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Nothing is ever as it seems with Young Guv, but it always feels good. At first glance cloaked in a bold, ready-made distance, 2 Sad 2 Funk reveals itself over time to be an emotional, perfectly crafted, detourned pop record. Young Guv is the creation of Toronto-based auteur Ben Cook, an artist with over a decade playing guitar and singing in hardcore punk groups and a long discography of Young Governing. On 2 Sad 2 Funk, Guv pushes the power pop motif to its natural, 21st post-structuralist conclusion.

"Constantin Xenakis work possesses exactly what I really love about intelligent electronic music. It's stylishly repetitive, coded, mechanical but, at the same time, very organic and playful." This is how Argyris Theofilis, also known as Zodiac Free Arts Club, explains his fascination with European artist Constantin Xenakis. Born in Cairo, Xenakis work often includes written script, in particular symbols andcodes of everyday life, traffic signs, alchemy, the zodiac, mathematical and chemical symbols, Egyptian hieroglyphics as well as letters from the Greek, Phoenician, Hebrew and Arabic alphabets.A balance between human and inhuman that makes his art "somehow mystical". After becoming fixated by Xenakis, the greek music producer searched and eventually met him for the first time in 2012. After several meetings in Paris and Athens, they both decided to present 'Structures + Codes', a concept album conceived as an homage to the painter's vision. Each one of the eight songs in the album corresponds to a painting by Xenakis, translating it's intricate shapes and patterns into spirit-lifting compositions filled with elliptic arpeggios, repetitive drum machines and esoteric melodies in proper kosmische manner. But this is not a mere exercise in style. As Xenakis paintings, it's music that transcends its own codes to become an esoteric experience. This record should be heard comfortably.

Oddball space disco/fnk tracks, composed between 1970 and 1985. Big tip!
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A master of the mixing board, from the late 60s until the 90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This giant' had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album La Formule du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof. In the CBE studio, which she runs today, his daughter Julie Estardy discussed his singular career.

On his fourth album, Clic, Franco Battiato moves further out - into realms of pure and elemental approaches to sound - to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution.Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only "No U Turn" bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions.Clic's dedication to Karlheinz Stockhausen comes into focus on the final piece, "Ethika Fon Ethica" - a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell's celebrated Folkways compilations from the 1950s). It's the perfect ending to Battiato's beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer's mid-1970s oeuvre.

Superior Viaduct presents the re-release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Joanne Forman's Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.
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We humans, the nascent beings that we are, still haven't quite figured out the full potential of music. Dancing, meditating, emoting, protesting, these are all pretty basic. But what if we communicated more complex ideas with music What if we codified all of our activities with music This idea came to composer Joanne Forman
when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose

Joanne Forman imagined that Earth's moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there, earth-viewing, collecting information, building and playing.

After last year's first record with Serenus Zeitblom Oktett, Berlin's Hyperdelia comes back with a second release - a lucid underwater music composed and arranged by Swedish composer Kajsa Lindgren.

»WOMB« is a musical narration for abstracted ears and bodies - engulfing a listener simultaneously in subaquatic sonic environments, distant dreams, memories and voices from the unknown: where time and space fold into each other.

The initial material of field-recordings, interviews and compositions has been re-recorded and re-amped underwater in a swimming pool - and has been re-arranged now for stereo home listening. It's like we've travelled from the outer space fantasies into the alien underworlds to surface in your homely headspace.

»WOMB« at times resembles Gustav Mahler's distant rememberings, dramatised by Björk, in other moments the sounds become tiny and intimate, when »WOMB« makes one think of Felicia Atkinson's music, while the environmental ambiences reminisce the static music of Kevin Drumm. The delicate layerings of field recordings, re-recordings and environments makes »WOMB« a fascinating phonopoetic fiction, that conjures its own surreal virtual ecology: of distant strings, filtered through hydrophones (on cocoon), deep sea creatures singing to a de-tuned toy piano (the garden), of folk songs sung through telephone hiss (on all the other children), of waves crashing at the sea shores of Narnia (the inanimate world pt. 2).

Kajsa Lindgren is a composer educated in both western contemporary music and electroacoustic composition, based in Stockholm.

Kajsa explores different sonic relationships within specific environments in both sound art and electroacoustics, her work focuses on field recording with which she sonically investigates ecologies and eco systems. These works become musical research studies of underwater worlds or of public spaces in the city. Kajsa has studied electroacoustic composition at the Royal College of Music in Stockholm.

»WOMB« is Kajsa's first full length record. There will be an underwater release concert in Stockholm, at Storkyrkobadet on 2 June, a virtual reality installation online, followed by a digital EP of remixes of the original material.

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

May 2018 marks the release of two new N records on Denovali records. A new solo record by N(44) 'Vreden' and a collaboration by N(52) + Dirk Serries 'SC00'

First in line is the new solo record N(44) 'Vreden', featuring the live set N played on the very last Denovali festival at Weststadthalle, Essen, using a bigger rig with two halfstacks for a very monolithic sound, perfectly recorded by Andreas Brinke of ( B O L T ). In contrast to the more symphonic sounding records like N(43) 'Anklam', the three new tracks N wrote especially for this evening seem to be more stripped at the first glance, focussing on the vibrating connection between his guitar and the two-amp setup, with the multiple layers of sound hanging like wires in the air between the two amps, even in the moments of highest density. Especially when 'Vreden 2' opens up to a vast field of a dark and misty landscape, the guitar and the reverb of the seemingly endless room around blend into each other, like a perfect symbiosis where you can't tell anymore what the player does and what is just the answer of the room... The overall feeling of a deep melancholia peaks with the closing track 'Vreden NACHT', slowly evolving from the last trails of reverb of the track before, with the long super slow and lonely melody of the last requiem coming out of some sparse bass rumble...

'Adorable Ruin' is the second release from Siri Jennefelt under her Nev Lilit moniker, and the first one to be released on vinyl. It consists of two longer compositions, one of them in three parts on the first side and the other on the B-side. Each part of the release starts with a drone that seem to be of a similar design, but brings us into vastly differing worlds. Jennefelt's blend of large, primal drums and meticulously crafted synthesis that move about independent of each other makes a fitting canvas for her extensive arsenal of haunting, dystopian sound design. There is both an immediacy to this release that feels like a direct reflection of the confrontational nature and despair of the present-day world, but it is also obscured by a great calm, that bares with it an eerie, bleak foreboding of the desolation following a potential societal collapse.
'Adorable Ruin' is Nev Lilit's second full-length release, and will be available on vinyl, limited to 200 copies, and as a digital album. It will be released on May 24th as a part of Moloton's first vinyl batch together with Sonja Tofik & Mar-llena's 'Vilar i dina spa°r'.

After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 - until 1991 mostly together with Johan Goedhart -, each installation made specifically for the site where it was displayed.

Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre.

"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. (...) In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life."
from Panhuysen's preface to the book "Long Strings 1982-2011

The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a 3-LP box set edited on Apollo Records in 1986.

This new 3-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gate-fold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos.

In This Release, Sonja Tofik And Marlena Lampinen Provide Us With Both Collaborative Tracks And Own Creations, Ranging From Taped Melancholy Synth Melodies To Gnawing Pieces Of Malaise. 'vilar I Dina Spa°r' Was Originally Released As A Very Limited Cassette-only Release In The Summer Of 2017. The Release Went Out Of Stock Quickly And Has Been Asked For Since. Looking Back, It Is A Beautiful, Very Well Put Together Release And Moloton Has Decided To Remaster And Re-release It On Vinyl And Digital.

Spheres is not only Tatu Rönkkö´s debut album, but it´s also one of the most unusual entries in the Sonic Pieces catalogue so far. As the de-facto reason for Efterklang starting off their new band Liima, Tatu is one of the most diverse and intriguing percussionists working today.

Rönkkö appeared out of nowhere sometime around 2010, performing intense improvised concerts in home-kitchens around Berlin and abroad, using the room and everything in it as his instrument. On Spheres, which includes almost only self-made instruments from everyday objects, he´s taken this idea to the next level. The kitchen and the improvisations around it have been concentrated down to 6 standalone pieces of music, produced in incredible detail. The sound hovers in the darklands between tribal experimentations, 90ies jungle ambient textures and electro-acoustic endeavours. Pieces like Then remind of a more focused Aphex Twin performing with Konono No1 in the Finnish woods. While the title track Spheres even links the sound all the way back to early Photek with it´s reduced cinematic textures and explosive repetitive beats.

All of this says rather little about the actual album as it feels completely its own. Especially the incredible centrepiece Tekoäly featuring Islaja on vocals sounds like nothing else. Rönkkö is a true visionist who manages to balance his mass of sound sources in an expert fashion. Spheres is truly an otherwordly listen.

Black Vinyl

The new record of TERRITOIRE presents the story of the slave Alix from his birth as a submissive being until the encounter with his first owners. Produced with techno veteran Oscar Mulero, it spits out 7 tracks made of flesh, heat and metal, that press and shake the limits between a sensorial electronica and industrial techno.

Project from the french producer and composer Olivier Arson, TERRITOIRE has published three different records with each other: Mandorle (2012), for which they played at Sónar Barcelona, Mandorle - Versions (2014), with remixes from artists like Aidan Baker and Father Murphy, and Confess (2016), an experiment from a sound installation based on the confession ritual.

In constant motion and without a stable form, TERRITOIRE opens news tensions between electronic processes, experimental instrumentation and narrative fragments. It sculpts an experimental techno that expands across oppressive and cathartic rhythms, folds into physical drones, and explodes with mutant screams. An existential drift towards a broken horizon that hides his beauty and discovers, at last, on this latent limit, a disturbing and unknown light.

øjeRum is a Danish artist who focusses on collages and on ambient music, using the same approach by bringing different elements together to create a conclusive new piece of art. The album Selv I Drømme Lyser Den Første Sne' combines those two artistic approaches and the result is a beautiful album with a collage artwork by øjeRum and a 20minutes long ambient track in two variations.

Selv I Drømme Lyser Den Første Sne' is Danish and means Even In Dreams The First Snow Glows'. Side A features a 20minutes long ambient track, which evolves out of short loops that model themselves into a floating, waving and mesmerizing soundwall. Side B features a different version of the track, formed of the same melodies like on side A, but this time played on cello by Aaron Martin. øjeRum arranged the cello parts, like using his own ambient loops. The result is a cello based track with also evolving sounds that seem to change during the track. You also get the idea of vocals or other instruments, but it´s just the looped cello themes.

Bonus Digital Track: Selv I Drømme Lyser Den Første Sne (Dual Version). This version brings both tracks together into one and shows a new perspective. This track is only available with the download code, that is included in every vinyl order.

Gagarin's current album Corvid was released at the end of Nov 2018 to considerable press acclaim, radio play and blog attention. As a bonus addition to the album Gagarin has commisioned a set of releases for Corvid Remixed. He has chosen acclaimed and respected artists from a variety of musical and sonic approaches to re-iterpret trakcs of their choice.

Eric Random was a key figure in the experimental post punk Manchester scene and has collaborated closely over the years with thelikes of Cabaret Voltaire, Pete Shelley, Nico, Recently he has returned to his electro roots with releases including hislatest Two Face on Klanggalerie.

Robert Logan is a creator of intricate industrial and classically informed electronic soundscapes. He composes for film and Tv and is a member Grace Jones' current band. He records for Slowfoot Records.

Justin Paton i founded and plays with long running London cult group 'now' who operate on the cusp between kosmische and eletro pop.. He also makes solo electronic music and D.J.s with a deep knowledge and speciality in Acid. He records for, amongst others Motto Motto.

Isnaj Dui ( Katie English ) stands awkwardly between neo-impressionism and electronica, ) conveys a minimal yet capturing sound using flutes, home-made dulcimers and electronics. She records for Hibernate Recs.

Rothko were formed by Mark Beazley in early 1997and have released albums, singles and ep's on many labels around the globe, such as Lo Recordings, Bella Union and Mark's own Trace Recordings. Rothko's sound is characterised by melodic bass and emotionally charged soundworlds.

USRNM is the more beat driven incarnation of Sound Artist, Composer, Field recordist Stuart Bowditch. His work is inspired by location and the people, experiences and objects he encounters there. He records for Courier Sounds.

"first Offering From This Duo Which Operates Between Two Poles: Industrial Tribalism And Synthetic Minimalism. For Fans Of Malaria, Liasons Dangerouses, Suicide, Muslimgauze ...
Just Listen And Enjoy The Travel Into A Jungle Of Cables, Wires And Grease"

I Cant Say Much About The Record, Im Very Bad Writting About Music ... Only That This Record Is Amazing!! ,) One Of My Favourite Bfe Releases

First Terrace return with the second instalment of their split series, an ongoing project which sees the work of two artists illuminated in each other's light. Built on the acknowledgement that context alters perception, the light shone by the opposing track alters the shadow cast, the effect of the other.

In answer to the forked road presented by FTS001, we chose the quiet path*. As such FTS002 is a journey softly traveled. These pieces will not leave a scar on the sonic landscape, rather glide above the tips of the reaching leaves, high on a different mission. 

Vida composed her pieces to be absorbed in complete darkness. They were exhibited as part of the project In The Dark in Berlin, 2016. The lack of visual stimulus enhances the listening experience, sharpens the ears. At the same time, the audience is made vulnerable, they cling to the sound as it is their only guide through this passage of time. More information on In The Dark can be found here.

Chihei presents a new long form piece conjured with guitars and effected into abstraction. It is parallel in form to the ebb and flow of water over the margins of a beach, ever the same yet constantly renewed. 
*(this time)

Audio-visual artists Soundwalk Collective were granted exclusive access to the personal archive of the groundbreaking filmmaker and present their ambitious New Album and Remix EP: What We Leave Behind released on 18th & 25th May 2018.

The NYC and Berlin based group were invited to aurally explore the archive of the seminal French director Jean-Luc Godard and release their interpretations in an innovative new album What We Leave Behind. Drawing on Godard's personal collection of shot film, reel- to-reels and historical ephemera, the recordings reveal the moments before and after the camera rolls, from stage directions and on-set asides to rehearsals, false stars and outtakes.

'There are boxes filled with sounds, words, chaos, and also silence. For Godard sound is a musical composition and when I began listening to the tapes and heard his voice between takes, it was like little bits of life...each sound has its own value. It has always been part of our working practice to venture into untapped sonic territories, discover the poetics behind them, and explore how we (as humans) relate to it, it is part of a larger discourse.' - Stephan Crasneancki, Soundwalk Collective

Revealing much insight to the director's process and personality, the 6-track album will be followed by a remix EP, featuring unique reworks from Ricardo Villalobos, Jan Jelinek and Petre Inspirescu.

What We Leave Behind, and the subsequent remix EP, arrive 50 years to the day that the the Cannes Film Festival, 1968, was closed after Jean-Luc Godard, Francois Truffaut and Claude Lelouche, publicly announced their closing of the festival in solidarity with workers and students protesting across the country.

The LP features a conversation between Stephan Crasneanscki, of Soundwalk Collective, and Franc¸ois Musy, Jean-Luc Godard's sound engineer, printed on a translucent paper insert. The LP and Remix EP both contain imagery taken by Stephan Crasneanscki of the archives, which he has also filmed to create a series of mesmeric short music videos of original and remix tracks.

An international genre-bending group of artist-musicians with studios in New York City and Berlin, the three members of Soundwalk Collective (Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi) formed in Manhattan to produce concept albums, sound installations, and live performances, and have worked with a diverse range of collaborators, from Nan Goldin and Patti Smith to Berghain and Zaha Hadid.

2x12" 180g

In Spring 2017, Uniform Was Asked To Support Fellow Noisy, Boundary-pushing Duo The Body For A European Tour. Having Been Longtime Fans Of The Band, Uniform Vocalist Michael Berdan And Guitarist Ben Greenberg Jumped At The Opportunity. During The Planning Phase Of The Tour, Berdan And Lee Buford From The Body Started Corresponding Regularly. Ultimately, Berdan Asked Buford If He And The Body Cofounder Chip King Would Be Interested In Making A Collaborative Record With Uniform. Buford Enthusiastically Assented, And The Seed Of Mental Wounds Not Healing Was Sown.

A Few Months After The Genesis Of The Idea, Berdan And Greenberg Went To The Legendary Underground Providence Studio Machines With Magnets, Where The Body Were Finishing Up Work On Their Latest Lp. King And Buford Had A Ton Of Cool Beats And Music Ready That Berdan Played Synth Bass Lines Over. Greenberg Then Played Guitar Over Berdan's Bass Lines, And The Songs Began To Take Shape.

After The Machine With Magnets Session, Engineer Seth Manchester Sent Greenberg Stems Of The Tracks To Work On Back In Brooklyn. Berdan Recorded Vocals In The Hallway Of Greenberg's Tiny Apartment, And The Raw Intensity Of That Makeshift Session Served As The Perfect Counterpoint For King's Unmistakable Voice. Effectively, Every Song On Mental Wounds Not Healing Is A Duet Between Berdan And King. The Collaboration Pushes Both Bands Far Beyond Their Roots In Industrial Music And Metal, Creating An Immersive Listening Experience That Truly Transcends Genre.

The Title Of The Record Is A Line Stolen From The Chorus Of Ozzy Osbourne's crazy Train.' Most Of The Titles Are Culled From Horror Literature And Cinema, With Specific Nods To Shirley Jackson, Jack Ketchum, And Elem Klimov. Thematically, The Songs Have To Do With Feeling Trapped In One's Own Mind, Projecting Images Over And Over Again Of A Future In Shambles Before It Even Gets A Chance To Happen. It Is About Hopelessness, Anxiety, And Depression So Familiar That They Seem Like Permanent Fixtures Of One's Psyche And Identity.

In Spring 2017, Uniform was asked to support fellow noisy, boundary-pushing duo The Body for a European tour. Having been longtime fans of the band, Uniform vocalist Michael Berdan and guitarist Ben Greenberg jumped at the opportunity. During the planning phase of the tour, Berdan and Lee Buford from The Body started corresponding regularly. Ultimately, Berdan asked Buford if he and The Body cofounder Chip King would be interested in making a collaborative record with Uniform. Buford enthusiastically assented, and the seed of Mental Wounds Not Healing was sown.

A few months after the genesis of the idea, Berdan and Greenberg went to the legendary underground Providence studio Machines With Magnets, where The Body were finishing up work on their latest LP. King and Buford had a ton of cool beats and music ready that Berdan played synth bass lines over. Greenberg then played guitar over Berdan's bass lines, and the songs began to take shape.

After the Machine With Magnets session, engineer Seth Manchester sent Greenberg stems of the tracks to work on back in Brooklyn. Berdan recorded vocals in the hallway of Greenberg's tiny apartment, and the raw intensity of that makeshift session served as the perfect counterpoint for King's unmistakable voice. Effectively, every song on Mental Wounds Not Healing is a duet between Berdan and King. The collaboration pushes both bands far beyond their roots in industrial music and metal, creating an immersive listening experience that truly transcends genre.

The title of the record is a line stolen from the chorus of Ozzy Osbourne's Crazy Train.' Most of the titles are culled from horror literature and cinema, with specific nods to Shirley Jackson, Jack Ketchum, and Elem Klimov. Thematically, the songs have to do with feeling trapped in one's own mind, projecting images over and over again of a future in shambles before it even gets a chance to happen. It is about hopelessness, anxiety, and depression so familiar that they seem like permanent fixtures of one's psyche and identity.

Now available for the first time on vinyl, One Way Static Records presents the THIRD volume in our new archival series 'La Vie Electronique'. This volume (1.2) focuses on the years 1970-1972 and is spread over two glorious LP's containing +77 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes. Available as a limited classic black vinyl retail edition (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.

33 Minutes Of Pure, Unadulterated, Psychedelic Krautrock Courtesy Of Pyramid: An Obscure Studio Project Produced By Toby Robinson Aka The Mad Twiddler. These Sessions Were Recorded Circa 1975-76 In Cologne For The Underground Pyramid Label, Which Was Operated By Toby And His Friend Robin Page (the Fluxus Artist). During That Time, Toby Worked As Engineer And Assistant At Various Studios In Cologne, Including The Famous Dieter Dierks Studios, Where Most Of The Albums From The Ohr/pilz/cosmic Courier Catalogue Were Registered. Having Access To The Studios During Dead Hours, Toby Recorded Lot Of Sessions Just For Fun Without Any Commercial Interest, Featuring Friends And Musicians Who Frequented The Studios And The Underground Art/music Scene Of Cologne. Some Of These Sessions Were Later Relesed As Hand-made Vinyl Micro Pressings On His Pyramid Label With Help From Artist Robin Page.

*master Tape Sound

*digital Download Card

*insert With Liner Notes By Alan Freeman (the Crack In The Cosmic Egg, Ultima Thule)

...from Trippy Phases With Echo Guitars And Mellotron Onto Headfirst Plunges Into Space-rock Overdrive Territory. In All, An Excellent Album Of Spacey Krautrock' - Alan Freeman

Riyl: Pink Floyd, Cosmic Jokers, Agitation Free, Ash Ra Tempel, Gila, Porcupine Tree, Amon Düül Ii...

Good emotional sounds from Japan.

2018 repress of the debut full length LP from Spencer Doran and Ryan Carlile's Visible Cloaks project. Initially recorded in 2013 and issued on cassette by Sun Ark in 2014 (as Cloaks), this first offering uses conceptual processes to weave many of the same threads as their later work; synthetic FM tones, tuned mallet percussion, and electronically modulated voice, all arranged in a gossamer web, spun with neon electronics. On this release the duo set off on the sonic journey they are still on today, refracting their influences through East West feedback loops, augmenting traditions with technology. Remastered 45rpm DMM version with additional surprises!

Metaclaw is blazed studio session that time could have forgotten...but Offen Music didn't. A glorious downbeat synth plodder/head nodder from the minds of three very muscial friends.. features remixes from Gordon Pohl and Glib'r.. TIP!

originally released in 1993 - with Ric Ocasek & Liz Lamere-Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

Nine Inch Nails Will Release Bad Witch On June 22, Completing The Trilogy That Began With 2016's Not The Actual Events And 2017's Add Violence.

repress

* New York based artist and musician Rose Kallal presents her debut album 'Perseus'. Taking its title from the Greek mythological constellation the collection of 6 extended recordings create a hypnotic and evolving flow of sound layered with rhythmic tones and primordial texture.

* Developed in her Brooklyn studio using a modular system and effects each track further takes its title from an individual star of mythological origin, with the material invoking an expansive and collapsing sense of space and time and channelling ancestral readings of the celestial. Perseus continues alongside Kallal's ongoing practice with 16mm film and sound employing hypnotic repeating patterns and motifs and creating a merger of both antiquated and modern technologies.

Takashi Kokubo - A Dream Sails Out To Sea (get At The Wave) (lagrec003)
Recorded In 1987 As Promotion For A Luxury Air Conditioning Line, Takashi Kokubo's Balearic Gem A Dream Sails Out To Sea Gets First Ever Official Release From Lag Records, Complete With Previously Unheard Music.

Originally Only Available As A Sought-after Promo By The Name Of Get At The Wave, Takashi Kokubo's Mini-masterpiece Of Halcyon Mastery Finally Re-emerges For The First Time Since 1987 With A Remastered Vinyl Edition Courtesy Of Uk Label Lag Records.

A Dream Sails Out To Sea (get At The Wave) Comes Not Only With A New Title, But Also A Brand New B-side As Taken From Get At The Wave's Original Recording Sessions. Never-before Released, The Epic Ocean Breeze Makes The Perfect Companion For The Sonic World Kokubo Created With His Original Release, Imbued As It Is With The Same Serene Sense Of Understated Beauty.

The Original Story Of A Dream Sails Out To Sea Is As Interesting As Kokubo's Own Backstory As A Musician And Sound Artist. Originally Composed To 'soundtrack' A High-end Air Conditioning Line From Japanese Electronic Giant Sanyo, The Album Was Meant To Transport The Consumer Into A Paradise Far Away From The Heat And Hurry Of Urban Life. One Listen To Something As Splendorous As Underwater Dreaming, And It's Mission Accomplished.

Takashi Kokubo Meanwhile Is A Musician Whose Work, Without Many Knowing It, Has Perhaps Touched The Most Lives In Japan. Composer Of Environmental Music Such As Nationwide Phone Alerts To Warn Of Oncoming Earthquakes, And The Fruitful Jingle Of A Standard Contactless Payment, Kokubo's Oeuvre Also Includes Anime Soundtracks And Works In The Avant Garde Realm.

It Is With Kokubo's Blessing And Original Masters That The Lag Records Release Has Been Made Possible, With A Remastering Courtesy Of Jerome Schmitt At The Airlab. A Dream Sails Out To Sea (get At The Wave) Also Comes With New Artwork By Ella Mclean In A Standard Sleeve On Clear Blue Vinyl Lp.

Compiled by soFa, the second instalment in his recent series ties together eighteen artists, each venturing down their own musical path, to produce an audio atlas that transverses not only styles but also cultures and continents.Disparate musicians come from far and wide have been brought together across two slabs of beautifully mastered vinyl and, somehow, someway, found a jittering, skittering and juddering balance.Tracks from Puma & Dolphin and Khidja conjure up images of thick jungle scenes as tribal rhythm patterns hypnotise and mesmerise alongside shamanic samples. The heady exotic aromas and tactile textures of the East are on display with Zatua traipsing through baked dunes and deserts before arriving to the shamanic organized chaos that is Bear Bones, Lay Low.Darker moods loom and lurk, skulking in the alleys of Konsistent or in t-woc's lurid tones. These duskier elements are countered by the brightness of Velvet C's future disco sounds or the laser synthwork of Rony & Suzy. The buzzing Chicago inspired sounds of Weird Dust, the dawning pulses of Twoonky and the triumphal charges of Föhn blur the lines between mystical places and the cruel reality of the modern world.A double vinyl ticket to eleven engaging and evocative destinations.A trip into the fantastical. An Oyster from Elsewhere...

As a polychrome composer, Laurent Perrier is developing his work through a large number of projects which, although they often share many common points, are all built on a strong identity. Thus, Zonk't has always been a way of exploring the most ambient fringes of dub, and the transition from the all-digital to compositions made entirely on modular synthesizers has overall not changed its approach in depth. Yet, Banburismus, whose unlikely title comes from the crypto-analytical process developed by Alan Turing during the Second World War, begins by taking us by surprise with a long luminescent drone that seems to rise endlessly before dissolving little by little in a wall of echoes, glitches and distorted voices then make way to round and deep basses disturbed by metal peaks on which float distant blips, like farway echoes of the secret messages decoded by Turing. Real master stroke, this track occupying the first face of the LP is a trip in an ether much more populated than it seems. Shorter, the three pieces of the B side participate in the same atmosphere, but still extend the sonic field. More stripped, more airy, more cosmic, Banburismus achieves there new heights with ease. We could be tempted to play the game of references and try to put Zonk't somewhere amongst the great experimenters of electronic dub. But who cares,, Banburismus is well beyond categories, and Laurent Perrier, by cracking the code, opens for us the doors of a universe of disturbing and fascinating vastness.