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DMG Newsletter for Friday June 3rd, 2022

Both of us know how hard it is
To love and let it go
Both of us know how hard it is
To go on living that way

When so few understand
What it means to fall in love
And so few know how hard it is
To live without it

Lord, I must have been blind
Oh, I must have been blind
Lord, I must have been blind

To hold something real
And not believe it
To live in her life
And never trustin'
To give all you know and never feel it
To hold back each day
Until it dies away

Both of us know how hard it is
To love and let it go
Both of us know how hard it is
To go on living that way

When so few understand
What it means to fall in love
And so few know how hard it is
To live without it

Lord, I must have been blind
Lord, I must have been blind
Lord, I must have been blind
Yes, I must have been blind

Right from the first time that a slightly older record collector named Randy Cogan traded me Tim Buckley’s ‘Goodbye and Hello’ album at a swimclub I attended, I knew there was something special about Tim Buckley. ‘Goodbye and Hello’ is a masterpiece of folk/rock/jazz/psych and was produced by Jerry Yester, another rather enigmatic figure who was a wizard in the studio. If you get a chance to hear an old analogue copy of this record on a good stereo, you will know what I mean. Tim Buckley was a brilliant song composer and had an impressive soaring voice that glided between jazz, folk and rock. Buckley was also a troubled artist/human who abandoned his son, Jeff, to pursue a solo career which started out well and ended sadly due to his drug demons and mismanagement. The above song, “I Must of Been Blind” comes from his ‘Blue Afternoon’ album. This album is a perfect one and it is closer to jazz/folk than anything else. There is something about this song which really, truly touches me deeply, a sad feeling of love lost due to not seeing what is actually there in a relationship. I heard Eugene Chadbourne sing this song last night (6/1/22) and I must admit that it made me cry. It still reminds me of that feeling of remorse when we love someone but never completely connect with them. Thanks to Doc Chadbourne for casting that spell once again. - BLG at DMG



Starting around the beginning of May, business at DMG has slowed down quite bit. So much so, that I am worried about the present and future of the store. I’ve been thinking about why things shifted so quickly and what we can do to survive and thrive. I have figured out a few problems. When we changed out email address in March, due to having longtime problems with our old email address, many folks didn’t notice so here goes… we do have a new email address which is: PLEASE contact us this way. The newsletter is sent from this address so you can respond the newsletter you get and order that way. If you have sensitive info you want to send, you can still use our Kept.private address. I want to thank anyone who sent us a donation last month. We are still accepting donations of $$$ as well as LP’s & CD’s. Also please remember this: all email orders should receive from us usually within 24 hours except for Sundays when we are closed. If you don’t any response, please try again or call us at 212-473-0043 during business hours (noon til 6pm, Mon-Saturdays).

I just got back from the Victo/FIMAV Fest last week and had a blast. So good in so many ways. I hope to finish my Victo review this Sunday and send it your way next week.

My old friend Doc Eugene Chadbourne is at The Stone this week and this another reason to me to smile. Doc Chad is one of the first Downtown musicians I met (December of 1979!) & became friends with, so we go all the way back. He was joined by Jeb Bishop on trombone & synth and Kresten Osgood on drums. His set included a number of songs which really spoke to me: “I Must of Been Blind” by Tim Buckley, “Astronomy Dominie” by Pink Floyd… from folk /protest to country/rock to psych to Free Jazz. He is playing at The Stone for the next three nights so come on down see what this well-revered Elder of the Downtown Scene can do. There are some more upcoming shows at The Stone that deserve your support: Zeena Parkins, Louie Belogenis, Julian Lage & Simon Haynes. As performance places start to reopen, please support live music if you can. After checking out 18 sets at FIMAV, I/we know how important Live Creative Music is for those of us who need the inspiration and comraderie of the other folks we share these experiences with. - Bruce Lee Gallanter, DMG



Tuesday, June 7th:
6:30: THOMAS HEBERER / TOMAS ULRICH / PHIL HAYNES - Trumpet / Cello / Drums!
7:30: MAX KUTNER / MICHAEL EATON / KEVIN SHEA - Guitar / Tenor Sax / Drums!

Saturday, June 11th - GAUCI-MUSIC SERIES:
6pm: CALEB CURTIS - Saxes / JEFF MILES - Guitar
7pm: STEPHEN GAUCI - Tenor Sax / ADAM LANE - Contrabass / COLIN HINTON - Drums

Tues, June 14th:
6:30: C N / JESSICA ACKERLEY / CAMILO ANGELES / LESLEY MOK / - Sax / Guitar / Flute / Drums!
7:30: JUJU LIA!

Sunday, June 19th:
GEMINI Birthday Bash!
Celebrating the Birthdays of several Great Gemini’s
With Songs and Free-Music Jams!


This Week’s Dynamic Gems begins with this long delayed JOHN ZORN Three Guitar Disc:

JOHN ZORN // BILL FRISELL / JULIAN LAGE / GYAN RILEY - A Garden Of Forking Paths (Tzadik 8386; USA) “This is the fifth CD of new music written expressly for the all-star guitar trio of Bill Frisell, Julian Lage and Gyan Riley. Here Zorn draws inspiration from the enigmatic tales of Argentine philosopher/writer Jorge Luis Borges. Like a collection of short stories, each composition is a miniature world in itself and touches on philosophy and mysticism as well as music. Blending folk, classical, jazz, bluegrass, world music and more, this is truly music of the 21st century—unclassifiable and unique. Filled with telepathic interplay and surprising compositional twists and turns, the music is achingly beautiful and intensely evocative. Another gorgeous creation from Downtown alchemist John Zorn and this incredible trio of musical masters!”
CD $16

FIVE NEW DISCS From THE INTAKT LABEL All to Be In Stock Early Next Week!

DAVID MURRAY BRAVE NEW WORLD TRIO with BRAD JONES / HAMID DRAKE - Seriana Promethea (Intakt CD 381; Switzerland) David Murray is a giant of modern jazz. His saxophone fuses all the great things that black music has produced: Gospel sounds, free jazz, Afro-Caribbean, blues and soul as well as the beautiful standards of classic jazz. Murray's colorful tone, unsurpassed intonation, flair for swing, melancholy tones, and improvisational power and ingenuity make him one of the most important voices in music today. The newly formed Brave New World Trio congregates style-setting jazz greats with bassist Brad Jones and drummer Hamid Drake. Together they draw from the African-American tradition as well as from other cultures and with Seriana Promethea they present an impressive musical statement. ”The result shows the intuitive level of understanding achieved. Having reached in his mid-60s a level of technical mastery where a musician ‘can play every note that he hears,‘ Murray saw this pianoless trio as not just a way to keep the notes flowing, but a catalyst for total freedom: that rare configuration that allows him to deliver, through the saxophone, “my most free expression of myself”, writes Derek Schilling in the liner notes.
CD $18

INGRID LAUBROCK / ANDY MILNE - Fragile (Intakt 379; Switzerland) “For the third installment of Ingrid Laubrock's duo series on Intakt (following Kasumi with Aki Takase and Blood Moon with Kris Davis) Ingrid Laubrock and Andy Milne develop their own sounds in a common sound world. Fragile is characterized by the great empathy that unites these two artists. The music, which is both stirring and soothing, confident and intuitive, is deeply expressive and inventive. “Laubrock’s growth as an original writer and improviser has been marked in the last two decades, during which time she has led several bands, notably Sleepthief and Anti-House, and proved adept at creating for large ensembles and small groups that revealed her own individuality, mostly within avant-garde traditions. As for Milne he has more than fulfilled the promise he showed as a member of Steve Coleman’s Metrics in the early ‘90s. The Laubrock- Milne duo has a balance between the drive and momentum of large ensembles and the stillness and engagement with silence and space of smaller groups. Making music that releases a form of energy, something that pulses with life, while also drawing down into intimacy, suggesting feelings of tenderness or uncertainty, is no mean feat”, writes Kevin Le Gendre in the liner notes.
CD $18

DAVE GISLER TRIO with JAIMIE BRANCH / DAVID MURRAY - See You Out There (Intakt CD 378; Switzerland) “Two years after the acclaimed live album Zurich Concert, which featured trumpeter Jamie Branch, the Dave Gisler trio adds another guest for a studio album – the giant of modern jazz – David Murray. Just as the trio immediately hit it off with Branch, Murray is furiously integrated into the band's punchy music, with the presence of both the trumpeter and tenor saxophonist opening up the group's sound. the resulting body of sound, propelled by punkish energy and the driving force of rock, the free-form aesthetics of the sixties and the cadences of modern jazz, navigates into open musical realms. "But there's no doubt that as Branch's final note resounds, Gisler and his collaborators will soldier on driven by a need to make music together," writes Peter Margasak in the liner notes.”
CD $18

PUNKT. VRT. PLASTIK with KAJA DRAKSLER / PETTER ELDH / CHRISTIAN LILLINGER - Zurich Concert (Intakt CD 380; Switzerland) Featuring Kaja Draksler on piano with Midi-quarter-tone setting, Petter Eldh on bass and Christian Lillinger on drums. This is the second disc from the Punkt. Vrt. Plastik trio has done for the Intakt label. Ms. Draksler has been keeping busy with solo, duos, trios and an octet discs, mostly out on the Clean Feed label. German drummer Christian Lillinger has been even busier playing on nearly three dozen discs over the past ten years. I just caught Mr. Lillinger playing superbly with a Gordon Grdina single/double trio last week at the FIMAV fest up in Quebec. This disc/set was recorded live in May of 2021. Bassist Petter Eldh has worked with many other players like Gard Nilssen, Django Bates and Peter Evans.
Mr. Lillinger’s “Nuremberg Amok” kicks things off with the piano and the drums both playing with some hyper energy, the drums rather like furious bass n’ drums groove. The bass is at the center with occasional throb as the rest of the trio start & stop, time & again. Often the piano will play one lick (which keeps shifting) while the bass & drums speed up & slow down tightly together. One of the things that I noticed about Mr. Lillinger (at Victo fest) is the way he keeps spinning and altering the rhythmic flow. Considering that Ms. Draksler is playing a quarter-tone piano, her playing sounds a bit off (key) at times which only adds to the off-kilter nature of this trio. Although the piano and rhythm team sound like they are moving in different directions at times, they always wind up in the same place. What I find most impressive here is that you have to listen closely since all three members are constantly shifting through meters nd dynamics. This is one of the oddest, most distinctive piano trios ever. Dig in now - Bruce Lee Gallanter, DMG
CD $18

YUKO FUJIYAMA – GRAHAM HAYNES – IKUE MORI - Quiet Passion (Intakt 387; Switzerland) Stark, introspective, and yet brash work from a dazzling new trio. Pianist Fujiyama finds the ideal foils in both Haynes and Mori, whose contributions to the album’s overall patina lends it an air of pointillistic immediacy rarely seen in avantist ‘jazz’ composition. The three-part title track is a study in graceful poise wherein Fujiyama’s delicately woven piano bobs and tickles the studio environs around Haynes's deeply probing cornet lines, which work their own Cherry-smeared flavorings throughout Mori’s well-timed electronic drizzles, daubs, and dabblings. Elsewhere, the lengthy “Kurikaesu” inserts Fujiyama’s Japanese text readings into a matrix of staccato Cecil Taylor-esque interruptives and dramatis personae so revealed by Haynes’s fragrant sputters, while Mori ejects all sorts of laptop detritus about the landscape like radioactive confetti. “Sadness Is” drinks from a similar well, with Fujiyama’s delicate vocal phrasings filling in the blanks between his wafting notes as Mori undergirds his partner’s recitations with more subtle, devastatingly effective digital doodles; when Haynes finally enters, his incandescent blowing makes for a decidedly profound conclusion. And as further icing on the cake, Fujiyama demonstrates his considerable chops on two “Piano Solo” tracks, the first a rippling sonata of notes quickly pounced upon and exhumed, the second an exhaustive display of the keyboardist in full flight, an economy of brightly-bursting gusto crammed into a mere minute-and-a-half mission statement. Passion never sounded so ravishing. - Darren Bergstein, DMG
CD $18

STEPHEN GAUCI / SANDY EWEN / THOMAS HELTON / JOE HERTENSTEIN - Live at Scholes Street Studio (GauciMusic 04553; USA) Featuring Steve Gauci on tenor sax, flute & clarinet, Sandy Ewen on guitar, Thomas Helton on contrabass and Joe Hertenstein on drums. Recorded at Scholes Street Studio on May 27, 2021. Saxist Steve Gauci is immensely ambitious running a weekly 5 band series in Bushwick for the past five years, running monthly shows at Scholes Street Studios and at DMG for the past year and releasing a deluge of live and studio discs over the past couple of years. His weekly series at the Bushwick Public House always features one set from his own trio or quartet with members Adam Lane on bass, Kevin Shea or Colin Hinton on drums and often Sandy Ewen on guitar. This live set from around a year ago (5/27/21) features Sandy Ewen and bassist Tomas Helton, both are/were based in Texas (Sandy currently in Brooklyn). They are joined by Berlin-based drummer Joe Hertenstein who also live here on occasion. This is most likely a one-time grouping. The sound/recording is warm and carefully captured. It starts off with just tenor sax & drums and these two musicians play well together. Mr. Ewen is an unorthodox electric guitarist who plays with her guitar laying in her lap, manipulating it with assorted objects. She has little to do with jazz chops yet still is a gifted and unique improviser. Thomas Helton is a friend of mine and always plays the store whenever he comes to town. He is also a fine improviser, thoughtfully bowing and plucking his strings in support of the other musicians here. The second piece is much more restrained and shows a calm quality to the quartet, with Ms. Ewen’s guitar coaxing soft drones while spins some quietly circles or lines and the rhythm team also shift through softer waves. Mr. Gauci switches to flute for the third piece. This piece also starts off quietly with first flute then Ms. Ewen’s eerie guitar sonic manipulation before Mr. Gauci slowly reenters on (what sounds like) clarinet. The quartet slowly build with the intensity slowly increasing. The quartet lick open the fourth section with some more intoxicating free form improv. Gauci switches back to his main axe, the tenor sax as the quartet assemble the forces again. The last piece starts off tentatively and escalates higher throughout. It does move through sections where Ms. Ewen plays her cerebral sounds shifting the center to a more spacious sound. What I light about this disc is that it shows another side to what most folks think Mr. Gauci does most often which is play intense, loud and freely most of the time. This is not completely true since Mr. Gauci is way more diverse, always collaborating well with all sorts of improviser no matter what their backgrounds are. - Bruce Lee Gallanter, DMG
CD $13

MARTIN ESCALANTE / TETE LEGUIA / WEASEL WALTER - Katyusha (ugEXPLODE 84/Splasch 24; USA) Featuring Martin Escalante on alto sax, Tete Leguia on bass guitar and Weasel Walter on drums. Recorded at Seizures Palace in Brooklyn, in September of 2021. Master drummer Weasel Walter is always juggling several balls of wax simultaneously, as we works with a wide variety of musicians from many different genres: jazz, metal, no wave, prog, noise, math rock, etc. Take this trio for instance. Mexican saxist, Martin Escalante, is known for his over-the-top bent-note, mouthpiece only style of improv while Peruvian bassist, Tete Leguai is a member of Tanuki Metal Futuri Plus 1 and Liquidario Celuloide, two strange bands in between categories. Escalante and Leguia have been playing together for a while and have several duo discs out. Weasel Walter and Escalante also have a duo disc out from 2018 as well. To say that this disc starts out way over the top would be putting it mildly. The trio erupts powerfully right from the open gate. Mr. Walter sounds like he playing a double bass drum or at least a double pedal, pumping up frenetic storm somewhere between metal and prog extremes. Escalante is also blowing up a storm, similar to the way those saxists from Borbetomagus blast. Holy sh*t!!! The music is super hot, free form insanity not far from grindcore, noise or extreme metal. The overall sound is about as intense and throttling as one could imagine. Mr. Escalante gets quite a bit of odd sounds from his sax as he bents and twists notes from his mouthpiece or sax without the mouthpiece. It also sound like Mr. Legui’s bass guitar if put through some devices or distortion pedals like mutant metal guitars. Hard to tell who is exactly playing what with all of the extreme noise. This is powerful and often unrelenting. This is the way we like it as someone with a taste for the extremes. - Bruce Lee Gallanter, DMG
CD $12

WEASEL WALTER / DOMINIKA MICHALOWSKA / MICHAEL FOSTER - In the Absence of Compromise (Imploding Sounds #650; USA) “The debut recording by this trio of NYC WTF sickos. Some sort of unholy alliance between Power Electronic noise-blast fields and ye olde avant garde jazz, "In The Absence of Compromise" documents two insane live recordings, both 30 plus epics of explosive energy and momentum. Dominika Michalowska (also known as the singer of Chaser) takes upon the role of poetess, slashing the aural onslaught with surreal narratives through live electronic processing, blurring the lines between vocal and instrument. Flying Luttenbachers majordomo Weasel Walter contributes his trademark clattering kamikaze percussion in addition to even more electronic sturm und drang. Firebrand reedist Michael Foster forcefeeds twisted soprano saxophone squirts through yet more goddamn electronic weirdness. Ok - there's a lot of electronics going on, but this group is low on boutique technology and high on moxy, aggression and weirdness. Distortion, yelling, noise, words, explosions, hissing, screaming, squealing chaos with impenetrable structure and shocking dynamics. Beyond genre, not for the weak-eared.”
CD $12

ICONOCLAST with LEO CIESA / JULIE JOSLYN - Demolition of Wisdom (Fang Records IC-989-22; USA) Featuring Leo Ciesa on drums, keyboards, grand piano, vocals & uke and Julie Joslyn on alto sax, vioin, electronics, uke & vocals. It turns out that Iconoclast has been around for as long as the legendary NY prog band Dr. Nerve. The longtime drummer for both Dr. Nerve and Iconoclast is the same man: Leo Ciesa. I’ve been of a fan of both bands since they started and look forward to each release by Iconoclast who seem to have ten releases (at least) under their collective belt. Originally I remember this duo to be mostly alto sax and drums, but over the many years, both musicians are multi-instrumentalists. This disc contains some 20 tracks and is over 68 minutes long. The opening piece, “Four Forgotten Minutes” featuring just the sax & drums duo and it is a splendid, laid back intro with crafty drums and haunting alto sax. I can tell that this duo has worked together for a long while since they consistently sound united in the efforts. Ms. Joslyn switches to violin for “Oxidation”, her somewhat bent-note violin bathed in some room reverb with Mr. Ceisa on twisted electric guitar and skeletal drums. “Tour of the Wild Moons” is a spirited spoken word piece with Julie doing the vocals, the words painting a picture of the tortured tour with some harrowing violin and odd electric keyboard. Each piece seems to capture a different vibe or sentiment. “Indulgence No. 505” is mostly solo free piano and it is short yet intense. “When the Mermaid Sings” features some scary violin & weird vocals and powerful progish drums with heavy bass drums action. It is nightmarish and works well. I like the way the drums and sax play the same melody together on “Slippery Up the Road”. This disc has quite a bit of charm going on, each piece is thoughtful and evokes a different vibe or scene. It is also quite modest without any overplaying. - Bruce Lee Gallanter, DMG
CD $12

NICK DIDKOVSKY with ANN SHELDON / MARK GIAZA / LEO CIESA/ PAUL EASTMAN / JOHN ROULAT - Now I Do This (Punos Music; USA) Featuring Nick Didkovsky on prepared electric guitar, tape, electronics, ARP 2600 & Synclavier synths, nail violin, voice & electric spring harp plus guests: Ann Sheldon on cello, Mark Giaza on clarinet, Paul Eastman on piano, Leo Ciesa & John Roulat on drums/percussion. This is an early solo effort by Dr. Nerve founder/leader Nick Didkovsky, first released on LP in 1982. There are four bonus track on this disc, two of which feature two different backing bands. I’ve been a longtime fan and friend of the legendary New York progressive band Dr. Nerve, whose first album was released in 1984. While Dr. Nerve have released some 9 records in their 35 year reign, Mr. Didkovsky’s solo or other group efforts (Chord & Vomit Fist are the most current) come out on rare occasion. I am pretty sure that I didn’t know about the original record until much later, after I had become friends with Nick. I probably wouldn’t know what to make of this album when it was first released. Listening to it now, it is pretty weird yet I recognize a number of the sounds that Didkovsky is making. “Flykiller” has layers of odd, manipulated guitars, not so different from what Fred Frith did in his own guitar quartet around 1990, in which Nick was a member. Didkovsky does a fine job of layering strange sounds: acoustic & electric guitar, electronic sounds, bent strings, disembodied vocals and other strange sounds hard to identify. In the 1970’s and 1080’s, there was quite a bit of experimental music made in professional and home studios which was recorded to tape and manipulated during or after the initial recording. Hence no digital BS going on. This gives this music an older (30 years) sound which I still appreciate. There are still plenty of moments when it is hard to tell what exactly is happening. Ancient electronics and/or music concrete, banging on a mic, tape-splicing, subtle feedback manipulation are all used here to great effect. The last two pieces are bonus pieces which feature tow different small ensembles. Still Nick’s strange guitar sounds are at the center of these works hence, they sound like the earlier solo pieces anyway. Those of you who still appreciate the further out, more experimental type of music that DMG specializes in, should really dig this disc. - Bruce Lee Gallanter, DMG
CD $10

PHILL NIBLOCK - Ghosts And Others (Room 40 4181; Australia) “Lawrence English on Phill Niblock's Ghosts And Others: "Ghosts And Others is a singular work in the Phill Niblock canon. It's singular not just in its material content, but also in its methodology and approach. It represents a highly focused exercise in editing, location recording and acoustic observation. In many ways, this work reflects a kind of acoustic mirroring of his practices as a film maker. It makes itself available to the world and in doing so reveals a particular perspective that says as much about its creator as it does about its subjects. Like all of Niblock's works this is a piece of patience. It is a work that dwells in the places it finds itself in, allowing certain moments to dominate in some sections, and seemingly vanish away in others. It suggests a movement within boundaries, in that it bounces from one locale to another counterpointing their gradual evolutions across time. There's a sense of collision throughout Ghost And Others. Explosions of Chinese percussion punctuate the piece, dynamic strikes to ward off ghosts during a funeral procession in Aberdeen, Hong Kong. They clang between bursts of car horn, the bellows of cows from collective Soviet-era farm in Hungary and various other sonic ephemera. Elsewhere a reeded instrument tries to carve a space for itself, but the world does not allow it to hold. It is a work that celebrates proximity as much as an aural vista. Transit is also a theme here. What is a fascinating about Ghost And Others is the sense of movement in the work. Trains divide up this piece, marking points of transition, of distraction and of discovery. They act as gate-keepers almost, allowing us through into new spaces and suggesting new relations between the sounds as they combine or detach. As a work of field recording, Ghosts And Others is generous, invitational and most of all effortlessly deep. It is a resonant sensing of place, people and things."
CD $17

PINKCOURTESYPHONE - All Intensive Purposes (Room40 4188; Australia) “Richard Chartier's Pinkcourtesyphone operates at nexus of recollecting 20th century anxiety and opulence. Over the course of this project, he has created a lush and overtly queer sound world of drifting rouge atmospheres, smudged lipstick electronics, and cavernous architectures that dwarf the sense of human interaction in favor of omnipotent acoustic voyeurism. All Intensive Purposes aches with a deep sense of longing, held aloft with tangible suspension. Voices and sounds float, haunting a murky, aged and diminished mansion. The music hums a tune of a song forgotten, amidst the satin-like sheen of perfume that has sat too long, thick in the air.
From Pinkcourtesyphone: "A decade has passed since Pinkcourtesyphone's unexpected debut album Foley Folly Folio (LINE)... time does fly in face of expectations, since expectations are just future resentments. All Intensive Purposes is a lush compliment to Pinkcourtesyphone's previous outing for Room40 Leaving Everything To Be Desired. Immured within the deep deep pink velvet lining of their sonic smudge satchel ooze forth the obsessions and peculiar delicacies that have captivated both Pinkcourtesyphone and audiences alike. Moody glowering, ghostly utterances re-situated, hissy, distant and sad, all the while light and tender. It is that sound that is at the fluffy heart of a long string of successful though surprisingly varied albums. A new sparkling jewel that already gathers cloudiness in its facets. This album can be best characterized by one word -- charm, well, maybe two words -- questionable charm. 'I could listen to it for hours' -- a possible proclamation for these inconsistent consistencies. Theoretical A and B sides makes one long for the warmth of antiquated plastic possibilities, if only for a moment to distill the gnawing hungry need for consumption within. Seven 'songs' lilt and wallow, indefinable, intangible, yet always... there. This is 'catastrophe muzak', the sound of sympathy, romanticized and ruined. Here is a collection of moods which we anticipate and enjoy with no misgivings. A long trail of evening debris awaits your ears' pleasure. Let it procure that pleasure for you, let it devour you. I can't imagine... you will."
CD $17

BMC Records CD Sale - Week #3:

HANS LUDEMANN TRANS EUROPE EXPRESS with KALLE KALIMA / SILKE EBERHARD / ALEXANDRA GRIMAL / YVES ROBERT / THEO CECCALDI / DEJAN TERZIC / et al - Polyjazz (BMC Records 246; Hungary) With this album we open a new musical chapter - and can indirectly connect to past chapters in European Jazz history. The "TransEuropeExpress" (T.E.E.), has a lineup that is in the middle between the common small groups in Jazz and the big band and that successfully unites musical mobility and improvisatory freedom with a broad palette of colors. It is conceived in a way that it gives room for improvisation also outside of soloistic contributions and it achieves a transparent chamber music sound. In this octet outstanding musicians of contemporary French and German Jazz have united to draw creative energies from the dispute and fusion of their different dialects and to form colorful and multilayered images of European Jazz. The music is beyond postmodernism in the sense of a juxtaposition of styles, but goes a step further by incorporating and integrating different musical colors into unified layers and webs. This happens melodically and rhythmically, harmonically and formally. Everything is interwoven and their is no sharp line of distinction between solo and collective, form and freedom, harmony and dissonance, composition and improvisation, but all these blend with each other constantly. The music is polyphonic, polyrhythmic, polyharmonic, polychrome and polystylistic and can be subsumed in the term "PolyJazz". The music may sound both "light French" or "structured German" - even if these are probably only clichés that could be turned around. The musicians are not stylistically limited to Jazz, but draw from a universal understanding of music. The instrumentation with violin and guitar, trombone, saxophones, bass clarinet, piano, double bass and drums is not necessarily typical for Jazz, but offers a certain freedom from a clearly defined stylistic classification. One can sense a collective and cooperative spirit in the band that is expressed in a sensitivity, vigilance and agility that is constantly present. - Hans Ludemann
CD $16

TRIO KONTRASZT with STEVAN KOVACS TICKMAYER / ISTVAN GRENCSO / SZILVESZTER MIKLOS - From Dyonisian Sound Sparks To The Silence Of Passing (BMC Records 247; Hungary) The pieces on the trio's second album are clearly structured compositions mingled with organic, free improvisations. "The basic creative ideas of the group, represented by the new compositions of the album, haven't undergone radical changes: the pieces are clearly structured compositions mingled with organic, free improvisations. We try to approach the uniquely rich musical heritage of our region with a Bartókian attitude instead of just enriching them with jazzy harmonies. These works are partly inspired by the traditional music of the Carpathian Basin; but they are neither quoting nor trying to reproduce it. They are attempts to redefine an archaism, by esteeming the ancient methodology and expressing it by the use of present time's opportunities. Our music converses also with the language and way of expression of representatives of newer musical traditions. In particular, with that of the leading figure of Hungarian contemporary jazz, the late György Szabados, as well as with those of the new European musical tradition of the East, such as Ligeti, Lutoslawski, Schnittke or others." - Stevan Kovacs Tickmayer
CD $16

YVES ROBERT & BRUNO CHEVILLON & CYRIL ATEF - Captivate (BMC Records 269; Hungary) Trombonist Yves Robert, drummer Cyril Atef, and double bassist Bruno Chevillon are bewitched by the infinite sound possibilities of their instruments. With the very first attack, a world is set down, a course is laid out, a pulse is taken. It is infinitely structured. And infinitely precise. And at the same time it is always seeking, exploring, digging, tinkering, having fun, exploding, laughing.
All three members of the Yves Robert Trio dabble with electronics or software on these 19 concise pieces here. Meanwhile, Robert/tb, Bruno Chevillon/eb and Cyril Atef/dr/voc create a mix of acid rock ('Inoxidental' 'Herpes' ), duck quacks ('A Genous Les Piuces'), funkhy soul ('Embrasser Mon Tuyau' and even a dash of Weather Report ('Pour Tout AuPlus Rien Au Mond' 'Your Skin') on this mix of plugged in and throwing sounds against the wall to see what sticks. — George Harris,
CD $16

GRAUPE / CECCALDI / LILLINGER / CECCALDI - qOOlp (BMC Records 257; Hungary) “You won't find a ready-labelled pigeon-hole for this astounding music. Rock patterns, the instant composing of jazz, minimalism, slivers of folk, contemporary chamber music: everything appears to evaporate immediately and add up to something new. This music needs no set pieces. Stop and go flow in a billowing current. But nothing is arbitrary here. An ideal formation has been found for this spontaneous playing. Three string instruments plus drums - quite exceptional, just like this music. qOOlp builds on incisive action just as much as sensitive introspection. Their gossamer is spun incredibly thick: flittering, building up pressure, then once more mildly offensive. All four know that it's possible to play too much. Rather, they define a new terrain, and stride across it with pressing urgency. Like Morse code it hurries through the meters, following a spontaneous dramaturgy, finely honed, and absorbing. It is fresh, rich in ideas and relevant, smoldering, abstract and yet outstandingly animated by a vigorous beauty beyond the well-trodden paths.” - from the booklet text by Ulrich Steinmetzger
CD $16

FAUST - Punkt (Bureau B 392; Germany) “After the overwhelming success of the 1971-1974 box set release (BB 374CD/LP), containing the first four studio albums and for the first time ever this lost "last" album recording, Punkt gets a deserved and necessary standalone release.
"The band called it 5½, fans referred to it as the 'Munich album' and for almost fifty years it's been the missing chapter in Faustian mythology. Now for the first time, the German iconoclasts' previously unreleased fifth album sees the light of day as Punkt . . . Punkt is Faust at their most unhindered, untethered and unstoppable. Returning to Germany after a loss-making U.K. tour and after their manager Uwe Nettelbeck had split with them, the group dusted themselves down and planned their next project, what would have been their second for Richard Branson's Virgin. Joined as always by their engineering genius Kurt Graupner, the band took residence in the Arabella High Rise Building, the luxury hotel which housed Giorgio Moroder's Musicland Studio in its basement . . . Faust spent their nights below ground, creating the sublime cacophony which courses through these seven tracks. Driven by Diermaier's primitive repetition and Péron's rabid low-end growl, 'Morning Land' stomps its way through almost ten minutes of heavy psychedelia . . . A Luciferian spirit courses through the beatless 'Crapolino', a tumult of scorched guitar chords, strident FXs and disembodied vocals which bares all the hallmarks of a black mass. And just like that, the group summon some demonic hunting party for 'Knochentanz' (bone dance), arguably their most immersive creation . . . The storm clears for a second to allow a celestial chord progression to emerge from the darkness before the heavens open and Sosna's snarling, sawing guitar rains down from above, carrying 'Knochentanz' through its final iteration, a collision of muscular fretwork, percussion freakout and bleeping organ which completes the most psychedelic recording you've never heard. The frazzled optimism of 'Fernlicht' buzzes away like an acid Beethoven bathed in neons, before the breathless 'Juggernaut' stretches the definition of blues rock to its limit as squirming sine waves, clattering cymbals and corrosive guitars pan, reverse and overlap, each following its own unhinged rhythm. Then for a time the sound and the fury abate, making space for the frankly sublime 'Schön Rund', a piano-led diversion into the soul-swelling realms of ECM jazz and fin de siècle impressionism, which rivals anything else in their catalogue for pure beauty. And in case you thought they'd gone soft, Faust sign off with the guttural groans and course drones of 'Prends Ton Temps'..." - Patrick Ryder
CD $17

CONRAD SCHNITZLER & WOLF SEQUENZA - Consequenz II (Bureau B 403; Germany) Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to numerous solo releases Schnitzler was also involved in various band formations not least Tangerine Dream and Kluster. Representing another of his musical landmarks are the Consequenz releases. Consequenz II emerged from a collaboration with Wolfgang Seidel alias Wolf Sequenza, and is the follow-up project to Consequenz (BB 121CD/LP) which was a low-budget production that had an overriding aim of liberating music from its elitist circles in a "Beuys-ian" sense. Consequenz II returned to the theme with electronic apparatus that professionalized the sound but by no means reduced the fun he found in experimentation.
"... Schnitzler had studied sculpture under Joseph Beuys and the statement echoed his teacher's philosophy: 'Everyone is an artist.' The flyer continued in similar vein: 'ERUPTION are freeing the prisoners from their ivory towers.' Schnitzler viewed art as social practice, not the realm of specialists. Anyone could get involved. You didn't even need to be able to play an instrument. The flyer also announced: 'Members of the audience who bring transistor radios will get reduced admission if they play music on their radios inside the venue.' That was back in 1971, ten years before we produced and recorded the Consequenz LP. We included instructions inside the sleeve for setting up just such a project with the minimum of technical fuss, inviting submissions which used the record as a playback tool . . . We had almost resigned ourselves to life in the ivory tower when a letter from a Spanish label (Esplendor Geometrico) reached us, asking for a sequel -- Consequenz II. It didn't take long for us to decide to accept the offer, encouraged by the fact that we would not have to finance the release out of our own pockets -- as had been the case with the first Consquenz. Certain 'secret devices' had materialized in our ivory tower in the meantime. Conrad Schnitzler had purchased an 8-track recorder with money he had earned from 'proper' art. I borrowed various bits of equipment from my band -- Populäre Mechanik -- including a drum computer, so we could really let rip. The little songs we made sounded much more 'professional' than the cheerfully low budget music of the first Consequenz . . . All we needed now was music for the B-side, but our enthusiasm for the borrowed drum computer had waned somewhat. It was always the first track we recorded, which meant that everything else had to follow its lead. The beat itself was singularly unimpressed by what came next. This was an unsatisfactory state of affairs for two players (musicians?) who had begun with free improvisation, with either of the participants able to change the direction of the whole thing..." - Wolfgang Seidel, November 2021
CD $17

DIETER ZOBEL - MEZ 31,00 (Experimenteller Elektronik-Underground DDR 1989)(Bureau B 386; Germany) “Serendipitously coinciding with the publication of a second book, Magnetizdat DDR, Bureau B now revisit the experimental electronic underground of the German Democratic Republic with two releases: Acht Gesänge der schwarzen Hunde (BB 387CD/LP), a collection of Jörg Thomasius productions spanning the years 1980 to 1990, and MEZ 31,00 by Dieter Zobel aka Didier Leboz, recorded in 1988 and released as a solo Kröten cassette in the watershed year of 1989. Das Freie Orchester emerged from the off-center environs of Prenzlauer Berg in 1985 as a wild and outstanding descendent of the so-called Komplexbrigade. Ever open to progressive tendencies, with a strong predilection for all things kraut (including Can, of course) and emboldened by the GDR free jazz which was sweeping the international scene as well as the Treptow Cultural Centre, upstairs and downstairs, the orchestra wholly identified with the concept of free expression: everything was improvised. As seriously as they took their sonic explorations, their love of unserious paronomasia was just as pronounced. Dieter Zobel, first and foremost DFO guitarist, dreamed up the Leboz brand name for the instruments he had built himself, then took DFO-speak a step further by christening his devices sadophone and masophone or Metallic Noise Masturbator, names which only served as rough approximations of the bizarre sounds they generated. MEZ 31,00 was actually a rather more conventional production, based on a Yamaha CX5M purchased with Western currency left to him by his grandmother. The Yamaha would also spawn a further and possibly superior Zobel Kröten tape by the name of "Moschus". Zobel, it should be said, was not so thrilled with the instrument. Zobel, fascinated then and now by minimal music in the style of Steve Reich and Terry Riley, nevertheless got to grips with the "infernal machine" and emulated the compositional techniques of the aforementioned masters he so revered. He layered numerous loops of the same sequence but of different length to create concentrated polyrhythmic forms. Those in the know were reminded of contemporary Japanese ambient works, including Hiroshi Yoshimura's early albums or Yasuaki Shimizu's Music For Commercials. In spite of his toils with tricky equipment, Zobel took his initial steps in algorhythmic composition, largely using his own devices. For around 20 years he has been crafting sequencers, samplers, synths, or effects with Native Instruments Reaktor. From hardware to software: it's a tough habit to break. Freestyle remains the modus operandi for Das Freie Orchester, who recently came together for a final album, but Zobel has also discovered his love for dub.
CD $17


CHRIS PITSIOKOS / WENDY EISENBERG / RICHARD LENZ / NICK NEUBERG / KEVIN MURRAY - Strictly Missionary / Heisse Scheisse (Astral Spirits 182; Earth)
LP $18

PHAROAH SANDERS with WILLIAM HENDERSON / STAFFORD JAMES / CHEIK TIDIANE FALL / EDDY MOORE - Moon Child (Music on Vinyl MOV 2949LP: Netherlands) "To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022. Part of this series is Pharoah Sanders' Moon Child from 1990, which bookended a decade of musical soul searching for Sanders. The acclaimed free jazz player is known to have a raw and abrasive sound, but reinvented himself on this album as a more traditional improviser capable of thoughtful deliberations. Moon Child is a grand old time throughout, and Sanders has never been more eminently sing-along-able as he is on its title track. The record was co-written with Horace Silver, George Gershwin and Abdullah Ibrahim and recorded with William Henderson, Stafford James, Eddie Moore and Cheikh Tidiane Fall. Moon Child is available on black vinyl."
LP $34

BILL EVANS with MARC JOHNSON / JOE LaBARBARA - The Brilliant (Music on Vinyl 2953Col-LP; Netherlands) "To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022. To this day, jazz pianists are influenced by Bill Evans by his use of impressionist harmony, interpretation of traditional jazz repertoire, and his trademark rhythmically independent, 'singing' melodic lines. Evans gained his first spotlight when joining Miles Davis' sextet during the time Kind of Blue was recorded. After leaving the sextet, Evans began his career as bandleader. As trio with Marc Johnson on bass and Joe LaBarbera on drums, they recorded The Brilliant in 1980, just before Evans' passing. The Brilliant is pressed on colored vinyl for the first time and available as a limited edition of 750 individually numbered copies on gold colored vinyl. The package includes an insert with other titles from the Timeless Records 45th Anniversary Jazz Series."
LP $34

HENRY GRIMES TRIO with PERRY ROBINSON / TOM PRICE - The Call (ESP-Disk 1026; USA) “ESP-Disk present a vinyl reissue of Henry Grimes Trio's The Call, originally released in 1966. It has occasionally been assumed that Henry Grimes got this December 28, 1965 recording date as a reward for his long service in the avant-garde of jazz. Having already honed his musical conception with a varied range of players, from Benny Goodman and Arnett Cobb to Lee Morgan, Gerry Mulligan, and Sonny Rollins to McCoy Tyner, Steve Lacy, Albert Ayler -- including Spirits Rejoice (ESPDISK 1020CD/LP)--, Don Cherry, and Cecil Taylor (to name just a few), the service was certainly there, but he got this gig fully on his merits. For The Call, Grimes teamed with highly original clarinetist Perry Robinson (as label owner Bernard Stollman has noted, "a virtuoso who merits far wider recognition...and this recording reflects both of their contributions, in equal measure") and stalwart drummer/ESP-Disk' regular Tom Price. As a bassist, Grimes's melodic style is well up to the task of being co-equal voice with a horn, resulting in a thoughtful and texturally rewarding LP with a level of quality far above the rote sideman session cliché, and far away from equally clichéd ideas of unrelentingly full-bore free jazz. It offers the sound of three excellent musicians listening to each other and responding superbly. The Juilliard-trained Grimes appeared on six other ESP LPs besides those already mentioned. He retired at some point after the last of them, 1967's Marzette Watts LP, and went so far off the scene that it was rumored that he had died. Happily, that was not the case, and he reemerged in 2003, moved back to New York, and returned to his prolific ways until illness slowed him down and then took him from us earlier this year (2020). Standard weight vinyl featuring original artwork.”
LP $18

RONNIE BOYKINS with MONTY WATERS / JAMES VASS / ART LEWIS - The Will Come, Is Now (ESP-Disk 3026; USA) “Legendary Sun Ra bassist (Ronnie Boykins 1935-1980) stepped out on his own for his first and only release as a leader on The Will Come, Is Now. He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins's solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this particular era of jazz history. In septet format, Boykins's six originals create a variety of moods and textures that not only evoke the music of Sun Ra but also reflect Boykins's own sensibilities as an artist. Original pressings, made just before ESP-Disk' went on hiatus for forty years and thus less common that other ESP LPs, often go for upwards of $150. 180 gram vinyl features original artwork.”
LP $18

UFOMAMMUT - Fenice (Neurot NR 122LP: USA) “For over twenty years, Ufomammut has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion. Fenice (meaning 'phoenix' in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history. While the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. It was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this central theme: synths and experimental vocal effects are featured more prominently than ever before, as the band push themselves ever further into the uncharted territory of their very identity. The towering synths on the opening track 'Duat' evoke an almighty machine rising from the depths of primordial ooze. There's a shift to a frenetic garage-psych pace before mellowing out into a more familiar doomy stomp. 'Kepherer' is a respite, albeit a slight one, returning to the pulsing rhythms of the album's intro before plunging the listener into the menacing build and release of 'Psychostasia' next. Each oscillation of this extraordinary album feels inevitable -- Ufomammut are after all, masters of their craft, and when it comes to creating enveloping sonic journeys into the unknown, it's their uninhibited sense of exploration that breaches new sonic ground. Fenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best: by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature -- and by writing gargantuan riffs that herald their very rebirth."
LP $28

BLACK LUNG - Dark Waves (Heavy Psych Sounds 205CD; Italy) “The year 2019 marked significant changes for Baltimore psychedelic-doom trio, Black Lung. Following the release of their third album, Ancients, guitarist and founding member Adam Bufano amiably departed the band and in November 2019, was replaced by guitarist Dave Fullerton. Just four months later, the reconfigured trio's plans for touring in support of Ancients were canceled as the world entered COVID-19 lockdown. In the existential dread, loss and uncertainty of the global pandemic, with the backdrop of malignant fascism and cultural enmity in the USA, Black Lung began writing the songs that would comprise their next record. There is no question that Dark Waves was conceived in hostile times. Dave Cavalier's lyrics reflect this hostility. Songs like "The Cog" and "Mad King" lament the weaponized ignorance of the propagandized American citizen, while "Awaken" and "The Path" muse on escapism and the false protection of dreams. Despite the apparent darkness, Dark Waves is not a cold or desolate sounding record. The band leaps forward from their previous releases with warmer, brighter sound crafting and more audacious songwriting. There are passages with a tangible sense of jubilation and excitement, as the band members revel in the recording process after more than a year of uncertainty and frustration. While in some ways Dark Waves offers a departure from prior Black Lung records, the band stays true to their roots in doom and psychedelic music, delivering eight songs packed with the frenzied, fuzzed-out guitar breakdowns, booming drums, and soulful vocals that longtime fans will appreciate. The decision to bring bass guitar prominently into the mix on Dark Waves adds new levels of depth and heaviness to Black Lung's songs. For fans of: All Them Witches, Queens of the Stone Age, The Flying Eyes.”
LP $17



If you have a link for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at


This one is from CHRIS CUTLER, original member of Henry Cow, Art Bears, News from Babel, respected author and founder of Recommended Records. This is Chris’ wonderful podcast and I urge you all to give it a listen…


Guitarist and DMG-pal HENRY KAISER has a monthly Video Solo Series on Cuneiform’s Youtube page:


My good friend & guitar master GARY LUCAS is playing half hour sets at his apartment in the West village every Tuesday, Thursday & Saturday at 10:30pm Tues, Thurs and Sat on Facebook. Different songs & improvisations on each episode. Here is the link:


This comes from percussionist CARLO COSTA:

June 3: Solo at Sunview Luncheonette, Brooklyn, NY (8pm)
split bill with Erika Dicker solo and Windscour (Joe Moffett and Zach Rowden)

June 10: Solo at IBeam, Brooklyn, NY (8pm)
split bill with Jp Schlegelmilch and Adam Schneit duo

June 17: Moritz / Ali / Costa at Sunview Luncheonette, Brooklyn, NY (8pm)
with Jonathan Moritz on tenor and soprano saxophones and Sean Ali on double bass
split bill with Zosha Warpeha solo

June 18: Hypersurface at Willow Place Auditorium, Brooklyn, NY
w/ Drew Wesely on guitar and Lester St. Louis on cello
Part of the Infrequent Seams Summer 2022 Streamfest

June 22: Earth Tongues at Shift (411 Kent Ave), Brooklyn, NY
w/ Joe Moffett on trumpet and Dan Peck on tuba
split bill with Jason Khan solo


Here’s a list of upcoming gigs from local promoter:

Will Bernard - 
June 5 - Pond Life Release Party #2 - Barbès - 9:00 pm
Will Bernard - guitar
Chris Lightcap - bass
Ches Smith - drums
Tim Berne - alto saxophone

Billy Mohler - 
June 15 - Bar Lunatico - two sets 9:00 pm and 10:30pm
June 16 - Nublu - 7:00 pm
Billy Mohler, double bass, compositions
Chris Speed, tenor saxophone
Shane Endsley, trumpet
Nate Wood, drums

Whit Dickey - 
June 22 - Vision Festival 2022 - Roulette - 8pm
Astral Longform: Staircase in Space
Whit Dickey – drums
Rob Brown – alto saxophone
Mat Maneri – viola
Brandon Lopez – bass

Stephen Harvey - 
June 23 - Jazz Gallery - Jazz Composers' Showcase - 7:30pm and 9:30pm
Stephen Philip Harvey
Courtney Wright
Rafael Piccolotto de Lima
Personnel: Ben Kono, Ethan Helm, Quinsin Nachoff, Jasper Dutz, Courtney Wright - reeds; Roger Garcia, Jonathan Challoner, David Adawumi, Andrew Wagner - trumpets; Nick Grinder, Nick Vayenas, Evan Amoroso, Jennifer Wharton - trombones; Olli Hirvonen -guitar, Martha Kato -piano, Evan Gregor -bass, Jared Schonig -drums

Sonic Liberation Front w/ Oliver Lake  - 
June 26 - Vision Festival 2022 - La Plaza at The Clemente - 6pm
Oliver Lake’s JUSTICE with Sonic Liberation Front
Oliver Lake - composer, arranger, conduction, spoken word
Elliot Levin - tenor sax
Veronica Jurkiewicz - violin
Matt Engle - acoustic bass
Kevin Diehl - drum kit, synth drums
Jameka Gordon - flute
Chaela Harris – voice (alto)
Ravi Seenerine – voice (tenor)
Shanon Chua – voice (soprano)

Vadim Neselovskyi: Odesa—A Musical Walk Through a Legendary City
June 29 - The Stone - 8:30
Vadim Neselovskyi - piano


June 10th, 9pm (doors 8pm)
$20 in adv, $25 at the door
The Atlantic
333 Atlantic Avenue

This comes from local keyboard wiz ELI WALLACE:

June 7th:
Limited Resources, Freddy's Bar, Brooklyn, 8pm with Jessica Ackerley, Andrew Smiley & Alex Perry

-June 16th and 17th: 
MAW residency (Jessica Ackerley, Frank Meadows, me) to celebrate our first release MAW, A Maneuver Within Ibeam, Brooklyn 
Night 1: Phillip Greenlief, Angelica Sanchez, Tom Rainey 8pm, MAW 9pm
Night 2: Oido: Ishmael Ali, Aaron Quinn, Deric Dickens 8pm, MAW w/ special guest 9pm

June 18th:
Infrequent Seams Streamfest 3 Day 3, Willow Place Auditorium, Brooklyn, 6:30-10:30pm with Jessica Ackerley, James Ilgenfritz, & Thomas Buckner

June 25th:
The Inflatable Leviathan album release show presented by Tripticks Tapes, Anchor House of Artists, Northampton, MA 7pm with Cecilia Lopez, Michael Foster, & Sean Ali