Instrumentals in ska, mento and other Caribbean styles recorded in 1966, at the threshold of rocksteady. The only one of his eight Federal albums to feature ska. Super-fine LP from Dub Store.

Two spellbinding extended improvisations referring to meteorological and planetary phenomena: evocations of light, wind, clouds, and tidal cycles as shimmering, roaring, rubbing, coalescing and diverging environments of sound; consistent and yet in perpetual flux. The quartet’s signature, singular, honed minimalism subsumes flashes of chaos into winding paths of musical detail; hushed but suspenseful.

Quietly ravishing, stunning music from Norway, by trumpeter Torstein Lavik Larsen, double bassist Adrian Fiskum Myhr, guitarist Fredrik Rasten, and drummer Jan Martin Gismervik.
Gorgeously presented, in a tiny run.
Warmly recommended.
Something else.

‘Their ability to harmonize together is stunning, their reedy voices coming together and pulling apart amid delicate fingerstyle guitar and concertina deployed in just intonation, which imparts a deeply resonant, almost glowing harmonic presence. It’s all quite subtle, and if you only listen to the way the voices of Cater and Rasten blend you might even miss it—but the full sonic spectrum is what distinguishes and, in certain ways, connects it to traditional practice… Although the album is pure balladry, unfolding with exquisite patience, each song contains nifty little flourishes or instrumental elements that set them apart, such as the slide guitar and wheezy bass harmonica on For the Ear That is No More, or the slow peal of trumpet on Death and the Lady, courtesy of Rasten’s partner in Pip and Oker, Torstein Lavik Larsen. (Peter Margasak, Nowhere Street).
‘All done with such grace and elegance, without a note wasted or any required. Wonderful… faultless and deeply considered’ (Glenn Kimpton, KLOF).

Three high English and Scottish ballads, and three original settings of European folk tales.
Matt gatefold cover; gloss spot varnish.
Check it out!

‘Dora’s signature, sublime, open-hearted refinement of modern classical, folk and ambient is at its most colourful and rhythmic in this suite of keyboard instrumentals; an aural mille-feuille, in dramatic contrast with her previous, melancholic vocal works.
‘Atmospheric drone miniatures underpin flowing, cyclical arpeggios, spiralling into an unpredictable dream space of melodic polyphony. Drawing on an essay by Hartmut Rosa, the music mulls over conceptions of the acceleration of time and the experience of alienation. It reveals the inescapable pulsation of time as at once mesmerizing and unsettling.’