Ambient / Minimal / Drone

Originally released in 1978, Music By William Eaton is a private-press album from the accomplished experimental stringed instrument builder. The atmospheric recording techniques, mixed with a hint of Fahey/Takoma-lineage make for a listening experience akin to the mountainscape drawing represented on the album cover. The experience may seem simple at first, but like any great trip in nature, new details consistently reveal themselves upon each listen.

“When I started building instruments, playing guitar took on a whole new dimension. From the conception to the birth of each instrument, new layers of meaning unfolded. Cycles, connections and interdependencies became apparent as I contemplated the growth of trees from seed to old age, and the transformation from raw wood to the building of a musical instrument. I sought out quiet natural environments to play and listen to the “voice” of my 6 string, 12 string, 26 string (Elesion Harmonium) and double neck quadraphonic electric guitar. Deep canyons contained a beautiful resonant quality and echo. A starlit night with a full moon provided all the reflection and endless space by which to project music into the cosmos. The sound of a bubbling stream and singing birds added a natural symphonic tapestry to a melody or chord pattern. As I perceived it, everything was participating in a serendipitous dance. Everything was part of the music.

During this time, I decided to record an instrumental album of music. The idea was simple; it would be a series of tone poems with no titles or any information attached, only the words ‘Music by William Eaton.’ While some of the songs evolved out of composed chord progressions, most of the songs were played spontaneously, only on the occasion of the recording. These improvised songs haven’t been played since.” -- William Eaton

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.

Emerging on vinyl for the first time since it’s original pressing, "Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.

An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of the year.

Side A: Motore immobile 16:59
Organ: Danilo Lorenzini, Michele Fedrigotti
Violin: Giusto Pio
Voice: Martin Kleist

Side B: Ananta 13:58
Organ: Danilo Lorenzini
Piano: Michele Fedrigotti

約50分に及ぶ4つの未発音源も追加収録！吉村弘、高田みどり、イノヤマランドにも並ぶ国産ニューエイジ/アンビエント最大級の再発案件が到来です！日本が誇る孤高のアンビエント作家、広瀬豊がそのカタログ2としてMisawa Homeレーベルに残した1986年の唯一作が、高田みどり、Colored Music、Normal Brainと日本の音楽秘境も発掘してきたスイス発の最重要再発レーベル、We Release Whatever The Fuck We Want から拡張版となって初となる公式CD/ヴァイナル・リイシュー！元々は、1986年から1988年にかけて、ミサワホームのプレハブ住宅のための『Soundscape』シリーズの一環としてリリースされるも、昨今のニューエイジ再評価の流れで一気に高騰・入手困難と化していた一大傑作！静謐なミニマリズムが呼吸をし、水や虫、鳥などの声のフィールド・レコーディングやまばらなベルの音、ピアノ、シンセサイザーなどが用いられ、大自然の原風景をも思い起こすような神秘的なアンビエント・サウンドを描き出した伝説の一枚。母体回帰のような類い稀なる美しさを秘めた作品です。本人によると「いわば、音楽というよりは、音の彫刻」であるという、インスタレーション用に製作された50分に及ぶ当時の未発表音源も追加収録。デラックス・ゲートフォールド・スリーヴ仕様。本人によるライナーノーツが日本語&英語で記載されています。これが数年前まではレコ屋やリサイクルショップで投げ売りされていたと言うんだからとんでもないことです。

"Singing in Unison" is the latest in a series of recordings from acclaimed sound artist, composer and performer Yoshi Wada. Recorded live over two nights, March 14 and 15, in 1978, at New York City's legendary performance space The Kitchen, "Singing in Unison" is a dramatic yet meditative work: modal improvisations for three male voices, singing, with great gravitas, in purposeful unison. These previously unreleased recordings, featuring vocalists Richard Hayman, Imani Smith and Wada himself are extremely powerful, with a glacial majesty and a sense of timeless wonder. Wada's earliest musical memories are of hearing Zen Buddhist ritual chants in his native Japan, and those memories are reflected in the deep vocalisations here; also evident is Wada's period of intense study with Indian master singer Pandit Pran Nath. Thus there is a definite "Eastern" feeling to "Singing in Unison", with further elements added by Imani Smith's Sufi background and Wada's interest in Eastern European vocal styles, but the music is also informed by Wada's experiences in the Fluxus movement and as a member of the New York avant-garde community. The edgy atmosphere of 1970s New York City pervades these recordings, adding a hint of menace. Despite the fact that this is purely vocal music, fans of the slow-moving heaviosity of Sunn 0))) will appreciate "Singing in Unison". Yoshi Wada has four previous releases on EM Records: "Lament for the Rise and Fall of Elephantine Crocodile" [EM1074CD]; "The Appointed Cloud" [EM1076D]; "Off the Wall" [EM1078CD]; and "Earth Horns with Electronic Drone" [EM1081CD]. "Singing in Unison" is available in two formats: a single CD of the March 15 performance, with gatefold sleeve; or a triple LP set featuring a complete version of both performances, March 14 and 15.

Orange Milk / Noumenal Loom ~ A marvelous piece that greatly updates the view of ambient after the New Age Revival! Takao, a Japanese artist who was influenced by Motohiko Hamase, Toru Takemitsu, Akio Niitsu, Yann Tomita, Sean McCann, etc., released voluntarily from Bandcamp in June this year, and the work "Stealth" that involved peripheral artists and attracted attention The physical version of EM Records is now available!
This work, which took a year and a half to complete, has an unusually short time of 33 minutes with 13 songs, but in a blink of an eye, it is swallowed by the transition of a magnificent time. I am impressed by the outstanding ambient view that looks after Post-Internet-New Age Revival and the solitary soundscape that fascinates the standard of the current experimental scene with a stylish sound that is one or two steps ahead! In addition to the former influenced by Hiroshi Yoshimura, Midori Takada, Nuno Canavarro, Haruomi Hosono, etc., it is said to be a big stone thrown in to push the timeless view of ambient music to the next stage. It should be a work. And even from the point of view that Japanese writers have achieved it, this is a release that cannot be overlooked. Mastering is done by Takuto Kuratani, also known as Ruv Bytes. I am deeply drawn to the artwork that Takao himself shot in Shonan.

A mysterious board (dare to say Hawaiian Electronic / New Age?) Produced independently in 1975 by Japanese Hawaiian musician and playwright Frank Tavares, which seems to make the genre setting malfunction. The only instrument used is the synthesizer. I tried to reconstruct the land of Hawaii with sounds by superimposing human voices and field sounds, inserting Hawaiian folk songs and my own drama works, and champuruing Hawaiian, English, Japanese, and Filipino. With the help of too unique developments and electronic sounds, we invite us to a different world that seems to be stoned. It is also said to be the first Hawaiian music to make all of the tracks with synthesizers (Is there any other Hawaiian folk song that approached from electronic music in the first place?).

The latest work "Hear / Here", which is M's fifth work in total, was recorded in his hometown of San Francisco, where he produced the masterpiece 1st "Isophonic Bugiugi" (1980), which is his origin. He moved to New York in the early 80's. He suddenly moved to Israel in 2013, but returned to San Francisco last year. This latest composition collection "Hear / Here" was produced there.

Roland, who consistently produces works with improvisational composition, has a top-notch mix of electronics and acoustics, with a sense of Pharaoh Sanders, techno, electronic music, and classical music. The spirituality and ambientness, and the (

This work is a cutting-edge attempt to create a new Amazon by using "Amazonia" (1990), an Amazon expedition record by Finis Africae, a classic of Balear Relic, as a sound material. Strongly inspired by Toru Takemitsu, Joji Yuasa, Charles Ives, Juan Alberto and others, this work has strong elements as classical and contemporary music, but it makes full use of analog and digital instruments and recording techniques, collage and sound art, We will cook shredded materials from various perspectives such as electronic music and folk music. The finest natural beauty and psychedelia, in the endless inner universe that spreads in front of the listener, the electronic sound that shimmers like a heat haze leads, and the magnificent nature and the earth beat on the leaves of the sound, a pleasant ambience Cosmicche soundscape that wanders into the unexplored interior with the wind. This emotional melody is truly unique.

The latest work "Hear / Here", which is M's fifth work in total, was recorded in his hometown of San Francisco, where he produced the masterpiece 1st "Isophonic Bugiugi" (1980), which is his origin. He moved to New York in the early 80's. He suddenly moved to Israel in 2013, but returned to San Francisco last year. This latest composition collection "Hear / Here" was produced there.

Roland, who consistently produces works with improvisational composition, has a top-notch mix of electronics and acoustics, with a sense of Pharaoh Sanders, techno, electronic music, and classical music. The spirituality and ambientness, and the (

In the previous work "Isted Serenade", the amplification was modest and the emphasis was on the deep acoustic sound, but in this work, his new frontier is heard with the electro sound that has been synthesized (synthesized). On the surface, that's the case, but his philosophy "isophonic" is still pierced in the core, and what is expressed through Young's unique conprovisation (composition and improvisational compound word) is "isophonic. His world that continues from "Bugiugi". Therefore, the degree of discipline of the sound is different from that of the electro guys there, and the density is able to withstand deep listening. Also, the sound pressure and facial expression of the sound was a problem until the end of completion, and his realism still living in Brooklyn is reflected in the tension of this aggressive and tingling sound.

Around 1967, mysterious music began to play in my head, and I heard that I began to listen to it naturally. The beautiful music that emerges from within him uplifted, healed and exhilarated his spirit. He called it "paradise music", referring to this type of music that he had never heard before. (From the commentary) -Yassos, who was born in Greece and raised in the United States, began to feel the light called Vista (the existence of light near the forehead), and from the records of communication and telepathy with them, human beings. I created a musical piece to help lead to the next stage. This album, which is the 1st album of 1975, makes you feel free, profound, spiritual, and even beyond the galaxy, so that the image of the word New Age (80's etc.) changes 180 degrees. It's a magnificent and very visual album. A truly true spiritual mix of electronically modulated flutes and steel guitars, spacey electric pianos, and natural sounds such as waves and animal calls, taking you to an unmeasurable world.・ The monumental tower of cosmic music. Close your eyes and keep listening deeply. You will have access to new visions and locations.

Captain Ganja + Haruomi Hosono + A. Russell !? This is the rumored Pure Land Dub New Age Base! A natural talent who fell in love with that Tapes, a new album of all 7FO songs has been completed !!!! A fluffy daydream experience with Nirvana BGM with a faint grassy scent. Offers from leading labels such as RVNG and Bokeh Versions are coming in, and the attention is rising overseas overseas, but Japan is left behind? I hear a voice saying, but wait! We kept waiting for this talent to stone and explode, and finally it was time to awaken !!!!!! The decisive difference between 7FO and conventional electronic music writers is that it treats ambient-new age synth electronics with natural ethnicity like dub-reggae, with a feeling that Westerners do not have. That's the point. That sense is the reason why it produces the sound that the times demand, and is supported by RVNG-like new age-electronic music, new roots revival to extreme bass music, and La Monte Young to Equiknoxx fans. In a metaphorical way, what would happen if Haruomi Hosono from the YEN-Monad period appeared in the 2010s base scene? That is, it still has a mysterious potential. If you tell someone who doesn't know anything about the charm of "Ryu no Nukegara", you can get the true value straight away! ?? Natural high additive-free chill-out decision board that will be a landmark of 7FO that told that Tapes "There is no reason for me to make music ..." (The binding by Hiroto Higuchi is this sound Successful visualization.)

Finis Africae, a group without fixed members organized in Spain in the early 1980s by Huang Alberto Arteshe Guell, is a studio project that emphasizes work, especially "Amazonia" (1990) in the far north. It is a standing masterpiece. Inspired by Conan Doyle's adventure novel that he once read, Huang Alberto develops a soundscape that depicts the fantasy unexplored Amazon that circulates in his brain. In the late 80's, Arteshe upgraded his studio equipment to 16 tracks, and the technique he had tried on his two albums was complete. Manipulating many European and African instruments, overdubbing most of them alone, and combining the natural sounds of wind and rain, birds, insects and creatures, this "Amazonia" has a mysterious atmosphere and a mysterious sign. Expression. His unique organic groove feeling is also very comfortable, and it became a masterpiece worthy of its name (* note).

* "Africae" is an old name for "Africa" in Europe based on Latin, and adding "finis" creates nuances such as the farthest land and unknown places.

+ Japanese / English publication
+ CD version: Paper jacket, liner included
+ LP version: Liner included

Every year, Levon has captivated the audience with his enthusiastic Philleco work, but he is also enthusiastic about this work !!! This work is an Amazon expedition record by Finis Africae, a classic of Balear Relic, "Amazonia" (1990) ) Is used as a sound material to create a new Amazon. Strongly inspired by Toru Takemitsu, Joji Yuasa, Charles Ives, Juan Alberto and others, this work has strong elements as classical and contemporary music, but it makes full use of analog and digital instruments and recording techniques, collage and sound art, We will cook shredded materials from various perspectives such as electronic music and folk music. The finest natural beauty and psychedelia, in the endless inner universe that spreads in front of the listener, the electronic sound that shimmers like a heat haze leads, and the magnificent nature and the earth beat on the leaves of the sound, a pleasant ambience Cosmicche soundscape that wanders into the unexplored interior with the wind. This emotional melody is truly unique. Undoubtedly one of the most important masterpieces in the second half of the year.

This time too, it's extremely rich !!! The second edition of the Spanish miracle Finis Africae by EM is an editing board that is organized in organic ambient with the famous song El Secreto De Las 12 at the top !!! Of course, it is highly recommended for new age lovers. !!!!

The second installment of Finis Africae is finally the appearance of the Anno song! A 6-track mini-album titled "El Secreto de las Doss (The Secret of Midnight)", a Balearic classic that has been played since the 1980s! There is no duplication of content with the previous work "A Last Discovery"! !!

"El Secreto" is a song from Finis Africae's 1st album released in 1984, by Jose Padilla, DJ of the cafe "Cafe del Mar (Sea Cafe)" in Ibiza, Balearis Islands. I fell in love with it and quickly defined it as a "chill-out" tune. It is a chill-out classic that has been recorded on mixtapes that he has been selling for a long time, and has been established as an organic groove classic beyond the ambient techno / house era.
It seems that only "El Secreto" is recognized in the DJ world, but Finis Africae is a unit that has crossed over various sounds independently with an experimental feeling since NEW WAVE (leader Huang Alberto). There are many songs that have the same impact as "El Secreto" (also famous for musical instrument nerds), and there are also fans who love the essence. In this album, Finis Africae's "Ambient" degree is deeply cut, and works comparable to "El Secreto" are compiled from the 1st / 2nd / 3rd album. There is no dance music, only deep listening is supported. The deepest part of Finis Africa, dense 32 minutes! (It is also an ant to play as ambient music)


+ 48khz / 24bit latest remaster. CD and LP versions are separate masters
ring.
+ LP version: Enclosed in a single-sided perforated sleeve.
+ CD version: Maxi case included.