Ambient / Minimal / Drone

Prescient jazz-techno mutator Jamie Hodge (Conjoint, Studio Pankow) ushers a long overdue solo debut album, of sorts, with Demdike Stare’s DDS label; an archival harvest spanning his earliest experiments circa his Plus 8 debut thru to ’00s anomalies - hybrid ambient techno jazz and incredibly inventive forerunners of dubbed electronica - bookended by two Demdike Stare edits. Essential listening if yr into anything on the axis from Move D to Detroit Escalator Company, Jan Jelinek or Tortoise. Jamie Hodge grew up in Chicago in a jazz-loving family, first forming a band when he was a teenager, using drum machines and keyboards to rattle thru covers of Joy Division and Ministry tracks. His sound progressed into dubbier spaces when he befriended Ted Gray, a local record store clerk, and into off-kilter jazz when he ran into Bundy K. Brown and David Grubbs, who let Hodge watch rehearsals of the first Gastr del Sol recordings. But the transformational moment came when a friend (pictured on the "Diagonals" cover no less) played Hodge the 1991-released "From Our Minds To Yours Vol. 1", the first compilation on Richie Hawtin and John Acquaviva's Plus 8 label. From here, Hodge took his growing obsession with dance music to early Chicago raves, and began to explore European techno and UK hardcore. Eventually he met Hawtin in person after convincing his mom to cut through Canada on the way back from visiting East Coast colleges, and released his Plus 8 debut by the time he'd moved into a college dorm in 1993, using the Born Under A Rhyming Planet moniker for the first time. Hodge was also immersed in Chicago’s famous experimental jazz scene of the ‘90s - later on establishing the short-lived but excellent Aestuarium label that brought the work of Philip Cohran And The Artistic Heritage Ensemble to wider attention. Hodge would release two more 12"s for Plus 8, heading to Germany to connect with David Moufang (Move D) and forming Conjoint, later Studio Pankow. The material presented on "Diagonals" takes us right back to Hodge's vintage era, when he was using a mutating spread of equipment - Korg MS-20, Atari ST, Nord Micro Modular, ARP Axxe, Yamaha TG77 and TX816, and Alesis HR-16B - to assemble tracks that reached through his wide range of musical interests. According to Hodge, more Plus 8 releases were planned but never materialised, so this long overdue set fills in the gaps between records like 2000's classic Conjoint plate "Earprints" and Studio Pankow's still-underrated 2005 slow-burner "Linienbusse”. ‘Diagonals’ sputters to life with a Demdike Stare edit of a track Hodge recorded in Brooklyn while he was on summer break from college and working at a local record distributor. Inspired by music he'd seen at that year's New Music Seminar, he used an Atari ST and Yamaha TG77, a glassy FM module, to conduct a mood that hovers between '80s new age DIY tapes and gaseous dub techno. ‘Handley' digs into the tranquil electrified jazz modalities over a swung drum machine rhythm, squeezing robotic soul from a modest arsenal of gear, lashing the hypermelodic post-Detroit sensitivity of The Black Dog/Plaid to Chicago-axis experiments from Tortoise and Gastr del Sol. The shorter interludes are just as engrossing: Hodge experiments FM spray on 'Trampoline' and dusty Jan Jelinek-esque electroid funk on 'Menthol', ducking further into jazz on 'Hot Nachos...', augmenting his electronics with fretless electric bass. Cherry-picked by DDS, the selection best portrays the mix of soulful depth and atmospheric effervescence that defined that elusive era in electronic music; spanning a late night spectrum of styles from dusty electro-acoustic ambient prisms to supple deep house pearls, with a special strain of gently frayed computer jazz touching on the outer limits of Detroit techno. It's exceptional material that reminds us of a time when electronic music was frothing over with hope, futurism and revolutionary spirit, so whether you're into the post-Artificial Intelligence era or the Jazz-looped investigations of Jan Jelinek and crew, "Diagonals" feels like stepping into a particularly good dream.

Muir and Caminiti are sick and tired of ambient music's bizarre entanglement with the wellness industrial complex. You know what we're on about here: healing sounds and soothing balms for well-heeled adult babies to jam on Instagram, supported by their aesthetic collection of verdant succulants (modular synth not essential, but preferred). And yeh we fully realize that the world's going to shit, but we're also pretty sure that a guided meditation isn't gonna lead us to salvation, especially when it's accompanied by music that's at best a poor approximation of private press biz that came out four decades ago. Growing up in California, Muir and Caminiti quickly developed a deep suspicion of this kinda snake oil peddling and on "Talisman" fabricate a charm to ward off fakers - a subtly fanged ambient-not-ambient dedication to desert doom, mountain jazz and lysergic experimental forms. The duo split the labor cleanly: seasoned improviser Caminiti handles electric guitar, and Muir works as a sonic alchemist, grinding Caminiti's takes into dust and subliming each note into a thick, vaporous haze. Anyone who's heard either artist's work before will have an idea of where to start, and there are traces of Caminiti's blasted earth recordings as part of Barn Owl, as well as his cinematic solo productions; Muir meanwhile picks up where last year's Ilian Tape-released "Mana" left off, orchestrating a mood that's bleak but not suffocating, and dark but not without cracks of light. The most obvious stylistic comparisons are to Seattle doom metal originators Earth - particularly 2005's country-fried "Hex" - and Norwegian maestro Terje Rydpal, who drove prog, jazz and psychedelic music into new territory in the 1970s and 1980s. Caminiti takes these touchstones and exposes them to the harsh Los Angeles sunlight, further drying out Earth's Pacific Northwestern blues and adding some neon flicker to Rydpal's icy, mountainous naturalism. He also admits he was soaking up pedal steel music at the time, and you can hear the trace of artists like Chas Smith, Daniel Lanois and BJ Cole in his recumbent riffs. A trained sound engineer who's spent the last few years refining his skills in Berlin, Muir looks to the GRM school for his direction, and employs subtle electronic processes, occasionally augmenting them with his own field recordings. This isn't just arbitrary birdsong to blithely suggest the natural world over billowing major chords, but evocative audio snapshots of the burning Californian landscape. It's these small touches that ground "Talisman" and provide it with a brawny narrative backdrop - the duo have created a record that's devotional and melodic, but one that never resorts to cheap tricks or well-worn manipulation. They've instead landed on a sound that's antagonistic but not annoyingly confrontational (we see you power ambient) or exhaustingly conceptual. Diving into one track or another is almost pointless, Muir and Caminiti assembled "Talisman" to be played in a single sitting - it's a mood piece that's unwrenchable from its essential whole. Listening is a chance to escape into another universe for a while, one that takes rough and rugged elements (Muir and Caminiti bonded over their love of contemporary death metal bands like Spectral Voice and Blood Incantation) and refines them into lavish sigils that suggest the confusing unpredictability of our era. Anti-ambient? Maybe.

Influenced by the minimal music of the 60s and 70s, baroque music, and experimentation in studio environments, Canadian artist Sarah Davachi creates music using a variety of sounds including analog synthesizers, piano, electronic organ, pipe/reed organ, vocals, tape samplers, and orchestral music. Sarah Davachi, a Canadian artist who creates music with a variety of sounds, including piano, electronic organ, pipe/lead organ, vocals, tape sampler, and orchestral music, has released her latest album "Two Sisters" on her Late Music label. The album features a chamber ensemble and a pipe organ solo. A variety of instruments are used, including carillon (a keyboard instrument composed of very large cast-iron bells), chorus, string quartet, bass woodwinds, trombone quartet, and sine tones and electronic drones. The pipe organ is a 1742 Italian tracker organ, now located in the deserts of the American Southwest, and contains the sounds of a very rare pipe organ.

This album, released in 2012, continues the themes and sonic textures found in Music for Films, Music for Airports, and Apollo : Atmospheres and Soundtracks, where Eno began his exploration of ambient music. It is clear that he is pursuing further possibilities. Eno himself regards this album as the latest project in his "Music for Thinking" series, which also includes "Discreet Music" (1975) and "Neroli" (1993).

LUX is one of Eno's most ambitious works to date. 75 minutes in length, it consists of 12 parts and was originally developed from music created for the sound installation exhibition "Music for the Great Gallery of the Palace of Venaria" currently being held in Turin, Italy. It evolved from music originally created for a sound installation exhibition [Music for the Great Gallery of the Palace of Venaria] currently being held in Turin, Italy. This is Brian Eno's third work for the label, following "Small Craft on a Milk Sea" with Jon Hopkins and Leo Abrahams and "Drums Between The Bells" with poet Rick Holland. It is Brian Eno's first ambient album of the 21st century, and the one that the world has been waiting for.

First new album in nine years by a musical visionary and hugely influential figure in new music. Forty years since its creation, Jon Hassell's Fourth World aesthetic remains a powerful influence on modern electronic music. Continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling unexpected shapes. Hassell applies the painterly technique of ‘pentimento’ to the arrangements, teasing out texture by the overlaying of sound upon sound, or a carefully timed reveal of the delicate bones pinning the frame of a track together.

The release of this new album also sees the launch of Jon’s own label, Ndeya (pronounced “in-day-ya”), which will be a home for new work as well as well as selected archival releases, including re-presses of classic sides and some astonishing unreleased music.

Nico Niquo (Orange Milk), Midori Hirano, ju ca (phinery, angoisse) and more are also on the label. A limited edition of 50 copies of the CD "bonus," a self-titled companion piece released by "Picnic," a collaborative unit of "angoisse" labelmates ju ca and mdo, has been reissued on 2LP! This is also recommended as one of the most important ambient works of this year. From Nadia Khan of Where To Now, to Pepper (Ulla), Monkey Twenty (Pontiac Streator), Ben Bondy, Nap, Mister Water Wet and other heroes from around West Mineral, to Australian talents includes Low Flung, Other Joe, and many more. Allstars creates a new milestone in dub ambient. Mastered by shy, aka uon, a genius in the dub ambient world around West Mineral. Don't miss it.

Saltern’s latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music. Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young’s justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings’ dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece.

double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina's prescient, "Fourth World" masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2's Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On "Out Pours", the groove simmers softly, led by shifting patterns on the balafon, while Hassell's heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on "A Vampire Dances," pushing and probing and seeming to force electronic shrieks as a response from Hassell's trumpet, while the keyboard creates a bed of sound that refuses to hold still. "(Like) Warriors Everywhere" takes that idea even further. Over Farafina's surging rhythms, Hassell's electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, "Masque", where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.

Obscure Japanese New Wave/Dub! The only album he left in 1982 is finally reissued on LP!

The solo album by Satoshi Murakawa "Jimmy" Murakawa, the vocalist of "Mariah", a band internationally reevaluated for its progressive musicality, has finally been reissued straight from the press amidst a lot of WANT.

The minimal beat "Down? Down, Down!", which was reconstructed by Chee Shimizu, the oriental ambient dub "Beauty", and the cold wave "Cat's Eye", which sharply disturbs the auditory senses, are all featured on this album, with sound design by co-producer Yasuaki Shimizu reflected in every part. The album features a total of 10 tracks that reflect the sound design of co-producer Yasuaki Shimizu.

It was created for the "FORESTRO SUMMIT" event space held at Forest Limit in Hatagaya, Tokyo in January 011. The sound was selected from natural environmental soundscapes, sound effects, low frequency, electronic music, and experimental music. It is a 70-minute mix including silent time, which is connected to "SOMETHING IN THE AIR" in 2012, which I personally started to experiment with during this period. I tried to create a "sound prescription" worldview that is not ambient, experimental, new age, or healing, but rather a guide to the air and space, a "sound prescription" that you can listen to and feel with your free senses and imagination, while stimulating your perception to a good degree. It is a record of the first phase of the mind-drawing challenge to explore the space between music, song selection and mix arrangement. Ten years after the recording, we felt that the appeal of this mix could be better conveyed by listening to it on cassette tape. Compuma

Artificial Dance founder Interstellar Funk releases Live At The Rest Is Noise - Muziekgebouw aan 't IJ. Limited to 150 cassettes, the recording documents Interstellar Funk’s performance at Amsterdam’s Muziekgebouw concert hall in October 2021. The 45-minute set ebbs and pulses, leaving behind Interstellar Funk’s penchant for hard-wearing club sounds in favour of melody and texture. Some passages mirror elements from the studio album Into The Echo (Dekmantel, 2022), but the live setting allows Interstellar Funk to expand and explore richly detailed sonic spaces that highlight his skills as a composer-performer. Download card included.

I can soak. The 2020 ambient masterpiece "Moss King" for plants, which has also been made into LP & CD, is the latest collaborative album by Omni Gardens and Jogen Salzberg, which is familiar with our store, and released as a cassette from . A gem of work in which meditative and natural beauty-filled new age/ambient sounds are loosely connected on top of Salzberg's soft poetry. Definitely recommended for those who like Iasos and Laraaji! Limited to 300 copies.

Felis Catus and Silence is a breakthrough release for Tokyo composer-guitarist Leo Takami, following the milestone albums Children’s Song (2012) and Tree of Life (2017). Takami counterpoints the soothing aesthetics of prime-era Windham Hill New Age guitar-heroism with meditative, intellectual compositions comprised of ambitious, process-oriented arrangements. While Takami largely wears his genre influences on his sleeve -- jazz, classical, Japanese gagaku -- the influence of ambient music is a tacit foundation of his work. Working diligently outside of any established communities for fringe musics, Takami conjures this association through a patient focus on generous musical intervals. Steady, kaleidoscopic unfolding of his compositions reflect Takami’s creative intent to “become aware of precisely the time and place I am living.” The unabashedly sweet, tuneful virtues of his music in concert with this reflective form provide an artistic relief of Takami’s thematic harmony. “Each song is based on birth and death, and moving onto the next stage...”

Leo Takami, born 1970, studied guitar under Hideaki Tsumura (aka Kamekichi Tsumura) and performs regularly in Tokyo.

Recordings of The pale faced family on the hill took place over a week in January 2020 in a small church hall on the outskirts of London. A small number of electronic music producers decided to form a collective and make heavy ambient music for raw pleasure in the agreement that their identity be withheld. They invited Oliver Coates as a live musician to contribute cello drone which they would then add to, process, subtract from and mix with weather recordings and esoteric ways of generating sounds, including old sample packs and whatever else they had to hand. The results were mixed down to tape live without further editing or arrangement. Wishing to work under a cloak of anonymity, the process freed the producers from their other lives and released output, allowing them to enter a new group alias, to induce heady states of sound and to become a group without hierarchies.

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion. »The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once. What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens. As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

Like the ever changing shapeshifting nature of Kami in Japanese Shinto faith, the music on this new collaborative lp is a mirror reflecting, obscuring or modifying the ever changing rivers of sounds. Louise Landes Levi has a long history in music from studying sarangi with Annapurna Devi and La Monte Young to performing with like minded poets as Ira Cohen and Simon Vinkenoog. As on the previous Ikiru lp she collaborates with Timo van Luijk (Af Ursin, Elodie, Asra, In camera etc) and Bart De Paepe (Ilta Hämärä, Bombay Lunatic Ensemble etc). The trio weaves several delicate threads together into a surrealist, organic but overall poetic language. Includes a postcard. Limited to 500 copies.

12H is a two hours long summa of the very best material produced for the eponymous sound installation, specifically designed by Donato for the Music Bridge - Armando Trovajoli in Rome under the curation of MAXXI Director Bartolomeo Pietromarchi. The original piece translated in music the architecture of the bridge and its surrounding life, layering samples and field recordings in the language Donato knows best: the repetition, rhythm and harmony of different building blocks. The work was originally reproduced by 24 speakers spread along the bridge colonnade, escorting the visitor through different musical places in their crossing. It now takes its final stereo form in this continuous mix version: a dense, enthralling flow akin to Tiber’s murky waters. The original installation was set up by sound engineer Giuseppe Tillieci / Neel, a frequent collaborator of Dozzy in the “Voices from the Lake” project, with Funktion One support.

« Similar to a whale skeleton beached on Tiber’s banks, the Music Bridge connects two parts of the city that had been ignoring one another for centuries. On one side the slopes of Mount Mario dominate the CONI (Italian National Olympic Committee) sports fields where many masterpieces of Italian modernist architecture were built: Moretti’s Fencing Academy, the Youth Hostel, the Olympic Pool and later on the Tennis Stadium and the Stadio Olimpico. On the other side there is Quartiere Flaminio, with its theatre, contemporary art museum MAXXI and Renzo Piano auditorium. Donato Dozzy has converged sport and music in his sound installation for the Music Bridge, recounting the story of the two universes connected there. The work, originally presented in a 12 hours format, was a day-long journey through environmental sounds and Donato’s own melodies. In the new-found synthesis we present today we experience once again time and Tiber flowing together, from the crack of dawn until nightfall artificial lights. »
(Pietromarchi Bartolomeo, Director of MAXXI)

Few DJs and producers are as widely and universally acclaimed in techno circles as Italian Donato Dozzy. He has a rare ability to work his way into peoples’ minds in both contemporary and classical settings, conjuring real mood and atmosphere. Never one to pay heed to the zeitgeist, he prefers to deal in hypnotic soundscapes that really take you on a trip.

Enigmatic as he is, and laidback as he seems, as an artist he is constantly unveiling new work. Displaying a large variation in terms of sound and method across many new releases each year — some of which come on his co-owned label Spazio Disponibile — he also puts out installations for public spaces and museums, uses obscure musical instruments, collaborates with likeminded producers, classical singers or visual artists. Donato seems to continuously challenge himself on a creative level: whatever method he uses, though, he is always likely to permeate your cerebral cortex and rewire it in fascinating and compelling new ways. 

French photographer, musician, and lifeguard Romeo Poirier is also known for his cult favorite "Plage Arrière," a meditative deep sea ambient cassette released on Kit Records. A long-awaited repress of this popular work, originally released in 2020! Is this truly a miraculous fusion of Andrew Pekler and Biosphere? Mastered at Schwebung by Stephan Mathieu. If you like Jelinek or Boards Of Canada, you will love this. Limited edition clear vinyl.

The inner journey of Lorenzo Fortino brings to mind many example of minimal and contemporary music, verging on sophisticated ambient electronics textures. A pleasant experience all in all, a tender scenario and a truly looking-forward album with a real taste for harmony and arrangements. A lifting experience for a mature young composer. (Luca Collepiccolo)

A supreme soundscape! World premiere recording of a 1997 work by a composer/guitarist who has left his mark on the contemporary Mexican music scene! Eblen Macari has been ambitiously developing his unique musical style for 40 years, from the 1980s to the present. Production began. The work was inspired by the sound of the guitar and the ecology of the trees that make up the wood used for the guitar. The influence of Ralph Towner and Egberto Gismonti, whom Eblen admires greatly, and ECM Records, represented by Egberto Gismonti, is reflected especially strongly in Eblen's works.
・Remastered by Kuniyuki Takahashi
・First ever vinyl release (originally released in 1997 on CD)
・Limited to 500 copies
・For fans of Ambient, World music& ECM Records

David Behrman's work released in 1978. A masterpiece that includes "On the Other Ocean," in which flute and bassoon performances are modulated by a handmade synthesizer and computer to develop beautiful sustained sounds, and "Figure in a Clearing," which was composed by David Behrman for the first time using a computer.

"Ambient Music For A Young Girl", a very good new title, has arrived. This is a masterpiece of ambient music that exudes warm nostalgia and a profound sense of tranquility towards the approaching footsteps of autumn. The latest solo album by Cass., one of Germany's most important new age/ambient artists, is now available from Growing Bin. Beautiful. With the music of the foreground, it is a fascinating experience to rescue oneself from ego. After a year of isolation in the current situation, this album is for many people who are going through introspection. Please listen slowly and deeply.

Finally! The long awaited reissue of a very rare album that was originally released in 1985 on For Life! One of the last treasures of Japanese music, highly recommended for lovers of Japanese New Age, Japanese New Wave and Avant New Wave. This is an analog reissue of the only work left by MU-PROJECT, a fantastic unit formed by synthesizer player Ryoichi Kuniyoshi, known for his participation in the works of Riri, Yoshikazu Sasaki, and Motoharu Sano, and engineer Kiyoshi Toba! The original was priced at nearly 30,000 yen and has been long overdue for a reissue. Shuichi Murakami (Ponta), Hideki Matsutake, Kiyohiko Semba (Haniwa-chan), Keishi Urata (Aragon, The Seatbelts), and many others participated in this exotic oriental/ Balearic new age album. I recommend this album to a wide range of listeners who are looking for something out of the ordinary, not only Mariah and YMO, but also to those who like Digital Trip and the Synthesizer Fantasy series!

600 copies. Lovely crafted tip-on sleeve. Remastered from the original master tapes. ** Sunstroke were Ben Bollaert and Etienne Delaruye, both were obsessed with the burgeoning possibilities of electronic music and it made sense that they collaborate in the studio. The resulting experiments culminated in the 1985 release of Nothing's Wrong in Paradise. The record was conceived as a soundtrack to a film that doesn’t exist - a sophisticated meeting of post-Berlin-school dreaming, Yen-records hi-tech calm and Impressionist Café music ennui. What makes it most compelling though, is that even while it conjures a seemingly perfect world, something around the edges lets you know that all might not be as it seems. Maybe there is nothing wrong in paradise. Or maybe that’s just wallpapering over the cracks. The rough edges and regret of everyday life cannot help but intrude. Once you have spent some time with it, the whole record starts to seem bathed in a dim half-light, suggesting utopia glimpsed through a smudged lens. Just like the ethereal space in their music Sunstroke only existed for a moment, a second LP was planned but never materialised, briefl