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Music CDs

B. Ashra - Music For Growing

Music For Growing, based on the calculations of Hans Cousto,
is a concept album tuned to the spectral maxima of the Delta-9 THC molecule.
Homeopathic essences of frequencies, designed to trigger the documented
psychotropic effect of THC through our sense of hearing or - as an agent -
pass it on to the plant.
This is the sound and rhythm of pure oscillations from the cannabis plant itself.
The basic idea behind the creation of this CD stems from the desire to
stimulate plant growth through sound projection.
In the production of this album particular hemispheric synchronisations of
the THC molecular frequency (10.77 Hz) were used, acoustically blending
pure THC sinus waves with the additional six spectra of the molecule,
in the form of wind chimes.
Thus Music For Growing serves as a soundtrack for the ambitious
domestic hemp grower and can, with deliberate, recurring use enhance
plant growth.
To achieve optimum results it is recommended to expose the plant to sound
only during light periods.
We would be happy to receive your feedback.
Please share your experiences with us:

Caution: Do not listen to this recording while driving car or working with machines!

Titel: Music For Growing
Artist: B. Ashra
Format: CD / Digital
Label: Klangwirkstoff Records
Katalog#: KW010
Label Code: 16011
ISRC: DEHE10700235
Geamtspielzeit: 73:59 min.
Releasedate: 22.09.2014
EAN: 4036067323796
Vertrieb D|CH|AUS: Silenzio
Vertrieb world: Ultimae
Cover: Ilona Kowalschek
Mastered by Bert Olke:
Style: Ambient, Cosmic Octave, Binaural Beats,
Electronica, Chill Out, Music for Plants, Meditation

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Orange - Oya

Tribal | Overtone | Didgeredoo | Pop | Trance
Catalog#: SBKW005

OYA – Die neue „Orange“ ist da!

Drei Jahre nach dem Live-Album „Ta Tha Ta“ ist es soweit: Das neue Studio-Album der Tribal-Dance-Band „Orange“ ist fertig und trägt den Titel: OYA!

Orange klingt gleichzeitig wie eine wild gewordene Herde Elefanten in der Steppe der Serengeti und ein in tiefer Meditation versunkener Koikarpfen im Kühlbecken eines Kernreaktors.

Archaisch, hypnotisch, wild: Das Soundgeflecht aus massiven, energischen Trommeln & Percussions, Didgeridooflächen, verspielter Elektronik und der akrobatischen Stimmgewandtheit von Rainer Von Vielen bildet einen einzigartigen Klangkosmos, in dem sich das Bewusstsein versenken und das Tanzbein erheben kann.
Mit 8 Tracks erscheint OYA als das bisher vielseitigste Album der Band, mal energetisch pulsierend, dann wieder meditativ verzaubernd, auf jeden Fall aber weltumspannend verbindend. In jedem Stück steckt eine große Idee, und Orange schenkt jeder einzelnen davon genügend Zeit (kaum ein Track kommt unter 6 Minuten aus), um sich zu jener organisch trancenden Welle aufbäumen zu dürfen, wofür Orange seit jeher bekannt ist.

Produzent Niko Lai, selbst Schlagzeuger bei Orange, versteht es gekonnt, den eigen kreierten Stil in Form zu bringen und dabei das überwältigende Live-Erlebnis der Band auf Studio-Niveau zu hieven.
Umberto Echo, der Sound-Magier an den Drehreglern, hat die Kutsche so lange poliert, bis ein orangenes Ufo zum Vorschein kam, und so entsteht auf OYA Musik aus einer anderen Welt, in einer nie gehörten Sprache, maßgeschneidert für die tanzbegeisterten Erdlinge mit ekstatischen Ambitionen.
Wobo Beyno!

1. Der Auftrag
2. Oya
3. Tubifex Tubifex
4. Tangogo Der Sonne
5. Baba Ganoush
6. Massala Sung
7. Wolke 9
8. Tamtoe
Catalog#: SBKW005

LC: 24806

Format: CD Digi Pak / Digital

Label: Separated Beats

EAN: 4036067323369

ISRC: DEHE10700290-97
total playtime: 48:18 min

Releasedate: 29.09.2014

Vertrieb: Silenzio (D/CH/Aus)

Mixed by Umberto Echo & Niko Lai
Coverart: Sandra Trubin
Layout: Ellinor Papp
Mastered by Dieter Piemiskern at Dorian Gray

Label Site:

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Dakota Suite & Quentin Sirjacq - There is calm to be done

Following 2011's The Hearts of Empty Liverpool based band Dakota Suite led by Chris Hooson in collaboration with David Buxton are back with another superb album on Karaoke Kalk. While Hearts of Empty was a distinctly jazzy instrumental album, There Is Calm To Be Done takes us further down a path of left-field song-writing and alternative pop. The album was produced together with Quentin Sirjacq with whom Dakota Suite have already worked in the past, on ‘Valissa’ (2010) and ‘the side of her inexhaustible heart’ (2012).

The most striking thing about the Dakota Suite sound is their immense instrumentation. While most songs are driven by the piano they are adorned with all kinds of instruments to provide an overall timbre of great majesty. The presence of brass parts, woodwind, double bass and a wide array of instruments makes for a special sound. Rhythmically, the drum parts throughout the majority of ‘There Is Calm To Be Done’ are played with brushes, which takes the edge off and adds a gentleness that only the swooshing of brushes can achieve. The use of lap steel on the opening number ‘This Is My Way Of Saying That I Am Sorry’ conjures up a definite country rock feel. While the album is mainly song based, there are vast instrumental passages strewn throughout the record and intermingled between songs. ‘Flat Seat’ is one such instrumental tune with a decidedly filmic character; a lilting composition both mesmerizing and intriguing. Much of the album feels as if it could be film music, and each tune conjures a vivid image in the listeners mind to which the music plays the soundtrack.

Hooson's vocals are striking both for their singing style and lyrical content. ‘Dronning Maud Land’ for example begins with the humorous line “I seem to have grown myself a pair of old mans hands” but the delivery is sombre and melancholy. ‘In the Stillness of this Night’ is a powerful ballad that fuses the touching vocals and lyrical style that is so prevalent on the album with an evocative arrangement. In keeping with its title ‘Committing To Uncertainty’ is a somewhat darker composition. The brass and woodwind orchestration builds to a powerful crescendo. ‘Be My Love’ stands out as a prime example of singer-songwriting as it relies solely on acoustic guitar and vocals. Without the support of a backing arrangement, the song has to be that much stronger to stand on its own amongst all the instrumentation of the rest of the record. It is an unspeakably tender song with a highly fragile yet resolute emotional lure. The penultimate track on the album is also its song and true to its name is a delightfully calm tune. The record draws to a close with the minimally orchestrated “I Miss The Dust”, a very delicate instrumental that drifts away like leaves on a breeze.

Dakota Suite's music has covered such diverse genres as lo-fi, folk rock, electronic, ambient and taken in elements of jazz and modern classical. The band has their very own, highly personal and unique sound used so frequently by film makers and theatre pieces. ‘There Is Calm To Be Done’ explores the art of song-writing while also venturing beyond, into new fields to create something new and subtle.


01. This is my way of saying that I am sorry
02. Flat seat
03. In the stillness of this night
04. Committing to uncertainty
05. Nu dat deze dag voorbij is
06. Dronning maud land
07. Ask the dusk
08. Be my love
09. Nothing is gone
10. The tears that bind us to this place
11. The world touches me too hard
12. There is calm to be done
13. I miss the dust
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The National Jazz Trio Of Scotland - Standards Vol. III

“I sometimes wonder if I’m going in reverse, having started with the larger, more free improvisational ensembles and now getting down to a vocal pop band, but it’s one thing I was always aiming to do,” says Bill Wells on his current position with the National Jazz Trio Of Scotland. And if one is to take heed of the age-old advice of not judging a book by its cover, then it’s wise to also apply that caution to CDs, for the group is neither jazz nor a trio, although it is at least partly Scottish.

Wells has been part of the Scottish Jazz scene since the late 80s, but has always enjoyed working with musicians in the Indie sector, including stints as a collaborator and arranger with Isobel Campbell, Jad Fair, Kevin Ayers, Future Pilot AKA and Japanese naivists Maher Shalal Hash Baz. He also worked with German electronica artists Stefan Schneider and Barbara Morgenstern and recorded Lemondale, an experimental, pop-tinged collection recorded with an eclectic cast of local musicians in Japan in 2011.

The National Jazz Trio Of Scotland consists of Wells on samples, with a trio of female vocalists: Aby Vulliamy, Kate Sugden and Lorna Gilfedder. Onstage, Aby plays viola, Kate marimba and other potential live players include Teenage Fanclub guitarist Norman Blake and Babe vocalist Gerard Black. The group’s name may be Wells’ droll way of blowing a raspberry at the Scottish jazz establishment he feels has overlooked him in the past, but doesn’t he think that such a deliberately misrepresentative group name could prove a problem?

“I beg to differ,” he responds. “I think in the short term it's making life a bit harder, but hopefully in the long term it will make it stand out.”

The group’s debut recording The National Jazz Trio Of Scotland’s Christmas Album, was released in late 2012, followed by Standards Vol II in 2013. Their new album is titled Standards Vol III, although the description isn’t strictly accurate. “Well it’s partly a nod towards the more standard way of songwriting, although structurally most of these songs aren't actually written in a similar way,” he says. “To me the best ideas are strong melodies on interesting changes, going back to the classic songwriters. It’s a pretty old fashioned idea and I don’t think that it’s the way that most people write these days when using computers.”

Wells’ music had always been hallmarked by a directness and economy of musical line, and the fact that his pop music is pared down to just vocals and a lean musical accompaniment is, in fact, one of its strengths.

“I do seem to like a sparser sound,” he admits. “For one thing, I’m not that keen on drums. There are no drums at all on Vol II. I relented a bit on Vol III, but even then there’s not that much. I like things kind of light and airy. As long as they are moving along nicely and you can hear the chords, and the voice is well supported, I think that’s about all you need.”

Wells wrote all the songs on the album with the exception of the Beach Boys’ “With Me Tonight” and the lyrics to “Surprising Word”, written by Saya from the Japanese band, Tenniscoats, and “Trying To Escape You”, written by Lorna Gilfedder.

The material on Standards Vol III hints at a diverse range of influences: the bossa nova of Antonio Carlos Jobim, the simple piano accompaniment of Brian Wilson, and the wider vocabulary of chord changes in the songs of Laura Nyro and in Todd Rundgren’s earlier work. Wells also admits that some of his electronica may well be influenced by Stefan Schneider’s work with Mapstation. And as he plays samples, Wells is keen that his soundworld avoids anything too generic, and that there is a little bit of grit in the mix.

“Although there are a very few more conventional samples in there, for the most part I use samples that Norman Blake originally recorded of my guitar, bass and Aby’s viola, so that gives it all, hopefully, a very original and distinctive sound. It also means that it’s computer-based, but it’s not too squeaky clean or slick as the samples are not factory presets, and still have slight tuning, editing and rhythmic discrepancies.”

One of the most striking aspects of Standards Vol III is its mix of pure-toned singing and cryptic, bittersweet, sometimes darkly humorous lyrics, as on the twinkly, musical box-like “Unguarded Moment”, with the lines, “Got me when I least expected/Found it where I didn’t look/Hit me like a block of concrete on a hook.”

On “Alive And Well”, rather than being metaphorical or a fanciful notion, the lines, “It’s been the hottest summer that we’ve had for a while/The shower isn’t working because of a broken tile,” were an accurate summary of the facilities in the bathroom of Wells’ Glasgow tenement home last year, where the album was recorded.

“The kitchen table is where I have my computer set up, so it's my HQ,” he reveals. “The acoustics aren't that good, plus I have to record avoiding slamming doors, the upstairs neighbours simply walking about, or the woman who lives below shouting at her dogs - or her partner, which sounds the same. However, it means I can make records very cheaply, and at my leisure - although that word seems a bit wrong. And for me these National Jazz Trio Of Scotland records are probably the closest I've got to doing something as I intended.”

Mike Barnes

Tracklisting :
01. Alive And Well
02. Rare Species
03. Unguarded Moment
04. Buchanan Street
05. Getting Out
06. Push Your Face
07. With Me Tonight
08. Suprising Word
09. Liar
10. Trying To Escape You
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Donna Regina - Holding The Mirror For Sophia Loren

Following their 2010 release The Decline of Female Happiness Donna Regina are back with a new album on Karaoke Kalk, Holding The Mirror For Sophia Loren. The project was formed by the husband and wife team Regina and Günther Janssen over twenty years ago and this is no less than their 12th studio album. There extensive career has seen them be remixed by the likes of Matthew Herbert and Mouse on Mars. Regina Janssen has also worked – amongst others - with the French musician Bertrand Burgalat who released a compilation of Donna Regina´s work on his label Tricatel. But it’s in their own records and song-writing that their true musical skill comes to light as Holding The Mirror For Sophia Loren goes to show.

The album starts with the title track - a tribute to a deceased friend of theirs. The album's decidedly international character is left in no doubt by Les claviers de couleurs - sung in French, inspired by the beautiful names of colours on the scale of swiss architect Le Corbusier. Carlos has a distinctly dubby musical vibe; the muted trumpet, improvised like the bass clarinet and harp by Berlin based musician Volker Griepenstroh, chorus of “lost and found” and dub production make it feel like a Grace Jones track. While Cities has more of a straight techno-pop groove, with a 4/4 driving beat while the lyrics take us on a world tour that tells a story of non-conformity and alienation.
Koyasan takes this international affair even further afield with a trip to the mountain range near Osaka in Japan where Donna Regina's music has achieved considerable popularity and was even used in a Nissan commercial. The monotone delivery gives the piece a dark and dramatic mood. The Janssen's love of the industrial aesthetic is apparent from the cover artwork which depicts an inner city facade laced with ducts and vents. And For The Love Of is based upon the inspired juxtaposition of an industrial rhythm and a cheery piano riff.
The Spanish song Escúchame is based on a text written by the artists Graw Böckler from Berlin for their project “after the crisis” which they are showing in Buenos Aires these days. Gatsby is also driven by a solid 4/4 techno beat. The story is of course inspired by F. Scott Fitzgerald's classic character, and that's what really makes Donna Regina's music: its the personal element that's so important.

Holding The Mirror For Sophia Loren is Donna Regina's 7th album on Karaoke Kalk and over their many releases the band has clearly perfected the electronic pop format. Their latest offering is packed full of delightful nuances both in the lyrical content and the production as well as in the arrangements. For the first time in their production history they let somebody else do the mixes, Polish musician Michal Jacaszek who also co – produced the album. They met him while they were touring in Poland and liked his work a lot. He later released on Miasmah, Gusstaff and Ghostly International and of course he adds a completely different – his personal - touch to the production. All told, this is a powerful collection of songs which once again demonstrates Donna Regina's enormous appeal.

The digital download format contains two bonus tracks, Hopeless Hope and Other Side.



01. Holding the mirror for Sophia Loren
02. Les claviers de couleurs
03. Carlos
04. Cities
05. Lift me up
06. Koyasan
07. For the love of
08. I wanna know
09. Escúchame
10. I know now
11. Gatsby
12. In the company of friends
13. Leaving
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Gottesgabe - Studioworks Peter Büring - Music for Big Brothers

Eine konsequente Weiterführung der alten Berliner Schule , Minimalismus Pur.
Improvisation zu Sequencer,
live eingespielt, schwebende Flächen
mit Ohrwurmmelodien, sehr harmonisch.

Das Instrumentarium sowie die Aufnahmetechnik erfolgte rein analog.
3 Instrumentalstücke,
Spieldauer: 16:56 min
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Various Artists - New German Ethnic Music-Immigrant's songs from Germany electronically reworked

International Electronic Folklore

In the 1970s the American composer Henry Flynt started a series of pieces under the title „New American Ethnic Music“. In so doing he worked together native styles of music such as blues, Country or Hillbilly with electronic production methods to make something new altogether. So far in Germany it has never been attempted to rework folklore electronically for a compilation. However, the picture is changes if one redefines the idea of who the population is. Incomers have brought new „folk songs“ to Germany, which means: even the Portuguese Fado, the African Gnawa, the Croatian Klapa or the Vietnamese Quan ho are these days at home here.
With the cultural project „Heimatlieder aus Deutschland“ (“Folk songs from Germany”) started by former Spex editor Mark Terkessidis and label manager Jochen Kühlung all the various folk music now found in Germany has been collected. Thirteen of the songs recorded for the project have now been transformed by contemporary electronic producers to present a „New German Ethnic Music“. But why remixes? For one thing electronic music has recently focused a lot on the past (Ghost Music, Hypnagogic Pop etc.) - electronic editing is well suited to follow the effects of the immigrant music which the „imaginary folk songs“ has created. Furthermore the project's instigators were curious how „electronic musicians“ would handle folk music and folk songs which is a hugely difficult task. To this end artists were sought out who could get along with the idea of each music style and who are known to already have experimented with the human voice. Guido Möbius recently put out an album of electronic versions of gospels, which made him the ideal candidate for the Fado piece „Milho-Verde“ - the remix has already been hailed by Deutschlandfunk Radio as „wonderfully soft“. Cuban Son seemed like the perfect basis for a disco version by Ex-Whirlpool member Eric D. Clark. Margaret Dygas' associative approach made sure that she presents a polish song about a girls arranged marriage as a claustrophobic feeling. Sybiz Sound are two young Djs of Korean origin who with a rework of the Korean Choir of Berlin have somehow redefined the song of their own parents. With his remix of the Marrabanta of Mozambique Mark Ernestus could continue the rhythmic experiments he does with Jeri Jeri.
The results are as varied as the music styles and Djs involved. Some melodies remain completely intact while others are abstracted beyond recognition. Murat Tepeli and Natalie Beridze emphasized totally different aspects with subtle amplification and editing. Gudrun Gut dynamized the Dalmatian Klapa as you have never heard it before. Thomas Mahmoud translated Gnawa into dub, Khan represented Greek dances as Gothic panoramas, while Niobe and Matias Aguayo transformed Vietnamese Quan-ho and Spanish Renaissance choral singing into their own unique idioms. Finally Ulrich Schnauss turned the song of the Italian Chorus of „Donni So“ into a hymn for the horizon-expanding power of migration.
Hopefully this compilation will also expand some horizons.

01.BTMK - Ensemble und Chor - Adalardan Bir Yar Gelir Bizlere
Murat Tepeli - Nafile gitmiyor hasreti Remix
02.La Caravane du Maghreb - Saadi Belouali Jani
Thomas Mahmoud - Arab Disco Dub Remix
03.Trio Fado - Milho Verde
Guido Möbius - Blood And Bone Remix
04.Spotkanie - Czemuzes mnie, matulenko
Margaret Dygas - Impulse Remix
05.Polyphonia - Karavi, Karavaki
Khan Remix
06.Sandra Stupar und Dusica Gacic - Cije Je Ono Devojce
Natalie Beridze Remix
07.Klapa-Berlin - Projden Kroz Pasike
Blüten Rmx By Gudrun Gut
08.The Mahugang Back To The Roots- Moca cala te
Mark Ernestus Groove 26 Remix
09.Amigas Cantan - Ay linda amiga
Matias Aguayo Remix
10.Donni Sò - La Pagliarella
Ulrich Schnauss Remix
11.Koreanischer Chor Berlin - Go Hyang yui Bom
Symbiz Sound Remix
12.Quan Ho Chor Berlin - Ba Quan Moi Trau
Niobe Remix
13.Rafael Martinez, Ricardo Moreno Y Pedro Abreu - La Mateodora
Eric D. Clark Sr.Sapo's R.U.M Punch Remix
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Toxxeen - - - Toxxeen - - -


1. Ask for
2. Killing
3. Leave this way
4. Easily
5. Helpless
6. Anything wrong
7. Opinion
8. Pain
9. Prayer
10. Deliver
11. The healing

All songs written and composed by Toxxeen
Produced and mixed by Toxxeen
All rights of the owner and manufacturer reserved
© 2013 by Toxxeen




CD Trailer:

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Various Artists - Active Agent Of Sound

Klangwirkstoff Records | Catalog: KW002
Genre: Electronic Music | Ambient | Cosmic Octave

Titel: Klangwirkstoff Compilation - 'active agent of sound'
Ambient Doppel CD incl. 8 seitigem Booklet im Digi Pak
Double CD Digipak
Label: Klangwirkstoff Records
total playtime:155,03 min
Releasedate: 22.10.2007
LC: 16011
EAN: 4 260087 730276
Distribution : Silenzio / Ultimae

With this ambient double CD, Klangwirkstoff brings together widely varied international music projects, all of which are working with a harmonical topic.

The planet tones on this CDs are acoustical exponents from our natural cosmic surroundings and our focus on them brings us into harmony with the way of things.

Music tuned to molecules, like planetary music, is composed in accordance with strict harmonical rules and is based on existing harmonic structures and the natural laws which govern the 'cosmic octave'

This CD is a mix CD, you can by the whole mix in one track or the several songs alone. If you buy the whole album you have all several songs + the mix file.
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Akasha Project - H2 - The Quantum Music Of Hydrogen | Der Klang der Wasserstoffatome

Klangwirkstoff Records | Catalog#: KW005
Genre: Ambient | Electronic Music | Cosmic Octave

Format: CD / Digital
Label: Klangwirkstoff Records
Artist: Akasha Project
Titel: H2 - The Quantum music of hydrogen / Der Klang der Wasserstoffatome
total playtime:77,14 min
Releasedate: 01.02.2010
LC: 16011
EAN: 4 036067 305327
Artwork by Ilona Kowalschek
Vertrieb: silenzio
Bandwebsite: /
Mastered by Bert Olke:

Special High End Mastering for mp3 from 24bit version incl. cover art (you can't found this in other shops)

Akasha Project - H2 - The Quantum Music of Hydrogen
Der Klang der Wasserstoffatome 77:14 min

The Magic of Quantum Music

The Berlin label Klangwirkstoff Records releases electronic ambient music based on the philosophy of the cosmic octave. Klangwirkstoff is a catalyst in music theory and it deals with the influences of deduced rhythms, resonances and frequencies in nature.

With their fifth cd-release, Klangwirkstoff presents a decade of scientifical
harmonic music research from Akasha Project on the topic of the cosmic octave and molecular soundtracks.

Acoustic description of the electron jumps of hydrogen

based on the frequencies calculated by Hans Cousto in 1999 „H2 -- Der
Klang der Wasserstoffmolekuele“ (H2-The Sound of Hydrogen) the composer and sound artist Barnim A. Schultze aka Akasha Project developed a special
composition method for the octave analog transposition of measurements of the spectral data (resonance maxima) of hydrogen atoms.

This work and the production of a preferably pure description of the harmonic
conditions on the microcosmic quantum level was created over a period of ten years.

The result is a harmonic sound sculpture, created on the base of a
„self-composing“ musical process, which can give an impression about what holds the world together in its core.

Quantum music is hearing the world (Akroasis).
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Forgotten Birds - Sahara

When rambling the music scene’s ever-changing geography of different bands, singular sounds and individual faces, we are always in need of someone who can shake us up and inspire us; someone like the Forgotten Birds.
Their music takes us along a track strewn with a conglomerate from good old times when girls braided flowers in their hair and swayed to tales sung of life and love’s battles – Country Folk.
Although reminiscent of earlier days, Jan Gazarra and Judy Willms’ would-be nostalgia is as substantial as a flashback of first love on an autumn evening in a Finnish sauna: passionate but familiar, and somehow outlandishly hot.
It was at an art-show (one of those where creativity is the last thing you want to be thinking about) that the two met.
Whether it was the red wine from plastic cups or the lukewarm canapés that drew them together, neither recalls. Maybe it was what each brought to the table: Jan had already done two solo records (Ladomat, Sunday-Service) and Judy had a voice so wonderful that legend quotes “comparable only to a 15 year old whiskey drunk from a champagne glass”.
Whatever it was,the resulting duo rapidly outshone whatever myths anyone could fabricate.
Soon, all that was missing was a record of their own. So they set out to Rocko Schamoni’s cabin at the Baltic Sea and recorded an album with Jörg Follert (Wechsel Garland,Wunder) in seven days.
And since general opinion says the pre-release phase is the time to open up and make a kind, outgoing impression on others, Judy and Jan decided to let Marcin Öz (bass-player, Whitest Boy Alive) join in on the fun.
Marcin asked the Birds to be their support act at Große Freiheit. Here, as at other concerts in overgrown back lots, local clubs and festivals, the response to the new Hamburg musician duo was wholehearted,unabashed elation.
The Forgotten Birds splash the neon grey of the everyday with psychedelic rainbow sunbeams. When the Birds play, knees go soft. Hearts break into squaredance on sticky bar-tables.
This is also thanks to their energetic live support – along with Alexander Polzin (DIAL, Mirau), who also does electronic stuff, and Stephan Rath, who plays drums and things with the Goldene Zitronen, the enchanting Frenchwoman Hélène Gaudet gives the act that last, essential bit of magic.
The small flock of early listeners who already had the joy of hearing the album have since begun to smile uncontrollably, to feel compelled to burst into song at random moments or to hug anonymous street musicians out of pure high spirits.


1. Ballroom
2. Brooklyn Bridge
3. Silver River
4. Fools Rush In
5. She Goes

6. Rose Of Trallee
7. Small Things
8. Empty Dancefloor
9. The Aliceband
10. Windmills Of Your Mind
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Devas - A Vision Of Hydrogenium

Klangwirkstoff Records | Catalog: KW006
Genre: Ambient, Trip Hop
Format: CD / Digital
Artist: Devas
Titel: A Vision Of Hydrogenium
Label: Klangwirkstoff Records
total playtime:50:17 min
Releasedate: 15.11.2010
LC: 16011
EAN: 4 036067 308564
Artwork by Marc Olke
distribution: silenzio
Mastered by Bert Olke:

On their debut album A Vision Of Hydrogenium Devas presents a molecule scoring based to the series of the hydrogen atom, calculated by Johann Jakob Balmer. At this the spectral data was calculated and transposed into the human hearing range by Hans Cousto.

The duo of Jewel (voices and electronics) and Sigyn M (bass and electronics), hailing from the northern part of Germany, were inspired by these calculations and tuned their instruments to them to compose this fantastic piece of work, characterised by warm electronic landscapes and melodies.

The magical appearance of these sound fields, arisen from the depths of molecular reality, are tastefully amalgamated with Jewel's enchanting voice and will abduct you to distant worlds. Stylistically, Jewel is combining liturgic elements of classical and overtone music with jazz and avant-garde pop elements thus creating a hypnotic, captivating effect.

The Balmer series describes the spectral series of the hydrogen atom within the range of the visible spectrum of light. Devas utilised the 5 basic frequencies and the threshold of the Balmer series as a point of origin for each individual track on this album.

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Akasha Project - Solar System

Klangwirkstoff Records | Catalog#: KW008
Genre: Ambient, Electronic Music, Meditation, Cosmic Octave

Akasha Project „Solar System“ (KW008)

Format: CD / Digital
Artist: Akasha Project
Titel: Solar System
Label: Klangwirkstoff Records
Catalog#: KW008
LC: 16011
Releasedate: 12.02.2012
Total Playtime: 76:40 h
EAN: 4036067312738
Style: Ambient, Electronic Music, Meditation, Cosmic Octave


1.Earth 136,10 Hz 08:15 Min
2.Moon 210,42 Hz 10:45 Min
3.Mercury 141,27 Hz 12:01 Min
4.Venus 221,23 Hz 12:04 Min
5.Jupiter 183,58 Hz 11:06 Min
6.Saturn 147,85 Hz 15:41 Min
7.Pluto 140,25 Hz 06:48 Min

total playtime: 76:40 min
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Cosmic Octave Orchestra - Gaiatron

Klangwirkstoff Records | Catalog#: KW007
Genre: Ambient | Electronic Music | Space
Format: CD / Digital
Titel: Gaiatron live at Ricochet Gathering
Label: Klangwirkstoff Records
LC: 16011
Gesamtspielzeit: 68.00 min
Releasedate: 17.10.2011
EAN: 4 036067 311717

Special High End Mastering for mp3 from 24bit version incl. cover art (you can't found this in other shops)

Berlin Ambient Label Klangwirkstoff Records present their 7th CD release:

Cosmic Octave Orchestra - Gaiatron


01. Gaiatron [Tropical Year/Om] 29:58 min
02. Cassinidrive [Saturn] 37:58 min

total: 68:00 min.

The album Gaiatron - a rare gem of cosmically tuned electronic music - contains the complete concert recordings of Cosmic Octave Orchestra, as performed as part of the Ricochet Gathering - Electronic Music Festival at Berlin Schöneberg Townhall on October 10th, 2010.

The Cosmic Octave Orchestra consists of:
Steve Schroyder (Ex Tangerine Dream, Anne Clark Band, SSO)
Akasha Project and
B. Ashra (Robert Templa, B.E.L., Morphon)

Three knowledgeable adepts and practitioners of cosmically tuned electronic music who have joined for this unique show at Ricochet Gathering 2010.

Like the live performance the CD Gaiatron contains two epic electronic soundscapes in the spirit of the Berlin School of electronic music.

Both, Gaiatron, the title track and the second piece Cassinidrive are tuned to the mathematical principles of the Cosmic Octave according to musicologist Hans Cousto.

Gaiatron utilises the octave-analogue frequencies and tempi of the Earth's planetary year, its orbit around the sun.
The COO was supported by the overtone canto of The AlienVoices, Kolja Simon and Felix Mönnich.

Cassinidrive is tuned to the octave-analogue tone of the planet Saturn's solar orbit. Two deep, precise sound journeys of truly cosmic music.

This Klangwirkstoff Records release is now offering the concert's special listening experience to a larger audience.

More information about the CD, the subject of functional music and the cosmic octave can be found at:
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B. Ashra - Om Meditation

Klangwirkstoff Records | Catalog: KW004
Genre: Ambient | Meditation
Format: CD / Digital
Artist: B. Ashra
Titel: Om Meditation
Label: Klangwirkstoff Records
total playtime:62,00 min
Releasedate: 03.08.2009
LC: 16011
EAN: 4 036067 302418
Artwork by Ilona Kowalschek

The idea behind his newest CD, Om Meditation, is to act as an aid for meditative and therapeutical exercises. It is an invitation to relax and harmonize with one's surroundings. Through minimalistic modulations the sound changes gradually --- the amount of tones has been consciously reduced in order to open up the listener's world for personal experiences. (Thus this production focuses on supporting meditations or spiritual exercises, rather than being a distraction). ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Om, which is an exact overtone of the tropical earth year (earth's orbit around the sun), is the root tone of a large part of classical Indian music. It is a C-sharp with -31.38 cent and has a frequency of 136.10 Hertz. The CD running time of 62 minutes also coincides with the cycle of many meditations. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

more infos about planet tunings:
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Various Artists - Active Agent Of Sound II

Klangwirkstoff Records | Catalog#: KW009
Genre: Ambient, Electronic Music, Cosmic Octave, binaural beats
Format: 2CD / Digital
Titel: Active Agent Of Sound II
Label: Klangwirkstoff Records
Katalog#: KW009
LC: 16011
Gesamtspielzeit: 143.17 min
Releasedate: 04.11.2013
ISRC: DEHE10700258-77
EAN: 4036067319430
mp3 download: mp3 shop
Mastered by Tom Wölke & Bert Olke:
Style: Ambient, Electronic Music, Cosmic Octave, binaural beats

Active Agent Of Sound II:

With this Ambient/Electronica double CD the Berlin Label Klangwirkstoff Records released a compilation of 20 international artists which are working in the field of practical music philosophy.

Anne Clark, Thomas D, Acid On (Move D, B Eden), Steve Schroyder (Tangerine Dream) and many more.

The tunings of the keynotes of this compositions are based on resonances which are coming from nature. For Example planettones (overtones from orbital cycles), molecular resonances (spectral analysis) or the Schumann Resonance (earth magnet field).

This should support the possibillity to come into harmony with the way of things by reaching an energetic resonance with nature. Planetary tuned music is like molecular tuned music composed in accordance with strict harmonical rules and is based on the natural laws which govern the cosmic octave.
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The National Jazz Trio Of Scotland - Standards Vol. II

Following the release of The National Jazz Trio of Scotland's Christmas Album on Karaoke Kalk just last December, the Berlin label now presents the second album by acclaimed pianist Bill Wells' latest project The National Jazz Trio of Scotland; Standards Volume Two. While the previous record focused on seasonal classics, Standards Volume Two is comprised almost exclusively of Bill Wells original compositions.

Just for the record, The National Jazz Trio of Scotland don’t play jazz, nor are they a trio. And while their status as national ambassadors is not exactly official, Bill Wells has however worked with many of the key players in the Scottish indie scene from the likes of Isobel Campbell and Future Pilot AKA to the magnificent collaboration with former Arab Strap vocalist Aidan Moffat „Everything’s Getting Older“ on Chemikal Underground recently. Indeed a host of Glasgow's finest have contributed to the new NJTOS album Standards Volume Two with Norman Blake from Teenage Fanclub responsible for additional studio work and lending his voice to Winter Breaks And Back To Spring. Belle & Sebastian's Chris Geddes and Stevie Jackson also helped with recordings. Jackson of course was responsible for the stunning harmonica performances on Well's former ensemble, the Bill Wells Trio whose album Also In White on The Pastels’ Geographic imprint remains a seminal masterpiece.
Yet despite these impressive rock solid credentials and all the big names with whom Wells works, what sets the National Jazz Trio of Scotland apart is the vocal performances by Lorna Gilfedder, Aby Vulliamy and Kate Sugden. While these girls may not be professional singers their voices posses an honest quality which fits Well's compositions to a t. The sparse arrangements are understated yet outspoken while the lyrics tell of everyday moments few take the time to reflect on, with titles such as the opener We Grow Accustomed and This Is What You Could Have Won. The National Jazz Trio of Scotland's music is sublime in in the way it works on the soul especially after repeated listening. Seeing as Bill Well's has worked with everyone from Jim O'Rourke – on the 2011 album Lemondale – to avant-garde saxophonist Lol Coxhill his move to work with unknown singers on NJTOS lends a delightful freshness to the project. The songs walk a fine emotional line between melancholy and optimism, as demonstrated in the contrast between the songs Hillwalk and Chance. Though the majority of the songs on Standards Volume Two are written and composed entirely by Bill Wells, there are 2 covers including a version of the traditional Scottish folk song Mary of Argyle and a delightful cover of the Moondog tune My Tiny Butterfly with Gilfedder, Vulliamy and Sugden singing in a round to great effect. Singer Lorna Gilfedder also wrote lyrics to Snowed In, a song that from its title at least would not have been out of place on the ensemble’s previous record, the Christmas Album. Standards Volume Two draws Unexpectedly to a close with a lilting waltz.

Already his fifth album on Karaoke Kalk following the Christmas Album and including previous collaborations with Stefan Schneider aka Mapstation (the bassist from To Rococo Rot), Barbara Morgenstern and the Japanese improvised free-jazz ensemble Maher Shalal Hash Baz, Standards Volume Two marks another milestone release for the Glaswegian musician. And what with this being The National Jazz Trio of Scotland's second release in less than a year on Kalk, this is clearly a lasting ensemble with a lot to say. Here's looking forward to future volumes.

1 We Grow Accustomed
2 Never To Be
3 Winter Breaks And Back To Spring
4 Hillwalk
5 Chance
6 Miyuki
7 Just Found This Out
8 Snowed In
9 This Is What You Could Have Won
10 Mary Of Argyle
11 My Tiny Butterfly
12 Things We Got Up To
13 Unexpectedly
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Guido Möbius - THOUGH THE DARKNESS GATHERS - Spirituals by Guido Möbius remixed

feat. Senking, Rotaphon aka Boris Hegenbart, Gangpol & Mit, Jason Forrest, Candie Hank aka Patric Catani, Mesak, Sick Girls, Daniel Padden (Volcano The Bear)

Guido Möbius' fourth studio album “Spirituals” appeared in July 2012. „Spirituals“ united subtle humour and dark premonition, transfiguration and kitsch. Six out of the nine pieces on this album use lyrics taken from traditional gospels. Without knowing the originals Möbius set the texts to new tunes and so used them for his own ends. The subject of spirituality is approached from track to track in very differing ways. Whether through hypnotic rhythms, cathartic noise or the reassuring sound of an amateur choir. Thereby the agnostic Möbius is not looking to provoke or at any kind of religious critique. Much more he has accustomed himself to something that is deeply rooted in the collective consciousness. Spirituals and gospels can be powerful and energetic. Guido Möbius has brought this energy into a new context.

This playful style of creative conversion now finds its continuation. Möbius asked eight of his favourite contemporary musicians to make their own versions of his new Spirituals. The results could hardly be more varied or entertaining.

Senking throws the door open with a kind of Doomstep track in his dark and compulsive interpretation of „All Evil Ways“. He is followed by Rotaphon, an alter ego of Boris Hegenbart, here with a weightless version of „Blessed Sleep“. The French duo Gangpol & Mit turn the feverous „Godhead Appears“ into a kind of Voodoo-Jazz piece with a high speed finale in seven four time. With a totally new melody and created solely from samples generated by pitch shifting splinters of the track „Judgment“ Jason Forrest has created a true Armageddon Version of this cheerful music for the end of time. Candie Hank aka Patric Catani emphasises the funk in „The Reign of Sin“ with club friendly Raumpatrouille-Orion-Sounds in his remix of „Reign Of Sweet Sin”. Harmönia label colleague and protagotonist of the Finish Skweee scene Mesak delivered a hypnotic slow motion monster with „Babel In Port To Mesak“. A wonderfully rounded instrumental old school version of “All Around Me” is provided by the hyperactive Sick Girls. And Daniel Padden (Volcano The Bear) sets a magical closing point with „Send The Ark“.

Although or perhaps because the remixes gathered together here are so different „Though The Darkness Gathers“ is an acoustic discovery journey of an album wherein each piece is a fine surprise.

1. Senking, More Evil Ways
2. Rotaphon, Lappland Schneit
3. Gangpol & Mit, Godhead & Mix
4. Jason Forrest, Judgment / Armageddon Version
5. Candie Hank, Reign Of Sweet Sin
6. Mesak, Babel In Port To Mesak
7. Sick Girls, All Around Me Sick Everyday Mix
8. Daniel Padden, Send The Ark
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TG Mauss - Dear Stranger,

Dear Stranger, is the fourth full length album by TG Mauss following his previous two long players Mechanical Eye and Gravity Will Keep Us All Together on the Belgian label Quatermass. The man from Düsseldorf also known as Torsten Mauss has been releasing records as TG Mauss since 2005 before which he put out several Eps under his early Twig moniker.

This truly incomparable album opens with the unexpected combination of vocoder and what sounds like nothing less than pagpipes on OMG. We miss out Monday but come up smiling on Tuesday, a song which fuses atmospheric pop, noise drones and arpeggiated synths. Welcome conveys elements of post-rock, not least of all in the distinctive drumming sound. Besides his TG Mauss solo endeavours Mauss also plays keyboards in the Sølyst project together with Thomas Klein, the drummer from Kreidler. Their project has recently released its second album on Hamburg label Bureau B and live shows have seen them play with Mouse On Mars at Berghain in Berlin and as far afield as St. Petersburg. This live drumming sound is also the driving force on Ghosts, a downbeat ballad slightly reminiscent of Tarwater in its delicate vocal style and percussive element.
The instrumental interlude Im A Child is a pleasant forray into experimentalism and despite the title, proves with the use of ambient drones TG Mauss has a very high level of musical maturity. Don't Argue picks up the tempo again and its clear from the meticulous electronic production and driving rhythm why Mauss was selected to remix the likes of Karaoke Kalk labelmates Roman and Hauschka among others. Of course TG Mauss's collaboration with Volker Bertelmann aka Hauschka goes back further than that: to their Tonetraeger project via which they have released several albums and movie soundtracks.
The title track of the album exchanges the electric guitar for an acoustic six string, giving the song Dear Stranger a distinctly folk feel; this gentlly meandering drift even features the delightful sound of a recorder. Sun King is of course not a cover of the Lennon-McCartney composition from Abbey Road, rather it bears that TG Mauss signature sound that is by now no stranger to the ear. The penultimate tune Dark is actually light in timbre and mood – the meditative loop purveys an anthemic majesty. And Dear Stranger, draws to a modest close with Circle Lane, a delightful song rounded off with pizzicato plucked chords and some lovely lazy slide guitar.

Dear Stranger, is musically diverse enough to appeal to fans of electronica and post rock as well as singer-songwriting and folk-rock. The album revokes the old saying about not speaking to strangers; one listen to TG Mauss and you will want to get to know him better.

1. OMG
2. Tuesday
3. Welcome
4. Ghosts
5. I'm A Child
6. Don't Argue
7. Dear Stranger
8. Sun King
9. Dark
10. Lover
11. Circle Line
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Ritornell - Golden Solitude

Karaoke Kalk's head Thorsten Lütz first met young Austrian Richard Eigner back in 2006. That was in Melbourne during the Red Bull Music Academy. They got along with each other instantly and stayed in touch. So much the more Thorsten's looking forward to the release of the experimental musician on his very own label in february 2009. Eigner's »Golden Solitude« is a collaboration with pianist and fellow countryman Roman Gerold. Eigner and Gerold had already worked together on the music for the dance performance »Urgent Appetite« by Canadian choreographer Laura Kappel.

»Golden Solitude« ranges between cheerful dance tunes and highbrow audible music. Very playful, but yet respectful, Ritornell are exploring the aesthetical achievements of the 20th century and experiment casually with bits and pieces from pop culture. With lots of flair they mix acoustical elements with electronic sounds and create an album that, even after repeated listening, preserves its shimmering on the edge between pop and avant-garde. As to the technical polish of this fresh emulsion of sounds, the duo was assisted by Patrick Pulsinger. Eigner & Gerold's subtle tracks were employed in numerous movies. Thus, amongst others, the Canadian director Bruce LaBruce used the composition »Concrete Leaves« for his melancholic zombie flick »Otto; Or, Up With Dead People«.

Richard Eigner, born in Linz in 1983, works mainly as a composer and sound-artist, but he has also contributed as a drummer to various productions, such as Patrick Wolf's album »Magic Position«. In 2005 he won the Elektronikland award for experimental electronic music. Besides quite a few other musical projects he is managing his own label, Wald Entertainment.
Roman Gerold, an awardee himself and born the same year as Eigner, has been working as a pianist for various jazz bands in Austria between 1996 and 2003. In 2002 he began studying multimedia-art in Salzburg and changed to German philology in 2006. He's composing his music freelance for theatre and film.

Live Ritornell showcase their material as a electro-acoustic trio together with Gerhard Daurer. They focus on improvisation with a very reduced instrumental set up.
While Gerhard Daurer maxes out the possibilities of his specially devised gamepad-granular-synthesizer, Roman Gerold is adding subtle melodies and vivid drones as well as processing the live-inputs of the acoustic instruments.
Richard Eigner again provides the electronic improvisations with fine acoustic rhythms and textures, playing his ride-cymbal with the use of diverse utensils such as bass bows, sizzle-chains or a toilet brush.

»Golden Solitude« provides the listener with a modern and extremely human sound experience that unites passion and irony.


01. golden solitude pt.1
02. golden solitude pt.2
03. emere
04. catch & kiss
05. a fancy friendship (richard's rework)
06. disappearing city
07. naked
08. nina
09. interludium
10. concrete leaves
11. golden solitude (dimlite's superloner remix)
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Ritornell - Aquarium Eyes

»Aquarium Eyes« is the second album by the Austrian duo, Ritornell. Their debut, »Golden Solitude«, was released in 2009 on Karaoke Kalk.

Acoustic and electronic sounds merge on»Aquarium Eyes«. Paying great attention to detail, Ritornell recorded at various locations (the studio of Patrick Pulsinger being one of them). The results are gently woven into their very own world of sound. Defamiliarized by subtle electronic manipulation, instruments such as piano, double bass, vibraphone, kalimba, and accordion develop a surprising life of their own, only to be consequently swallowed up by the hissing and buzzing of electronic devices.
Gleaming multi-layered electro-acoustic drones, isolated organic sounds, and sophisticated textures complete the intricate arrangements.

On »Aquarium Eyes«, Ritornell tackle the art of songwriting for the first time: Vienna based vocalist Mimu sings, whispers, and sighs golden threads through some of the fragile sound structures that Gerold and Eigner assembled with intuition. The duo also collaborated with vocal artist Didi Bruckmayer on the track »Tremble«.

»Music Box« is a conceptual piece: Under the direction of Richard Eigner, 20 people simultaneously turn the levers of their music boxes: Melodies of musical history blend into a sparkling confusion of sound.

With their interpretation of »In Every Dream Home A Heartache«, Ritornell finally present their very own version of a Roxy Music song, albeit with a twist: the guitars from the original have been replaced by a string trio.

During live performances, Richard Eigner and Roman Gerold present their music together with Mimu and Gerhard Daurer, occasionally supported by Bernd Klug on double bass and Meaghan Burke on cello.

Since the release of their debut album »Golden Solitude«, Richard Eigner and Roman Gerold have gained considerable attention through a number of collaborations with musicians, film makers, and writers:

They released the single »The Light« with Andreya Triana and the track »Three« with Sam Irl was selected by Kutmah to be featured on the compilation »Worldwide Family Vol. 2« (Brownswood). Richard Eigner played drums with Flying Lotus (Cosmogramma), Patrick Wolf (Magic Position), and Dimlite (Grimm Reality). Additionally, he provided remixes for Douglas Greed (Freude am Tanzen), Clara Moto (Infiné), and Abby Lee Tee.

In 2012, Ritornell, together with Mimu, Gerhard Daurer, and Jona Hoier, developed an audiovisual interpretation of Elfriede Jelinek’s play »Macht Nichts – Eine kleine Triologie des Todes. The DVD, with a duration of two hours, was commissioned by Departure and is Ritornell’s first production in Dolby 5.1 Surround Sound.

Invited by the festival Hörgerede, Ritornell worked with the Austrian writer Bodo Hell. The resulting text.ton.stück was performed in Graz in the autumn of 2012.

Ritornell’s long term collaboration with the noted experimental film maker Robert Seidel culminated in the joint endeavour »Erratic«, which premiered at the Vienna Independent Shorts Festival.

The graphic designer Katharina Hölzl realised the project »Ritornell for Musicbox«: perforated business cards in the form of long music box paper strips, which generate an individual tune when fed into the instrument.

Since 2012, Ritornell has been responsible for the sound design of the new version of Rainer Kohlberger’s iPhone app »Rain«.


1. The Morning Factory
2. Urban Heartware
3. In Every Dream Home A Heartache
4. Aquarium Eyes
5. Cherry Blossom
6. Ono
7. I've Stolen The Moon
8. Tremble
9. Urban Heartware Reprise
10. As We Swim Against The Tide
11. Musicbox
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National Jazz Trio Of Scotland - The National Jazz Trio Of Scotland's Christmas Album

Karaoke Kalk are proud to present:

the National Jazz Trio of Scotland’s Christmas Album
featuring members of Francois & the Atlas Mountains, Golden Grrls, The One Ensemble.

Bill Wells - piano, keyboards and samples
Aby Vulliamy - vocals
Lorna Gilfedder - vocals
Kate Sugden - vocals
Gerard Black - vocals

It’s a debut that isn’t really a debut, by a Trio that isn’t a trio; a Christmas album that’s unlike almost any other Christmas albums, and very possibly jazz for people with an especially subtle and sophisticated concept of what jazz might be.

Yes – the songs all look familiar, but it’s unlikely you’ve ever heard such a spooked version of God Rest Ye Merry Gentlemen, or The Christmas Song (“Chestnuts roasting on an open fire…”) sounding so exquisitely bittersweet. Melodies are taken apart and rebuilt with the daring of Anita O’Day or Sheila Jordan, and delicate, looping, sampled arrangements throw frosty new light on lyrics we’ve always taken for granted – or perhaps never properly heard. When asked about the Christmas records he likes, Bill says “there are one or two, but they aren’t relevant - I made this mainly because there are so many that I don't!” When you think of the National Jazz Trio of Scotland, think Moondog plays Bacharach and you’re pretty much there. Oh – there is a Christmas album Bill loves, by the way – Carla Bley’s beautiful bruised blue Carla’s Christmas Carols.

Bill Wells and Aidan Moffat recently won the inaugural Scottish Album of the Year Award for their collaborative album Everything’s Getting Older, released on Chemikal Underground last year. You can hear pre-echoes of this particularly blue Christmas in Bill and Aidan’s brilliantly mournful cover of Bananarama’s Cruel Summer (2011) and this year’s The Powers and the Glory of Love single – a not-for-the-faint-hearted medley of Frankie Goes To Hollywood’s The Power of Love, Jennifer Rush’s hitherto unrelated song of the same name and – just for added spice – Pete Cetera’s The Glory of Love.

The National Jazz Trio of Scotland is just one of many things Bill does when not making music with Aidan. Their actual debut was a track recorded with Chris ‘Beans’ Geddes from Belle and Sebastian on vibes, Frozen Vaults, (you can find it on Boomkat), released as (drum roll) the National Jazz Trio of Scotland with Beans. There’s also an undistributed CDR - Standards Vol 1 -from a little while back – but it was early days, and Bill says now they were just learning to play together, and “it wasn’t totally a serious thing - the character of the band hadn't really emerged at that point.”

The seed of this Christmas record was sown back in 2010, when Alasdair Campbell asked Bill to curate a Black Xmas gig at the Tolbooth in Stirling - most of these arrangements were written for that event. The samples are of Bill playing guitar or bass, and Aby playing viola – they were recorded by Bill’s longtime friend and collaborator Norman Blake (Teenage Fanclub) “ a while back.” The beautiful artwork is by another old friend, Jad Fair – who also did the sleeves for Lemondale and Standards Vol 1.

Here’s Bill on the band:
Lorna Gilfedder – “I think it's interesting that her other musical activities have been in more straightforwardly 'indie' bands – as drummer in Park Attack, guitarist in Golden Grrrls - but that neither of these showcase what a great all round singer she is. I truly think that she's capable of singing jazz standards as well as anyone I've heard.”

Aby Vulliamy – “Aby also plays in The One Ensemble and used to play in Nalle, of course she was a big part of the sound of Everything’s Getting Older as well. I just think she's one of the best musicians I ever worked with, she has that rare pairing of technique and emotion. She just has a very honest quality about anything she plays or sings and I think that comes across.”

Kate Sugden: “I first saw Kate play (drums) in a band called Johnny and the Entries, I mean who could resist? Again a very amazing voice, simultaneously conversational and musical.”

Gerard Black – ex-Findo Gask, currently in Francois & the Atlas Mountains, also has his own band Babe. “Gerard is obviously very theatrical compared to the others but it really works for me as contrast and also in harmony with the others (thought to be honest you don't hear that on the record).”

In the last few years, as well as the award-winning Everything’s Getting Older, Bill’s made records in collaboration with Maher Shalal Hash Baz, Tape, Stefan Schneider (To Rococo Rot), and Stefan, Barbara Morgenstern and Annie Whitehead – quite a few of which have been released by Karaoke Kalk. Last year, Double Six released Lemondale – a labour of love (although all of Bill’s records are labours of love) which featured some of Bill’s favourite Japanese musicians – including Tenniscoats, the extraordinary singer Kazumi Nikaido and Tetsuya Umeda – who plays the electric fan.

1 Oh Xmas Tree
2 God Rest Ye Merry Gentlemen
3 Hark The Herald Angles Sing
4 Carol Of The Birds
5 Winter Wonderland
6 Jingle Bells
7 I Saw Three Ships
8 Good King Wenceslas
9 The Christmas Song
10 In The Bleak Mid-Winter
11 Oh Come All Ye Faithful
12 We Three Kings
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B. Ashra - Monks

Ritual Music | Ambient | World | Meditation Dark Ambient | Drones | Deep Meditative Drone | Floating Music

B. Ashra - Monks

1. Monks Part1 - 43:26 min.
2. Monks Part2 (feat. Travis McMurphy) - 21:53 min.

Composed 1999 for a performance at the Kung Fu Aca |demy Berlin
Working Title: Music for Kung Fu Academies, remastered 2012
special thanx to Master BamBang Tanuwikarja (Kung Fu Academy Berlin)
Travis McMurphy (Monks Part2) and Ilona Kowalschek.

Artist: B. Ashra
Title: Monks
Format: CD
Limited Edition: 500 Copies
Label: Separated Beats
LC: 24806
Catalog #: SBKW004
Release date: 15.10.2012
ISRC: DEHE10700080 - 81
EAN: 4036067315326
Total playing time: 65:19 min.
Distribution: Silenzio Catalog:31532
Mastered by Bert Olke:
Genre: Ambient, Ritual Music, Electronic Music, Drones, Dark Ambient, Tribal, Floating

Monks was composed by B. Ashra in collaboration with Travis McMurphy for a performance of the Kung Fu Academy Berlin.

Monks Part 1 will enchant with its ethereal electronic sounds that are interwoven with overtone singing, gongs, rainstick, Tibetan horns and acoustic guitar sounds.
One feels progressively relaxed is automatically reminded of an East Asian scenery.Only after 26 minutes into the piece a pleasant groove is slowly manifesting.

The second track - Monks Part 2 - is a very deep meditative drone / dark ambient atmosphere with sound collages of nature sounds and Buddhist bells. You're facing a fresh breeze and feel like being transported to places in the icy Himalayas.

Dark Ambient | Drones | Deep Meditative Drone
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Will Samson - Balance

Just over one year after the release of his first vocal album Hello Friends, Goodbye Friends, 23 year old Will Samson presents a brand new album of his own personal fragile blend of experimental folk and ambient electronics.

However, with songs about a surreal overnight boat journey in South East Asia, paintings from a Dutch art gallery, to the simple love of a dear friend, Balance takes a confident step away from its predecessor in both feeling & sound.

The record began its life in Summer 2011, whilst Samson was living in a tiny bedroom in a shared apartment with 5 other people. One of whom was Joel Danell – a wonderful musician from Sweden making music under the pseudonym of 'Musette'. When Joel moved back to Stockholm towards the end of the summer, he kindly left behind a collection of old cassettes, a Tascam 8-track and a cassette deck for tape mastering – it was then that Will set to work on some new songs.

“It didn't take long before I became totally absorbed with the magic of analogue recording and the mysteries to be discovered within these ancient cassette tapes. Numerous nights were spent working through to the early morning, playing quietly so as not to wake up my house mates. On ‘Dusty Old Plane’ you can even hear the birds beginning to sing with the sunrise.” – Samson recalls.

Around September 2011 there were a few rough sketches of songs, but lack of equipment and recording knowledge had become a restriction. Around this time Will happened to receive an email from Florian Frenzel, expressing interest in helping to record some music. Shortly after, they casually met up at Florian's home and became better acquainted over a few cups of tea - soon realising that they shared a mutual obsession/love for the Eternal Sunshine of the Spotless Mind soundtrack, as well as many other musical (and non-musical) interests.

It was in Frenzel's home studio (containing a multitude of vintage equipment such as salvaged organs, analogue tape delays, beautiful old microphones, home-made equipment, and even a reel-to-reel from a former GDR radio) where they began recording new songs, editing earlier cassette demos, drinking more tea, exchanging music & childhood stories, watching Autumn slowly turn into Winter – becoming great friends in the process.

By the beginning of Spring, the album was finally complete and handed over to their mutual friend, Nils Frahm, who lovingly mastered it at his Durton Studio in Berlin.

Floating in a gentle haze of melodies, soft white noise & intimate tape crackles, Balance manages to retain the spirit of the aged cassettes and equipment it was made with, whilst offering something altogether unique & new.

“The recording process of this album was a joyous one, and it is my sincere hope that you may find some happiness within these songs too.” – Will Samson

05th October will see the release of Balance via Karaoke Kalk, followed by a European tour.


A1 Oceans Are Wilder
A2 Cathedrals
A3 Hunting Shadows
A4 Eat Sleep Travel, Repeat

B1 Painting A Horizon
B2 Music For Autumn
B3 Storms Above The Submarine
B4 Dusty Old Plane

01. Oceans Are Wilder
02. Cathedrals
03. Hunting Shadows
04. Eat Sleep Travel, Repeat
05. Painting A Horizon
06. Music For Autumn
07. Storms Above The Submarine
08. Dusty Old Plane
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Le Rok - Approx Twelve

Three years ago Karaoke Kalk released the debut by Le Rok, fittingly named Hausarbeiten, indoor works - a choice collection of home recorded tracks which may have been produced in the course of six long years but put together resulted in an album with varied themes but a close stylistic connection between tracks. Le Rok and his songs need and take their time. Now, three years later, enough new tracks have coalesced to come to life as Approx Twelve.

Every single track on the new album has an individual history starting out with the idea for a song in the classical sense of the word. Going on from this solid foundation Le Rok rather casually collects than produces the elements from which the tracks are put together like mosaics. This results in a specifically relaxed setting - which not necessarily means slow or quiet - while lots of little things cling themselves tightly around the spine that is the basic song. This method only works when the necessary time is taken for those small pieces to grow together into a whole. In the end everything is one unit comprising all the elements from the initial song to the final beat.

Although the tracks take shape as a construction of digital bits and cuts, the songs never lose themselves inside the technical devices from which they derive. Inbetween all the tight textures remains a slight sense of melancholy which is not hiding itself but needs to be found. All the while the beats may stay up front but they are not consuming what is definitely there to be listened to.

Le Rok is the project of Christoph Döhne from Hanover in northern Germany. And maybe this not exactly urban setting is the reason for a specially relaxed way of looking upon things and time and thus keeping a specific sense of otherness.


01. bonsoir 80n
02. cold end
03. choped ride
04. weak textarea
05. dropdown
06. frameset
07. happy apple
08. cheeseball
09. altarboys
10. feierabend
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Le Rok - Hausarbeiten

le rok is from hanover, is in his everyday life called christoph döhne, and hausarbeiten is his musical debut. it is not easy to put a definite name to his music, as the twelve tracks on his album are all rather different. sometimes minimal, then again pop-like, sometimes even with a trace of rock;sometimes gloomy, then again cheerful;
twice with vocals and otherwise without. there is one thing all tracks have in common though: the beat is always prominent. this quality provides the album with continuity, forms a bracket to include its diverse parts and turns it into a unified whole.
with this compilation of tracks created between 1997 and today, le rok demonstrates how playful and cheerful music can sound. and this may be the reason why he has found his home on karaoke kalk, which has never been about the pursuit of one particular idea of music but about presenting music in its diversity and confusion.

01. puppylove
02. nach dem urlaub
03. tuttifrutti
04. little piece of luck
05. topchic
06. knack
07. 93er
08. glockesong
09. tribute to miroslav
10. pro player
11. standing behind
12. radiowecker
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Orange - Hu

Orange - Hu

CD Digipak
LC: 16011
Label: Separated Beats
Catalogue No.: SBKW001
Playtime: 52:59 min
Release Date: 01.05.2009
EAN: 4 036067 303 187
Distribution: silenzio
mastered by: Bert Olke
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Orange - Ta Tha Ta

With the recording of the live album Ta Tha Ta, the six-piece percussion 'n trance band Orange managed to capture a mental state of suchness. Ancient shamanistic wisdoms dance around with the latest discoveries from the Quantum world.


Orange - Ta Tha Ta |

Catalog#: SBKW002 |
LC: 24806 |
Format: CD Digi Pak |
Label: Separated Beats |
total playtime: 51:46 min |
Releasedate: 05.07.2011 |
Vertrieb: Silenzio (D/CH/Aus) |
Bandwebsite: orangevibes |
Mastered by Bert Olke + Niko Lai |
@ GL-Audio Berlin |
Label Site: |
email: ...................................................................

Titel: ..........................................................

1.Die Einweihung 01:31
2.Hu Maan 06:20
3.Panko Babaunka 08:00
4.Bakalin 07:14
5.Weil Der Puls 09:36
6.Ta Tha Ta 10:26
7.Chuwenga 08:30 ............................................

total: 51:46
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Dao Khan - Dao Khan

Dao Khan
Catalog#: SBKW003
Welcome to the world of Dao Khan!
Jörg Holik (Tabla, Percussions, Electronis und Overtone voices) and Marcus Wichmann (Didgeridoo) lead you to a land full of beautiful world music like ambient sounds   with quiet harmonic electronic soundscapes, relaxed percussionbeats, overtone voices and earthlike Didgeridoo.

Take your time and you will be taken away.
Listen to the spaces in between and you will feel the rhythm.
Open your ears and your heart knows what your body feels.

The music on this production is tuned in a-432 Hz!

Band: Dao Khan
CD Titel: Dao Khan
Catalog#: SBKW003
LC: 24806
Format: CD Digi Pak
Label: Separated Beats
total playtime: 60:33 min
Releasedate: 02.07.2012
Vertrieb: Silenzio (D/CH/Aus)
Label Site:
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Guido Möbius - Spirituals

Previously Guido Möbius has mostly given lyrics a wide berth. On his last album „Gebirge“ Möbius’ strategy to avoid meaning and pathos altogether was the collaboration with Andreas Gogol with his wordless dada-song. And although Gogol's highly musical stuttering is also present on Spirituals, Möbius now goes the other way on his fourth album: this time he's allowing himself to indulge in meaning and pathos.

„Spirituals“ unites crooked humour and dark premonition, apotheosis and kitsch. With each track Möbius highlights another aspect of spirituality, be it religious or another kind. Indeed, maybe one does come close to a feeling of transcendence through hypnotic rhythms. Maybe one can even achieve purification through noise or just take solace in singing spiritual songs. Möbius plays with the neo-pagan spirituality of Black Metal („all evil ways“) as well as with egocentric rallying calls of soul music („the right thing“). He evokes the spirits of the end of days („babylon’s falling“) and harnesses the touching confidence of an amateur choir („though the darkness gathers“). His pleasure in the unexpected is ever present in his music. Just as much as his preference for unusual sounds.

Six of the nine tracks on „Spirituals“ use the texts from traditional gospels. Without knowing the originals Guido Möbius gave these lyrics new melodies and used them for his own purposes. This poaching on forbidden terrain was a special joy for Möbius the atheist. But in so doing its not about provocation or any shock tactics. Far more he has re appropriated something that is already firmly anchored in the collective consciousness. The citation alone suffices to expose principles of guilt, angst and humility. Spiritual music can be defined either as humorous, oppressive or double-sided even if it is unintentionally so. But gospels are also good when you want to enter a fully authentic emotional state with no trace of irony. They are sympathetic and when sung in a collective, a source of genuine spirituality.

Following two albums of predominantly chamber music, Möbius finally approached bass and bass drum driven music with „Gebirge“. And the Berlin based musician with his roots in the Rheinland also uses the instrumentation of modern dance music on „Spirituals“. Although stylistically he still can't be pigeon holed. On „godhead appears“ he combines fevered percussion with Kiki Bohemias elegant singing and Andi Otto's cello playing. On „babylon’s falling“ we hear layers, stacked like geological sediment and streaked through with a restless pulse. The rhythmic saws and squeaking sound on „all evil ways“ combine with the morbid groove. Then there's „judgment“ with its dry funkiness and „blessed sleep“ with cutting guitar layers and noises of all kinds. The echo effect on „the reign of sin“ lets loose whispers from ghostly voices. While most of the sounds on „all around me“ come from the automatic tuner on an everyday portable radio.

This album has a light and a dark side. A fact that is most conspicuous in the LP format. The hopeful A-side with „all around me“ to „godhead appears“ could be understood under the motto redemption, whereas the B-side is more dedicated to damnation.

Guido Möbius works as a PR agent and runs the music publisher autopilot. On his 7“ label emphase records he releases records at irregular intervals which are always recorded using only one instrument. Early 2012 the split LP „asper 2“ featuring re-edited concert recordings by Guido Möbius and Centenaire + King Q4 came out on dokidoki / clapping music & guilty by association. „Spirituals“ is Guido Möbius' fourth studio album.


KIKI BOHEMIA (lead and backing vocals on 1 and 4)
GO:GOL (beatboxing on 2, lead vocals on 6 and 7)
WUZI KHAN (lead vocals on 3)
JAN THOBEN (hihat on 1, cymbals and pots on 4)
ANDI OTTO (cello on 4)
LORENA ATRAKZY (backing vocals on 8)
JANA PLEWA (backing vocals on 8)
DÖRTE BADOCK (backing vocals on 6)
ALMEIRA, BO, DAVID, LUCILIA & TESS (kids voices on 2)

CD Tracklist
01. All around me
02. Judgment
03. The right thing
04. Godhead appears
05. Babylon's falling
06. The reign of sin
07. All evil ways
08. Blessed sleep
09. Though the darkness gathers
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Guido Möbius - Gebirge

First of all: Gebirge sounds quite different from everything we know by Guido Möbius. His first two albums klisten (Klangkrieg) and dishoek (Dekoder) featured melodies on a collision course with sounds, styles and idiosyncracies, melancholy and humour. Everything was interwoven, multi-layered and contrasting. But despite their complexity and their finesse neither of the two records sounds severe or academic, instead they delight with genial and intelligent instrumental music.

Whereas these two predecessors operate to a great extent without any beats or basses, Guido Möbius makes full use of the latter on Gebirge. Here they are: straight bassdrums, sub-basses and handclaps. Also present: all kinds of machinery noises serving as snaredrum-surrogates, clanking metal, spluttering cables and funk-guitars. Furthermore: brass sections that sound as if the inmates of a tuberculosis sanatorium had reluctantly reached for their trumpets.
It is out of these elements that Guido Möbius constructs rough, creaking tracks who despite their strangeness promt the swinging of your hips any time. After all Gebirge was greatly inspired by Möbius’ live sets who fervently dovetail funk with experiment, noise and techno.

And yet Gebirge holds another surprise: Vocals. Möbius has won 4-track-virtuoso Andreas Gogol aka go:gol (a-Musik) as a lead singer for his new album. go:gol, a multi-instrumentalist himself with a preference for grotesque sound constructions, employs a multitude of onomatopoeic, imaginary tongues on Gebirge. Which at times sounds as if James Brown’s body had received Kurt Schwitters’ soul. Both go:gol’s fake english and his Dada-funk are a great amusement.

And yet also with his third album Guido Möbius has remained true to himself in many respects. For example in the matter of subtleness: if Möbius sends one of his tracks on its journey you’ll never know where that journey might end. And it’s enormous fun to follow its musical mutations. The Berlin musician masters the art of subtly slipping us radical sounds and keeping a track in its flow even with the hardest breaks.

Like this an industrial-groove mutates into a main-floor-rave and eventually into a beatboxing-solo. Meditative slash krauty guitar-string-hammering turns out to be the priming for a tight beat. Which again runs into playfully filtered organ grooves which again sound the bell for technorock and polyphonic brass arrangements. But whoever may think he’s got it sussed out now is wrong. Because even surprise stays out at a certain point of our journey through the mountains of Gebirge. All of a sudden there’s a song who’s just that, a song, with verse, bridge and chorus.

Guido Möbius is one of those musicians you can positively recognize by their sound. At that it doesn’t matter whatever musical stops Möbius is pulling out or what instruments or stylistics he’s applying. His wit, his sobriety, his wealth of ideas and his very own musical dialect attest his authorship.

Möbius is running the music publishing company and PR-agency Autpilot. He is sporadically releasing one-instrument-singles on his own label emphase
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Emanuele Errante - Time Elapsing Handheld

Time Elapsing Handheld is the third full length album by Italian experimental musician and sound-artist Emanuele Errante. His debut album Migrations came out in 2007 on Canadian label Apengenine to great acclaim. Along with Hauschka, Peter Broderick and the Books, Errante remixed his Karaoke Kalk label-mates Dakota Suite for their album The Night Just Keeps Coming In. Now with his latest work Time Elapsing Handheld he releases another long-playing record of astonishing majesty on Karaoke Kalk.

This stunning album kicks off with the appropriately titled opening track Leaving To Nowhere, and from the word go the listener is captivated by the many layers Errante's delicately interwoven sound-scapes. What's fascinating about Emanuele Errante's work is the way he combines acoustic sounds and electronic production methods to great effect. Like on Made To Give which was written in collaboration with English sound-artist Simon Scott who was formerly in Slowdive, now one member of Seavault on morr music (with A Ryan from ISAN) has also worked with Brian Eno, Machinefabriek, Jasper TX and Nils Frahm among others. Errante walks a fine line between an organic, analogue timbre on one hand and the modern digital world on the other. While the guitar, piano and harp all play a great role on Time Elapsing Handheld, its never too long before these instantly recognizable acoustic tones become engulfed by synthesized strings, sampled noise or digital effects.
Time Elapsing Handheld is accessible on a level that vocal based pop/rock can never be. And that is the wonderful thing about this kind of ambient music; it draws on our attention in a completely different way from traditional song-based music. Rather than constantly demanding close listening and cramming the compositions with obvious landmarks in order to grab one's attention, ambient seeps into the psyche effortlessly - almost against the will. In this way it is perhaps the most subversive music around as it is still taken in when one thinks one is not really listening; even as background music ambient sounds such as Errante's have a tremendous impact. In this way Time Elapsing Handheld plays with our preconceived perception of music and temporality allowing us a refreshingly positive new outlook. As Emanuele puts it: „Time is a relative concept. The recording of a song makes infinite the moment of its execution. But man has not yet succeeded in inventing a device that can accelerate the passing of time.“ This strong metaphysical concept behind the album is illustrated beautifully in Valentina Russo's stunning cover artwork. And with one amazing video for Dorian's Mirror already finished by director Mélanie Skriabine plus Errante currently collaborating with Italian experimental theater group Acchiappastorie, there is no lack of visual stimulus to accompany the recordings contained on Time Elapsing Handheld.

Time Elapsing Handheld will appeal to anyone interested in serious new music and might be especially interesting for fans of artists such as Arvo Part, Marsen Jules or Deaf Center. This is definitely ideal music for contemplation while listening from the comfortable solitude of headphones. The calm and tranquil atmospheres that Emanuele Errante evokes lend themselves perfectly to sitting back and letting the music sweep you along on a sonic journey.



01. Leaving The Nowhere
02. Made To Give
03. Counterclockwise
04. Inner
05. Later, Earlier
06. Dorian's Mirror
07. Memoirs
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de la Mancha - The End* Of Music

*What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from.

The End of Music is the second full length album by Swedish group de la Mancha. At the core of the band are two childhood friends Jerker Lund and Dag Rosenqvist who founded the project back in 2003. A shared admiration for groups like Red House Painters, Sigur Rós, Led Zeppelin and My Bloody Valentine set out a general direction for the duo. And the band has stayed true to this tradition of leftfield pop-rock as The End of Music demonstrates most perfectly.

The album dives in at the deep end with a a brief intro, Golden Bells, which flows seemlessly into the straight up rocking number, Ursa Minor. Under A Leaden Sky is an epic orchestral ballad with strong dynamics. Again de la Mancha whose first release was an EP on Crying Bob Records in 2005, show their tremendous musical versatility on Hidden Mountains which quickly melts into a symphonic drone midway before tightening the reigns again at the very end, returning to the main refrain of the song.
There is no other word for Willow Lane than heart breaking. A stripped down arrangement of piano, vocals and organ make for an impact as powerful as any rock number. Equally fragile in its beauty is the sombre composition Erase. The song also relies for the most part on a very sparse instrumentation, but puts this to great effect.
Of course, the name de la Mancha is originally borrowed from Cervantes’ novel El ingenioso hidalgo don Quijote de la Mancha, perhaps better known as Don Quixote. But unlike the Spanish legend, de la Mancha are well aware of where they are going; they have a clear destination, as the penultimate number At Lands End proves. Clocking in at over 9 minutes, its the longest track on the album and marks our arrival at Til Gupu, a fitting close to The End of Music.

As with the bands first full-length album Atlas (Crying Bob Records, 2008), The End of Music is an album full of contrast and beauty. Each track has a clear identity and both the song-writing process as well as the production have been meticulously executes by Lund and Rosenqvist.
In addition to de la Mancha, Dag also keeps busy with his side project Jasper TX. Since his debut album back in 2005, Dag has been released albums on labels such as Miasmah (NO), Kning Disk (SE) and SMTG Limited (US). Over the years he has also collaborated with artists such as Machinefabriek, Mike Weis (from Zelienople) and Simon Scott (ex Slowdive) and in addition to that he’s done remixes for artists from a wide variety of genres. But its his collaboration with Jerker Lund in the form of de la Mancha that is the focus of 2012.

De la Mancha's new album is a highly charged emotional record. The band is clearly at ease embracing the moody turbulence that other artists and genres try to avoid at all costs. There is a resolute depth and profound truth to all the songs on The End of Music; each contains a level of authenticity and honesty seldom found in pop these days. The album title itself bears something of an apocalyptic tone. But let's hope we haven't heard the last from de la Mancha.
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Various Artists - Warenkorb # 6

After an 8-year break, WARE Records continues its label compilation series with the new WARENKORB # 6. The stylistic variety is as great as ever, addional to typical and uncategorisible WARE-four-to-the-floor Pawas delivers a cinemascopical future-garage-track under his alias Dunck, and Mathias Schaffhäuser continues his excursion in Minimal-Dub-Step in his remix of „This Is For My Dutch Crowd”.

For all fans of sound carriers there will be a CD, which is not just mixed, but also autographed and produced in-house, making each and every CD a unique item – plus a free download link for the unmixed tracks!

Less fetish-oriented can of course buy the tracks as full-length downloads at respective music online stores.

Contributing artists this time are: Mr. Statik (Bpitch Control), Markus Güntner, [A]pendics.Shuffle (Adjunct, Mo’s Ferry Prod., etc.), Ziggy Kinder, Mathias Schaffhäuser and label debutants, Argentinians Paulice & Onkel Brutalo (who have also released tracks on Adjunct Records), Chra from Vienna (who runs the formidable label Comfort Zone) and Dunck (the future garage alias of Pawas Gupta).


Grant Paterson (Edinburgh Evening News): “Fantastic package - there's plenty on here to get your teeth into - thanks guys this is tasty.”

Klaus Fiehe (1 LIVE Radio + Byte.FM Radio): “to cut this brillant long story short - will play a good bunch of tunes, definitely.”

Sven Schäfer (FAZE): “great deepness!”

Animaltek (WIR, Treibstoff, New York): “nice compilation!”

Mijk van Dijk (Dubmission, Berlin): “’Nice To Meet You’ is an amazing discovery. I imagine this to be a killer tool played at the right moment on the party. Exceptionally out of the ordinary. Can't wait to try it.”

Electric Indigo (Vienna): “haha! lovely work by chra!!! ‘love her nice to meet you’ remix :-) ‘stellplatz der zukunft’ sounds really interesting, also like ‘don't worry about them’ and markus güntner's track.”

Axel Bartsch: “dope compilation, hard to find a favorite track but ‘ace bum’ is sticking out,
also like the funky apendics shuffle track and markus günter´s contribution.”

Noon(at (Treibstoff, Deepmix, Moscow): “nice compilation.”

DJ Marcelle (Another Nice Mess, Netherlands): “excellent. Very good.”

Orde Meikle (Slam/Glasgow): “another cool collection of trax.”
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Various Artists - Andere Zeiten andere Sitten! Falsche Männer in falschen Etagen

Hier bist Du falsch!
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Mathias Schaffhäuser vs. Various Artists - Re:3 / Selected Remixes Vol. 3

Seltsame Zusammentreffen passieren ja ständig, die einen reden von Yin & Yang, andere von CoincidAnce, und andere von Manitou & co. „Re:3“ entstand fast komplett mitten in der krassesten Techno-Wirtschaftskrise bis dato, in der es für Mathias Schaffhäuser plötzlich einen Remix-Auftrag nach dem anderen hagelte. „It’s a strange and beautiful world“, immer noch, aber egal, die Devise lautet: ‚Das beste daraus machen’, was in diesem Fall nur die dritte Remix-Compilation Schaffhäusers sein konnte. Bis auf zwei Tracks wurden alle seit August 2009 produziert, was aus „Re:3“ ein frisches, in sich geschlossenes Album macht und es praktisch auf eine Stufe mit einem Künstleralbum stellt.

Besonders happy sind wir über zwei Tracks: Der Remix zu Fausts „T-Électronique“ erscheint hier zum ersten Mal in voller Länge und nicht in der unglücklich ausgeblendeten Version vom 2002er Faust-Album. Und mit „ You Laugh At My Face”, im Original von Patrick Cowley & Jorge Socarras (a.k.a. Catholic), kommt ein Track exklusiv nur auf “Re:3” heraus. Das Original befindet sich auf dem von Stefan Goldmanns Macro Recordings ausgegrabenen Album der beiden Künstler, die in den Siebzigern zusammenarbeiteten, das Album aber nie veröffentlichen konnten. Jorge Socarras spielte später in der Band Indoor Life, von der Schaffhäuser wiederum Anfang der 80er glühender Verehrer war. Als er nun die Cowley/Socarras-Coop hörte, entflammte die alte Liebe sofort wieder, und nach wenigen Kontakten mit Macro war die Lizensierung und Freigabe für einen Exklusiv-Mix perfekt!

Zudem gab es die Remixe für Leigh Morgan und Aldrin & Akien bisher nur als Downloads - ersterer erscheint nun auf CD und Vinyl, letzterer exklusiv nur auf Platte, genauso wie die 16-minütige Originalversion des Remixes für M2 (alias Markus Güntner und Markus Kavka).
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Ziggy Kinder - Barboom

The Deepness enterprise continues: Cologne artist ZIGGY KINDER is renowned for his distinct and crystal clear minimal funk, but already in 2007 he created his own personal parallel house universe with “Que Pasa Maria” on Souvenir Records. Since then he has systematically worked his way into the soul of his machines and cut back on speed and actions. First highlight of this development was his slowmo slapbass slammer “Assbomb”, though his second new album “Barboom” takes deepness and moodiness considerably further. Instead of satisfying mainstream tastes trying to attract attention with common sounds and samples, Kinder returns to a wholesome “less is more” without being pigeonholed as purely minimal. He confidently leans back for he has found his perfect spot: “Barboom” is cool house, club, party, outside-the-box while being a comfy-groovy home in the swirl of triviality.

The album will be available on CD, as a download and a four-track vinyl EP.

Also watch out online for two snazzy videos: in his clip for “Meteoroid” a meteorite uses its magic forces to seduce a Cologne Carnival group into surreal midnight dancing. The super cool “Barboom” video features a liquid erotic dance cocktail of water and ink, which was not computer-animated but completely filmed and edited!

And we have a free bonus track for everybody on top here:

In addition to “Barboom”, WARE has released eight of Ziggy Kinder’s EPs and his debut album “Akkrobatik”. Kinder also produced remixes for e. g. Frankie, Markus Güntner, and (Mobilée Rec.) in collaboration with Schaffhäuser. Further EPs were released on Level, WIR, Minimood and the Tiefschwarz Brothers’ label Souvenir Records.
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Neon - J.R.Plankton

For the latest release on Karaoke Kalk the Berlin label introduces us to another exciting new artist. J.R.Plankton is a collaborative project by Jens Strüver and Robert Ohm.

Strüver also manages the M=minimal label which has been responsible for releases by people such as the late great Krautrock legend Conrad Schnitzler. With his Project Borngräber & Strüver (Transkontinental, Freispiell) he released in 2011 the Album “Urlaub” and also a collaboration with Schnitzler titled “Con-Struct”, not to forget his “Kreuzberg“- release. His first collaboration with studionerd and multi-instrumentalist Robert Ohm was an hour lasting radioplay-soundcollage about the legendary composer Moondog, repeatedly broadcasted on german radio nationwide.

Now their own pure musical work on Neon is nothing less than a tour de force.

From the word go, the album sets an incredibly high standard. The french titled Musique Electronique is without a doubt a nod to the founding fathers of German electronic music, Kraftwerk. The highly charged electro style laid down in this opening track sets the pace for what follows over the remaining 37 minutes of the album.
Clocking in at a massive 8 minute City Jungle is equally epic in length. Musically the track changes down a gear though entering a more atmospheric world of ambient oscillations and arpeggiated synth sounds, while the tune moves towards a more driving industrial feel towards the end.
Sundance kicks in with a throbbing slap bass part, soon to be followed by wah-wahed guitars, all of which make for a surprise disco-funk track on this otherwise electro orientated album. This is clearly a feel good track and is sure to have any room jumping in seconds.
The penultimate track Nakamura starts as another downbeat foray into ambient but again builds to reach a powerful minimal crescendo. The track makes powerful use of textures to paint a sonic landscape which is a world unto itself. And this superb album draws to a close with Regen (trans. Rain), which is another masterpiece of arpeggio action. The tune teasingly implies that it might kick off at any moment, but the beat remains absent, creating instead a hypnotic tension.

Neon has all the elements one might wish for from a modern electronic record. The experimental nature of some of the more protracted interludes should appeal to fans of Kraut and electronica: these moments are ideal for losing oneself in the trance inducing intimacy of ones headphones. While at the same time there's plenty on the album to interest all you Djs out there who would do well to drop some of the more uptempo tracks on Neon. Debut albums don‘t come any stronger than this and one can only hope there will be a chance to hear more from J.R.Plankton before long.

01 Musique Electronique
02 City Jungle
03 Sundance
04 Nakamura
05 Regen
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Tolouse Low Trax - Jeidem Fall

The man in the crowd is a wonderer with relaxed habits. In him the course of things and movement of the city is reproduced. The Düsseldorfer Detlef Weinrich is such a man in the crows. Some one who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. And he's already got three Eps and two albums under his belt. His first solo album „Mask Talk“ thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece „Corridor Plateau“, which appeared as a limited edition to accompany the exhibition „Corridor Plateau“ contains percussive electronics and Industrial sounding like its from the second industrial revolution. His third album „Jeidem Fall“, is also not from here. It sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, „Jeidem Fall“ attacks the subconscious and clouds the mind. The drums have more movement that on „Mask Talk“. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on „Sa Seline“ or „Geo Scan“, without telling any obvious story.
To sound like stylistic cross references from the present and past is all just speculation for nothing on „Jeidem Fall“ really sounds like anything that has gone before. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album „Nommos“. There is also a hint of the minimallist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

01. Geo Scan
02. Jeidem Fall
03. Sa Eline
04. Sussing
05. Civilisation Penta
06. Barka
07. Conpearl Walker
08. Words Are Closed Up
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Tolouse Low Trax - Mask Talk

For ages nighttime was said to be the time of ghosts and spirits. Creatures of the night were believed to gain special powers between midnight and dawn. In latin this shrouded in mystery lapse of time was called intempesta - time without time.
Detlef Weinrich, alias Toulouse Low Trax, too, seems to have lingered in the irrational universe of frozen continuity quite frequently within the last two years. Everyone who drifts to the sound of his first solo album Mask Talk will soon sense the musical intensity boding a different dancefloor.
Cool, atmospheric new-wave-sharpness, and a cushioned beat rate between 107 and 116 bpm call out a mechanical functionality that doesn't bow to any contemporary doctrine. Mask Talk: urban music, club album. Big city lights in Africa. Chilly neon-sounds made in Dusseldorf.
As a member of Kreidler, Weinrich just recently participated in the trio's newly found cosmic vibes, as well as in their album Mosaik 2014. Now, with his solo project, he is demonstrating that a MPC and a small synthesizer-ensemble are enough to bring alive futuristic dance music in the here and now.
Bedroom-recorded under tense creative circumstances, the ten tracks invoke, mostly instrumentally, an eerie atmosphere that would fit in perfectly with an early John Carpenter movie. The tracks' volume sounds as if a whole band had been at work in Weinrichs own four walls. With plenty delay on the bass figures, compact analogue effects, percussive dabs and a rough blend of layers, Weinrich has, without any digital support, created quivering drum machine music, whose dancability he was able to test regularly as a resident DJ and co-owner of the Dusseldof-based club/ bar Salon Des Amateurs. His new tracks breathe the hypnotic power of his DJ sets, where he arranges diverse rhythms between krautrock, cosmic, electronic and acid. They also remind of analogue-electronical pioneers such as Cluster or Peter Baumann. Also 1980s avant-gardists Cabaret Voltaire or Zazou Bikaye have left their mark, without Toulouse Low Trax explicitely referring to them.
All tracks are committed to experiment. They leave room for every sound without neglecting rhythmical clarity. A dark, urban solanum, full of reverb, whose melodies are never prankish, but whose minimal nonchalance is sure to help not only the dark creatures through the night. Form is essence brought to the surface Victor Hugo wrote 150 years ago. Mask Talk is reasserting this theory as a destillate of an operating procedure seeking to subvert ingrained listening habits and to resharpen the contours of the audible. Electronic music beyond any categorisation, whose sounds and rhythmics grow to an emotional atmosphere that far exceeds the immediately hearable.

01. Subghosts
02. Mask Talk
03. Vai Vai
04. Kingdom
05. Prox
06. Qual und Glueck
07. Reptil Farce
08. Peculiar Fields
09. Septemba
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Morphon - Om Mars Venus

Klangwirkstoff Records | Catalog#: KW003
Format: CD Digipak | Genre: Ambient | Electronic Music
Format: CD Digipak / Digital
Artist: Titel: MORPHON
Titel:Om Mars Venus
Label: Klangwirkstoff Record
total playtime:76,10 min
Releasedate: 02.10.2008
LC: 16011
EAN: 4 036067 300 896

Now after the first release of Morphon at the compilation „active agent of sound“ kw002 at the end of 2007, they presents their first Longplay: OM Mars Venus

This CD contains spherical electronic ambientmusic with a philosophic background

With their project, Morphon, Eru (electronics and guitar), Tommelon (electronics and guitar), and B. Ashra (electronics) are exploring artistically the mental and physical effects of natural vibrations and rhythms (for example, planetary cycles)


1. Om 31:48 min.
2. Mars 21:30 min.
3.Venus 22:47 min.

This CD is a mix CD, you can by the whole mix in one track or the several songs alone. If you buy the whole album you have all several songs + the mix file.
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World Standard & Wechsel Garland - The Isle

japanese upright edition
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17 pictures - ...

japanese edition
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Channel In Channel Out - The Author And The Narrator

Channel in Channel out is the musical project of Marcus Cotten and The Author and The Narrator marks his debut release on Karaoke Kalk. True to his name, Cotten is like an interface picking up as much inspiration as possible from his environment and sending the energy back out into the world in an entirely new form. ChInChOut fuses so many styles in his songs that it really is hard to know just what is going on between the input and the output that is his creative process. His art is like some alchemical spell, fusing genres as diverse as good old fashioned singer-songwriting with moments of experimental electronica.

The man from Americas west-coast bastion of all things indie Portland, Oregon sheds some light on the voyeuristic nature of his observations with song titles like Calculate The Surveillance. At times Channel In Channel Out's music verges on the psychedelic, but not matter how far-out the compositions become, they remain songs at heart. The song-writing has something of the throw-away sketch like approach of Guided By Voices. But there is clearly a profound message concealed within each of these songs, and although one might have to delve deep through many layers of figurative disguise to work it out, this is part of the enjoyment: much more than mere songs the tracks are like a kind of emotional riddle. While the tunes generally defy comparison, Cotten's voice has a somewhat familiar quality to it. With slightly nasal overtones Cotten's vocal style is at times reminiscent of Ade Blackburn from Clinic, for instance on the lamenting song A Modulating Perception.
Then out of nowhere, there are moments of loopy ambient bliss on The Author and The Narrator such as the instrumental Affirmation Confirmation. Cotten obviously knows that sometimes its good to let the music do the talking; actions speak louder than words. This ambient interlude quickly gives way to the almost bluesy acoustic guitar riff of the penultimate tune Drop by drop ill measure it myself. Almost bluesy because the piece begins and ends in the an analogue bubble-bath that could easily have been recorded by Delia Derbyshire.

Although there really is no direct genre for the music collectively gathered in this project there is an emphasis on forward thinking, creating with no boundaries, and hosting different sound and visual experiments throughout the journey of this project. Channel in Channel out's music definitely has a vibe to it that is driven by the atmospheres of scenery and nature as well being driven by the wonders and puzzles of every day life.

The overall goal of the project channel in channel out is to bring the music to life through Film, Art and Photography more of which can be viewed on the ChInChOut homepage. The spirit of the musical compositions are elaborated on more through these other mediums. In this way Marcus Cotten gives you the full scope of what the music is trying to convey. Channel in Channel Out was started in 2006. The delightful thing about Channel in Channel out is his seeming willingness to accept contradictions rather than stand in opposition to them. The Author and The Narrator is constantly full of surprises. One really never quite knows what to expect, other that a thoroughly delightful album and enjoyable listening experience that is. Lets hope Marcus Cotten's in and out channels continue to stay open for a long time to come.

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Dakota Suite - The Hearts Of Empty

When I was making the record that became 'the end of trying' I had originally intended for it to be a double CD, the reason was that whilst I was recording the music, the mournful hymnal like austerity of the piano and cello, I also heard a more stripped back jazz based piano record and a series of more driven pulses and arrangements. I asked David if he would write me songs to compliment what I was doing which were more loose and free-form, essentially to make a modern jazz record as envisaged through Dakota Suite glasses (can you imagine such a thing??!?). So David took some of David Darling's pizzicato strings from the original recording sessions and wrote these sparse late night hymns of his own.

What you hear is David (Buxton) making music for me, playing the piano beautifully, recorded over two late nights and given to me. David is a genius, he knows how my heart sings (played by Bill Evans, obviously) and responded with these fourteen gifts. I knew immediately on hearing them that they needed to be heard on their own and without any distractions. Thanks Buko.

Chris Hooson, January 2011

Following the release of The End of Trying on Karaoke Kalk in 2008 and 2009's The Night Just Keeps Coming In, Dakota Suite are back with a new album of equally mesmerizing beauty. The band are led by Chris Hooson and completed by David Buxton and previously also Richard Formby. They released their first album in 1998 and The Hearts of Empty marks the significant milestone of being the bands 10th full length studio album.

All the compositions on The Hearts of Empty are performed by David Buxton with a perfectly sparse instrumentation. This sublimely minimal combination of piano, double-bass and percussive brushes make for a truly captivating sound. David really exhibits a mastery both in the concise nature of the arrangements as well as in their precise delivery. Every note sounds as if it is played with directed emotion, carefully placed and skillfully executed. This tremendous simplicity is reflected in the reductionism of Dakota Suite's album covers where they stick to the basic yet effective format of an evocative back and white photograph.
Of course it's a cliché from the Jazz scene, “its the notes you don't play...” but the grain of truth within this generalization certainly goes for Dakota Suite. Their music is at times sombre, meditative and withdrawn, but never is it forced or over-cluttered. Every melodic and rhythmic change seems to flow entirely naturally with the result that the music creates a wonderfully relaxed listening environment.
Indeed jazz has a strong musical influence on the style of the songs; most noticeable in the lilting piano refrain of Eskimo Nebula and the impeccable rim-shot and brushes drum work on Vermont Canyon Road for instance. And while this rich organic acoustic timbre pervades the entire album, there are a few exceptions such as the scientifically titled interlude M-Theory and the entrancing ambient tune The Ladder which see a brief excursion into the more digital world of experimental electronics through the use of synths and looping. Always the energy of the recordings conveys a well defined mood, such as on title track The Hearts of Empty which is reserved and yet uplifting at the same time.

Although Dakota Suite may be inspired by jazz music and draw on the influence of this colossal art form, they have taken it in an entirely different direction altogether with The Hearts of Empty. As far as Dakota Suite have a really original take on jazz it's fair to say they exceeded the goal described in Chris' statement of making modern jazz record as envisaged through Dakota Suite glasses This is exactly what they have achieved. The Hearts of Empty goes way beyond the traditional concept of a jazz trio foraying into fields such as new music, experimental and neo-classical and well as into completely uncharted territory altogether.
Although these compositions were conceived as an accompanying double CD to go along with the recordings with Grammy award winning cellist David Darling that appeared as The End of Trying, they work so well as an album in their own right. Every one of the pieces on The Hearts of Empty is of the utmost highest order.
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Static - Freedom Of Noise

Static is Berlin based musician and producer Hanno Leichtman. Besides his work as a member of the trio Groupshow along with Jan Jelinek and Andrew Pekler, and Denseland with David Moss and Hannes Strobl, Static is his main solo project. Following the release of the last album re:talking about memories on City Centre Offices in 2006 Leichtmann wanted the follow-up Static album to be something entirely different. The question was how to go about this?

While searching for an answer Leichtmann kept busy with his many other projects. He released an ambient album, Nuit Du Plomb, also on Karaoke Kalk, another album under the Forest Jackson moniker on the Austrian label Mosz Records and toured the world with Groupshow and as part of the Pole live band, all the time working on new Static material but never quite satisfied. Then, during a festival for improvised music in Berlin, he struck upon the idea of working with free improvising musicians, but to deploy them in a pop context. Leichtmann was already well acquainted with many of the musicians he wanted to record with from his days in the scene so it was easy to get the ball rolling.
The main collaborators for the production of Freedom of Noise were harpist Clare Cooper, the trumpet player Axel Dörner and the saxophonist Tobias Delius. In this way Leichtmann was able to perfectly combine Static's loop based methodology with the additional expressive possibilities of having all those great musicians involved. So Static was able to move freely between arrangements and improvised passages.
In addition to the three principle collaborators named above Leichtmann also brought the following players on board to enrich the compositions: Nicholas Bussmann on cello, Zoe Irvine on electronics, Magda Mayas on organ, David Moss on voice, Andrea Neumann on inside piano, Gert-Jan Prins on analogue devices, Maura Rougieux on background vocals, Clayton Thomas on double bass, Kassian Troyer on table guitar and Sabine Vogel on flutes. All these musicians help to bring the vibrancy of a full live band to the album to make for a richly detailed tapestry of sound. On top of all these talented instrumentalists Leichtmann invited the vocalists Falko Teichmann from Berlin and Yanira Castro from Madrid to sing on a number of tunes, adding to the pop element of the album.

The result of Static recruiting such a diverse host of other musicians is striking. And true to the album title the recordings exude a great sense of freedom, as if the tracks were by no means forced, sounding instead as though they have have been allowed to fall into place entirely naturally and to develop into the most comfortable structure quite organically. Musically the record is extremely multifaceted ranging from moments of eclectic pop, to experimental periods of neo-folk ambient and cut-up electronica. No doubt Leichtmann has succeeded in his goal of creating a new direction for Static. Freedom of Noise is a refreshing and adventurous musical journey.
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Tastronauten - Die Reise zum Mond - Live im Gasometer Oberhausen

Das Tastronauten Live-Konzert im Gasometer Oberhausen.

Eine musikalische Weltraumfahrt direkt unter dem größten Mond auf Erden.

Die Melancholie vor dem Verlassen der Heimat Erde.
Die Spannung vor dem Start.
Das Herzklopfen der Astronauten, das sich vermischt mit dem Countdown.
Die Erschütterungen beim Start.
Das Durchbrechen der Erdatmosphäre.
Das Schweben in der Schwerelosigkeit.

Die Tastronauten - Musik zum Hören und Sehen!

Volker Hein & Marcus Thyssen (Synthesizer, Piano, Organ, Flöte)
Feat. Ulf Gröpper (Saxophon & Querflöte) und Ludwig Kuckartz (Videokunst)

Aufgenommen unter schwierigsten Bedingungen, nur für die härtesten Fans.....
Handgemachte limitierte Erstauflage!
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Liquid Style Session - Superjam 2000

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Liquid Style Session - Live at Antoniter Superjam

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Uli Gebhardt - Moulded Cocktail

This CD is my »debut feature«.
It was recorded because more and more people who attended my live performances by the campfire asked me to offer something »for take away«.
You will listen to a mix of mostly melancholic ballads and some funny songs. The lyrics are sung (accompained by an acoustic guitar) in English and sometimes also in German.

The CD was produced in a CD manufacturing plant and the album cover I usually print on my inkjet. I apologize for using the comic sans font. ;-)


1. J*.wav
2. Lullaby
3. Rose of Hope
4. Lullaby
5. Just Dreams
6. Ode an ein Weizenmehlprodukt, das auf einer Sitzgelegenheit
an einem Bahnsteig ein eher
trauriges Dasein führt
7. Blind
8. Nice Guy's Blues
9. Mother's Heart
10. Ritter der Schwafelrunde
11. 10 Jahre Schobbe
12. Amok (Kleine blaue Elefanten)
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Uli Gebhardt - You'd Better Go Fishin'

This is my second CD.
Friendly critics told me that this CD sounds more »experienced«. Apart from my usual stuff there are also a few songs inspired by a more positive mood.


1. A Single Moment
2. A Song of Tomatoes, Sugar & Elephant
3. Change it Again
4. Aschermittwoch
5. Deep Eyes
6. Healing Sun
7. Das Hochzeitslied
8. Tower on the Hill
9. Shoo Away
10. Ode an einen potentiellen Aufstrich für Weizenmehl-
produkte, die auf Sitzgelegenheiten an Bahnsteigen
ein eher trauriges Dasein fristen
11. Different Eyes
12. The Painter
13. Pierrot
14. The Scars Still Hurt Me
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