Still sealed.

‘The Musiques Vertes project began in south east France during the late 1970s, spearheaded by Christine Armengaud, who was investigating a long tradition of musical instruments made with organic materials and plants. With the help of elderly people in the region, she was able to construct 240 instruments, long used for bird calling, dancing, as the toys of young shepherds and children, and much more, but which had been lost to common usage following the First World War.
‘In 1980 Jean-Yves Bosseur initiated a programme of collective music-making using the instruments reconstructed by Armengaud. Rather than working with professional musicians, he preferred locals and children he encountered in Aix-en-Provence between 1981 and 1982. Recorded by the legendary French ornithologist and wildlife field recordist Jean-Claude Roché, the Musiques Vertes album presents eleven musical excursions, utilising a series of instructions or games set up by the composer to encourage collective musical exchange, as well as a dialogic exchange between this practice and active listening within a natural environment.
‘Bubbling textures and atonalities, blended with sounds from the natural environment, intermingle with staggering birdsong-alike tonalities and rattling percussive passages, producing striking moments of abstraction that retain a remarkable sense of humanity and ease. A document of pure sonic magic and stunningly organic creativity.’

Peter Brötzmann, Milford Graves, and William Parker, live and direct form the front room of CBGBs in 2002, with the drummer’s hand-painted, Orisha-adorned double-bass-drum kit, captured in its full thunderous glory on this recording, occupying most of the available space.
First in a series of records presenting previously unreleased works featuring Milford Graves.

A Bengali-Italian collaboration — nurtured by Rimini’s Associazione Ardea, for refugees — psychedelically combining ancient folk and cosmic synth exotica.
Entrancing, fresh renditions of mystical Baul songs, with Md After accompanying himself on
harmonium and two headed pakhawaj drum, over Andrea Rusconi’s warm Crumar synth and veena string drones.
Check it out.

Intensely evocative, meditative duets by modular synthesizer and viola, interwoven with field recordings — birds, the sound of forests — encapsulating sojourns on the Åland archipelago in the Baltic Sea, between Sweden and Finland.

‘Quietly multi-rhythmic, modular-trance-meets-processed-and-unprocessed-chamber strings, bewitching and bewildering field recordings all knitted tightly, an LA patchwork.’

“Our studios are side-by-side. When we were writing this album, you might have found us tracking viola stacks in one studio while, in the other, we were writing through-composed themes and rearranging the material. Granular synthesis and tape manipulation are key tools we use to create variation and movement in a composition. This process often yields surprising results, capturing the emotion but expressing it in unexpected ways. It feels essential that we embrace a bit of chance.
“In contrast to our first album, Recordings from the Aland Islands, we wanted this music to feel very present. Where Recordings was intended to transport you to another place, Different Rooms is meant to meet you where you are. It’s a decidedly urban album. The field recordings were captured on rain platforms, in city streets, in rooms at home, and intentionally paint a quotidian sonic image, blurring the line between what you hear in your own environment and what is on the record.”

Featuring Jeff Parker.

Sparky, engaging, inventive kitchen wave — on a mission to connect with you, cheer you up, and make you dance — rolling into TTT by way of Incienso and Workshop.

Also check out Kiki’s online cooking programmes and get pickling.