MUSIC

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages. The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream. At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

Legendary German post-rock band formed in 1971 by undisputed noise pioneer Uwe Nettelbeck, Faust garnered an immediate following due to its artistically extreme experimentations with music cut ups and other mixed sources hinging on cacophony and distortion. Don't miss their 1971 cult classic debut, now reissued with its original clear printed sleeve on 180 gram clear vinyl.

Minami Deutsch 3rd full studio album "Fortune Goodies" "Everyone has their own imagination about outer space, and each one us gets to daydream about what exactly floats or exists there. ‘Fortune Goodies’ is Minami Deutsch’s long-awaited 3rd studio album. While not all the songs on the record function as straightforward Krautrock this time around, they still manage to capture the spirit and heart of the genre. After relocating from Tokyo to Berlin, Miula’s musical vocabulary has greatly expanded, thus resulting in this ultimate Japanese take on cosmic music in 2022.”

Minami Deutsch’s debut album is sated with an absolute love toward Krautrock and the driving Motorik beat. Minami Deutsch was formed by Kyotaro Miula (guitar, vocals, synthesizer) in Tokyo in 2014. Their sound is influenced by both their love for Krautrock legends such as Can and Neu!, and the band members being self-professed "repetition freaks" who heavily listen to minimal techno. The music proceeds straightforwardly with the Motorik beat (Hammer beat), devised by Klaus Dinger (Kraftwerk, Neu!), as its central axis. Humorous, yet bizarre Japanese lyrics are whispered over a hard, cold beat that is maniacally repeated, creating a pleasant ambience of electronic pulses drifting in space. Sharp guitar tones reminiscent of Michael Karoli (Can) occasionally explode into fuzz distortion, on the verge of collapse.

Brast Burn's Debon -- a classic of Japanese Kraut obscurity originally released in 1975 on Voice Records, now digitally-remastered. Brast Burn are often linked with Karuna Khayal, with many aficionados concluding that they were actually the same band. Whether this is true or not remains an unsolved mystery, but one thing is for sure: Brast Burn's one and only recorded outing left an indelible stamp on those who were to follow. Nurse With Wound's Steve Stapleton thought highly of Debon and included it on his "legendary list" that appeared on the sleeve of his band's 1979 debut album. Featuring orchestrated fuzz guitar, echo-drenched percussion, reverbed bass, zithers, assorted taped sounds and vocals that are simply inspired, Debon is an album that's a must for headphones and for devotees of the likes of Faust and Can. A rare musical experience and a vital addition to any record collection.

エレクトロニック・ミュージックの先駆者として、テクノの生みの親として、結成から54年が経過した今なお愛され続ける伝説的なドイツのグループであるKraftwerk。カスタムメイドの電子楽器を製作し、最先端の機器を使用して独自のサウンドを生み出し、アルバム『アウトバーン』などで世界的に高い評価を得た彼らが1970年から1981年にかけて放送していた音源を一挙収録したCD5枚組ボックス！

Six years have passed since Swiss-based duo Klaus Johann Grobe’s last long player “Du bist so symmetrisch” (2018) and you’ll hear they’ve come a long way. “Io tu il loro”, their fourth album for Chicago-based Trouble In Mind Records was written over two weeks in a cabin at the very end of a remote Swiss valley, where - pretty much at the same place - Klaus Johann Grobe came up with their whole debut full-length “Im Sinne der Zeit” album in 2014. What started out as simply making music again quickly turned into seriously making a new album. Once decided, the whole thing was finished rather quickly and recorded once again at David Langhard’s Dala Studio at the end of 2022. “Io tu il loro” is a record that cannot be done by endlessly fiddling around with hundreds of ideas and sounds. All it needed was a real break (Dani and Sevi didn’t work on any Grobe-related stuff until they met up in the mountains in 2022). It’s an album with a blurry vision and soft limitations. You can somehow feel them looking back on all their work forgivingly and then moving on to what felt right. So here we are with nine tracks full of embracing warmth, so melancholicly welcoming you don’t know if you want to smile or cry. Some might call it timeless, some might call it dad-rock... well, it certainly isn’t disco for the masses, it’s more like, “If I can’t make myself dance after four beers, I can as well go home.” So, no disco? No syncopated synths? No German? No reverb? Where’s The Grobe? Take your time, you’ll notice Klaus Johann Grobe aren’t gone, they just took a turn before driving yet into another unknown.

A serendipitous conversation brought the project to life. Moot! allowed the group to re-appreciate the recording process, using a combination of live recording and studio techniques. The album spans psych, alternative rock and post-punk mixed with their signature electronics and sampling practice. The record was made as an experiment, to be enjoyed, not as spectacle.

Kraftwerk 2 is the second studio album by German electronic band Kraftwerk, entirely written and performed by founding Kraftwerk members Ralf Hütter and Florian Schneider in late 1971 and released in January 1972. Perhaps the least characteristic album of their output, it features no synthesizers, the instrumentation being largely electric guitar, bass guitar, flute and violin. On the second side, the more rock-oriented origins of the group still cling on, mostly without any percussion whatsoever.

In fact, Organisation was the first iteration of Kraftwerk and if the band had managed to overrule its record label, RCA, Tone Float would have been credited as such. But given that the album was to be released only in the United Kingdom, the label opted for the more Anglicized name, "Organisation". Tone Float is the only album produced under this name and is a seminal example of the genre. Audiences in West Germany were fortunate enough to watch and listen to the whole album, played live for German television station, EDF, and it is this broadcast featured here.

知られざる奇跡的邂逅が蘇る−−今から遡ること四半世紀前の1998年8月27日、ブライアン・イーノ、CANのホルガー・シューカイ、J・ペーター・シュヴァルムが繰り広げたインプロヴィゼーション・ライヴがこのたび、発掘音源『Sushi. Roti. Reibekuchen』としてリリースされる運びとなった。

1990年代といえばブライアン・イーノが「歓迎されないジャズ（Unwelcome Jazz）」と呼んだ「新種の音楽」としての独自のジャズにアプローチしていた時期でもある。その成果は名称を変えて1997年のアルバム『The Drop』にまとめられることになるのだが、翌1998年に彼はまさに自身がアプローチしていたジャズに近しい音楽と運命的な出会いを果たすことになる。それがJ・ペーター・シュヴァルムによるバンド・プロジェクト、スロップ・ショップのデビュー・アルバム『Makrodelia』（1998年）だった。意気投合した両者はコラボレーションを開始し、2000年に伶楽舎とディスクを分担した2枚組『music for 陰陽師』を、2001年にはCANのホルガー・シューカイを含む多数のミュージシャンを交えた『Drawn from Life』を完成させる−−のだが実はそこには前日譚があった。

イーノがシュヴァルムと知り合って間もない頃、3回目に会ったのがこのたびの発掘音源のリハーサルだそうである。そしてそこにはスロップ・ショップのベーシストであるラウル・ウォルトンおよびドラマーであるイェルン・アタイのほか、シュヴァルムが初めて対面する、カンの創設メンバーでありベーシストとしても知られるホルガー・シューカイがいた。イーノとシューカイはすでに『Cluster and Eno』（1977年）および『After The Heat』（1978年）で共同作業していたが、いずれもシューカイが参加したのは1曲のみ、かつベーシストとしての客演だった。しかし発掘音源に収められたイーノおよびシュヴァルムとのセッションでは、シューカイが「ラジオ・ペインティング」と呼ぶような、短波ラジオとテープを用いたサンプリング／コラージュを行っている。ともかく、三者が揃ってライヴを披露するのは初めてのことだった。しかもウォルトン、アタイを含む5人のメンバーが揃って演奏を行う機会はその後ついに訪れなかった。奇跡的な邂逅と言っていいだろう。

ブライアン・イーノが当時ライヴを行うこと自体も珍しかった。だがこの発掘音源の元となった「Sushi! Roti! Reibekuchen!」なるイベントはやや特殊なものだった。食べ物をタイトルに掲げているように、主役は料理人なのである。というのも、ドイツ・ボンの美術展示館で開催されたイーノによるインスタレーション展のオープニング・パーティーとして野外で行われたイベントだったのだが、字義通りパーティーであり、会場では大勢の来場者に料理人たちが食べ物を振る舞っていた。そうした中、用意されたステージでドローンが鳴り始め、そして5人のミュージシャンが即興で演奏を行った。イーノによればこのイベントにおけるパフォーマーは料理人たちであり、自分たちが作っているのはバックグラウンド・ミュージック。つまり音楽のパフォーマンスではなく、バックグラウンド・ミュージック付きの料理のパフォーマンスなのだという。イーノらしいコンセプトだと思うが、しかし、ステージで魅せる音楽は少なくない観衆の耳を釘付けにした。イーノとシュヴァルムが作り出すミニマルでアンビエント／ドローンなサウンドに、ホルガー・シューカイのサンプリング／コラージュが色を添え、そしてラウル・ウォルトンとイェルン・アタイは時に人力ドラムンベースのごとく怒涛のグルーヴを生み出していく。演奏は2セット、計3時間にもおよび、最後は警察に電源を切られて強制終了させられたという逸話さえ残っている。

発掘音源『Sushi. Roti. Reibekuchen』に収められているのは、そのような計3時間のライヴから抜粋された5つのトラックである。「料理のパフォーマンス」に付随するバックグラウンド・ミュージックとして構想されたライヴは、こうして音源化されることで新たに主役の座に躍り出る。そこから聴こえてくるサウンドは、ブライアン・イーノ、ホルガー・シューカイ、J・ペーター・シュヴァルムという三者の一期一会の本格的なインプロヴィゼーションであるとともに、ただ貴重な記録というだけに留まらず、アンビエント経由の「歓迎されないジャズ」に類する音楽が生演奏で収められた作品として、四半世紀経った2024年現在も実に興味深く思えるのである。

Text by 細田成嗣

Horse Lords bring the fervor and fury of their live show to the confines and comfort of your trusted playback device with As It Happened: Horse Lords Live, a collection of recordings that capture the quartet’s galvanic energy as never before while toying with the trope of the live album. Captured at a series of concerts across Europe spanning Horse Lords’ multiple 2022 and 2023 tours, As It Happened is a mediated, sometimes obviously edited presentation of a live performance that strives for a certain level of idealization. With performance at the center of the band’s practice, and elements of chance colliding with Horse Lords’ tightly composed and complex music, As it Happened works as both provocation and total jam.

Milan's Palalido, 1981 crackles with Kraftwerk's Computer World tour. Robotic rhythms, neon lights, anthems like "The Model" and "Numbers" ignite. A time capsule of synthpop mastery, future sounds live.

YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku). Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds.

Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called "a huge beating heart, planet-sized and awesome." Originally released in 1972 on Brain, Cluster II features six pieces of atmospheric, proto-ambient drones – a step up from Cluster's 1971 self-titled debut, which had all untitled songs. On "Im Suden," hypnotic bass pulsations and repetitive guitar patterns flow serenely, while side two opener "Live In Der Fabrik" dives deep into Roedelius and Moebius' foreboding industrial soundscapes and synergistic textural interplay. As Roedelius told Uncut magazine in 2022, "This feels like a breakthrough? Well, we were just getting more into it, and getting more experienced at being able to elaborate it. Conny (Plank) was working with us again – as well as being a multi-talented artist, he was a very experienced sound master and great human being. He contributed as a fellow musician, adding sounds with his mixing table such as reverb, delay and other effects enriching the whole pieces so that they finally became somehow unique." It's no surprise that when Neu! guitarist Michael Rother first heard Cluster II, he suggested a collaboration with the band – resulting in the supergroup Harmonia who would make their first album together the following year.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their debut album 'Small Medium Large' began as a collection of long form improvisations recorded during two separate two-night stands at beloved Highland Park, Los Angeles venue ETA. Unfortunately, this major development site for the burgeoning new West Coast jazz & improvised music sound closed its doors permanently at the end of 2023. The venue, perhaps best known outside of LA for Jeff Parker's 2022 album 'Mondays at the Enfield Tennis Academy', was the perfect location for the start of SML, especially given that both bassist Anna Butterss and saxophonist Josh Johnson are part of Parker's quartet that held down a regular gig at ETA since the venue's early days (and hence thoroughly documented, heard on Parker's album). 'Small Medium Large' was engineered and recorded in stereo direct to Nagra by Bryce Gonzales and compiled, arranged, and edited with additional production, recording, and studio composition by SML across their various home studios. While editing, chopping, and rearranging stereo mixed improvisations is hardly a new idea (for a modern and relevant example we can look to Makaya McCraven's output on IARC) these results are a stunning expansion of the Teo Macero / Miles Davis editing concept explored on classics like 'In a Silent Way', 'On The Corner', and 'Get Up With It'. Stylistically though, these recordings have more in common with the proto-trance repetitions of Harmonia, and with Holgar Czukay's re-assembly technique used in his work with Can. Throw in a supremely intuitive utilization of polyrhythmic floating patterns (a la Susumu Yokota), and the result is a truly innovative take on time-clocked electronic rhythms augmented with live instrumentation that never loses that elusive human sway. 'Small Medium Large' is a sublime assemblage of circulatory grooves and textural anomalies, at different moments recalling the synth-laced improvisations of Herbie Hancock's Sextant, the jagged dance punk of Essential Logic, the rhythmic revelry of Fela Kuti, the low-end elasticity of Parliament/Funkadelic, or the glitchy dub techno of Pole. Taken in totality, the album captures a euphoric creative synchronicity between some of today's most exciting musicians.

Kraftwerk is the self-titled debut album by the Düsseldorf band Kraftwerk. It was produced by Conny Plank and released in 1970. LP on 180-gram vinyl with gatefold sleeve.

Ash Ra Tempel's fourth LP marked something of a pause, a recap, especially after the surprising Seven Up (which featured Timothy Leary as a guest). The temporary return of Klaus Schulze also greatly contributes to this feeling of summation. The album features two side-long pieces that represent literally two sides of the band, the Krautrock and space music incarnations. "Freak 'n' Roll" is a 19-minute hard-hitting jam, with Schulze bashing away behind the drums and Manuel Gottsching churning some mean guitar riffs while Harmut Enke ploughs heavy basslines. The track is actually an excerpt from a longer improvisation and begins with a fade in that throws the listener in the middle of an already heated session. Long but hardly long-winded, this track deserves a place alongside Can's "You Do Right" and Faust's "Krautrock": it has the drive, the psychedelic appeal, and the creativity of what epitomized the Krautrock style in the minds of young Englishmen and Americans for a while. The 24-minute "Jenseits" sees Schulze at the Synthi A and the organ, weaving dreamy drones and uplifting chords for Gottsching to doodle over. Enke's lines are not always as relevant as one would wish, and Rosi Mueller's soft-spoken narration seems to get in the way during the first few minutes -- in short, this is not Ash Ra Tempel at their ethereal best, but it's still a fine exercise in late-night musical dreaming that will appeal to fans of Phaedra-era Tangerine Dream while not misrepresenting that aspect of the group's work. And put together, those two pieces make a very fine introduction to the first few years of Ash Ra Tempel. ~ Francois Couture

Resolve acts in dialogue with the minimalist inspirations of the first Arnold Dreyblatt & The Orchestra of Excited Strings release, 1982’s Nodal Excitation – in effect, looking beneath the hood of several decades of progression to review and renew the revolutionary intent of their microntonal foundation credo. This new Orchestra – Oren Ambarchi, Konrad Sprenger and Joachim Schütz – combine effortlessly to explore new scalar dimensions. PLAY LOUD.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their debut album 'Small Medium Large' began as a collection of long form improvisations recorded during two separate two-night stands at beloved Highland Park, Los Angeles venue ETA. Unfortunately, this major development site for the burgeoning new West Coast jazz & improvised music sound closed its doors permanently at the end of 2023. The venue, perhaps best known outside of LA for Jeff Parker's 2022 album 'Mondays at the Enfield Tennis Academy', was the perfect location for the start of SML, especially given that both bassist Anna Butterss and saxophonist Josh Johnson are part of Parker's quartet that held down a regular gig at ETA since the venue's early days (and hence thoroughly documented, heard on Parker's album). 'Small Medium Large' was engineered and recorded in stereo direct to Nagra by Bryce Gonzales and compiled, arranged, and edited with additional production, recording, and studio composition by SML across their various home studios. While editing, chopping, and rearranging stereo mixed improvisations is hardly a new idea (for a modern and relevant example we can look to Makaya McCraven's output on IARC) these results are a stunning expansion of the Teo Macero / Miles Davis editing concept explored on classics like 'In a Silent Way', 'On The Corner', and 'Get Up With It'. Stylistically though, these recordings have more in common with the proto-trance repetitions of Harmonia, and with Holgar Czukay's re-assembly technique used in his work with Can. Throw in a supremely intuitive utilization of polyrhythmic floating patterns (a la Susumu Yokota), and the result is a truly innovative take on time-clocked electronic rhythms augmented with live instrumentation that never loses that elusive human sway. 'Small Medium Large' is a sublime assemblage of circulatory grooves and textural anomalies, at different moments recalling the synth-laced improvisations of Herbie Hancock's Sextant, the jagged dance punk of Essential Logic, the rhythmic revelry of Fela Kuti, the low-end elasticity of Parliament/Funkadelic, or the glitchy dub techno of Pole. Taken in totality, the album captures a euphoric creative synchronicity between some of today's most exciting musicians.

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 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.

‘Born out of the 2020/21 lockdowns, a small window over New Year’s Eve gave four friends a chance to come out of isolation and play music together. Sat up on the lush Bilgola hills, the first Posm jams came to fruition and cemented a desire for further collaboration. Over the next two months Posm became an obsessive catharsis for socially starved marsupials, with free flowing live improvisations combining electroni- ca and organic instruments, psychedelic bushwalks and playing host to the Bilgan birds and critters. This is Posm, with the birds.’ All tracks produced and mixed by Jackson Fester at the Hudson Hideout & Bilga Tops. Instruments performed by David Williams, Gabriel Portocarrero, Ryan Thomas, Oscar Henfrey and Jackson Fester.