From the Tree Person’s solo album Real Life And Fiction: a punky-folk drone with chimes; disconsolate cheer-leading on the flip.

Brilliant, dazed and skewiff electro-pop from Fact magazine’s label of the year. The Autre Ne Veut is pretty great, too.

Rock Fort Rock and China Town excursions.

Fiery, head-banging deep funk by this Louisiana guitarist; originally out on Eddie ‘Goldband’ Shuler’s ANLA label, in 1967.

Reading from his novels Robinson, The Hard Shoulder and The Passenger, and The Museum of Loneliness, with field recordings and bits from the soundtracks of Asylum and Content. Assembled by Mordant Music.

NYC soul, with at least two killers — Don’t You Care, and Never Did I Stop Loving You. BGP has unearthed some rarities; and some great photos.

Another knockout compilation by Born Bad (though Souffle Continu has the matter in hand).

‘In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of ‘little instruments’ (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations. The group’s stage appearance shocked as well. They wore boubous (traditional African robes) and war paint to venerate the power of their free, hypnotic music, directly linked to their African roots. They were predestined to meet up with the Saravah record label (founded in 1965 by Pierre Barouh), already at the vanguard of as-yet unnamed world music. Brigitte Fontaine’s album Comme à la Radio, recorded in 1970 after a series of concerts at the Théâtre du Vieux Colombier, substantiated the union of this heiress to the poetic and politically committed chanson francaise (Magny, Ferré, Barbara) together with the Art Ensemble of Chicago’s voodoo jazz and the Arab tradition perpetuated by her companion Areski Belkacem…’