“Digitally remastered edition. White Eagle is the 17th major release and 12th studio album by Tangerine Dream. It reached #57 in the UK album chart in a 5-week run.”

Cecil Taylor - piano
Tony Oxley - drums

“A live (first class quality) recording of the duo from 2002 - from the personal archives of Tony Oxley.”

"An expanded reissue of Telaio Magnetico's Live 75, including unreleased tracks from the super group's only tour in 1975. Telaio Magnetico was composed of Franco Battiato, Lino Capra Vaccina, Juri Camisasca, Mino Di Martino, Roberto Mazza, and Terra Di Benedetto. In the mid '70s, the Italian underground scene seemed to mature an existential priority of yearning toward a new psychological universe, with a firm idea to colonize an uncharted space of a necessary and infinite path of spiritual redemption...

The Third Ear Band were a late 60's/mid 70's quartet who were fixtures at ALL the festivals & who used hand drums, oboe, violin/viola & cello to make a dark, pagan & medieval-influenced, acoustic music. The only thing that comes close to their sound...

The Third Ear Band were a late 60's/mid 70's quartet who were fixtures at ALL the festivals & who used hand drums, oboe, violin/viola & cello to make a dark, pagan & medieval-influenced, acoustic music. The only thing that comes close to their sound is some small bits of the early Univers Zero records.
This, their third album, was a film soundtrack and is more electric than what came before, while still absolutely retaining their unique sound. It was their final 70's release before their late 80s....

First-ever legitimate reissue from mastertapes of Thirsty Moon's third album, originally released on Brain in 1975.

"This is Thirsty Moon' s 3rd album, originally recorded in 1974, released early 1975 on famous German label Brain...

This is a surprisingly good sounding (but still of quite good bootleg quality only) document of Thirsty Moon late in their life. At this point, they were playing a rather jazz/rock influenced progressive and I totally enjoyed this disc and krautrock or...

"Between “Blue & Yellow” and “Deceit” came the EP, “Health & Efficiency”. It bridges a gap between the mostly improvisational former, and the highly composed latter, showing great diversity in the band’s sound in general, as well as nicely documenting their two extreme directions.
The title track is This Heat’s single most high-energy piece ever, and is a tour de force of singing, ensemble playing and sound texture; It is propelled along by Charles Bullen’s signature guitar strumming & ratcheting...

For my money, this is something of a dissapointment. The recorded sound is not particularly good and there were much better sounding documents to choose from. Why the band chose these particular recordings is beyond me...

Great sounding and spirited shows from the John Peel show. Recommended.

"This Heat’s earliest public recordings came from two sessions for John Peel’s BBC radio show, in April and October of 1977. Peel was one of their greatest enthusiasts at the time, hearing excellence in the band’s mixed repertoire of post-krautrock songs and uniquely approached improvisation. Of special merit here is the band’s maverick use of real-time tape loops to augment their basic three-piece sound, as well as their...

”Recorded from 1979–1980 Repeat / Metal is essentially This Heat’s third proper album, although it was released posthumously in 1993. Arguably their most radical work, Repeat / Metal features side-length tape experiments ranging from the dubby drum loops of “Repeat,” a 20 minute edit / reworking of their landmark piece “24 Track Loop” to the gamelan-inspired sounds of “Metal,” an electro-acoustic work recorded outside of their studio, Cold Storage, and helmed by member Gareth Williams.”

"Repeat is This Heat’s fourth album proper, posthumously released in 1993. It harbours the most extreme musical side of This Heat’s experimental tendencies on disc, and is assuredly the band’s most radical offering. The title track is an oxymoron: An extended/edited version of the piece “24 Track Loop”, which had been previously issued on the Recommended Records’ double lp sampler in 1981, heard here sans the harmonizer effect. The original tracks were produced by David Cunningham (Flying Lizards)...

Michel Portal (tenor sax)
Mimi Lorenzini (guitar)
Daniel Laloux (tambour)
Jacques Thollot (drums and tapes of recorded experiments)
"There are records that stimulate curiosity to the extreme, records that make you want to dissolve yourself into the intense and beautiful surprise this music will bring. It is undeniable to the delighted ear that this exhumed document contains all the assets of the historical output, of the record that one would dream of waiting for long if one had known it

"To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the Watch Devil Go which interests us here . . .
A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio...

"Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristle's pop-influenced masterwork. It's hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this album's front cover previously gave herself milk and blood...

“This release is the infamous live show recorded at Throbbing Gristle’s 2004 performance as part of Jake and Dinos Chapman’s All Tomorrow’s Parties festival line up. The performance and CD were both dedicated to their dear friend and co-conspirator, John Balance, who passed away in November 2004.
The CD-R set was on sale minutes after Throbbing Gristle finished performing. The few remaining copies of this limited edition set were briefly available through Mute Records, but quickly sold out. This is...

"It's impossible to deny Throbbing Gristle's working methods and innovation are so deeply ingrained in the collective consciousness of... everything. TG's subversive dismantling of the apparatus of social control casts such a long shadow, and as impossible as it may seem, this collection actually provides an exceptional summation of their best work. The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time, TG redefined music an

Keith Tippett: piano
Claudio Gabbiani: acoustic & electric guitars
Roberto Musci: sampler, percussion, theremin, Vx7 (didgeridoo, bass clarinet), electronics
Recorded live at Palazzina Liberty, Milan, Italy October 21, 2000.

“Music for Labyrinths is an open live project for a soundtracks of labyrinths around the world and inside us. A labyrinth is an ancient symbol that relates to wholeness: it combines the imagery of the circle and the spiral into a meandering but purposeful path...

Finally, a third release from one of the most exciting Brit-jazz ensembles of 1969/1971! And regardless of the caveat below about the condition of the tapes, the final results are more than listenable and enjoyable!

“All tracks previously unreleased. Stereophonic sound.
Featuring the classic KTG frontline of Marc Charig, Nick Evans and Elton Dean with rhythm section appearances by British jazz luminaries Jeff Clyne, Trevor Tomkins, Roy Babbington and Bryan Spring...

Fulvio Sigurta (trumpet/flugel)
Sam Mayne (alto and soprano saxes/clarinet/flute)
James Gardiner-Bateman (alto sax/flute)
Kieran Mcleod (trombone)
Rob Harvey (trombone)
Tom McCredie (bass)
Peter Fairclough (drums/percussion)
Keith Tippett (piano/composer)
with
Julie Tippetts (voice, lyrics)

This is completely great and completely recommended to Brit-jazz fans and jazz fans of all stripes, really.

"Tippett's inspired take on the jazz traditio

Keith Tippett - piano
Matthew Bourne - piano

"These inspired duets sound so unforced and unconstrained that they blow fresh life into that well-worn image. From the outset, two quite distinct pianists establish common ground, where they interweave and spring surprises. It's wonderfully fertile ground too. Strings of scintillating moments bound seamlessly into musical mesh, now mysteriously chromatic, now alluringly melodic, fractiously dissonant, propulsive or ethereal. Tippett's speaking...

Limited intial pressing of 930 individually hand-numbered copies!

Paolo Tofani was the great, great guitarist of the great, great Italian avant/progressive rock ensemble Area. This album of 'acoustic tricanta veena' music (Veena is a Indian stringed instrument) was recorded in India and is an interesting and great blend of Indian music and avant-guitaring sounds.

Unconditionally recommended if you like Indian music. Conditionally recommended if you like Area.

How did he manage to.

This bargain-priced 2016 archival release by Sweden's rightly legendary Trad, Gras och Stanar is revelatory. The final culmination of the musicians from Parson Sound, Harvester & International Harvester, this is sonic the meeting place between Terry Riley and The Monks. Or something.
Discs 1 & 2 feature expanded editions of the legendary live albums from 1972 and 1973, Djungelns Lag & Mors Mors, while disc 3 contains all previously unreleased 1972 live material.

“Un Drame Musical Instantané were founded in 1976, featuring Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé. Their aim was to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they tried to renew every time they played.
Their sound was created with many influences: They borrowed their sources from rock (synthesizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet...

“Un Drame Musical Instantané were founded in 1976, featuring Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé. Their aim was to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they tried to renew every time they played. Their sound was created with many influences: They borrowed their sources from rock (synthesizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet who...