Superior Viaduct US Vinilo y CD

Review: Originally released in 1985 on cassette, this sel- titled record from Flaming Tunes was their only one. It's a cult home recording that came after collaborative time spent together by childhood friends Gareth Williams and Mary Currie and is influenced by Williams's time spent travelling India and studying classical Kathakali dance. The music was recorded in a house in South London and makes use of piano, bells, clarinets and percussive sounds that are layered up into simple arrangements. The lo-fi melodies, oblique rhythms and hypnotic qualities of it make it a gold standard for anyone who prides themselves on unearthing the more outlier albums out there.

Review: Raul Lovisoni and Francesco Messina's seminal LP from 1979 Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but is also notable for being produced by electronic pioneer Franco Battiato. Both central figures within the Italian avant-garde, they were part of a generation of artists who contributed to a radical rethinking of musical practices and composition. They reveal Minimalism as it's rarely known: with delicate melodies, subtle harmonic interplay and incorporating diverse creative traditions - slowly giving way to an ever-expanding open space. Skirting the outer edges of ambient, new age and experimental music, the LP has a transformative beauty unlike anything else.

Review: The Pavilion Of Dreams was first conceived by Harold Budd in the early 1970s. He started writing an extended cycle of compositions that were produced by Brian Eno. Also appearing in the session were saxophonist Marion Brown and a pair of multi-instrumentalists in Gavin Bryars and Michael Nyman. The album was a cathartic one for Budd who said at the time that is "erased my past," and lead to a musical rebirth. "It was like my Magna Carta." It sure is a soothing listen, with heavenly ambient sounds, mellifluous chords and glowing harmonies all soothing the mind, body and soul as they gently unfold.

Review: Coming to a 'lounge-smoke' coloured vinyl edition, now you truly can 'Buy' The Contortions' breakout LP once more. Released over 35 years ago, this is a unique classic album in the microgenre that was no wave, which took New York by storm in a strange coalescent fog of art punk, new wave and cold noise. Legend has it that either this album or the man who created it - James Chance, our main Contortionist (by trade a saxophonist) - was one of the core inspirations behind Brian Eno's coinage of the genre name 'no wave', after the latter witnessed a live performance of said bittersweetly vapid music. As plastic avant-garde beats melt into liquid skies, this one isn't to be missed.

Review: A monolithic entry into the canon of longform ambient, experimental classical music, Gavin Bryars' The Sinking Of The Titanic receives the reissue treatment via Superior Viaduct. The record was initially produced by Brian Eno in 1975 as the first release on Obscure, and the title piece found Bryars fixating on the ill-fated luxury cruise liner through the perspective of its passengers. It's a haunting and engrossing piece with imperceptible layers of detail woven into its fabric. The accompanying piece, 'Jesus' Blood Never Failed Me Yet', is equally important, revolving around a tape loop of a street singer and bringing the work of players such as Michael Nyman and Derek Bailey into the composition which builds into a powerful crescendo. Quite simply, a seminal work.