/de facto bandleader ?uestlove, the musical omnivore who is the band's most...

“Although the titles are all familiar (most of them a little too much so), Cotton and his all-star cohorts (guitarists Jimmie Vaughan, Matt Murphy, Luther Tucker, Hubert Sumlin, and Wayne Bennett, with the omnipresent Perkins on keys) pull the whole thing off beautifully. Cotton's cover of Wolf's "Moanin' at Midnight" is remarkably eerie in its own right, and he romps through Muddy Waters' "Blow Wind Blow" and "Sugar Sweet" with joyous alacrity.”-AllMusic

“Resin Pockets is the first album in a decade from long-running Bristol, U.K. indie group Crescent, and their first for Domino sublabel Geographic, which had previously reissued the debut album by related band Movietone. Crescent's principal member remains singer/songwriter Matt Jones, who co-founded the group during the early '90s and is responsible for most of their material. His brother Sam plays drums and tambourine on the release, longtime member Kate Wright sings on the album's final song, and a...

Beppe Crovella-Mellotron, Fender Rhodes Stage 73 electric piano, Wurlitzer E200 electric piano, Hohner electric piano, Hohner Clavinet D6, Rösler Grand Piano, Hammond Organ M102, Farifsa Professional (neither analog or digital synthesizers, or other digital keyboards were used on this recording).

"...Beppe Crovella (Arti e Mestieri) delivers a heartfelt and long-overdue appreciation of one of the defining voices of the jazz-rock idiom, Soft Machine keyboard player and composer Mike Ratledge...

Lorraine Bailey – vocals, keys, alto saxophone, flute, synth bass
Jack Bouboushian – vocals, guitar, organ, microphone
Bill Miller – drum kit, percussion
Matt Puhr – bass

Crown Larks are an excellent Chicago band who play a cool unique progressive rock with heavy psych influences. I stumbled upon them a couple of years ago and they impressed and I was a instant convert!

"...demonstrates a learned appreciation for the city’s recent underground musical history (particularly th

“An unearthed treasure from the '70s Italian avant garde archives! A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a one-off Italian-American all-star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva. Trombone specialist Giancarlo Schiaffini from the historical Gruppo di improvvisazione Nuova Consonanza. Cello virtuoso...

''Digital recordings from the Nordlydd Contemporary Music Festival and Berlin's Tacheles from 1991. Plus the historic prescient noise-music 1978 analogue recording from Limoges as a bonus. All singing, all dancing, all hell let loose. Float like a butterfly, sting like a bee...'' -Chris Cutler

"Collaboration between New York beat poet Steve Dalachinsky and French art-rockers The Snobs. Dalachinsky plays with words like models William Burroughs or Allen Ginsberg did few decades ago: using cut-up and automatic writing, he creates new meanings. Not only a writer, Dalachinsky performs regurarly with free-jazz musicians and friends to give his text a new life. You can see the poet at work, how he breaks the rules of the language to create his own and how he embodies his words to converse with the....

“The West Australian psych-groovers lay down a luscious cosmic boogie, all Hammond organ, loose-hipped Summer of Love warmth and fresh off their upcoming album Neanderthal Jam. Full-tilt retro fun, it bounces along like a hippie hitchhiker after a really good night’s sleep, seems to finish…and then trips out for another half a minute or so of freakdom. Impossible to listen and not think of blue skies and hot, hot sunshine." – Polly Glass / CLASSIC ROCK - LOUDER

The smokiest, noir-est, most atmospheric 50s jazz album you would ever hope to hear and own.
This is seldom considered one of Miles’ great ones, but it’s absolutely one of my favorites of his pre-electric era! Highly recommended to anyone looking for their personal ‘French noir film soundtrack’; “Set ‘em up, Joe!”

“Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is...

This album rather gently began the electric period of Miles' career. Herbie is on half the tracks playing electric piano, while Chick is on the other half on electric piano. 1968 and you can early the earliest traces of rock and funk in his music here....

"...Davis, probably a bit bored by some of his repertoire and energized by the teenage Tony Williams' drumming, performed many of his standards at an increasingly faster pace as time went on. These versions of "So What," "Walkin'," "Four," "Joshua,"...

Tremendous price on two albums of (mostly live) astonishment. This album was (mostly) recorded live at Washington DC's Cellar Door on the one night (October 19, 1970) that John McLaughlin came down from NYC to join the regular group of Miles, Keith Jarrett, Gary Bartz, Michael Henderson, Jack DeJohnette and Airto Moreira. Too bad I was only 12 at the time, or I would have mosey'd down there too.
With the posthumous release of all of the shows in the "Cellar Door" box, I have read a lot of reviews...

"The cover image alone for this 1968 release speaks loudly and clearly of something different: it looks like some weird rock record. And while it's not exactly that, Miles in the Sky hints loudly at something new, an upstart sound that would upset jazz...

"Nefertiti, one of 1967's most interesting collections of music, is a landmark album and unquestionably one of the finest efforts by Miles and his superior cast of players. The album is a rarity for the group in a few ways- Miles does not contirubte a...

This is one of the better sounding live documents of Miles' short lived, 1972, electric nonet that combined elements of Indian music, electric jazz, funk and noise elements. Hard to believe Miles was making this amazing squall 50 years ago; the jazz world was a lot smaller then...
Miles Davis-trumpet
Carlos Garnett-saxophone
Reggie Lucas-guitar
Khalil Balakrishna-sitar
Cedric Lawson-keyboards
Michael Henderson-electric bass
Al Foster-drums
Badal Roy-tabla
Mtume..

Miles Davis – trumpet
Gary Bartz – alto and soprano sax
Keith Jarrett – electric piano, organ
Michael Henderson – electric bass
Ndugu Chancler – drums
Don Alias & James Mtume – congas, percussion

Excellent quality sound and performance from Chateau Neuf, Oslo, Norway, 9th November 1971.

Ernest Dawkins, saxophone
Steve Berry, trombone
Marquis Hill, trumpet
Jeff Parker, guitar
Junius Paul, bass
Isaiah Spencer, drums

“Ernest Dawkins formed his New Horizons Ensemble in 1978 and on The Prairie Prophet, the group continues to create music that showcases their unique combination of jazz, bebop, swing, and avant-garde. The Chicago Tribune describes them as “a band with an uncommon versatility that erupts into new music bursts of dissonance and color. This band can

“Josse De Pauw tells in Weg about the life of a man, his youth, his exercises in leaving. Intimate childhood memories are inimitably combined with cosmic reflections about life and saying goodbye.
Peter Vermeersch and Pierre Vervloesem provide all this with an impressive soundtrack that varies from jazz to ambient, from musette and chachacha to Petula Clark.”

"In Weg, text and music are unique in a unique way. It is rare that such a beautiful symbiosis arises. An intimate show full...

While best known for his over-the-top, high-energy electronica, Dan Deacon is also known for his work in the contemporary classical field, his soundtracks and for his deep knowledge of computer music and electro-acoustic music, which he studied in college. This is a great, ambient/electronic album; moody and very different from what he is best known for.

“Most people who are aware of Dan Deacon tend to associate him with the wacky, cartoonish side of his persona: the dance contests, the trippy...

One of the most instantly recognizable voices of jazz of the 50s, 60s and beyond. She influenced lots of indie rock bands' female vocalists with her youthful style.

When Blossom Dearie first emerged as a solo artist she was already unique in many ways. Straightaway there was that voice - kittenish, intimate, coquettish and understated where so many other jazz divas were straining to belt out every song. With the fascinating 1957-58 albums 'Give Him the Ooh-la-la' and 'Once Upon a Summertime'...

“Debo Band are a Boston-based ensemble who play music heavily inspired by Ethiopian pop music as well as American funk and Eastern European brass bands. Founded in 2006 by saxophonist Danny Mekonnen, the group is led by singer Bruck Tesfaye. Other members include guitarist Brendon Wood and electric violinist Jonah Rapino (both of Devil Music), accordion player Marié Abe (Japonize Elephants), violinist Käthe Hostetter (Qwanqwa), and sousaphonist Arik Grier (Fat Day). They have toured Ethiopia twice and...

Decibel were a legendary Mexican chamber/rock group with improvisational leanings who are probably best known for their very fine contribution to the excellent Recommended Records Sampler double album. This has a 40’ concert recording from Mexico City, May, 2000, as well as very rare archive recordings from the 70's. The sound of the archival materials isn't awful, but it is definitely lo-fi, so that should be kept in mind.

“The Archives are taken from the private pressing cassette "Chiasognathus..

“Reissue of the limited self released album from 2019. Den Sorte Død (The Black Death) is a ritual performance by artists Offermose and Angst. From deep within the dark forests of Sweden a depressive spell is cast. Drawn-out and haunting notes ooze eerily from distorted keys, conjuring up images of underground landscapes crawling with unseen apparitions. A lone silhouette wanders endlessly through sunless deserts and smoldering wastelands. Low rumbling echoes from distant mountains, releasing a putrid....