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Charles Aznavour started his singing career in the late forties after Édith Piaf heard him sing and arranged to have him accompany her on tour in France and the United States. Following the tour, Aznavour opened for Piaf at the Moulin Rouge in Paris. By then he was already often referred to as France's Frank Sinatra.
This LP release combines his first complete album sung in English, 1962's The Time Is Now' (tracks 1-12), with six of his debut English language songs, which appeared on Believe in Me' in 1958. Aznavour has recorded over 1200 songs in eight different languages. He has also been a prolific songwriter, with over 800 compositions to his name.

Charles Aznavour upcoming concert: 30-06-2018 - Royal Albert Hall, London, UK

** Limited Edition 180gm Gold w/ Black haze LP w/DL.
* Kaziwa is the second collaboration between Iranian ambient experimental composer Porya Hatami and superlative sound designer Uwe Zahn's Arovane project.
* The album was originally released on limited compact disc via the Time Released Sound boutique label in July 2016 and now sees rerelease on n5MD. Each of Hatami and Zahn's collaborations has been vastly different from one another focusing on a feeling or technique. With Kaziwa the duo focused their attention toward nostalgic layered piano vignettes. The album's closer 'feer' was the first track they worked on and used it as their jumping off point. What began as a simple loop of piano morphed into something contemplatively fascinating. While that specific track features Hatami supplying most of the piano and Zahn creating the 'another time and place' atmospheres the two effortlessly switched off on piano duties all while transparently deviating from the current affectation of Frahm / Sakamoto style ambient piano clarity.

* This new version of Kaziwa will come on limited vinyl as well as on digital platforms for the first time.

Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries. 'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone's needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver's Vanessa Amara's world. Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.

Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork. Limited edition of 1,000 on purple and green starburst vinyl.

When we think of the Voyager Golden Records, what comes to mind is the set of diagrams that are actually on the cover and not the record itself (well, or Carl Sagan, because, you know, CARL SAGAN). These sleeves show hypothetical beings how to access the information on the record itself and how they'd find us. The sleeves and records in combination explain in the language of science and math what we're all about, which is a pretty neat way to introduce yourself if you ask us.

Now you can have all of that interstellar sciency goodness on your living room table, which is particularly convenient in case the aliens show up at your house first. In the Voyager Golden Record Vinyl 3LP Box Set you get 3 vinyl LPs in heavyweight jackets, a 96-page companion book containing all the images included on the original, a 12" square gold foil print of the Voyager Golden Record cover diagram, a DLC for the audio files, and a turntable slipmat with a NASA/JPL-Caltech diagram of the Voyager spacecrafts' trajectories across the solar system, all packed in a custom record box.

Product Specifications
Voyager Golden Record Vinyl 3LP Box SetIncludes3 translucent gold 140 gram vinyl LPs in poly-lined paper sleeves3 heavyweight jackets, gold ink on black96-page softcover book containing all images included on the original Voyager Interstellar Record, gallery of images transmitted back from the Voyager probes, and new essay by Timothy Ferris, producer of the original golden recordGold foil print of Voyager Golden Record cover diagram, archival paper, 12" x 12"Full-color plastic digital download card for all audio of the Voyager Golden Record (MP3 or FLAC formats)Turntable slipmat featuring NASA/JPL-Caltech diagram of the Voyager spacecrafts' trajectories across the solar system, gold ink on high-quality black feltA deluxe record box with pull-ribbon, gold ink on blackIncludes nearly 2 hours of audioSounds remastered from high-resolution digital transfers of the original Golden Record tapes.

Returning to Berlin for the third installment of their acclaimed live-score performance to accompany silent film classic Menschen am Sonntag' (1930), múm will also present a special treat during the upcoming Berlinale: The band's label Morr Music will release a limited edition vinyl 10inch comprising of material that was recorded during previous installments of this extraordinary film/music event. Initiated by curators Ben Czernek and Hannes Frey for their genre-defying UM:LAUT live series at Radialsystem V in Berlin, the members of what's possibly the most original band hailing from Iceland' (ByteFM) gained universal praise.

Joined by guest percussionist Samuli Kosminen, múm founders Gunnar Tynes & Örvar Smárason create stunning instrumental soundscapes to accompany and enhance the late-1920s action portrayed in the film, which was already considered a milestone shortly after its release. German daily newspaper taz praised the band's live score after the 2016 performance, stating: It worked so well that one can easily imagine the 74 minutes as an album.' Absorbingly rich in scope and cinematic in their own right, the four tracks that comprise this (significantly shorter) release work just as well without their visual counterpart.

Directed by Robert Siodmak & Edgar G. Ulme (and co-written by Billy Wilder), Menschen am Sonntag' follows the lives of a group of Berlin residents on a summer's day in a series of leisurely snapshots. A late-period semi-documentary silent film with a unique feel, it's considered a pivotal work. The film feels quite opposite to the expressionist vehemence, that dominated German cinema within the 20s: Menschen am Sonntag' is a modernist work, it feels calm and light. Watching it today however feels poignant, because it portrays a generation that was heading for the (then) unthinkable disaster.

Accordingly, múm don't shy away from adding explosive elements and sonic drama to the score: Arriving with shimmering sounds and ambient layers, the first track Cards' eventually bursts into a mix of live drums and massive beams of electronica. Whereas Evaporate' includes great piano miniatures, Cycle Boats' boasts a melody that perfectly reflects the leisurely coming and going, the ebb and flow of a summer Sunday in and around the city. The final song My Claws' is a wildly dense, unstoppable force of nature: catchy like an 80s pop tune, it's impossible to resist this instrumental grand finale that completes this special live release.

Known for presenting a mix of electronica, ambient sounds, and experimental indie pop, múm was founded in 1997 and over the course of the last decade, the former quartet has evolved into an open collective of sorts. With seven LPs under their collective belt, múm also worked on various film-related projects including a score to Sergej Eisenstein's Battleship Potemkin.'

A compilation of Mississippi's favourite Arvo Part pieces. All sparse and beautiful arrangements. Solo piano pieces, duets with piano, violincello and viola, and a string quartet.

The pieces on this record are all unique to the style of Arvo Part - deceptively simple compositions that force you to live in the moment you are listening to them.

A Part quote from the back of the record - You can kill people with sound. And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free - you can choose. In art everything is possible, but everything is not necessary.'

In a beautiful "tip on" old-school cover, with shiny gold ink, and features an incredible painting from the 16th century manuscript Kometenbuch.

A new album of piano driven ambient music from British composer Robert Haigh. Following in the path of his albums for the Japanese Siren label, Creatures of the Deep is an underground vantage of a meeting between the musical worlds of Harold Budd and Erik Satie. With a storied musical career that has ranged widely in style — from his industrial-avant-garde works on Nurse With Wound's United Diaries label as SEMA to his legendary ambient drum and bass records as Omni Trio on Moving Shadow — Robert Haigh's work occupies a space between music and mystery. With Creatures of the Deep, Haigh is at the peak of his powers. Among noir, minimal, neo-classical landscapes are robust scatterings of bright reflection and a musical expression that is subtle and elusive yet uniquely Haigh's in its voice and masterful execution. The closer we examine, the more is revealed, and the less is defined.

- New album from Robert Haigh (aka Omni Trio, legendary Ambient-Drum-and-Bass artist)

- Download card included

Finally Nils Frahm's classic album 'The Bells' sees a first vinyl edition in deluxe packaging incl. album download code plus ...

Having recorded his last album live in a large, reverberant church, Nils Frahm now invites you to put on ...

Wriggling away from any clear classification, as 80s Italian new music was wont to do, yet clearly drawing on a number of traditions and procedures, Andreoni and Paladino's AEOLYCA project stands on its own as it intersects the two musicians' already well established partnership in A.T.R.O.X. and The Doubling Riders among other settings with the sounds generated by Mario Ciccioli's aeolian sculptures. Neither aiming for the organic purity of Harry Bertoia's Sonambient recordings or the complex constructions of Mario Bertoncini's works with aeolian harps, AEOLYCA walks a line of resistance in refusing to get with any program. The music that was produced in Andreoni and Paladino's interaction with the recordings extracted by Emiliano Licastro from Ciccioli's sculptures is one that breaks the boundaries between the sound and musical sources.

The work is divided between the quick pop timings of the Rain on the Bells', Sunday Clothes for Brass Bands' and The Peruvian Club' and the longer eponymous structured compositions that bookend the record each track characterized by a dominant sonority inspired by specific iterations of globalized musics. Ultimately, though, notwithstanding their individual structural and sound diversities, the project is indebted to the sampler, the ultimate absorber, the sound source that takes up the most musical space and the possibilities of eroding sources and styles that it imposes.

Further, to indicatively attest the historical context from which it emerges, the 1980s as they came to a close, AEOLYCA was originally released on cassette, that decade's foremost format, agile, immediate, economical and for a US label (Violet Glass Oracle).

This is music that has digested many of the period's instinctive gestures. It exists as a satellite, incapable and unwilling to articulate antecedents and to nurture descendants. This is a unique work in Andreoni and Paladino's well documented activity, individually, in duo, and in their eclectic collaborations with the likes of Roger Eno and Riccardo Sinigaglia. Like the Time Zones Festival from which this project got its start AEOLYCA is what you find on the 'path of possible musics'.

- Peter Sarram

After 2016's mini-album Shady and Light, composer and guitarist Martyn Heyne releases his first full-length record Electric Intervals on the new 7K! imprint. Says Heyne: The number of parameters that determine a recording appears to be infinite. The mood, instrument, tuning, mics, room, temperature, time of day, all contribute to sound. The magic, once captured, is impossible to recreate. This might seem a hindrance, but it's really the whole point of recording for me.' Opener 'Carry', for example, is a composition carefully developed over months with most of the production happening in front of the microphone. 'Wilde Wide', however, was recorded only once as an early-morning improvisation. Having worked with Dustin O'Halloran on the Emmy-winning Transparent soundtrack and with clarinettist Claudio Puntin as part of the duo Set Aglow, Heyne's sound is one of simplified diversity.

On his debut album he controls each melody with the precision of a veteran producer. The intricate chords of Carry, the use of silence in Patina, the driving quietude of Fårö, they all invite to creep in close to hear his message. While most of the album's tracks seamlessly melt into each other, the beats of Come On actively stand out, forcing the listener to sit up and pay attention, like an espresso in the afternoon.' Born in Hamburg, Heyne taught himself the guitar and piano at an early age, learning by the geography of keys and strings rather than via traditional methods. His unorthodox tendencies filtered into an adolescence of more classical training at the Conservatory of Amsterdam and residencies across the UK. In 2009, Heyne set up his unique Lichte Studio in Berlin, where he has worked with the likes of The National, Nils Frahm, Lubomyr Melnyk, Peter Broderick and Efterklang, with whom he also extensively toured

Recorded with the support of Creative Scotland, 'Hamilton Mausoleum Suite' is an album of original chamber music (string quartet & harp) composed, arranged and produced by Scottish, BAFTA-nominated composer/songwriter and Teenage Fanclub drummer Francis Macdonald. Released 26th January 2018 via TR7/Shoeshine Records, the album features soloists from the Scottish Festival Orchestra and will be available on CD, download, stream and limited edition heavyweight vinyl.

The 'Hamilton Mausoleum Suite' music was inspired by - and the album was recorded in - the historic Hamilton Mausoleum that stands on the edge of Strathclyde Park in Lanarkshire, a few miles from the city of Glasgow. The Mausoleum has one of the longest echoes of any man-made building in the world and was constructed in the 1850s for Alexander The 10th Duke of Hamilton. For a time, the duke's remains were interred in an Egyptian sarcophagus on a plinth within the building. The mausoleum, 37 metres tall, now stands empty.

Francis went to secondary school nearby and remembers a family visit to the building when he was a young boy. On trips south from Glasgow via the M74 the Mausoleum is a familiar landmark. A couple of year ago he got the idea to record in the building, celebrating its unique reverberant qualities. Museum officer Linda Barrett was encouraging so Francis set to work composing and planning. The album was recorded in one day.

Francis is currently the drummer with Teenage Fanclub and has recently toured across the world to promote the band's most recent album 'Here'. A member of BMX Bandits for many years, in 1996, he set up Glasgow indie label Shoeshine Records and country/folk label Spit & Polish in 2000.

An accomplished composer and songwriter, his songs and music have appeared in various films and TV projects including having his vocals sampled for Looper's 'Mondo '77'' track which featured on the soundtrack to Hollywood blockbuster film 'Vanilla Sky' (2001) which starred Tom Cruise. In 2013, he was nominated for a BAFTA Scotland New Talent Award for his soundtrack to short film 'The Lost Purse'.

His debut neo-classical album 'Music for String Quartet, Piano and Celeste', released in 2015, was described as Sublime' by Classic FM and Nice' by Jarvis Cocker on BBC 6Music. The following year, he contributed an arrangement to the No 1 Classical album 'The Lost Songs of St Kilda' which was performed by the Scottish Festival Orchestra. This led to Francis approaching their fixer, cellist John Davidson, to put together an ensemble for the mausoleum project.

Along with the 'Hamilton Mausoleum Suite' project, Francis recently collaborated with London-based artist Harry Pye for a collection of 'art pop' songs and spoken word pieces for the album 'Bonjour' ( Odd but good') 4 stars, Mojo magazine.

He has worked with a range of artists in a rich and varied career including Alex Chilton, Dan Penn, The Pastels, Kevin Ayers, Kate Rusby, Edwyn Collins, Ian McCulloch, BMX Bandits, Belle & Sebastian, Camera Obscura, Cairn String Quartet and Max Richter.

Quality pressing / hand-made sleeve + English-Japanese liner notes.

- Second collaboration release of EM + Meditations (Kyoto)
- A collection of his early recordings mostly issued on 78rpm SP which are even difficult to hear
- First release outside of India and the first-time ever reissue in worldwide
- Biographical note in English

LP vesion: split on track 8 & track 9

23+ minutes of music! Études and Lori Goldston With the year gradually facing a new beginning and end, Études is pleased to present an exclusive record with cellist Lori Goldston that accompanies these very moments of gentle melancholia. While the Seattle-based musician has spent a life performing and touring with some of history's most iconic bands—such as Nirvana and David Byrne—the course of Goldston's career has also mapped itself around other memorable peculiarities. Like the very undoing of her classical education. 'Detraining' has allowed Goldston to access and intersect multiple layers within the landscape of music, eventually leading to compositions that embody gestural moments of past and future. And everything that seems to reside between. Originally performed live at Études AW17 show in Paris, Lori Goldston's record evokes ideas of timelessness whose intention isn't about consciously hauling in its audience's presence but rather implementing a type of absence that softly sedates into a space of continuation. There's a process, unfolding and somehow forever changing; motionlessly.

Ltd. to 450 copies, handmade textiled artwork, incl. printed inner sleeve, incl. mp3,The Lost follows and expands on Otto A Totland's intimate debut solo piano album Pinô from 2014. Once again several days were spent in Nils Frahm's legendary Durton studio to lay down both composed and improvised pieces of quiet beauty.While mostly residing in a small Norwegian coastal town, Otto has been trying to escape the constant movement towards fast paced, polluted lives, where it seems like sounds and impressions never stop. The Lost can be seen as a countermovement towards this development - something genuine and personal. There's a lightness felt while listening, and yet an overwhelming feeling of melancholy and nostalgia captures you through the lenght of the album. It could be described as pure timelessness captured with the best vintage recording technique you can find, opening up to a new wider scope and detail while keeping the intimacy as if it would be played right besides you. The humming of the world and the warmth of the piano shines through like a natural accompaniment as they enthrall from beginning to end.Leaves are falling and times are changing. The horizon seems dark. Otto seems to capture both the questions and feelings we have about our surroundings. Not judging them, but easing us into a mindset that feels hopeful. A sort of quiet relief that things might actually work out no matter how dark it can look.

Sony Classical release Tchaikovsky's Symphony No.6 on vinyl, performed by the global superstar Teodor Currentzis. Specialist promo/marketing.

A follow up to their 2015 debut with Ninja Tune, Richard and Sheila Ellis' sophomore effort, The Cleansing,' exists in the folds, shaking the categorization of a single genre or label by casting echoes of Billie Holiday and Antonio Carlos Jobim atop opaque shades of Debussy and Edgar Allen Poe. Elements of Jazz and Bossa Nova, accented by striking vocals and enigmatic spoken-word poetry, display a command of the power of contrast. Steady repetitiveness of the instrumentations throughout the record anchor haunting, and often winding, vocal melodies, lyrical themes revolve around both optimistic abstraction and stark reality. These juxtapositions are reinforced by the dual nature of the album itself: Side A, Shades of Reverie, is driven by a sense of hope plucked into existence by embers of acoustic guitar, while Side B, Tones of Clarity, is best defined by dramatic, Bernard Hermann-esque orchestration and soaring vocal performances. While the casual listener may be (understandably) distracted by the graceful marriage between instrumentation and vocal cadence, each song holds its own poetic merit. Singer and lyricist Sheila Ellis' masterful penmanship develops a crucial dimension to the album, rendering Cleansing' a deeply personal, outwardly introspective listen. Spanning thirty-eight minutes over eight compositions, the entire record is a warm, bold stroke on an aural canvas, effortlessly moving through embracing melodies and divine soundscapes.

There is no end to composer Peter Broderick's creative output, and so we present to you his new album titled All Together Again — available worldwide on November 17th 2017 via Erased Tapes.They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own erms. The result is an assortment of works from the past ten years, coming together as one: Peter's new album. Words from Peter, October 2017: Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I'd be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding My one year anniversary A ferry boat ride
In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it's All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there's a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie's Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it's a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I've always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track.

Ltd. to 450 copies, handmade textiled artwork, incl. printed inner sleeve, incl. mp3,

The Lost follows and expands on Otto A Totland's intimate debut solo piano album Pinô from 2014. Once again several days were spent in Nils Frahm's legendary Durton studio to lay down both composed and improvised pieces of quiet beauty.

While mostly residing in a small Norwegian coastal town, Otto has been trying to escape the constant movement towards fast paced, polluted lives, where it seems like sounds and impressions never stop. The Lost can be seen as a countermovement towards this development - something genuine and personal. There's a lightness felt while listening, and yet an overwhelming feeling of melancholy and nostalgia captures you through the lenght of the album. It could be described as pure timelessness captured with the best vintage recording technique you can find, opening up to a new wider scope and detail while keeping the intimacy as if it would be played right besides you. The humming of the world and the warmth of the piano shines through like a natural accompaniment as they enthrall from beginning to end.

Leaves are falling and times are changing. The horizon seems dark. Otto seems to capture both the questions and feelings we have about our surroundings. Not judging them, but easing us into a mindset that feels hopeful. A sort of quiet relief that things might actually work out no matter how dark it can look.

Finally a sign of life and a new full length by the German trio after five years of silence. Already formed in the late nineties in Berlin, Dictaphone was born by Brussels-bred multi-instrumentalist Oliver Doerell. In 2000 Oliver Doerell found a partner in Berlin's Roger Döring, who shares Doerell's love for the Brussels-based music of the eighties. In the following years the duo and several guest musicians (e.g. Stephan Wöhrmann (SWOD) , Malka Spigel (Minimal Compact) & more) released the critically highly acclaimed "m.= addiction" (2002), the "Nacht" EP (2004) and "Vertigo II" (2006) via the City Centres Offices label of Thaddeus Herrmann and Shlom Sviri (Boomkat, Modern Love). In 2009 the violin player Alex Stolze joined the band. During their two decades of existence Dictaphone played shows in more than 20 countries with festival appearances at Mutek, Transmediale, Unsound, Benicassim & more. Their latest release "Poems from a rooftop" from 2012 came as a very limited edition through the Berlin-based boutique label Sonic Pieces. The new album "APR 70" is the first Denovali release of Dictaphone. The label will also reissue the past repertoire of the trio.

The new album features the three Dictaphone core members Oliver Doerell (electronics, bass, guitar), Roger Döring (saxophone, clarinet) and Alex Stolze (violins) and has been composed and produced over the course of three years. While the vibraphone and the more easily distinguishable guitar among other things gave a certain presence to the tracks on the previous album "Poems from a rooftop", "APR 70" leaves the listener with a much more muffled impression. It feels as if each of the uncountable layers of which the intricate arrangements are made has just the right amount of contrast to be visible, but there are only very few moments where one of the elements noticeably dominates the others. The cool jazz bits, analogue flourishes, hypnotic rhythms and refined electronics feed a dark serpent-like creature meandering in ever-changing morphologies through shapeless landscapes. "APR 70" is the perfect cocoon for the hazy days and the serene nights. A new incarnation, maybe even definition, of purity. Dictaphone never make music for the sake of it, they always want to create something which was missing before. And they did.

FIRST EVER VINYL PRESSING OF JOHANN'S 2006 ALBUM - DELUXE GATEFOLD SLEEVE, 2 x CLEAR LP - TWO BONUS TRACKS, DOWNLOAD CODE INCLUDED

Never before pressed on vinyl, IBM 1401, A User's Manual, is one of Jóhann Jóhannsson's most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.
Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland's first computers, Jóhann originally wrote IBM 1401, A User's Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned.
The first ever pressing of IBM 1401, A User's Manual comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release.

The first set of new Moon Zero cuts in two years, 'Relationships Between Inner & Outer Space' is a product of fevered displacement that nonetheless achieves a temple-like sense of calm, proportion and permanence. Scheduled for release in October 2017 on Denovali, the record is carpeted in traces of the settings that producer and composer Tim Garratt has found himself since we last heard from him, from Reykjavík to Leipzig with anything from a Dictaphone up to a studio to hand - it bears sounds from a vast number of different spaces, instruments and machines across its four colossal tracks. Paying attention to these rich patterns, they move and wind you in, producing a deep and rewarding catatonia.

While touring the first LP 'Moon Zero' (2015) Garratt lost his studio and flat, a relationship came to an end and he briefly moved back to his parents' in the Midlands. An emotional parabola familiar to anyone experiencing an economically-adrift, prolonged adolescence, it was heavy fuel for the melancholic sound world of Moon Zero. You can make out the origins of the record at the bottom of its multi-story wedges of sound, through dancing, duelling blocks of frequencies. And you can follow (somewhat obliquely, filling in the gaps) the inflections of different processes that these textures and melodic ideas have undergone, as Garratt moves them from machine to machine, speed to speed, room to room, through different combinations of effects. This churning celestial chaos, built painstakingly from detuned instruments, mono synths, field recordings and tape loops, is then meticulously ordered in the editing room.

The first side is in two tracks, each divided into two sweeping musical gestures, ordered by tone into a sequence of light-dark-dark-light and ending in a crescendo pulse with a 'Loveless'-like shimmer. The flip is also in two long tracks, each one a continuously-building, monolithic tranche. The change at the opening of the third number, 'Erwood Araf' is signalled with the entry of an unthreaded melody that repeats and gradually distorts while other caverns of sound open underneath and around it. Then, again on the halfway point, the idea dissolves and a minor key swell aches into frame before breeze block low end is deployed. One of Moon Zero's go-to sounds, an alloy of bowed cymbal, tape delay and who-knows, invokes the sound and disembodying feel of a train pulling into a station, if that moment could be elasticated and dragged far out. Emitting a chrome-sheen continental modernity, it's probably the emotional centre of the record and calls to mind Kraftwerk's 'Trans-Europe Express' and 'Radio-Activity' albums. Towards its end, on the nine-minute mark, in rides a soaring melody that surely has its roots in Garratt's Eastern European travels.

Each expansion of the Moon Zero universe has felt like a logical progression along lines set before, becoming ever more inventively structured and ambitious with its sonic palette but never straying from its nucleus of menacing, meditative drone. Fresh from playing Ruhrtriennale Festival alongside Actress, Demdike Stare and Ricardo Donoso amongst others, 'Relationships between Inner and Outer Space' is due to be released in October and Moon Zero will be announcing further shows in due course. This latest installation is the most profoundly affecting Moon Zero work to date, an unparalleled piece of infrasonic, atmospheric manipulation.

One of the many characteristics of Italian avant-garde theatre, from the seventies through the eighties, was the overlap of acting with the physicality of movement - reality with fiction and the stage with real life, it was a new poetic language for a multimedia representation. In this new language, the music composed for the stage was an active part of the performances, and the soundtrack from 1985's IL CAVALIERE AZZURRO' is one of its most significant examples.

The musical project of the working group O.A.S.I. (Paolo Modugno, Massimo Terracini, Gino Castaldo and Ermano Ghisio Erba) blended industrial experimentation, ambient and concrete, with a strong ethnic element, both vocally and performed, then recorded and manipulated with the aid of tape recorders and samplers.

This was a work that identified a historical moment of fervid experimentation and inspiration, and though intended to be played during a theatrical performance, vividly stands out without the visual accompaniment.


Paolo Modugno: Ac. & El. Guitar, Sanza, Bendir, Tapes, Sampler

Massimo Terracini: Piano, Sampler, Tapes

Gino Castaldo: Tapes, Samplers

Ermanno Ghisio Erba: Drums, Percussions

LINER NOTES FOR BEAVER & KRAUSE'S THE NONESUCH GUIDE TO ELECTRONIC MUSIC - By Richie Unterberger

Among the very first to master and popularize the sounds of the Moog synthesizer were Paul Beaver and Bernie Krause. Their debut album, The Nonesuch Guide to Electronic Music, was something of a primer for the sounds the instrument could make. Though largely devoted to demonstrations of specific sounds, it ended up making far more of an impact than the usual instructional record did, enjoying healthy sales and helping to spread the use of the synthesizer within the music industry.

Beaver and Krause were introduced to each other by Elektra records founder and president Jac Holzman, who was looking to use the synthesizer in an astrological concept album the company was producing, The Zodiac -- Cosmic Sounds. They were in some respects an unlikely pair. It was while sitting together with Krause on a plane ride to the Monterey Pop Festival, in fact, that Holzman conceived of the idea for The Nonesuch Guide to Electronic Music.

"We felt that any number of companies represented possibilities," responds Krause today when asked whether Elektra was felt to be a natural home for the duo's first album. "But Jac, at the time, seemed to express the levels of creative energy, imagination, and interest unmatched at that moment by any of the other A&R reps."

Adds Bernie, "Neither Jac or us had a clue what we were doing and what the potential market was, although Jac apparently had a gut instinct about it. Paul or I certainly weren't thinking in those terms. Our objective was to get the information out there about synthesis of sound and new definitions of music that resulted from its introduction (i. e. music = control of sound)." The information wasn't solely contained on the vinyl. The double LP was accompanied by a scrupulously notated 16-page booklet, described as a "syllabus" in the introduction, that Krause wrote to detail signal generators, voltage control, modulating, filtering, synthesis of sound, and studio equipment's role in the recording and live performance of electronic music.

As for how the sounds on the album were selected and recorded, "We went through each module on the Moog, one by one, and explained the functions inherent in each. The sounds themselves were selected from the four possible outputs of the oscillators (sine, triangular, continuously variable rectangular, and sawtooth). From these, either individually or in combination, we selected and used the sounds as examples. The only challenge of Moog synthesizers at the time was the relative instability of the oscillators, which tended to drift in pitch. So we constantly had to retune the machine. Otherwise, no problem."

Most of the two-disc set's four sides were brief, less-than-a-minute tracks sonically illustrating numerous examples of electronic sound, subdivided into sections documenting "signal generators," "control generators, "frequency modulation," "amplitude modulation," "ring modulation," "amplitude modulation," "ring modulation," "filtering," and "tape delay." Even with the numerous individual tracks, and the many bands of silence separating them, the album's running time is on the short side for a double LP. Krause confirms this was done to help ensure that the sonic range of the sound was as full as possible, as longer vinyl LP sides tended to cut down on that quality when they were mastered. "We and the mastering folks were not sure how the more robust signals of the synthesizer would affect the limits of track width and depth, so we purposely kept it on the short side," he elaborates. "Also, this was the first release to use Dolby noise reduction during the recording process. And finally, it wasn't a 'listening' type of album."

As recording artists, Beaver and Krause would continue to develop their pioneering sounds in unexpected ways over the next few years.

Richie

Penguin Cafe release their new album 'The Red Book' on 17th February 2014. The sophomore release from the freshly re-imagined Penguin Cafe is the culmination of two years work that has seen Arthur Jeffes - son of original composer and Penguin Cafe Orchestra founder Simon Jeffes - investigate whole new areas of sound and vibrancy, alongside his eclectic collection of musicians and characters, marking an ambitious extension from their debut 'A Matter of Life' (2011).
The catalyst for the new recording came about when Jeffes worked on a project with the International Space Orchestra and NASA Ames in 2012, out of which came the pieces Aurora and 1420, which have since been beamed into space as part of NASA's Kepler project. These touchstones marked a satellitic beginning for a new album, a collection of songs that would then return to earth to undertake a rich, cross-continental, musical journey.

Penguin Cafe's debut album, 'A Matter of Life', was released in February 2011 on the Editions Penguin Cafe label.

The Penguin Cafe was Simon Jeffes' dream-inspired creative universe - a wonderful and strange musical world that fell largely silent when he died aged 49 in 1997. Now, thirteen years after his death, his son Arthur is revisiting the Penguin Cafe - playing his father's music and adding new pieces of his own.

Arthur Jeffes has assembled a young band, a mix of personalities not unlike those that made up the original Penguin Cafe Orchestra, incorporating the music of the PCO, seasoned into a confident and redefined style, maintaining that quintessentially English sound but adding fresh material and a sense that they are evolving into something new and very much their own. The band is a loose collection of talent, including Neil Codling of Suede and, on percussion, Cass Browne of Gorillaz.

'A Matter of Life' is largely new material, including Harry Piers, which Arthur wrote for his father's memorial service, and includes a guest appearance on 'Landau' by Kathryn Tickell on Northumbrian pipes.

Union Cafe turned out to be the last collection of new material the original PCO recorded, originally released 1993.
This album retains the intimacy and charm of all previous works, featuring a recording of the electric Aeolian harp on Cadbury Hill, Somerset, and a piece dedicated to the memory of John Cage recorded at the Real World recording week in 1992.
Union Cafe is a vigorous re-statement of traditional Penguin musical values. The African inheritance was again rearranged in Kora Kora, Venezuelan cuatro strums infused Lifeboat, the sound of the deep South of America was subtly hinted at in Nothing Really Blue.

There is no end to composer Peter Broderick's creative output, and so we present to you his new album titled All Together Again — available worldwide on November 17th 2017 via Erased Tapes.

They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own terms. The result is an assortment of works from the past ten years, coming together as one: Peter's new album.

Words from Peter, October 2017:

Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I'd be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding My one year anniversary A ferry boat ride

In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.

It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it's All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there's a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie's Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).

In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it's a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I've always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it

The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track.

The newest solo work by Roger Eno in nearly a decade. This Floating World holds rustic and melancholic piano works, as grey and mossy as a country cottage. I hear the LP chiming from the dark corners of a pub, soaking in the damp wood like spilled ale.

I first fell in love with Roger's music with his 1985 debut album Voices, which cradled many rainy and caffeinated mornings when I was living in San Francisco years back. He played on the infamous Apollo, Music for Films vol. 3, and recorded a theme for the Dune soundtrack. Pad-keyboards and veils of reverb pour through those processed tracks.

I later rediscovered Roger Eno in a different light with his 1997 album The Music of Neglected English Composers. A playful and beautiful album of chamber pieces guised as the works of forgotten (and fabricated) composers from the past century. His compositional sensibilities remind me of my favorite recent English composers... Hobbs, White, Bryars, Skempton, etc.

This Floating World feels like a hybrid of these two styles, a melding of both his ambient and 'prelude'-esque compositions. Warm and feathered furniture music. An antique on the shelf gifted from an a cherished relative.

In our communication Roger has been a real charmer, ending every email with Roger and out.' A curious fellow, with a knack for tracing the understated beauties of this world.

In addition to the lovely LP, Roger wrote some brief stories which are set in a 12-page booklet alongside his photography.

Mustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photosMustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photos

Conceptualised (2010-2013), composed and produced (2014-2017) by Carl Michael von Hausswolff in Palma (Majorca) and Stockholm. This musical piece consists only of sounds emitted and extracted from physical matter using emission spectroscopy as the sole basic technology. Acknowledgements to Linköping University (IFM), Sweden.

'Still Life - Requiem' consists of one piece with the same title and is divided up into two to fit the LP format. The piece is, as the title suggests, a requiem and it's contents are solely composed by sounds captured from a specific physical solid state material. The composer has used a technique called 'emission spectroscopy' whereby the frequencies generated from the material was analysed and transferred into, for humans, a listenable pitch (between 15 and 14000Hz). This captured organic sound material has been stretched, looped, equalised and composed to produce the recording.

A requiem is a piece of music dedicated to certain sole or several restless souls that wander our worlds looking for a place to call home. A requiem radiates calm, peace and perhaps comfort for tormented spiritual beings - it's a piece dedicated to promote and insert tranquility and transcendence.

This requiem also provides the listener with a certain feeling of connection - perhaps a connection with the unknown and with the energy field clusters and mental abilities of post-mortem life forms that would be the incorporeal essence of a living being.

CMvH (born 1956 in Linköping , Sweden) has a long history within the communities of contemporary music and visual art. His first records was released in early 80s while the most recent saw the light just a few years ago ('Squared' (CD - Auf Abwegen, 2015)). In recent years he has been collaborating with Leslie Winer ('1' (LP - Monotype 2016)) and Hans-Joachim Roedelius ('Nordlicht' (LP - Curious Music, 2017)).

He has also instigated and curated the collective sound-installation 'freq_out' during 2003 - 2017, which includes artists such as Jana Winderen, JG Thirlwell, Finnbogi Petursson, Christine Ödlund and others.

Marc Codsi has been a defining player on the Lebanese music scene for years. Tirelessly experiemental, he released 5 albums with his post-rock noise group Scrambled Eggs. His collaborations have born some of the music exciting acts to grace the scene, from electro duo Lumi to film soundtracks with Zeid Hamdan.

His second full length album, Works & Coincidences, deviates from the world of noise and experimentation that he has been known for. It is the first release of Free Hand Records, sister label of Parisian publishing company Free Hand Publishing. Set in the contemporary classical genre, with enchanting melodies hidden in rich soundscapes to solo piano pieces of disarming simplicity and beauty, this is an album for fans of Glenn Gould to Brian Eno.

The music of Robert Schumann and the artistry of Sviatoslav Richter are a natural match. Schumann was loathe to use flashy, purely virtuosic elements in his compositions, a fact brilliantly illustrated in the vast majority of his works for solo piano. Rather, Schumann was much more likely to tell a story, paint a picture, or read a poem through his music, although his works were not overtly programmatic. Richter possessed a technique virtually unrivaled during his career and was able to definitively toss off even the most technically demanding works. At his heart, however, Richter was a poet and an artist with profound musical insights and introspections. This album, featuring recordings made in the late '50s, is one of Richter's surviving albums in which poor sound quality does not distract listeners from this artistry. His performances of the C major Fantasy, the Op. 82 Waldszenen, and the Op. 12 Fantasiestucke are magnificently refined, unhurried, and unsullied by some pianists' need to make the works flashier then they need to be.

* 180 gram audiophile vinyl
* Trifold Sleeve
* High quality PVC Protective Sleeve
* 4 page booklet with liner notes and photos
* Carefully curated selection of chansons, including "Jezebel", "She", "Comme Ils Disent", "For Me Formidable", "La Bohéme" and many more
* Duets with Frank Sinatra, Johnny Hallyday and his English versions
* Limited first pressing of 1.500 individually numbered copies on "French Flag" blue, white and red vinyl

by Charles Aznavour is a wonderful collection of hits and classic by the French artist that touches your soul at every moment.It's an overview of his work during the sixties, seventies and duets with Johnny Hallyday on "Il Faut Savoir" and with Frank Sinatra "Young At Heart". Also his English versions of "How Sad Venice Can Be", "The Old Fashioned Way", "She" and four more English songs are included on this deluxe Trifold 3LP album.