Search:ash ra tempel

2025 Repress


Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

2025 Repress

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book "Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called Supersense' at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I'd planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing public sessions". I've always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That's when the idea for an Experience' was born. I decided that pieces from the second and third Ash Ra Tempel albums Schwingungen' and Seven Up' (both from 1972) would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. ... It felt a bit like pushing at open doors - or, to put it another way - it felt like being welcomed with open arms. We finally met in Melbourne for a relaxed afternoon rehearsa

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching

We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

After an initial European release in 1976 on the Isadora label Age Of Earth was re-issued on Virgin Records in Summer 1977 and fast became a beacon for electronic music and what was becoming known as ambient - Some cite its very title as helping introduce 'new age' music - This re-issue faithfully replicates the original 1977 Virgin Records release and is pressed on 180g heavyweight vinyl.
Guitarist and synthesiser player Manuel Göttsching formed Ashra after disbanding Ash Ra Tempel, the outfit he had led since 1971. Moving away from the space rock of his previous group, Ashra was a far more electronics-based project. Recorded in Berlin, between March and June 1976, the four pieces on the album represent the very best of what became known as Kosmiche: dreamily repetitive, glancing to the stars while keeping feet firmly on the ground.

New Age Of Earth is a record full of contrasts: the throbbing, techno-predicting Sunrain opens the album; with its waves and crickets sound effects, Ocean Of Tenderness pulses gently like a space-age early Fleetwood Mac; Deep Distance brings elements of surf music into glacial electronica. At 21 minutes long, Nightdust occupies all of the album's second side, a ruminative, slowly unfolding piece that, after its crescendo, gives way to Göttsching's impressively celestial electric guitar solo.

How does one approach the morning after a party for the end of the world? This is a question which Mamuthones had to ask themselves, in the wake of their last album for Rocket, 2018's Fear On The Corner. Nonetheless, from the aftermath of this uncertain period has risen the still more flourishing realm of From Word To Flesh - a colourful and multi-faceted creation very much befitting the outsider spirit of Rocket's new Black Hole imprint. “I believe that with this album a circle has been closed” reflects Mamuthones mainman Alessio Gastaldello. “We returned to the atmosphere of the first Mamuthones albums with the skills acquired throughout the journey, with new sounds and with new creative processes. I would say that what remains constant – and at the core of our music – is the obsessive rhythms and the search for a sonic rituality: this is for certain our trademark”. This is clear right from the curtain raiser 'Burn From Inside', which beams the emotive approach of the band through the shamanic prism of Coil's Ape Of Naples. From there, hypnotic repetition marries to abstract abrasion and mournful laments with equal finesse, as redolent of the spiritual zest of Popol Vuh and Ash Ra Tempel as the gnostic folk of Six Organs Of Admittance. Elsewhere, 'A Symmetry Of Faith' summons a union of post-punk and psychically charged folk aligned with the recent work of Bristol's Beak. The Sardinian ritual of the Mamuthones – in which sinister masked figures weighed down with cattle bells conduct a ceremonial procession to ward off evil forces - has gone on for some two thousand years, and it may be that these ghoulish avatars are engaged in a celebration of the endless cycles of death and rebirth, fortifying spirits for a new epoch. Amidst the chaos and tumult of the 2020s, the band of this name has undergone just such a change themselves, and ‘From Word To Flesh’ is the fruit of their struggle. As Alessio says “With this album I think the Mamuthones have never been so unmediated, so naked: all masks gone”

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Sonanze (Sonatas) is Cacciapaglia's debut album, a monumental work that was recorded over a two-year period and released in 1975 via seminal German label Die Kosmischen Kuriere (Ohr). While a "sonata" is traditionally performed by easily distinguishable instrumentalists (often soloist and accompaniment) and with repeated structural themes, Cacciapaglia flips this hierarchical form on its head – blending harpsichord, strings, brass and analog synths to create ambient mini-soundtracks.

As the composer writes in the original sleeve notes, "I am aware, unfortunately, that I am a few millennia late in how I would like music to be understood, which today I find diluted in its primary powers, in an era that is destructive of essential values. Precisely for this reason, I want to search for it in depth and not on the surface, perhaps alternating the knob of a synthesizer with a marranzano (mouth harp)."

Mixed in quadrophonic surround-sound under the auspices of Rolf-Ulrich Kaiser (celebrated producer of Tangerine Dream and Ash Ra Tempel), Sonanze remains on the fringe of Kosmische realms. Each movement explores hypnotic rhythms, intuitive arrangements, musique concrète techniques and a pure psychedelic awakening.

1976 hatte Michael Hoenig eine kurze Zusammenarbeit mit Manuel Göttsching von Ash Ra Tempel in Berlin; eine 48-minütige Aufnahme einer der Sessions, die 1995 unter dem Titel "Early Water" auf Bernd Kistenmachers Label Musique Intemporelle veröffentlicht wurde. Das Album wurde gestrichen und war lange Zeit nicht erhältlich. Nun wird es endlich eine Wiederveröffentlichung von "Early Water" geben. Michael Hoenig erinnert sich noch: "Während ich an dem Album "Departure From The Northern Wasteland" arbeitete, hatte mich Manuel Göttsching gefragt, ob ich mit ihm für einige Konzerte in Frankreich zusammenarbeiten würde, da seine Gruppe gerade eine Winterpause eingelegt hatte. Wir probten drei oder vier Wochen bei mir zu Hause. Eines Abends bekamen wir einen Anruf wegen einer fehlenden Garantie, woraufhin wir beschlossen, die Tournee abzusagen. Nur zum Spaß spielten wir ein letztes Mal eines der geplanten Sets. Obwohl ich mich nicht daran erinnern kann, eine Aufnahmetaste gedrückt zu haben, hat jemand kürzlich ein Revox-Band mit eben diesem Set ausgegraben. Nach einer digitalen Klangarchäologie wurde es soeben unter dem sehr passenden Titel "Early Water" veröffentlicht." Und Manuel Göttsching fügt hinzu: "Leider wurden einige Konzerttermine nicht rechtzeitig bestätigt und wir mussten die komplette Tournee erst am Tag vor der Abreise nach Frankreich absagen. Dennoch haben wir an diesem Abend unsere letzte Probe "für alle Fälle" aufgenommen. Es ist ein fließendes, harmonisches Stück geworden, das viel von der optimistischen Stimmung des Jahres 1976 widerspiegelt. In den frühen 1980er Jahren zog Michael nach Los Angeles. Als wir uns im November 1994 wiedertrafen, schlug ich vor, dieses alte Stück von uns zu veröffentlichen. Michael nahm das Originalband mit nach Los Angeles, restaurierte es liebevoll und nun, hier ist es wieder!"

Synthesizer king J.B. Banfi, a.k.a. Giuseppe 'Baffo' Banfi, hit the record market with the great italian prog rock outfit Biglietto per l'Inferno who released a legendary LP in 1974 on Trident and have been reivindicated in several occasions since with the release of lost recordings from the era as well as unearthing an unreleased 1974 live album. The band existed between 1972 and 1975, and had both Pilly Cossa on Hammond doing the virtuoso work and Baffo's keyboard explorations adding sound texture and atmosphere. Their second LP was recorded and mixes were to be produced by Klaus Schulze, but it remained unissued due to the Trident label flop. The band split shortly after this, but Baffo continued his experiments with electronic keyboards.

In 1978 Baffo released his first solo LP 'Galaxy My Dear', credited to J.B.Banfi and echoing huge influences from his friend and master Klaus Schulze, who would also produce his two next releases. A total DIY domestic home recording, with all the limitations implied but also with all its warmness within, 'Galaxy My Dear' is entirely played by Banfi and shows an accurate taste in his use of the synths, plus of course a strong kraut / cosmiche appeal that links the album's sound to that of the early Tangerine Dream or Ash Ra Tempel, but also brings a hint of Jean-Michel Jarre or even a certain reminiscence of the early electronic experiments by Franco Battiato and is a good contender to be filed along other Wah Wah reissues like those of Roberto Cacciapaglia or Franco Leprino.

Comes in original artwork with notes written by Baffo Banfi himself in a limited edition of 500 copies only.

Sorgfältig überarbeitete legendäre Studioaufnahme von 1977 für RIAS Berlin – inklusive Bonustrack „Despair“ "Manu hatte keinen Sequenzer. Alles, was nach Sequenzer klang, war seine hochkonzentrierte Gitarrenarbeit. Die langsam wechselnden Tonfolgen zum Beispiel. Dies war eine körperliche Leistung für sich. Sein minimalistisches Spiel ist immer noch Teil seiner Handschrift. Die Musiker aus Berlin, die im selben Genre arbeiteten, waren entweder befreundet, spielten zeitweise in Manuels ASH RA TEMPEL oder bauten ihre eigene Karriere auf. Die Szene war klein, aber mit
illustren Promis bestückt – Klaus S

Brazilian experimental multi-instrumentalist Carla Boregas follows plates for Bokeh Versions and Hive Mind with a ghostly set of deep listening electronics that plays like a symphony for an imagined woodwind orchestra.

Carla Boregas is best known from her tenure in São Paulo's genre-bending experimental post-punk scene, playing in long-running outfit Rakta as well as other related offshoots. Her solo material has been knottier to unpick, here developing ideas from a collection of unfinished fragments and notebook scribbles exploring the possibility of finding a wind instrument that could be played collectively by several musicians. Coinciding with the pandemic, however, she soon realised the inherent risks involved with sharing breath and so the concept took a different direction, with added resonance.

Boregas developed a synthetic alternative, layering vocals and environmental recordings to suggest wind instrumentation without attempting to mimic it. The sounds here are airy, but rarely diegetic - on the title track, Boregas uses analog arpeggios and plucked, sustained tones to approximate the kosmische world of Ash Ra Tempel or more recently Emeralds, as if trapped in a wind tunnel, moved forward by an unseen force.

There's a whisper of the ancient past that harmonises with Wojciech Rusin's speculative medieval gasps, and Bloedneus & de Snuitkever's severely underheard ‘Milli Mille’, an examination of the ancient Greek aulos. On ’Grafia Do Invisível' the sound is completely different again, but the concept remains, using precise analog drones and minuscule timbral shifts to imitate the character of a wind instrument and simultaneously harmonise with the deep listening meditations of Éliane Radigue and Kali Malone.

A voice enters the frame on 'Sopro’, chopped into deviated gulps and syllables, creating a language that's unfamiliar and percussive. The use of breath is subtle, and vocalisations criss-cross between synths and faint whistles, forming an expression that's different from its predecessors but intrinsically interlinked. This is where ‘Pena Ao Mar’ excels, by viewing breath and its application in electronic music from multiple angles simultaneously. Fans of Lucy Duncombe, Lucrecia Dalt, or Sarah Davachi - don't miss this one.

In 1976 Michael Hoenig had a brief collaboration with Ash Ra Tempel's
Manuel Gottsching in Berlin; A 48-minute recording of one of the
sessions, which was released in 1995 under the title "Early Water" on
Bernd Kistenmacher's Musique Intemporelle label.The album was deletedand unavailable for a long time
Now, finally, a re-issue of "Early Water" will be available again.
Michael Hoenig still remembers: "While I had been working on the "Departure From The Northern Wasteland" album, Manuel Gottsching had asked me if I would team up with him for some concerts in France, since his group had just gone through one of its hibernation
periods. We rehearsed in my place for three or four weeks. One evening we got a call regarding some missing guarantee, which ultimately led to the decision to cancel the tour. Just for fun, we played one of the planned sets for a last time.
Even though I do not recall pressing a record button, somebody recently dug up a Revox tape of that very set. After performing some digital sonic archaeology on it, it was just released under the very appropriate title Early Water."
And Manuel Gottsching adds: "Unfortunately, some of the concert dates were not confirmed in time and we had to cancel the complete tour just on the day before we wanted to leave for France.
On that evening, nevertheless, we recorded our last rehearsal "just in case". It turned out as a flowing harmonic piece, reflecting much of the optimistic air of 1976. Michael made his 'departure' to Los Angeles in the early 1980ies. When we met again in November 1994 I proposed to release this old track of ours. Michael took the original tape to Los Angeles, lovingly restored it and - well, here is it again!"

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

Das Album "Tonwelle" ist das Resultat der Zusammenarbeit von Klaus Schulze mit einigen namhaften Musikern. Deshalb erschien das Album 1981 als Vinyl unter dem Künstlernamen Richard Wahnfried. Mit dabei z. B. Manuel Göttsching (Ash Ra Tempel) und Michael Shrieve (Santana). Diese ursprünglich Vinyl Veröffentlichung sollte mit 45 RPM abgespielt werden, Klaus hat das Album aber auch schon so abgemischt, dass es auch auf 33 RPM abgespielt werden kann. Die jetzt veröffentlichte Version auf Vinyl enthält die Original-45 RPM Version.

After the 1974 release of The End…the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)… Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes “Purple Lips” but adds the tracks “Saeta” and “Vegas” released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground’s “I’m Waiting for the Man” and David Bowie’s “Heroes”.

180g, black Vinyl. 1974. the Cosmic Jokers were basically Klaus Schulze, Manuel Göttsching, various Ash Ra Tempel and Wallenstein members doing late night jamming. Galactic Supermarket is one of them, and is more rock-oriented than many others. It's no surprise the music bears more than a passing resemblance to Ash Ra Tempel, because of Manuel Göttsching and his guitar playing. Also Jürgen Dollase gives some nice keyboard work, particularly the piano, Farfisa electric piano, synths, and even a little Mellotron. Klaus Schulze were more responsible for the more droning organ and synth end of things, it's pretty obvious when he plays it. The legendary producer Dieter Dierks plays Bass on these nearly never ending improvisation. The recording was transferred from the original analog tapes at the Dierks Studios in Germany. And carefully remastered for an incredible result. Released on the label "Kosmische Kuriere" (Cosmic Couriers)

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.

We swallow asphalt, we travel open heart, we run closed eyes. An hypnotic rhythm, some textured notes from Arp Odyssey, and a guitar that capsizes. Ashinoa. Ashinoa. Ashinoa.A last cigarette. We hang on the wheel. And we surrender on the highway of lights and vertigo, again »Ashinoa is a krautrock dementia that fans of the genre will recognize. An artistic atavism in the footsteps of the post-Stockhausen generation, a kind of round table of geniuses Klaus Dinger (Kraftwerk, Neu!), Edgar Froese (Tangerine Dream), Schulze (Ash Ra Tempel)... but also a kosmische musik of modern times, with a touch of electronic influences in the most experimental way.Part of the collective Misère Records from Lyon, which also includes the bands Abschaum (who released its first album in late 2017 on Macadam Mambo) and Pratos, Ashinoa started at the end of 2015 and occupes a special place in the Lyon alternative scene. So it's a real pleasure to welcome on board a band with such qualities from Macadam Mambo's hometown. Don't miss the trip !

* Released for the first time on vinyl
* The ultimate collection of rare early materials by this electronic music pioneer
* Comes as a deluxe double LP set with insert and extensive liner notes . Limited black vinyl pressing (700 copies) with obi strip.

Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as 'Tangerine Dream', 'The Cosmic Jokers' & 'Ash Ra Tempel' before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville... just to name a few.

Klaus Schulze's proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as 'Ambient', 'Electronic', 'New Age', 'Berlin School', 'Experimental', 'Kosmische Musik' & 'Krautrock'. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song 'Freeze' has been used in films like Manhunter (1986) and more recently in Sofia Coppola's 'The Bling Ring' from 2013.

In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ( The Electronic Life'), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70's masterworks that will appeal to both fans and collectors.

Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series 'La Vie Electronique'. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP's containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it "genius."

While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone.

Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll.

Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.