‘Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these seventeen Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing.’

‘One of the fiercest sounds in modern jazz… The New York-based sax player and co mix it up, from funk shuffle to full-on swing, on their blistering fourth album, comprising eight tracks of angular yet explosive experimentation…
‘The opening title track sets the tone, interweaving Lewis’s expressive lines among pianist Aruán Ortiz’s polyrhythms before reaching a blistering sax solo. As the album progresses, there is variety amid the consistency of Lewis’s blasting tone: a funk shuffle on Swerve, Latin rhythm on Per 6, and fast-paced swing on Black Apollo…’ (The blistering Guardian).

A few marks; nothing grievous.

A private press LP from early-eighties Youngstown, Ohio, featuring an absolutely killer Hammond B3 version of Chameleon, and an exceptionally funky The World Is A Ghetto, showcasing Lavorgna’s soulful saxophone, and more deep funk from David Thomas, on organ.

Fragile, deep, melancholic, enthralling home recordings from Beirut; lost in memories, worry, grief, rapture, love.
Very warmly recommended.

‘Highest recommendation’, Foxy Digitalis; ‘evanescent bliss, an invitation to a safe space both isolated and welcoming’, The Quietus; ‘a sweep of introspective, breath-catching moments of beauty’, Pitchfork. ‘The combination and contrast of highly familiar and highly alien elements give Asmar’s music a quality not quite like anything else I can name. The way she channels found voices into her surreal mix of sounds is particularly striking’
(Byron Coley, The Wire).

Her first two cassette releases remastered and presented in a gatefold sleeve featuring new art-work by Yara herself.