MUSIC

Carl Stone continues his late career prolific renaissance with a new album of sculpted, tuneful MAX/MSP fantasias. Stone “plays” his source material the way Terry Riley’s In C “plays” an ensemble – with a loose, freewheeling charm connected to the ancient human impulse to make sound, melody, and rhythm from anything. Stone’s unique technique simultaneously focuses and sprays sound like a symphony of uncapped fire hydrants. Is this techno, avant-garde, sound art? It’s simply (or rather fantastically messily) Carl Stone.

Underwater Electronic Orchestra is a captivating blend of electronic experimentation and avant-garde aesthetics. Labat’s intricate compositions, characterized by layered synth textures and unconventional rhythms, create a sonic landscape that is both immersive and thought-provoking. Released in 1976, the album challenges traditional musical boundaries, offering listeners a glimpse into Labat’s innovative approach to electronic music.

More Japanese lysergic madness ! The 1972  soundtrack for Shuji Terayama's visionary movie of the same name contains all the elements necessary to reach composer & theatre producer J.A. Caesar's intended pleasure-centers. Disturbing, but in the end truly innovative, this soundtrack is as certified gateway to the underworld in the vein of classic by Faust, Cosmic Jokers or early Amon Düül.

"This mighty soundtrack for Shuji Terayama's nihilistic movie of the same name contains all the elements necessary to reach J.A. Caesar's intended pleasure-centers. Here, turmoil, mind-numbing repetition, abject misery and grisly partriarchs abound, and all orchestrated by Caesar's damaged proto-metal and choral-led psychedelic sound. Mind-infesting in the truest sense, this soundtrack played in the dark is as certified a Gateway to the Underworld as any acknowledged classic by Faust, Magma, the Cosmic Jokers, Ash Ra Tempel or early Amon Düül." --Julian Cope, Japrocksampler.</p><iframe width="560" height="315" src="https://www.youtube.com/embed/0KGi-KJQkak?si=-GuIwoImAyG7euYw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

Outstanding and limited compilation of Turkish Jazz-Funk rarities. The release explores what happened when Western music styles such as modal jazz, bossa nova, fusion and funk met Arabic folk music, tone scales and rhythm structures in the late sixties and seventies in Turkey and Egypt.

After forming in the mid `60s and gradually finding their sound, A Bolha carved out a unique spot in Brazil's underground scene with their mix of fuzzed-out riffs and a hard-hitting, soulful rhythm section. Sem Nada was released in 1971 during the era when Arnaldo Brandao was on bass, and when the band was at its heaviest and most trippy.

Punk Slime Recordings are proud to present the debut album from Gothenburg quintet Hollow Ship, the follow-up to the acclaimed debut 7” We Were Kings from late 2019. Due on April 3, Future Remains is a massive introduction from the band, showcasing their unique take on psychedelic rock which sounds like nothing else around, expertly produced by Hollow Ship together with Mattias Glavå (Dungen etc) on the majority of the album and working with Daniel Johansson on opening track “Take Off”.

A lot of new bands take their time in finding their feet; working their way slowly to the sound they want to project, and figuring out what it is they want to say gradually, as they go along. Not this one, though - both sonically and thematically, Future Remains sees them storm out of the gate with a crystal-clear mission statement. Somewhere in the space behind a well-worn eight-track recorder and the polish of present-day production, Hollow Ship have lift off.

言わずと知れた大名盤！カナダを代表する世紀のポスト・ロック・バンド"Godspeed You! Black Emperor"が、1998年に名門インディ・レーベル〈Constellation〉より発表した歴史的デビュー・スタジオ・アルバム『Yanqui U.X.O.』がアナログ・リイシュー。アンビエントやドローン、フィールド・レコーディング、室内楽などの要素を、メランコリックにして服喪なアトモスフィアへと落とし込んだ終末的ポスト・ロックの大傑作。

AKARMA

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.

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.

Incredibly, Yoshiko Sai's masterpiece, Taiji no Yume, was quietly released on cassette in 1977! This legendary collector's item, known only to a few, is now being happily reissued in its original cassette format. Following her first album, Yuji Ohno returns as arranger, lending greater musical support to Sai's world of sublime strangeness, reminiscent of the works of Kyūsaku Yumeno. As the title suggests, "A Fetus's Dream" is a journey deeper into the inner spiritual world. Yoshiko Sai, at the tender age of 24, was an isolated figure—a poet, painter, and singer. The jacket features an illustration by Sai herself, distinct from those on the CD and LP. This is truly a must-have collector's item for fans.

Exhumed '77 OST frond 'Riddles Of The Sphinx'…magick Mike Ratledge unfurls coils of ARP, Moog & VCS-AKS via Denys 'Lucifer' Irving's hacked Z-80 sequencer…these post-Soft Machine plumes spiral in stasis to the frame pans and lock down Maddox & Mulvey's dialogue like SE17 dunes…the concentric riddle of the missing original master tapes…film reel audio prised from the BFI vaults & transferred straight to zeros & ones by hieroglyphic happenstance…this acrobatic dredge has revealed more than enough mercury to further protract the riddles within…"You've got my number if you need anything"…IBM

Originally released in 1974, Dzyan’s third and final album is a Krautrock masterpiece, blending daring world beat, jazz-prog, and mysticism. Multi-instrumentalists experiment with exotic sounds and inventive instruments, creating a psychedelic, otherworldly work—an enduring highlight of German rock. Originally released in 1974 on famous German label Bacillus, Dzyan's third and final album,it is recognized for its daring world beat elements, and totally acidic album cover art. Dzyan refined their sound even further into improvisation and exotic sounds, mixed with weird experimentations and mysticism. It offers other-worldly music of incredible beauty and strangeness, influenced by the music of Asia but taking it into far more original realms. Multi-instrumentalists Marron and Karwatky experimented with sitar, saz, tambura, mellotron, synthesizers, bass-violin, and a mysterious invented instrument called 'super-string', all merged in an extreme melting pot of styles, ideas and fertile imagination, interacting into a 'psychedelic worldgroove'; while Giger, bursting with creative power and virtuosity, holds it together with his fantastic drumming. From the weird opium-den trancesoundtrack of 'Khali' to the more funky 'For Earthly Thinking', to the even wilder tracks like 'The Road Not Taken', Dzyan crafted one of the finest and most unique works of the Krautrock era. An amazing work on its own, rhythmically adventurous and unique jazzprog, is indeed one of the landmarks in experimental rock, a masterpiece. A highlight in German rock history.

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

Originally released in 1979, Sei Note In Logica (Six Notes In Logic) is Cacciapaglia's second album. While his debut, Sonanze, offers a series of ambient mini-soundtracks, Sei Note presents a singular, sinuous piece. The composition is based on a finite set of musical notes, yet this limitation is the point of departure for a grand tour of possible combinations and enthralling timbres (marimbas, strings, reeds and human voice).

Like Steve Reich's Music For 18 Musicians, the joyous experiment of Sei Note is grounded in constant variation. Often doubled by multiple instruments, non-repeating patterns are exquisitely layered, while electro-acoustic signals transform and further refract through visceral effects. Within this conceptual framework, Cacciapaglia does not so much juxtapose rigid dichotomies – acoustic vs. electronic, melodic vs. dissonant, simple vs. complex – as fuse them into an expansive whole.

What started as an inspired study in Minimalism becomes a bold feat of 20th century music. Sei Note In Logica is deeply sincere and, at the same time, quite playful. With one foot firmly planted in the past and the other steeped in technology, Cacciapaglia's influence can be heard in the work of Jim O'Rourke, Fennesz and Ben Vida.

Rumah Sakit were a four-piece rock band based in San Francisco, CA. The group began to take shape in 1998 after guitarist John Baez, bassist Kenseth Thibideau and drummer, Jeff Shannon, all moved from Redlands to San Francisco. Fully formed once guitarist Mitch Cheney quickly joined, the band settled on the name Rumah Sakit – a literal Indonesian translation of “sick room” (aka hospital) – and a sound that fused the frenetic energy of Red-era King Crimson with a meditative melodicism that starkly contrasted the vast majority of so-called “math-rock” bands of the era. Soon thereafter, Rumah Sakit entered the studio for the first time to record what would become their eponymous debut album.Rumah Sakit was recorded in 1999 at The Music Annex – a hallowed megaplex that counts diverse icons such as Erik Satie, The Tubes, Michael Hedges, Montrose, and American Music Club amongst its many historical clients – in two somewhat clandestine overnight sessions with good friends and studio interns, Jay & Ian Pellicci. The album was made with a “no tricks” philosophy that would come to define the band’s approach to performing and documenting their music. Recorded entirely live with no overdubs in very few takes, the band embraced the art of using the natural presence of the room and strategic gear placement to capture the purest and most accurate representation of those songs in those moments. In an era that was quickly being transformed by the burgeoning popularity of ProTools and meticulously manicured, maximalist mixes, the world inside of Rumah Sakit was a refreshing respite.A year later, in the fall of 2000, Rumah Sakit flew renowned Chicago recording engineer and Shellac bassist, Bob Weston, out to San Francisco to spend two brief days recording an EP at John Vanderslice’s Tiny Telephone Recording. This EP would be released as part of Temporary Residence’s subscription-based CD series, Travels In Constants (alongside Mogwai, Low, Explosions In The Sky, Eluvium, and MONO). Aside from the original pressing of 1,000 CDs reserved for subscribers, the studio recordings on Travels In Constants were never available again on any format or platform.Reuniting with Bob Weston to meticulously remaster the original master tapes, Rumah Sakit 25 collects the band’s debut album and their long out-of-print Travels In Constants EP into one exceptional package. Featuring new cover art from old friends and collaborators, Jeremiah Maddock and Marty Anderson, the expansive gatefold 2xLP includes full-color printed inner sleeves featuring hundreds of previously unpublished photos documenting this inspired early era in the band’s history, as well as a massive full-size 24-page art book of previously unpublished artwork by Maddock. It’s an exquisite opus that masterfully captures a special band at a special time.

Originally released in 1973, Dzyan’s second album "Time Machine" marked a shift from vocal prog-rock to a unique blend of jazz, ethnic, and acid-rock influences. Showcasing virtuosic musicianship, it stands as a pioneering work in German rock, ahead of its time. Originally released in 1973 on famous German label Bacillus, Dzyan’s 2nd album “Time Machine” showed a “new” Dzyan line-up consisting of guitar player Eddy Marron (also playing a lot of other string instruments), bass genius, band founder and “mastermind” Reinhard Karwatky and drummer Peter Giger. Produced by Peter Hauke and recorded and mixed by great engineer Dieter Dierks the trio performed on Time Machine a new sound mutating away from vocal-prog-rock of the first album to explore further jazz and ethnic tonalities with far more space-out and exotic improvisations to an unusual hybrid of acid-rock with serious jazz chops approaching “Mahavishnuland”. Time Machine offers virtuous and unorthodox musicianship with a high and very own esthetic quality. Existing in a no-man’s land between jazz and rock, and as a pre-cursor to the post-rock crowd of the ‘90s, Time Machine was well ahead of its time. A highlight in German rock history.

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.

Sonor Music Editions proudly presents this restored issue of Maestro Sandro Brugnolini's Overground. This elusive masterpiece in library music captures the most impressive work, alongside Underground (1970), of the Italian composer and alto sax player.

Sandro Brugnolini was a prominent member of the Modern Jazz Gang, a famous Italian jazz group, during the 1950s and 60s, which also included Amedeo Tommasi, Cicci Santucci, and Enzo Scoppa. The group was active from 1956 to 1965 and produced some remarkable albums such as Miles Before And After (1960) and the original soundtrack from Gli Arcangeli (1962), which featured the renowned American jazz singer, Helen Merrill. Subsequently, he recorded many of the genre's most iconic releases, including Feelings (1974), albeit uncredited, and ventured into Psychedelic Lounge Funk and Progressive Jazz Beat tunes.

Overground was released on Sincro Edizioni Musicali in 1970 as the soundtrack to Enrico Moscatelli and Mario Rigoni's documentary Persuasione, commissioned by Ente Provinciale Per Il Turismo Di Trento, a local tourism board in Italy, with music composed by Sandro Brugnolini and Luigi Malatesta featuring some of the best musicians in Italy at the time like Angelo Baroncini and Silvano Chimenti on guitars, Giorgio Carnini on piano and organ, Enzo Restuccia on drums, and Giovanni Tommaso on bass and effects. The music spans from underground Psychedelic Prog. Rock with swirling organs, trippy effects, and distorted fuzz guitars to sophisticated Lounge grooves with Avant-garde orchestrations.

The music has been transferred and remastered from the original master tapes. It has been lacquer cut in stereo by Jukka Sarapää at Timmion Cutting and packed in a thick cardboard sleeve featuring a fully restored painting by Umberto Mastroianni licensed by Centro Studi dell’Opera di Umberto Mastroianni.

Sonor Music Editions is honored to announce the reissue of the very rare LP Aquarium Sounds by Italian composer Filippo Trecca. Originally released in 1979 as a promo-only item, “Aquarium Sounds” is a hybrid collection of tracks; some were used as the soundtrack to the thriller TV series “Così Per Gioco” (1979), directed by Leonardo Cortese; others from the talk show “Acquario” (1978-1979) hosted by Italian journalist and writer Maurizio Costanzo. The album also includes “Elena Tip” which features playful vocals by a young Ilona Staller (aka Cicciolina).

Aquarium Sounds were composed by Trecca himself, Achille Oliva (bass), Alessandro Alessandroni Jr. (keys), Giancarlo de Matteis (guitars), and Marco Parisi (drums), playing together for the creation of this progressive pop gem sought after by many collectors from around the world.

The album, recorded using simple acoustic elements and early synths, is a treasure buried deep into the ocean of time that Sonor Music Editions is bringing back to the surface; a journey into the depths of our music memory as well into the universe of Italian music heritage.

Enduring prog rock favourites Pink Floyd played this typically mesmeric live performance at the Rainbow Theatre in London on February 20, 1972. It showcases a significant portion of the material that would later appear on their iconic album The Dark Side of the Moon, released a year later and still all these decades the high water mark for certain prog fans. The concert is a superb glimpse into the band's evolving sound, with intense, atmospheric performances and raw energy all present and correct as they work through classics like 'Money', with its snaking bassline, and 'US & Them', in their early versions. A historical snapshot of one of rock's most influential bands in their prime.

Klimt Records is pleased to announce the release of a double LP featuring the legendary live video work “Pink Floyd - Live at Pompeii, October 1971,” recorded at the ancient Roman Amphitheatre in Pompeii, Italy in October 1971! The video features the band performing in a theater with no audience, and offers the audience a chance to enjoy the experimental and psychedelic performance of the band at that time.

Amsterdam-based bass player and producer kotokid's music is a middle ground between alternative R&B and hip-hop, and 80s jazz fusion. Bringing together live drums and drum computers, sequenced analog synths and lush guitar chords and solos, and heavy synth basses alternated with pulsating bass guitar grooves. The result: a wall of sound, with the dynamics and energy of a live fusion band.

The temptation to mythologize Bill Fay can be overwhelming; Fay was, for decades, as prolific as he was under-appreciated. Fay’s unsung-hero status has changed slowly, steadily, on the order of almost twenty-five years. With each new album comes new hosannas and evangelizers — Jeff Tweedy, Kevin Morby, Adam Granduciel and Julia Jacklin, to name just a few. The Bill Fay Group, in particular, is Fay’s most significant collaborative work; he records as a member of a larger group here, and the result summons a grander sonic scale, an elegant counterweight to Fay’s instincts for the understated. Tomorrow Tomorrow and Tomorrow brings to bear the galactic qualities of early rock, the intricacy of jazz improv, and Fay’s earthy folk magic. Tomorrow Tomorrow and Tomorrow has a patchy release history: recorded between 1978 and 1981, it was not released until 2005, when it appeared on CD with limited streaming and no vinyl companion. A 2006 reissue brought the album onto vinyl but with a truncated sequence and nine songs missing. Now, finally, Tomorrow Tomorrow and Tomorrow arrives in full worldwide. Available on streaming services worldwide and pressed to a double-album vinyl edition, it features the album’s original 22 songs and includes rare and previously unseen photographs from Tomorrow Tomorrow and Tomorrow’s original recording session. In the words of Gary Smith and Rauf Galip, missing Bill Stratton, and abbreviated from the forthcoming album notes: We chose five songs to record as finished pieces: Life, Spiritual Mansions, Cosmic Boxer, Strange Stairway, Isles of Sleep, all recorded in two studio sessions. We sent them out to try and get a record deal. There were few really independent labels back then and Punk was in the record labels’ ears. No deal. And now, Dead Oceans who have a lot of faith in Bill’s music wants to re- release the ‘Tomorrow’ album. A double vinyl package. Is there any more unreleased music for the fourth side? Of course. So, we’ve been opening old boxes, finding CDRs, cassettes, a musical archaeological dig. This is our choice from all the music we found. Fly Like a Bird.

Pink Floyd Live at the Old Refectory 1969 captures the band in a transitional phase, blending their early psychedelic roots with the progressive sounds that defined their future. This rare performance showcases experimental improvisations and tracks that reflect their evolving musical identity.