Formed in Cambridge in 1969 by Tim Souster and Roger Smalley, Intermodulation started out as a 4 piece group with the addition of Robin Thompson and Andrew Powell (who soon moved on to other Cambridge projects, including a pre Chris Cutler Henry Cow). Powell was replaced by Peter Britton, and this incarnation of the group remained for the duration of their existence. Having releasing a box set of works by Gentle Fire it felt necessary to do the same with Intermodulation and thus complete the other half of this missing chapter in British experimental music. Intermodulation have a quite different line up to Gentle Fire, most notably with Peter’s percussion, Robin on bassoon and soprano sax, and the shared use of VCS3’s and electric keyboards. Nonetheless both groups covered similar ground, appeared at the same European festivals, travelled together with Stockhausen to Iran, and they were generally concerned with a similar repertoire of experimental scores. Although Intermodulation released no records during their existence (and Gentle Fire only the one LP), both groups did appear side by side on the recording of Stockhausen’s Sternklang.

The artists and inventors, along with the many other notable composers present on this 2-disc compilation, are the true innovators in the sounds and science of electronic music and its production. They are the ones responsible for the dawn of a much revered genre, the originators of the musical concepts that have since developed into what we now know as electronica and dance, these are the true pioneers of electronic music.

Projekt re-releases Vidna Obmana’s classic the River of Appearance with a bonus disc, the entire album performed by Oregon’s Dreams in Exile. River was a high point of Obmana’s early compositional style, presenting a minimal and serene flow utilizing sparse piano lines which intermingle with drifting keyboard loops and organic rainstick sounds. There is an overall harmonic unity on these 8 pieces, stripping dense walls back to reveal a slowly changing sound configuration. The 2nd disc is not merely bonus tracks, but a complete re-creation of the original on traditional instruments. Re-experience the everlasting melancholy of the River of Appearance on this exceptional 10th anniversary 2-CD release.

Dario Argento was born in Rome, Italy, on September 7, 1940.Before becoming a screenwriter and later a director, he was a film critic. Ever since his "The Bird with the Crystal Plumage" heart-stopping directorial debut in 1970, Dario Argento has been redrawing the boundaries of cinematic horror with flamboyant violence, feverish plotting, and deliriously stylized compositions.

Building upon the ground of their previous “Infra”, “Scanning”, and “Tektra” collections, Reiger Records Reeks continues its dedication to Roland Kayn’s monumental back catalog, delivering “Elektroakustische Projekte & Makro”, a towering 5CD box set reissuing two of the composer’s most important bodies of work for the very first time since their respective original releases in 1977 and 1981. Fully remastered from the original analog tapes by none other than Jim O’Rourke - allowing a number of the pieces to be heard without breaks for the very first time - this collection amounts to some of the most significant efforts in Kayn’s pioneering work in the field of cybernetic music, further illuminating him as one of the most radical and groundbreaking creative voices of the 20th Century and beyond.

Returning to the unreleased oeuvre of the master of cybernetic sound Roland Kayn, frozen reeds hereby unveils a new high watermark for longform electroacoustic composition, unfolding across 15 CDs in a luxurious gold-stamped boxed set. Big tip! In 1970, Roland Kayn began a decades-long period of research, development and creation at the Instituut voor Sonologie in Utrecht. In the mid to late 90s, he retired, relocated to the Dutch countryside, and began to realise new electronic works at Reiger Recording Studio – his modest home facility. “I finally came to the conclusion,” Kayn would later point out, “that I no longer needed studios to construct my own electronic music.” The working methods Kayn arrived at individually – without the room-filling synthesisers, mixing desks and signal-processing equipment of Sonology at his disposal – saw him turning his own career into a cybernetic process. From the hours of recorded sound amassed in prior decades, he began processing and assembling a mountainous quantity of new music. His works of this period are focused on reabsorbing and recontextualising his life’s work to produce yet another series of utterly alien landscapes.

Biggest Tip possible! ** English/German edition. 288 pp + 5CD plenty of incredible music, most of which have never been heard before ** From the Wolke Verlag imprint, who've already brought us incredible books like Karl Berger's "The Music Mind Experience", "FMP Free Music Production - The Living Music", Peter Brötzmann's Along the Way, and George Lewis' "Composing While Black. Afrodiasporic New Music Today", to name only a few and a great many more - comes one of the most engrossing volumes we've encountered all year: Harry Vogt  and  Martina Seeber’s “Radio Cologne Sound The Studio for Electronic Music The WDR”. Revealing the complex and fascinating history of one of the earliest and most important dedicated electronic music studios in the world, comprising three central portraits of its important directors - Herbert Eimert, Karlheinz Stockhausen, and York Höller - as well as a wealth of material, including essays, pictures, personal memories and anecdotes, in addition to texts that shed light on the intense interplay between technology, aesthetics, and those who worked in and at the studio, across its 288 pages - soundtracked by an incredible X5 CD collection gathering many of the most important works recorded by composers like Karlheinz Stockhausen, Henri Pousseur, Thomas Kessler, Franco Evangelisti’, György Ligeti, Mauricio Kagel, Iannis Xenakis, John McGuire, and Luc Ferrari (to name only a few) - one of the most important discrete histories in the development of avant-garde and experimental electronic music over the course of the second half of the 20th century.

'Anthology Of Contemporary Music From Far East' is part of the 'Sound Mapping project' published by ©Unexplained Sounds Group, and featuring anthologies of music from the African continent, the Middle East region, Latina America continent, Persia, Lebanon, Indonesia, China, India, Japan, Mexico, Peru, Scandinavia, Italy, Greece, South Africa, Finland, the Balkan region.

Lakefront (2010). M. Ostermeier’s solo debut "Percolate" (2010) featured fragile Rhodes and acoustic piano melodies atop minimal downtempo electronics and Labradford-esque guitar tones. Here on the seven-track mini-album "Lakefront" (2010), the skeletal acoustic piano remains, but the minimal beats have evaporated and we are left with something more organic, more haunting. Harold Budd is still an apt reference for the piano fragments, but the infusion of acoustic recordings and darker guitar and electronics bring to mind Deaf Center and Library Tapes. The melancholic mood that builds throughout Lakefront evokes feelings of nostalgia and regret. The songs remind us that the passing of time necessarily brings uncertainty to one’s recollection of the past - an uncertainty that has its own poignancy…

Portraits is a new series from Unexplained Sounds Group focusing on electronic and electro-acoustic music composers. Each release creates a 'portrait' of three musicians by showcasing representative pieces of their recent musical journeys, serving as a guide for further listening and a means of exploring their work. This first volume is dedicated to three Italian musicians: Gabriele Gasparotti, Daniele Ciullini, and Mario Lino Stancati. Gasparotti and Stancati are among the most talented emerging musicians on the Italian experimental scene, while Ciullini is a veteran of the post-industrial underground who, after a very long silence, returned to music in 2012.

Schole Records’ fourth release is the first yet awaited album of Haruka Nakamura, who has beengetting quite attention at his works in albums such as "Schole compilation vol.1," or "Afterglow" with Akira Kosemura from schole. This album is mainly created with acoustic guitar and pianica. Also, a vocalist, a classic guitarist, a pianist, and an upright bassist has come together for supporting Haruka to create afinest musical collection so far. The album is organized carefully in three parts of daily cycle, which mostly with many kinds ofwavering yet ever-changing moments. This acoustic album is truly worth calling a musical gem.

After many years and many electronic music albums, Norway’s Erik Wøllo returns home, in a sense, on Cloud of Strings. Created on an assemblage of acoustic guitars, his 14th Projekt solo album sees Wøllo explore the instrument he first loved. It’s an album of twelve melodic moods - an intimate collection showcasing a fresh perspective on Wøllo's artistic range and versatility.
With reflections of his two previous guitar-music albums - Guitar Nova (1998) and Blue Sky, Red Guitars (2004) - Wøllo imaginatively combines intricate finger picking patterns and sweet-sounding melodies with dreamy and enchanting compositions often enhanced with extensive use of the EBow and slide. The guitars sometimes meet with the Finnish Kantele and other stringed instruments as well as percussion from hand drums, shakers and triangles.

For many centuries Indonesia, from the Malay Peninsula throughout the vast archipelago, has been subjected to successive foreign cultural invasions which have left their deep imprint on the indigenous way of life. Among the first was the Mongolian intrusion from central Asia. A later cultural wave came from India when Hindu merchants and immigrants introduced Hinduism and Buddhism into the islands. Subsequently, about the 13th century A.D. Islamic influences penetrated the archipelago. Finally in the 16th century, Western culture and Christianity came into the picture. Although, after four centuries, Western civilization has by no means superseded the Islamic hold on Indonesia (90% of the population are Muslims), it has already reshaped the outward appearance of Indonesia life to a considerably extent. The cultural diversity is naturally reflected in the music.

The new Unexplained Sounds Group’s compilation of exploratory music and sound works from India intends to present a comprehensive collection of sonic practices that have emerged from the desire to break away from India’s traditional sounds, e.g. classical music and folk tunes, while simultaneously drawing on ideas and inspirations from these lineages and auditory heritages in the form of recurring motifs and sonorities as well as textures and open-ended compositions. The fragile but complex connection between tradition and modernity is the crucial point of entry in this body of works contributed by Indian-born sound artists and experimental musicians. What is ‘sound art’ and what is ‘experimental’ can be debated at length, but sound art is a Western construct, and experiment is something Indian musicians have long been engaged in whilst keeping their traditions alive and transformative. What is new in this compilation is locating the tension between historical trajectories of sound thinking and the intervention of modernist technologies like recording and mixing that the artists continue to negotiate through their interpretations and reconfigurations of temporality and spatiality.

There is a long tradition of Electroacoustic music in Finland beginning in the 1950’s with the experimentation of tape music. Finland’s first electronic musical instrument the "Sähkövalopiano" or "Electric Light Piano" was built before this in 1894. It was constructed in the Polytechnic Institute (now Aalto University) in Helsinki. Finland also has a tradition of blending archaic traditional music in the contemporary music scene. The Kalevala tradition for example dates back centuries before today and the instruments associated with it were used to accompany shepherds on their lonely watches, or village dance parties bringing joy and sense of belonging to communities. These musical traditions have been revitalised by being used in a modern context. Even with the emerging of new technologies to open new horizons for composing music, the avant garde movement and a plethora of new and continuously evolving music genres, the very root of Finnish Kalevala tradition has stayed alive and has been brought to the present, not only in its original form, but also being integrated into electroacoustic realm by the musicians willing to experiment.