BASIL KIRCHIN – Worlds within Worlds, vol 1. EMI SCX 6463, 33 1/3 rpm (UK), 1971

 

Very limited edition

 

 

This is one of the rarest beasts of European experimental music and one of the hardest to get in the respectively extensive Evan Parker and Derek Bailey discographies. And it’s a complete KILLER! Music is spectacular. Recorded at Pinewood Studios, London. Originally scheduled to be a soundtrack for a film, but made into this classic masterpiece of concrete music / cut up – collage piece. Animal sounds transformed into possibilities for improvisers to interact together with.

Definitely an experiment, but with an amazing result musically. This music sounds like definitely nothing else.

There is a vol 2 (part 3 & 4) released that is a bit easier to find with additional material from the same material and concept as vol 1(part 1 & 2).

Mutant Sounds explains:

 

“This was the 1971 predecessor to Kirchin’s much more well known/distrbuted Worlds Within Worlds Pts. 3 & 4 and involves a similar universe of grotesquely morphed and pitched sonic treatments, only here, legendary improvisors like Derek Bailey and Evan Parker are to be found growling, plinking and spluttering amidst this melee, making this a monster rarity for fans/followers of them as well.”

But the freshness and the attack of the ideas is mindblowing on vol 1. This is yet another holy grail of  music and unfortunately very very hard to come by these days.

 

 

 

Jason Ankeny, All Music Guide explains:

 

“In 1964, Kirchin began pursuing an approach he dubbed World Within Worlds — essentially, he began combining traditional instruments with wildlife sounds and the amplified noise of insects, painstakingly editing and manipulating the results to create beautiful yet utterly alien soundscapes that clearly anticipated the subsequent ambient experiments of Brian Eno, as well as a generation of electronic artists like Aphex Twin. Not until the Swiss tape recording manufacturing firm Nagra issued their next-generation tape machines and microphones in 1967 was Kirchin able to acquire the technology necessary to fully realize his vision — his source material grew more and more obscure, and his tape manipulations grew more and more extreme with each new project, discovering new “inner sounds” virtually inaudible at standard playback speeds.”

 

Basil Kirchin – composition and collage

Derek Bailey – guitar

Evan Parker – soprano sax

 

 

The psychedelic saxophone of Charlie Nothing, Takoma c – 1015, 33 1/3 rpm (USA) ,1967

 

Rare American LP

This is an odd one. Alto sax improvisations by Charlie Nothing.

Only accompanied by someone playing the gong, congas and banjo ukulele… Nothing himself  maybe???

Music is a research… but of what?

We have no idea of course… but we love this music and we love this release.

This music reminds of some of the solo sax adventure that Bengt Nordström was doing in Sweden in the mid 60´s. A unique and naïve approach to the material. Charlie Nothing doesnt have the same technical skills and imagination as Nordström. You can clearly hear the technical limitations…. BUT, this record is like nothing else… and a very important link in the history of solo sax improvisations. There is a clear Ayleresque attraction here… but also a very folkish touch to it all.

Released in 1967 on John Fahey´s legendary Takoma label!

A spectacular cover with a thick card board sleeve. The drawing made by Nothing himself.

 

Charlie Nothing, poet, sax player, bee keeper, music instrument builder and creator of the mighty Dingulator ( guitar sculptures made of American cars….)!!!!

 

When DC found this vinyl in California in a used record store in 1999…. We were told that this record had been sitting in the store since its release and it has been an ongoing joke among the staff, if this record at all would be sold…

 

Charlie Nothing – alto sax, gong, conga, banjo ukulele

 

 

GENYA S/T , TV man Union GNS – 1001/2, 33 1/3 rpm (JAP), 1971

 

Extremely rare japanese 2 lp set

Mototeru Takagi Trio

Masayuki Takayanagi New Direction

a.o.

 

This is something to go looking for… absolutely mind bending and dna changing music with a.o. Mototeru Takagi Trio – the MIGHTY tenor sax wailer – and the one – and – only Masayuki Takayanagi ripping the flesh outta his guitar like no one else before.

On top of that we have tracks of more psych/ prog character with Blues Creation, DEW, LOST AARAAFF and Zunokeisatsu… this is something WILD! All is GOOOOOOD! All is WILD!

This is one of the true holy grails of japanese experimental music!

Rare is just its middle name… and if you find it with an intact OBI… you are a lucky man or a woman!

The following informative text is by fellow discaholics at  Tilliqua records, Japan.

 

Legendary and historical recording that took place during three days in August 1971 as reaction against the scheduled enlargement of Tokyo’s Narita International Airport and subsequent expatriation of the farmers inhabiting the land. The festival brought together an amalgam of people, such as farmers, street beatnik hippies, student radicals and underground outsider musicians. This recording depicts the heated up atmosphere of the festival with its ideological arguments, angry insults and doomsday desperation hovering over the event. However, some staggering recordings by legendary artists were recorded for posteriori and are all included here, making hard-core music addicts and scholars of Japanese underground history quiet delighted. Released privately in 1971 in a tiny minuscule run, the disc collects a great selection of material and without a doubt the most insane piece of music on it is the side-long contribution by Takayanagi Masayuki and his New Direction Unit, flooding the gates of hell with his sonic assault that shook up farmers and student radicals alike, both parties failing to get a grasp on this sonic whirlwind of unrelenting power and soul scorching dementia. Other wild contributions are delivered by the Takagi Mototeru Trio, another prime example of Japan’s kerosene fuelled fire-music that whipped out the tails of any Mig fighter or B-52 that happened to cross the stratospheres high above the festival grounds. But that is not all, another staggering recording to appear on this record is the right in your face sonic assault performance by the first ever recorded ear imploding performance by Haino Keiji’s Lost Aaraaff unit, radical politically charged folk duo Zunokeisatsu, the heavy blues hitters DEW and Blues Creation, delivering wailing and electrically heated up performances, balancing on the verge of sheer riot, chaos and collective frustration. But that is not all, also the interactions, comments, verbal fights of student radicals, farmers and locals add as a great document to fully illustrate the heated up atmosphere of the festival. Listening to this, one comes to fully understand that Woodstock was for pussies

 

This vinyl has it all: rarity, beauty and raw power… smells good , looks good… and a very necessary piece of vinyl to have in order to survive!!! ESSENTIAL!

 

Mototeru Takagi Trio

Masayuki Takayanagi New Direction

Haino Keiji’s Lost Aaraaff unit

Zunokeisatsu

DEW

Blues Creation

a.o.