Hilde Marie Kjersem
A Killer for that Ache
[Rune Grammofon, www.runegrammofon.com]
[Type Records, www.typerecords.com]
It's a Musical
The Music Makes Me Sick
[Morr Music, www.morrmusic.com]
Every Woman is a Tree
[Clean Feed Records, www.cleanfeed-records.com]
What is She Doing?
[Abaton Book Company, www.abatonbookcompany.us]
Los Angeles Electric 8
Log Angeles Electric 8
[Los Angeles Electric 8, www.losangeleselectric8.com]
Gilbert Isbin / Jeff Gauthier / Scott Walton
The Owl Service and Alison O'Donnell
The Fabric of Folk
[Static Caravan, www.staticcarvan.org]
Max Eastley / Graham Halliwell / Evan Parker / Mark Wastell
A Life Saved by a Spider and Two Doves
[Another Timbre, www.anothertimbre.com]
Zbigniew Namyslowski Quartet
Live at Kosmos, Berlin
[ESP Disk, www.espdisk.com]
Final Final EP
[Broken Sparrow Records, www.brokensparrow.com]
The Greatest Hits
[Sonic 360, www.sonic360.com]
Joel Futterman / Alvin Fielder / Ike Levin Trio
Traveling Through Now
[Charles Lester Music, www.charleslestermusic.com]
[Token Boy Records, www.randomtouch.com]
Sucker Punch Requiem
[Henceforth Records, www.henceforthrecords.com]
Cloudy Then Sunny
[Libra Records, www2s.biglobe.ne.jp/~Libra/]
A Ritual Which is Incomprehensible (to the smile of Pauline Oliveros)
Matthew Shipp Trio
The Multiplication Table
[hat hut, www.hathut.com]
Howie B vs. Casino Royale
Not in the Face
[Howie's Records / Fabric, www.fabriclondon.com]
Ample Fire Within
[Southern Lord, www.southernlord.com]
Keiji Haino / Masami Akita - Kikuri
Anno Onno Monno
Christophe Bailleau & Neal Williams
On Soft Mountains We Work Magic
[Fenetre Records, www.fenetrerecords.com]
Henriette Groth / Lotte Anker
This is a portion I call "in a nutshell". The more concise the review is, the better.
Zimbabwe pop star Chiwoniso Maraire sees herself as one big mirror, "I basically sing about what I see happening in the world. If someone comes up to me in the street to ask for money I'll sing about that. If people are jumping borders because their economic situation is too difficult, I'll sing about that. If the police are beating people up and intimidating them, I'll sing about that." Her latest album "Rebel Woman" is a stark tale of injustices she has witnessed all around her. She's in possession of a tender voice, one that raises hell on a few pieces, but is able to soothe and caress on the others. Mbira [thumb piano - an instrument most associated as the national instrument of her native Zimbabwe] is used heavily on the record. Its trickling quality adds rays of sunshine to the songs that are already filled with hope and grace. Powerful release, one that once again brings Zimbabwe to the forefront of international music.
Though "A Killer for that Ache" is not the first album Norwegian vocalist Hilde Marie Kjersem released, it is the first one she's releasing solely under her own name. What this entails is extra effort and considerable amount of time has gone into preparing eleven pieces that made the final cut. It wouldn't be fair to describe Kjersem's style as that of a jazz vocalist, though she never strays far from that genre. Her richly tainted vocals are equal parts jazz, operatic and drenched in many skewed elements. Full of drama, her songs are folk-inspired, tid-bits of real life drama - longing, love and desperation. Oftentimes, her songs drown in their own seriousness, which makes me wish she lightened up somewhat. Choice of instrumentation [everything from clarinets, flutes, brass, flirtatious percussion and autoharp] makes for an overall varied release, one that inspires as much as it uplifts.
The first studio album from The Alps entitled "III" is just what I was looking for. Its word-less psychedelia brought me into its fold and kept me mesmerized for a good 40 minute run. The band's soup of meshed guitars, drooling bass-lines and mid-tempo drum rhythms make for a solid wall of groove-oriented drone space. The spaced-out trajectory the trio concocts is never dull. There's a story-line in each of the eight pieces on the record and each one is worlds apart from its predecessor. Funny thing is, when you put the bits and pieces together, all parts fall into place in a coherent whole. Sense of improvisation is heard scattered in few of the pieces. Let's hope the band's sense of adventure will be further expanded on future recordings. As it stands, "III" is lonesome music that is aching to find its cinematic partner.
Swedish/German duo It's a Musical is a fairly straight-forward affair. Neither Ella Blixt [Bobby Baby] nor Robert Kretzschmar [Lady Boy] plays guitars. However, they do play synths, program their keyboards, and drum machines to come up with some quirky pop music. Lucky for us, Blixt has vocal chords perfectly suited for the occasion. A little bit sweet and a bit bored, they're a cross between someone who is eager to be in the recording studio and someone who couldn't care less. Nothing too serious is expressed within the confines of the dozen songs on their debut, which fits in fine with the band's lackluster, Stereolab-inspired landscape. Nothing fancy and nothing to write home about, "The Music Makes Me Sick" is one too many candies digested on a summer picnic.
Quarter of Exploding Customer, saxophonist also exists on a level playing of his own. His latest project is a sextet. Simply entitled Angles, the band is comprised of the leader along with trombonist Mats Aleklint, trumpeter Magnus Broo, vibraphonist Mattias Stahl, bassist Johan Berthling and percussionist Kjell Nordeson. The band is centered on a wall of sound, though it's not exactly what would appeal right away to fans of Peter Brotzmann. All of the pieces were composed by Kuchen and there's an overwhelming sense of joy and continuity throughout. Especially effective is combination of parallel and head-on blows emanating from Broo's melodic trumpet and Kuchen's sharp-edged alto. Stahl adds further colours on the vibraphone, while the tight rhythm section follows along for the ride. Through peaks and valleys, Angles runs a rapid trajectory of jazz that may be composed but sounds urgent and brittle.
If I didn't know any better, I may have considered Marianne Nowottny a farce. While she's been putting out a steady slew of albums for the last decade, this is only the first time I've come in contact with her mesmerizing charms. The album cover of her latest offering "What is She Doing?" gets the prize as one of the cheesiest ones I've seen all year. The music isn't too far off the mark either. Featuring Nowottny on electronics, programming, harmonium, keyboards, percussion, piano, zheng and those irresistibly cheese-soaked vocals, the music features some seedy blabbering, which happens to be quite amusing as well. Try to sit through her take of "Stars Fell on Alabama" with a straight face. It just can't be done! The pop-inspired, amateurish approach works wonders though. Obviously, this is a woman on a mission and nobody is getting in her path to stardom. Make of it what you will, "What is She Doing?" will have you asking the same question over and over again.
As the name suggests, Los Angeles Electric 8 is a chamber octet. Made up of quite talented, classically trained guitarists, they aim to interpret other people's music with a large amount of flare. For the most part, their music is austere, while maintaining a generous amount of craftsmanship. Their interpretation of Shostakovich's "Octet, Op. 11" is simmering on low heat, with herds of electric guitars attacking various harmonic lines. By the time they get to Mendelssohn's "Organ Sonata in F Minor", they're close to raising a ruckus, with the electricity in the air being quite tense. Winner of the album arrives at the end. Wayne Siegel's "Domino Figures" takes on a minimal intensity that flows for the whole duration of its 22 minute length. The trickling of the guitars gently sweeps over the listener in a wave-like fashion, making for a bed of delicate vibrating strumming. Here's hoping their next release is as strong as the material presented on this very satisfying debut.
In developing a rapport with guitarist Gilbert Isbin, violinist and Cryptogramophone label honcho Jeff Gauthier has made some of his richest music. Things clicked between the two a few years back, when bassist/pianist Scott Walton was added to the mix. Resulting session on "Venice Suite" was recorded in Los Angeles late in 2005. Given the choice of instrumentation, the music sounds incredibly structured and yet alive with the possibility of utter freedom. It's that possibility that is sadly never pushed to its limits, which is why some of the pieces are lacking a sense of total release from structural constraints. Especially rich on this session is Gauthier's sweeping violin crescendos as they weave in and out of Isbin's acoustic guitar rhythms. Add to this Walton's blusterous piano work and you've got music that is enticing and warm. Session ends on a high note with their interpretation of Nick Drake's "River Man". In fact, tears collect at the corners of my eyes every time I hear this stunning rendition. Brilliantly conceived and thought-out with utmost care, "Venice Suite" is the epitome of rain music.
There are albums that are pre-arranged and discussed and others that come purely by chance. "The Fabric of Folk" came about when Alison O'Donnell [of Irish folk-prog rock band Mellow Candle] met on a social networking website with Steven Collins of The Owl Service. This was the case of the new folk meeting up with the old folk music generation. Only five songs long, the EP features a couple of numbers co-written by the duo, while the others are arrangements done by O'Donnell and Collins and one is a Collins number. O'Donnell's voice is fairly prominent on all the numbers, as she strains her chords to come up with maximum amount of emotive power. All the while, Collins plays a variety of string instruments [guitars, ukulele, piano, sitar, etc] to bathe the music in a warm soup. Tambourine, bodhran and autoharp which are played by O'Donnell make for complementary touches to the rest of the band. Their music swings, rocks, challenges and questions. One melts into the other and all is right with the world. Generation gap is quickly forgotten once the listener realizes both musical camps have so many rich details to add to this equation. Stunning collaboration, which will hopefully become ripe with juicier fruit next season.
First time this quartet performed was a year ago in a London church. What you hear on "A Life Saved by a Spider and Two Doves" is virgin territory. We're getting into miniscule sound territory on this record. Max Eastley gives off drones by playing his arc [basically a custom-made electro acoustic monochord] with utmost care, while Evan Parker structures the most pristine sounds I've ever heard him play on soprano. Mark Wastell plays slight hints of percussion, and dabbles on harmonium with utter restraint. Processing the end result on computer and electronics is Graham Halliwell. Electricity in the air is constantly charged as the quartet plays a slow, subdued molasses that treads through new territory. Every single moment holds a ton of weight as the four men hold the listener's attention from beginning to the music's dying breath. The path these four tread may be unknown but the destination is worth all the effort.
Polish saxophonist Zbigniew Namyslowski had few occasions to play outside of his home country during the 60's. One of those occasions was a 1965 gig that was arranged for his quartet in East Berlin. The double CD "Live at Kosmos, Berlin" sees the saxophonist lead his quartet at the Filmtheater Kosmos. Featuring German pianist Joachim Kuhn, along with bassist Janusz Koslowski and percussionist Czeslaw Bartkowski, the band tears up the roof with purely original numbers [all but one are Namyslowski compositions]. Namyslowski's alto tone is pure urgency. On "Blues Shmues", he's playing curved phrases that are crammed with jagged edges. All the while, Kuhn delivers clusters of graceful melodies that offset the leader perfectly, though Namyslowski never seems to be bothered with pacification measures. Album's crowning height is found on the second disc, where the leader jumps into a half-an-hour version of his standard "Straszna Franka". Through peaks and valleys, he takes the band on a treacherous journey of self-discovery. Just when jazz was re-inventing itself and morphing into new forms, "Live at Kosmos, Berlin" points to Namyslowski's persistent improvisational breakthrough that has rarely been acknowledged.
Jim Holmberg [aka MIJ] was found by ESP founder Bernard Stollman yodeling near a fountain at Washington Square Park, he justified his yodeling on a car accident that somehow broke his skull and messed around with his hearing. Who knows if this was in fact the case? What we do know is next day, he was sent into the studio to record the album that was released as "Color by the number" [here renamed "Yodeling Astrologer"]. Studio magic worked on by engineer Onno Scholtze is phenomenal to say the least. Holmberg's yodels are sent through reverb, while his guitar mastery is multiplied by a hundred and appears as if a slew of guitarists are accompanying him all at once. His vocals are in the same league as Tim Buckley, though on closer examination, with the ever-present echo-effect, they're even more potent and direct. That yodeling is certainly whacked and nothing sounds as it would if Holmberg was taken outside of the studio. Space traveler, MIJ remains a king of space-age folk music that is a blast from the past who points towards the future.
What can you accomplish in a bare 20 minute span? Quite a lot actually. If you're multi-instrumentalist Gregg Porter, you can go into the studio and record an EP. "Final Final" are the results of that session. Heavy on acoustic guitar, banjo, lap steel, piano, the session musicians also play bassoon, bass, xylophone, vibraphone and lap steel. Porter is not a cheerful individual and he shows it loud and clear in his music. Like a therapy session, the songs are barren, yet they strike with a fullness of graceful purpose. Choruses are rich, while the string section is warmly arranged. Tight playing is the order of the day as Porter's wistful voice permeates every nook and cranny. Heart-breaking music for those horrendous times in your life, "Final Final" EP is a breath of positive energy.
Acida is Argentinean wife-husband duo of singer and songwriter Alina Gandini and producer Tweety Gonzales. As the title implies, "The Greatest Hits" is just that - a compilation of some of their better known numbers. Music is bouncy, sultry, yet drips with a passionate delivery. Gandini's vocals are subtle, yet they possess tenderizing strength. Gonzales has a knack for great production values - keeping the music floating between trip-hop, world elements and drum'n'bass. Some of the re-mixes included on the collection are real ear-opening as well. "Yo Nunca Te Doy Paz" features a nicely floating piano phrase that gels real well with Gandini's whisper-quiet vocals, while "Que Te Dicen Todos" has a hypnotic break-beat pouncing through and through. Overall, a solid representation of this duo from Argentina who will hopefully garner more attention in the years to come.
Joel Futterman's piano prowess has always amazed me as something that is consistently strong. His ivory clusters are rapidly evolving and ever changing. "Traveling Through Now" sees him continue the relationship he's nurtured with sax/clarinet player Ike Levin and percussionist Alvin Fielder. Recorded last October, the music is doggedly solid. Alongside piano, Futterman also takes up soprano sax on a few numbers. His tonal range is wide, especially when Levin on tenor sax, pushes Futterman to the limits. Melodies make it to the forefront too, as is heard on the elusive ballad "Life's Whisper". Fine album, one that continues to shine a light on this crucial, but most overlooked figure in the world of improvisation.
On their website, Random Touch have this to say about themselves:
"Random Touch is Accidental;
with the Accident, the intension of the individual and the cosmos are united.
Random Touch is Vibration;
the eye, tuned to the wavelength of Light; the ear, tuned to the wavelength of sound.
Random Touch is Readymade Instruments;
ordinary, sound-generating objects liberated from the obscurity
of industrial scrap heaps and suburban household closets.
Random Touch is Traditional Instruments;
the Music plays, and plays with, these instruments with a past.
Random Touch is Roadnoise;
a music concept originated within the automobile."
Make sense or not, Random Noise is drummer/vocalist Christopher Brown and guitarist Scott Hamill. Their extraverted ways of boisterous, punch-hard music is full of solid beats, scorching guitars and occasional vocals that are twisted and eerie. Neither rock, fuzzy noise, nor improvised sounds, Random Noise continue in an ether world of their own - searching for a definition of a category that they could live within.
In a who's who of the new jazz world, bassist Lisle Ellis hired a stellar cast to pay tribute to artist Jean-Michel Basquiat. With the leader at the helm on bass, electronics and sound design, the band is comprised of vocalist/electronic artist Pamela Z joins flautist Holly Hofmann, saxophonist Oliver Lake, trombonist George Lewis, pianist Mike Wofford, and percussionist Susie Ibarra. Comprised of all Ellis originals, the music is demanding but dipped in sweet rewards. Pacing of the music varies - from sharp electronic twists and turns that take the listener quite literally by surprise - to chamber-like passages that are poignant in beauty. All of this makes for a very coherent whole as ideas are thrown from all directions into the pot. Even the most chaotic passages of rapid improvisation make all the sense in the world in an album that stands out like a sore thumb amongst today's jazz barrage.
Celebrating her 50th birthday, the prolific Japanese pianist, Satoko Fujii decided to release a slew of records this year. One of these is "Cloudy Then Sunny", a release from her Junk Box project - a trio that encompasses her husband, trumpeter Natsuki Tamura and percussionist John Hollenbeck. As usual, all compositions are Fujii originals, while the music is rock solid. Though these are composed piece, Fujii allows her cohorts ample room to stretch out, and so we hear Tamura go off on tangents on muted trumpet whispers and Hollenbeck play some fitting understated percussion passages. Fujii is in top form as she rallies between melodic lines and full-blown clusters full of improvisational wonder and prowess. "Cloudy Then Sunny" continues in the grand tradition of allowing Fujii's musical ideas to run free.
Second chapter in an on-going series of seven compositions [each of which borrows a track from Tiziano Milani's CD "Suoni"], "A Ritual Which is Incomprehensible" is Claudio Parodi's tribute to Pauline Oliveros. After a couple of concerts of hers that he witnessed, he was most amazed by her gentle smile that warmed up the room and was witnessed by all present in the audience. Scored for two tapes and two Turkish clarinets, Parodi achieves a similar effect to that evident in some of Oliveros' music. Persistent, calm drones are static. They arrive in waves and stay throughout the entire length of the forty minute piece. Variations within the whole piece are subtle and one needs to listen with utmost care to catch every single nuance that unfolds. As with his previous project that paid tribute to Alvin Lucier ["Horizontal Mover"], Parodi proves to be a composer who has a knack for touching the human soul.
Eleven years since its recording, "The Multiplication Table" sees its second edition. At the time, Matthew Shipp was the talk of the town. Large chunk of the NYC improvised music circle wanted to work with him or had already collaborated with him. He had gigs booked well in advance. Then, after a number of heavily improvised recordings came this one. I guess the shock with this trio record is the choice of materials. Not only does Shipp present five new original works, he also takes on the standards. "Autumn Leaves" meanders through the familiar themes [with bassist William Parker and drummer Susie Ibarra pushing the leader onwards], while "Take The "A" Train" sounds much more open-ended. Shipp comes back to the theme every now and then, but the loose interpretations keeps things exciting for the trio. The title track has shivers of grand improvisation gelling well. Intermittent ivory clusters mingle exceptionally well with the on-going assault from the rhythm section. To this day, the album remains a rock solid confirmation of Shipp's advanced talent.
"Not in the Face" represents that sort of dance production I can really sink my teeth into. On the album, Howie B [the producer] meets up with Italian five-piece Casino Royale to come up with some fresh beats, imaginative off-the-wall concussion falls and rhythms that are tight as hell. Each track signifies something just a tad different from what proceeded it. "E' Gia' Domani" includes finely-tuned dub beats, "Protect Me" has disco cow-bells, while "In My Soul Kingdom" revels in hypnotic, ballad-like grooves. Just when you think you've got it all figured out, Howie B surprises from another direction. Solid as hell, "Not in the Face" keeps ass-humping satisfaction coming on strong.
Brand new collaboration between Gentry Densley [Eagle Twin and Iceburn] and Greg Anderson [sunnO))), Goatsnake, Engine Kid] delivers a hell of a punch. What grabbed me immediately about "Ample Fire Within" is Densley's vocals. Is this guy ever pissed about something or other! Listen to the way he gives off gruntal bellows on "Divine" or the way he approaches chant-like passages on "V.O.G." [which features Soundgarden's Kim Thayil]. Make no mistake, this is as murky and muddy as metal can get. Slow drone passages permeate the tracks and the pacing is harshly sludgy to say the least. Steve Moore [aka Stebmo] is featured on trombone on a couple of the tracks. His illustrious work on "Her Horse is Thunder" adds an extra layer of monstrous, divinely delicious sludge to the song. Let's hope that "Ample Fire Within" is not just a one-off collaboration but a permanent fixture.
Luomo is Vladislav Delay's [Sasu Ripatti] pop-oriented project. "Convivial" is the fourth project to carry the Luomo name and as with its predecessors, it stays true to its pop origins. "If I Can't" features Jake Shears of the Scissor Sisters in top form. While Shears bops around the high-notes, Delay's disco beats infiltrate every nook and cranny of the song. Robert Owens is featured on the ultra-retro "Robert's Reason", while Chubbs gets top billing on the chill-out grooves of "Gets Along Fine". "Love You All" is a desperate love song full of mesmerizing vocals from Sascha Ring [aka Apparat]. For anyone looking for the other side of Delay's split personality, "Convivial" is intense one-stop shopping.
What the lucky few witnessed at 2007's FIMAV in Victoriaville was a mish-mash of two complementary minds coming together on stage. For the first time outside of their native Japan, Kikuri - guitarist Keiji Haino and noise mongrel Masami Akita [Merzbow] got together for a live performance. Their nearly 70 minute performance was captured live and released with the title "Pulverized Purple". Playing a concoction of electric guitars, synths and drums, Haino explodes with a mess of abandoned waves of blathering sound. Add to this his squelching vocals and Akita's effects, electronics and percussion and you've got yourself one wild ride through murky waters of blissful noise. Lucky for us, the album doesn't turn into a simple "louder than thou" assault. Each of the musicians understands the complexities in keeping things fresh and interesting. That's why the title track is a layering of guitars, primal screams and percussion from hell, while "Give me back that colour you stole from my guts" is a ritualistic exorcism of the loudest and harshest proportions. May noise never cease and may Kikuri continue to record and play without silent interruptions.
Stereo Lisa is a German collective that is seemingly led by vocalists Almut Kühne and Ibadet Ramadani [Super700]. Their debut "Anno Onno Monno" is comprised of six songs that somehow linger in between jazz, improvised music and pure, brilliant fun. The thing that appeals to me the most is the band's collective love for pure farce. From Gebhard Ullmann's joyful bass clarinet rummaging, through to the dual trombone blasts from Matthias Muller and Simon Harrer, Jurgen Kupke's over-the-top clarinet melodies to the trumpet blasts from Aki-Sebastian Ruhl and Ritsche Koch, the band goes to great lengths to show just how full of wit they are. Add to this quirky vocals from the leaders, and you've got a party waiting to happen. Come on in - the vodka's chilled and the stereo is cranking out the tunes loud enough to wake up your neighbours.
For its fifth release, Fenetre Records comes up with a collaborative effort between French electronica artist Christophe Bailleau and American singer/multi-instrumentalist Neal Williams. Entitled "On Soft Mountains We Work Magic", the album weaves through ten vignettes of pure bliss. It's irrelevant to mention that Bailleau plays laptop, piano, guitar, drums, field recordings and "noises", while Williams looks after vocals, guitars, banjo, bass, synth, melodica. What's relevant is the finished results, which are as coherently satisfying as they are blissful to the ears. Choppy guitar explorations merge with downtrodden vocals that are supplemented with abrupt electronic mayhem. The mixture is served as a sort of an electronic-folk song exploration and nowhere is there a sign that anything was forced or contrived. Wildly satisfying and the furthest thing from normal.
In another realm of bringing wider recognition to Danish artists, Ilk imprint has matched saxophonist Lotte Anker and pianist Henriette Groth. "Du Fugl" is a concoction of thirteen musical vignettes that sparkle with energy and creative prowess. Besides four Groth originals, the remaining numbers are credited to both women. Music comes to life with a serious connotation, though there's a large amount of playfulness as well. Duo's music tends to be cerebral, barren, with an underpinning of chamber qualities. Improvisation that is concrete, enjoyable but most of all, packed with loads that are squeezed out of every given second, "Du Fugl" gets better with every listening session.
- Tom Sekowski
+ The Third Estate - Agonistes
+ Judy Henske & Jerry Yester - Farewel Aldebaran
+ The Peace - Black Power
+ Gianluca Becuzzi/Fabio Orsi - Muddy Speaking Ghost Through My Machines
+ V.A. - Musical Brotherhoods from the Trans-Saharan Highway
+ V.A. - Bollywood Steel Guitar
+ B.Fleischmann - Angst Is Not Weltanschauung
+ The Clock Machine Turns You On - Vol. 2
+ Speedy J - Red Shift
+ Housemeister - Who Is That Noize - Remixes
+ Christian Fischer - Bryzant Games
+ Jean-Claude Ades - Finally!
+ Transmission - Sublimity
- - - - - - - - -
>> Chiwoniso - Rebel Woman / Hilde Marie Kjersem - A Killer for that Ache / The Alps - III / It's a Musical - The Music Makes Me Sick / Angles - Every Woman is a Tree / Marianne Nowottny - What is She Doing? / Los Angeles Electric 8 - Log Angeles Electric 8 / Gilbert Isbin / Jeff Gauthier / Scott Walton - Venice Suite / The Owl Service and Alison O'Donnell - The Fabric of Folk / Max Eastley / Graham Halliwell / Evan Parker / Mark Wastell - A Life Saved by a Spider and Two Doves / Zbigniew Namyslowski Quartet - Live at Kosmos, Berlin / MIJ - Yodeling Astrologer / Gregg Porter - Final Final EP / Acida - The Greatest Hits / Joel Futterman / Alvin Fielder / Ike Levin Trio - Traveling Through Now / Random Touch - Duologue / Lisle Ellis - Sucker Punch Requiem / Junk Box - Cloudy Then Sunny / Claudio Parodi - A Ritual Which is Incomprehensible (to the smile of Pauline Oliveros) / Matthew Shipp Trio - The Multiplication Table / Howie B vs. Casino Royale - Not in the Face / Ascend - Ample Fire Within / Luomo - Convivial / Keiji Haino / Masami Akita - Kikuri - Pulverized Purple / Stereo Lisa - Anno Onno Monno / Christophe Bailleau & Neal Williams - On Soft Mountains We Work Magic / Henriette Groth / Lotte Anker - Du Fugl
+ Steinski - What Does It All Mean? 1983 - 2006 Retrospective
+ Anthony Pateras / David Brown / Sean Baxter - Interference
+ Ann Magnuson - Pretty Songs & Ugly Stories
+ Thomas Feiner & Anywhen - The Opiates - Revised
+ Lux Nox - S(M)S
+ David Grubbs - An Optimist Notes the Dusk
+ Jamie Lidell - Jim
+ Carl Michael von Hausswolff - Perhaps I Arrive - Music for Ataturk Airport, Istanbul
+ Pantaleimon - Mercy Oceans - Heart of the Sun - Tall Trees EP
+ Muslimgauze - Jaagheed Zarb - Jah-meArab
+ Arsenije Jovanovic - Galiola - Works for Radio, 1967-2000
+ Radio I-Ching - The Fire Keeps Burning
+ Pedal - Pedal
+ Various Artists - Teaism - Music Inspired by The Art and Culture of Tea / Various Artists - Kalk Seeds - Karaoke Kalk Compilation No. 2 / Various Artists - Sesame Street Playground / Various Artists - Peter Grummich Plays Staubgold - Dinner Music for Clubbers / Various Artists - Polish Village Music 1927-1933 / Various Artists - FabricLive 42 - FreQ Nasty / Various Artists - Shapes 08:02