Johan Agebjorn
Mossebo
[Lotus Pike, www.lotuspike.com]
Bengt Berger & Kjell Westling
Live in Stockholm 1977
[Country & Eastern, www.countryandeastern.se]
Walter Becker
Circus Money
[Sonic 360, www.sonic360.com]
Carrier Band
Voice Coil
[Deep Listening, www.deeplistening.org]
Gultskra Artikler / Lanterns
Berezka / Monkey Lament
[Other Electricities, www.other-electricities.com]
Brian Groder
Torque
[Latham Records, www.briangroder.com]
Kostis Kilymis
.Accumulated
[Organized Music from Thessaloniki, thesorg.noise-below.org/]
Cosmologic
Eyes in the Back of My Head
[Cuneiform, www.cuneiformrecords.com]
Jimi Tenor & Kabu Kabu
Mystery Spot / Black January 7"
[Sahko, www.sahkorecordings.com]
Greg Davis & Sebastien Roux
Merveilles
[Ahornfelder, www.ahornfelder.de]
Nicholas Bussmann & Toshimaru Nakamura
I Know How You Frown
[KwanYin Records, www.subjam.org]
Embers
Slag-Welter
[Heathen Skulls, http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=66579940]
Szilard Mezei Ensemble
Nad / Reed
[Red Toucan, www3.sympatico.ca/cactus.red]
Fred Ventura
1983-2008 Disco Modernism
[Clone, www.clone.nl]
Michael Esposito / FM Einheit
The Sallie House
[Firework Edition Records, www.fireworkeditionrecords.com]
Mauger
The Beautiful Enabler
[Clean Feed Records, www.cleanfeed-records.com]
Random Touch
A Box and a Word
[Token Boy Records, www.randomtouch.com]
Klaus Treuheit
Madrigali 2° & 3° Libro
[KTMP, www.klaustreuheit.de]
Kamran Sadeghi
Through Thickness
[Dragon's Eye, www.dragonseyerecordings.com]
d_rradio
d_rradio
[Distraction Records, www.distractionrecords.com]
Sepalot / Ben Mono
Go Get It / Jesus Was a B-Boy 12"
[Compost, www.compost-records.com]
Damien Jurado
Caught in the Trees
[Secretly Canadian, www.secretlycanadian.com]
Ensemble Economique
At the Foot of Nameless Roads
[Digitalis, www.digitalisindustries.com]
Umbrella Brigade
Ex Nihilo
[Rule Six Records, www.umbrellabrigade.com]
Pierre Vervloesem
Not Even Close
[Off / Stilll, www.stilll.org]
Various Artists
Cosmic Balearic Beats Vol. 1
[Eskimo, www.eskimorecordings.com]
Surf City
Surf City EP
[Morr Music, www.morrmusic.com]
Escape Mechanism
Emphasis Added
[Escape Mechanism, www.escape-mechanism.com]
Various Artists
Quebec
[Putumayo, www.putumayo.com]
Helios
Caesura
[Type Records, www.typerecords.com]
Uphill Racer
Telescopeland
[Normoton, www.normoton.de]
Various Artists
Expedition_3
[Everest Records, www.everestrecords.ch]
Various Artists
Ressonus Net, Vol. 1
[Ressonus Records, www.ressonus.net]
Hank IV
Refuge in Genre LP
[Siltbreeze, www.siltbreeze.com]
Schlippenbach Trio
Gold is Where You Find It
[Intakt, www.intaktrec.ch]
The shorter, the better?
Creative mind behind Sally Shapiro, electronic whiz Johan Agebjorn dabbles in what he refers to as "arctic ambient". Cold, chilly sounds of synths, "ooh-aah" vocals courtesy of Lisa Barra, intermingled with static-sub-cold disco squelches, the album lulls to sleep faster than you realize your entire body entering into the REM state. Translucent music recommended for the most heart-core ambient freaks only.
Moving away from Goteburg to Stockholm, we find reed-man Kjell Westling and drummer Bengt Berger. "Live in Stockholm 77" is a re-issue of a live date that was originally put out by the Ett Minne for Livet imprint. Made up of two long tracks, Westling switches between bass clarinet and sopranino, while Berger plays a steady, boiling stew on percussion. Thematically, the album is rich in narrative and bountiful in wild, creative improvisation. Top notch release from two Swedish musicians long overlooked by the jazz glitterati.
In all honesty, I never expected Walter Becker to release another solo album, but on "Circus Money", one-half of Steely Dan comes back in splendid form. Still, his voice retains that same feel of nostalgia. Saxophonist Chris Potter, join keyboardists Ted Baker and Jim Beard, drummer Keith Carlock and guitarist Jon Herington for a slew of songs that are stuck in ooze-mode. Some light dub, ton of jazz and pop sensibilities make it into the mix. Don't expect anything close to Steely Dan's glory days. What you do get though is end-of-summer music that is ideal accompaniment for reflection.
Carrier Band came together a decade ago when accordion/computer manipulator Pauline Oliveros was joined by Peer Bode [who played Bode Vocoder] and Andrew Deutsch, who performed specifically constructed sounds. On their most recent endeavour, "Voice Coil", Deutsch executes variety of electronic sounds and overdubs, while the other two members play their usual gamut of instruments. Expect music that is foreboding, music that moves at fractions of a second at a time. Sounds appear and disappear without explanation, while all players keep the listener in a sublime state of trance. Electrifying in a subtle sort of way, "Voice Coil" is hypnotic and thrilling at once.
Split release from Russian ambient-folk artist Gultskra Artikler and UK drone ensemble Lanterns has just been released as a 12". Three songs on offer from Gultskra Artikler [Alexey Devyanin] are calibrated in such a way as to take the listener on an all encompassing journey. Samples of voices, occasional clicks and gentle sways of electronic landscapes, the music passes slowly and seamlessly. On side B, Lanterns offer up drone-filled guitar machinations that are as involving as they are soothing. "Dir Tup" features a shift away from the drones and moves into a freely concocted acoustic-meets-electronic jam session that is deliberately understated. Wonderful EP full of passionate and tranquil music.
Trumpet and flugelhorn player Brian Groder has been playing jazz since early 90's, when he formed his ensemble. His latest project "Torque" features an impressive line-up, which sees the leader backed-up with bassist Doug Mathews, percussionist Anthony Cole and Sam Rivers on flute and saxophone. Large chunk of the pieces are co-credited to Groder and Rivers. Music is lyrical without loosing a sharp edge of cutting improvisation. Wildest moments come up when Rivers challenges Groder in head-to-head battles. Highly recommended.
On his latest excursion [the highly limited], ".Accumulated", Greek improviser Kostis Kilymis uses everything from field recordings, sine waves, and feedback, through processing. Throughout the rather brief recording, Kilymis tends to probe the listener with sine waves that are interweaved amongst field recordings of nature [birds, sounds of night]. Flow of the whole tends to be quite good as individual pieces follow a pre-arranged narrative. Excellent work that makes me salivate for more.
Cosmologic was formed nearly a decade ago by saxophonist Jason Robinson. His love of free-wheeling jazz brought on board trombonist Michael Dessen, bassist Scott Walton and percussionist Nathan Hubbard. Their latest offering "Eyes in the Back of My Head" was recorded over a span of two days in December 2006. Band is keen on exposing a love for their brand of fire music [though they're equally adaptive when the music turns to subtlety such as the lovely ballad "The Apex is the Whole"]. Robinson's tightly charged tenor blasts give premise for Dessen to attack on fat trombone blows. Add to this a tightly managed rhythm section and you've got an album jam-packed with creative prowess and energy to spare.
Finnish rhythm prankster Jimi Tenor has recorded with Afrobeat stars Kabu Kabu previously on the "Joystone" release. On their latest single [which is a preview of "4th Dimension" album due out in October], we've got a continuation of this collaborative effort. "Mystery Spot" is a slice of Afrobeat nostalgia that runs closely along the lines of Fela Kuti's finest early 70's records. Choruses, tight playing and keyboards that rattle the rhythm section are all found within the confines of this all-too-brief single. On the flip-side, "Black January" is a slice of instrumental psychedelia-jazz-groove music that ends before it even gets off the ground. I can't wait for the album to arrive.
It would be somewhat hard to pigeonhole Greg Davis and Sebastien Roux into a music category that would do them justice. Origins of the sounds on their second collaborative effort "Merveilles" [wonderland in French] are quite often a mystery. Surely there are field recordings, laptops, and bits of processed guitars. Otherwise, the silent sections get abruptly interrupted with blasts of pure noise. That's precisely where the joy is found. Juxtapositions between the harmony and the abusive, staunch noise is so great, the listener is unsure whether to run for cover or to turn up the volume knob to get the full gist of the subtle, hidden sounds. Perhaps not a "wonderland" for all but an excellent record nonetheless from start to finish.
While Toshimaru Nakamura is well known for the wondrous tactics he uses with his no-input mix board, Nicholas Bussmann is better known as a cellist-turned electronic manipulator. Their first duo recording "I Know How You Frown" sees them pursue sound in a common direction. This is an area of music where white static reigns supreme, where glitches and blobs of high-pitched tones assault your ear-drums without mercy. Don't mistake this for noise music or anything that runs along those lines. The subtleties offered within the confines of this disc are too varied and too obliquely fascinating to dismiss. Brave collaboration, one that sets a new standard in the world of electroacoustic improvisation.
Originating from Melbourne, Embers are a quartet that gets off on the noise-jazz label. Made up of two tenor saxophonists - Adam Simmons and Kris Wander - along with bassist David Brown and drummer Sean Baxter, nothing seems to be understated in this collective's world. Especially on the longer pieces [where each member is given ample room to stretch out], the solos from duelling tenor men get outright nasty [in the best sense of that word]. Over-the-top rhythm section keeps fighting for supremacy against the saxophonists, and all is good with the world. To hear this sort of crunchy sounds makes me regain my faith in the creative music process.
Serbian-born, Hungarian viola player/composer Szilard Mezei has released a slew of albums over the last few years. Amongst these is a new one with fourteen piece ensemble entitled "Nad / Reed". Made up of five elongated compositions [all Mezei originals], from a musical perspective, this is composed music, big-band jazz with improvised sections all rolled into one big whole. String and horn sections are especially effective as the music takes on a joyful oeuvre. Nowhere does the listener get muddled with overt downtrodden passages. Pacing is especially strong with elaborative narrative running through all pieces. Before you know it, 75 minutes of oomph-music have passed and you're left with a big, wide grin on your face.
If some of the tracks on "1983-2008 Disco Modernism" sound dated that's only because they're meant to highlight Fred Ventura's quarter-century long career in the music business. From the compilation's first track - 1986's "Wind of Change" - through to Flexx's "Theme from Flexxy Ball" from 1983 - some tracks have dated quite awfully. But when we examine the newer stuff - such as "Memories" [which features Alden Tyrell and Fred Ventura] or "Open Your Eyes" [collaboration between Ventura and Andy Romano] - we find this vocalist has been stuck in the 80's all along?.and loving it! Don't take the compilation for anything more than it is - a throwback to the decade of plastic and excess.
Ghost-hunter Michael Esposito and industrial guru FM Einheit [Einstürzende Neubauten] get together for a collaborative exploration of a house in Atchinson, Kansas. Entitled "The Sallie House", the nearly 77 minute album involves a ton of source recordings from the most affected areas of the house [yes, the house is haunted!] along with electronic processing. Static, humming, and bass drones permeate the album, while creepy voices pop out of every nook and cranny. Don't ask me to explain what these ghosts are saying - whether they're attempting to communicate with the living is not for me to guess. Not unlike last year's "The Summerhouse" album, this is a document of gravely spirits, voices from other worlds and unknown dimensions. Freaky as hell!
Alto saxophonist Rudresh Mahanthappa has made some of his best recordings in most recent years alongside pianist Vijay Iyer. As if signalling a time for a change, he has now joined forces with one of the tightest working rhythm sections - bassist Mark Dresser and percussionist Gerry Hemingway - and released "The Beautiful Enabler". Make no mistake, this isn't simply a Mahanthappa record. Each member of the trio in fact contributes their own music. Pacing is varied, as the trio play everything from rapid numbers to pieces that approach molasses in speed. Mahanthappa's tone is rich in muscle, yet he has the ability to play subtle passages too [check out "Bearings"]. Hemingway is as agile as ever, while Dresser pumps out the fat wallop whenever he possibly gets the chance. "The Beautiful Enabler" is a wonderful debut that foreshadows bigger and better things to come.
For their ninth release, Random Touch collective settle for a variety of left-field influences. "A Box and a Word" features a generous amount of prog-rock, jazz, 20th century music, composition and improvised stuff. Just when you think you could pigeonhole them, they slip away. As the texture and feel of a particular number sticks in your head, ensemble shifts gears and off they go, into another galaxy, into a world where void and chaos are the order of the day.
Germany pianist Klaus Treuheit moves on to cembalo on "Madrigali 2° & 3° Libro". With the help of Taiwanese sound-guru Yehlin Lee, who processes the sounds, Treuheit plays a slew of tightly wound compositions. Seventeen brief pieces make up this album and each one [sadly enough] ends before it has the full capacity to turn itself into something that is fully developed and matured. As it stands, these are brief glimpses into Treuheit's world [who usually tends to stick to prepared or regular piano] as he manoeuvres his way through the challenges the cembalo has to offer.
Latest work from sound artist Kamran Sadeghi, "Through Thickness" is a land where blurbs, bleeps and smartly-programmed rivets come into place as a coherent whole. His cosmos is made up of microscopic beats, shifting currents and hyperactively occurring sets of events. Just when you think you have Sadeghi all figured out and want to praise him for his electronic editing skills, he goes one better and changes direction altogether by introducing thickly-layered static drone shapes. Smartly conceived album, one that draws the listener from beginning to its dying breath.
With their love for IDM, break-beat and retro-sounding sounds, UK's d_rradio come out with their self-titled, debut full length. Don't make the mistake and assume that these are distant beats that leave you cold and removed. In fact, there is nothing within the realms of this album that suggests that. The band has a knack for injecting an organic feel in every track they make. From the sublimely trickling rhythms, through to soothing atmospherics, the band has a knack for taking their brand of instrumental music onwards and upwards. Here's hoping future d_rradio releases will be as coherent as this one.
Another batch of 12" goodness from Germany's Compost imprint. Sepalot deliver "Go Get It" in four sumptuous varieties, while Ben Mono procure four producers to come up with a variety of re-mixes. While the original mix of "Go Get It" [which features Ladi6 on vocals] is a busy number, full of swing, soul and jive, the remixes couldn't be more different. Christian Prommer Jam Dub is an extended, instrumental and minimal take on the song, while Zed Bias Club Mix is harsher on the bass and attitude. Ben Mono's "Jesus Was a B-Boy" is a sturdy track in all of its incarnations. Moulinex Remix takes a harsh, over-the-top approach, while TJ Kong & Nuno Dos Santos Remix takes a more lenient, bare-essentials, nearly acoustic approach. Marlow Co-Remix with Comixxx do a nice, smooth take on the original track. Top notch remixes all around.
Damien Jurado just keeps on spitting those albums out like there's no tomorrow. On his latest "Caught in the Trees", he's being true to himself. In examining the hardships of daily life, he has won me over hands down. His vocals are still the bruised voice you'll recognize from past records - tender, unsure, guessing at the right emotion. Rocking emotive force with just the right dash of folk-inspired, bluesy conundrum thrown in for good measure. More than anything else, Jurado is just being himself, while the humility of his humanity shines in every pore of these heart-wrenching numbers.
Brian Pyle [of Starving Weirdos and RV Paintings] is now featured under the moniker of Ensemble Economique. His first release under that name, "At the Foot of Nameless Roads" features eight tracks that are as different from each other as night is from day. Some are stunning exercises in drone induction - where lingering sounds go on endlessly - while others feature skewed, off-kilter beats that induce moments of horror. Other tracks feature industrial tales of wasteland that are drenched in over-the-top feedback. Several listening sessions in and the album pays off generous dividends each and every time.
For reasons unknown, Stiffs, Inc.'s singer Whitey f. Sterling decided to call his latest outing Umbrella Brigade. "Ex Nihilo" is the band's debut and I would love to say that I'm impressed, but then I would be lying. Their cold approach to synths and electronics in general leaves me unaffected and there's nothing worse than not being moved by a piece of music. I want to hate it - I really do - but truth be told, I'm just indifferent. Sterling's blasé vocals do nothing for me, while the band's retro approach to electronic music is simply boring. Guess what, there are tons of better acts that could pull off this sort of gloom'n'doom music better and most of those died away with the 80's.
Guitarist/composer Pierre Vervloesem was in too many bands to mention in a span of a brief review. You probably remember him best from X-Legged Sally or perhaps from A Group. No matter, on his latest solo release, entitled "Not Even Close", all instruments are played by Vervloesem, with the exception of occasional vocals that come courtesy of Michele Vervloesem, who happens to be his wife. If trying to pigeon-hole this music into a tidy slot [something I despise doing], one would have to consider prog-rock, art-rock and even combinations of jazz-rock. More than anything else, the music is overtly lively, full of naiveté and quirkiness and hell, if that doesn't brighten your dull day, I don't know what could!
Mixed by Skinny Joey, "Cosmic Balearic Beats Vol. 1" features thirteen unreleased tracks that feature a mid-tempo, laid back groove. To be honest, this is the first time I'm hearing relaxed grooves come out of the Eskimo stable, which is nice to hear for a change. Maelstrom surprises with an easy-to-swallow Arabic groove [which I could swear features an Arthur Russell sample], while In Flangranti's take on grooves is mostly retro. Even when a few of the acts attempt their hand at ambient sounds, surprisingly the whole thing doesn't fall apart at the seams. An amazingly coherent collection of sounds that maintains a clear focus throughout.
Out of all places, New Zealand quartet Surf City was born in a video library. Their self-titled debut EP features only six songs but already these are packed with pregnant potential. Recorded in glorious lo-fi, the band's focal point is guitar pop that rocks. These are sounds that recall glory days of Beach Boys. They speak of guitar harmonies of countless pop acts from the 80's [House of Love comes to mind], but what drives their point across is the immediacy in their music. They don't leave anything to the imagination. Everything is out on the table as the music shakes, rocks and takes your body along for the ride.
How I love recycled music - let me count the ways! Recalling my favourite collage outfit The Tape Beatles, Escape Mechanism have just released their first new release in a decade. Minneapolis based outfit is actually a one man show run by Jonathan Nelson. In his collages, he makes use of pieces of TV recordings, radio outtakes, film soundtracks and records. The whole turns out to be very coherent and quite enjoyable. Best pieces are those that don't overtly try to be audio-collages [borrowing heavily from Negativland], ones that feature actual beats, such as the quirky "Awkward Silence" or the disco-beat heavy "Theme". That doesn't mean the juxtaposition of voices from hundreds of sources don't work equally as well. It's just that they're sometimes overbearing?and heavy-handedness isn't what I would call stimulating.
As if to jump on the bandwagon, Putumayo just released "Quebec", a collection of songs that pays homage to Canada's mostly French-speaking province. Majority of the songs are sung in French, though Florent Vollant does a heart-wrenching rendition of "Nitshiuenan" in Montagnais language. Other than that, we're offered easily accessible French pop music, sometimes with a bit more flare, sometimes with less. La Bottine Souriante [whom I've been a fan of for years] provide a joyful, raging, specifically Quebec-folk version of "La Brunette Est L?". Another winner is Myreille Bédard and her softly whispered take of "Il Fait Dimanche". For those who don't know where Quebec lies on the musical map, this is a good first lesson.
I'm not sure that I could describe music made by Keith Keniff [who hides under the guise of Helios] as ambient. Sure, there are softly tickling guitar melodies accompanied by hazy keyboard programming and lushly prickling percussion, but that's not enough to immediately make it an ambient album. Little trinkets of supple waves of static song-like forms, instrumentals that softly whisper and above all conforming to no audible script. Luscious melodies have rarely sounded as hauntingly beautiful as they do on "Caesura". Bravo!
Third release "Telescopeland" from Uphill Racer [Oliver Lichtl] follows up on the previous releases. Music is as melancholic as ever, while the melodies are simple and smell of sweet air of naiveté. I almost wish I knew what Lichtl is ranting about, but his vocals are too obscured and the printed lyrics inside the booklet are for the most part illegible squabbles. What I like best is being able to loose myself in this music. It's as if a deep, dark vacuum was sucking me in - complete with its squabbled beats, broken-up melodies and a man who is eternally sad. Ideal listening for a sombre, rainy Tuesday morning.
The team at Swiss Everest Records imprint [Matu and Meienberg] continue to pump the electronic goodness in the form of the third compilation album. "Expedition_3" is an all-encompassing journey into break-beats, electro, techno, but mostly adventures in electronic experiments. The collection runs the gamut from the chilled beats of Romeo's "Trace", harsh, industrial machinations of Cooptrol on "Transfinito", through to hushed electronica squabbles of Manuel Engel's "Siro" and drilling drones courtesy of Mathon's "Carshenna (silence edit)". Best thing is, the variety is so great, there is no way one need to worry about being bored with sameness.
Whereas "Expedition_3" was for the most part centered on beats, "Ressonus Net, Vol. 1" gets deep, dark and unnerving. Czech label Ressonus invited twelve acts to contribute pieces of highly experimental, electronic sounds. Mark Tamer's "The Orgeo Crux" is a field recording, featuring a walk through dark woods, and amplified sticks being rattled in an ominous manner. Landschaft's "The True Path" is an extended drone piece, which features overt bass overtones, while Strangelet's "Station" features jingly, amplified guitars that are quite restless. Overall, the atmospherics are subtle and the music is understated and microscopic to the core in most parts. The compilation comes in a limited print of only 200 copies, which is why I recommend you jump on the train and get yours without delay.
Following up 2006's "Third Person Shooter", San Francisco outfit Hank IV deliver "Refuge in Genre". Pissed off is an understatement of the year when it comes to their music. In around half an hour, they deliver eleven smoking post-thrash, punchy tunes that do everything in the right direction of satisfying a frustrated mind. Vocalist Bob McDonald is an individual who's out on a mission to convert the non-believers to his religion. It's a rough ride - guitars mashing up the relentless rhythm section - but a great thing about all this is lyrics are decipherable enough to make sense of it all. Recommended as instant therapy to those who had a shite day at work.
Recorded over a couple of days in June of last year, "Gold is Where You Find It" serves as a testament to the strength of Schlippenbach Trio. Pianist Alexander von Schlippenbach drives the forward motion put forth by sax legend Evan Parker and percussion tour-de-force Paul Lovens. In a simultaneous display of written, the preconceived and that which is unexpected and spin-on-its-heels moment, the trio attack phrases and analyzes methodologies in such a ceaseless manner, one doesn't care which is which. "Three in One" features blasting tenor work from Parker, which is juxtaposed by Schlippenbach's persistent dance on the keys, while Lovens keeps his percussive work close to the edge and dances along with the leader. Exaltation, maddening improvisation and rapid succession of ideas spun without a forced conclusion, listeners will find gold and all that sparkles within confines of this rich and fulfilling music.
- Tom Sekowski
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RECENZJE
+ V.A. - Highlife Time. Nigerian and Ghanian Sound from the 60's and early 70's
+ Ray Barretto - Acid/Head Sound
+ Orlando Julius - Super Afro Soul
+ The Free Pop Electronic Experience - A New Exciting Experience
+ Tony Allen - Afro Disco Beat
+ Fela-Ransome Kuti - Lagos Baby. 1963-1969
+ Chimera - Chimera
+ Gerardo Manuel & El Humo - Apocallypsis
+ Satwa - Satwa
+ Ramon Tapia - Mini Jack
+ Style Of Eye - Duck Cover And Hold
+ Robert Manos - Angel Road
+ Jet Tricks feat. AdeFunKe - Remote Control
+ For Against - Shade Side Sunny Side
+ Brunetto - B+
+ PIETER NOOTEN - Collected
+ MARC RIBOT - Scelsi Morning
+ ACID MOTHERS TEMPLE & THE COSMIC INFERNO - Hotter Than Inferno Live In Sapporo 2008
+ KARSTEN PFLUM - Idhax
+ V.A. - Made In China
+ FENOMENON -mIn Stereo
+ THE GLOVE - Blue Sunshine - Deluxe Edition
+ LISA GERRAD - The Best Of
+ JOHN FOXX - Metamatic
+ THE BIRTHDAY PARTY - Live 81-82
- - - - - - - - -
>> Johan Agebjorn - Mossebo / Bengt Berger & Kjell Westling - Live in Stockholm 1977 / Walter Becker - Circus Money / Carrier Band - Voice Coil / Gultskra Artikler / Lanterns - Berezka / Monkey Lament / Brian Groder - Torque / Kostis Kilymis - .Accumulated / Cosmologic - Eyes in the Back of My Head / Jimi Tenor & Kabu Kabu - Mystery Spot / Black January 7" / Greg Davis & Sebastien Roux - Merveilles / Nicholas Bussmann & Toshimaru Nakamura - I Know How You Frown / Embers - Slag-Welter / Szilard Mezei Ensemble - Nad / Reed / Fred Ventura - 1983-2008 Disco Modernism / Michael Esposito / FM Einheit - The Sallie House / Mauger - The Beautiful Enabler / Random Touch - A Box and a Word / Klaus Treuheit - Madrigali 2° & 3° Libro / Kamran Sadeghi - Through Thickness / d_rradio - d_rradio / Sepalot / Ben Mono - Go Get It / Jesus Was a B-Boy 12" / Damien Jurado - Caught in the Trees / Ensemble Economique - At the Foot of Nameless Roads / Umbrella Brigade - Ex Nihilo / Pierre Vervloesem - Not Even Close / Various Artists - Cosmic Balearic Beats Vol. 1 / Surf City - Surf City EP / Escape Mechanism - Emphasis Added / Various Artists - Quebec / Helios - Caesura / Uphill Racer - Telescopeland / Various Artists - Expedition_3 / Various Artists - Ressonus Net, Vol. 1 / Hank IV - Refuge in Genre LP / Schlippenbach Trio - Gold is Where You Find It
+ Zeitkratzer - Volksmusik / Reinhold Friedl - Schonberg "Pierre Lunaire" - Cheap Imitation / Lou Reed - Performed by Zeitkratzer - Metal Machine Music CD/DVD / Reinhold Friedl - Xenakis [A]Live! - Performed by Zeitkratzer CD/DVD / Zbigniew Karkowski & Tetsuo Furudate / Zeitkratzer - World as Will III
+ Wiley and the Checkmates - We Call It Soul / Mostly Other People do the Killing - This is Our Moosic
+ Insect Factory - Air Traffic Control Sleep - Snowflakes
+ Marvin Ayres - Neptune - Cellosphere - Eccentric Deliquescence
+ By Any Means - Live at Crescendo
+ Amplifier Machine - Her Mouth is an Outlaw
+ Lionel Marchetti - Adele et Hadrien - Le Livre des Vacances
+ Denman Maroney Quartet - Gaga
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