Eight charged, intimate meditations by Julie Normal and Olivier Demeaux, playing a rickety ondes Martenot and an old church harmonium.
Gripping, detailed, stately improvisation — a bit like the ùrlars in classical bagpipe music — which nervily mixes the sternly doom-laden with precarious, other-worldly wonderment.
(The ondes Martenot is an amazing twentieth-century instrument — beloved by Messiaen, for example, and Varese. The theme-song of Star Trek is a vocal forgery of its sound. ‘J’aime cette fragilité qui côtoie la capacité de te décoller le tympan sur certaines fréquences inopinément,’ says Julie. ‘Je tiens une bombe dans les mains. J’aime son instabilité, son humanité.’)
Wood, breath, blood, eggshells… on the night of a purple moon.
Very warmly recommended.

The king of acid-fuzz guitar presents a barbed bouquet of classic psych covers — The Stooges, Hendrix, Pink Floyd, MC5, Jefferson Airplane and co — with killer, piercing fuzz-wah guitar and bizarre software-generated vocals. ‘One of the finest acid-punk shredders to ever walk the planet, Munehiro Narita gives these time-honored psych rock classics a serious kick in the ass, in the most bizarre and Japanese of musical settings’ (Steve Krakow, Galactic Zoo). ‘Munehiro Narita (High Rise et al) bleeds all over a series of massively re-wired cover versions of classic psych while computer generated little girl vocals relocate the whole damn thing in another future altogether’ (David Keenan).

‘Paul Ngozi’s debut album of rawly intense proto-punk and garage Zamrock, featuring Chrissy Zebby Tembo. From 1976, the same year as Lazy Bones!! by Witch, and Rikki Ililonga’s Zambia, ushering in the golden era of Zamrock and trailering a dozen Paul Ngozi and Ngozi Family releases, bestride funk and punk, driving hard rock and Zambian folk melodies and rhythms.’

Unique improvised pop from 1974, by Jean-Jacques Birgé — one of the first French synthesizer players (ARP 2600) — and guitar virtuoso Francis Gorgé.
‘Have you ever imagined what a meeting between the Silver Apples and Sonny Sharrock would sound like?’

‘Sound collages, bitter laughs, and deranged miniatures based on poetry and percussion recorded in a punk burst, along with field recordings and other oddities.
‘200 copies, screen-printed sleeves, risograph insert.’

His second ESP, one year after the Trio date, offering ‘passionate explorations of four of his originals, plus Jones’ The Lady. Rather intense at times, these emotional performances still sound groundbreaking three decades later. One of Frank Wright’s finest recordings’ (AllMusic).
Intriguing quartet, with Jacques Coursil and FW’s Cleveland homie Arthur Jones — two BYG mainstays in the making — and bassist Steve Tintweiss and Muhammad Ali both on fire.