‘Boomerangs back into the slashing chords and frenzied double-picking of the Harry Pussy years, tossing the gentler melodic glow of the last few solo records into the dustbin. In other words, this may be Orcutt’s most overtly punk-rockist record since Gerty Loves Pussy, his first solo electric LP from a decade ago. It’s an affirmation that Orcutt is above all a lead player—angular runs scaling the heavens, ricocheting back to ground zero before climbing again. Orcutt builds tension with short phrases, repeated with slight variability until it seems like they’ll never stop, finally slamming into a fresh line like the dawning valley at the crest of the mountain pass. Another Perfect Day is, ultimately, something of a solo guitar Nouveau Roman, an exhilarating run through melodic reiteration, impossible crescendos (check out those ecstatic crowd hoots on For the Drainers) breaking into—a moment rarely found on an Orcutt record—soft, whisper-quiet tracer notes at the end of A Natural Death. Another Perfect Day returns Orcutt to the immediacy of his earliest records while maintaining the melodic complexity, phrasing, and flow of a player, who’s been going, what—four-plus decades now? And when he taps his roots, it’s a reminder of exactly what was so exciting about Orcutt’s playing in the first place.’

A harum-scarum bloodbath of sixties rock, seventies motorik-fusion, and eighties punk.

‘The landscape Orcutt Shelley Miller inhabits lies deep in the stoner American bedrock, fed by volcanic riffage and hypnotic phrasing with rhythmic nods to the SoCal ’60s and atonal slash piled on a mid ’80s SST punk-fusionoid substrate, ultimately blasting a ‘big rock statement’ that treads the line between good times and blown minds.’

‘A Squeeze-meets-XTC vibed track that will appeal to fans of the Rangers, as it sounds like a half-remembered lost classic from an ‘80s infomercial beamed onto a thrift-store VHS.’

‘Palestre is a study of higher-dimensional spaces and altered states of consciousness. It explores parallel dimensions and temporal anomalies from a perspective that blends mythology, modern physics, ADHD, transcendental music and club culture.
‘Sciogli Assurdi was recorded between art galleries, clubs, squats, and folkloric festivities in 2018.’

This is a great way into Partch, revisiting with gusto three well-known, relatively-compact works — a highly rhythmic dance piece, a cross-cutting film score, and Barstow, with HP intoning hitchhiker graffiti.

Thirty-four verses of expanded duets, the prototype of Delusion Of The Fury, thrashed out with the Gate 5 Ensemble over a three year period starting late in 1962, in a too-small space within an abandoned chick hatchery in Petaluma, California.
Plus a section of a rehearsal session, with HP himself giving direction, ending with a fine performance by Danlee Mitchell and Michael Ranta.
And finally a previously unreleased recording of Partch playing Adapted Viola, in one of the Verse 17 duets excised from the final opus.

Keyboardist with Heldon, Magma and co, joined on his debut LP by the likes of Richard Pinhas and Christian Vander — no less — together with Bernard Paganotti, François Auger, Didier Batard… An outstanding mixture of synthy electronics and jazz-rock. First vinyl issue.

From 1976, the first of the two albums by the Asocial Associates, led by Philippe Doray of Rotomagus.
‘Psychedelic pop, voodoo rock, wrong krautrock, woozy swing… bringing to mind as much Hendrix as Areski, Ash Ra Tempel as Berrocal. No wonder that Nurse With Wound lists Philippe Doray between the Doo-Dooettes and Jean Dubuffet. One of the best albums of experimental song ever recorded.’

His soundtrack to Claude Sautet’s 1972 film, featuring Romy Schneider’s haunting voice-over of La Lettre De Rosalie. ‘Like a magical bridge between baroque and electronic music, mixing Moog synthesizer sequences with acoustic instruments.’

Coming after Nothin To Look At Just A Record, with its densely layered trombones, this is Niblock’s second, rarest LP, from 1984: a collaboration with Joseph Celli (who himself had worked with Cage, Oliveros and Ornette), playing oboe and English horn.
Niblock creates seamless, ringing drones by skilfully cutting all Celli’s breaths and pauses. Play it loud, he says, for its viscerality, and to get its ringing overtones rolling around your room.