Downbeat | Electronica | Leftfield Vinyl LP 6689 Items

LP | 1974 | EU | Reissue (Real Gone Music)

Release: 1974 / EU – Reissue

Genre: Electronic & Dance

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The newly established label Cat in the Room, created by Goodheart Productions, re-releases for the first time after almost fifty years the legendary work Smog by Kyriakos Sfetsas, one of the most important Greek contemporary composers. At the same time, in collaboration with the composer and The Hubsters, which is responsible for the digital distribution, it presents for the first time the majority of his discography in digital format.

Smog is an electro-acoustic work in five parts of equal duration (18 minutes) divided into several variable sequences. It was composed as the music score for the ballet Smog commissioned by the choreographer Michel Caserta. The work was premiered on October 18, 1974, by the Ensemble chorégraphique de Vitry at the Théâtre Jean-Vilar in Vitry-sur-Seine (Paris).

As a musical work, it has acquired over the years the scope of a legend in the electro-acoustic & avant-garde scene, for its richness and value as a composition, the composer's ingenious use of the means available at the time regarding the production of electric sounds, and their combination with natural sounds, as well as for the four-channel recording and live performance.

A new sound mastering and artwork was developed for this release in collaboration with the composer, whose liner notes are included on the cover.

Smog will be released on December 9, 2022, on a 180gr. double vinyl edition

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Soul Searchers

Salt Of The Earth

33,99 €*

Release: 1974 / EU – Reissue

Genre: Electronic & Dance

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John Cage White Vinyl Edition

John Cage

LP | 1974 | EU | Reissue (Cramps)

28,99 €*

Release: 1974 / EU – Reissue

Genre: Electronic & Dance, Classical Music

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Have You Heard This Story? Blue Vinyl Edition

Swamp Dogg

LP | 1974 | EU | Reissue (Alive)

33,99 €*

Release: 1974 / EU – Reissue

Genre: Electronic & Dance

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2LP | 1974 | EU | Reissue (Week-End)

Fred Frith

Guitar Solos / Fifty

42,99 €*

To Anyone Who's Ever Laughed...

Release: 1974 / EU – Reissue

Genre: Electronic & Dance

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Guitar Solos is the debut solo album of British guitarist, composer, and improviser Fred Frith. It was recorded while Frith was still a member of the English experimental rock group Henry Cow and was released originally in October 1974. Voted one of the best albums of 1974 by NME critics it also attracted the attention of Brian Eno, resulting in Frith playing guitar on two of Eno‘s albums. Frith‘s never tiring spirit in creating and performing music has made him one of the most notable and creative guitar players and musicians in the scene of improvised and composed music. For the anniversary of this release we have encouraged Frith to arrange a set up similar to what he used 50 years ago to record an album of new compositions which will accompany the original record.

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Randy Rice

2LP | 1974 | Reissue (Wah Wah - Supersonic Sounds)

48,99 €*

LP | 1974 | US | Reissue (Fat Possum)

Release: 1974 / Reissue

Genre: Electronic & Dance

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I was between the ages of 18 and 20 when I wrote the 22 songs found on To Anyone Who Ever Laughed at Someone Else. They express the thoughts and frustrations, hopes and fears of a young man coming of age in a world that was full of upheaval and transformation. I was a product of that period in America we call the sixties—those years between the assassination of President John F. Kennedy in November 1963 and the resignation of President Richard Nixon in August 1974. In fact, this record was released that same month Nixon resigned. Over the next five years, I toured the country as an acoustic artist performing at clubs, coffeehouses and colleges. During that time, I watched the idealism and social consciousness of the sixties slowly fade away. In its place emerged a cynicism and materialism that still seems to be with us so many years later. More than anything else, I think To Anyone Who Ever Laughed at Someone Else is a time capsule that speaks to us from a past era. A period when, above all other things, we asked questions. We questioned our country, we questioned our faith, we questioned the very purpose of life itself. I am very excited to bring those questions and these songs to a new generation on a new continent. Special thanks to my friends Jordi Segura of Wah Wah Records who took the initiative to release this 50th Anniversary Re-issue of To Anyone Who Ever Laughed at Someone Else and Michel Veenstra Klinkhamer, who introduced us.

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Ann Peebles

I Can't Stand The Rain

Release: 1974 / US – Reissue

Genre: Electronic & Dance

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LP | 1974 | US | Reissue (Superior Viaduct)

La Monte Young

Dream House 78'17"

LP | 1975 | UK | Reissue (Spoon)

Release: 1974 / US – Reissue

Genre: Electronic & Dance, Classical Music

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Originally released in 1974 on Shandar, Dream House 78'17" is the second full-length album by La Monte Young and Marian Zazeela. This first-time US edition reproduces the original gatefold sleeve with beautiful calligraphy by Zazeela and liner notes by Young and French musicologist Daniel Caux.

Side one was recorded at a private concert (on the date and time indicated by the title) and features Young and Zazeela's voices against a sine wave drone with Jon Hassell on trumpet and Garrett List on trombone. This work is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). The piece evolves with the oscillator changing pitch and dictating an ornate pattern over the course of the performance.

Side two is an example of one of the sets of frequencies sustained in the Dream House, the composite sound environments conceived by Young and Zazeela. The composer suggests listening while seated – to experience how the sound interacts with the room and other perceptions of its arrangement – as well as while walking. As Young states, "The frequency ratios are monitored continuously as lissajous patterns on the oscilloscopes and, in spite of the great stability of the oscillators, the phase relationships of the sine waves gradually drift which causes their amplitudes to add and subtract algebraically. Not only does the sound become a bit louder and softer, but at very loud levels, one actually begins to have a sensation that parts of the body are somehow locked in sync with the sine waves and slowly drifting with them in space and time."

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Can

Landed

LP | 1975 | EU | Reissue (Ment016)

Release: 1975 / UK – Reissue

Genre: Rock & Indie, Electronic & Dance

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Remastered from the original tapes, 180g vinyl!

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The Nazgul

LP | 1975 | EU | Reissue (Wah Wah)

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Lost-in-time Kosmische / Kraut / Avant-Garde artefact, produced by Toby Robinson aka The Mad Twiddler circa 1975 for his private Pyramid label.
Tolkien inspired dark ambient soundscapes with spooky / ritualistic atmosphere, treated percussions, gongs & guitars, trippy Hammond & Mini-Moog, tape loops, weird noises, drones…
File under dark ambient, proto-industrial, kraut, experimental...

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Nik Pascal

Zero Gravity

Radio-Activity Remastered Black Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

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Kraftwerk

LP | 1975 | EU | Reissue (Parlophone)

49,99 €*

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Third (It's Always Rock'n'Roll)

Heldon

2LP | 1975 | EU | Reissue (Bureau B)

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Canti E Vedute Del Giardino Magnetico

Alvin Curran

LP | 1975 | US | Reissue (Superior Viaduct)

LP | 1975 | US | Reissue (Speakers Corner)

Release: 1975 / US – Reissue

Genre: Electronic & Dance

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American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early ’70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.

Canti E Vedute Del Giardino Magnetico, Curran’s solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome’s The Kitchen).

Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer’s alluring voice—converging in an immersive realm of Curran’s inner / outer experiences.

This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.

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Vangelis

Heaven And Hell

LP | 1975 | EU | Reissue (Dialogo/Cramps)

Release: 1975 / US – Reissue

Genre: Electronic & Dance

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Technical innovations in musical instruments and the development of tonal language have been continual subjects for deliberation from the 19th century onwards at the latest. Additional brain power is necessary to conciliate the two elements with the endless possibilities of electronic sound. In the end, the two factions cannot resolve on a conclusive opinion and the question remains as to whether art always results from skill.
Evángelos Odysséas Papathanassíou, or Vangelis for short, always worked with the newest synthesizer equipment and pushed his cascades of sound to the very edge, right up to the point of electronic overkill. In contrast to many other electronics experimentalists of his time, Vangelis likes to »create important melodies and to develop them further, without going under in the technical equipment« (Stereo Review). Distant human voices, siren-like lost calls lead into oriental dance. A song – far removed from its era – somewhere between Gregorian music and antiphony – a will-o‘-the-wisp, shimmering sound. Polyphonic playing on the Bösendorfer reminds one that every form of musical expression from over the sands of time is welcome. Each listener must discover for himself what sounds heavenly or hellish. But let it be said: musically speaking, the one cannot be imagined without the other.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.

Recording: September 1975 at Nemo Studios, London, by Alan Lucas
Production: Vangelis

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Costin Miereanu

Luna Cinese

Tempo Furioso (Tolles Wetter)

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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At long last, after decades out of print, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Costin Miereanu's "Luna Cinese", part of an ongoing initiative dedicated to bring the imprint’s seminal output back into the light. Easily one of the most singular and important experimental albums of the 1970s that remains as engrossing, creatively riveting, and as ahead of its time today as it was in 1975, this is as exciting as reissues come. Complete with new English translation of their original liner notes, it can’t be missed! Edition of 500 LP on black vinyl. Audiophile pressing. Gatefold cover, including printed inner. Perfect replica of the original packaging (with additional translated liner notes) and newly remastered for optimal sound.** Of all the historic labels associated with experimental music, few have garnered as much affection, or as devoted a following, as the Italian imprint Cramps. Its catalog reads like a who's who of the 1970s musical avant-garde, housing seminal albums by John Cage, Gruppo di Improvvisazione Nuova Consonanza, Giusto Pio, Demetrio Stratos, Juan Hidalgo, Robert Ashley, Walter Marchetti, Cornelius Cardew, Raul Lovisoni / Francesco Messina, Alvin Lucier, Derek Bailey, and so many more, the vast majority of which have remained largely out of print and nearly impossible to obtain for decades. Now, at long last, the Milan based imprint, Dialogo, has begun a stunning series of vinyl reissues from Cramps' Nova Musicha series - dedicated to contemporary avant-garde composers - beginning with Costin Miereanu’s Luna Cinese, originally released in 1975. Fully remastered and housed in a sleeve that beautifully reproduces the album’s signature design, complete with brand a new English translation of the original liner notes, this is a truly historic event. For its impact, Cramps was a relatively short-lived endeavor, running for roughly seven years between 1973 and 1980. Founded in Milan by the producer, publisher, and graphic designer, Gianni Sassi - publisher of counter-cultural magazines like Bit and Frankenstein, and the designer behind numerous covers for Bla Bla, including Franco Battiato's Fetus and Pollution - Cramps was the pitch perfect emblem of revolutionary Italian temperaments of its era; creatively radical, globally minded, without profit motive, and bridging numerous musical idioms, from progressive rock and jazz, to some of the most forward thinking and singular expression of sonic experimentalism the world has ever seen. Of all the seminal figures that recorded for Cramps, the Romanian / French composer, Costin Miereanu, remains among the most distinct and under-appreciated. The reemergence of his debut LP, Luna Cinese, issued by the label in 1975, will likely change that. Over the last decade or so, Miereanu has developed something of a cult following among experimental fans because of his stunning series of albums issued during the 1980s on his own Poly-Art imprint, skirting the border of ambient music and minimalism in highly individual ways. Luna Cinese, which dives into far more explicitly experimental territory, will undoubtedly be a revelation and expose the true underpinnings of the work that would begin to emerge of the next decade and a half. During his early years, Costin Miereanu was something of a wunderkind of avant-garde and experimental music. Born in Bucharest, between 1960 to 1966 he was a student of Alfred Mendelsohn, Dan Constantinescu, and Lazar Octavian Cosma, before moving to Paris where he earned a Doctor of Letters and a Doctor of Musical Semiotics, winning numerous prizes in writing, analysis, music history, esthetics, orchestration, and composition. Between 1967 and 1969 he was a student of Karlheinz Stockhausen, György Ligeti, and Ehrhard Karkoschka at the Internationale Ferienkurse für neue Musik in Darmstadt, laying the final groundwork for a stunning career as both a composer and noted academic over the years since, often combining techniques drawn from Satie with the abstraction of Romanian traditional music into a sonic fabric that is guided by systems associated with Musique concrète. Luna Cinese, issued as the composer's debut LP by Cramps in 1975, is a stunning combination of all these elements. The work - stretching across the album's two sides, consists of continuous low-density repetitions, build from what the composer describes as “the kind of 'woven' silence you find on mountains – occasionally disturbed by irregular and very dense insertions – the kind of intense noise you find in the city.” The result, combining a vast range of environmental sound, voices chattering in various languages, fragments of acoustic instrumentation, and the pulsing and ambiences of synths and electronics, is about as singular and beautiful as experimental works from the 1970s come, while never for a moment sacrificing rigour or tension. A truly stunning, interwoven sonic expanse that lays pregnant with multiple meaning and interpretations - conceived by the composer to illuminate the complex ways in which meaning and narrative are constructed across time - and imbued with surrealism and the 'schizoid', Luna Cinese stands as an entirely distinct and original gesture within the canon of experimental music, displaying a remarkable density, while open, airy, and encouraging the subjectivity of the listener to play an active part. Easily among the best and important works from the original Cramps catalog, but sinfully overlook over the years since its release, Luna Cinese is as good as they come and an absolutely riveting and immersive listen. Issued by Dialogo in this newly remastered vinyl edition - the first since 1975 - with its original liner notes by Miereanu in a brand-new English translation, this one is impossible to recommend enough and will leave the composer ringing in your mind for a long time to come.

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Martin Davorin Jagodic

LP | 1975 | EU | Reissue (Dialogo)

LP | 1975 | EU | Reissue (Vinyl Magic)

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Martin Davorin Jagodić (1935 – 2020) was a Croatian contemporary music composer and educator. His work includes theatre music, graphic scores, instructions for performances, multimedia installation art, radio art, electroacoustic music on tape as well as experimental film soundtracks. Despite a very long series of performances during the years, only one single LP has officially been released under his name, named Tempo Furioso (Tolles Wetter), a collage of electronic and ‘found sounds’ divided in two long movements (one for each side of the LP). Originally released on the Italian Cramps Records label as the 8th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, Tempo Furioso is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes. From the original liner notes of “Tempo Furioso”: My first thought was to state that ‘Tempo Furioso’ is a version of the song entitled ‘Tolles Wetter’. But things are not so straight-forward (after all, what is a version?), so I prefer to talk a bit about ‘Tolles Wetter’. This way, I am sure that I will be able to avoid illustrating the relationships existing between the ‘version’ of ‘Tempo Furioso’ and the ‘original’, namely the music of ‘Tolles Wetter’. Reading the diagram of ‘Tolles Wetter’ will help in listening to the record. It will also explain why I am forced to avoid the terms ‘version’ or ‘variation’. These expressions, for several years now, have become faithful counterparts to certain compositions featuring ‘multiple possible versions’; they make us almost automatically think of any ‘Third Sonata’, ‘Klavierstück XI’ or other open works of this kind. Because all of this is very far from my work, I do not want to use any of these terms. They would inevitably mislead the listener [...]. I’m saying all this in order to reassure the listener, who might otherwise think they are in front of a second-hand work (a minor version) and would therefore feel deprived, almost robbed, of the original. So, what is ‘Tolles Wetter’? The actualisation of a (musical) situation – a place, an action – in which we are at home, well warmed up, in our room, while outside there is a storm. The disturbing elements – atmospheric or otherwise – are already there and will eventually find their way into our space. (Have you ever noticed that there are places, whole cities, that are penetrated by frequencies that create a particular kind of sound – oscillations that are in the air?). They can be fire, or some annoying ‘Tafelmusik’ (“what’s going on under my table?”), wood creaking, wind blowing, as well as lines connecting us with the outside world, far away as it might be (radio stations, for instance). Now, little by little, our situation becomes more complex. It is no longer a question of one story but of several. Bad weather has definitively stabilised (this does not mean that the action always has to be actualised in a violent way; not all possible actualisations are like ‘Tempo Furioso’). Weather and time-duration are confused, we are invaded by memories, by projects... The different situations appear more and more like crystallised and superimposed objects/images, as if one wanted to be everywhere at the same time. Zigzagging through time, stumbling, enlarging the picture... reading makes its way into this picture. Of course, not all actions can be performed at the same time. The overall actualisation/hearing will depend on the organisation of the connections. In sight of a global actualisation/hearing, roles are distributed, and the scripts of the different versions of the same story are written. At this point, we can already better understand the sense in which - regarding the relationship between ‘Tolles Wetter’ and ‘Tempo Furioso’ - the term ‘version’ has little meaning. Let’s say, therefore, that ‘Tempo Furioso’ is a possible actualisation that came to be because of its recording. This also explains why – and perhaps helps instigate – different and diverse possibilities of overlapping sides and records are proposed.

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Daniela Casa

America Giovane N. 2

24,64 €* 28,99 € -15%

Epsilon In Malaysian Pale Record Store Day 2022 Green/Milky Clear Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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At the end of the '60s in Italy - but also abroad, especially in France and England - a very particular trend began to spread, that one known as 'Library music' or 'sonorization': as suggested by its name, those were real music libraries intended for the accompaniment of audiovisual productions such as television programs, advertisements, documentaries and films. Since they were created in total artistic freedom condition, they are often difficult if not impossible to catalog, as they're not anchored to a specific musical genre; this freedom also allowed the authors to compose, sometimes in the most complete anonymity, experimental and avant-garde music, capable of anticipating the sounds that only many years later would have been widespread on a larger scale. Daniela Casa (1944 - 1986) was a singer and composer, wife of another library music artist, Remigio Ducros, who wrote "America Giovane" (Young America), an LP that ideally precedes this second chapter. Originally released in 1975, "America Giovane N. 2" is today - like almost the entire Edizioni Leonardi catalog - extremely rare and among the most sought-after by collectors. Musically, it shares with the aforementioned "America Giovane" a remarkable stylistic variety: from folk to psychedelia, from funk to rhythm 'n blues but, unlike the first volume, on this record there's a more or less evident jazz aura ("Fix" and "Soft Bird" are practically two short free-jazz excursions!) that makes it even more interesting and unique. "America Giovane N. 2" is part of a reissues series, made in collaboration with Edizioni Leonardi (Milan, Italy), of extremely rare library music LP's published between late '60s and early '70s, most of which have never been released again until today, and that are finally made available again for collectors and sonorization music lovers. First official reissue ever on black vinyl.

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Edgar Froese

LP | 1975 | US | Reissue (Culture Factory)

LP | 1975 | EU | Reissue (Holy Basil)

Release: 1975 / US – Reissue

Genre: Electronic & Dance

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Limited to 3500 copies.

Epsilon in Malaysian Pale... which could be described as part of the "Phaedra Rubycon Epsilon" trilogy, shows Froese's impressions after the Australian Tangerine Dream concert tour, in relation to the flora and fauna there. Froese creates here a lush sonic atmosphere, the music matches the cover artwork perfectly. The music is harmonic and melodic. A sun-drenched musical landscape that is in no way inferior to the most famous Tangerine Dream albums.

It was not without reason that both David Bowie and Björk named Epsilon in Malaysian Pale as one of their inspirations.

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Ennio Morricone

Controfase

LP | 1975 | EU | Reissue (Holy Basil)

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Composed by Ennio Morricone alongside friend and frequent collaborator Bruno Nicolai, "Controfase" is one of the most overlooked and lesser known chapters in the maestro's extensive catalog. Various experimental elements perfectly intertwine in these skilful compositions, Vcs3 blend with hair-raising violin notes on a pattern of ominous percussions by Egisto Macchi. With the precious help of Gruppo di Improvvisazione Nuova Consonanza as well as Edda Dell'Orso angelic voice, the two masterminds have crafted a true hidden gem.

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Mario Molino

Antico E Moderno

27,54 €* 28,99 € -5%

Ypsilon In Malaysian Pale

Release: 1975 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Following our reissue of Silvano Chimenti's classic "Disco Music", we're happy to delve back into the Usignolo catalog with the reissue of C 364, one of the most iconic releases of the series, the incredible "Antico E Moderno" by Mario Molino. Bringing some of the most eccentric, chaotic and spaced out vibes you could hear in the mid 70's, Molino's mind bending arrangements are timeless classics, still standing the test of time and showing how he was way ahead of his time. Literally translating to "Ancient and Modern", showcases Molino's unique blend of traditional and contemporary musical styles, creating a captivating auditory experience for listeners.

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Edgar Froese

LP | 1975 | DE | Reissue (Brain)

38,99 €*

2x12" | 1975 | EU | Reissue (Virgin EMI)

Release: 1975 / DE – Reissue

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

1977 reissue. Slight corner wear.

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Brian Eno

Discreet Music

40,99 €*

LP | 1975 | EU | Original (Universal)

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Used Vinyl

Medium: Sealed, Cover: Sealed

Still sealed. 2018 reissue. Limited edition.

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Tangerine Dream

Rubycon

Release: 1975 / EU – Original

Genre: Electronic & Dance

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LP | 1975 | EU | Reissue (Wah Wah)

Ariel Kalma

Le Temps Des Moissons

Action Speaks Louder Than Words

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG

Record shows scuffs and slight scratches! Cove with some wear and a bent corner!

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Chocolate Milk

LP | 1975 | EU | Reissue (Music On Vinyl)

47,99 €*

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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LP | 1975 | US | Original (Nemperor)

Jan Hammer

The First Seven Days

8,99 €*

LP | 1975 | EU | Reissue (Music On Vinyl)

Release: 1975 / US – Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG, Cover: G+

Writing on labels.
Writing on cover.

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Modulations

It's Rough Out Here

Release: 1975 / EU – Reissue

Genre: Electronic & Dance

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Ananda Shankar And His Music

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Ananda Shankar

LP | 1975 | Reissue (Mr Bongo)

Release: 1975 / Reissue

Genre: Electronic & Dance

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LP | 1975 | US | Reissue (Superior Viaduct)

Roberto Cacciapaglia

Sonanze

LP | 1976 | EU | Reissue (Sony)

Release: 1975 / US – Reissue

Genre: Electronic & Dance

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

Sonanze (Sonatas) is Cacciapaglia's debut album, a monumental work that was recorded over a two-year period and released in 1975 via seminal German label Die Kosmischen Kuriere (Ohr). While a "sonata" is traditionally performed by easily distinguishable instrumentalists (often soloist and accompaniment) and with repeated structural themes, Cacciapaglia flips this hierarchical form on its head – blending harpsichord, strings, brass and analog synths to create ambient mini-soundtracks.

As the composer writes in the original sleeve notes, "I am aware, unfortunately, that I am a few millennia late in how I would like music to be understood, which today I find diluted in its primary powers, in an era that is destructive of essential values. Precisely for this reason, I want to search for it in depth and not on the surface, perhaps alternating the knob of a synthesizer with a marranzano (mouth harp)."

Mixed in quadrophonic surround-sound under the auspices of Rolf-Ulrich Kaiser (celebrated producer of Tangerine Dream and Ash Ra Tempel), Sonanze remains on the fringe of Kosmische realms. Each movement explores hypnotic rhythms, intuitive arrangements, musique concrète techniques and a pure psychedelic awakening.

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Jean-Michel Jarre

Equinoxe

Release: 1976 / EU – Reissue

Genre: Electronic & Dance

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LP | 1976 | EU | Reissue (Bureau B)

Heldon

IV (Agneta Nilsson)

Release: 1976 / EU – Reissue

Genre: Electronic & Dance

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LP | 1976 | EU | Reissue (Mental Experience)

Thomas Hamilton

Pieces For Kohn

LP | 1976 | EU | Reissue (Karl)

Release: 1976 / EU – Reissue

Genre: Electronic & Dance

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Spaced out bleeps & bloops and wild ARP synth freakouts from 1976!
“Pieces For Kohn”, as the title suggests, included four electronic pieces composed by Tom Hamilton as musical responses to 3-D geometric paintings by artist Bill Kohn.
A renowned audio producer and electronic composer, among other many things, you’ve probably have seen Tom Hamilton’s name in the credits of many albums by Robert Ashley and on releases from labels like Lovely Music, Pogus Productions, New World Records, etc.
Tom was first introduced to electronic music in 1965, while he was an undergraduate in Milwaukee, thanks to a lecture by Vladimir Ussachevsky illustrated with examples of electronic composers of the day: Bülent Arel, Karlheinz Stockhausen, Pierre Henry, Milton Babbitt…Encouraged by his teacher, Thom David Mason, Tom started to build audio circuits and battery-operated boxes that produced or modified sounds.
In 1969, Tom moved to St. Louis. After graduating at Washington University, he was offered a job to design, purchase, and build an electronic music and recording studio there. He now had continuing access to commercially built synthesizers and by the mid 1970s Tom found that working with electronic music was more satisfying to him than other musical endeavors.
The idea for the “Pieces for Kohn” album came from a studio visit with St. Louis artist Bill Kohn. Tom was an admirer of his work, which combined vibrant color combinations to fulfill 3-D geometric and architectural compositions in paintings, prints, and watercolors.
Bill proposed that Tom composed music for his art exhibition opening at a famous St. Louis gallery and Tom decided to simultaneously release that work on LP. Tom picked four of the paintings that he liked the most and titled his four pieces correspondingly. The recording took place at the Washington University Electronic Music / Recording Studio – the studio that Tom designed and first built in 1971 and then moved and rebuilt in 1974 (where it resides to date).
The original tapes were performed at the opening of Bill Kohn's exhibit at the Terry Moore Gallery in St. Louis, in January, 1976 and then Tom did a limited pressing of the album on his own label, Somnath Records.

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Mesias Maiguashca

Oeldorf 8

18,99 €*

LP | 1976 | EU | Reissue (Wah Wah)

Release: 1976 / EU – Reissue

Genre: Electronic & Dance, Classical Music

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A download code is included. First-ever official re-issue of the Ecuadorian composer’s stunning electroacoustic composition “Oeldorf 8” on vinyl and CD. Remastered by Kassian Troyer at D&M, Berlin. Mesías Maiguashca (b. December 24th, 1938 in Quito / Ecuador) is a composer of Neue Musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958–65), with Alberto Ginastera at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966–67 where he studied with Karlheinz Stockhausen. From 1968 to 1972, Maiguashca worked closely with Stockhausen in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne and joined Stockhausen's ensemble for performances at the German Pavilion at the Expo '70 in Osaka. In 1971 he became a founding member of the Oeldorf Group of composers and performers, and began work at the Centre Européen pour la Recherche Musicale in Metz, at Ircam in Paris, and at the ZKM in Karlsruhe. From 1990 – 2004 Maiguashca was Professor of Electronic Music at the Musikhochschule of Freiburg im Breisgau where he still lives today.

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Kennlisch

LP | 1976 | EU | Reissue (Dialogo)

Release: 1976 / EU – Reissue

Genre: Rock & Indie, Electronic & Dance

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Kënnlisch, one of the rarest haunting psychedelic acid folk LPs from France, was the work of brothers Philippe and Jean-François Macherey.

Originally released in 1976 on the mega collectable label Le Kiosque d'Orphée, it contains some of the most beautiful sounds to come out of the 1970s alternative music scene.

An instrumental album, it opens with a burst of sunshine vibes and takes them into the experimental scene of French alternative folk avantgarde with a strong Cosmische influence. Beauty is the word, grown over acoustic guitar parts harmonised with the most elegant Moog Satellite lines you'll ever hear to create atmospheres of sound that make this is the perfect record for your mind to float away on a peaceful Sunday morning under a clear blue sky - it does have that therapeutic quality that we miss so much in modern music.

Wah Wah presents the very first official reissue of this mega rare LP, housed in it's original minimalist hand made artwork with the little upgrade twist of silk-screen printing and including a 4-page colour booklet with photos and text provided by the Macherey brothers themselves.

500 copies only!

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Alvin Lucier

Bird And Person Dyning

LP | 1976 | EU | Reissue (Music On Vinyl)

Release: 1976 / EU – Reissue

Genre: Electronic & Dance

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Alvin Lucier (born May 14, 1931) is an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media. Bird and Person Dyning is his first solo recorded work; originally released on the Italian Cramps Records label as the 11th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, Bird and Person Dyning is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes. From the original liner notes of “Bird and Person Dyning”: The Duke of York (1972) “A long time ago I wanted to build a grotesque jukebox. I thought of merging three or four old jukeboxes and then recording sounds on 45s, so that you could mix the sounds together. [...] The original idea of this work was about the power of singers and vedettes in our society and the hypothesis that their vocal personalities are present in our memory at different levels and, in addition, that all of us, living or dead, might somehow be part of a huge composite identity that is constantly changing with the birth and arrival of new people. The Duke of York is an attempt to elaborate these ideas. A single performer chooses and determines the order of an indefinite number of whole songs, speeches, arias, selected excerpts from books, letters, poems, films, plays, TV series or any other vocal sounds, including non-human ones. The actual duration of these sounds is altered by one or more people using synthesisers or other electronic tools, basing their choices on memories or similar experiences. Once altered, for example through a filter, the example can no longer be undone, and other changes must be made to the previous examples. The effect is that of a vocal identity made of layers of separate and partial iden tities. [...] The Duke of York was composed in 1971 and was performed in its current version on 19 February 1972 at the Metropolitan Museum of Modern Art in New York. Bird and Person Dyning (1975) for performers with microphones, amplifiers, speakers and a sound object. One day I got an electronic bird in the mail. It was a silver ball with an electrical cord that, when connected, made a sound similar to that of a chirping bird [...]. A few months later I read an article in «Scientific American» about how certain birds that fly at night, particularly the bunting, cross long distances by partly orienting themselves looking at the position of the stars in relation to the rotation of Earth [...]. I owned a Sennheiser binaural microphone consisting of two mini microphones which, when introduced into the ears of a dummy or a person, faithfully reproduced the sounds as heard when they were bouncing inside the head and in the ear canals. I began experimenting by moving the sounds of the bird between two speakers, listening to them through the two mini microphones inserted in my ears, as I walked slowly through the space between the two speakers. The amplified chirps moved left and right according to my movements, creating small time delays and phase-shifts in relation to the position of the motionless bird. Sometimes the microphones would resonate with the loudspeakers, thus generating a Larsen feedback, and I could control the timbre and volume with small head movements [...]. A performance of Bird and Person Dyning is a live exploration of these phenomena. The title is meant as an exact description of the activity.

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Coke Escovedo

Comin' At Ya!

24,29 €* 26,99 € -10%

Mother Earth's Plantasia Green Vinyl Edition

Release: 1976 / EU – Reissue

Genre: Electronic & Dance

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180 gram audiophile black vinyl. Joseph Thomas Escovedo, better known as Coke Escovedo, was an American percussionist who played in several genres, including jazz fusion, R&B, and soul. In 1976 he released his second solo studio album Comin' At Ya!, which counts 11 Latin rooted tracks and was produced by the synthesizer pioneer Patrick Gleeson.

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Mort Garson

LP | 1976 | US | Reissue (Sacred Bones)

LP | 1976 | US | Reissue (Etats-Unis)

Release: 1976 / US – Reissue

Genre: Electronic & Dance

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If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for plants. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back to the dawn of time, but apparently, they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.
Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”
But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed.
“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.
Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia's new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

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V.A.

I.D. Art #2 L

35,99 €*

Le Forte Four / Doo-Dooettes

Release: 1976 / US – Reissue

Genre: Organic Grooves, Electronic & Dance

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Los Angeles Free Music Society (lafms) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, Lafms incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, Lafms self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. Lafms primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures. In 1976, Joe Potts solicited recordings from Lafms affiliates and admirers to edit and compile I.D. Art #2, utilizing correspondence art's technique of "assemblings." (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in Lafms' motto: "The music is free, but you have to pay for the plastic, paper, ink, glue and stamps." This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

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Lafms Live At The Brand

2LP | 1976 | US | Reissue (Etats-Unis)

40,99 €*

Metrodora Red Vinyl Edition

Release: 1976 / US – Reissue

Genre: Rock & Indie, Electronic & Dance

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Los Angeles Free Music Society (lafms) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, Lafms incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, Lafms self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. Live At The Brand documents the second performance of newly formed Lafms core groups Le Forte Four and Doo-Dooettes on July 8, 1976 at the recital hall of the Brand Library in Glendale. Le Forte Four (now joined by Tom Potts) did not actually perform live, but rather created 44 pyramid-shaped headphone helmets with internal quadraphonic speakers and countless wires in order to share their latest tape assemblages with showgoers deprived of sight. The recordings delivered in this Fluxus-inspired manner feature the Buchla synthesizer at nearby CalArts, radio interpolations, group improvisations, addled outbursts and splices from source material lost to time. Doo-Dooettes – Tom Recchion, Harold Schroeder, Juan Gomez, Dennis Duck and Fredrik Nilsen – performed a series of alternately droning and chaotic duets with guitar, percussion, piano, tape loops and synthesizer, all improvised around loosely structured compositions and culminating in a spontaneous group composition at the end of the program. Originally released in 1976, the double LP would be Lafms' third release. This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

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Stratos Demetrio

LP | 1976 | EU | Reissue (Cramps)

Release: 1976 / EU – Reissue

Genre: Electronic & Dance, Classical Music

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LP | 1976 | US | Reissue (Superior Viaduct)

David Cunningham

Grey Scale

LP | 1976 | Reissue (Be With)

Release: 1976 / US – Reissue

Genre: Electronic & Dance

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David Cunningham was born in Ireland in 1954. His work ranges from pop music to gallery installations including several collaborations with visual artists. His first significant commercial success came with The Flying Lizards' single "Money," an international hit in 1979. Originally released in 1976, Cunningham's first solo album Grey Scale has become a landmark statement of DIY minimalist composition – continuing in the vein of the wild explosion of arthouse experimentation from the early '70s. Cunningham, then a student at the Maidstone College of Art in Kent, drafted fellow student non-musicians and (using whatever instruments available) crafted an endlessly shifting sonic palette with an improvisor's keen sensitivity to space, texture and tone. As Cunningham states in the liner notes, his approach was to "pursue something (which may appear trivial or meaningless) so rigorously or relentlessly to the point that it reveals something new." Cunningham was influenced by live performances he was attending at the time by English composers Cornelius Cardew, Gavin Bryars and Michael Nyman as well as free improvisors Evan Parker, Derek Bailey, David Toop and Paul Burwell. The inaugural release on Cunningham's own Piano label, Grey Scale was indeed "something new" in 1976. The artist quickly integrated his experimental sensibilities to produce art-rock pioneers This Heat, whose debut appeared on Piano in 1979. His popular success performing as The Flying Lizards (with two electro-punk albums on Virgin during the New Wave era) was presaged by this seminal work of fascinating sound collage and tonal freedom. First-time reissue.

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Michel Gonet

Phasing News Volume 1

LP | 1976 | US | Original (Virgin)

Release: 1976 / Reissue

Genre: Electronic & Dance

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European funk fusion of the highest order, Michel Gonet's Phasing News Volume 1 is the essential companion piece to the venerated Volume 2. It's truly a library treasure that every home must own. As Tele Music themselves said, it contains "tense and mysterious underscores in a range of styles"; whilst we don't disagree, we'd add swaggering, orchestral drama-funk-jazz-breaks. Vital.

Opener "Moon To Light (Number II) - A" is a total wonder. It's incredible, and what a way to begin a record. The percussion is electrifying, complimenting the dark, heavy piano, eerie organ work, electric guitar soling and rhythm section brilliance. Part B is virtually identical but without the electric guitar. The slow "Soul Cathedral (Number II) - A" is an ambient spacey synth gem which is both beatless and drenched in phased organ. Pretty captivating. Part B plays it rather straighter, a church organ continuing the same melody and tempo but with less of the swirling synthy effects.

"Light In The Rains (Number II) - A" sounds like something Diamond D would've sampled in the mid-to-late 90s, conjuring as it does that peculiar, creeping Axelrod-funk, all eerie electric guitar and organ, bass and spacey effects. Part B loses the electric guitar and adds brass.

The swirling, dramatic "Mondial Scoop (Number II)" has that urgent News At Ten feel with its prominent timpani drums whilst "Mecanic Bird Song" is a frenetic, abstract track with disorientating keyboard interplay.

*Total highlight* "Mephisto Jet (Number II) - A" rides a slick, proto-hip-hop beat with melodic, warm Rhodes yet, thrillingly, casually ups the drama with strings and timpanis. It then returns to its more mellow state. Ace. Part B adds acidy, phased percussion to create a more hypnotic, tripped out feel to proceedings. Part C is half as long but, pared back to just drums and Rhodes, it's arguably twice-as-nice.

To close, the shuffling, bell-laced urgent jazz of "Phasing News - A" is another highlight, riding a great bassline and augmented by ace drums, organ and electric guitar. Part B is also great, removing the guitar and doubling down on the head-nod funk.

The audio for Phasing News Volume 1 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Tangerine Dream

Stratosfear

Release: 1976 / US – Original

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

Chocolate Milk Colored Vinyl Edition

Chocolate Milk

LP | 1976 | EU | Reissue (Music On Vinyl)

31,99 €*

Release: 1976 / EU – Reissue

Genre: Electronic & Dance

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LP | 1977 | EU | Reissue (Wah Wah)

Franco Leprino

Integrati … Disintegrati

LP | 1977 | US | Reissue (Etats-Unis)

Release: 1977 / EU – Reissue

Genre: Electronic & Dance

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It was 1977, the year when punk rock exploded in the face of disco-music, but some thinking heads in Italy managed to escape the set trends of the year and walk a totally different path. Pioneers like Franco Battiato had already been experimenting with a crash of rock and electroacoustic music since the beginning of the decade, and others like Roberto Cacciapaglia or Riccardo Zappa would explore farther in those lands, mixing acoustic instruments with the bourgeoning synth technology. Among all these artists, an obscure little gem missed the attention it deserved: Integrati… Disintegrati, by Francesco Leprino, is undoubtedly one of the best albums of the genre. More freely unchained from the prog rock links that albums like Battiato's celebrated Fetus and Pollution LPs or Zappa's Celestion still retain, Leprino merges a very pure classical instrumentation of Spanish guitar, piano and flute with more modern electric guitar sounds, 12 string guitar and -of course- a V.C.S. 3 and Moog synths background that creates highly avantgarde atmospheres. Binson tape echoes, Hammond and Thomas organs, oboes, vibraphone and other additional instruments add texture richness to the final mix.

An outstanding opus split through both sides of an LP in two 20 minutes long pieces that has become a much sought after album among collectors. It will appeal those interested in the development of synth music, beautiful athmosferic landscapes and electronic-acoustic orchestrated sounds.

Reissued under license from Francesco Leprino in a 500 copies limited edition that respects the original artwork, comes with remastered sound and includes an insert with liner notes and photos.

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Joe Jones

In Performance

36,99 €*

Eclipse Splatter Vinyl Edition

Release: 1977 / US – Reissue

Genre: Electronic & Dance

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After studying with composers John Cage and Earle Brown, Joe Jones became a prominent figure in Fluxus, contributing to the movement’s first “yearbox” alongside La Monte Young, György Ligeti and Nam June Paik. Beginning in late 1961, Jones began constructing his own music machines – drawing inspiration from the calliopes, automata and orchestrions of the 19th and early 20th century to create self-playing ensembles of stringed instruments, percussion and woodwinds – “played” through an elaborate (yet decidedly lo-tech) system of rubber bands, balls and tin foil.

Christened the Tone Deaf Music Company, this battery of automated musical instruments generates the sounds on In Performance (originally released in 1977 on the Harlequin Art imprint). With exacting conceptual precision and varied subtleties of natural motion – not unlike Harry Bertoia’s sounding sculptures – Jones’ machines produce richly-textured strata of sound and serve as engines of paradox. While bringing the figure of the artist-composer to the foreground, the machines ultimately dispense with the need for the performer entirely – a cunning subversion of the fetish for virtuosity and individual genius.

Limited edition of 500 numbered copies on clear vinyl.

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Didier Bocquet

LP | 1977 | EU | Reissue (Cameleon)

LP | 1977 | US | Reissue (Superior Viaduct)

Release: 1977 / EU – Reissue

Genre: Electronic & Dance

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Reissue of extremely rare kosmische/electronic/experimental/ambient album by Didier Bocquet, originally released in 1977 on the Kiosque D'Orphe label. Limited to 300 copies on splatter vinyl.

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Prima Materia

La Coda Della Tigre

Battiato Red Vinyl Edition

Release: 1977 / US – Reissue

Genre: Electronic & Dance

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Prima Materia was a vocal improvisation ensemble, founded by Roberto Laneri in 1973. Composed entirely of vocalists with no academic training, the group developed various techniques—revolving mostly around the use of overtones—that would embody their unique sound. No instruments nor electronic manipulations were ever employed within the group’s physiognomy, which was realized purely through the human voice. La Coda Della Tigre, the group’s sole album, was recorded in 1977 by Alvin Curran and released on Ananda, an artist-run label founded by Laneri, Curran and Giacinto Scelsi. As the original liner notes state, “The music of Prima Materia may sound radically new, yet at the same time it is likely to ring some distant bell and evoke ancient emotions. This is not due to chance: indeed, the very name of the group points to a specific path, namely, the unfolding of the potential implicit in the alchemical symbol as embodying a process of transmutation of consciousness.” Prima Materia’s four members (Laneri, Claudio Ricciardi, Gianni Nebbiosi and Susanne Hendricks) combine voices to create a singular, beautiful drone that is (as the group’s name suggests) both impossible to define and fundamentally simple. This first-time standalone reissue is recommended for fans of La Monte Young, Terry Riley and Disques Ocora.

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Franco Battiato

LP | 1977 | EU | Reissue (RCA)

Release: 1977 / EU – Reissue

Genre: Electronic & Dance, Classical Music

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Maison Rose Expanded Edition

Emmanuelle Parrenin

LP+7" | 1977 | UK | Reissue (Souffle Continu)

32,99 €*

Hideki Matsutake, Chojuro Imafuji, Masashi Komatsubara

Release: 1977 / UK – Reissue

Genre: Electronic & Dance

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'An album such as this obviously owes a lot to the atmosphere in which it was recorded, which we can imagine was magical. We know it took place in Fromentel, Normandy, in a farm converted into a studio by the producer Jacques Denjean, known for his work with Dionne Warwick or Françoise Hardy as well as having been a member of the Double Six. It was also at Fromentel, that Denjean would record two fantastic albums with Albert Marcoeur. When Emmanuelle Parrenin followed in his footsteps a year later she was in good company: the sound engineer at the studio was her partner and therefore uniquely capable (we imagine) of creating an adequate soundscape for her delicate universe. What is more, five years previously, Bruno Menny, the sound engineer partner, recorded his first and only album, but what an album: in electroacoustic terms we can hear things which make him appear as the spiritual son of his mentor Iannis Xenakis!

What makes Maison Rose unique is exactly this fusion between the two conceptions of Emmanuelle Parrenin and Bruno Menny, creating a perfect marriage of tradition and experimentation. The tradition comes from the songs collected by Emmanuelle Parrenin in rural areas, in a similar vein to the work carried out by Alan Lomax and Shirley Collins. The experimentation is in the sound captured by Bruno Menny, who both arranged and recorded the album. This is not to forget those who came with their guitar (Denis Gasser), or their lyrics (no less a figure than Jean-Claude Vannier). On the one hand we have the humble and non-demonstrative singing, with melodies which remind us of songs we would sing to calm a child's nightmares, and on the other hand a pronounced rhythmic intensity at certain points, such as on "Topaze" where the drums in particular evoke the Motorik of krautrock legends Faust.

A real haven of peace, Maison Rose is enchanting with its aura of mystery and spirituality, with soft, gentle songs which seem both ancestral and futurist. Originally published by Ballon Noir in 1977, this album follows on from other folk marvels such as Le Galant Noyé from the pre-Mélusine period. On the subject of Maison Rose, if we had to risk a few comparisons we would mention Vashti Bunyan, Linda Perhacs, Joanna Newsom, Collie Ryan, Shirley Collins, Trees Community, Sourdeline and Véronique Chalot as those which spring spontaneously to mind. But this is too reductive for the timeless singularity of Emmanuelle Parrenin: because Maison Rose was recorded in 1977, in the midst of the punk revolution.'

Exclusive artwork by Charles Berberian. Additional 7’’ contains 2 unreleased tracks. Pressed on 180g ultra clear vinyl. Licensed from Emmanuelle Parrenin.

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Edo Black Vinyl Edition

LP | 1977 | EU | Reissue (Soave)

22,79 €* 23,99 € -5%

LP | 1977 | DE | Reissue (Notes On A Journey)

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Edo” is a cosmic ambient experimental masterpiece conceived in 1977 by Masashi Komatsubara and developed alongside with Hideki Matsutake (a.k.a. Logic System and reductively defined by many as the "fourth member of the Yellow Magic Orchestra"). As a true sound scientist, he pours all his efforts into this record, and aimed at the widest possible use of an electronic instrument that was at the forefront at that time — the Moog IIIc. He extends his research by trying to break down the last wall between modernity and the past: the union and eurythmy between artificial sounds and traditional sounds. All this through a perfect three-way collaboration together with the shamisen musician Konae Imato, and the creation of a unique and extraordinary charming work dedicated to the double soul of the capital of Japan: ancient Edo, now the current day city of Tokyo.

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Chuck Senrick

Dreamin'

LP | 1977 | BE | Reissue (Cortizona)

Release: 1977 / DE – Reissue

Genre: Organic Grooves, Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Near Mint

2017 reissue. Tiny wear. Vinyl is close to NM. Original inner sleeve

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V.A.

Noises

19,99 €*

A Real Mother For Ya White Vinyl Edition

Release: 1977 / BE – Reissue

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

With inserts. Limited edition 2019 reissue.

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Johnny Guitar Watson

LP | 1977 | EU | Reissue (Music On Vinyl)

28,99 €*

2x12" | 1977 | EU | Reissue (Virgin EMI)

Release: 1977 / EU – Reissue

Genre: Electronic & Dance

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180 GRAM AUDIOPHILE VINYL
FEATURES THE INTERNATIONAL ORIGINAL HIT VERSION OF “A REAL MOTHER FOR YA”,
“NOTHING LEFT TO BE DESIRED”, AND “TARZAN” A.O.

INCLUDES THE BONUS TRACK “A REAL MOTHER FOR YA (BEN LIEBRAND OLDSKOOL MIX)”,
NOT AVAILABLE ON THE ORIGINAL ALBUM

LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON WHITE COLOURED VINYL

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Brian Eno

Before And After Science

60,99 €*

LP | 1977 | EU | Reissue (Vinylmagic)

Release: 1977 / EU – Reissue

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: Sealed, Cover: Sealed

Still sealed. With OBI. Limited edition. 2017 reissue.

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Luciano Cilio

Dialoghi Del Presente

LP | 1978 | EU | Reissue (Black Sweat)

Release: 1977 / EU – Reissue

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

Limited Edition. Clear Green Vinyl.
Still shrink wrapped but opened.
Cover as new with slightly dented corners.

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Ariel Kalma

Osmose

LP | 1978 | UK | Reissue (Spoon)

Release: 1978 / EU – Reissue

Genre: Electronic & Dance

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This single LP reissue of the 1978 double album is a limited edition of 400!

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Can

Out Of Reach

LP | 1978 | UK | Reissue (Spoon)

Release: 1978 / UK – Reissue

Genre: Rock & Indie, Electronic & Dance

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Remastered from the original tapes, 180g vinyl!

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Can

LP | 1978 | EU | Reissue (Time Capsule)

Release: 1978 / UK – Reissue

Genre: Rock & Indie, Electronic & Dance

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Remastered from the original tapes, 180g vinyl!

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Il Guardiano Del Faro

Oasis

18,99 €*

LP | 1978 | EU | Reissue (Bureau B)

Release: 1978 / EU – Reissue

Genre: Electronic & Dance

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Time Capsule is a new reissue label that unites the record collectors and DJs of the brilliant corners and Beauty & The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.
For the first release, brilliant corners regular and Meda Fury signing Ryota OPP curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.
Born 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s. Viewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.
He produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites ‘Disco Divina’ and ‘Oasis’ touches of space disco and even teases proto-house elements like the great Sun Palace.
“The passionate and dramatic sound of Il Guardiano Del Faro made me fantasise about so many romantic aspects of Italian culture. Oasis is sonically more interesting than his other albums and these exotic, eccentric rhythms sound quite familiar to the modern music fans.” Ryota

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Richard Pinhas

Chronolyse

Release: 1978 / EU – Reissue

Genre: Electronic & Dance

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LP | 1978 | EU | Reissue (Dialogo/Cramps)

David Tudor

Microphone

LP | 1978 | EU | Reissue (Dialogo)

Release: 1978 / EU – Reissue

Genre: Electronic & Dance

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David Eugene Tudor (1926 – 1996) was an American pianist and composer of experimental music. He eventually became one of the leading performers of avant-garde piano music, giving first or early performances of works by Pierre Boulez, Morton Feldman, Karlheinz Stockhausen, Christian Wolff, La Monte Young and many others. Tudor is particularly associated with John Cage, who wrote a number of compositions for him. His solo record “Microphone” was originally released on the Italian Cramps Records label as the 16th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, “Microphone” is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes. From the original liner notes of “Microphone”: David Tudor was born in Philadelphia in 1926.He studied organ and theory with H. William Hawke, piano with Irma Wolpe Rademacher, analysis and composition with Stefan Wolpe. He began his concert activity as an organist. He has been known as the most important avant-garde pianist since the day he performed, to great acclaim, the American debut of Pierre Boulez’s Deuxieme Sonate pour Piano (1950), and subsequently introduced the works of Earle Brown, Sylvano Bussotti, John Cage, Morton Feldman, Karlheinz Stockhausen and Christian Wolff to a larger audience. At the beginning of the 1960s, he and Cage switched to live electronic music as opposed to music performed in the studio. As a composer, Tudor relies on technological tools that are both flexible and complex: he uses mostly modular electronic devices, many of which he built himself. His method requires the choice of specific electronic components and transducers, whose interconnections define both composition and performance. The sound materials he employs unfold through broad movements in time and space, with many of his compositions associated with visual sources: light systems, dance, television, theatre, film or 4-colour laser projections. The only source of Microphone’s sound is the modulation of a microphone feedback produced in a distant echo chamber. The incidence and duration of the sounds are produced by the action of extremely close (narrow band) peak/notch filters (used in both modes), inserted into the lead signal. Each of the 9 versions is performed by the composer and simultaneously recorded on four tracks. Then the four tracks are spliced onto two, using a pan-matrix. The final product is a library of 9 stereo tapes, each about 32 min. long, which can be used in any combination, for live performances or for electronic installations. In these performances the tapes are played and stopped at any point, rewound and played again, altered in amplitude and/or equalisation, rotated on any given channel, etc., at will, for any period of time. A live performance of Microphone (for instance without tapes) can be achieved by employing (a minimum of 4) performers using duplication systems, each one with 2 speakers. This 1973 instantiation of Microphone covers a work originally conceived for the Pepsi Pavilion of Expo ‘70, in Osaka, Japan. Conceptually, the original work derives from discoveries made through the composer’s collaboration in the design of the Pavilion’s acoustic system. Sound diffusion was achieved through the use of 37 loudspeakers placed in a rhomboid grid system covering 3/4 of the sphere. The original tapes for Microphone were recorded in May 1973, at the Mills College Centre

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Horacio Vaggione

La Maquina De Cantar

LP | 1978 | EU | Reissue (Superior Viaduct)

Release: 1978 / EU – Reissue

Genre: Electronic & Dance

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At long last, after remaining out of print for decades, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Horacio Vaggione’s LP, "La Maquina de Cantar", issued as the 18th instalment of the label’s Nova Musicha series in 1978 and among the most important examples of Latin American experimental music from the 1970s. Engrossing and creatively riveting, heard more than 40 years on its rippling electronic tones recast the terms of minimal music and shatter the historic perceptions of these sounds. Horacio Vaggione (born 21 January 1943) is an Argentinian composer of electro-acoustic and instrumental music who specializes in micromontage, granular synthesis, and microsound and whose pieces are often scored for performers and computers (mixed music). His music is regularly played worldwide in major centers and festivals of contemporary music. La Maquina de Cantar is his first solo recorded work; originally released on the Italian Cramps Records label as the 18th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, La Maquina de Cantar is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes.

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Harold Budd

The Pavilion Of Dreams

Images Of Flute In Nature

Release: 1978 / EU – Reissue

Genre: Electronic & Dance, Classical Music

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For five decades, Harold Budd stood on the forefront of the West Coast avant-garde. Born in Los Angeles, he studied with Schoenberg-pupil Gerald Strang and began teaching at CalArts in 1970. While searching for his own voice, he was influenced as much by abstract expressionist painters as by John Cage and Morton Feldman. In his work, Budd brought delicate, slowing-moving melodies to the foreground – creating a new musical language based on “eternally pretty music” and smooth surfaces. In the early ’70s, Budd started an extended cycle of compositions that would comprise The Pavilion Of Dreams. For Budd, the album was a signpost for a new direction in thinking about music: “The Pavilion Of Dreams erased my past. I consider that to be the birth of myself as a serious artist. It was like my Magna Carta.” Produced by Brian Eno in 1978, The Pavilion Of Dreams stands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich’s Music For 18 Musicians. Budd’s gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, The Pavilion Of Dreams remains a master class in exquisite timbre and shimmering texture. The Pavilion Of Dreams was both the final release on Eno’s Obscure imprint and a transition point towards his seminal ambient series. This first-time reissue is recommended for fans of Ryuichi Sakamoto, Jon Hassell and Mark Hollis.

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Joel Vandroogenbroeck

LP | 1978 | EU | Reissue (Bonfire)

Ages Record Store Day 2023 Grey & White / Green & White Vinyl Edition

Release: 1978 / EU – Reissue

Genre: Electronic & Dance, Soundtracks

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Brainticket was an obscure Krautrock band born out of a 60's jazz group featuring Belgian born keyboardist Joel Vandroogenbroeck, based in Switzerland. The leader went for a fortunate solo career after the former group disbanded, reaching a cult status especially in Italy with a series of sought after libraries. Released in 1978 on Cenacolo, Images Of Flute In Nature is pure magic translated in music. Conceived by Joel with a little help from vocalist Carole Muriel (an American performer already involved in Brainticket and Drum Circus), the album is literally a deep connection between kosmische music, ambient and ethno-global rhythms.

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Edgar Froese

2LP | 1978 | US | Reissue (Culture Factory)

LP | 1978 | AU | Reissue (Left Ear)

Release: 1978 / US – Reissue

Genre: Electronic & Dance

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Edgar Froese is the Founder of TANGERINE DREAM. This release Ages from 1978 is known as his greatest solo album from his most desirable time period. It has been out of print & unavailable. This double LP set features the rare extended music version, has deluxe packaging that will include an OBI strip, gatefold album jacket with two pockets, printed inner sleeves, original record labels and specialty color vinyl. Lava lamp effect clear White/Light Blue Color Vinyl

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Rainbow Generator

Dance Of The Spheres

28,04 €* 32,99 € -15%

LP | 1978 | DE | Original (Red Star)

Release: 1978 / AU – Reissue

Genre: Rock & Indie, Electronic & Dance

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Limited to 500 units, includes a bifold insert with archival images and detailed liner notes.

Rainbow Generator are Australia’s first true experimental electronic music group. Consisting of David Labuschagne AKA Mojo, and Rob Greaves AKA Ras. Starting in the mid-70’s, the pair took it upon themselves to begin exploring the possibilities of the sonic dimension and with an ‘open mind’ began investigating the interface between psyche and sound.

In 1976 David established the ‘Lectric Loo’ studio in Woolloomooloo, Sydney. Known to the ‘heads’ as simply the “Loo”, the 3-story building was owned by the Department of Main Roads, and slated for demolition. So, it was that the entire block became a haven for squatters, and while Mojo had the main 3-story building to himself, the rest of the buildings were taken by a hotch-potch of people that included Anarchists, a Clown School and a collection of other random squatters. Recording in the ‘Lectric Loo’ provided them the ability to record freely. In 1975 they began to experiment, putting Mojo’s Fender Strat through effects pedals, playing with sounds while manipulating shortwave radio stations and also challenging convention by playing the insides of instruments. By 1976 they had built a kit synthesizer and shortly after purchased a full Roland 100 Synthesiser set-up and were on their way.

In 1978, with little resources, or any form of distribution they released their sole LP ‘Dance of the Spheres’. As Mojo puts it, “we were intent on making music with whatever we could beg, borrow, buy, and liberate. Albeit with scant regard for the rules or conventions or niceties of the game. Ultimately, it was all an act of love, of joy. Not just an adventure; it was a musical odyssey”.

This odyssey continued their exploration of the interface between psyche and sound. Fusing genres and boundaries, Dance of the Spheres incorporates elements of 70’s psych and folk with spoken-word and of course the emerging sounds of the synthesizer and drum machines. Furthermore, the addition of traditional instruments such as the didgeridoo and the classical Indian instrumentation technique of a Raga add a timeless layer, all seamlessly complementing the other elements and launching the album to another dimension.

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Suicide

80,99 €*

LP | 1978 | EU | Reissue (Tokuma)

Release: 1978 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

Vinyl is Close to VG+.

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Akio Niitsu

I/O(I･O)

36,99 €*

LP | 1978 | JP | Reissue (Warner Music Japan)

Release: 1978 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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(Japanese pressing, Official reissue) Brilliant synth prog weirdness from the late 1970s Tokyo. Recorded by the guitarist Akio Niitsu who was compared, not without reason, to Manuel Göttsching. Niitsu has a fairly small discography of only three full-length albums, but his second one - “Pet Step” - was on Tomita’s label and supposedly with the involvement of Haruomi Hosono (this is according to Chee Shimizu who lists it in his “Obscure Music”).

Akio Niitsu's first album, "i/o(i･o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.As a guitar multi-recording album, the idea was realized six years earlier than the album "e2-e4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

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Osamu Shoji

Jataka

35,99 €*

LP | 1978 | FR | Reissue (Disques Dreyfus)

Release: 1978 / JP – Reissue

Genre: Electronic & Dance

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"jataka" is an ambient to experimental synthesizer masterpiece album released in 1978 by Osamu Shoji, known as a composer, arranger, and synthesizer player. Contains a total of 8 songs, including "pyramid Ion" where cosmic synth shines. I think many people have been looking for this title, as the used market price has soared and there are many WANTs from overseas!

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Jean-Michel Jarre

Equinoxe

9,99 €*

Release: 1978 / FR – Reissue

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

LP | 1979 | EU | Reissue (Black Sweat)

Piero Umiliani as Moggi

Tensione

Voyage Aux Fonds De La Mer

Release: 1979 / EU – Reissue

Genre: Electronic & Dance

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The comparable Piero Umiliani (under his mysterious Moggi moniker) weighs in with another AWOL library gem of 1979. Maestro goes resolutely left field and off track with an intra-personal exploration of the disturbed inner psyche within the human condition. Distressed electro beacons are unleashed as de-tuned predatory Carpenter-esque synth patterns come to the fore (check Clavinet Suspence for primal audio blastings to a lost unnamed 80’s slasher movie). With the electric eighties buzzing on the horizon, Umiliani was quick to capitalise on this cultural shift utilising his Moog synthesisers to tap in to changing musical zeitgeists via cost cutting experimentations for TV, adverts and documentaries. Followers of the esoteric and strange can finally dig in here, lavishly created reissue featuring original artwork, master tape Laquer cutting and Umiliani’s autograph notes on the project. Viva l’uomo!

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Alain Meunier

LP | 1979 | EU | Reissue (Wah Wah)

Raul Lovisoni / Francesco Messina

Release: 1979 / EU – Reissue

Genre: Electronic & Dance

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Issued on le Kiosque d'Orphée in 1979, Voyage aux fonds de la Mer is the only LP by Alain Meunier (not to be confused with French classical music cellist of the same name), and is one of the most elusive collector pieces of the 1970s electronic experimental French scene.

This rare sought after album starts with an instrumental guitar introduction but from the second track onwards it becomes a totally electronic experimental psychedelic trip that can be aligned with the most kosmische side of kraut rock, and of course also with other works by French experimentalists of the era like Pascal Comelade's Fluence or Richard Pinhas' production (including Heldon). Guitar comes in now and then showing also a certain Robert Fripp influence.

Instruments used according to the insert sheet that came with the LP are a Korg 800 DV synthesizer, a K.O. Welson Clavinet, effects like a Fender Echo or a Electroharmonix Small Stone phaser and a fuzz pedal, plus Meunier also used a Gibson Les Paul Custom Guitar, a 12 string acoustic Eko guitar and a 6 string Morris guitar.

First ever vinyl reissue. Limited edition to 500 copies only. Remastered sound.

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Prati Bagnati Del Monte Analogo

LP | 1979 | US | Reissue (Superior Viaduct)

LP | 1979 | EU | Reissue (Sommor)

Release: 1979 / US – Reissue

Genre: Electronic & Dance

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Of all the releases on Italy’s legendary Cramps Records, Raul Lovisoni and Francesco Messina’s seminal LP from 1979 has long remained among the most beloved. Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but also is notable for being produced by electronic pioneer Franco Battiato. A sister album to Prati Bagnati would be Giusto Pio’s breathtaking Motore Immobile, likewise graced with the maestro’s gentle hand around the same time.

Lovisoni and Messina are both central figures within the Italian avant-garde. Part of a generation of artists who contributed to a radical rethinking of musical practices and composition, they reveal Minimalism as it’s rarely known: delicate melodies, subtle harmonic interplay, incorporating diverse creative traditions and slowly giving way to an ever-expanding open space.

Prati Bagnati Del Monte Analogo’s meditative title track, inspired by René Daumal’s surrealist novel Le Mont Analogue, features Messina on synthesizer and Michele Fedrigotti’s impressionistic piano, while on Lovisoni’s “Hula Om” and “Amon Ra,” solo harp, crystal glasses and Juri Camisasca’s radiant vocal drones further ascend into the stratosphere. Skirting the outer edges of ambient, new age and experimental music, Prati Bagnati has a transformative beauty unlike anything else.

Superior Viaduct’s edition reproduces the original sleeve design and is recommended for fans of Jon Hassell, Luciano Cilio and Popol Vuh.

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Benoit Widemann

Tsunami

LP | 1979 | EU | Reissue (Everland Yu)

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Second album, released in 1979, by French keyboard wizard Benoit Widemann (ex-Magma). “Tsunami” is an incredible mix of electronics and jazz-fusion with prog / avant-garde /minimal elements. Treated Minimoog, Oberheim synths, Rhodes, early computer sequencing plus bass, drums, guitar, sax… Featuring Jean-Pierre Fouquey (ex-Magma), Jean-Pierre Grasset (Verto) and Jean-Paul Ceccarelli among others.
"Digital computer-based sound in 1979! We were the avant-garde!" - Benoit Widemann.

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Misa Blam

Secanja

19,99 €*

Release: 1979 / EU – Reissue

Genre: Electronic & Dance

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Instant Funk Clear Red Vinyl Edition

Instant Funk

LP | 1979 | EU | Reissue (BMG Rights Management)

17,99 €*

Release: 1979 / EU – Reissue

Genre: Electronic & Dance

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Cants Dels Trobadors: La Douceur D'un Son Nouvel

Regrelh

LP | 1979 | EU | Reissue (Dizonord)

Uncle Jam Wants You Black Vinyl Edition

Release: 1979 / EU – Reissue

Genre: Rock & Indie, Electronic & Dance

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Be ready for a spaced out trip through French medieval times. Ancient instruments, musique concrete, spoken word, old Occitan dialect minstrel songs, drone, from dark ambient and minimal percussive tracks to Middle Ages fuzz delirium. File under : medieval folk / ambient / experimental.

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Funkadelic

LP | 1979 | EU | Reissue (Charly)

38,99 €*

Release: 1979 / EU – Reissue

Genre: Electronic & Dance

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Uncle Jam Wants You Colored Vinyl Edition

Funkadelic

LP | 1979 | EU | Reissue (Charly)

44,99 €*

Release: 1979 / EU – Reissue

Genre: Electronic & Dance

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LP | 1979 | UK | Reissue (Finders Keepers)

Alain Pierre

Des Morts (Of The Dead)

LP | 1979 | Reissue (Be With)

Release: 1979 / UK – Reissue

Genre: Electronic & Dance

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Expanded reissue of mega rare 1979 unknown vanity pressing LP that blends ethnological field recordings, musique concrète principles, and introspective synthesizer music from this cult European studio maverick and historic collaborator of COS, Philippe Druilet, Marc Moulin, and John Surman. Alain Pierre's Mondo movie soundtrack to the controversial Des Morts shares very few stylistic rivals, but fans of Jodorowsky's The Holy Mountain soundtrack and some of the more eldritch early sampling experiments of Jean-Pierre Massiera will certainly draw fragmented comparisons herein. Other listeners might file this album at the weirder end of your Smithsonian Folkways shelf, just before the Video Nasty soundtracks. Presented in remastered form comprising extra vintage studio outtakes (in accordance with the films morbid narrative), Des Morts serves as a would-be sequel to Finders Keepers' previous Ô Sidarta release witnessing Pierre balance his allegiance to the Belgian bandes dessinée scene and Thierry Zéno's shock cinema oeuvre from the heart of his uber-legendary Brussels based experimental recording studio through the 1970s. Presented in remastered form comprising extra previously unreleased vintage studio outtakes. Edition of 750.

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Pierre Dutour

Top Fiction

LP | 1979 | DE | Original (Metronome)

Release: 1979 / Reissue

Genre: Electronic & Dance

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Pierre Dutour's infamous Top Fiction is the epitome of a 5-tracker. Coming to light in 1979 on Tele Music, its collection of environmental themes are *all astounding*. We're talking all-time heavy hitters, here. They come recommended as tracks you'd choose to elegantly elevate deep selector sets or mixes.

Skip the irritating whistle-laced marching-band funk of "Captain Parade" and head straight to the glistening synths and proud horns of beatless ambient wonder "Mountain Echoes". Arguably worth the price of admission alone. It's that good. The sci-fi atmospherics of "Space Fiction" are definitely sampleable whilst the proud horns of "Mountain Trumpet" definitely contain blasts that could be of creative use. "Tambours Parade" is more marching-band funk, only this time the drums go hard and there's a lot to like about this one.

Truly, it's all about the B-Side. A real B-Side for the ages, in fairness. It opens with the gorgeous "Deer Forest". It's one of the most beautiful songs you'll ever hear. Like something off Brian Bennett's Voyage, it rides dreamily melodic synths, and comes on, as one fan claimed "like something Angelo Badalamenti would have co-written with Final Fantasy composer, ???? Nobuo Uematsu". It's jaw-dropping. Be instantly beguiled by the deep eerie nostalgia and pretty delicate piano of "Magic Lake I" and the whistling-synth-augmented "Magic Lake II". The almost-title-track "Pop Fiction" is another hidden gem, containing dreamy, glistening arpeggios that are just begging to be sampled with a heavy knocking beat behind it. The set closes with "Damnation Space", 2 minutes of spooky Musique concrète.

So, 5 absolutely incredible tracks and 2-3 good ones. An excellent ratio for a library album, I think we can all agree. Trust us when we say that the heavy hitters are just absolute gold, rendering this one an essential, buy-on-sight purchase. Go listen and discover for yourselves...

The audio for Top Fiction has been remastered by Be With regular Simon Francis, ensuring this divisive release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original space-age sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Synergy

Games

6,99 €*

Release: 1979 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

LP | 1979 | DE | Reissue (Polydor)

801

801 Live

11,99 €*

Release: 1979 / DE – Reissue

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG

LP | 1979 | EU | Reissue (Libreville)

Albert Alan Owen

Keyboards & Strings

26,09 €* 28,99 € -10%

Uncle Jam Wants You Colored Vinyl Edition

Release: 1979 / EU – Reissue

Genre: Electronic & Dance, Classical Music

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Albert Alan Owen was born in Wales in 1948 to parents of Welsh and Latvian heritage. His family later moved to Zimbabwe, where his father took up a teaching position. There, Owen was deeply influenced by local music and culture, while also exploring American RnB and jazz. It was during this period that he became acutely aware of the harsh inequalities under British colonial rule, which instilled in him a lifelong aversion to discrimination and racism.

In 1967, Owen returned to Europe to pursue his studies and enrolled at the Royal Academy of Music in London. He went on to spend time in Paris, studying composition with the eminent Nadia Boulanger and piano under Jacques Février, a favorite pianist of Ravel’s and Poulenc’s. Owen's focus shifted almost entirely to composition, and the acquisition of a Fender Rhodes electric piano marked the beginning of a divorce from his classical Western training. This transition allowed him to merge his passion for African and African-American music with the impressionistic styles of Ravel and Debussy while exploring the innovative realm of electroacoustic composition. These formative experiences framed Owen’s career as a composer and educator at the Royal Academy of Music and London’s Working Men’s College. He eventually returned to Wales, where he continues to reside. In 1979, 29-year-old Albert Alan Owen released “Keyboards & Strings”, a light magical chamber music masterpiece. Transcending the formal conventions of its era, “Keyboard & Strings” is an acoustic and electric piano piece, where the violin is met by synths and electronics.

As is often the case in Albert Alan Owen’s most intimate works, there is a sense of ethereal beauty that emerges from the music, akin to the emotional state one might experience while contemplating a Félix Vallotton landscape or the unfathomable mystery of dawn’s first light. Quiet, profound, and immersive, “Keyboard & Strings” stands out as an electronic-age tone poem, a rare gem that transcends time and place.

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Funkadelic

LP | 1979 | EU | Reissue (Charly)

LP | 1979 | US | Reissue (Superior Viaduct)

Release: 1979 / EU – Reissue

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

Limited Edition. 180gram silver vinyl.

Includes original inner sleeve, insert and obi.
Cover as new with a slightly dented corner.
Protective PVC sleeve wallet not included.

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Roberto Cacciapaglia

Sei Note In Logica

LP | 1980 | EU | Reissue (Bureau B)

Release: 1979 / US – Reissue

Genre: Electronic & Dance, Classical Music

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

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

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

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

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Harald Grosskopf

Synthesist

Release: 1980 / EU – Reissue

Genre: Electronic & Dance

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LP | 1980 | US | Reissue (Palace Of Lights)

K. Leimer

Closed System Potentials

19,99 €*

LP | 1980 | EU | Reissue (Brain)

Release: 1980 / US – Reissue

Genre: Electronic & Dance

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Following the RVNG reissues of A Period of Review (ranked the No. 7 reissue of 2014 by WIRE) and Artificial Dance (ranked the No. 2 reissue of 2015 by WIRE) Closed System Potentials, recorded in 1979 and originally released in 1980, finds its way back to vinyl in a completely remastered + expanded edition. The LP includes two previously unreleased tracks plus the included digital version includes an additional two unreleased tracks, all taken from the original CSP sessions. Also included is a four-page insert featuring an essay by Paul Dickow. Remastered by Taylor Deupree at 12K.

K. Leimer founded Palace of Lights in 1979. In addition to his own work, PoL has released albums by Ang Mo Faux, Marc Barreca, Roy Finch, Michael William Gilbert, Steve Peters, Savant and Gregory Taylor. Leimer’s early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s – his current catalog includes 16 still in print albums plus 2 collaborative albums with Marc Barreca.

Leimer’s work is included in the collection of The British Library.

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Klaus Schulze

Dig It (2017 Remaster)

Release: 1980 / EU – Reissue

Genre: Electronic & Dance

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LP | 1980 | UK | Reissue (Cache Cache)

Madfilth

18,99 €*

Sympathy Nervous Black Vinyl Edition

Release: 1980 / UK – Reissue

Genre: Organic Grooves, Electronic & Dance

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From the pumping heart of The Magnetic System comes the “dirtiest” Da-Da-dancefloor
anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the
cream of the Goblin studio band. Ultra rare and unscrubbed, Finders Keepers finally snip the
trip from the cash machine to the trash machine. Pay dirt just got dirtier.
Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk
whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic this
ecological illogical poplitical crab cabaret clearly broke the mould before way before the jelly
had set.
Fans of “other” obtuse outernational agit-camp might find a fantasy fusion between France’s
J. P. Massiera and Sweden’s enviroMENTAL marvel Kaptain Zoom while trying to unravel the
Madfilth tangle - but rest assured there were method men behind this madness and a portal
to Italian funk royalty still festers at the bottom of the psych rap scrapheap.
Originally drip fed out of Cesare Andrea Bixio’s Cinevox stable as one of a tight grip of nonsoundtrack
LPs, made to test the label’s commercial potential, Madfilth would follow the
band Goblin (and their non-cinematic Roller) as well as the hens’ teeth eponymous long
player by the group The Motowns in what was perhaps the last-ditch attempt at custom
built popsploitation - combining the skills of overqualified composers with undercooked
conceptual mind farts! Naturally, after almost 40 years in the barrel, this micro-brewed
oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers
proving that 1979 was obviously good year for fool’s gold. The Madfilth medicine has finally
come to cure your psychic ills so open wide and don’t bite the spoon.
As both doctors and diggers will agree, always read the label. It is beneath the flamboyant
rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic
beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros
Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure
trove of B-musical diamanté discoids. It will also come as little surprise that Cinevox/Dario
Argento favourites Goblin were not too distant from the whiff of this curates egg with the
men who many consider to be the group’s greatest assets in bass player Fabio Pignatelli
alongside sports rock drummer Agostino Marangolo. It was this unison that remained
consistent throughout Goblin’s career, weathering the temporary departure of Claudio
Simonetti and maintaining the stylistic heartbeat of the group. Madfilth’s inclusion of Goblin
synth Maverick Maurizio Guarini and the band’s mid-period guitarist Carlo Penessi (founder
of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded
the soundtracks for the films Buio Amiga and Squadra Antigagsters. This lesser celebrated
late 70’s era also witnessed the mutating Goblin rhythm section providing discoid backbeats
for records such as Giorgio Farinas Discocross LP, Simonetti’s own Capricorn alter-ego and
the homoerotic nightclub spin-off Easy Going - all of which, alongside Madfilth, provide a
strong mutual stylistic support system for their claim to cosmic discos deep red bloodline.

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Sympathy Nervous

LP | 1980 | US | Reissue (Minimal Wave)

32,99 €*

The Lund - St. Petri Symphony

Release: 1980 / US – Reissue

Genre: Electronic & Dance

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Minimal Wave presents a reissue of Sympathy Nervous’ pioneering debut album originally released in 1980 on Vanity Records out of Japan. Sympathy Nervous was Yosihumi Niinuma’s lifelong project which he started in his Tokyo living room in 1979. Through Sympathy Nervous, Niinuma was able to channel his energy into what he loved – building his own synthesizers and speakers from scratch.

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Lubomyr Melnyk

2LP | 1980 | EU | Reissue (Sounds Of Subterrania)

45,04 €* 52,99 € -15%

LP | 1980 | EU | Reissue (Bureau B)

Release: 1980 / EU – Reissue

Genre: Electronic & Dance

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Silk-Screen cover. In 1978 I arrived for my first time to Sweden, to the town of Lund .. and there I met a remarkable man named Jean Sellem who ran a tiny gallery in the middle of the town, "The Galleri St.Petri: Dedicated To Modern Art and Thought "... and he was one of the few and first people who saw the greatness and beauty of Continuous Music .. and since I was a complete "unknown" at that time, I really needed his moral support ! --- and he created with me, the idea of a huge work for multiple pianos ... three pianos .. in stages ... and it became as he had envisioned ! and was first performed on a small upright piano in 1978 in his gallery, and the piece was called THE LUND.St.PETRI SYPMPHONY .. because it was so symphonic in grandeur (once the three pianos came together ...) The Lund - St. Petri Symphony, from 1979, is the second album from Lubomyr Melnyk and the first composition for double piano which he released. In this work, the early minimalist tendencies which played such a major part in the emergence of Continuous music, are very significant and clearly evident. This Double LP set sold out within 1 year of production, Only 1000 copies were made. Original Release: 1980 Limited All Analog Remastering Recording

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Richard Pinhas

East West

Release: 1980 / EU – Reissue

Genre: Electronic & Dance

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LP+CD | 1980 | EU | Reissue (Spittle)

Magazzini Criminali

Crollo Nervoso

12,99 €*