At the harmonium; bleak and utterly captivating. Terrific arrangements by John Cale.
A stone-cold classic.

More reggae one-offs here.
All in exceptional condition; no scratches. A small number have marked labels: check the images.

For a moment the room appeared to darken, as it used to do when he was about to perform some singular experiment, and in the darkness the peacocks upon the doors seemed to glow with a more intense colour…

‘Here, again, it’s the odder and more elemental devotion to semi-narrative, ambient, and concrète sounds that we loved in Pomegranates — though Telas is more refined, with less sudden shifts and vignettes. An hour of self-reflective music is shaped incrementally; building and collapsing across the four sides.
‘Telas evokes a kind of monastic retreat. Where Pomegranates seemed epic in its scope and shifting scales, this album conveys images of quieter moments spent tending to a vegetable patch within a cloistered garden, perhaps, or the threading of a tapestry with filigree. Nicolás moves slowly and deliberately throughout, manipulating gauzy fibres and room-tone, or fluttering around his cryptic actors, so that when bursts of clarity and emotion appear they take on a deeper character.
‘There’s a greater sense of contemplation and patience in the album’s logic, pointing to a conception of art, melody, and sound which is continuously under construction. Together with sister-album Cenizas, and recent Against All Logic material, it feels like there’s a centre being defined and meditated upon.’

The return of the AACM flautist to the visionary, Afro-futurist science fiction of Octavia Butler, alongside theremin-player Harris, together with fellow Chicago luminaries like cellist Tomeka Reid and trumpeter Ben LaMar Gay.
Tumultuous, visceral musical reflections on Butler’s ideas about Apocalypse, power, hybridity-versus-identity, race and feminism. ‘Writing myself in,’ she called it.