Downbeat | Electronica | Leftfield CD 277 Items

The publication Source Book 1 represents the beginning of a and authorized review of the past 20 years of the label Raster-Noton. A short introductory preface by olaf bender is followed by a keynote interview conducted by berlin publicist Max Dax that provides an insight into the identity and philosophy of the label heads. The main part of this first Source Book comprises the extensive catalog of all releases and series published between 1996 and 2016. Tabular listings of various formats and products that were distributed or curated by Raster-Noton complete the catalog. A further exclusive part of the publication is the accompanying Archiv 4 CD, which is only available in connection with the book. Raster-Noton‘s Archiv series was first introduced in december 2003 as a supplement to The Wire magazine and has since been continued in loose sequence with different artists related to the label. Following the idea of the label which defines itself as a platform for its artists, the releases in the catalog part are not presented according to their format, invested effort or meaning, but sorted according to their catalog number and presented on exactly one double page, whereas some series were summarized. As a continuation of this archival revision, further »source books« are planned that will document artist profiles, installations, composition techniques and sources of inspiration. The Source Book 1« is limited to 1.000 copies. Its modular design allows to remove, exchange or add pages, which makes it possible to update the content in due time. A cardboard slipcase covers the 400-page, 3-kilo book and guarantees a safe stand in the bookshelf.

This dense 11 disc retrospective of Pauline Oliveros’ early and unreleased electronic work includes her very first piece made for tape in 1959. Organized chronologically, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Follow as she participates in the establishment of the legendary San Francisco Tape Music Center and then moves to University Of Toronto Electronic Music Studio, Mills Tape Music Center and University of California San Diego Electronic Music Center.

This 10th anniversary edition is packaged in a clamshell-style box containing all the tracks from the 2012 edition spread out over 11 CDs each housed in single pocket sleeves. A 36 page booklet includes extensive liner notes and essays from Pauline Oliveros, Alex Chechile, Ramon Sender, David Bernstein, Corey Arcangel.

Pauline Oliveros was a composer, performer, humanitarian and an important pioneer in American Music. Acclaimed internationally, she forged new ground for herself and others. Through improvisation, electronic music, sonic philosophy, teaching and meditation she created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

Pauline Oliveros built a loyal following through her concerts, recordings, publications and musical compositions written for soloists and ensembles in music, dance, theater and inter-arts companies. She provided leadership within the music community from her early years as the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills), director of the Center for Music Experiment during her 14 year tenure as professor of music at the University of California at San Diego to acting in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations. She served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College. Oliveros was vocal about representing the needs of individual artists, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people.

She was honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment went unchanged.

Oliveros passed away peacefully on November 24, 2016 but her sonic legacy and philosophy continues to grow and inspire.

MAAVAK a two 10xCD box sets presenting the intense, present, sometimes fragile & often challenging music of Swedish/Israeli composer, musician, artist and activist DROR FEILER, celebrating 50 years of musical, artistic and political actions in Sweden and around the world.
These two box sets presents his wide range of styles; from noise attacks to orchestral compositions, from chamber music to solo saxophone pieces. There is a sort of brutal sensitivity to his works, or maybe rather a sensitive brutality. Let it be works for solo acoustic instruments or full symphony orchestra works (in one of them with Blixa Bargeld as vocal solist).

MAAVAK a two 10xCD box sets presenting the intense, present, sometimes fragile & often challenging music of Swedish/Israeli composer, musician, artist and activist DROR FEILER, celebrating 50 years of musical, artistic and political actions in Sweden and around the world.
These two box sets presents his wide range of styles; from noise attacks to orchestral compositions, from chamber music to solo saxophone pieces. There is a sort of brutal sensitivity to his works, or maybe rather a sensitive brutality. Let it be works for solo acoustic instruments or full symphony orchestra works (in one of them with Blixa Bargeld as vocal solist).

Barely a week goes by without BVDUB popping up with a vast new collection of his absorbing ambient music. Hot on the heels of February's Fumika Fades album is this, Slowly Shifting Lakes, another epic collection of fuzzy, lo-fi, gorgeously textured and lived-in ambient. It's intense and full by some ambient standards - soundscapes that demand the attention and go from misty, rainy visions to more serene and blissed-out vibes. This is the perfect way to pick this album up - as both a double CD and also a double cassette including download codes.

The BBC’s Third Programme aired four radio broadcasts between January 1964 and September 1965, collectively known as Inventions for Radio.
They were ground-breaking in both form and content, conceived by playwright Barry Bermange and consisting of the voices of the general public answering questions on four themes,
one for each programme: dreams, the existence of God, life after death and ageing. Delia Derbyshire was assigned by the Radiophonic Workshop to edit and add electronic music/ effects.
The collaborative result is dreamlike and mesmerising, an audial window to another era. For many years Derbyshire was not credited for her contribution, nor were the broadcasts available commercially,
although they still managed to acquire something of a cult following. This boxset duplicates the recent vinyl release on CD, with one disc for each broadcast and two further CDs of additional material.
The booklet includes notes by producer Mark Ayres on these extraordinary pieces which have been the most elusive of Twentieth Century classics until now.

Esteemed ambient auteurs, zake and ossa's collaborative output continues to soothe and delight in equal measure. After Syntheticopia in August 2022 and the dark long-player 'A Pale Shelter' in 2021 between zake, ossa, and City of Dawn comes Module, a collaboration that includes seasoned electronic producer Ruben A. Tamayo, under the alias FAX. The power trio brings forth an eight-track excursion into heavy ambient atmospheres with moody soundscapes and a real weight of melancholy. As always, the textures are grainy and lo-fi, the drones long-held, and the chords which poke through the clouds, bring subtle rays of hope and optimism. It is the latest and maybe the greatest chapter in this ongoing story from zake and ossa with featured collaborators.

Alessandro Cortini's acclaimed 'Forse' series is available for the first time on CD including an exclusive disc of 'Forse' performed live. Packaged in matte coated digipacks housed in a heavy duty tip-on style outer box. 2021 digital master by Stephan Mathieu.

Composed using only an original Buchla Music Easel, an incredibly rare electronic music instrument designed by Don Buchla, the Forse series features long, romantic compositions full of voluminous, bombastic tones and dripping with thick timbre.

* Available in three formats: Black Vinyl, Clear Vinyl, and 2CD * Brilliantly chaotic and outrageously rhythmic material from 1993-1996, originally meant as the follow-up to “Love’s Secret Domain” * “The New Backwards” effectively became the final official Coil studio release of all new material whilst Peter was still alive * Unlike the 2008 edition, the KontaktAudio edition contains the titlesong 'Backwards' * Mastered by Grammy nominated Jessica Thompson * Artwork by Ian Johnstone, licensed by The Estate of Ian Johnstone * 2CD version contains 8 additional tracks of previously unheard material from the same sessions * 2CD featured image below“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, Coil’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance. Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other Coil release. Both “ayor” and “Backwards” had by the time the album was first released already become favourites in Coil’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums Coil did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect. The New Backwards” effectively became the final official Coil studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator. The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ.. It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated Coil archaeologists, as they shine yet another light on the creative process and on what could have been. Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996. Thanks to everyone there, especially Trent Reznor who made it all possible. Written & Produced by Coil & Danny Hyde. Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007. For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall. Mastered by Jessica Thompson. Front artwork by Ian Johnstone. Artwork licensed from The Estate of Ian Johnstone. Layout Cold Graves and Oleg Galay.

Lasse Marhaug and Jon Wesseltoft have collaborated in a variety of projects over the years, but started the Tongues of Mount Meru duo back in 2008 as a collaboration to pursue their shared interest in sustained and closely calibrated sounds, and the phenomenological impact they have on the act of listening. They started recording a session each year from 2008 to 2011 in Oslo utilising harmoniums, organs, shruti boxes, oscillators, and computers and accumulated a large pool of material. Some of that material wound up on tapes and vinyls over the years, but they kept the hour-long pieces with an intended major future release in mind. These pieces are now collected in this monumental 4 disc box set.

Clocking in at the total of over 4 hours, with over 10 years in the making, this music was crafted with a clear intent to influence its listeners sense of time and mental colour analogous to the music’s stringently, and at times claustrophobic, unfolding narrative. Slowly blooming clusters of wave interference kaleidoscopic blending together with lower frequency binaural pulse patterns. It is as if light has been pitched down, and its oscillating and shimmering coating of gradually shifting overtone cycles opens up and crashes down again into the ocean of waves continually churning around its own time axis.

Drawing upon their joint interest in minimalism and long-form music, raga theory and electro-acoustics, Marhaug and Wesseltoft conjures up a focused power of both beauty and unease to deeply establish a state of hypnotic attentiveness. The result is a hallucinatory and intense set of finely tuned and tectonic long-form pieces, and is a must for anyone even remotely interested in any form of sustained sounds, and its impact on the mind.

Pressing info: 200 copies, black cardboard box set with embossed gold print

The sleeves are DIY screen printed and the jacket is built out of wire fence! Kӣr is there with two tracks "Basamaci" on vinyl and "Altro non è'l mi'amor" on CD!

Modal Analysis proudly presents Het Zweet - Archives Volume 1: 1982-1988, a compilation of the Dutch outsider legend painstakingly picked from over 100 hours of unheard tape. An early electronic pioneer who deployed an array of homemade instruments alongside synths and a tape recorder to craft his searching sound, Marien Van Oers occupies a lonely branch on the tree of this music's early efforts, sliding between pounding industrial grooves, ambient fragments, and extended, entrancing compositions bridging this divide. Most closely akin to Muslimgauze, Test Dept. or Fad Gadget, who shared his outsider practice while remaining thoroughly entrenched in contemporary sounds, Het Zweet is striking for his diversity and for its meticulous composition, formed of carefully arranged layers of sonic detritus culled from his collection of homemade devices and electronic distortions. Finally rising to greater exposure since his death in 2013, Modal Analysis passionately continues this mission with our first volume of archives dedicated to the memory of this bold innovator gone before his time.

‘Lucky Number’ is the first of two releases for picnic this year. It features collaborations with kindtree, uio loi, Theodore Cale Schafer & Panphilia. Artwork by Eyrie Alzate Additional Artwork by Alexandra Ragg Mastered by Joseph Buchan

iterally, physically, and metaphorically doubling down on his previous Nashazphone number, Unglee Izi
properly pushes into radical phantasmagoric dimensions over two+ hours of immersive and unpredictable
gear that seemingly revels at all-extremities of modern composition, gliding from highly resolved harmonic
gestures to absolutely crushing assaults on the senses.
Blessed with the vision and sonic mastery of early electronic mavericks, but here articulated with a
contemporary voice, the combined works speak to the most atavistic sense of wonder that makes you
feel like a speck of dust buffeted by cosmic forces in the grandest scheme of things. Neatly summed up by
the label as “delicate music of savage finesse that only wants to address the stars and nothing else”, it is
music that firmly encourages you to “lose yourself” in a manner that makes overbearing musical statements
worthwhile if you give them due attention for the benefit of your imagination and humility.
The vastness of scale and execution to ‘Musique de l’A.S.M.A.’ recalls titans of experimental electro-acoustic
concrète such as Romanian spectralist Iancu Dumitrescu, the religious fervour of Ákos Rózmann, or
indeed the grand master of roiling cybernetic scaping, Roland Kayn, while streaked thru with flashes of
contemporary brilliance and entrancing pathos found in TCF’s YYAA tape, or K-Lis at her most glacial and
testing.
Genuinely staggering stuff for the hardest to please.

Definitive career-spanning anthology
Includes previously unreleased tracks, inspired collaborations, and material from Leslie’s groundbreaking 1990 solo debut, Witch
Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, Christophe Van Huffel, Jay Glass Dubs, Mari G. Mooney, and Diamond Version, amongst others
Newly remastered by the GRAMMY®-nominated engineer John Baldwin
24-page booklet featuring a new, extensive interview with Leslie and liner notes by acclaimed author, critic and compilation co-producer Wyndham Wallace, along with an essay by award-winning writer and scholar Louis Chude-Sokei
Cover collage by renowned British artist Linder, featuring photography by Mondino, and design by designer Christopher Shannon

“The definition of a hidden gem” – John Peel

“The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life.” – Max Richter

“She might just be the coolest woman on the planet!” – Boy George

Light in the Attic is ecstatic to announce When I Hit You—You’ll Feel It: a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. When I Hit You—You’ll Feel It spans Winer’s three-decade-long musical career: from her groundbreaking solo work in the early ‘90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, and others, the collection also spotlights Winer’s diverse collaborations, and unearths previously-unreleased recordings.

Newly remastered by the GRAMMY®-nominated engineer John Baldwin, When I Hit You—You’ll Feel It will be available in multiple special 2xLP editions, on CD, and across digital platforms. The album includes a new interview with Winer, captured by the compilation’s co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon.

MORE ABOUT LESLIE WINER….

Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things.

Born to a teenage mother and sold for $10,000 in a black market adoption when she was just hours old, Winer has always lived an uncommon life. She grew up in Boston with a voracious appetite for music and the written word and embraced the city’s lively jazz and folk scene in the ‘70s. Moving to New York for art school, she gravitated towards a vibrant crowd of intellectuals, artists, and radical thinkers—or perhaps they gravitated towards her.

There, Winer formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery’s underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George, who once declared that Winer “might just be the coolest woman on the planet!”

Winer’s striking looks also attracted fashion designers and photographers. Throughout the early ‘80s, she was an in-demand model—appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer “the first androgynous model.” She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle.

But music was Winer’s true passion and, at the turn of the ‘90s, she would unknowingly help invent the massively popular genre known today as trip-hop.

On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing—and coolly-detached—spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways.

The album was a bold experiment by the self-taught artist, who enlisted a number of talented musicians in the sessions, including Culture Club’s Helen Terry, Karl Bonnie of Renegade Soundwave, former Public Image Ltd. bassist Jah Wobble, and Kevin Mooney, as well as Marco Pirroni and Matthew Ashman (both of Adam and the Ants, among other acts).

While Witch was finished in 1990, it wouldn’t be released for three years, due to the whims of Winer’s label. In the meantime, several tracks made their way out into the world as early as June 1990, thanks to BBC Radio 1 DJ John Peel, who later referred to Witch as “the definition of a hidden gem.”

Opening with the laid-back dub beats and soft, sing-songy chorus of “He Was,” Witch features such highlights as the up-tempo “Skin,” the hypnotic, bass-heavy “The Boy Who Used 2 Whistle,” and the album’s closer, “Dream 1,” in which waves of reverb-soaked vocals bounce from one ear the other.

While sonically, Winer was breaking new ground, she was also bringing a fresh, incendiary take on what it means to be a woman in the music business, as embodied by her composition “N1 Ear,” in which she delivers a scorching, feminist manifesto, borrowed from the Women’s Liberation Broadsheet: “If I get raped it must be my fault / And if get bashed I must’ve provoked it / And if I raise my voice I’m a nagging bitch / And if I like fucking I’m a whore…And if I ask my doctor too many questions I’m neurotic and need pills / Because I still can’t get a safe birth control while some fucker’s roaming the moon.”

Winer had every right to vent her frustrations as a woman in music. Despite her fierce demeanor and steadfast focus, she was consistently disregarded and typecast by the industry. Many of her early collaborators failed to credit her work, while others simply overlooked her influence. Witch, for example, was so delayed that by the time the album saw the light of day (released under the pseudonym “©”), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of “The Grandmother of Trip-Hop”), Witch initially went sorely unnoticed.

Following the disappearance of Witch, Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O’Connor, who would cover her songs.

Today, Winer stays busy on new musical projects in the French countryside, where she has spent the past two decades raising her five daughters. A prolific writer, she has also published two collections of poetry and oversees the literary estate of Herbert Huncke, a defining member of the Beat Generation.

In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

Winer’s influence might best be summed by the award-winning composer Max Richter, who offered the following thoughts to Wyndham Wallace for his extensive liner notes: “The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life. A visionary commentator on the relationship between individuals and society in the mould of Blake or Woolf, Leslie Winer knows things that the culture at large just doesn’t understand yet, and she has never been afraid to let us know that.”

Producer Pieter Kock, active also as a DJ under his DJ Peacock guise, is known for being one of the people behind the legendary O Tannenbaum bar and club, a haven of sorts in Berlin nightlife for years, and the newly opened second O Tannenbaum called Schankwirtschafft O Tannenbaum. He has released some of his own music on labels such as Musikii, RIO, Full Body Massage, Fantasy Fiction Records, Moonwalk X, and Invisible Inc, and has extensively collaborated with people and projects such as Meeuw and De Fabriek.

His new Bright Bars From The Stars album on Meakusma is a dizzying amalgam of moods and influences. From ghostly and contemplative tracks to spaced-out and dubbed-out dark dancefloor psychedelia infused with melodics, phrasing, and percussive patterns reminiscent of pop and avant-garde alike, Bright Bars From The Stars features a full album on vinyl, with an extra CD included. Kock is a versatile chronicler of the night, capturing the beauty, loneliness, and endless possibilities of wide avenues pining for neon lights, futuristic descents into past moods and modes, and all.

14 tracks in total, Bright Bars From The Stars is a cosmic, at times gentle, at times confrontational affair that brims with ideas and influences. Combining sounds, rhythms, melodies, and textures from a wide variety of sources and meanings, Pieter Kock brings all of his influences together, intent on finding new paths of thinking and feeling. His pictures printed in the CD booklet give some kind of indication of his artistic process, without ever wanting to push things in any kind of direction. Cocktail bars of a dystopian future, unite! Bright Bars From The Stars is the soundtrack to a very encompassing and transformative night out.

All compositions by Pieter Kock except Bright Bars From The Stars by Pieter Kock and Dominik Peacho Noé Mastering & Cut by Rashad Becker Art by Pieter Kock and Meeuw

The memorable debut album "unrest", the origin of the Harakami sound, has been reissued!! It was once reissued in 2015 with a new jacket design, featuring an illustration by tomokochin-pro, a well-known illustrator of Rei Harakami's works. This album shows how the Harakami sound was established from the debut album.

It wasn't so long ago we were writing about the joys of BVDUB's Fumika Fades, a new double pack in February that sunk us deep into moving ambient soundscapes. Now the Bay Area dub techno titan Brock van Wey is back once again with yet another album - he dropped plenty of them last year too so is clearly in a mad creative patch. Slowly Shifting Lakes comes in multiple formats, this one being a double CD. The ambient here is coarse and textured, fizzing synths stretching out over skittish rhythmic frameworks before sinking into calmer waters on cuts like the escapist 'Searching For Glowing Shores.' Another triumphant album for sure.

Japan's world-famous masterpiece by the late Rei Harakami has been revived! The long-awaited reissue of the CD written by Rei Harakami for "Colors of the Dark", the contents of the planetarium projector Megastar-ii cosmos at the National Museum of Emerging Science and Innovation (Miraikan), is now available!! "I created this album for a planetarium project, with the idea of sustaining the atmosphere for over 30 minutes so that you may fall asleep. Ikuko Harada from Clammbon reads the poem by Shuntaro Tanigawa. I really don't mind you falling asleep while listening." - Rei Harakami

On the verge of their 40th and in the midst of their 20th anniversaries, respectively, HIJOKAIDAN and SISSY SPACEK merge in Tokyo for their first collaboration, featuring JOJO HIROSHIGE, JUNKO, T. MIKAWA, CHARLIE MUMMA, FUTOSHI OKANO, TENENKO (guest) and JOHN WIESE. Hijokaidan formed in 1979, marking the first wave of groups in Japan exploring extreme noise. Sissy Spacek formed in 1999, often playing in large ensembles of players, and frequently exploring grindcore as a base for creating extreme music, often while eschewing the notion of music altogether. During Sissy Spacek’s 20th anniversary tour in Japan, the recordings of “Amok Time” and “Seven Directions” were made with Hijokaidan in collaboration. While Hijokaidan’s sound has been described as a continuous climax of your entire progressive rock collection, Sissy Spacek’s “Twenty-Five Fragments” is a sequence of peak chaos from their 2018 tour, recorded on walkman for maximum effect.

Box set featuring remixes of the song “Innocence”

Tag this as somewhere between “hospital ambient” and “backwoods industrial.”

Shadow World Archive is proud to present The McClintic Chorus, the second full-length LP from Kristen Gallerneaux. The follow-up to her critically acclaimed debut Strung Figures, The McClintic Chorus finds Gallerneaux in world-building mode, crafting a psychogeographic landscape of folkloric Appalachia through sound. Turning her inimitable, idiosyncratic ear to field recordings and sound sources recorded or re-recorded in and around Point Pleasant, West Virginia and the McClintic Wildlife Area's infamous TNT domes, Gallerneaux performs a sort of alchemy, teasing uncanny and unknowable deep-time histories from post-industrial rubble. Transforming the hyper-local and hyper-personal into something that can be universally felt - in your head, heart, and guts. Literally. 'Cause this gear bangs.

The McClintic Chorus is presented as a digital download and as a luxe 2xCD + zine. The second disc includes Where The Whistles Mingle, an album-length longform track only available with the physical release.

But enough from us. Let's hear from Gallerneaux herself: The McClintic Chorus is a 68-minute composition and multimedia performance created from recordings gathered at the McClintic Wildlife Management Area in Point Pleasant, West Virginia. From 1942-1945, this site was known as the West Virginia Ordnance Works or “tnt Area,” in reference to its history as a WWII-era explosives manufacturing facility. Over 720,000 tons of TNT were produced daily on the grounds. A series of concrete “igloo” storage huts were erected and covered with earth to camouflage them from potential enemy aircraft. These structures are the only architectural clues that remain of this landscape’s former life.

In November 1966, the TNT Area received attention in local newspapers as the place where a mysterious 6-foot-tall, winged humanoid with red eyes known as “Mothman” was first spotted. A flood of reports connected to the TNT Area described Mothman’s penchant to silently glide alongside cars and interfere with telephone calls by emitting shrill blasts of tinny static, beeping, and electronic pulses. Today, many paranormal seekers visiting the site believe the cryptid was a “harbinger of doom” who was attracted to the Point Pleasant area to observe or warn of the fatal December 1967 collapse of the town’s Silver Bridge.

The McClintic Chorus is a biography of place—exploring the tenuous collisions between industrial landscapes, ecological redemption, and contemporary legends embedded in rural Appalachia. While producing this work, the complicated oscillations between the bucolic and the vaguely threatening were visibly and audibly palpable. Searching for the overgrown entrances to abandoned ordnance huts—the deafening sounds of bullfrogs, redwing blackbirds, and other wetland wildlife compete with the rattle of gunfire from the nearby range.

Binaural, contact, and stereo microphones were used to capture the powerful echoes from inside and around the TNT domes. Recognizable recordings of these sounds permeate the work, blended with fragments of recordist stomps, gasps, coughs, and voices—which were transformed into several DAW-based drum kits and instruments.

For its first publication, Edition Kymata has commissioned a five-part long-form work from Stefan
Goldmann. This exposé to an incorporeal spatial structure captures infinite reverb responses to five
carefully designed immersive spaces.
Building on his earlier reverb-only work 'Call and Response' (2022), the capacity of reverberation to
enable the experience of impossible architecture is further explored – possibly in its clearest form to
date. The five zones of intangible aural sensibility compiled in this box set range from soothing to
menacing, inviting to a unique critical listening situation in which the listener's perception is the
dynamic side of the exchange while the stimulus persists in profound permanence.
The properties of the five enclosures – boundless in the time domain, distinct in their spatial
characteristics – reveal themselves completely and can be precisely described in statistical data,
allowing for multiple levels of access: a brief visit, long-term contemplation, exclusive ownership.
Stefan Goldmann is an electronic music composer based in Berlin, Germany.
Edition Kymata is a publishing house for audio arts with a focus on the study of first principles.

We proudly announce the CD REmaster Editionof the 1972 Original release , one of the most important German
Krautrock albums - Remastered by Manuel Göttsching himself.
As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book,
Publisher : Head Heritage (1 Oct. 1995) :
“Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually
introduced to something that is life-changing, as I found out to my cost when first listening to this record.
It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian
blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it
is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and
it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John
L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the
Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket
crosses into Hyper-space and everything gets all hyphenated just-for-the-sake-of-it. “Flowers Must Die”, man, it’s fucked up. Over on Side
2, the title-track (“Vibrations”) begins poetically enough with Wolfgang Muller’s epic and hugely reverbed vibraphone. Organ fades in and
FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally
materialises — this is the one that Göttsching and Enke believed was the sound of heaven.
They may have been right. And Schwingungen was a gift from the Gods.“

“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 – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr
Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album,
and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus
decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two
legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for
him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also
Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of
our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head
Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock
riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none
of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple
major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s
the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo
pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and
expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful
Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’
meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never
sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

"Starring Rosi“ is the 5th Album by Ash Ra Tempel. Released 1973 in the same Year as "Join Inn".
The CD Version is remastered by Manuel Göttsching himself.

CD reissue of Rei Harakami's third album, "red curb," which was created in a personal way, is a masterpiece that has garnered acclaim from many quarters and solidified his popularity. "In making the third album, I was thinking that I should do only what I like, or rather, I can only do what I like... By the way, I thought I would retire after releasing this album, but that did not happen." - Rei Harakami

The CD reissue of Rei Harakami's 4th album "lust", which includes the classic songs "joy" and "owari no kisetsu"!! The reissue includes new liner notes by Carlos Nino, who has collaborated with Rei Harakami. Four years after his third album "red curb," this album includes "joy," one of Rei Harakami's best-known songs, and "owari no kisetsu," a cover of Haruomi Hosono's song, in which he takes on the challenge of singing vocals for the first time.

Subtly hallucinatory, Burroughsian field recording collage by CM Von Hauswolff and Eric Pauser’s Phauss, stitching abstract meta-narratives from the ether of mid ‘80s Switzerland, Syria, Lebanon, Iran, Pakistan, India, Thailand, The Philippines and USA, Morocco, Algeria, Niger, Benin and Nigeria, with assistance of engineer Zbigniew Karkowski. Reissued for first time in 35 years.

“Audiodrome collects together two discreet works that sit somewhere between field recording, chance composition and experimental soundscape. Both pieces pre-date the widespread arrival of field recording as a creative practice, and expand outward the work that had been developed by musique concréte and other experimental music approaches concerned with the intersections of found sound and composition. Both works were devised using the same working methodology, whereby an alarm would sound every few days and wherever and whenever it sounded the pair would start recording their surroundings. Those raw material became the basis for the pieces.

The first composition Zürich - Zürich is a piece that traces a line around the world, Phauss travelling on a round the world air ticket stopping only in countries where conflict was present. This unsettling journey became a meditation on the evolving state of the world in those moments. Voices, traffic, cafes, radios, transportation system and other incidental environments float into one another in a kind of stream of (temporally incongruous) consciousness.

The second work Alger - Lagos brings to mind some of Brion Gysin and William S. Burroughs tape cut-ups. Street musicians are splice against bursts of radio, roadside conversations and searing blasts of industrial noise captured from aircraft and other unfamiliar sources. It is an unsteadying journey where even the sounds of the everyday feel alien and repositioned. The sounds call to us prompting a sensing that is at its heart utterly fascinated, and fascinating.

The edition includes a book featuring an exhaustive collection of photographs, documents and artworks made by Von Hausswolff and Pauser during their journeys undertaken to complete each of the compositions. Many of these images and artworks have never been published previously.”

Formed in the early 1980s,​ Phauss is Carl Michael von Hausswolff and Erik Pauser.

"Von Hausswolff and Pauser, who both operated across sound and installation, used Phauss as a means for deconstructing ideas of composition, situationalism, site-specific works and extended performance methodologies. Across the second half of the 1980s and into the early 1990s, they made connections, through their travels, outward from their homeland into scenes and communities that stretched from the Middle East, through North America and into Asia.

Like their travels, their ways of approaching the work they made was similarly wide-reaching and innately curious. They worked with often quite strict conceptual structures within which they were able to unlock entirely new ways of considering composition and also the material production of sound, through performance, through iteration and through considered experimentation which allowed for failure, just as much as success.

Nya Sverige - Nothing But The Truth is a recording made in the United States whilst the pair were undertaking an exhaustive tour in 1991 alongside Hafler Trio and Zbigniew Karkowski. This, now legendary, tour was both arduous and rewarding. Living in a van for many weeks at a time, travelling between cities with the most modest of means meant Phauss came to know a very particular vision of the United States, one that existed below plain view. Their’s was an experience had at the rawest edges of cities.

Equally the performances they gave, from which this edition is assembled, were raw and quite frankly dangerous. Fire on stage, sparks flying from short circuiting electronics and intense physical rituals guided so much of their work during this tour and looking back at bootleg videos from the time it’s difficult to imagine the work being able to be presented in the modern world.

One of the flyers from their tour reads ‘Extreme Swedish Industrial’, and as familiar as those words might appear now, in 1991 they held a very different resonance. They were unfamiliar terms of reference and the intensity of Phauss’s music maintains that unknowability to this day. This is a profoundly individual work and sets the stage for a generation of musicians who followed them."

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.

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.

Jacob Stoy's Overload is here. It is a long-running and crucial project in the Berlin musician and graphic designer's artistic output. What began as a multi-dimensional art project about the over-presence of stimuli hammering our consciousness in the days of late capitalism evolved into a fascinating musical field study into the deep canyons of future IDM, lo-fi wave, freakfolk and everything in between. The album is a piece of conceptual art that uses sound and music to reflect on the modern information society and our relationship to digital content. Lost in the endless stream of sensations, we are not only plagued by fears of missing out on relevant information, but also increasingly by addictive behavior in the form of a permanent longing for content. Despite the constant oversupply, these relationships lead to loneliness, social isolation and the inability to make decisions. Almost inevitably, the musical spectrum on Overload is extraordinarily broad, ranging from state-of-the-art IDM to lo-fi wave sketches, hip-hop stumblings and freakfolk miniatures through to twisted ambient. Nevertheless, it is surprisingly cohesive and works well as a cure for digital overload in a kind of conceptual irony. It is an album that will inevitably cast a spell over listeners. A very limited physical edition of the album has been designed and manufactured with love and care by Jacob Stoy. It comes in the form of a handmade twelve-sided booklet that consists of eleven printed transparent foils and the CD in a protective sleeve. But Jacob Stoy's album is by no means the end of the Overload concept. The ideas are being continued on the project's website and in various artistic contributions. Jacob Stoy has asked many friends how they would translate their thoughts on the subject into individual works of art. Many exhibits have already been submitted, with many more to come. The project will ultimately culminate in a concept exhibition that brings together all the contributions and creates a dialog between them.

A two CD set containing Eliane Radigue's live performance of »Chry-Ptus« (1971), her first work for modular synthesizer, and the world premier of parts one and three of »Triptych« (1978) – Part 2« is also performed. Upon hearing these performances for the first time in many years Radigue declared them to be the best versions she'd ever heard. Radigue's sublime renderings of these major pieces are full of illusory stasis, slow change and dense, slow motion drone that has characterized her pioneering electronic work.

CD-Reissue of Ecstasy Boys' major debut album from 1994, "Moon Dance". The Ecstasy Boys had been actively producing and performing shows worldwide from the late 80's to the 90's. They had been recognized by legendary DJs such as Larry Levan and Frankie Knuckles. The unit "Ecstasy Boys" was named by NY based legendary producer Mark Kamins, who was known as Madonna's producer for her first single "Everybody". The track "Happiness" (a2) and "Tsukino Oshie" (b1) were produced by Mark Kamins. The album also compiles their signature track "Holly Spirit Dance" which was released from Strictly Rhythm also in 1994!

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; Mfm053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history. The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan. Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres. Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs. The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world. This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment. Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored. VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second installment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II the avant garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music. Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma. The CD version also includes the 2 tracks 'Bruhahá' & 'Eyes' which were released as a separate single on vinyl and were not included in the 2xLP version.

Originally released on September 30, 1991, Orbital's eponymous debut album became known as "The Green Album" to distinguish it from their second album (known as "The Brown Album")
The Green Album includes the seminal 'Belfast' and a live version of 'Chime', the landmark dance track that launched their career in 1990

1. The album will be remastered and represented in multiple formats, to be released alongside the band's 'Green Album' UK tour (the band performing Green & Brown albums) starting on 24th April . They've just be announced for Coachella , as well as Miami's Ultra Festival & headline shows in New York & Chicago.
2. Last available on vinyl in 2015 - long time sold out. Back On Double Vinyl editions.
3. First repress on CD for over 20 years ! Back on Double CD - Bonus CD featuring rarities and classic remixes

BIOG / SHORT PR INFOS

Following on from the UK Top 20 success of 2022's 30 Something, and the Top 10 for 2023's Optical Delusion, London Records launch an extensive 2024 campaign for Orbital, revisiting 1991's seminal debut Orbital (aka The Green Album).

The Green Album heralded a brave new world for the UK musical landscape (DJ Mag would later decry that the album "rewrote the rule book for rave"). Brothers Paul and Phil Hartnoll eschewed formulas and clichés, choosing to explore wider textures, rhythms and stranger mind spaces within dance music. Their resulting album would enjoy both chart success and an enduring legacy, influencing and inspiring artists from Björk to Bicep, with the Hartnoll brothers going on to collaborate with artists as diverse as Madonna, Ennio Morricone, Kraftwerk, Sleaford Mods and Professor Brian Cox.

33 years since its original release the album is revisited, from black vinyl , limited colored vinyl and CD editions (long out of print), to special Record Store Day double Splatter Lp. In the digital space 'Tonight In Belfast' will be lauched on February 2nd, :a reworking of the band's seminal track 'Belfast', remixed by David Holmes and re-interpolated with new lyrics and vocal by acclaimed street poet Mike Garry.

Orbital will be supporting The Green Album with an extensive headline UK tour this April (performing both their Green and Brown albums). Ahead of that they've just been announced today for Coachella 2024, as well as Miami's Ultra Festival and headline shows in New York and Chicago.

2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists.

To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”.

Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past.

In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish.

Tragically, during the last few weeks of finalising Mfm066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.

* incl. insert liner notes by John Gómez) Artwork by Bráulio Amado. Design by David McFarline.

Christof Migone's 'Wet Water (Let's Dance)' immerses you in a mysterious soundscape, characterised by electronic noise and watery flows. Each piece explores inarticulation and the struggle to communicate, challenging traditional notions of sound and language. In the work captured in this collection, the relation between elements is abstract, entangled, puzzle-like in its weirdness, and all the more rewarding for that.

Accidental Journey 10 years drifting thru Genres and combining Materials.

Where does a decade start, where does it end? Years come; hours go. A group of ten. 0-to-9, 1-to-0, calendar years went by, flying high. Time is irrelevant, and yet, we like a look back to stare forthright. So, here it is, a big dark tempting audiobook for people with time, Acid Zen citizens, deep listening folks, slow consumers, with a desire for thrill, thrills for desire. A double CD. 40 exclusive contemporary illusions. Composed, droned, improvised, felt, and unrealized. Some just came up, others were profoundly formed. Pop, folk, ambient, field music, vocal pleasure, psychedelics, dub tunnels, dance sensations, freaky corners, ever so user-friendly. Deep-rooted Kashual Plastik associates like DJ Richard, Georgia, Bobby Would, Läuten der Seele, Time Is Away, Don’t DJ, Robert Bergman, Lamusa II, or Malvern Brume socialize with inner Kashual circle creatures like Inkasso, Laure Boer, Primitive Structures, Crude Fact, ML, or Edition D Art. Some bring hummed hits, like “Bucket Rain” by Omen, or “Opus I” by Ugne Uma. Other make you wonder in sound, like Paul Arambula‘s “On Display” or Sholto Dobie’s “Trough”. Not your average evergreens, but those that come to stay. As friends. In civil and all evil days. Lots of stuff to junk. In your brain, to accompany the rain, while being on a train. Plenty levels of utilization, for a novel civilization. Over there, they do not count in numbers, as nothing is to count for. Airs to airs, music to music, sound to sound. A decade of love and hate, of sorrow and borrow, tears, and all those repetitive fears. Accidental meetings in prewritten times.

Includes digital pre-order of Accidental Journey. You get 11 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released.

After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines.

While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon's tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie's Station To Station, ...And The Gods Made Love by Jimi Hendrix, the synths in the song Mass Production by Iggy Pop, and the general idea of Eno's initial concept of Ambient music.

Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate.

I've been listening to music like this since I was 13 or so, but I felt that making it was out of my reach because of the amount of restraint I imagined it required. Once I found myself making this music, it did not feel like a matter of restraint at all. I wanted to build a certain type of building, and hear certain types of movement, and I knew when it was complete. There was no place for sequences of notes and rhythms in my plans.

I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band's recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc.. What I needed was to create music from the ground up with nothing but sound, and have that music reflect "being" rather than "doing". It was a therapeutic way of re-balancing myself, before and during my band's mixing process.

This music seeks to just exist, and is not attempting to manipulate or grab the listener in any way. I believe it works well if one listens loud and focuses on it, but also works well at soft volumes and in the background. It can compete with silence on silence's own terms, and it can also happily wipe silence out.

There are two versions of this album. The CD version is pronounced "two" and called : I I . This is the longer version. The vinyl version is pronounced "one", and called . I : This version is shorter, but contains one vinyl-only track. The reason the vinyl is shorter is that some of the tracks have sounds that can not be pressed on vinyl.

Eka Faune offers a surprising mix of Asian cultures, shamanism and post-punk in the form of a record called Healing of the Nation. The band merges dark mantras, hypnotic rhythms, ethnic samples and the acid sounds of Seika Faune. Delphine Poupard's voice and Robin Plastre's sax are added to produce a haunting music, dark and luminous at the same time, alternating dance and trance, taking the listener far inside... Similarly to the other albums by Eka Faune, Seika first recorded his drums and sounds machines as well as his sampler-sequencer in one take. Then he added the instruments and voices. Sax, bass, sarod, tambourine and vocals accompany loops captured on the streets of Delhi, the mountains of Asia or old acid house vinyls.

Eka Faune is a musical project based in Nantes, France, initiated in 2014 by the artist Guyseika. The project evolves under the influence of guitarists, cellists, singers or dancers who join the band for a concert, a recording, a tour - or more. Over the years, Amélie from Breedz Insane, Steph from Modules Étranges, Budwarrior or Vincent Roy, have taken part in the project. Recorded in 2021, the album Healing of the Nation is a deeply thought-out answer to the crisis we are all going through. It offers a way to heal from it: sounds coming straight out of a feverish cave located between the Himalayas and Detroit bewitch us into quite a trip.

Gaia: Selected Ambient & Downtempo Works (1996-2003)’ is a new in-depth compilation of works by Japanese musician Dream Dolphin. Co-compiled by Eiji Taniguchi, it draws from a vast discography of music oscillating between IDM, Pop and Electronic Dance Music. First appearing on Eiji’s compilation ’Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)’, this selection of rediscoveries, further shines a light on the singular musician known as Dream Dolphin and her place in Japan’s rich electronic music legacy.

Dream Dolphin was originally an Ambient and Electronic project by the Japanese artist referred to simply as Noriko, who moved from studying classic Italian songs as a child, to increasingly being inspired by artists such as PIL, Yellow Magic Orchestra, KLF and movies such as ‘2001: A Space Odyssey’ and ‘Le Grand Bleu’. The music she released under the name Dream Dolphin, from the age of sixteen, is unique and versatile in style, encompassing Ambient, IDM, Techno, Trance and Drum & Bass, whilst fusing natural sounds with her own spoken word lyrics.

Dream Dolphin released an incredible twenty albums in just eight years. In addition to her own projects, she has also put together a number of fascinating compilations herself, as well as composing ambient music to be used in hospitals and other caring contexts. ‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ contains 15 tracks thoughtfully selected from various albums that until now were only released on CD format.

Since his debut album "Transsiberian", Thylacine has developed a taste for composing through travel, an initiatory project that led him to compose during his journey on the Trans-Siberian Railway. A seminal album that allowed the young electro prodigy to make a name for himself on the electronic scene. With the aim to combine music and image and to make us discover his world through travel, Thylacine has continued to climb the ladder and has racked up no less than 121 million streams. Whether it's "Anatolia", "Olatu", or "War Dance", Thylacine has made a name for himself by writing real hits. Through "9 Pieces ", Thylacine wanted to pay tribute to some iconic tracks that are currently only released digitally and independently and to let us discover his new compositions, all of which are just as transporting and refreshing. His new opus "9 Pieces" will contain unreleased tracks from his latest travels and encounters, pieces to be assembled in order to reconstitute a puzzle and immerse oneself in the universe of Thylacine. Like this object, each musical piece will find its place alongside his greatest hits. "9 Pieces" will be released the 21st of October on Intuitive Records.

Wrwtfww Records couldn't be happier to announce the release of Yutaka Hirose’s never-heard before 11-track collection Trace: Sound Design Works 1986-1989, available on double LP and double CD, with liner notes from the artist.

Trace is a collection of 11 unreleased tracks produced by Yutaka Hirose between 1986 and 1989, during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of the Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on these projects.

Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers, using a multi-sound source, and following the concept of "sculpturing time through sound".

The composer explains: "sculpturing time through sound means that time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea."

Trace: Sound Design Works 1986-1989 is divided into two parts. The Reflection segment is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played in entrance halls, at events, in cafes and bars. The Voice from Past Technology segment expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.

All in all, Trace is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ashikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova.

"Mulid El-Magnoun” addresses the term ‘moulid’ and its various manifestations it takes on in Egyptian folk music. Here, the word ‘moulid’ does not exclusively refer to Sufi moulids: rather also the intertwined artistic spaces that lie between the moulid in its Sufi sense and what it carries in distinctive rhythmic patterns, musical instruments, and artistic forms, and the moulid as a musical genre originating from folk weddings that enjoy special aesthetics and unique styles.

Through this project, Yunis tries to explore the spaces where those two concepts collide through producing an original musical composition which reflects his own vision and understanding of ‘moulids’ as well as the manifestations the word carries within him.

About Yunis:

Yunis (b. 1994 - Kafr El-Dauwar) is an Egyptian musician and music Producer. He has produced two albums until now; «The Blue Djinn Dance» which was his first solo album, and «Ya Khal» which was a collaborative work with Ibrahim X. He is also a co-founder of Kafr El-Dauwar Records, an independent digital record label interested in contemporary and experimental music, founded by a group of young artists with the aim of creating a musical movement in the city, by supporting a group of artists to start their music from Kafr El-Dauwar with the potential of going with the music to the farthest point it could arrive.

In his music, Yunis seeks inspiration from the popular Egyptian folkloric heritage, which boasts many instruments, tools, and musical styles. He then reads and analyzes the musical legacy and presents it with the forms of his contemporary time.

CD Jewel Case With 8 pages Booklet, Pictures , Notes In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART. Carefully overseen by the Master himself

Music From Memory is delighted to be turning 50 with a special release: Mfm050 - V/A - Virtual Dreams: Ambient Explorations In The House & Techno Age, 1993-1997 (3xLP/2xCD). The first in a series of compilations, alongside more in depth artist-focused releases, Virtual Dreams will delve into music produced during the 1990’s that redefined the boundaries of ‘Ambient’. This was music that explored the possibilities of Ambient music within a new setting, created often by House & Techno music producers for a world beyond dance floors but made very much with the pre and post-clubbing listener in mind. When House and Techno exploded out of America in the mid 1980s a whole generation was redefined not only musically but also culturally and chemically speaking. Peaking, quite literally, with a second ‘Summer of Love’ in 1988, millions of young people across the world would experience the life-changing ups of a brave new world but with it of course came the downs; enter the concept of a ‘Chill-out’ room. Whilst early Chill-out rooms lacked a specific sound and were often soundtracked by music such as reggae and soul, slowly young Techno and House producers themselves would become increasingly interested in developing a futuristic ‘Ambient’ soundtrack to a world beyond the thud of the main room. ‘Ambient’ in this new age now though had sharper teeth than in Brian Eno's key text for ‘Music for Airports’, instead here the sounds were the mode of transport rather than the backdrop. While the melodies were pretty, the soundscape steered away from the pastoral, dreaming of outer-space and technology as opening up exciting new dimensions. Much like in the first Summer Of Love; the musicians were again exploring psychedelic, mind-altering and transcendental possibilities of music. And also much as in the first Summer Of Love, a psychedelic visual language would accompany the music. Though now the tracks could be accompanied by music videos, utilising early CGI techniques, they would look almost entirely to the future: envisioning technology, nature and humanity intertwined in a new Utopian future. Virtual Dreams of a better world. From Ambient and early Chill-out classics, to lesser known one-off projects, as well as Ambient deviations by some of House and Techno’s leading producers, Volume One of Virtual Dreams features tracks by Bedouin Ascent, LA Synthesis, LFO, Marc Hollander, Mark Pritchard & Kirsty Hawkshaw, Richard H. Kirk and more. To celebrate our 50th release the first 1000 copies include a holographic 'Virtual Dreams' sticker plus a special insert poster with artwork by Victoria Pacheco and design by Steele Bonus.

This is the new instalment of Soul Jazz Records’ ground-breaking Deutsche Elektronische Musik series, ‘a near-definitive guide to some of the world's most extraordinary music’ (The Guardian).

This latest edition features many of the classic German electronic and Krautrock groups from the 1970s & 80s – including Can, Amon Duul II, Harmonia, Conrad Schnitzler, Agitiation Free, Roedelius – as well as a host of lesser known artists such as Dzyan, Klauss Weiss, Gruppe Between and many more.

Deutsche Elektronische rarities unearthed on the album include Kalacakra (whose fan-base included the great Moondog!) and their superb ‘Nearby Shiras,’ taken from their super-rare spiritual/psychedelic private press concept album Crawling to Lhasa, from 1972.

Deutsche Elektronische 4 includes a wealth of German electronic experimental artists – the seminal pioneering group Harmonia (Roedelius, Moebius and Michael Rother), avant-garde guru Conrad Schnitzler as well as lesser known synthetic artists such as Klauss Weiss, Deutsche Wertarbeit, E.M.A.K. (Electronische Musik Aus Koln), Gunter Schickert and others.

Finally, the album also features an array of heavy and progressive German cosmic rock groups – Dzyan, Virus and the amazing Turkish/German tripped out sound of Alex’s ‘Patella Black’, recorded at Can’s Inner Space in 1973, produced by Holger Czukay and Jackie Liebezeit.

Deutsche Elektronische 4 comes with extensive newly commissioned sleevenotes by David Stubbs, author of the seminal books ‘Future Days: Krautrock and the building of Modern Germany’, ‘Mars By 1980: The story of Electronic Music’, and ‘Krautrock: Cosmic Rock and its Legacy’.

This album comes as a heavyweight triple vinyl edition with full colour inner sleeves, as well as a deluxe double CD edition with outsize booklet and slipcase. Both formats include full liner notes and extensive rare photography.

CD Jewel Case. In 1975 I was doing a series of concerts in France with Lutz Ulbrich, where we were presenting "Inventions for Electric Guitar” and other compositions, which we developed together that year. In August, we were invited for two concerts in the South of France, one in the wonderful Roman theater in Arles, the other at the Festival Palace in Cannes.This is where we met the musicians of the German band CAN and the singer Nico, who also played at the festival. After the concerts we stayed together a few days in the beautiful city of Arles. Nico's friend, the French director Philippe Garrel, was working at that time on a film starring Nico, Anita Pallenberg and Dominique Sanda and was looking for music to make you dream. I always recorded most of our concerts, that's how we were able to offer him the piece that we had performed as "encore” in Cannes. It became the main theme of the film. Other parts were recorded during several sessions throughout 1975 in my studio in Berlin. Instruments and electronic devices were relatively simple compared to today's technology: four-track tape recorder, an old Farfisa organ, the beautiful EKO Rhythm Computer (Italian machines controlled by punched cards), the EMS superb guitar-Synthi HiFli and of course, our "usual” guitars. All this combined with the patching, the filtering and echo has produced its own unique sound to "electronic dreams” of the 70s. , Manuel Göttsching 1993 Recorded in 1975 at Studio ROMA, Berlin, with the exception of "Le Berceau de Cristal", recorded during the concert on August 7, 1975 at the Palais du Festival in Cannes.