‘Composed during one of London’s endless dark and locked down winters, Fever Dreams is a fantastical, speculative take on high density living. From dark, mouldy rooms, subterranean depths, symbiosis and multi-species entanglements, it cloaks itself in the claustrophobia, excitement and despair of living in a metropolis. It is a work which both celebrates and fears the weeds, spores, vermin and grime of London. The dark fantasies, frustrations, and utopian aspirations of its urban survivors. Frozen plastic bags, cramped living quarters, the kindness of strangers, the desperate unfairness of who gets what and when. Almost getting there but not quite. Being overcome by emotion for no reason. Unexpectedly moved, inexplicably destroyed. The never still, forever unfolding moments which comprise living on top of each other. Sinking and swimming; together/apart.’

‘An alluring, meditative, psychedelic brew of shamanic and alchemical rhythms and harmonies, ranging across a wide array of instruments and influences. Modular synths, a two-stringed erhu fiddle, flute, feedback, electronics, guitar, field recordings, and various percussion objects, in ritualistic studio sessions which are augmented and sampled over and over… with the controls set for other planes of there.’

Brand new interpretations of their debut album, ten years on.
‘The Universe Smiles Upon You ii was recorded on January 4-6, 2025, in the same family barn of guitarist Mark Speer, across the same dates where TUSUY was first conceived ten years earlier. Though the conditions were the same — dirt floor, brutally cold, minimal sound isolation, all takes live — the songs aren’t. They’re re-approached, some changed more than others, harnessing the lightning-in-a-bottle energy of TUSUY while discovering what would be unique this time around, in this stage of the band’s life.
‘The result moves like ripples on the water across ten hypnotizing tracks, the barn creating a sense of spaciousness, serenity and creative freedom, nearby wildlife (listen out for the birds on August Twelve ii), rattles and creaks of the barn and all. It’s a tapestry of small movements in nuanced arrangements, slowly revealing the new life, stories and character of someone you’ve met again for the first time in ten years.’

Recordings of an owls nest throughout a nesting season in the spring and summer of 1978, with Viktor himself telling the story of an owl family. Originally planned to fit on a 7” record, but never released till now. The booklet includes Danish and English translations of the original French narration, illustrated with a series of Viktor’s own photographs of the owls.

Wonderful recordings of Armenian piano music composed in 1906 — featuring imitations of the ‘dap’ tambourine, plucked tar, shiv reed-pipe and dhol drum — performed last year by Keiko Shichijo on a Steinweg Nachf piano, built in 1880.
Lovely thing, warmly recommended.

This is a blast — a tremendously entertaining survey, centred in the Basque country, uproariously mangling together everything from Suicide to dub, Surf to tribal-style chanting, Satanism to toothpaste, with zinging wit, energy and intelligence, and knockabout anti-authoritarianism. Well-presented; warmly recommended.

Reissued for the first time since its initial 1969 release.
Side one was recorded earlier that year at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Running their voices against a sine wave drone, the composition has its roots in The Tortoise, His Dreams and Journeys, begun in 1964 with The Theatre of Eternal Music. According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath.
Side two was recorded in Young and Zazeela’s NYC studio in 1964. A section of the longer composition Studies in the Bowed Disc, this is an extended, highly abstract noise piece for bowed gong. The liner notes explain that the record can be played at 33 and 1/3 rpm as usual, but also at any slower speed down to 8 and 1/3 RPM on turntables with this capacity.