• 01. Hava
    02. Schace
    03. Impro–Vision
    04. My Ape & My Monkey
    05. Ron Do
    06. Baz


    Ak Musick

    [engl] "AK Musick" was originally released in 1972 as a private edition of 150 copies on Hans Kumpf’s legendary AKM Records label. Radical, freaked–out sound with hints of free–jazz, improv and avant–garde. File next to Anima, Annexus Quam, Albrecht D, Gulda, Nihilist Spasm Band, Nurse With Wound... AK Musick was an improv collective assembled by Hans Kumpf to "make music in a very democratic way". The five players had a classical education but they were also influenced by avant–garde composers like Helmut Lachenmann and Johannes Fritsch. Their only album, "AK Musick", was recorded in 1972 at the famous Bauer Studios in just three hours and engineered by Martin Wieland, who had previously worked with Keith Jarrett for the ECM label. Some of the instruments used were: clarinet, cello, oboe, organ, piano, darbuka, tam–tam, ektare, flute, zither...Includes the amazing "Impro–vision" which sounds like electronic music but using only natural instruments. "AK Musick" was originally released as a private homemade edition of 150 copies with spray printed covers. During the 70s, AKM Records was also home to other free–jazz rarities like "Free Blacks" by Perry Robinson / Hans Kumpf (where Hans also collaborated with his friend Wolfgang Dauner) and "In Time" by Theo Jörgensmann. Very hard to find now, we present the first ever LP/CD reissue of this rare Kraut artifact done under license from Hans Kumpf.
  • 01. 1
    02. 2
    03. 3
    04. 4
    05. 5
    06. 6
    07. 7



    [engl] The debut album of experimental duo Deep Thoukus. A mellow expression with clear connections to the renowned improv jazz scene in Norway, but also with one foot in the alternative rock world, as Meyer Grønvold's electric guitar embraces the organic touch Laastad has on his drum kit. A playful and totally stripped down soundscape where rythm and melody is fully integrated between the two instruments. While Meyer Grønvold is mostly known for his appearances in alternative rock bands such as Moon Relay and S.L.Y.C., he has also been a solid part of the improv scene for ages. Joined by Laastad, known for his productions on both these genres, and also for his brilliant percussion and drumming in a variety of settings (Hilary Woods, Finity, Jenny Hval, Trondheim Jazzorkester etc.) and highly respected experimental jazz constellations, they create an impressively open and organic expression. A rough record, due to its 100 % transparent details which only enhances the meditative and inviting nature of the seven tracks composed with a unique calmness.
    EAN 7041889508693
    EAN 7041889508709
  • 01. Harmonitalk
    02. Mind Script Vacation Permit #35-17
    03. Good Indian
    04. Together Again
    05. Backporch Blues
    06. ARR
    07. Glacier Suite
    08. Blue Ice



    [engl] Alaska, 1980. The robotic harmonica and his Clones have landed on glacier planes. Meet mutant commander Gary Sloan - this is the dawn of Harmonitalk! Less than 1000 copies of this privately pressed Alaskan electronic harmonica album by the tight-knit synth trio called Clone actually survived the journey out of their Anchorage base camp, leaving an explosive trail of unidentified synth pop, New Age, low-fi blues, techno, vocoded folk funk and prog rock blazing behind them. See what happens when a homespun innocent blues collective become pos- sessed by the souls of Vangelis, Klaus Schulze and Suzanne Ciani on the frost bit- ten film set of John Carpenter’s The Thing. Over 30 years later Cache Cache and Finders Keepers Records resurrect Harmonitalk's original black box and find more lost transmissions in the process. Originally released as a privately funded 1000 copy vinyl run in 1980 this rare LP by Alaskan electric harmonica player Gary Sloan and his interchangeable synth trio known as Clone is a record that pushes the concept of American outsider music to its furthest geographical limits. With few physical copies travelling beyond their tight Alaskan fan base upon release this mutant album of conflicting mediums and truly forward thinking electronic pop music combines an unlikely mix of synth pop, New Age, low-fi blues, techno, folk funk and prog rock - providing the locale’s sparse vinyl industry with a much needed and veritable document of this collective’s truly unique and open-minded psyche. With its origins lying a decade earlier in the 1971 release of Sloan’s first privately pressed prog rock electric blues combo, Proof, the transmuted music of Clone stands as a triumphant example of how independent and experimental American music can flourish and evolve outside the restraints and fashionable whims of the major music industry. Taking the true essence of rhythm and blues and applying it, without inhibition, to the most profound mediums available, Sloan’s integration with local synth enthusiasts Paul Alexander and Kurt Riemannn (known internally as The Trio) coupled with a wide range of unfiltered influences (comprising everything between New Age to new wave) lead to what is perhaps one of the most unexpect- ed, improbable and underexposed pop fusion triumphs to emerge out of 1980s North America. Throughout the 70s and 80s, as a pillar of the Anchorage live music scene, Gary provided local musicians (including himself) with welcome platforms via his organised events and radio shows, such as The Import Hour which opened two way doors for regional and international artists resulting in various members of the Proof family collaborating with names such as Harvey Mandell and Klauss Schultze. The ongoing Proof records, limited cassette releases, and the Boogie Til Dawn production company have also played host to a wider community of North American both blues, punk and New Age artists with the same integral free-think- ing and progressive policy (some of whom can be heard for the first time guesting on this LP).
    EAN 5060099503900
  • 01. House Of The Sun
    02. Khan-Khallili Razaar
    03. The Devil May Care
    04. Slave Traders
    05. Land Of Unclean Spirits
    06. Perhaps Reincarnation
    07. House Of The Joker
    08. Take A Look
    09. Temple Of Exotic Delights
    10. Feed You To The Sharks
    11. Lapis-Lazuli
    12. I’ll Be A Sphinx For You
    13. Doubting Thomas
    14. Paid Your Money



    [engl] Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses and Arthur Brownthen combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. BEHOLD Geoff Krozier & The Generator. This faithful reproduction of one of Australias rarest synthy post-prog vinyl artefacts bequeths the only recorded fruits of the precious magick months before Geoff Krozier’s untimely death in 1981. Combining shamanic spoken word with nodding kosmische instrumentation this album is fuelled by ARP/Roland/ETI (Aussie synth) technology and leaves fans of synthetic soundtracks, electronic experimentalism and stubborn synth pop salivating for more (and more there is). Meet this Ex Kongress (NY punk band) collaborator, Sydney’s official 1980 Magician Of The Year and “the high priest of exorcism-rock” and watch him, and his trusty studio wizards, provide fans of Bruce Haack and Doris White with one of the most absurd electronic private press LPs to come from either end of the pointed planet.
  • 01. Love-In (December)
    02. Freaky (January)
    03. Flashes (February)
    04. Kaleidoscope (March)
    05. Hallucinations (April)
    06. Flower Society (May)
    07. Trippin' Out (June)
    08. Tune In-Turn On (July)
    09. Vibrations (August)
    10. Soulful (September)
    11. Inner-Space (October)
    12. Wiggy (November)


    Psychedelic Percussion

    [engl] Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35.000 sessions and 6.000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector’s de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes’ single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.
  • 01. Overture
    02. Air
    03. Ragtime
    04. Intermezzo
    05. Waltz
    06. Finale



    [engl] Pioneering electroacoustic and tape music by Henk Badings assisted by Dick Raaijmakers (Kid Baltan) from the Hanover Opera Ballet production of Evolutions choreographed by Yvonne Georgi. Premiering in Hannover in 1958 then in Rome and Vienna in the following year the ballet Evolutions (Evolutionen) by Yvonne Georgi was the second of three groundbreaking collaborations with Henk Badings (bookended by Cain and Able aka Elektronisches Ballet in 1957 and Die Frau Von Andros in 1960) in which electronic tape music was combined with avant garde choreography, thus contributing to a vibrant global movement which drew a line between experimental dance artists and concrete/electroacoustic musicians such as Alwin Nikolais, Maurice Béjart (with Pierre Henry) and George Balanchine (with Remy Gassman) amongst others. Assisted by fellow Dutch electronic music pioneer and Philips sound laboratory technician Dick Raaijmakers (aka Kid Baltan), Badings, an Indonesian born musician of Dutch parents, would by the late 50s begin to expand his successful career as a composer of "roman- tic modernism" and develop electronic, polytonal and microtonal music which instantly attracted ballet mistress Georgi to his unique brand of musique con- crète. As a key exponent of forward-thinking and conceptual dance, Georgi devised a narrative based on the evolution of technology and is agonising effects on mankind. Garnering mixed opinions amongst the classical ballet cognoscenti in 1959, the projects of Georgi and Badings were viewed as a part concert/part instal- lation due to the radical sonic shifts and the physical deployment of large elec- tronic speakers to replace the otherwise acoustic orchestral accompaniment. Utilising the entire apparatus of the studio at Philips’ physics laboratory in Eindhoven before committing to master tapes, Evolutions not only stretched the perceptions of modern ballet aficionados but also stretched the technical boundaries of electronic music at one of its most exciting and vibrant junctures in musical history.
    EAN 5060099504907
  • 01. Frayeur
    02. Angoisse
    03. H.I.A


    L’Estrange Mr. Whinster

    [engl] A schizoid sonic sketchbook from the Maledictus Sound-maker Dr. J. P. Massiera. A disturbing mix of dismembered tape samples, para- noid-poety and cosmic chaos resurrected from the crypt of Studio Antibes 1976 Dawn Of The Dead, or The French Connection 2, or For A Few Dollars More, or Evil Dead 2. For an article relating to the bizarre Gallic concept album you are about to subject your ears to, any of the aforementioned 70s cinematic references could conveniently provide a snappy and relevant headline. More signifi- cantly, however, these four names, amongst a slew of surprising others, represent the micro-phenomena of freakish ‘sequels’ that up the ante and out-weird their predecessors pushing the envelope beyond what we thought we were prepared for... Not unlike The Horrific Child LP by Jean Pierre Massiera. Like a self-hypnotism disc or an astrological record ‘... Mr. Whinster’ was marketed in the format of a psychological experience rather than a pop record. A bloodstained patchwork of surrealism and brooding psychedelic rock the LP stitched together Massiera's own shock-tactical spoken word (in the style of his earlier exploitation record 'Erik' which described the ‘Streets Of Desolation’ after the Nazi occupation) and a cacophony of live instrumentation and de-tuned and collaged samples from the vaults of the Antibes Studio. Most of the contributors loosely described as the 'person- nel' were featured in snippet and sample form apart from some short cus- tom written passages that were performed by musicians from the Nice Music Conservatory directed by Antibes regular Gérard Pontieux who would later appear on the credits as an arranger for Human Egg and Turn Radio On (Massiera's rare proto-disco collaboration with his half brother Bernard Torelli). Extra electric basslines were dubbed onto the record courtesy of ex-Pyranas / Hermaphrodites bassist Tony Bonfils (who would later appear in Synthesis and Human Egg). Beneath the deep theatrical growls of JPM himself, backing vocals came from the two singing duos Paul & Virginia and Micky & Joyce including samples lifted straight from precious sessions such as Visitors or Les Chats Renaissance. Massiera also credits vocal appearances to two bizarre figures from the French glit- terati in the form of stage singer Roberto Galbés and the larger than life celebrity impresario Bob Damiano (who would later write lyrics for Massiera’s extra terrestrial Venus Gang project).
    EAN 5060099502071
  • cover


    Rest At Worlds End

    Das dritte Album dieses exzellenten Duos wurde live an den verschiedensten Orten in Europa aufgenommen, obwohl das großartige Können der beiden und die Liebe zum Detail darauf schließen lässt, dass das gute Stück akribisch im Studio entstanden ist. Mit ,Rest At Worlds End" wandert das Duo weiter auf dem abenteuerlichen Weg voller abstrakter Grooves und atmosphärischer Stimmungen, für die es bekannt ist. Thomas Str¢nen ist studierter Musiker und Komponist. Er ist reguläres Mitglieder verschiedener Bands, wie zum Beispiel FOOD, dem MARIA KANNEGAARD TRIO und PARISH. Nachdem er bereits an 30 verschiedenen Alben mitgewirkt hatte, veröffentlichte er 2006 mit ,Pohlitz" sein erstes Soloalbum. Wie es Usus unter den meisten norwegischen Jazzmusikern seiner Generation ist, hat er mit allem und jeden gespielt und war ein gern gesehener Gast auf den norwegischen und euopäischen Festivals. Ståle Storl¢kken seinerseits ist Gründungsmitglied von SUPERSILENT, ELEPHANT9, TERJE RYPDALIS SKYWARDS und BOL, doch stiße zuerst auf öffentliches Interesse mit dem Freedom Trio VESLEFREKK. Storlokken ist der wahrscheinlich vielseitigste und abenteuerlichste Keyboarder in der norwegischen Szene.
    EAN 7033662030811
  • 01. Pour Que Les Fruits Mûrissent Cet Eté
    02. Op Acht Paarden Wedden


    Karel Goeyvaerts

    [engl] KAREL GOEYVAERTS was born in Antwerp in 1923. After having received a humanistic education in Antwerp, he took courses at the Lemmens Institute in Malines. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud, music analysis with Olivier Messiaen and was in addition the pupil of Maurice Martenot at the "Conservatoire National" in Paris. In 1949 he was awarded the 2nd Prize for Composition and the Lili Boulanger Prize at the same Conservatoire. He obtained the Halphen Prize in 1950. During the winter of 1950-51, he wrote the "Sonata for two pianos". Because of its decisive and total stylistic novelty he designated this work as "Composition No 1", thus rejecting all his former work. With this sonata he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen and laid the foundations for generalized "punctual" serialism. He demonstrated the application of this technique on the electronic medium in his compositions Nrs. 4, 5 and 7. During the period 1951-1956, he influenced directly through personal con- tact and intensive correspondence the musical creativity of Karlheinz Stockhausen, whom he met during the summer-courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first elec- tronic music in the studio of the NWDR in Cologne. In 1970 the BRT appointed him as producer at the "Institute of Psychoacoustics and Electronic Music" (IPEM) in Ghent. Since 1974 he is in charge of the New Music productions for BRT-3 in Brussels. Karel Goeyvaerts received several awards, such as the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders and the NOS (Neder-landse Omroepstichting). His works have been performed in several European countries, in Canada, the United States, Japan and at the festivals of the "International Society for Contemporary Music" (ISCM) Brussels 1950, Oslo 1953, Graz 1972 and Bonn 1977.
    EAN 5060099504471
  • 01. Infekt - Intro
    02. Gebt Mir Schnaps
    03. Astrale Reflexe
    04. Scheiß Dich Nicht An Man
    05. Slow Virus
    06. Kindersuchdienst I
    07. Die Macht Überkommt mich
    08. Uns Ist Der Sieg
    09. Halt Mich Fest
    10. Ich Bin Deine Große Schwester
    11. Kindersuchdienst II
    12. Das Schicksal Der Lymphozyten
    13. Einzelkämpfer
    14. Keine Rettung
    15. Kindersuchdienst III
    16. Der Vergnügungsdampfer Sinkt
    17. Systeme Rasten Ein
    18. Spermium Letalis
    19. Lechzverkehr Der Die Sperrzone
    20. Kindersuchdienst IV


    Tapetopia 003: GDR Underground Tapes (1984 - 1989)

    In ihrem kurzen, aber heftigen Leben spielte die Ostberliner Impro-Punkband Klick & Aus ein Amalgam aus Proto- und Postpunk, sie machte sich ost-westliche Einflüsse wie die Rasenden Leichenbeschauer, Captain Beefheart und Cabaret Voltaire zu eigen. Der Klick & Aus-Sound atmete Unrast und Zickigkeit, er hatte etwas von einer permanent brodelnden Kompanie, die kämpfen wollte, sich aber dem Gleichschritt verweigerte. In den Weihnachtstagen des Orwell-Jahres 1984 entstand das Kassettenalbum „AIDS delikat“, sein Titel verschränkte den Seuchencharakter einer im Westen aufgetauchten Krankheit mit einer Besonderheit des DDR-Konsumismus. „AIDS delikat“ wurde in einer Auflage von 100 Exemplaren von der Band finanziert.
    EAN 4042564202830
  • 01. Some Day Silly Twenty Three
    02. Reflections
    03. Am I
    04. Everythingsnothing
    05. Tunion
    06. The Tourist
    07. Bars
    08. The Letter
    09. Mangel-Wurzel
    10. To Whom It May Concern
    11. Optimism
    12. Touch-Downer


    Lady June’s Linguistic Leprosy

    [engl] From 1974, the legendary debut album by Canterbury Scene pivotal figure, performance poet, painter and experimental musician June Campbell Cramer, better known as LADY JUNE. Produced by KEVIN AYERS, who also plays on the album along with BRIAN ENO, PIP PYLE (Gong, Hatfield and the North) and DAVID VORHAUS (White Noise). Originally released by Virgin’s budget imprint Caroline (home also of artist like Faust & Tony Conrad, Gong, Lol Coxhill, etc),“Lady June’s Linguistic Leprosy” is a surreal, eccentric, psychedelic oddity of interest to fans of the Soft Machine-Gong-Canterbury family as well to experimental / sound poetry / art-rock explorers.
    EAN 4040824087449
  • 01. Difonium
    02. Cellotape
    03. Studie VII B


    Lucien Goethals

    [engl] Lucien Goethals was born in 1931 in Ghent, Belgium. He completed his musical education at the Royal Academy of Music in 1956 where he was awarded the highest accolades for advanced organ, history of music and theoretic notions, after which he eventually pursued his studies of seriated music technique and electronic composition with G.M. Koenig. He was awarded further awards for composition in both his own country as well as abroad, and was a member of the renowned Spectra work group. In 1963 he was appointed to the post of producer of the BRT (Flemish division of the Belgian Broadcasting and Television System) and later a key producer in the division known as IPEM (Institute for psycho-acoustics and electronic music). From 1971 he taught musical analysis at the Music Academy of Ghent. Goethals was an exponent of the stricter direction in the aesthetics of contemporary music. His work is still recognised as a valuable contribution, on a global scale, to the fields of seriated and trans-aleatoric music of the past half century. His recorded achievements within experimental music include a dozen rare compositions for solo “magnetophonic” music and a set of works for combined orthodox instruments with magnétaphone. Outside of the electronic field Goethals was also recognised for his chamber music, symphonic orchestration, cantata and lied compositions. This compendium focuses on Lucien’s magnetophonic work recorded during, and prior.
    EAN 5060099504792
  • 01. Largo Pour Piano Et Océan
    02. Goutte De Sang En Feu
    03. Hard–Rock Ouverture
    04. Ailleurs
    05. 7 Contre 4
    06. Le Voyage Sperper
    07. Nebel/Leben
    08. Mémoire Pulvérisée
    09. The Playwrite’s Drift (bonus track)
    10. Roots Eater Take 1 (bonus track)
    11. My Guitar Is Driving Me Mad Take 2 (bonus track)
    12. I Love You, Sugar Beef Take 1 (bonus track)
    13. Hard–Rock Ouverture Take 1 (bonus track)



    [engl] First ever reissue of this impossible to find artefact from the Swiss underground avant–garde scene of Geneva, originally released as a private boxset limited to 150 copies in 1973, only sold at art galleries. A unique, instrumental mix of free–jazz, classical, psych–rock, folk, improv, kraut, funk and musique concrete with tape effects... In the late 60s, musician / guitar player Christian Oestreicher, "a savage in the era of twist and free jazz", met artist and painter Richard Reimann – famous for his optical art –, at the Aurora art gallery in Geneva. Fuelled by the artistic creativity from this underground scene, where jazz and rock musicians rubbed shoulders with artists, poets and painters, Christian ideated the Mouvements project, enrolling his friend Richard to create the artwork. Christian was a trained guitar player with diverse influences: Ornette Coleman, Chuck Berry, Zappa, Soft Machine...He envisioned Mouvements as a concept album and he asked some of his musician friends from the jazz / rock scene to join in for the recordings: among them, Jean–François Boillat (of Boillat–Thérace), Blaise Català, Jerry Chardonnens... The album sessions took place at an occupied mansion during 1972, using three Revox machines. The musicians played standing in a circle and there was lot of room for improvisation. Tape effects and a small portable synth were also used. The result was released in 1973 as a hand–numbered, deluxe boxset limited to 150 copies, including a series of Richard Reimann’s lithographies and inserts. For this, the first ever reissue, we’ve created a new, more affordable edition with new artwork, including an insert with liner notes and previously unreleased photos. LP edition comes housed in a silver–mirrored sleeve. CD comes in standard jewelcase. The CD version includes five previously unreleased bonus tracks taken from the album sessions, including the 17 minute long improv monster "My Guitar Is Driving Me Mad". Both CD and LP versions come with a digital download coupon including all the tracks from the LP/CD plus another four bonus tracks taken from the album sessions. Highly recommended if you’re into avant–garde psychedelia, free–jazz, free–rock, psych–funk, kraut... Think Staff Carpenborg, Zappa, Soft Machine, Bo Hansson, The Feed–Back, Mahogany Brain, Semool, Pierre Schaeffer, the BYG and Futura labels...
  • 01. The Tower of Barad–Dûr
    02. Shelob’s Lair
    03. The Dead Marshes
    04. Mount Doom


    The Nazgul

    [engl] Shrouded in mystery 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...
  • 01. Torture
    02. The Death By Heroin Of Sid Vicious
    03. Surety
    04. S Geudet vielen die Zeit
    05. When I Am I Am Not
    06. Jesus
    07. Gammas
    08. Sally

    Ornament & Verbrechen

    Tapetopia 001: GDR Underground Tapes (1984 - 1989)

    1988 streute die legendäre Freakwave-Formation Ornament & Verbrechen ca. 20 bis 30 Exemplare ihres „Rotmaul-Tapes“ unter Freunde. Die Band um die Gebrüder Lippok ging aus der ersten Ostberliner Punkkapelle Rosa Extra und aus dem Avantwaveprojekt Fünf Wochen im Ballon hervor. Von ihrer Gründung an lassen sich O&V als Quelle in viele Haupt- und Seitenarme des Ostberliner Undergrounds verfolgen. Bands wie Aufruhr zur Liebe oder Band-Projekte wie Corp Cruid, The Local Moon und Bleibeil entstanden im Umfeld oder aus der Zusammenarbeit mit einer Band, die wie ein offenes Haus in der geschlossenen Anstalt DDR funktionierte. 1995 formierten sich aus den bewährten Strukturen der 80er Jahre die beiden Bands und Langzeit-Experimente To Rococo Rot und Tarwater, indem sie einem Muster folgten, ohne es zu kopieren. Nach dem DDR-Infarkt 1989 glimmte das Projekt Ornament & Verbrechen weiter, züngelte an neuen Ideen und flammt bis heute immer wieder auf. Die Serie tapetopia veröffentlicht, unter Verwendung des Original-Layouts und der ursprünglichen Tracklists, Kassetten-Editionen aus dem DDR-Underground der 1980er Jahre, speziell aus der Mauerstadt-Szene Ostberlins. Über drei Jahrzehnte nach ihrer ersten „Veröffentlichung“ sind diese Tapes bisher weder auf Vinyl noch auf CD zu hören, sie mischten jedoch im Kanon der DDR-Subkultur vernehmbar mit. Im Widerspruch zu den damaligen Kleinstauflagen galten viele der Bands in gegenkulturellen Zirkeln als Kult, aber in informierten Kreisen als höchst verdächtig. tapetopia wird herausgegeben von Henryk Gericke. Geplante Veröffentlichungen in der tapetopia-Serie: Die Gehirne (Karl-Marx-Stadt), Klick & Aus (Berlin), The Local Moon (Berlin) und Corp Cruid (Berlin).
    EAN 4042564192681
  • 01. Générique (Thème De Myriam)
    02. Catherine Malade
    03. Après La Mort Scène De La Trappe
    04. Le Gois (Scène De La Noyade)
    05. Thème De Catherine
    06. Mariage De La Feuille Et Du Cliché (Extrait)
    07. La Amoreux Musique
    08. Le Voyage Musique
    09. La Mort Musique



    [engl] Often evading the composer’s official discography lists Cacophonic present this outstanding, commonly undetected Pierre Henry film score providing fans of early electronics, femme vocal manipulation and hor- ror soundtracks with an indespensable "dream record" that ticks every box and crosses out every line in the rule book. Widely recognised as one of the original sonic architects of the move- ment known as musique concrete, having joined Pierre Schaeffer's for- ward-thinking initiative as early as 1949, Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and poplular music. Initially using the medi- ums of modern dance and spoken word as a platform to contextualise his tape-music mutations (notably in unison with Maurice Bejart) Henry's foresight to fuse accademic with thematic ideas lead to the birth of electronic sound design for film and theatre, expemplified most prevalently in the macabre. The missing link between his earliest avant garde recordings and his later celebrated pop experiments with Michel Colombier and Spooky Tooth and rivaling the likes of Daphne Oram's uncreditted SFX work for The Innocents this rare score to the 1962 Juliette Gréco vehicle Maléfices (aka The Hex or Where The Truth Lies) hears Henry at what is perhaps his most melodic, fragile and enchanting (especially for this unforgiving sheen-free formative era). Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind and brooding industrial treated piano textures Henry provides a series of conceptual poison peons to magnify this films intoxicated hal- luciogenic narrative. This concise set of complete set themes is presented here fully remas- tered for the first time alongide rare excerpts from two of the compos- er's very earliest and least obtainable forays into theatrical sound design with instrumental parts of Henry's first stereo reconstruction of Bejart's Orphee from 1961 and his seldom heard concrete interludes from Darius Milhaud and Max Gérard's Mariage De La Feuille Et Du Cliché from 1958, both of which command rapidly increasing ransom fees amongst serious electronic music collectors.
    EAN 5060099505072
  • 01. Les Esclaves
    02. Poursuite
    03. Batman
    04. Aurore Cosmic
    05. L.S.D.
    06. Quelle Audace
    07. Philadelphie Story
    08. La Chanson Du Liévre De Mars
    09. Etreinte Métronomique
    10. Monsieur Noel
    11. Filmore
    12. Metropolitain
    13. Ambiance
    14. Indicatif


    Les Esclaves

    [engl] For the few people lucky enough to have heard the entire album in the five decades since its release, the mythical Popera Cosmic LP is now considered to be France’s first dedicated psychedelic album and the shrouded blueprint for the hugely influential Gallic concept album phenomenon that followed – including Serge Gainsbourg’s Histoire De Melody Nelson and Gérard Manset’s La Mort D’Orion. Spearheaded by François Wertheimer (songwriter for Vangelis, Barbara and BYG Records), composed with future Jodorowsky soundtracked and genius all-rounder Guy Skornik, and based on an embryonic concept co-conspired by a teenage Jean Michel-Jarre, this instantly deleted 1969 recording is a true essential for any outernationalradicalised record collection. With credentials that mark the birth of the cosmic funk (later disco) that helped shape the influential sound of France today, this LP also includes the first pressed instrumentals by members of Space Art, some of the best orch rock arrangements by William Sheller (Lux Aeterna, Eriotissimo) and orchestrator Paul Piot (Jean Rollin), as well as sitar psych benchmarks courtesy of uber legend Serge Franklin – all pinned down by the rhythm section that would later be known to prog aficionados as Alice. Subtitled Les Esclaves (The Slaves), this street theatre/rock opera (influenced by the work of Julien Beck’s Living Theatre) now celebrates its 50th birth-day standing firmly as a sonic tome to the birth of the no-no era (that rebuked France’s yé-yé hamster wheel) leading directly to the thematic progressive network of Wakhévitch, Manset and Magma while comprising an inter-Gallic intergalactic super group from the early annals of France’s pop psych revolution. Imagine a rock opera where the cast of Mister Freedom perform Clash Of The Titans at the foot of The Holy Mountain – then pinch yourself…
    EAN 5060099506949
  • 01. Platinum
    02. Comet Tails
    03. Star Trails
    04. Gescom



    gatefold cover
  • 01. Curtain Music Overture/Waltz/Trio/Postlude/ Declamation
    02. Song/Echo-Stretta/Stretta-Coda /Scherzo/Largo



    [engl] 11 early electroacoustic pieces for the Studiotrautonium keyboard alongside tape manipulation to accompany the New York City Ballet production Electronics by George Balanchine Originally staged March 22, 1961, as part of a double bill choreographed by George Balanchine, the experimental New York City Ballet production Electronics included the renowned dancers Violette Verdy and Jacques d’Amboise (pictured on the front of this album) and a revolutionary score by multi-disciplined composer Remy Gassmann using a truly unique instrument. Working alongside German born keyboard composer and close acquaintance Oskar Sala (with whom he had studied in Berlin under Paul Hindemith), Gassmann was given access and assistance to the latest developments of the Trautonium, an early electronic keyboard that was first exhibited in 1930 by inventor Adolf Trautwein and three pianists (including Sala). Being one of the original exponents of the machine, Sala (with Trautwein’s blessing) took the basic model of a neon tube oscillator and wire frequency controller (which provided an untempered continuous tonal range) and spent over twenty years developing what would become the Konzerttrautonium (as used by Roichard Strauss to emulate synthetic gongs), followed by the micro- tonal Mixturtrautonium and eventually the static Studiotrautonium which formed the centrepiece of his own studio in Berlin-Charlottenburg where Electronics was composed and realised. For the 1961 ballet, dressed in metal- lic bodysuits with geometric diodic motifs, Verdy and d’Amboise (alongside a small troupe of other dancers) performed the concise eleven-part ballet to polarised but predominantly positive audiences, generating a new outlook on experimental dance and supporting the similar sensibilities of other choreog- raphers such as Alwin Nikolais, Yvonne Georgi (with Henk Badings) and Maurice Béjart (with Pierre Henry). As one of the first American performances drawing primarily on European developments, the modest critical success of the project would open new avenues for the electronic musical duo who were commissioned later in the year by Alfred J. Hitchcock Productions to provide enhanced and versatile sound effects emulating cacophonic bird sounds alongside Bernard Hermann for the 1963 blockbuster The Birds.
    EAN 5060099504914
  • cover



    Musik der 80’s aus Jugoslawien war immer eine sehr spezielle Angelegenheit.Pop ist nicht immer gleich Pop und REX ILUSIVII sollte ein Genuß für alle Freunde von düsteren Synthie-Pop und atmosphärischem Gothic sein. Komponist Mitar Subotic präsentiert zunächst 4 kürzere Tracks, die man nicht anders als klassichen aber experimentierfreudigen Pop bezeichnen kann. Düster und durch und durch 80’s. Das 25 Minuten lange “Thank you, Mr. Rorschach” hingegen ist eine wahnsinnige Ambientreise, eher eine Art Soundcollage als ein Song. Morbid und kraftvoll.
    EAN 6501203913844
  • 01. MS28
    02. Water World
    03. MS9
    04. Swamp
    05. Sunken Ship 2
    06. World As One
    07. Cosmetic 2
    08. Electric Texas
    09. MS11
    10. Ringo
    11. Frog Spawn
    12. MS1
    13. The Searcher
    14. Sylvia
    15. Ice Glaze
    16. MS13
    17. Flying Low
    18. MS25
    19. Psycho 2
    20. MS15
    21. Wie Ein Blitz
    22. MS22
    23. The Net
    24. Industrial Science
    25. Psycho 1
    26. Sunken Ship


    Sam Spence Sound

    [engl] Born in San Francisco in 1927 Samuel Lloyd Spence is a peculiar piece in the komplicated krautrock puzzle. As an American expat working in a community of German rock musicians in the early 70s Spence shared his alien status with the likes of David Johnson and Malcolm Mooney (Can), Carole Muriel (Brainticket), Maria Archer (Embryo), Bill Barone (Wallenstein) and the band Sweet Smoke, but in Spence’s case it wasn’t the free-love and communal living that attracted him to Germanic pastures – Spence’s European travel plan was academic. Over a decade earlier Spence had travelled from California to Paris to study “serious music” composition at the Ecole Normale de Musique with the great composers Arthur Honegger and Francis Poulenc where he conducted alongside Jean Fournier. After settling in Europe he would later make his way to Austria and later Germany in search of a supportive community of symphony orchestras to help him develop music for film and television. Due to Communism it became difficult for Spence to enter the classical epicentre of Eastern Berlin so he settled for Munich. Throughout the mid 60s Spence kept his hand in popular music via his US connections. His original roots playing clarinet and sax in Californian swing bands had lead to paid work sending compositions to commercial Hollywood groups which lead to a part time interest in electronic instruments and the development of the synthesiser. To balance his classical composition Spence was able to use his Hollywood credentials to score German TV commissions making dozens of groovy symphonic scores with electronic flourishes and towards the end of the decade, with the help of a long term contract composing motivational music for the National Football League, Spence had raised enough capital to bring one of the very first Moog sythesisers to Germany. While in Munich Spence met an American disc jockey called Mal Sondock who had recently struck a production deal with a new German pop music label called Kuckuck. Sondock introduced Spence to a 24 year old Eckart Rahn who owned the record company and after an initial agreement to release a single of Spence’s soundtrack to the Francis Durbridge thriller series entitled ‘WIE EIN BLITZ’ (‘Like Lightning’) the pair discussed the idea of recording an LP of electronic music which would appeal to ambient and experimental enthusiasts who were searching for cosmic sounds after the rise of krautrock bands like Kraftwerk and Tangerine Dream. After the release of two moog-fuelled singles including a cover version of Focus’ 1972 hit single ‘Sylvia’ Rahn agreed to release Spence’s debut LP of synthesiser based pop music which would sit amongst his eclectic Kuckuck roster including the minimal electronic pulses of Deuter, the experimental field recordings of Ernst Schultz and the avant-garde releases of Peter Michael Hamel and Terry Riley. Signed exclusively to Kuckuck in Germany Rahn recognised the potential in Spence’s synthesiser music amongst production music circles and television advertising companies so he struck up deals throughout Europe with library labels such as Brull and Dewolfe who would distribute Spence’s LPs and sublicense new Sam Spence recordings from Kuckuck for potential commercial usage. This included a whole LP of entirely electronic tracks entitled ‘The Art Of The Sythesiser’ on which he used a Moog 55 to stunning effect creating melodic pastoral pop music, freakish suspense themes and a selection of short bursts of bubbling ‘Moog Shots’ which would soon find their way into crime thrillers and action films (such as Taylor Wong’s Kung Fu fantasy film “Ru Lai Shen Zhang”) Having continued to expand his successful career in symphonic music Sam would, by the end of the 1970s, return to orchestral film music seizing further opportunities to work as a composer recording over 500 cues for films made by the NFL back in his native USA. For vinyl junkies Spence’s American Football music existed on a series Library records manufactured by NFL until it was finally commercially released in the mid-90s. Still residing in Germany, the country where he can find the best orchestras, Spence continues to make theme music. In recent years he has been heard on shows like The Simpsons, Everybody Loves Raymond, King Of Queens, Saturday Night Live, FBI’s Most Wanted, The Tonight Show with Jay Leno, Sponge Bob and several TV and radio commercials.
  • 01. Stealth
    02. Water Music
    03. Boat
    04. Matsura
    05. Ama Nita
    06. Trode
    07. Crystal Tunnel
    08. Bird Ensemble
    09. Ce La
    10. Wet Dry World
    11. Secret Town
    12. Song of Time
    13. Sweet Dreams



    [engl] Quality cutting at 45PM at the Dubplates & Mastering studio. Standard 140g black vinyl in special blue inner sleeve. Glossy lamination finish for the outside of the outer sleeve. The inside of the outer sleeve is printed in sky blue.
  • 01. Henk Badings - Arioso
    02. Lasry-Baschet - Ballet Jeux D’Ombres
    03. Alwin Nikolais - Glymistry
    04. Remi Gassmann - Scherzo
    05. Pierre Henry - Tam Tam
    06. Karl-Birger Blomdahl - The Yurg/The Mimarobe
    07. Henk Badings - Ragtime
    08. Jean-Claude Vannier - L’Enfany Assassin Des Mouches
    09. Henk Badings - Konflikt
    10. Lasry-Baschet - Ballet Du Soho
    11. Igor Wakhevitch - Danse Sacrale
    12. Alwin Nikolais - Aeolus
    13. Jean-Claude Vannier - Le Ballet Des Accoucheuses
    14. Pierre Henry - Transfiguration
    11. Truncheon Man (Man Of Iron)
    12. You Are My Hope (Man Of Iron)


    Danse Sacrale

    [engl] 14 early avant-garde and electronic compositions for ballet and modern dance. The roots of Electronic Dance Music (EDM) by definition. An unlike- ly combination of early recordings by international electronic and avant-garde composers as well as infrequent collaborators retrospec- tively unified by their commitment to the musical enhancement of 20th Century ballet and the evolution of modern dance. Presenting key exponents of the musique concrete and tape music movements along- side masters of the early electric sound synthesisers, as well as pre/ anti-electronic instrument designers with non-conformist and microtonal composers, Danse Sacrale reveals a broad range of truly revolutionary musical and academic advancements which found an improbable, spo- radic and vibrant creative outlet via one of Europe’s proudest and sacred cultural institutions. Featuring composers names such as Pierre Henry, Lasry-Baschet, Igor Wakhevitch, Henk Badings, Jean-Claude Vannier and Remi Gassman alongside choreographers like Béjart, Ballancine and Yvonne Georgi, Danse Sacrale unites the unanimously lauded and the relatively unknown with some of their earliest and underexposed inhibited achievements. These rare and remastered compositions provide a concise retrospective of a previously undocumented global phenomena and an unconferred global synergy that formed the true foundations of electronic dance mu- sic and changed the perceptions of modern music and dance culture in the stern face of adversity and tradition.
    EAN 5060099505126
  • 01. Iannis Xenakis- Diamorphoses
    02. Luc Ferrari - Étude Aux Sons Tendus
    03. Michel Philippot - Ambiance I
    04. Henri Sauguet- Aspects Sentimental
    05. Pierre Schaeffer - Étude Aux Sons Animés
    06. Luc Ferrari - Étude Aux Accidents
    07. Pierre Schaeffer - Étude Aux Allures



    [engl] This record represents an important milestone in the development and progression of musique concrète – marking a crossroad for not only the genre itself but also in the paths of its originator Pierre Schaeffer and another of the genre’s most important and respected protagonists Pierre Henry. Undoubtedly one of the most influential experimental and electroacoustic musicians, Pierre Schaeffer is also credited as being the father of the theory of musique concrete as well as later name coining the term itself. Having found a job in 1936 at Radiodiffusion Française (later Radiodiffusion-Télévision Française or RTF) as an engineer, Scaeffer developed a newly found interest in music and with the blessing of his superiors made the most of his access to the Radiodiffusion Française studios, utilising his abilities as an engineer to experiment with sound whilst collaborating with musicians and composers that passed through the station’s hallowed doors. In 1942 Schaeffer and influential theatre director, producer and actor Jacques Copeau founded the Studio d’Essai (renamed Club d’Essai in 1946) as part of RTF in order to experiment with radiophonic techniques. Drawing on the works of French filmmaker, critic and novelist Jean Epstein, Schaeffer would occupy his time and his mind with the manner in which sound recordings “revealed what was hidden in the act of basic acoustic listening” and in 1948 formally set about his research in ernest – the results of which were presented as a series of studies known as Cinq études de bruits (Five Studies of Noises) during a concert in Paris. With word of his theories and experiments spreading, Schaeffer was able to press the RTF management to further finance and in doing so expand his research. However, for an undertaking of this size he would need help. Having previously collaborated as part of his early research with a young classically trained composer by the name of Pierre Henry, Schaeffer had no problem convincing the RTF executives he was the right man of the job. By adding a third prong to this sonic fork in the shape of sound engineer Jacques Poullin, Schaeffer was able to complete a powerhouse, which he renamed the Groupe de Musique Concrete, that would push his experiments further than he could have imagined. In1951, RTF handed the trio the keys to one of the earliest purpose-build electroacoustic studios (the other being the WDR Studio in Germany), furnishing it with state of the art bespoke equipment such as a Morphophone (designed by Poullin himself and capable of tape loop-delay) and a Phonogène (a multi-headed tape instrument also designed by Poullin). The studio went from strength to strength, attracting composers such as Karlheinz Stockhausen and Edgard Varèse to collaborate, and in that same year Schaeffer and Henry produced and premiered what is considered to be the first opera concrète, Orphèe 51. As Schaeffer’s notoriety grew as did demand for his time and he found himself increasingly called away from the studio during which time he would hand the keys to over to his colleagues. Pierre Henry wasted no time in pursuing projects closer to his own heart, working with experimental filmmakers and choreographers like Maurice Béjart (the two would later collaborate with Michel Colombier on the cult classic Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart). In 1957, following a particularly prolonged absence on RTF duties, Schaeffer returned unhappy with the direction the group had taken and tabled an idea to revitalise both their approach as well as personnel. As a result, Henry and several other key members left the group the following year leaving Schaeffer to lay the foundations in 1958 for a new collective called Groupe de Recherches Musicales – one of a number of theoretical and experimental groups overseen by Saeffer’s Service de la Reserche at RTF – and set about recruiting new members including Iannis Xenakis, Henri Sauguet, Luc Ferrari and Michel Philippot as well as usher in a new steady stream of eager musicians eager to study within what had rapidly become (and still is) a national institution – including a young Jean Michel Jarre! Featuring the full versions of these seminal early works (abridged versions of which had previously appeared across two 7” singles on Disques BAM) the recordings presented here are the first fruits of this new alliance and served to lay the bedrock for the future of the Groupe de Recherches Musicales research which would later count the likes of Ivo Malec, Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle (who went on to coin the term Acousmatic Music) amongst its members and cement its place in the annals of experimental, electroacoustic and early electronic music history.