Four-part double CD series - comprehensive and first cross-label documentation of the only relevant German contribution to the international phenomenon of rock music.

Pioneering electronic artist Roach's LA ROSA is a zenith in the fourth decade of his legendary live career. Blending new pieces born from the performance experience with essential classics, the 2-hour set captures a riveting soundcurrent of styles and moods. From electronic space music to deep reflective multi-dimensional sequencers to dreamtime material, LA ROSA is heard as it was performed, created and mixed from the stage with no later overdubs or edits.

Like all Studio Kosmische records, Electronic Meditation for Inner Space Travel is less a collection of tracks than a single, unbroken experience. It flows with purpose, every note a step in a silent procession toward understanding.

Pythagoras is the name of a Dutch Progressive rock band, founded in the year 1979 in Den Haag, centered around young keyboardist Rene De Haan and experienced drummer Bob De Jong. Helped by various guests, our two fellows created, almost on their own, two opuses now regarded as electronic Progressive rock milestones: "Journey To The Vast Unknown" (1980) and "After The Silence" (1981). About a quarter of a Century after Pythagoras' demise, Musea publishes "The Correlated ABC", a double-album including unreleased tracks from the 1983-1985 period, as well as a live performance captured in Delft in May 1983.

The Very Best Of is a sweeping, deeply immersive career retrospective highlighting the collaborative masterworks of acclaimed electronic composer Andre Morgunoff and his visionary studio ensemble, Keyorchestra. Released in 2007 by Atlantic-Artists Entertainment, this stunning 14-track compilation chronicles more than an hour of high-fidelity auditory landscapes, serving as a definitive testament to Morgunoff's genre-fluid philosophy. The collection acts as a masterclass in modern sound synthesis, seamlessly blending the driving, ecstatic rhythms of club-focused Trance and Techno with the lush, spatial tranquility of cinematic Ambient and the rhythmic pulse of retro-futuristic Disco. Throughout the anthology, listeners are taken on a rich sonic journey that bridges classical European sensibilities with heavy electronic engineering, incorporating organic textures—such as the mournful, haunting wind instrumentation on Duduk and Celtic-inspired elements on Ireland Mocca—alongside soaring synthesizer pads and propulsive percussion programming. Pristinely preserved in immaculate lossless quality, this comprehensive overview stands as an essential archive and a captivating treasure for global collectors of progressive electronic music, ambient soundscapes, and driving melodic instrumentation.

While it can be easy to dislike and dismiss some cookie-cutter electronic music, the challenge lies in finding reasons to listen to it again. Such is the case with Revolutions by Jean Michel Jarre. One reviewer wrote, simply, "(This) is not revolutionary." That is true; Jarre breaks no new ground with the release of this album. He does, however, continue to create original music in his own style. He is often imitated and that is the sincerest form of flattery. This album features ten short pieces (five minutes and 22 seconds is the longest) of pop influenced e-music. This disc neither challenges nor offends the listener. It has its moments but it neither soars nor plunges. Of course, die-hard Jarre fans will love this disc. Fans of Synergy, Char-El, Klaus Schulze, and Ashra will like it.

The instrumentation on this album is heavy on the analog synths and the dreamy, soft soundscapes that would not be out of place on a Tangerine Dream or (especially) Vangelis album from 1977-1979 are everywhere on Tun Huang (aka Silk Road 3). The analog synthesizers used by Kitaro include instruments by Roland, Prophet (Prophet V), and Moog (mostly mini-moog), along with the mellotron - everything sounds incredibly warm and organic. Kitaro is also quite the multi-instrumentalist and plays a full drum kit and percussion on a few tracks, along with the sitar (on Lord of the Sand only), tabra, acoustic guitar, chanting bell, and wind chime. Joining Kitaro on this album is violinist Yasuo Kojima - he contributes some excellent playing.

Putting together Jarre's best tracks over 12 albums, Images is a superb collection of his greatest electronic feats and atmospheric pieces, displaying his supreme instrumental prowess. Beginning with the keyboard gurgling of "Oxygene" and "Equinoxe," Jarre delves into three different eras; the '70s, '80s and '90s, showcasing how electronics, instrumentation, and Jarre himself has changed by way of modernization. Each of the tracks on this compilation reflect a certain mood and concept sketched splendidly from numerous synthesizers, sequencers, and computerized instruments. For example, "Moon Machine" captivates the chill of deep space with its icy synth layering, while "Orient Express" uses electric string imitations to transform the listener into the mystique of the Far East. Surprisingly, the tracks do not lose any resilience by being taken out of their conceptual domain and hold their own wonderfully…

Initially, this had been a virtual album release, available from the Tangerine Dream Download Shop only. In March 2009 the album was finally released on a proper CD with different cover design as part of an extensive digipack series by the Germany based Membran record label.
Tangerine Dream are unquestionably one of the most influential electronic groups of all time. Their music has made an immeasurable impact on ambient, new age, techno, trance, and progressive rock, as well as modern film score composition. Founded as a psychedelic rock group in 1967 by Edgar Froese, the group was initially associated with the Krautrock scene through early abstract albums like 1970's Electronic Meditation and 1972's Zeit. They pioneered the use of sequencers with classic albums like 1974's Phaedra and 1975's Rubycon…

As far as krautrock super-groups go, it's hard to beat Harmonia's composition, a trio formed by members of Kraftwerk, Neu! and Cluster. With two albums released between 1973 and 1976, though, their legacy has been somewhat sparse. This live recording, from a show in Griessem in March of 1974, is thus a rather special thing. The sound quality is actually rather stunning, with a perfect balance between the band’s chugging electronic percussion, hypnotic guitar, and droning keyboards. The photo on the back cover illustrates perfectly what to expect, with Michael Rother, guitar in hand, standing between Hans-Joachim Roedelius and Dieter Moebius.
Starting from the motorik pulse of "Schaumburg," it's all good trance-inducing stuff, as the trio takes its time proving that it's all about the journey…

While writing and recording The Game, Queen were asked by renowned movie director Dino DeLaurentis to provide the soundtrack for his upcoming sci-fi epic Flash Gordon. The band accepted and promptly began working on both albums simultaneously. Although at first many fans criticized Flash Gordon since it was issued as an official Queen release rather than a motion picture soundtrack, it has proven to be one of rock's better motion picture soundtracks over the years. The majority of the music is instrumental, with dialogue from the movie in place of Freddie Mercury's singing (only two tracks contain lyrics), but the songwriting is still unmistakably Queen. Highlights abound, such as "Football Fight," "Vultan's Theme (Attack of the Hawkmen)," "The Wedding March," and the heavy metal roar of "Battle Theme"…

En Concert is an energetic live album with half the tracks played in front of Houston, TX, and the other half played to a crowd in Lyon, France. Jarre ignites the crowd in both cities, letting loose on a multitude of synthesizers and sequencers while playing his classics like "Oxygene V," "Magnetic Fields I," and "Equinoxe V." His sonic display in front of the French crowd is the more spirited of the two, since Europe is where his fan base is the largest. Jarre kept many of his slower mood pieces off of this album, which is rightly so. His quicker, more robust pieces seem to gain momentum as he dazzles the audience with his electronic sweeps and sharp stabs of brilliant synth. The lasers and lights can almost be heard piercing the night sky on "Rendez-Vous II" as Jarre ceases to limit himself to only a few instruments…

On April 10, 1977, Tangerine Dream unleashed their machines at Montreal's Place des Arts for a now-legendary concert. Broadcast live on CHOM-FM, the set—structured yet feverishly alive—stands as a peak of their first North American tour. Sequencers in overdrive, feral guitars, Moogs on the edge of collapse: a full-blown electronic trip. Laserium drenched the hall, Baumann ruled the modulations. 125 decibels of controlled vertigo. Montreal had no idea what was coming. And when it ended, it begged for more.

Atem is more melodic and less dissonant than Tangerine Dream's other early works. The lineup of Edgar Froese, Christopher Franke, and Peter Baumann puts a nice topspin on the old prog rock sound. They take it to the edge - as in cutting - and beyond.
This album was the band’s last release on the Berlin based OHR label and heralded the beginning of Tangerine Dream’s wider international acclaim. Championed by DJ John Peel, Atem enjoyed success outside of Germany and eventually led to the group signing to the newly formed Virgin label.

Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears.