Sweet Stalag business.

Signature Shackleton — paranoia flaring into dancefloor fire, gripping and rolling. With a chilled and crackling King Midas Sound, Hitomi forlorn. And finally The Bug himself, digital only, getting in your face.

With the brilliant Italian pianist Stefano Bollani — a mixture of their own compositions, improvisation, and covers, including two versions of Jobim’s Retrato Em Branco Y Preteo.

The masterful Greek folk violinist. ‘So raw and unmediated that anyone who has ever yearned for anything will feel these songs like a club to the back of the knees…immediate, destructive, and stunning.’ Crumb artwork.

‘After the afro-beat fury of Juguya, this second album combines a potent mix of traditional roots and modern Burkinabe funk with a reverent revival of the iconic Mandingue guitar music of the 1970s.’
Searing Sahelian dance music, recorded in Ouagadougou, Burkina Faso, in February 2018.

A survey of Nashboro Records gospel, by Mike McGonigal of the Detroit Gospel Reissue Project.

‘The piano was at the centre of Feldman’s musical world. Even when he was writing for other instruments he would work at the piano because ‘it slows me down and you can hear the time element much more, the acoustical reality.’ Perhaps more than any of his other piano music Triadic Memories is about that reality, the acoustic space created by the piano’s strings and soundboard, and in Judith Wegmann’s recording that space is within a magnificent Bösendorfer 280VC piano.
‘The score specifies that the piano’s sustaining pedal should be held halfway down throughout the piece, as if the resonance of the instrument is intended to become a means of remembering the music. Feldman was thinking of the way that Cy Twombly would scratch graffiti-like markings into a gesso ‘where the tint changed ever so slightly.’ Feldman wanted a tonal ground and took the idea of ‘a little gesso’ from Twombly, making music that, as he put it, is ’on this very precarious gesso smudge.’  Gesso, smudge, memory.’