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Carl Weingarten / Walter Whitney

Dreaming In Colors

Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors.

With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing.

While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions.

Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band.

Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay.

This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. 

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.

OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.

The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.

To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.

Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

Emotional Response continues the second SchleiBen series with a pan-ocean exploration of meditative spiritualism meets psychedelic ambience.

The 2nd of the 4 part series expands with the inclusive offerings from LA's Matthewdavid and London's HOLOVR for a cyclical journey of altered consciousness against lush 303-tinged harmonics.

First, Matthewdavid provides a 20-minute live recording to showcase his "meditation with music". Beat maker, producer, label owner, radio host and now new age explorer, Matthew David McQueen has been a fixture of the City Of Angles music scene for over a decade. However, it was his association with Tropical Hi-Fi (SchleiBen 3) that first attracted the label's attention to dig deeper in to his developing sound.

As Leaving Records founder he has a prominent role is shaping the cities sound that has seen him work with Sun Araw, Laraaji and a myriad of the label's roster. Here performing in most his recent incarnation, Matthewdavid's Mindflight - having just released the wonderful Trust The Guide And Glide double album opus - is Sonos.

Recorded live at Dublab Radio's "Tonalism" event at Sonos Studios, the piece utilises Critter & Guitari Pocket Piano, Hulusi Flute and Ableton Live to create movement, fade and sequence. A looping realisation, music inside music, thresholds expanded, connecting the centre, a place, origin, a soul that allows a devout expression to exude and find mediation in sound. This is music to get lost and at the same, get found in.

Set against these endless arp-loops, is HOLOVR, raising a more focused consciousness that is a perfect counterpoint. Having already appeared on the label via his recent, deep, eloquent remix of Sad City, as well as releasing with label favourites Opal Tapes, Further Records and Firecracker, the desire to work with another uniquely individual producer has been in place for several years. 

Emotional Rescue is honoured to reissue the benchmark in new age ambient music, Michael Stearns epic Planetary Unfolding album. Out of press on vinyl for over 30 years, here is Stearns masterful electronic symphony in 6 movements, recorded using his Serge modular synthesizer at the Continuum Studio in 1981.

The culmination of years of exploration in "space" music, Stearns journey, to the album's release, was one of learning and application. Involved in music since his teens, he graduated from guitar bands in the late 60s to an increasing interest in the principles of electronic music synthesis and the physics of musical instruments.

He moved from Tucson, Arizona to Los Angeles in 1975 where he performed live during movement meditation classes at the Continuum Studio. He released his first cassette album in 1977 before going on to record 7 albums during this formative period.

With Planetary Unfolding, the musical ideas that Michael performed on the Serge developed into this 52-minute masterpiece of music, six movements, three on each side of the LP. Based on the idea that the universe is made of sound held together through resonance, where atoms, cells, oceans, plants, animals and humans, all are part of a complex orchestration - the Earth as a being of sound.

Having first approached Michael in 2013, his uncertain response that the album could be rereleased in a way that the music would be given justice via vinyl, the idea was never forgotten. Gaining discovery, appraisal and prominence when "As The Earth Kissed The Moon" appeared in edited form on the "I Am The Centre" box set from Light In The Attic, this excellent window into the world of Private issue new age music, superbly compiled by Douglas McGowan, further increased the interest in Michael's and others, such as Laraaji, music.

With the likes of Matthewdavid's Leaving Records and Jonny Nash's Melody As Truth pushing the ambient curve beyond a post club, chill out fad, classic albums can rightly sit alongside this 'new age of the new age', so that ambient music again has a gravity and place of it's own.

This specially re-mastered version by Bob Ohllson features the original artwork by Leilani Bost, liner notes by long-term friend and fellow musician, Gary David, as well as the photography of Ron Peterson, together bringing this wonderful album to life once again. 

King Sporty & The Ex Tras

Rock Attack (feat. Faze Action Mix)

The King Sporty reissue series continues with the lesser known, but no less worthy, Rock Attack. This first time release of the song under the King Sporty name - having previously only been released as by the vocalist in The Ex Tras, Johnny Griffin - brings in to focus the breadth of music, numerous alias and versions used by Noel Williams on his Konduko label.

When compiling the series, numerous DJs and collectors suggested that the dubby instrumental track No Wonder, found on King Sporty & The Ex Tra's sole album, Extra Funky, should be included on a loud 12" pressing. What many did not know, however, is that it had already appeared as the flip to what is a vocal version, Rock Attack.

Released under the name J Griffin, the song appeared on Konduko and its sister label Tashamba, with all the hallmarks of a King Sporty production. An incessant, reggae "picking" guitar solo is matched with freaky freestyle synth interplay, with Griffin's rap-vocal matching the rhythm and electro-funk bass stabs, working around the repeated phrasing to create a groove that could swing for days.

Recorded, as always, at Miami Sound Studios, with writing, arranging and production credits to Noel William's, the recording was the early incarnation of King Sporty & The Ex Tras. It's stripped-back version, No Wonder, sees Griffin's vocals reduced, dropping in and out of the mix with over dubbing to measure that makes the inclusion of what is affectively vocal and dub, in its rightful place as an Ex Tras song complete.

This is backed with another specially crated Discomix, this time done in fine style by discoid forefathers, Faze Action. The Lee brothers (Robin and Simon) have worked closely behind the scenes with Emotional Rescue since it's inception, with Robin often providing invaluable remastering support- from Bob Chance's Wild It's Broken (ERC001) to this King Sporty series - combined with the fact it was Simon who suggested the idea of putting Rock Attack and No Wonder together for this release. It seemed therefore, only right that as they are giving up a long held, secret play, that they should be let loose to create a long form vocal / dub reversion.

Merging the main vocal interplay of Rock Attack with the dub of No Wonder, while deceptively removing the stop / start nature of the original arrangement, as Faze Action they bring all their production experience to bare, sending the results to the echo chamber for a reinterpretation that really lets the fun happen as a true Discomix should.

After last year's reissues of the Miami based label, Dancefloor, Emotional Rescue returns to the City's music with a look at the affiliated Konduko Records, with a collection of reissues from the acclaimed King Sporty.

A Caribbean musician who found his way to Florida, Noel Williams enjoyed a three-decade career that took in dub, funk, soul and disco that included a number of club hits along the way. To start the series is some of his better-known 80's output, primarily around his in-house project The Ex Tras and three 1982 releases - beginning with the first official reissue of one of his greatest "hits" in Haven't Been Funked Enough.

Initially known as a Jamaican born reggae artist, Williams gained his early tutelage at the legendary Clement Dodd's Studio One, first as studio assistant before making his recording debut as a Deejay in the late 60s. Making the short move north to Miami by the early 70s, he set up first Konduko and later Tashamba Records to release his own music and productions, as well as those of artists he signed and developed.

As the decade progressed King Sporty and his roster's releases developed from soulful reggae singles to the disco tinged sound found on his own, now sought after, Deep Reggae Roots album. The move to a more club based sound continued as disco took hold, with subsequent albums Keep On Burning and Meet Me At The Disco tapping in to the nascent sound with some success and recognition.

Working closely with Henry Stone's TK Disco, Konduko moved in to the 80s with electro and hip-hop increasingly employed as part of Williams' expanding fusion. With vocalists Connie Case and Johnny Griffin on board, a band - The Ex Tras - was formed around Williams dub tinged production.

From the warped electro-dub intro, heavy bass, chopped guitar, a watertight rhythm and driving percussion, Haven't Been Funked Enough mixes many of Williams' traits with an incessant vocals repeated infinitum. Backed with the original - here remastered for heavy rotation - is the never before released Rapstrumental. A merging of the Instrumental found on the flip of the US pressed Konduko 12", with the Rap vocal version found on the UK import TMT release, this 'remix' offers an updated take on what has been the more discerning DJ's play.

This is followed on the B-side by a very special version from the Idjut Boys' Dan Tyler, here in "Nad" moniker mode. After his much heralded remix, alongside Nick The Record, of Carl & Carol Jacob's Robot Jam for the label (ERC022), who to reinterpret such a classic quickly fell on this perfect fit and his long form 'Discomix' offered here is the ultimate rerub. Taking all the versions deep to his mixing well, Tyler's dub heavy reversion twists, turns, fuses, dissembles and reassembles in a reverb(erating) 10 minutes of electro-funk manner of heaven. As Mr Griffin says, "Lets unite, come on, let's live!

Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam.

Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations.

A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format.

Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome.

In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in.

The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media.

Emotional Rescue returns to the the work of remix specialists extraordinaire, Razormaid, with a special collection of their remixes of cold wave / dark wave synth band, Psyche. Featuring unreleased, re-edited and remastered versions of some of the bands most club-based tracks on one EP for the first time. Formed in 1982 in Edmonton, Canada by Darrin and Stephen Huss out of love of the new electronic sounds emanating out of Europe, Psyche soon forged their own path. Influenced by the industrial and post-punk sounds of bands like Killing Joke and Alien Sex Fiend, as well as the synth pop melodies of groups like Soft Cell and Yazoo, the brothers help precipitate the start of darker electronic "goth" sound. Following the success of their self released debut, "Insomnia Theatre", ripples across the water in Europe led to it subsequently being picked up and rereleased by French label New Rose. Coming to Paris in 1986 to record the follow up, "Unveiling The Secret", they heard that San Francisco based edit / remix protagonists Razormaid had created a re-edit of the title single for one of their own DJ tool compilations.
Liking what they heard, a deal was strike allowing future tracks to come under the remixers scalpel and special versions created from the master recordings. With this came a new remix of "Unveiling The Secret" and also, early single, "Prisoner Of Desire", with both only appearing on the increasingly sought after Razormaid DJ series. Impressed with the results, Joseph Watt was then commissioned to work his mixing desk skills on the band's follow up 12". Included here, Watt's classic "US Club Mix" of "Eternal" is the perfect marriage of Psyche's poppier elements with Razormaid's mastery of finding the groove. This is backed with the tougher, throbbing - and never released on 12" before - "Alcatraz Mix" retake of "Prisoner Of Desire". 

Vox Populi!

Magiques Creations

Following the success of last year's reissue of Vox Populi!'s "Aither", Emotional Rescue returns to the French / Persian band with the first of two albums selected from their considerable archive. First, their experiments between 1984 and 1989 in what are essentially pre-Aither sessions. "Magiques Creations" is in essence, an album of the imagination. Self-labeled as an ethno-industrial project, Vox Populi!'s recordings act as a document of the bridge between their earlier industrial influenced output through to a more cerebral, ethnic oeuvre. The collection highlights the movement through 1985's "Myscitismes" and 1987's "Half Dead Ganja Music" towards "Aither", with a darker, edgier sound mixed with increasingly lighter, ethereal touches.
On pieces like "Joue Joue", "Miss October" and "Ankaboot" the synergy is apparent. Mithra's vocals align with organ and synthesiser to set gothic-noir scenes, while the heavy kick of "Tchi Tchi Vox" and "Jube Man", with sax and distortion clearly pre-dating "Aither", propel to the more experimental DJs. Against this "Nazareman", "Bedroud" and "Deltangui" explore the increasily ethno side of the band. As the album unfolds however, it's not about single pieces, but a cohesive whole and the process and flow. Ethnic influences float around rhythm box, as hand percussion, guitar, tar and tapes warm the mind and lilting vocals seep inside. The collective nature of the band's recording is witnessed, but the pieces work together perfectly. The process of making music, constantly evolving a sound of their own has left a trove of music to examine. Working closely with Axel and Mithra some thirty years later brings out its own vibrations. Ancient flights remembered.

For their 50th release, Emotional Rescue return to the music of Woo, bringing a trilogy of reissues to a close with "A La Luna". Following "Whichever Way You Are Going" (1982) and "Into The Heart Of Love" (1990), their opus "A La Luna" (1991) was the last of the bands song based albums and represents a wonderful way to close this association. Reworked, re-ordered and remastered especially for this first time vinyl release, brothers Mark and Clive Ives again present their unique, ground-breaking and at the time, heart-wrenchingly overlooked music, that seems to fit the folk-new age-electronics of today as well, if not better, than when first released. Across 20 plus songs Mark's guitar, clarinet and vocals are as ever drenched in Clive's mixing desk mastery. Echo and reverb shimmer as the short pieces rise and fall like the wind blowing across nighttime trees. With no song going much beyond three minutes, "A La Luna" flows as one piece. The unmistaken sound of Woo wraps itself around you in an essence, warmth and glow that is addictive, meditative and uplifting. Featuring Mark's original vocal performance, love ode "Magic In The Dark" stands as a centerpiece where, as with all their albums, vocals appear at a minimum, as part of the musical journey.
The underlying somber nature of the album comes as the band ended more than a decade of recording with little critical or commercial success. The fact they did not release a full album again and moved towards a more meditation outlook was a loss, however, their recent rediscovery and the excellent releases by Drag City and Palto Flats included, has finally given the Ives brothers not just a place in appreciation, but has shown that there really is no one like Woo. Enjoy the magic.


Patrick says: Emotional Rescue bring their Woo trilogy to a close with a first ever vinyl issue of the gorgeous "A La Luna". Once again, the Ives brothers are in sublime form, serving up twenty two sketches of nocturnal cool imbued with their usual electro-acoustic magic.

Lace up your dancing shoes and let your hair down, it's time for another Emotional Rescue. The archival kings come to the aid of ailing dance floors everywhere with a much needed reissue of Ramm's sublime "Spark The Universe" with a brand new mix on the flip by label head Chuggy. A fusion of late 60s psychedelic pastiche, 80s new wave power, white soul passion and a healthy dose of dub, this 1983 cut should have been a massive hit on its release. It wasn't - but it has become a favourite amongst the more discerning DJs across the globe and second hand prices have recently soared to three figures. 
Before going on to carve a successful career in 'electronica' project, Euphoria, Toronto's Ken Ramm had shown his considerable writing and playing ability with the 1981 debut LP Dragon and this 1983 follow up, known simply as Ramm. Coming together through a meeting with a then relatively unknown producer, Daniel Lanois, via a mutual interest in tape loops and dubbing, it was the suggestion to bring in local vocalist Lorraine Segato that Ramm formed. Recording at Lanois' Grant Avenue Studios, his interest in mixing past and present technology, with multiple digital delay units, harmonizers and other effect processors allowed Ramm and Lanois to explore using the studio as an instrument alongside real musicianship.
Backwards guitars, tremolo bar dives and guitar harmonics are incorporated with the vocals and percussion to perfection. With a 'Dance' and alternative 'Dub', the song's hypnotic and dreamy feel superimposed over beats pin-pointed to the later Euphoria project and with the addition of a latter day 'Discomix', from the labels' own Chuggy, "Spark The Universe" deserves it's place on contemporary dancefloors.


Patrick says: Alternative disco destroyer "Spark The Universe" back in press for all your DJ needs! Forget the crappy pressings on bootleg comps, this one brings the high fidelity for the basement low lives.

Emotional Rescue returns with the third album in a series based around the music of Luis Delgado and Javier Bergia. After a collecton of Javier's best music and the reissue of their Ishinohana collaboration, the reissue specialists present Delgado's solo debut, "Vathek". The second release on his El Cometa De Madrid label after Ishinohana, the LP is an avant-garde step forward from that collaboration, their work in Finas Africae and also, his previous Mecanica Popular project. In a sense, Delgado is the link that brings many of the country's music of that period together. As a multi-instrumentalist he played his first concert at 14 before becoming an in-house engineer for RCA, a position which led to Mecanica Popular with fellow engineer Eugenio MuNoz (Randomize) and the following projects.
The colder electronics of that project belie Delgado's Andulusian Folk/Rock and Ethnic Fusion compulsion, as came to prominence with Luis Paniagua in their Babia releases and via the later success of Finas Africae. In "Vathek", Delgado pushes beyond these projects to utilise the studio and explore his interest in Eastern music. Subtitled "Procesos Electronicos Para Instrumentos Acusticos," the premise was that even with all the machines, the knowledge to use them is not realised and therefore, the goal was to go deeper within these processes to create an new encompassing sound.
The ten pieces should, therefore, be seen in this exploration, yielding a deepness not associated with this golden period of Spanish music. A truly experimental album that is meditative and mesmorising; a mastery of instrument, studio and thought.
As with Javier Bergia's 'Eclipse' and Ishinohana before it, Vathek comes with wonderful hand-illustrated artwork by Finn Campbell-Notman, from his studio in the Andulusian foothills.

After teasing us for an eternity in the pre-sale pile up, Emotional Rescue finally furnish us with this mega retrospective of Spain's Auxilio De Ciento. One of the finest underground imprints in 80s Europe, Auxilio De Ciento's 'Terra Incognita' Volumes I and II collated an international mix of synth-pop, new wave, world and industrial sounds to a small but appreciative following. 
Released in 1985 and 1986, the 'Volumes' have become highly regarded and rightly sought after, finding a place in discerning playlists from London to Amsterdam and Dusseldorf to Glasgow. Here, taking a premise of avoiding the songs unearthed on other recent reissues, is a unique album itself. Starting with Denis Mpunga & Paul K's esoteric 'Criola', a fusion of fourth world ideals and poly-rhythmic funk. The music of Mal, Bene Gesserit and La Caida De La Casa Usher, however, soon highlight that the decade also belonged to dark, minimal synth as to shiny balearic ideals. The inclusion of Hector Zazou with Bony Biyake and their contribution 'Komba', is a fitting continuation from their cult 'Noir Et Blanc' LP before, things continue with US avant-artist Danny Alias and his humorous 'Big Brother' "response" to Laurie Anderson's 'O Superman'. Image Pour Image loose indie-pop and the inclusion of seminal Beast Of Burden lead again to a Zazou contribution, this time in his collaborative 'Stranger In A New Light', before the compilation eclectically ends with the dadaesque Lakota and the post punk dub of Instead Of's closer, 'Angels' .


Patrick says: Emotional Rescue combine the best bits of Auxilio De Ciento's killer Terra Incognito comps into one wavey piece of wax. This twelve track set serves up industrial oddness, dance-able post punk and odd afro-electronics for the cyber-goth in all of us.

After half a decade of Emotional Rescues the dependable imprint ticks one of the bucket list and treats us to a much needed reissue of rainforest masterpiece "A La Izquierda Del Colibri". A collaborative effort from flute-toting multi-instrumentalist Jorge Reyes and percussion king Antonio Zepeda, the 1986 LP fuses new age textures, ancestral rhythms and shamanic melodies into a mindbending vision quest. Bathing in the same fourth world stream as Jah Wobble, Tri Atma and Paolo Modugni, Reyes fused prehispanic instruments with transcendental electronics, leading us through the undergrowth and into the humid jungle beyond. Pulsating Poly800 bass and DX7 mallets ring through the trees as we scope out an Aztec temple, off-beat guitar and flautal swirls add a little froglicking funk and the organic clatter of Zepeda's percussion ties everything together with tribal mysticism. As a man who shelled out top dollar for an original copy around 18 months ago, you'd think I'd be gutted to see this one make a return to the shelves, but in all honesty, everyone needs to hear this album.


Patrick says: Brush through the digital undergrowth, follow the flautal bird-song, dance to the ancient rhythm and you might just find enlightenment. In an Aztec temple that touches the sky, Jorge Reyes and Antonio Zepeda weave a fourth world spell of future primitive beauty.

Emotional Rescue revisit their Stollwerck Sampler reissue (ERC026) via a limited edition 7" boasting two previously unearthed pieces featuring the legendary drumming of Jaki Liebezeit. Emerging during the European Free Jazz movement of the mid-60s, by the end of the decade Liebezeit had moved towards the psychedelic fringes of rock and alongside Irmin Schmidt, Holger Czukay, Michael Karoli and David C. Johnson formed the pioneering 'Krautrock' band, Can, in 1968. His unique half-man, half machine metronome style was integral to the band's development and success throughout the following decade, a centre-piece to their sound as they became acclaimed international stars. With the slow hiatus that engulfed Can in 1980 each member went on to work on new projects. For Leibezeit, this saw him team up with guitarist Dominik Von Senger to form Phantom Band. Releasing just 3 albums, each are highly regarded, encompassing an extension of latter-day Can's funky-jazz fusion with metronomic rock and experimenting with African rhythms. Out of this came the Von Senger led Dunkelziffer (ERC007/8/9), all centered around the warehouse art spaces of Stollwerck. When the recordings for a special Sampler album bought together various artists and bands based in the space it was logical that Liebezeit would be heavily involved. The Sampler's LP collage of post-punk, krautrock, dub and avant-garde music saw many unusual collaborations and for this limited 7 we present two such pieces, including the first ever recording of his drum ensemble, "Drums Off Chaos". First, Phantom Band team up with the unknown Linear Johnson & The Protons. A mixture of krautrock meets 50s USA rock'n'roll delivery makes for a wondefully odd combination, but the interplay between drums and Von Senger's guitar marry with R&B vocals to jovial perfection. On the flip, here then are the beginnings of Liebezeit's "Drums Off Chaos". Some 5 minutes of pure drumming explosions, this unique recording was not followed up for a further 20 years and is therefore, a special document in a comprehensive music career.

A project bringing together Javier Bergia and friends Luis Delgado and Manuel Illan, Ishinohana sees these masters mesh the inflences of rock, new age and Eastern percussion in to a cohesive whole. With a nod to the influence of Pat Metheny throughout, "Le Flor De Piedra" is removed from their works in Finas Africae or as solo artists, allowing each to flourish in their craft with the framework of a group setting. Delgado is prominent. His guitar playing ties the album together and his production looks as much to the albums of 70s and early 80s America than to Japan, where the background for the album is set.
While new age and jazz fusion are oft considered areas to avoid, it's actually the more discerning ear that realises these genres are some of the deepest and most free forms of musical expression. The passion within "Le Flor De Piedra" displays as such. To not stop, listen and understand songs like "Delta" and "Lucia" and their ethereal approach would be a travesty. The reissue of such a cult album is something worth more than that.

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