“Turning shadows into sonic emotional rivers, synthesist and composer Jeff Greinke's A Thousand Year Flood skirts the edges where modern classical, electronic and ambient music converge. Working with cellist/violist Heather Bentley, Greinke's first record for Projekt in 26 years is a hybrid of ambient chamber music and electroacoustic beauty. Throughout the near-hour-long set, atmosphere is critical to the impact as Greinke locates his paired-back minimalism within a setting of spaciousness and....

“Oceanic is undulating ambient minimalism floating upon dreamy and somewhat hazy eddies in a slow-moving stream of wonder. Jeff Greinke's second album upon his return to Projekt -- and 24th overall in a 40-year career -- marks a departure from last year's post-classical A Thousand Year Flood. Here, the electronic sounds are processed and often stacked to create complex textures, chords and harmonies. The timbres are distinct, formed with subtle detail, capturing the ebb and flow of emotional whirlpools...

“A rather excellent album by Fripp and The Grid who have worked together frequently over the years. It begins as pure guitar drone, drifting into pleasant ambient, and by Leviathan the drums begin to appear in mix, approaching Fire Tower this has turned into blissful downtempo dub-techno, and so it continues to the end. Very much one long composition cut up into 9 parts, an album that deserves attention and to be listened to all the way through (just like good old progressive music, be it house or rock).”

"Pianist, composer, and arranger Rachel Grimes has created a singular body of work, both as a solo artist and as a member of the group Rachel's, that negotiates a surprisingly graceful alliance between contemporary classical and indie rock."-AllMusic

This is a really lovely score for a film that is based on the composer's piano, as well as violin, flute, sax, and interspersed with Rachel's electronic / ambient sound design.
If this sounds appealing to you, you're gonna love this. It reminds..

"You don't really need to say much about this man: co-founder of Wallenstein, drummer on at least two of the most wonderful Krautrock albums (namely Mother Universe and Cosmic Century), member of the legendary Kosmische Kuriere, records with Ash Ra Temple and Klaus Schulze. Finally, Harald Grosskopf switched from drums to sequencers and created something breathtaking. I listened to his solo debut Synthesist to death, and few days began without 'So weit, so gut.' It was a record that did everything right...

Long-time Waysiders will remember us having this on vinyl on the Soviet Melodiya label (the only label allowed within the USSR). Now you can get it on CD, only 35 years later!

"Bureau B presents a reissue of Sven Grünberg's Hingus, originally released in 1981. Sven Grünberg is a famous musician for film and theatre in Estonia - an old hand in the field of electronic ambient music. In 1974, whilst still a music student, he and Härmo Härm founded Mess, a progressive rock band. Grünberg was the...

Bruce Haack, born on May 4, 1931, was one of the most musically and lyrically inventive children's songwriters of the '60s and '70s. Despite -- or perhaps because of -- his intended audience, his music was unusually expressive, combining homemade analog synths; classical, country, pop, and rock elements; and surreal, idealistic lyrics. Haack's innovations and desire to teach still sound fresh, making his music a favorite with fans of analog synths and esoteric recordings.
...Though he had little...

“The official reissue of Motohiko Hamase's remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since its original release in 1988. The album is sourced from original masters.
One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo's Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced...

“It's a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling' It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary's Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed...

"The impact of Jon Hassell on today's generation of electronic and ambient artists is immeasurable...this new collection is another beautifully composed and powerfully rendered work that engages the mind as it soothes the soul and body."-Paste

"First new album in nine years by a musical visionary and hugely influential figure in new music. Continuing his lifelong exploration of the possibilities of the studio, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling..

“A companion piece to 2018’s Listening To Pictures, this second volume in the pentimento series presents eight new tracks by the music visionary, continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing. Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over” and this is evident in the innovative production style that ‘paints with sound’ using overlapping nuances to create an...

“An archival release of Jon Hassell and group in the late 1980s exploring a radical tangent on his Fourth World sensibility. The Living City captures the Jon Hassell Group in September 1989 performing as part of an audio-visual installation inside the World Financial Center Winter Garden in New York City, with Brian Eno mixing the band live.”

Before Eno. Before Talking Heads. It all began here!

“Recorded in 1976 at the York University Electronic Media Studios in Toronto, Ontario, Vernal Equinox is Jon Hassell's first recording as a solo artist and sets the stage for his then-emerging career as a trumpeter, composer and musical visionary. "Toucan Ocean" opens the album with two gently swaying chords and delicate layers of percussion that provide a cushion upon which Hassell unfurls long, winding melodic shapes. His trumpet is sent...

"In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt’s ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic fibers sway like pendulums from static...

"A reissue of Heldon's fourth album Agneta Nilsson, originally released on Urus Records in 1976. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. "Perspective I" spends ten minutes poring through tectonic layers of heavy sound, piling everything so thick that the song becomes like quicksand for your brain. It's one of the most daunting works in the Heldon catalog, made all the more impressive by how simple it is. It's just sounds put together and turned up...

We have exactly four copies available of this extremely limited edition, OFFICIALLY LICENSED, SHM-CD, which is packaged in a lovely mini-lp sleeve!

Allez Teia, originally released in 1975, was Heldon's second album. It is rightly...

"A reissue of Heldon's second album Allez-Teia, originally released on Disjuncta in 1975. Before making his own music in the early '70s, Richard Pinhas was a King Crimson fan. The British group has buzzed in Pinhas's mind for decades, but their greatest impact came early. When he first saw them play, Pinhas was struck by music played during intermission. "When I saw (King Crimson guitarist) Robert Fripp and Brian Eno perform in Paris later, I realized that the intermission music was their work," Pinhas...

“A brilliant moment occurs right at the end of Heldon's sixth album, Interface. The album's final song, its side-long title track, builds up slowly into a roaring tornado of fiercely mutating drum patterns, effervescent synth work, and guitar licks that wail into the atmosphere like an abandoned astronaut. Then, after nearly 19 minutes of highly futuristic avant-garde space rock, this ultramodern music fades out and is replaced by a concluding few seconds of traditional blues-rock guitar. "We were...

"A reissue of Heldon's third album Third (It's Always Rock 'N' Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon's darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There's something wicked happening on Heldon's third album It's Always Rock And Roll. Richard Pinhas's essential attack of searing guitar and space-bound synthesizer didn't change radically after...

This is a legit, reasonably good sounding, live bootleg recording, sanctioned by Richard & released for Record Store Day. Three of the tracks were never officially recorded by Heldon in the studio. The sound is meh. The music is terrific!

"All tracks side A are unreleased versions and have never been edited before. Color vinyl; Edition of 1000.
Richard Pinhas, the founder of '70s legends Heldon, is one of France's best known experimental musicians and is a key figure in development of rock...

“After the release of Stand By, Richard Pinhas focused on solo LPs before quitting music for around a decade. "It was the end of the tale," he explains. "We decided to split for many reasons. The main one was that one or two of the other musicians wanted to stop. They were session musicians, mainly. At one point they said they didn't have so much time to give. And it was a time when a lot of bands who had become reluctantly successful decided to split . . . Split at the top, not waiting to go down."...

“Heldon's Richard Pinhas has never been shy of pinpointing his influences while, at the same time, making music that is noticeably distinct from any of his designated sources. He has, for instance, made it clear that a significant font of inspiration was Robert Fripp's guitar style and melding of rock music with cutting-edge electronics (especially in collaboration with Brian Eno). Pinhas first met Fripp in 1974, and the pair became friends and have remained in contact ever since. Pinhas was even...

“Premiered on March 29th 2003, salle Olivier Messiaen de Radio France, Paris. Commissioned by Radio France. An expedition in sound in 10 sequences: Enfoncement [Deep Sink], Gouffre circulaire [Circular Abyss], Noyau secret [Secret Core], Apesanteur [Weightlessness], Entrailles [Entrails], Four solaire [Solar Furnace], Fissures [Cracks], Mer intérieure [Inner Sea], Éruption [Eruption], Remontée [Ascension].
Labyrinthe ! is not only a very unique piece in Pierre Henry's masterful repertoire, but....

In 1976, keyboardist Hoenig (ex Agitation Free, Tangerine Dream) and guitarist/keyboardist Göttsching (ex Ash Ra Tempel) were slated to tour France. They recorded their final rehearsal together before leaving, which was probably a good thing as the tour was cancelled!
20 years later, this wonderful 48' session was released for the first time. Classic Berlin-style floaty electronics & guitar and one of the great ones from Manuel, imo.
This has been unavailable for at least 15 years and never...

"Agartha, the debut full-length album by Japanese producer Wata Igarashi, is a mysterious, divine thing. Named for the mythical secret kingdom, understood as a complex maze of underground tunnels, perhaps designed by Martians who colonised the Earth tens of thousands of years ago, it’s a similarly mystical, perhaps even cosmic trip – but this time, exploring an inner, deeply personal cosmos. Beautifully detailed and bustling with rich incident, it takes Igarashi’s music to new places, which still...