Released in 2015 on Space Lung/Land Breathing Records Format: LP
Released in 1991 on Touch and Go Records 2000’s pressing Format: LP
Released in 2000 on Eclipse Records Format: LP
Originally released in 1980 on Piano Records 2016 Light in the Attic Repress Format: LP, 45rpm on side A, any … More
On their second LP, Henry Cow weaves together elements of eerie chamber music, free improvisation, and deconstructed prog to create something that seems like the missing link between the Canterbury jazz-rock of Soft Machine and Gong and the dissonant avant-rock of This Heat.
Released in 2013 by Drag City Format: LPx2 Front and back cover by Michal Mozolewski Inner gatefold drawing by Simon … More
Released in 2007 on Eclipse Records Format: LP Includes 12″x24″ insert
Originally released in 1979 on Piano Records 2016 Modern Classics pressing on Light I’m the Attic Records Format: LP, includes … More
This was released in 2017 on Black Truffle Records Recorded live on October 28, 2014 at SuperDeluxe Tokyo by Masahide … More
Released in 2018 on Thrill Jockey Records Format: LPx2, Metallic Silver Vinyl
Released in 1999 on These Records Originally recorded for BBC in 1977
Anxious and dissonant proto-math rock composed and improvised by a trio of innovative, idiosyncratic, and influential musicians. Guitarist Fred Frith pulls new dimensions of sound out of his instrument, blending bizarrely textured riffs with dark, noisy atmospheres. Bassist Bill Laswell is one of the great musical collaborators in all of music, often bringing together innumerable amazing musicians from all genres to create unique sonic fusions. Here, Bill and drummer Fred Maher lay down some nasty, disjointed grooves that lock you in despite their angular, asymmetrical time signatures
Recorded live at Cafe Monmartre in Copenhagen, Denmark on November 23, 1962 Released in 1976 on Arista Records
A couple of months before his death in 1967, John Coltrane went into the studio with drummer Rashied Ali to record some of the most free recordings he’s ever made, the freest of free jazz. Perhaps this freeness is due to the absence of other tonal instruments, leaving Coltrane untethered to harmony and 100% free to play whatever raw, unhindered creativity flows through him.