Cybotron was an electronic music duo formed in Melbourne, Australia, by expatriate German Steve Braund (aka Steve Maxwell Von Braund) and Geoff Green in 1975. The group draws heavily on synthesisers, electronic and acoustic percussion, plus saxophone and played minimalist, repetitive progressive-style electronica in a style that emulated the direction of the 1970's German cosmic sounds. The second album, "Colossus" - arguably the peak for Cybotron - was released in 1978. Soundscapes displayed here are very similar to Tangerine Dream (Froese/Franke/Baumann period), but in a more melodic and symphonic way, with more distinct and rythmic parts, and less trance and repetitive loops. Furthermore, Cybotron introduces an instrument not very much used by electronic bands at this moment: the sax! This adds quite a refreshing feeling to the music.

A spectacular 3CD live recording of the already legendary 2010 performance at Royal Albert Hall by the critically adored, hugely influential band Tangerine Dream! Opening with a dramatic cello quartet followed by an improvisational piano piece, this breathtaking show includes vibrant takes on classic TD material from the blockbuster albums Phaedra, Rubycon, and so much more!
The Zeitgeist Concert is a live recording of the already legendary Royal Albert Hall concert on April 1st 2010 in London.
In April 1975 Tangerine Dream played the Royal Albert Hall in London for the first time. So it was the 35th Anniversary in April 2010. In April 1970 TD released their first long-play album ever. This made a 40th Anniversary in April 2010. So TD indeed had to celebrate something which they took account of by performing a chain of very popular 33 tracks…

The American synthesist Paul Ellis is a fast growing power in electronic music. From the Berlin school-orientated music he created with the band Dweller at the Threshold and on his early solo works, he switched to an impressive mixture between Berlin school, ambient and lots of own inventions.
The Haunted Afternoon is a collection of improvised pieces that were performed live and stitched together to make one album.

This album from Zanov, French Electronic artist since 1976, will transport you to 9 different, unknown, surprising and wonderful musical worlds. After reestablishing the link between past and future, Zanov had many musical and sound ideas for 2015. He got an Access Virus TI synthesizer, in addition to the Arturia Origin and began composing a new album. This album features shorter independent pieces, which are based on different and original ideas, and reflect the color of his music. He creates his sounds from his emotions and pays particular attention to their combination and evolution.

While other musicians mostly vary their repertoire with nuances, every Klaus Schulze performance is hard to predict. His former bandmate Edgar Froese (Tangerine Dream) once needed a nice image when describing his way of improvising on stage with electronic instruments, “This is like a parachute jump where one cannot be sure if the parachute will even open.” This was particularly true during the time of the unpredictable, analog synthesizers- but Klaus kept this same work method throughout the years without making any changes. And with this he is one of the few musicians who saved this art of improvising, all during the transition from the analog to the digital era…

Departure from the Northern Wasteland, a classic of the progressive electronic genre, contains four pieces that are almost perfect in their realization of the sequencer as a compositional tool. Hoenig took the concept of repetitive music further than most anyone in his homeland and claimed his inspiration was drawn from American minimalist composers Philip Glass, Steve Reich, and Terry Riley. The title track is a sublime 20-minute journey through ever-changing melodic and rhythmic phase relationships, creating the vivid sensation of a train ride through misty Northern European landscapes. "Hanging Garden Transfer" then speeds things up a little and is therefore less ideally suited for falling asleep (or waking you up). "Voices of Where" makes the picture of Path Finder on the desolate planet of Mars, appear before the mind’s eye, searching for any proof of life: not a single beat, just wonderful dreamscapes…

Klaus Schulze, one of the most illustrious exponents of the kraut-electronic musical current, was born on the 4th of August 1947, right in Berlin, the heart of the entire action. He has also used the alias Richard Wahnfried. He was briefly a member of the electronic band Tangerine Dream as well as cofounding Ash Ra Tempel before a pioneering and prolific solo career of 40+ albums (totalling 110+ CDs) in 30+ years.
In 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream for their debut album Electronic Meditation. In 1970 he left this group to form Ash Ra Tempel with Manuel Göttsching. In 1971, he chose again to leave a newly-formed group after only one album, this time to mount a solo career…

Richard Wahnfried is the side project of Berlin electronic pioneer Klaus Schulze. The pseudonym's etymology comes from Shulze's admiration for Richard Wagner. The name Wahnfried was previously used in a title from his "Timewind" album. The project has started in the late 70's. Musically it alternates Schulze's usual synth material in his solo works and a handful of instruments as guitar, tribal percussions, saxophone thanks to the collaboration of several famous rock musicians. Each album features guest musicians as the vocalist Arthur Brown on "Time actor" (1979), Schulze's friend and guitarist Manuel Gottsching (Ashra Tempel) on "Tonwelle" (1981). Carlos Santana's drummer Michael Schrieve also participated on several albums. The result is orientated to more mainstream genres with a constant exploration in electronic, "space" synth music.

In 1991, Klaus Schulze performed three concerts to celebrate his 20 years as a solo recording artist. The Dome Event: Cologne Cathedral is the third concert and the third CD. Like the other two CDs, this disc has an extra track, composed to match the live material and recorded in the studio. Schulze is a prolific live performer, and his music loses nothing in the translation to the concert stage. This disc features his signature heavy sequences, some very gentle acoustics, and deep atmospheres. Strange vocal samples take the set over the top.

Klaus Schulze and Australian singer Lisa Gerrard (formerly of Dead Can Dance) proved to be an appealing combination on their studio recording Farscape, and they also work well together on Rheingold: Live at the Loreley. This was recorded at the Night Of Prog Festival at Loreley in July of 2008. We get over 131 minutes of music.

The Essential 72-93 is a makeshift best-of, piecing together some of Klaus Schulze's most alluring and interesting electronic offerings. With 14 tracks from over ten albums, this compilation is a generous retrospection into this former Tangerine Dream member's material. Many of his masterpieces are included on this double CD, like the swirling electronic breeze of "Wahnfried 1883" from 1975's Timewind, or the out-of-body atmospheric waves of "Floating" from Moondawn. Also breathtaking is the ten minute synthesized soup of "Ludwig II Von Bayern" off of the monumental X album, and the chilling glaze of "Freeze," a superb example of keyboard artistry as Schulze precipitates an icy climate from basic tonal applications…

Electronic music pioneer Klaus Schulze has released Silhouettes, his first album of new music in 5 years. “In the wake of your 70th birthday, you naturally find yourself looking back at the past,” notes Schulze. “So the result is a reorientation, a renewed awareness of what is really important.” With this album, Schulze says that he has tried to reduce his music to its essential elements. “No great distractions, nothing to force your attention in a certain direction, no major effects or gimmicks, no frills or dominant rhythms,” he explains. “ It was important to me to paint the pictures in the depth of the space, the sonic fields of tension and atmosphere.”

Shadowlands contains just five tracks over 2 CDs, and as we've come to expect from Schulze, look for plenty of mind expanding explorations into space and loads of calming tranquility. The near 57 minute "The Rhodes Violin" offers up soothing, at times fluttering synth washes, brief spoken word vocals, and a myriad of ethnic Middle Eastern instruments. The epic title track opts for more menace, and will remind some of the early Tangerine Dream material, complete with ominous synth & Mellotron sounds plus those Middle Eastern influences. You'll even find some intriguing space rock mixed with programmed dance rhythms on the intriguing "In Between". With well over 2 hours of material on Shadowlands, there's a lot too digest, and unless you are a real fan of electronic/ambient/space rock, some of this will wear out its welcome pretty quickly, but for those who have followed Schulze throughout this career and don't mind some well executed exploratory sounds, there's plenty to dig into here.

The title "Moonlake" refers to Schulze's love of the Austrian Moonlake and the monumental fascination radiated by this lake and its surrounding landscape. All of this is perfectly reflected in the intensity and power of this album. "Moonlake" is nevertheless a typical Klaus Schulze album, one that in the words of Schulze "unites tradition and vision". There is a noticeable focus on percussion on "Moonlake", which hasn't been found on Schulze's albums for some time. While rhythm was often used as an element to supplement the music on his earlier albums, it takes on a more dominant role on "Moonlake".

After the extremely successful studio album Farscape and the live CD/DVD Rheingold, Schulze and Gerrard released yet another live CD revealing further highlights, entitled Dziękuję Bardzo (Polish for 'Many Thanks'). This 3-CD set not only contains a complete recording of the concert which took place on the 13th of November 2008 in the Bazylika Ojców Salezjanów in Warsaw, but also a complete concert recorded the day before in the Schiller's Theatre in Berlin.
The Warsaw concert in particular was a big emotional moment and a triumphant return for Klaus Schulze: 25 years after his last concerts in Poland (which can be heard on the double CD Dziekuje Poland Live 83) he returned to the place where he can count on his most loyal fans. As always with Klaus Schulze, exclusive new pieces were played at both concerts…