With the effluxion of time, many will fall by the wayside, but the importance and magnitude of Jon Rose's astonishing breadth and depth of work will survive and flourish as its own monument. One aspect of that work is represented in the Rosenberg Museum, a physical collection of some 65 instruments of Jon's own invention and fabrication, as well as 1000+ artefacts of violin iconography. This box contains a selection of high-quality recordings of 37 of them, many incorporating, variously, fences, doors, chairs, drainpipes, car wrecks, sports equipment, a coffin, kitchen sinks, bicycles, plywood and corrugated iron - alongside mutations (some extreme) of more traditional fiddle architectures and materials with, on occasion, amplification added to bring out what the ear unaided may not hear - and sometime transformed by Jon's customise 'interactive bow' TM. In his booklet notes Jon writes, 'there is an empirical logic to a new instrument: it will produce only new music. There may be references to other music, played on other instruments in other cultures in other times by experienced hands and ears, but a new instrument, by definition, generates new sounds previously unheard'. This box mines this seam. From the starting premise of a string and bow, we head down the path: how far can this be taken? Pretty far we find, including diaphonium, bird, monothith, plectraphone, wheeling violin,  trapexoidal, aolian Stroh and clock violins. It's a highly dense listening experience, probably best taken two or three tracks at a time.

In a sturdy box, with a substantial booklet with explanatory texts and photographs of the instruments. Limited number.

September release. Subscribers will get an unreleased track and a video of the instruments in action.