Crème de Hassan
Tricontinental Circus

The Wormhole: ...Side A: ‘Vodou’. Head priest: Gran Sèvitè Jean-Daniel Lafontant. Vodou priests: Oungan Eddy Saint-Jean and Anperè Jean Céus. Vodou priestesses: Manbo Françoise Célestin, Manbo Christine Lamour, Manbo Marie-Marthe Similien and Manbo Jacqueline Thélus. Other participants: Ounsi and members of Sosyete Na-Ri-VéH. Percussionists: Ountògi and the drummers of The Sacred Temple Na-Ri-VéH 777.Side B: ‘Rara’. All-female rara band: Forever Rara Fanm of Belair.Grand Rue recordings made by AMé in front of the Atis Rezistans, Port-au-Prince on 21 December 2015, 4:54pm to 5:18pm. Vodou ceremony and all-female rara band recorded by AMé at Temple Na-Ri-VéH 777 in Port-au-Prince, 16 December 2015, 9pm to 1am. Edited by Philip Marshall with AMé in Cologne, 16 May 2016. Mastered by Zachary James Watkins at Stank House, 3 August 2016. Artwork by Stefan Fähler. AD&D by Don Wyrm.

Inversions: ...Inversions are happy to announce their fourth record release - a further collection of unreleased tracks from Rodion Roșca's archives, credited to his three-piece band Rodion G.A. The tracks are culled from several studio recording sessions, and one track recorded in Rodion's home studio. The first sessions, at Radio Cluj over the period 1978-79, produced the basic instrumental backing for what would become "Nu Tu Vei Fi," "Ore," "Bătrânul Cais," and "Moment." Rodion applied the triplicate vocals and effects that would transform them into the finished tracks at home on his Tesla reel to reel machine. When the last session was complete, Rodion asked the engineer if he could record the instrumental tracks directly from the mixing console on to his Tesla machine. A genius stroke, as he was subsequently able to create many further tracks using various repeated rhythms and loops from this same material, tracks equally individual and unrecognisable from the source, such as "Uneori." This earned him the accolades "Orchestra Man," and the "First One-Man Band in Romania." The second session, at the radio station in Bucharest in 1983, was more straightforward, with the tracks "Tamburași, "Satul De Roua" and "Tic Tac" all finished then and there. "Singur Pe Drum," although written in Rodion's teens, was not recorded until 2010 in his home studio.

deejay.de: ...Concentric Circles presents ''For the Moment'', which features tracks from some of Di Stefano's early cassette releases, as well as a number of unheard explorations of Indian polyrhythms from the early 90s. Di Stefano’s prescient and unique work will appeal to fans of Cybe, Joel Graham, UnknownmiX, Zru Vogue, and provides a fascinating view of the 80s US electronic underground.American-born, Japan-based composer John Di Stefano self-released a number of cassettes as part of the 80s DIY underground on his own imprint Oktron Produktions, including Klang's Drift, a collaboration with Joel Graham.Living in San Francisco, Di Stefano had access to multiple University electronic music studios, where he had an impressive array of synthesizers at his fingertips, including both Buchla and Serge modular systems. Combining his knowledge of modular synthesis with a background in percussion, his early releases were a uniquely human approach to electroacoustic music, with flourishes of post punk in the mix. Di Stefano developed an interest in world music, studying Indian music theory and tabla, and after an extended trip to Indonesia in the mid 80s, he was particularly drawn to Javanese gamelan music. Future recordings would forever be indebted to the sounds he heard during those travels.

Founded in 2015, Tears|Ov are sound artist/self-taught musician Lori E Allen, classically trained cellist/mixed media artist Katie Spafford and illustrator/prison psychotherapist Deborah Wale. The trio first collaborated on Lori E Allen’s ‘Tears of the Material Vulture’ cassette on The Tapeworm, a re-imagination of a brief collaboration with Madame Chaos of cut-up cablecasts, 1995-1996, on Manhattan Neighborhood Network and Television in New York City. That release served to resurrect a hibernating creative practice between the three friends.Their writing process takes the form of structured improvisation. Allen will create a bed of loops, field recordings or a full framework. She then shares this base with Wale and Spafford who embellish or delete, the three building the pieces through long improvised sessions in London, playing late into the night. During these sessions, the feeling of a songs’ words or the emotional tone of a sound can spark sudden mood changes, altering the arc of the compositions. ‘Crucially the music is improvised – it is never the same twice. There are triggers and moments that signal moving to another part of the music, but the timings and lengths largely depend on our moods and interpretation on a given day/performance. Because of this, the album was recorded with ambient mics capturing multiple instruments. It wasn’t possible to record all the instruments separately as we respond to each others improvisation. Even if the changes are very minor, they really affect the emotion of each piece’ Spafford says.