The duo of Bill Orcutt — on four-string guitar — and drummer Tim Koffley.
‘Taking leads from James Blood Ulmer and Fred Frith’s Massacre, here is the link between the contemporaneous Thunders-esque punk of Orcutt’s Trash Monkeys and the mayhem of Harry Pussy…
‘Consider the closer Wattstock, where Koffley forms the bedrock for an extended Orcutt hotbox of instantly-composed harmolodics. And also God Are You There, It’s Me, Watt, where we can hear the spontaneous vocal bursts (the only vocals on the album) that would re-emerge on Orcutt’s early solo records…
‘An early, major piece of the unfolding and complex puzzle of Orcutt’s music. A foundation.’

Wow!

‘The BBC’s Third Programme aired four radio broadcasts between January 1964 and September 1965, collectively known as Inventions for Radio. Conceived by playwright Barry Bermange they consisted of the voices of the general public answering questions on four themes, one for each programme: dreams, the existence of God, life after death, and ageing. The Dreams, Amor Dei, The After-Life, The Evenings of Certain Lives. Delia Derbyshire was assigned by the Radiophonic Workshop to edit and add electronic music/ effects. The collaborative result is dreamlike and mesmerizing.’

Including one LP for each broadcast, and two further LPs of additional material, together with a twenty-page booklet, housed in a lidded box.

‘A mesmerizing blend of ambient, experimental, and electronic sounds. Each composition is an invitation to explore altered states of consciousness, with the music serving as a portal to uncharted territories of the mind. The album offers a glimpse into an inner world, where sound, inspiration, and introspection create a deeply moving and spiritually enriching musical journey.’

Excursions and meditations on an eighteenth century organ tuned to pure thirds, entailing a slightly harsh intonation exploited here to evoke the hostile climate of the Potenza valley during winter and autumn.
‘The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming souls of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.’
With trombone, trumpet, saxophone, and effects.