Electronic & Dance Vinyl 367 Items

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.

1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions.

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.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Numbers was the first reference in the Narco catalogue (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 - in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition.

New Lp-edition of an obscure un-released library of the early ‘70s.
Together with Florian Fricke, Peter Michael Hamel and Stephan Micus, Deuter is certainly the main responsible of a fruitful encounter between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a “library” to be used for films, TV and radio. As a library it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure “kraut” ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration, Haleakala, Ecstasy and Silence is the Answer. Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative “space-relax” tones of some tracks (Triad, Deep Sea, Gothic Velvet or Evening) to the most amused formulations of pulsating analog synths that in the hands of Deuter become “toy-equipement” to modulate and explore (Desert Rock, Synth Effect, Flea Dance or Laser). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian (Reed, Arabia) or devotionally solar themes (Tom Bombaddils Dance), so evoking an air of diffuse peace then completely conquered in the beloved India.

Meo, pseudonym of Daniele Mei, is a cosmic dj from Rimini, Italy. Fine Corsa was his first record, released in 1985. In those days Meo was active in what was later considered to be the most famous Afro Dance Club in Italy: Melody Mecca. This release is an intensely creative hybrid of many styles and many colors. Even up until the present day this record continues to be very important in some preeminent European clubs

A poster is included. With Back into Your Heart, Majik pull through with a strong up-tempo disco tune that embodies Mitchell’s sound as well as a level of modernity that might explain why it has remained largely unnoticed up until now. Licensed and re-mastered, MEL010 comes forth in its original 7″ format with a folded 14″x14″ poster designed by Mafalda. With its latest reissue, Majik’s Back into Your Heart - Melodies International dug deep into the back catalogue of Hi Records, the legendary soul label from Memphis founded in the 1950s. Originally signed as a recording artist, Willie Mitchell took the reins of the label and guided it through its most successful period in the 1970s, notably producing a string of studio recordings for Al Green, Syl Johnson and O.V. right among other eminent soul musicians of the time.

Originally released in 1986 under Luis Delgado’s cult imprint “El Cometa de Madrid”
Produced by Luis Delgado (Finnis Africae, Mecánica Popular) and performed by Patricia Escudero, this beautiful record dives into Erik Satie’s compositional work thru an experimental optic.
Entirely recorded on Synthesizers, and making heavy use of FX and timbral manipulation, this recording brings out a Satie that’s never heard before.

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself a VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released his first two LPs Green Ray in 1976 and Moebius 256 301 in 1977. In Course Of Time, his third LP was originally issued in Canada in 1982 and in France in 1983, although it contains works that he had began working in 1979. The material was originally shelved due to legal matters, although he continued to add some changes even after that. The Canadian edition came out in Les Disques Solaris, a recently created label that wanted to specialise in "cosmic" music. Zanov used the same equipment he had used on Moebius 256 301, albeit this time he gave more use to the RMI Harmonic Synthesizer.

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Zanov's third LP was released in 1982 in Canada on Les disques Solaris and in 1983 in France on Ondes.

This is not a reissue, it is the original 1983 French edition on Ondes. Please note that these are mint unplayed vinyl copies, but they have been laying around in warehouses for long time so sleeves show the pass of time (some yellowing mainly, not bigger problems).

From the darkest corners of the RCA vaults we bring you this super rare and wonderful, tripped out cosmic-psych rarity on 45! From 1977 this double-header is an Eastern themed, moog driven oddity from the mysteriously monikered Kamel Oil Company. Written by the legendary Bob Azzam, Eddie Barclay (founder of Barclay Records) & Greek record company owner Antoine Flamaritis, 'Mustapha' is an exotica soaked orchestral monster with choir vocals and string arrangements that only the big boys could call in. This is a serious left-field nugget from the vaults of one of the biggest majors, one ends up thinking - 'how did this come about?!'. On the flip-side we have 'Petrolo En Bruto', which is the real gem here, undoubtedly this one will appeal to fans of the far flung reaches of world music and psych, even those of you who dig the various flavours of Funk from around the globe. A truly special and unique record here, often sought after by the deepest of the crate diggers and obscure sound searchers on a promo 45, this rare EP now sees a fully legit reissue. Made in conjunction with Above Board distribution and RCA this reissue is sourced from their vaults using original materials and remastered and repressed to the highest standard for 2018 and featuring all original 1977 RCA label artwork.

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.

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...

How a boy from the Sri Lankan jungle formed the greatest post-punk band you’ve never heard. Fronted by an intense singer with an oblique songbook and a mysterious past Glorious Din were unlike any other group to emerge from San Francisco’s ‘80s underground. With singer Eric Cope, the chosen persona of a Joy Division-obsessed Sri Lankan boy who travelled halfway around the world to follow his punk dream.

Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.


Exclusivo! was the group’s debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

Music From Memory’s final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones’.
Pioneers in the Post Punk Industrial and New Wave scene in 1980’s San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco’s notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.
With it's influences seemingly as much rooted in the past and the present as it was focused on the future; Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio’s in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it’s time.

Double LP: first one includes tracks remastered from "Kondens" original master tapes (originally released in 1982); second one includes unreleased tracks taken and remastered from 1983-1984 original master tapes (produced and composed for Scandinavian "theatre" performances)

Originally released in 1982, including tracks written for Crosstalk (a science fiction thriller film made in Australia) and other electronic themes, it was written, performed and recorded by Chris Neal in his home studio, using Roland System 700 and Roland MC8.
In 1982 there were only a few System 700s ever produced and Roland was more interested in promoting their more commercial System 100M (that's why it was credited on the 1982 original cover to give them a plug). The System 700 was developed by Taro Kakahashi and his team in Japan as a direct challenger to the Moog modular system.
The ORBEATIZE remastered reissue also includes a special bonus track remixed and produced in 2017 by Jolly Mare.

Ultra-rare D.I.Y minimal / synth-pop / industrial / darkwave album from 1986!

Kozmonaut was the personal project of a young & talented Canadian musician called Michael Gutierrez, who moved to San Francisco in the early 80s. Influenced by Kraftwerk and German culture / electronic music, Michael recorded the “Flieg” album all by himself at his garage studio, using the pseudonym of “Hans Schiller”.

1000 copies were pressed on his own label, Vier Productions Inc, but they were never distributed or sold at the time, with virtually the entire pressing being discarded, as Michael, a perfectionist, was not satisfied with the spelling mistakes on the cover, among other things. In 1989, Michael, along with Pieter Ziegelmeier, formed the famous industrial / electronic band Kode IV.

Sadly, Michael contracted AIDS and passed away in 1994. All the contents of his garage (tapes, albums, synths and recording equipment) were sold for cheap or ended up in the street.

Fast forward to 2010: An adventurous record hunter (Christian Peintner) finds a copy of the “Flieg” album at a thrift shop in San Francisco. At first, he thinks it’s a German album but after some investigation, he discovers the name of Michael Gutierrez which leads him to Kode IV and then to Peter Ziegelmeier. He visits Peter who tells him the real story of Michael Gutierrez aka Hans Schiller and Kozmonaut.

“Flieg” is an excellent album, a crossover of a wide range of styles from early Industrial (paving the way for Michael’s later sounds with Kode IV), to Synth-Pop, Experimental Electronics, ambient and Dark Wave. Michael uses the vocoder very effectively and in one of the songs, “Tidal Meditation”, he recorded the Golden Gate Bridge fog horn to use it as a sample.

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.

A seminal figure in the history of 20th century avant-garde, yet sinfully overlooked, Wolf Vostell unleashed ideas - those running wild through his debut LP "Dé-coll/age Musik", which remain a slap to the face, more than half a century after they were set into play. A founding member of Fluxus, an early instigator of Happenings, an innovator of video art, Vostell was equally one of the most radical and irreverent practitioners in sound that the world has ever known.

First released in 1982, "Dé-coll/age Musik" draws from material dating between the late 1950’s and early 80’s - the results of Vostell’s application of décollage, the near perfect inversion of collage. Rather than gathered and assembled sounds - as with Musique Concrète, these are the result of subtractions from a former whole - the death of one, giving life to the next.

Swelling from the past, Vostell’s efforts pull the rug from beneath the common history of structured sound. A singular body with no loyalty, producing shocking results. A grinding confrontation - an intoxicating immersion in sound - as brutal as it is ecstatic - an exercise in joy. "Dé-coll/age Musik" assembles the essence of a creative spirit which is rarely known. Each work as radical and fresh today as the moment it was made.

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. 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 seventeen albums plus two collaborative albums with Marc Barreca.

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

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.

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!

Originally recorded in Detroit, 1982 by the late Danan Potts a.k.a. Superlife. At that time Danan was hanging around the Recording Institute of Detroit where Juan Atkins was training in production. Danan was interested in Atkin's style of dance music and quickly recorded "Go Bananas". Bananas was released locally on Southern Sun Records in hyper limited quantity, it is today one of the most sought after underground detroit techno recordings of all time.

A vinyl reissue of the third album (originally from 1982) by the kraut/electronic musician who was inspired by a.o. late '70s Tangerine Dream. This title is relevant for anyone into the sounds of the Berlin School.

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.