The Squid's Ear
Recently @ Squidco:

Marker (Vandermark / Clinkman / Marquette / Stewart / Sudderberg): New Industries [2 CDs] (Audiographic Records)

... Click to View


Ken Vandermark / Nate Wooley: Deeply Discounted II​ / ​Sequences Of Snow [LP] (Audiographic Records)

The 3rd release from the duo of Chicago multi-reedist Ken Vandermark and NY trumpeter Nate Wooley, two long-form compositions written for the LP format and developed while touring North America during 2017; "Deeply Discounted II," is inspired by John Cage's "Cheap Imitation", while "Sequences of Snow," is dedicated to the experimental filmmaker & musician, Michael Snow. ... Click to View


Ken Vandermark / Paal Nilssen-Love: Screen-Off (PNL)

For their 10th album, the duo of multi-reedist Ken Vandermark and drummer Paal Nilssen-Love took inspiration from experimental cinema, enlisting producer Lasse Marhaug tp scour YouTube for concerts from their past 10 years, extraction 60 seconds of audio from each and joining them into 2-minute segments, 21 of which create this unusual album of awe-inspiring performance. ... Click to View


Paal Nilssen-Love : New Brazilian Funk (PNL)

Brought together by dummer Paal Nilssen-Love for the 2018 Roskilde Festival in Denmark, this quintet merges Norwegians Nilssen-Love and long-time collaborator Frode Gjerstad on alto sax with the Brazilian trio of Felipe Zenicola on electric bass, Kiko Dinucci on electric guitar, and Paulinho Bicolor on cuica, for an thrilling and exuberant concert of energetic improvisation. ... Click to View


Paal Nilssen-Love : New Japanese Noise (PNL)

One of two concerts drummer Paal Nilssen-Love organized for the 2018 Roskilde festival in Denmark is this quintet, adding Brazilian guitarist Kiko Dinucci from the "New Brazilian Funk" concert, alongside legendary Japanese free jazz saxophonist Akira Sakata, noise artist Kohei Gomi (Pain Jerk) and Toshiji Mikawa (Incapacitants), for a concert of controlled chaos and mastery. ... Click to View


Arashi (Akira Sakata / Johan Berthling / Paal Nilseen-Love): Jikan (PNL)

The third album from the Arashi trio of Akira Sakata on alto saxophone, Bb clarinet & vocals, Johan Berthling on double bass, and Paal Nilssen on Love on drums & percussion, formed in 2013 at the Molde Jazz Festival in Norway and touring steadily since, here captured live at Pit Inn, in Tokyo for four intense free improvisations of inspired power. ... Click to View


Fire! Orchestra: Arrival (Rune Grammofon)

Trimmed back to a mere 14 musicians, the Fire! Orchestra core trio of Mats Gustafsson, Johan Berthling, and Andreas Werliin and Orchestra original singers Mariam Wallentin and Sofia Jernberg add a string quartet, expanding their palette as they release their warmest and most embraceable album to date, from original material to covers of Robbie Basho and Chic. ... Click to View


Fire! Orchestra: Arrival [VINYL 2 LPs + CD] (Rune Grammofon)

Trimmed back to a mere 14 musicians, the Fire! Orchestra core trio of Mats Gustafsson, Johan Berthling, and Andreas Werliin and Orchestra original singers Mariam Wallentin and Sofia Jernberg add a string quartet, expanding their palette as they release their warmest and most embraceable album to date, from original material to covers of Robbie Basho and Chic. ... Click to View


Biota / Mnemonists: The Biota Box [6 CD BOX SET] (Recommended Records)

From Mnemonists to Biota, this box collects the first 5 studio album released by the Colorado collective on the UK Recommended Records label, adding a bonus disc of all new recordings built from the group archives, and includes 14-page booklet of artwork & historical notes shedding light on their gorgeous abstractions through free improvisation and studio composition. ... Click to View


Charles Hayward : (Begin Anywhere) (Klanggalerie)

This Heat and Camberwell Now drummer, songwriter, vocalist, experimenter and sociological observer Charles Hayward steps away from his drums for an intimate album of song, performing on piano with minimal accompaniment as he presents new songs and new versions of songs including pieces from Camberwell Now; powerfully fragile, insightful, fascinating. ... Click to View


Izumi Kimura / Barry Guy / Gerry Hemingway : Illuminated Silence (Fundacja Sluchaj!)

Performing at St. Ann's Church in Dublin, Ireland, the trio of Japanese pianists living in Ireland Izumi Kimura is joined by London bassist Barry Guy and Swiss based drummer Gerry Hemingway for 8 superb improvisations, including renderings of Guy's "Blue Horizon", "Ancients" and "Finding It" and Agusti Fernandez' "How to Go Into a Room You Are Already In". ... Click to View


Peter Evans / Agusti Fernandez / Barry Guy : Free Radicals At DOM (Fundacja Sluchaj!)

Radical masters of free jazz--Spanish pianist Agusti Fernandez and British bassist Barry Guy--meet young(er) radical trumpeter Peter Evans at the Moscow Cultural Center DOM for this 1027 concert of free improvisation, a fiery and informed concert of two sets, each in three parts, and an encore, showing technical mastery, inventive interaction, and sheer excitement in performance. ... Click to View


Phicus / Martin Kuchen: Sumpflegende (Fundacja Sluchaj!)

The Catalan free improvising trio Phicus of Alex Reviriego on double bass, Ferran Fages on electric guitar, and Vasco Trilla on drums continue their pursuit of 4th partners, here joined by Swedish saxophonist Martin Kuchen on tenor & alto saxophones for a studio album of collective improvisation with elements of ea/lowercase playing balanced with dynamic language. ... Click to View


Brad Barrett / Joe Morris / Tyshawn Sorey : Cowboy Transfiguration (Fundacja Sluchaj!)

Using a participatory compositional process, the NY trio of Brad Barrett on bass & cello, Joe Morris on guitar, and Tyshawn Sorey on drums, follow a framework to make choices based on density, rhythmic ratios, register, melody, and timbre, encouraged to employ small particles of sounds and blend timbres with an awareness of implied pulse and an inclination to disrupt it. ... Click to View


Greene / Smith / Moses: Life's Intense Mystery (Astral Spirits)

Performing live at Lily Pad in Cambridge, MA, the trio of free jazz piano legend Burton Green in a trio with bassist Damon Smith and drummer Ra-Kalam Bob Moses, in 6 collective improvisations, with impressive playing from all three as they segway through the three part "Life's Intense Mystery", taking exploratory moments and even some "Kid Play" inbetween. ... Click to View


Greene / Smith / Moses: Life's Intense Mystery [CASSETTE w/DOWNLOAD] (Astral Spirits)

Performing live at Lily Pad in Cambridge, MA, the trio of free jazz piano legend Burton Green in a trio with bassist Damon Smith and drummer Ra-Kalam Bob Moses, in 6 collective improvisations, with impressive playing from all three as they segway through the three part "Life's Intense Mystery", taking exploratory moments and even some "Kid Play" inbetween. ... Click to View


Shirosihi / Golia / Fujioka / Cline: Borasisi (Astral Spirits)

Two drums and two saxophones merge to create this epic 2-part free jazz trek - "Right Eye Sun" and "Left Eye Moon", the album title taken from a sun deity in Kurt Vonnegut's novel "Cat's Cradle", who mated with the moon; this pairing of is realized by West Coast masterful musicians Patrick Shiroishi & Vinny Golia (sax) and Dylan Fujioka and Alex Cline (drums & percussion). ... Click to View


Shirosihi / Golia / Fujioka / Cline: Borasisi [CASSETTE w/DOWNLOAD] (Astral Spirits)

Two drums and two saxophones merge to create this epic 2-part free jazz trek - "Right Eye Sun" and "Left Eye Moon", the album title taken from a sun deity in Kurt Vonnegut's novel "Cat's Cradle", who mated with the moon; this pairing of is realized by West Coast masterful musicians Patrick Shiroishi & Vinny Golia (sax) and Dylan Fujioka and Alex Cline (drums & percussion). ... Click to View


Jason Alder / Thanos Chrysakis / Caroline Kraabel / Yoni Silver: Music for Baritone Saxophone, Bass Clarinets & Electronics (Aural Terrains)

Exploring the low end of the clarinet family with Jason Alder on bass, contra bass, B flat & E flat clarinets, Yoni Silver on bass clarinet, plus Caroline Kraabel on baritone saxophone & voice, Thanos Chrysakis expanding the sonic space with laptop & synthesizers, in a 5-part series of beautifully paced, absorbing and subtly detailed collective improvisations. ... Click to View


Umlaut Big Band: Plays Don Redman: The King Of Bungle Bar (Umlaut Records)

Don Redman was an American big band leader popular in the 1930's, responsible for work on animations, sound tracks, and recordings of pre-swing hot jazz arrangements of popular tunes; here the French Umlaut Big Band under the direction of Pierre-Antoine Badaroux pays homage to his music in rich orchestration showing the melodic, inventive, and complexities of Redman's music. ... Click to View


Marc Ducret: Lady M (Illusions)

Taking on one of Shakespeare's most famous and frightening female characters, Lady Macbeth, in an 11-piece ensemble that include luminaries Liudas Mockunas, Samuel Blaser, and French guitarist Marc Ducret himself, using operatic form to focus his compositions on the emotional depth of his character, blending composed, improvised and sonic material into an exciting and unsettling work, drawing incredible performances from his players. ... Click to View


DKV Trio / Joe McPhee : The Fire Each Time [6 CD BOX] (Not Two Records)

A 6-CD boxset of recordings from the DKV Trio of Hamid Drake (drums), Kent Kessler (bass), and Ken Vandermark (reeds), plus guest Joe McPhee, the box dedicated to James Baldwin, recorded during the quartet's 2017 tour in Europe, and at shows in Chicago and Milwaukee that year, documenting six concerts with performances including Joe McPhee's "Nation Time". ... Click to View


Daniel Studer (w/ Loriot / Zimmerlin / Zoubek): Extended: For Strings & Piano (Hat Hut Ezz-Thetics)

A live album at Kunstraum Walcheturm from Swiss double bassist Daniel Studer's quintet of strings and piano, with Harald Kimmig on violin, Frantz Loriot on viola, Alfred Zimmerlin on violoncello, and Philip Zoubek on piano, performing an inventive set of Studer compositions extending string improvisation to extremes through unorthodox structures and techniques. ... Click to View


Monopiece / Jaap Blonk (Corde / Robidoux / Russell): (Shhpuma)

An absurdly paced and spectacular album of electronic improvisation, percussion and voice, as the West Coast improvising trio Monopiece of Nathan Corder on electronics, Matt Robidoux on guitar, and Timothy Russell on percussion meet legendary improvising vocalist and electronics artist Jaap Blonk, recording at The Center for Contemporary Music, at Mills College. ... Click to View


Urs Leimgruber / Jean-Marc Foussat: Face to Face [2 CDS] (Fou Records)

The perfect foils for each other, German saxophonist Urs Leimgruber and French AKS sysnthesist Jean-Marc Foussat are heard in two complete concerts, one at the WIM in Zurich and one at the Kunsthalle in Lucerne, both exploring sound, timbre, momentum and atmosphere through extended techniques and extreme playing, and an amazing display of soundscape and sonic force. ... Click to View


Thomas / Butcher / Solberg : Fictional Souvenirs [CD] (Astral Spirits)

Performing in concert at Iklectik in London in 2017, the UK and Norwegian free improvising trio of Pat Thomas on Moog Theremini & IPad based electronics, John Butcher on saxophones, and Stale Liavik Solberg on drums & percussion impress through a mix of masterful free playing and eclectic electroacoustic conversations, an adventurous and wonderfully unpredictable set. ... Click to View


Thomas / Butcher / Solberg : Fictional Souvenirs [CASSETTE] (Astral Spirits)

Performing in concert at Iklectik in London in 2017, the UK and Norwegian free improvising trio of Pat Thomas on Moog Theremini & IPad based electronics, John Butcher on saxophones, and Stale Liavik Solberg on drums & percussion impress through a mix of masterful free playing and eclectic electroacoustic conversations, an adventurous and wonderfully unpredictable set. ... Click to View


Harris Eisenstadt (Malaby / Roebke / Bishop): Old Growth Forest II [CASSETTE with DOWNLOAD] (Astral Spirits)

NY drummer Harris Eisenstadt composes for his quartet with Jeb Bishop on trombone, Tony Malaby on tenor & soprano saxophones, and Jason Roebke on bass, recording live at a Jazzshares concert in The Parlor Room, Northampton, Massachusetts, in their second tour performing Eisenstadt's inventive compositions leading to strong, lyrical soloing with unexpected twists and turns. ... Click to View


Harris Eisenstadt (Malaby / Roebke / Bishop): Old Growth Forest II [CD] (Astral Spirits)

NY drummer Harris Eisenstadt composes for his quartet with Jeb Bishop on trombone, Tony Malaby on tenor & soprano saxophones, and Jason Roebke on bass, recording live at a Jazzshares concert in The Parlor Room, Northampton, Massachusetts, in their second tour performing Eisenstadt's inventive compositions leading to strong, lyrical soloing with unexpected twists and turns. ... Click to View


Baczkowski / Lopez / Corsano: Old Smoke (Relative Pitch)

This smoking album of free jazz leads the New York trio of Steve Baczkowski on saxophone, Brandon Lopez on bass, and Chris Corsano on drums to fiery playing as they burn up the stage at Hallwall, in Buffalo, New York in 2018, over seven concise collective conversations expressing both passion, restraint, and profoundly masterful skill. ... Click to View


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  Great Minds at Play  

Finding Art in Science, Monthly at Cornelia Street Cafe


By Matt Rand 2003-06-24

A room full of people who have just held in their hands a meteorite that hit the earth in 1576 is a tough room to play. And so it was that a good portion of the audience at Cornelia Street Cafe's "Entertaining Science" night (this one was "Heavy Metals") had left by the time Elliott Sharp picked up his miniature steel guitar. They had stayed through Oliver Sacks' lecture on the weights and properties of various metals, complete with fun handouts such as the meteorite, and even through David Brush's detailed explanation of the manner in which he sculpts with gold and steel. Both had something very tangible in common, in that both discussed specific ways that specific metals acted in specific situations.

So when Sharp took off his hat and started to set up his instrument and effects, people might have thought that this would either be too gimmicky ("Look, I'm making noise from metals!") or too vague ("Here is an ode to metal, bittersweet metal.").

Among those who stayed, however, was the inventor of fractal geometry, Benoit Mandelbrot. He was in for a treat, as Sharp warmed up with a series of harmonics played against a droning open string. Then, suddenly, he was playing a weepy slide melody, but the harmonics, fed through a delay pedal, hadn't stopped.

With the looping, he was able to add layer upon layer of new sound, from sliding melodies to distorted riffs to ethereal harmonics. However he didn't use the loops to create a bottomless cacophony. He let the more distant sounds slip out the back door, so that the sound at any given moment was a fluid combination of only the last couple of things that he had done.

Maybe Sharp got Mandelbrot's attention with the pattern, zooming into a space, exploring it, picking a spot and zooming in some more. The implication was that the piece could have been infinite, rather than a structured musical form.

"Entertaining Science" began on a whim. Los Angeles Timesscience writer and UCLA teacher KC Cole had written a book on the concept of nothing (The Hole in the Universe: How Scientists Peered into the Edge of Emptiness and Found Everything) and she wanted to do a reading at the restaurant and performance space Cornelia Street Cafe in Manhattan's West Village. Robin Hirsch, co-owner and founder of the cafe and a long-time friend of Cole's, however, was concerned that the reading wouldn't draw enough of a crowd to make any money.

As Hirsch told the story: "So she said, 'Well, how about me and Roald Hoffmann?' and I said 'Who's he?' 'He's a poet and he's a nobel laureate in chemistry.' And I said, 'Well in all candor, nobody is going to come for him either.' 'Well, so how about me, Roald and Oliver Sacks?' And it was an incredible night."

There was a write-up in the New Yorker, pegged on Sacks' appearance (Sacks is an NYU neuroscientist with an interest in unusual psychological phenomena, and is the author of The Man Who Mistook His Wife For a Hat, Awakenings and Uncle Tungsten, among other works). Anywhere between 150 and 300 people showed up, depending on whom you ask. Either way, it was more than the 85-person occupancy of the basement room where the event takes place. According to Sacks, "it was very much an experiment then, which rose almost by chance," but Hirsch and Hoffmann decided to make it a monthly event, with Hoffmann becoming the event's curator.

In January, 2002, the series began, individual nights usually centering around a theme, such as "Heavy Metals," "What's So Funny About Science?" and "Get Lost in Translation." With his vast network of friends and colleagues, Hoffmann manages to find three people per month to round out the program, though he sometimes uses fewer if a scientist can also sing, dance or otherwise entertain. No one gets paid, but there is a free dinner in it for the participants. "They sing for their supper," Hirsch said.

Sacks, who has attended almost every month, said it has been so successful because it's "informal, not like going to a lecture, and it's conversational, interactive. Roald has had some extraordinary and important people coming and there's a great hunger for contact with scientific ideas and artistic expression."

But the informality can also lead to difficulties in booking people used to academic settings. "Sometimes I have to twist the scientists' hands a little bit to get them to participate," Hoffman said. "There are a lot of great scientists who are just afraid of standing in front of a stage in a Cafe."

About a month after "Heavy Metals," the subject of the next "Entertaining Science" event was music itself, or "Music on the Brain." Neurobiologist Fredrik Ullen of the Karolinska Institute in Sweden and psychologist and cognitive scientist Carol Krumhansl from Cornell spoke about the brain's perception of music. Krumhansl discussed the perception of musical key and how that relates to the idea of expectation (such as you expect the song "Happy Birthday" to resolve in the same key in which it started). Ullen, who is also a renowned pianist, discussed the organization of various parts of the brain involved in making the rhythmic movements involved in playing an instrument, and performed compositions by Gyorgy Ligeti and Frederic Chopin on the piano.

There was, though, a disconnect between Ullen's lecture and his performance. His style on the piano, even while playing Chopin, was sober and unromantic. He played crisp, clear notes that brought out the structure of Chopin's writing rather than getting lost in the emotion of the piece. Then, even if the audience was still caught in Chopin's lilting melodies or Ligeti's churning rhythms, Ullen was not. He had stood up from the piano and he was already speaking and giving a PowerPoint demonstration. He would sit back down at the piano again, but just as an interlude oras an example during Krumhansl's talk. His music was his music and his science was his science. That his science was built around music did not seem to feed anything back into the music-making.

This is the difference between the science of music and the music of science. From one side of the table, scientists like Ullen and Krumhansl, or Sacks with his studies of music as a blueprint for motion for Parkinson's patients, attempt to find out why existing music affects us like it does. On the other side, Sharp is intent on creating music that seizes on the patterns that science has detected in nature. His compositions often follow structures based on the discoveries of mathematicians such as Fibonacci and Mandelbrot.

In the early 1970s, Sharp was studying music at Bard College and living in a house on the Hudson River. "I spent a lot of time walking along the river," he said, "and we had a porch, and you would see literally thousands and thousands of butterflies. There were times they would form patterns and almost seem on the verge of spelling out things. That led me to thinking about all the rhythmic structures we were composing, structures that are open-ended. It was all right there, all the fractal shit, pine cones and branches, streams and currents. It inevitably found its way into my thinking and I did a Hudson River series of compositions. They were all instruction sets, basically conceptual pieces, it being the '70s, but with a mathematical subtext.

"Self-similarity, mapping from the micro to the macro, is something that became very much a part of my approaches to composition, where I'm creating structures that echo each other both on a micro and a macro level, in the shape of the phrase from a 2-bar or 5-bar level out to its full structure."

But this kind of structure isn't obvious to every listener, and to many a piece made up of such algorithms might sound like a whole bunch of noise. In response to a questionabout the people who left the Heavy Metals show before Sharp had the chance to play, he explained that "music is the most abstract of all of the arts, and people either like it or they don't. The thing about music is you can't shut your eyes. Even with earplugs you're going to feel the vibration in the room... People are able to take in dissonant visual images much more easily than they can dissonant audio."

Sharp might be understating the point that visual dissonance is easier to stomach than audio dissonance. Ken Jolls, an Iowa State thermodynamics professor, jazz vibraphone player and January, 2003 Entertaining Science performer (he played the vibraphone and talked about its physics), has found that visual images of thermodynamic models make the traditionally undergrad-torturing concepts of thermodynamics far easier to understand for most students.

"The beauty of Gibbsian thermodynamics with its precisely connected functional structure can be demonstrated through computer imaging.... Ideas that have long been hidden under layers of abstraction now emerge through their understandable, spatio-geometric analogs," he wrote in his paper "Visualization in Classical Thermodynamics".

As with the intricate and beautiful images of Mandelbrot's fractals, a visual representation can make a concept more accessible. But we don't, for some reason, process sound the same way.

And yet Sharp wants the abstractions in his music to sing for themselves. For him, the listener shouldn't need to be versed in science or mathematics, or to have a copy of the score or an explanatory statement, to recognize the abstract structures from the sound of a given piece of music.

"I'm hoping someone hearing this music will understand, like a piece like 'SyndaKit,' they'll hear the complexity in it, they'll wonder how it's generated, maybe they'll hear the order, maybe they'll hear the rules," he said. "And they'll go backwards from thesound of the music to the systems that went into it, thinking about birds flocking, thinking about the way RNA molecules combine, thinking about genetic mutation, thinking about African drum choirs, thinking about how nature creates an algorithmic structure."

It's an ambitious approach. And it has won him a fan in Hoffmann, who said, "what attracts me to Elliott is a combination of just plain good musicianship and then this interesting thing where he plays on real instruments but he also does this computer work, simulates real things. And there's a deep intellectual structure to the work. My general feeling is there's something smart and intuitive about music, and if both are there, that's where Sharp is."

While some audience members might not yet be ready to skip their dinner reservations for the audio abstractions, Hoffmann likes what Sharp's getting at. Sharp uses science as an input, but creates something outside of science. Some scientists might stop at the boundary, waving at the bald-headed, black-wearing musician from inside their classrooms, but Hoffmann's humanized science brings him outside and into the cafe.

Hirsch and Sacks each brought up C.P. Snow when discussing Hoffman. Snow is best known for his mid 20th century work The Two Cultures, in which he examined the gulf between literary and scientific academics at Cambridge. He was disheartened by the ways in which academic specialization could work against the open sharing of knowledge.

Sacks explained that "Roald once gave a talk of the 'One Culture', against the Snow idea of two cultures, that comes out of the similarity of the creative processes, and also from, in many instances, some focusing on the same subjects. For example, language can be studied by a linguist, by neurolinguistics but also by a poet."

Hoffman is a Renaissance Man. He won the Nobel Prize in Chemistry in 1981 for his explanation of the geometric behavior of molecules, and he has published four books of poetry. He spoke six languages by the time he was 12 years old, all while he was traveling across Europe, a Jewish refugee from the Nazis. Now his goal is to "humanize science," because, simply, he is a human and a scientist.



continued...




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Recent Selections @ Squidco:


Ken Vandermark /
Nate Wooley:
Deeply Discounted II| /
|Sequences Of Snow
[LP]
(Audiographic Records)



Paal Nilssen-Love :
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Biota /
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Fire! Orchestra:
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