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Her forget-it-rare 1970 Tangent LP — sound miniatures created from close-mic’d and manipulated sound sources, plus the trippy Tiger Balm’ and stuff.  A must for Alga Marghen, Pauline Oliveros, David Tudor fans.

Re-presenting two albums, from 1969 and 1970: with drone and percussion, ravishing, masterful, existentially searching flute improvisations, lit up at intervals with trails of melodic, knees-up folk.

The earliest recordings by flautist T.R. Mahalingam, a legendary figure in the Carnatic music of South India, at the peak of his powers here, with violinist T. Chowdiah and mridangam master Palghat Mani Iyer.

The business — pure, heavy, deep Afro Cuban funk grooves. 1970s bass-driven percussion delirium. Lazaro Pla aka Manteca alongside Nelson ‘El Flaco’ Pardon on timbales and Carlos Potato Valdes on congas.

‘I am not interested in sounds that already exist.’ Ohno at his peak in 1978: classic analogue tape genius, state-of-the-art synths. Massive, primal, undulating, out-there. With Animals on a bonus mini-disc.

The gorgeous, limited reissue of a legendary, startling flexi-disc from 1970: six folk songs shaped from the analogue tape recordings of animal and bird sounds, natural and pitch-shifted, with delay and reverb.

Evocative electronic soundscapes (from 1975 to 2001) with the spaciness of Louis and Bebe Barron’s classic Forbidden Planet, the abstractedness of David Tudor, and a good dose of their own crazed imaginations.

Bebop from Sweden led by a Trinidadian steel drummer. A beautiful if unlikely concoction that works a treat. Amongst the evergreens, there’s even a flamenco track to make things still more confusing.

Burns’ and Roberson’s apocalyptic, paranormal theatre of improv, noise, psych and avant-prog, run through every electronic effect going. ‘A Cosmic Rock Relaxation Creation’ from 1974 New York. Atman vinyl.

Prog-folk from Derbyshire, 1983, with Jayne Marsden’s luminous singing likely to appeal to fans of Vashti Bunyan and Linda Perhacs.

A bracing brace of experiments. The opening track could be Coldcut or Negativland nutting out; the rest are more restrained and abstract. The voice of John Cage turns up, to fine effect.

New, warmly eclectic, nostalgic foot-tappers from Tokyo, fronted by swinging garage sax, serpentine accordion and musical saw. Record nuts, all eight of em. Raymond Scott, Ra, Debussy, Joe Meek…

Australia’s answer to Syd Barrett, with a VU-style side from from 1968, and a solo home-cassette-recording from thirty years later. Trailering an EM compilation in the Spring.

The real thing, not yer curried bollocks: a deep fusion of the modes of traditional ragas with jazz rhythms and ideas, using a wide range of Indian and jazz instruments. Middle Eastern elements creep in, even Ethio.

Sweet, lo-fi, drum-machine, reggaefied D-I-Y from the early eighties. Open, warm, slyly experimental, evoking The Slits, New Age Steppers and Young Marble Giants. Lovely, nostalgic.

Like an art-school Susan Cadogan into Pablo, Brenda’s multi-tracked whisperings and playing are complimented by Prince Far I here, Knowledge there, in these one-offs by Roy Cousins, of The Royals. Back in.

On Folkways in 1983, Travelon Gamelon married a kind of gamelan, Fluxus, and banging and clanking. Fans of Angus MacLise, Gamelan Son of Lion, David Berhman, MEV, Tirath Singh Nirmala etc will lap it up.

An Afro-Steve Reich-style kalimba. Then come electric bass clarinet, soprano sax, bells, chimes and electronics. Sparse, spaced and meditative — this is highly recommended. And on vinyl now. Another EM detonation.

‘Spaced acid drones of acoustic chill, embracing electronic, ambient, world, avant garde, cosmic, free and chamber jazz MUSIC.’

His third EM, more electronic than before, but still warmly organic, blending his percussion and Kansas City-schooled jazz horn into the oceanic ‘comprov’.

Very assured jazz settings for Rudy’s masterful pan playing, from 1984.

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