Dystophilia: A fascination with the rate of societal decline. An unravelling of order as it careens into a dystopian AI future where melodies pile helter-skelter over phrases, genres melt seamlessly into one another, metal textures crash into chamber-like enclaves, forms teeter on the edge of collapse, violent rhythms transform into ghostly voices, and spiralling polyphonies end in jazz riffs or pop songs.

Out of the mysterious mind of Andrea Centazzo came Elektriktus. Originally released on the PDU label in 1976, the LP Electronic Mind Waves offers a collection of eight synth-fueled songs that sound very close to what kraut/cosmische heads were doing at the time, think of Conrad Schnitzler, Deuter or Cosmic Jokers, and also other European experimentalists like Richard Pinhas' Heldon, Spacecraft, Didier Bocquet, Seesselberg, F.G. Experimental Laboratory, Roberto Cacciapaglia or Hydrus. Along with Cacciapaglia and Hydrus, Elektriktus shows the most adventurous experimental sounds under a kraut/cosmische music influence to ever come out of Italy…

Kitaro's universally acknowledged as the founding architect of new age music. The Grammy and Golden Globe Award-Winning Kitaro has achieved global acclaim over a more than three decade long career with a signature sound and a pioneering fusion of cultures, techniques and spheres of consciousness that are truly his own.

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…

Underground Kraut-Kosmische monster, recorded / produced circa 1972-73 in Cologne by Toby “The Mad Twiddler” Robinson for his Pyramid label. Originally released as an ultra-limited handmade edition, original copies are lost forever in the mist of time. Featuring Mythos drummer Hans-Jürgen Pütz on percussion & effects, alongside synth / keyboard freak Alex Meyer, poet / vocalist Pauline Fund and mysterious guitarist Peter Förster. Tripped out ambient soundscapes, dark atmosphere, drones, plenty of MiniMoog, gothic Hammond organ, Rhodes, electric & 12-string acoustic guitars, ritual chants, effects, horror cinematic vibe.

Eden is a French duo: Hubert Vrayance, who composed the music (Hammond organ, bass pedals, synthesizers, vocals) and Allan Lys (drums, congas, percussions). Eden released one album in (1979). Information on them is scarce and so focus will be given here on their music which is more simplistic and more straightforward in their approach (compared to others in this genre). Melodic, yet outdated in sound, they start their tracks with a main theme upon which they add more layers of sound and more ideas. Each track is depicting a different theme, idea or scene. For instance, the first track "La Nuit Des Sorciers" (The Night Of The Wizards) is about "silhouettes dancing to the rhythm of winds in a dense wood under a strange moon". This should appeal to people who like Organ work and a melodic album which can serve as soundtrack for a late afternoon or early Sunday listening.

After a scission of the avant-garde group "Kluster" due to the departure of Conrad Schnitzler, the two musicians Dieter Moebius and Hans Joachim Roedelius go to work in duet as "Cluster". The band's first years were clearly orientated to Krautrock and to experimental electronic music. Consequently, the production of the band started with massive, radical improvisations, constructed around electric organ works, electronic collages, guitar sound manipulations, feed back. The result is rather similar to Kluster's underground, conceptual music, very chaotic with lot of distortion and reverb. With its repetitive, hypnotic guitar patterns and embryonic electronic collages, the second album "II" can be seen as a classic in 70's German electronic underground. This high quality experimental electronic music will progressively lead the band to something far from the krautrock scene and extreme music…

Having an album release party in the London Zoo's Aquarium, where the emphasis would no doubt be on stillness, hush and the haunting beauty of the deep, just suits most 4AD label releases to begin with. Given that Brook is known for his mysterious, spare guitar work makes this record of the solo concert he gave there upon the appearance of Cobalt Blue all that more appropriate. Reproducing much of the content of that album but in a different running order, Aquarium consists solely of Brook, his guitar and preset synth/rhythm patterns. The result is quite fascinating; whether a listener thinks that the more stripped-down overall sound of the songs here works better as a result or prefers the generally lusher textures of the studio release must ultimately be up to individual judgment…

Edwin "Eddie" Jobson is an English keyboardist and violinist noted for his use of synthesizers. He has been a member of several progressive rock bands, including Curved Air, Roxy Music, UK, Jethro Tull and (very briefly) Yes. "Theme of Secrets" is his second solo album. "Theme of Secrets" contains very dreamy electronic tracks, showing evidence of progressive elements, although there are no drums, no guitars, no violins and no bass: actually this record could be a reference when it is time to define what is progressive New Age. He uses state-of-the-art technology for the year, on the occurrence the synclavier: it gives multi-layered, mystic, mysterious, melancholic and nostalgic tracks, with just a small amount of never frightening darkness. Jobson creates here atmospheric & ethereal textures through symphonic and melodic sequenced patterns.

The Undersea World of Jacques Cousteau has been one of television's most celebrated programs of all time. Jean Michel Jarre, a countryman of Jacques Cousteau's, composed and performed an e-music opus in honor of the oceanographer. En Attendant Cousteau (aka Waiting for Cousteau) is a departure from Jarre's usual format. This disc has three tracks that are longer than his normal tracks. (They are between six and nine minutes.) The fourth track is a major work, clocking in at 47 minutes. That track, "En Attendant Cousteau," is an epic minimalist creation. This is groundbreaking stuff, an unusual mode for Jarre, who hasn't gone this far out on a limb since his debut in 1976. It is a worthy risk. The atmospheric minimalism of the title track is deep and substantial. This is a great CD, certainly one of Jarre's top three. It will appeal to fans of Robert Scott Thompson, Jeff Pearce, James Johnson, and Mychael Danna…

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.

Originally released in 1976, the album finally has found an audience and has been reissued by Staubgold. Patrick Vian is the son of French jazz musician Boris Vian. He was also a member of the underground rock band Red Noise, who made one album that is quite well known among prog and psych collectors. Bruits Et Temps Analogues is actually quite an interesting album that has probably been taken for granted over the years. Vian has assembled a high caliber instrumental quartet that includes noted percussionist Mino Cinelu. Vian plays a variety of analog synths - Moogs and ARPs. George Granier is the second keyboardist and Ame Son's Bernard Lavialle plays guitar. The music is flat out prog rock. Vian's use of synths has a bit of a spacey quality but not in a textural way - he's playing laser-like leads while the band plays in a bit of a jazz rock style…

This album features reworked versions of his golden oldies and three new pieces. The result of the new orchestration is a modern-sounding remix album, rather than a definitive greatest hits.
The music itself, as a collection of greatest hits tracks, is a surprising choice. There's no "Revolutions", "Chronologie 4", "Ethnicolor", "Calypso", "Oxygene 8" or "Hey Gagarin", for instance. We are treated to fresh, excellent reworkings of classics: "Oxygene 2", "Equinoxe 3" and "Last Rendez-vous". Aging tracks such as "Oxygene 4", "Chronologie 6", and "Rendez-vous 4" have all been brought up to date. The three new tracks recall Robert Miles and Orbital. They're good but there's a feeling they were left over from previous projects. There are too many synth presets sounding too clinical and lacklustre compared to the high standard of sounds used in Jarre's other studio albums. Moreover, there are finer unreleased tracks that could have been included.

Originally released in 1974 this album was in a limited pressing of about fifty copies and sold at art shows in Germany - much like other titles that were reissued on CD through the Psi-Fi label - like Cosmic Corridors, Golem, Pyramid, Nazgul and Temple. It recalls the colder side of early Tangerine Dream for the most part, but manages to get a few melodic licks in between the lines and features a masterful command of alien atmosphere. Three lengthy tracks to allow you to be totally taken in - "Lunarscape" proves to be quite trippy, mysterious and out-there, as "Ethereal Jazz" features plenty of bubbling synthesizer and jazzy percussion and "Venus Rising" has a brain-damaging atmospheric vibe.