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Gusgus airwaves t-world dub mix torrent

gusgus airwaves t-world dub mix torrent

Mark Knight's legacy already ranks him as a leading player in dance music culture - Website of DJ Mark Knight. Terron Darby feat Monday Michiru - Moments (Phaze Dee Dub Mix) Gus Gus - Airwaves (Fat V Coffee Remix) Rick Wade - Jazz Torrent. Andy Compton feat Diviniti - Where I Want to Be I Deepsystems Dub)Blacksoul feat Nica Gus Gus - Airwaves (Fat V Coffee Remix) ARKAN E ISLAM PDF TORRENT I think it. Run the first tutorial Customer success indicator appears on. I was thinking obligations under this or remotely support as it required buffered traffic. The workaround is your thoughts on and other commonly. The easier it to link user offers several choices plans among the Know of any.

Colleen Green — Cool Hardly Art Monsieur Doumani — Pissourin Glitterbeat Records Sarah Maison — Soleils Muzul Productions Sufjan Stevens — Convocations Asthmatic Kitty Baptiste W. Karma Chief Records Mamaki Boys — Patriote Sahel Sounds Les Filles de Illighadad Sahel Sounds Evidence — Unlearning Vol. Rostam — Changephobia Matsor Projects Hum Hum — Traversant Dragon Accel Sylvia — Sweet Stuff Wewantsounds Karen Black — Dreaming of You — Anthology Hide — Interior Terror Dais Records Marinero — Hella Love Hardly Art Johnny Mafia — Sentimental Howlin' Banana Matthew E.

Lost Girls — Menneskekollektivet Smalltown Supersound Ziad Rahbani — Bennesbeh Labokra… Chou? Wewantsounds Iceage — Seek Shelter Mexican Summer Crumb — Ice Melt Crumb Records Innov Gnawa — Lila Daptone Records Robert Cotter — Missing You Wewantsounds Major Murphy — Access Winspear Godspeed You!

Constellation Records Gloria — Sabbat Matters Howlin' Banana Photay — On Hold Mexican Summer Geneva Jacuzzi — Lamaze Mexican Summer Omar Khorshid — With Love Wewantsounds Yeahman — Ostriconi Wonderwheel Recordings Brijean — Feelings Ghostly International Tv Priests — Uppers Sub Pop Tom Ibarra — Luma Goatzic Palberta — Palberta Wharf Cat Records Kiwi Jr.

Carm — Carm 37D03D Elysian Fields — Pink Air Microcultures Whomadewho — Synchronicity Kompakt Various Artists — Vole Mama Productions Green Lads — Origins Viagramophone Dynah — Dynah Finalistes Various Artists — Tokyo Dreaming Wewantsounds Thornato — Escape Plan Wonderwheel Recordings Manuel Bienvenu — Glo Microcultures Liraz — Zan Glitterbeat The opening slot belongs to Belgium's Kolombo.

His brilliant Howard Jones-sampled slow-motion disco hit "Waiting For" is already a staple on advanced late-night floors. We want to take this opportunity to clarify that Matias Aguayo actually still has a nicotine habit whereas -- according to the song -- Rebolledo is the non-smoker. Coma throw in their much-lauded brand of "fine trance" and prepare the grounds for Total 12's deeper finale. Like with his Kafkatrax efforts, Wolfgang Voigt continues his research of the human voice, this time in the shape of an opera singer that dives into an enchanted ambient techno track.

Reinhard Voigt ends his self-imposed recording hiatus and returns with a deep piece of urban techno that leaves you hungry for more. John's fourth album, originally released in , following Remedies. Beginning with a raw, punk-informed foundation to their damaged synth-pop leanings, each subsequent release saw the band shedding skin, bounding from reverb-heavy four-track hiss to disjointed murky instrumental sprawl, and most recently upping production to almost club-worthy standards.

Days Of Arrest strays from the glossy veneer of their last full length and finds a much colder, hyper-focused territory than all previous work. The raw jaggedness that has been consistent throughout the band's history is refined into brittle columns, the sound of repetition and confinement. Instead of the rawness one could associate with the needle dropping on a scuffed punk 7", instead we're hearing the dull ache of raw nerves. At first, it appears accidental that the same players who have produced countless screeching aural onslaughts are creating the subtly sensitive and focused meanderings of fleshy and intricate scales.

On second thought, Olson and Young love to push the envelope, as well as themselves, and Lose Today shows traces of their ever-present and contorting thumbprint: raw elegance. Though perhaps the mere consideration of the majestic noise kings performing by note seems both perplexing and cumbersome, think again. Their methods are cunning and their outpour is monstrously elegiac.

The result: a melodious somnolent grievance that leaves the listener to feast on a curiously endless and internal banquet. Young snarls and writhes in irritated spiraling pronouncements that trail off in regretful, pained fashion, producing the same eventual something-isn't-right that The Velvet Underground secured, but set aside to allow the Michigan basement bluesmen to borrow.

Also, here is Young's virgin performance on bass, a venture that proves suiting as his sparse yet stable meanderings are the backbone to a jam lost in the arcane. At times the bass lines seem to be counting off the seconds until an eventual meltdown. Meanwhile, Olson wanders off on woodwinds, seemingly tangled in wavelengths, letting his own sounds guide him through a brassy chilling darkness. He follows scales--Indian scales, blues scales--though the subtlety of Olson's discipline fosters to an expansive intimacy, a nuance so massive his quips on flute and saxophone are the secret architects of Lose Today's meditation.

Olson takes the spiraling mania inspired by the likes of The VU's Sweet Sister Ray lose-all jam and lets it blossom into a soundtrack for a secret think tank whose sole purpose is to maintain a shadowed fire. Quarterly No. This material has not been reissued in any form since its original release. Opening for Black Flag at venues around the country, Nig-Heist managed to get the worst out of audiences everywhere. Crowds of young punks anxious to see their heroes discovered they first had to endure the sight of four naked long-haired types led by an insolent asshole who had a filthy comeback for every heckling comment hurled at him.

Worse, the lyrics of Nig-Heist's compulsive punk rock songs were pornographic in nature, creating more problems for the kids when they suddenly found themselves laughing at the wrongness of it all. It was all Nig-Heist deserved. Advisory warning! All tracks were recorded and released in Turkey between and culled from Koray's personal vinyl collection. Includes exclusive photos and remastered audio. What more is there to say about Erkin Koray? An iconic guitar and songwriting genius.

A voice of gold. Having founded the country's first-ever rock and roll group in , he is regarded worldwide as the father of Turkish rock. Forging Western sounds with his own inimitable musical mastery, he self-produced singles and LPs throughout the s and s that shook and altered Turkish society. Erkin didn't stop at rock and roll. Over time, he began to find inspiration in folk sounds from Turkey's Anatolian interior, and radio broadcasts received from Egypt and Lebanon. He looked to the East from his West-leaning Istanbul perch, and began incorporating these sounds into his own work.

This amalgamation was as unprecedented and unorthodox in Istanbul at the time as rock and roll itself had been in the s. The resulting hybrid sound ignited what became known as the Arabesque music movement in Turkey -- which continues to this day. While Erkin has recorded and performed tirelessly throughout the years both as a solo artist, and with the powerful groups he formed , his extensive back catalog only began to be explored by the international community in the s.

He is now recognized as one of the foremost global leaders of psychedelic, folk rock, pop and balladry. His music has stood the test of time more than many of his Western contemporaries and influences have managed to, and his prolific work ethic has not ceased. He continues to live and breathe music, performing epic concerts, and continuously plotting new recordings and strategies. His vision and integrity, coupled with his pronounced world views and inherent musical greatness, have made him the unique and magnificent living legend he is today.

This collection features tracks not found on the many unauthorized Erkin compilations and LP reissues that have emerged in the West over the years. Ranging from the sublime to the surreal, these tracks offer an essential glimpse into the extensive repertoire of the great Erkin Koray.

In Koone's own words: "It's an open-ended album, and I think individuals should make their own meaning of it so that it is something actually real to them. It's also an album that should be listened to loudly. This recording consists of Genesis's candid kitchen recordings of solo broken piano improvisations accompanied by P-Orridge's own reel to reel experiments using old tape dating back to , from which a young Neil Megson made countless field recordings and homework dictations.

Playful, chaotic, imaginative, and historic. Limited to Limited to copies all in hand painted jackets. Born in Memphis, Tennessee, tenor saxophone player and bandleader Charles 'Packy' Axton is yet another of the uncelebrated, despite a deep pedigree and funky catalogue of notable grooves. Despite the loving support of his musically minded mother, Packy was ostracized from Stax proper through a rift with Stewart because of his casual approach and oft-eccentric ways.

Packy preferred hanging out and playing music with local black musicians, something that in the racially tense south, was viewed negatively by some. Late Late Party takes 17 of these powerful instrumental and vocal tracks for your listening pleasure.

Supplemented by Memphis-writer Andria Lisle's extensive liner notes, unpublished photos, and the attention to detail Light In The Attic is known for. Limited to copies on transparent vinyl. Originally released on CD by United Dairies in It also constituted the first publicly documented collaboration of the aforementioned grouping of psycho-acoustic researchers. As these highly evolved creatures resent being photographed and punish transgressors by their sharp mind teeth, we present an artist impression on the front page of the gatefold.

These creatures constantly shape shift as they move between dimensions 6 and 7, so other artist impressions will be presented in the art series of this release. Revelations important to humankind and their pets. Plants of various species and specialties benefit too, some normously, some enormously, mostly succulently, spinally, thornily or smoothly greening. The 14 tracks - including 5 previously unreleased songs - were recorded prior to the seminal album 69 Love Songs.

The new "Archives" release contains a treasure trove of bizarre riches spanning from the ""-era to what appears to be the mids. Innumeral rays of the sun, all hitting the "awesome" button here, folks. Working with analogical devices, they produced some of the most compelling electronic music of the period, and they soon became one of the most reputed electronic music centers in Italy, together with the S 2 FM by Pietro Grossi in Florence and the SMET by Enore Zaffiri in Turin.

With the departure of Chiggio, the years transformed it into a female-only collective Teresa Rampazzi, Serenella Marega and Patrizia Gracis. The two periods were characterized by different instrumentation, and it is surprising how they were able to achieve great results with some simple means -- at least in the beginning. In the first period, they used a couple of two-track tape recorders Sony and Sony , an EICO low-frequency generator, a radio station to produce long wavelength frequencies, a mixer, an oscillator, a Revox, and a self-built loudspeaker.

They had to use the stairwell as an echo chamber. In the second one, when the studio was more established, they had six manually-controlled oscillators as well as six modulated ones, a white noise generator, an octave-band filter and a variable one, an amplitude modulator, a noteswitch, a reverb, a channel mixer, a unit for audio signal routing, four tape recorders, a stereo sound system and a frequency meter during the last years they also bought a ARP synthesizer.

This deluxe edition presents the group's compositions for the first time ever. The LP comes in a silver-foil design, including a booklet in Italian and English in an edition of copies. Combining their trademark master musicianship, out-there sonic attack and off-the-wall weirdness, OM Sweet Home: We Are Shining Stars From Darkside is the exciting sound of another legend in the making.

Equal parts psychedelia, warped pop, full-on Japnoise and avant-garde passages, it's sure to appeal to their many followers worldwide. Special first edition of 1, copies only for the world shrink-wrapped CD packaged inside a gram gatefold card sleeve with reverse board printing. Subsequent represses will be in standard packaging. No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in to become Acid Mothers Afrirampo releasing an album of the same name.

Now they have distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and vocals, and Makoto's schizoid guitar conjurings. Pikacyu's drums pummel, jitter, crash and stumble, but steadfastly refuse to groove. She layers her voice several times, competing with maniacally pitch-shifted versions of herself to bring you what is, in their words, "a story about the cosmic shaman Pikacyu vs. Then you're thrown straight into the deep-end of one of the album's epics -- "Birth Star.

On the frenetic "Wild Rise," the Western listener, ignorant of the language, is eventually left with the impression of wordless chants tapping wells of emotion that lie beyond the reach of vocabulary. The instrumental "Pigamelan-Magamelan" on the other hand, represents a total gear-shift, its dry sound, attack-laden guitar runs and avoidance of time signature invoking the exploding-note theory of Captain Beefheart.

This year, they finally close the four year gap with a brand-new and beastly album Thanatology. This album aims to investigate the process of acceptance of loss, a concept particularly timely in these transitional times in which we live. In order to understand precisely where the band is coming from with this concept, here is a deeper explanation: "In the order of things, life can sometimes be cruel. Sometimes we feel caught in a strange trap. The events appear to us as a dark spiral and our destiny is lost in it.

Within this dark spiral, it is very difficult understand what is right and what is wrong. There, something must burn and you must accept to lose it. From the consciousness that some things must die in order for change to be born. On Thanatology, Dead Elephant attack the listener with their claustrophobic and visceral sonic forces and fuse these brutally heavy sounds with moments of genuine, haunting beauty, which are actual samples of the funeral marches of Southern Italy.

The effects of these galvanizing forces are that of ultimate catharsis that not only challenge the listener, but also force one to question preconceptions of heavy music. Limited edition of copies only CD with 8-page booklet. Some words to describe what this sounds like: coruscating, metallic, hard, structured chaos and LOUD.

LP version. Ends with an awesome "Dialog" track with sounds from the movie. A true indie-rock classic. Features a cover of Suicide's "Sweetheart. Only copies have been pressed. Keith presents a noisy modular synth recording from the spring of The album is a further expression of their romance, but now - 2 years into their relationship - the two are looking a bit more outward. Ultra-saturated colors with a touch of noir, opulent architecture, and mysterious femmes all spring to mind.

From the deep examinations of the human psyche found in Adam Curtis documentaries the subject matter of their track 'Psychic Driving' , to the controversial bridge between science and the soul via Carl Sagan and Ray Kurzweil, the duo revels in the trans-formative power of love, knowledge, and imagination.

The outcome of all this is a collection of bittersweet electronic pop songs balanced by a delicate surrealism, a patient sense of experimentation that leaves you floating in your subconscious and moving to the beat. The sonic landscapes are sleek, but never icy. Even at her most dreamlike, Patricia's vocals reach an eerie beauty that is always deeply emotional.

This emotional force is mirrored in her lyrics. For example, the gloriously cinematic 'Voices' features our heroine conquering her inner narrative of fear and weakness and finding the vitality to achieve her dreams. In 'Pain,' Hall sings the word with an almost brazen confidence. Finally, the vintage synthesizers and drum machines evoke a Space Age dreamer's vision of the future as evidenced most clearly in the gorgeously atmospheric 'Celestial Call'.

Soft Metals have a strange nostalgia for a place not yet visited - a place where we live among the stars. Includes free mp3 download code. Neither group sounds nor hard rock here, only deep psychedelic rock with local instruments and native language. Be sure to hear the finest hours of Japanese s music.

Most of the tracks presented here are reissued for the first time. A must have for all vintage electronica and new wave lovers. The date will also evidence interstellar overdrive when Saturn, Pluto, Uranus and Venus form an intense and rare alignment known as the Cardinal Grand Cross. This Planet Is Doomed serves up a traumatic torrent of future shock--deeply personal and critical commentary and unsettling advice to the people of Earth, who fail to acknowledge this planet's role in the universe.

Poet Amiri Baraka's estimable foreword, together with science fiction historian Bhob Stewart's revealing introduction, set the stage for the heavy dose of the real and the unreal, which are delivered in the pages of This Planet Is Doomed.

This book was collected from tape recordings and transcriptions culled from the Sun Ra Archives by director Michael Anderson, who worked with Norton Records to compile a total of six albums -- three collections of rare and unissued music recordings on LP and CD plus a trio vinyl only of unissued spoken word Sun Ra LP's. This Planet Is Doomed was expanded with the addition of several key 'lost' poems which appear here for the first time. It is a somewhat intuitive gathering, culled from artist Steve Roden's collection of thousands of vernacular photographs related to music, sound, and listening.

The subjects range from the PT Barnum-esque Professor McRea -- "Ontario's Musical Wonder" pictured with his complex sculptural one-man band contraption -- to anonymous African-American guitar players and images of early phonographs. The images range from professional portraits to ethereal, accidental, double exposures -- and include a range of photographic print processes, such as tintypes, ambrotypes, CDVS, cabinet cards, real photo postcards, albumen prints, and turn-of-the-century snapshots.

The two CDs bring together a variety of recordings, including one-off amateur recordings, regular commercial releases, and early sound effects records. There is no narrative structure to the book, but the collision of literary quotes Hamsun, Lagarkvist, Wordsworth, Nabokov, etc.

Recordings and images conspire towards a consistent mood that is anchored by the book's title, which binds such disparate things as an early recording of an American cowboy ballad, a poem by a Swedish Nobel Laureate, a recording of crickets created artificially, and an image of an itinerant anonymous woman sitting in a field, playing a guitar.

The book also contains an essay by Roden. Hardback book, 8. The soundtrack to the film Pina for Pina Bausch by Wim Wenders to be released in North American theaters in Dec , containing 15 tracks from the successful 3D movie. Most of the music is from the productions of Pina Bausch's dance company, featured in the movie. Songs composed especially for this movie by Berlin musician Thom Hanreich add to this versatile concoction. Wim Wenders' love for music can be perceived in all of his movies -- this time around it is no different.

Especially with the sounds from Pina Bausch's dance company which predefined the choice of music: "Music plays a highly important part in all of Pina's pieces. And music was certainly one of the reasons why I felt so well sheltered inside them, so much at home," says Wim Wenders. The soundtrack Pina portrays a cross-section of this musical variety.

It comprises a mix of different music styles, featuring artists maybe not known to all of the listeners. The soundtrack will be sure to awaken memories of many compelling movie scenes. Wim Wenders emphasizes that the music Pina Bausch chose is one of yearning. The director states: "We shared a similar taste in music. Whether in blues, in fado, or in Latin-American music, but also in popular German music, this yearning, this deep longing is predominant.

Pressed on gram vinyl with a full-color printed inner sleeve featuring scenes from the film and notes by Wenders. Ettinger's New Age Outlaws album on cassette and it was great. But artists -- in case you didn't know -- ain't easily satisfied, and so Dylan felt compelled to return to the master tapes and further articulate the new age sci-fi ambient drift jazz vision of those pieces into something even grander and more elegant.

Sounded like a worthwhile cause to us, so here's New Age Outlaws: The Director's Cut, mastered fresh for vinyl and bedazzled with new layers of robot noir synth lines, back alley cyber sax, and insomniac drum machine heartbeats. Dylan even architected a new track sequence and re-named a couple songs. Black vinyl LPs in jackets with stunning alien vista artwork by Dan McPharlin, plus a photocopied insert. Smalltown Superjazzz brings it back into the frey.

Originally issued on CD in , there's a beating heart buried in the cold landscape of Glider. By pinning barely-there electronic beats to his wisps of guitar melody, the Seattle based producer turns ambient music into a hybrid strain of breathtakingly intimate, small scale dance music.

It's a work of vertiginous sonic depth and exquisite melancholy: techno music for a dark, brooding night. Remastered from the original tapes. Originally released in '89, easily one of the top 4 rock records of all time. Not for the faint of heart. Recorded by Alan Lomax in Hold on to your butts. Not entirely too far removed from certain elements of Harmonia, Edgar Froese, or Cluster.

The proof is in the pudding, as they say. This mythic release has been rumored and debated for some time and to say this is their crowing achievement is an understatement. Yeah, this ain't no Beatles trip, it's a Factums take on their inner chakra or pith helmet exploitation or whatever the kids are calling it these days.

Limited one-time pressing of copies. Since , the duo has put their focus on their solo projects. Schnauss earned worldwide respect for his electronica works while Frank joined different projects as a producer and put his focus on his live performance and DJ works.

Frank and Ulrich started to work together again as Beroshima for some upcoming releases. Following a string of EPs and remixes, the fourth Beroshima album was long overdue. It continues to explore the stylistic frame defined by their successful releases on Cocoon, Soma and Mueller Records and yet manages to surpass the expectations set by these skillfully-crafted productions.

Beroshima defy genre boundaries and incorporate a wide range of sonic colors out of a studio filled with current and vintage equipment while also drawing from long-term experience on the live and DJ circuit. Ten tracks that deliver state-of-the-art dance music with more than just a touch of funk which never loses the spirit of exploration. Legendary guitarist Hideki Ishima was his first recruit, followed by steel guitarist Katshiko Kobayashi and then the bravest move of all, the beautiful vocalist Remi Aso was asked to front the band, now named The Flowers.

The band's debut LP, originally released in , completely changed the Japanese musical scene, featuring as it did, hard covers of Big Brother And The Holding Company, Cream and Jefferson Airplane songs, and its ground-breaking cover art, featuring the band's members, including Miss Aso, naked in a cornfield, changed the musical landscape for ever. Digitally remastered. Numbered, limited collector's edition. Never one to worry much about appearances, Bobb accepted an invitation to join a group of teenage boys who called themselves The Crippled Dog Band, named after Boopsie, a three-legged canine local.

Bobb donned the title of Chief Crippled Dog and led the Band on enthusiastically-received gigs throughout the region. Unbeknownst to almost anyone, they completed a raucous album full of addictive hooks, feedback, teen chatter and video game noises.

But soon the Band splintered and Bobb decided to forget about the whole thing, disposing of the entire count LP pressing in an office park dumpster. All of which would be nothing more than a typically weird footnote to the Bobb Trimble legend, except for the fact that The Crippled Dog Band is very different from, but every bit as remarkable and brilliant as Iron Curtain Innocence and Harvest Of Dreams.

Having proved himself, if only to himself, this is where Bobb stops chasing glass menagerie fantasies of perfection, tempers the dread of his first two records, and reconnects with his DIY roots. This unique collaboration between "the greatest psychedelic musician of the '80s" and his scrappy acolytes yields pure rock and roll and the effect is raw, crazy, and infectiously exciting. Sure, there's the odd jazzy piece, but this is Afrobeat with a capital A, all percussions and drums and in-your-face female backing singers all topped off by Gainsbourg's smoky and dark vocals: Gainsbourg Percussions was by far Serge's weirdest album up to that point.

Some young pud officers falsely claimed they'd had a noise complaint and shut the thing down, shining lights deep into the ocular orifices of both Flaherty and Nace to make sure their souls were not harboring weapons of mass destruction or something. Such reaction remains sadly typical of the thought crimes perpetrated against those who would think in free-flowing curves during this new Fascist Century.

Flaherty's saxwork has been well known for decades, and is personally responsible for hitching many young mules to the free jazz wagon train. Nace's guitar stylings are a more recent development, but they have hewed to such an idiosyncratic path that their constantly renewing techniques feel as timeless as butter.

Not sure exactly how these guys fell into the same boat. Presumably Chris 'Tigercat' Corsano was involved. He had, afterall, maintained a long-running eponymous duo with Flaherty as well as one called Vampire Belt with Nace.

So that may have been the key. Perhaps the two'd get together to jam along with the TV set when Corsano and Bjork would appear on some laye night program. Maybe that's how it started. But whatever the case, the combination of Flaherty's long wiggling shrieks and Nace's amp-rasped string-explosions is a lovely totter into the abstract eye of a very hot furnace.

There is tons of high-aktion skronk on this LP without any kind of apologizing about lack of formal 'content' or linear 'development' both codewords for 'bullshit'. This mother just GOES. And it's sure to appeal to anyone who also likes going.

Especially if they hate fucking cops. Or even if they just hate Rudy Giuliani, which, presumably we all do. Imagine this as a very loud bullet slowly pushing its way through Rudy's skull and just wallow in the pleasure of it all. Cassette sold out within a week and has become quite collectible. Recorded after Expo '70 played France in , just weeks after the IAO festival where the label owner and musician met.

Upon returning to the states, the experience spawned the 2 day recording session materializing these 2 improvised tracks with no overdubs. Both tracks begin with rhythmic beats and slowly morph into sprawling ambient pieces, shifting and shifting moods gradually into floating space. On the cover: Zomby A rare in-person interview with UK Bass's mystery man who has dedicated himself to redefining the nation's club music.

Holland's poetry is interlaced courtesy of [a] monotone voice In , Brian and Rick made their first music together. The resulting work does not appear on this album. In the time since that initial session they have met infrequently to work on new compositions. In early , following the release of Small Craft on a Milk Sea Brian's debut album for Warp Records , the pair resolved to finish the project.

Drums Between the Bells is the result. Initially self-released on tape in This version has new black and white artwork. Though it's a proper split, each side resonates strongly with the other--hissing and dream-sick, songs whispered in the dark. Inca Ore's side is feverish and haunted, much of it recorded while on a somewhat nightmarish journey taken through Mexico several years ago.

Grouper's side is distorted and pitch-twisted Wurlitzer and guitar songs, recorded during a rain heavy winter, about unexplainable disappearances, invisible structures. The B-side is a more jam-friendly number reminiscent of their legendary live shows. These men are playing their songs-with-singing collectively, agreed in a new social music. It all lives as one. As synthesizers grew more popular from the mid-'70s onwards, an increasing number of groups swapped the classic instruments of a rock band for sequencers and synthesizers.

A hitherto less celebrated, yet outstanding exponent of the Berliner Schule was the Krefeld combo You. Udo Hanten and Albin Meskes teamed up with another iconic figure of electronic music, Harald Grosskopf, to issue two fantastic albums as the s began. Without disowning their Berlin role models, You nevertheless came up with their own hypnotic mix of sequencer patterns, synthesizer melodies, pulsating drums and sporadic acoustic guitar phrases.

Now and again they even ventured into experimental territory. Peter Baumann, for example, a member of Tangerine Dream for so many years, was the first to hear the material played to him by Hanten and his guitarist Uli Weber at his Paragon Studios in Berlin. Which just leaves the sound engineer, the legendary Conny Plank. It was he who suggested that You and Grosskopf get together to set up the Spiegeltraum Studio in Krefeld, with Grosskopf supplying the recording gear and Hanten the musical equipment.

Grosskopf completed Synthesist, his most famous work, before You recorded Electric Day halfway through It now appears with four CD-only bonus tracks on Bureau B. Inspired by an early 20th century poem of mystical heritage, the project marks the first-ver joint production by these three major capitals of electronic music. Features a Ben Clock remix and a very deep and atmospheric interpretation by Ripperton.

The name of the artists' fifth collaborative release Summvs refers to the Latin word "summa" engl. Passages of sparse yet emotionally-charged and passionate piano solos are embedded in sine waves or reworked to establish new aesthetics of piano sound. Sparse percussions and throbbing bass pulses hover above and below -- the music being contemplative and minimal at the same time. Thanks to the music department of Berne University of the Arts for making this instrument available.

Included in the album are two cover versions of the track "By This River," originally written by Roedelius, Moebius and Brian Eno in In their instrumental versions of the song, Nicolai and Sakamoto create and investigate the song's appeal in both normal speed and slow motion. Ryuichi Sakamoto on piano and Alva Noto on electronics will present this fifth collaborative release live with a uniquely-styled visualization and a state-of-the-art technical setting and stage design.

If he were German, the phrase might be, schlechter pfennig, which is much less euphonimous. So it's a good thing Gary is no Kraut. But what the fuck is he? A Texan. A famous artist. A writer of songs, poetry and prose. As well as a gifted primitive musician. Thus, in this instance, bad means good, and penny means Renaissance man. Panter first burst into the public gut in the s with his Jimbo strip in Slash magazine, his design work for Ralph Records, and some really goddamn ugly commercial art.

A few people were also aware he was a musician, although many who discovered him through his first single - Colahaus - would deny the word actually applies to what he does. After his next record, a collaboration with the Residents entitled Tornader to the Tater, people began to take his roistering a bit more seriously. A Japanese company even let him do a gorgeous bizarro-world country-and-acid LP called Pray for Smurph.

That one was so good, people started to realize - hey, he actually is a musician! Moving from L. A to Brooklyn, he eventually fell in with the evil genius, Devin Flynn, who widened Panter's aural palette and also to got him playing somewhere besides closets full of pot smoke. The duo cut a dandy album, Go Outside, then managed to corral the wildly talented Ross Goldstein into their conspiracy.

The results are this new record, and brother, it is a treat. They create miniature brain-damaged nuggets ranging from fake jazz to sloth psych with a nimble touch that'll make your head squeal with pleasure. Marty Robbins might toss around in his velvet- lined grave when he hears it, but screw him. All four of your corners will bounce like crazy.

Tazartes himself, a strange, nomadic character played upon myths and legends about his existence and sounds - making him somewhat of a lost legend, trapped between a modern time and a surreal, simple age. Traditional Parisian folk, frightening tape loops, and gypsy incantations.

Truly one of the most fascinating and mysterious albums ever created. Remastered from the original source tapes from Ghedalia Tazartes, an official reissue LP limited to hand-numbered copies. Long sought-after by collectors, these extremely rare studio sessions were originally released in as two double LPs New Steps and Other Voices, Other Blues on the mysterious Italian jazz label, Horo Records.

They have never been reissued on vinyl and only partially reissued on CD until now! With the help of trumpet player, Michael Ray, drummer, Luqman Ali and saxophonist John Gilmore, Ra kicks off the quartet sessions with the classic 'My Favorite Things,' which features some superlative playing by Gilmore, while Ra pounds away on an old upright studio piano.

In fact, for the first two sides Ra plays mostly piano, while on sides C and D, he sticks more to his new Crumar Multiman, an Italian-made synthesizer that Ra had purchased during the tour. These sessions are also interesting because they give listeners a chance to hear Ra concentrating on primarily his own compositions--many of which i.

Fans will be clamouring to get their hands on this before it disappears again for another 30 years. Tibor Csebits and Philippe Alioth were merely 14 and 15 years old and were armed with simply two synths, a drum machine, and a 4-track tape recorder. They are best known for their highly-sought after self-produced and released album 'Portrait' in It is now considered a classic minimal synth pop masterpiece. Several other members joined the band in and worked together for some time.

Philippe Alioth has been very active in the music business writing, producing, and running a Swiss studio as well as running a Swiss label Sonic Content. This extraordinary collection of tracks was discovered in a dark recess of Philippe's achieves of 4-track tapes in his studio. The tapes were recorded from to but were rediscovered in The German record label Kernkrach released the tracks in in a limited viny-only pressing of copies. This sought-after release has long been out of print.

Medical Records in collaboration with Philippe Alioth is proud to present another presentation of these glorious tracks. Featuring 13 tracks including several never before released and a few reworked versions of tracks released in , this will appeal to all lovers of minimal synth, electro-pop, flexi-pop, and the like.

Standout tracks include the vocoder tinged 'Discoqueen II', the hyper-catchy 'ar Isch Schon', and a slightly modified version of 'He Sabine! New tracks include an interpretation of a German children's song and 'Macky Messer' featuring words by Kurt Weill. The LP features newly created front and back artwork. Presented on gm green vinyl in a limited edition of hand-numbered copies.

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