tomomi adachi “experimental music of japan vol.3 • early works & live 1994-1996” compact disc

• voice and electronics improvisations (17:50)
  
• hide kinoshita “voice sound poetry form begun with -x-” (2:36)
  
• news paper singing (1:37)
  
• violin and electronics improvisations (10:45)
  
• piano improvisation (3:29)
  
• expanded violin improvisation (3:18)
  
• hoses and pipes improvisation (3:21)
  
• piano improvisation (3:08)

edition omega point experimental music of japan press release...

experimental music of japan vol.3 tomomi adachi - early works & live 1994-1996 publisher: omega point (opx-003) tomomi adachi is a performer/composer. known for his versatile style, he has performed solo improvisations with voice, computer, sensor system and self-made instruments, also is active in the field of theater music, installation and video. in collaboraton work with toshi ichiyanagi "ommage for space" (please see section of opx-001 below), he performed live electronics. “this is a collection of my early recordings, just after i started my professional activity in 1994. almost tracks were performed as improvisations without any overdubings and edits. 1-7 are recording of a performance i did in a private venue in akagi mountain. track 6 is the first published japanese sound poetry on japanese dadaist magazine "mavo" in 1924. track 7 is a reading of newspaper on that date. 8-11 are tracks from my first released tape in 1994, 12-15 are from my second released tape in 1995. i think i will not present these kinds of music anymore.” - tomomi adachi limited edition of 300 copies

haruyuki suzuki “experimental music of japan vol.2 • electronic works vol.1” compact disc

• concret ii (9:21) 1985
  
• go and back (a) (4:01) 1996
  
• go and back (b) (4:02) 1996
  
• go and back (c) (4:02) 1996
  
• circuit ii (20:42) 2006
  
• bustling for luc (6:17) 2007

edition omega point experimental music of japan press release...

experimental music of japan vol.2 haruyuki suzuki - "electronic works vol.1" publisher: omega point (opx-002) haruyuki suzuki is a composer. born in 1962, in tokyo. he studied composition almost by himself. he established tempus novum in 1991. so far he has been interested in the collaboration with many artists outside music, mainly films and art. and also he organized lectures and concerts of james tenney (2001), luc ferrari (2002, 2003) and so on. “this cd includes four of my electronic works. the oldest piece "concret ii" composed in 1985 points toward noise sound. the triptych, "go and back" series composed in 1996, "circuit ii" (2006) used 2 cd-j players, "bustling for luc" (2007) and dedicated for my souvenir with luc ferrari. the material is only the environmental sound of busy quarters in tokyo.” - haruyuki suzuki limited edition of 300 copies

toshi ichiyanagi / akiko samukawa / tomomi adachi “experimental music of japan vol.1 special edition • live document ‘hommage for space’” compact disc and three inch compact disc-recordable set

• morton feldman - 2 pianos (6:20)
  
• toshi ichiyanagi - time sequence (9:05)
  
• michal kleofas oginsky / toshi ichiyanagi - polonaise in a minor “ojczyzny” (4:42)
  
• toshi ichiyanagi / akiko samukawa / tomomi adachi - improvisation hommage for space (37:23)
  
  
• astor piazzola - libertango (excerpt from rehearsal) (2:45)
  
• toshi ichiyanagi / akiko samukawa / tomomi adachi - improvisation hommage for space (excerpt from performance of pre-opening party) (11:40)

edition omega point experimental music of japan press release...

experimental music of japan vol.1 toshi ichiyanagi + akiko samukawa + tomomi adachi - live document "hommage for space" edition omega point opx-001 this is the live recording of the music performance held at the installation exhibition of chiharu shiota in the gallery of kanagawa kenmin hall in yokohama japan last october. the performance was defined as art complex by toshi ichiyanagi from the music stand point of view. the content of music consists of live computer improvisation as well as some acoustic programed pieces by piano performance by akiko samukawa, toshi ichiyanagi and computer electronics by tomomi adachi to create the interpenetration of temporal and spacial situation in the gallery space. - toshi ichiyanagi note: art-complex also included symposium, string quartet concert, piano recital, contemporary dance and so on. track 4 includes electric organ drone by samukawa, some metronomes click by ichiyanagi and homemade instrument named "tomoring" by adachi. special edition with minicdr is also available. it's recorded rehearsal take and performance of pre-opening party. limited to 100 copies profile of performer : tomomi adachi born in kanazawa, japan in 1972, he is performer, composer, sound poet, installation artist, occasional theater director. he studied philosophy and aesthetics at waseda university in tokyo. he has played improvised music with voice, live electronics and self-made instruments. he also has organized many concerts which picks up experimental music, sound art, collaboration work and inter-disciplinary performance in japan and germany, include concerts for chris mann, trevor wishart, nicolas collins and steim in japan. akiko samukawa born in kyoto. she studied piano at music department of ferris women's university and under some pianists. she do not play only contemporary music mainly, but also interests improvisation and other field of sound works. she wants to perform extraordinary works, and organized piano recital includes mixed-media or computer assisted works recently.

toshi ichiyanagi / akiko samukawa / tomomi adachi “experimental music of japan vol.1 • live document ‘hommage for space’” compact disc

• morton feldman - 2 pianos (6:20)
  
• toshi ichiyanagi - time sequence (9:05)
  
• michal kleofas oginsky / toshi ichiyanagi - polonaise in a minor “ojczyzny” (4:42)
  
• toshi ichiyanagi / akiko samukawa / tomomi adachi - improvisation hommage for space (37:23)

edition omega point experimental music of japan press release...

experimental music of japan vol.1 toshi ichiyanagi + akiko samukawa + tomomi adachi - live document "hommage for space" edition omega point opx-001 this is the live recording of the music performance held at the installation exhibition of chiharu shiota in the gallery of kanagawa kenmin hall in yokohama japan last october. the performance was defined as art complex by toshi ichiyanagi from the music stand point of view. the content of music consists of live computer improvisation as well as some acoustic programed pieces by piano performance by akiko samukawa, toshi ichiyanagi and computer electronics by tomomi adachi to create the interpenetration of temporal and spacial situation in the gallery space. - toshi ichiyanagi note: art-complex also included symposium, string quartet concert, piano recital, contemporary dance and so on. track 4 includes electric organ drone by samukawa, some metronomes click by ichiyanagi and homemade instrument named "tomoring" by adachi. profile of performer : tomomi adachi born in kanazawa, japan in 1972, he is performer, composer, sound poet, installation artist, occasional theater director. he studied philosophy and aesthetics at waseda university in tokyo. he has played improvised music with voice, live electronics and self-made instruments. he also has organized many concerts which picks up experimental music, sound art, collaboration work and inter-disciplinary performance in japan and germany, include concerts for chris mann, trevor wishart, nicolas collins and steim in japan. akiko samukawa born in kyoto. she studied piano at music department of ferris women's university and under some pianists. she do not play only contemporary music mainly, but also interests improvisation and other field of sound works. she wants to perform extraordinary works, and organized piano recital includes mixed-media or computer assisted works recently.

yoshi wada “singing in unison” triple long playing record set

• march 14 - part 1 (first half)
  
  
• march 14 - part 1 (latter half)
  
  
• march 14 - part 2
  
  
• march 15 - part 1 (first half)
  
  
• march 15 - part 1 (latter half)
  
  
• march 15 - part 2

em press release...

catalogue# : em1109 lp artist : yoshi wada title : singing in unison media : 3lp set + previously unreleased 1978 recordings at the kitchen center, ny + 96khz / 24bit digitally remastered + liner notes written by yoshi wada + english / japanese text<br>+ cover art drawn by yoshi wada lp version: triple lp set for the complete version of both performances on march 14 and 15. two and a half hours in total. quality pressing + liners. "singing in unison" is the latest in a series of recordings from acclaimed sound artist, composer and performer yoshi wada. recorded live over two nights, march 14 and 15, in 1978, at new york city's legendary performance space the kitchen, "singing in unison" is a dramatic yet meditative work: modal improvisations for three male voices, singing, with great gravitas, in purposeful unison. these previously unreleased recordings, featuring vocalists richard hayman, imani smith and wada himself are extremely powerful, with a glacial majesty and a sense of timeless wonder. wada's earliest musical memories are of hearing zen buddhist ritual chants in his native japan, and those memories are reflected in the deep vocalisations here; also evident is wada's period of intense study with indian master singer pandit pran nath. thus there is a definite "eastern" feeling to "singing in unison", with further elements added by imani smith's sufi background and wada's interest in eastern european vocal styles, but the music is also informed by wada's experiences in the fluxus movement and as a member of the new york avant-garde community. the edgy atmosphere of 1970s new york city pervades these recordings, adding a hint of menace.. yoshi wada has four previous releases on em records: "lament for the rise and fall of elephantine crocodile" [em1074cd]; "the appointed cloud" [em1076d]; "off the wall" [em1078cd]; and "earth horns with electronic drone" [em1081cd]. "singing in unison" is available in two formats: a single cd of the march 15 performance, with gatefold sleeve; or a triple lp set featuring a complete version of both performances, march 14 and 15. "singing in unison" is a massive, monumental, monolith of vocal sound. unstoppable!

john cage / david tudor / toshi ichiyanagi “john cage shock • vol. 3” compact disc

• john cage - 0'00" (18:09)
  
• michael von biel - composition ii for 2 pianos (6:12)
  
• toshi ichiyanagi - music for piano #7 (14:59)

em press release...

catalogue# : em1106cd (op-0010) artist : john cage, david tudor, toshi ichiyanagi title : john cage shock vol. 3 media : cd + all tracks are previously unissued + joint production of omega point + em records + tribute to the john cage centenary and the 50th anniversary for his first japan tour + many scarce photos + japanese - english liner notes including a commentary by toshi ichiyanagi +2 x 12" lp, quality pressing + a large size liner + lp only bonus track in october 1962 john cage and his great interpreter/co-visionary david tudor visited japan, performing seven concerts and exposing listeners to new musical worlds. this legendary "john cage shock", as it was dubbed by the critic hidekazu yoshida, is the source of this series of releases, three cds and a "best hits" double lp compilation. recorded primarily at the sogetsu art center in tokyo on october 24, 1962 (with two performances from october 17 at mido-kaikan in osaka), all recordings in this series are previously unreleased. a major historical trove, unearthed. the performances on this tour featured cage and tudor with some noteworthy japanese musicians playing pieces by cage and a number of other composers. volume 1 begins with toru takemitsu's corona for pianists (1962), played by tudor and yuji takahashi, an indeterminate piece scored using transparencies, a sign of cage's influence on younger japanese composers of the era. following this is duo for violinist and pianist (1961) by christian wolff, written specifically for david tudor and violinist kenji kobayashi. the final piece, a near-twenty-minute realization of variations ii (1961), is a rare example of the rougher side of cage, work that presaged much of the live electronic music and noise of the following decades, an aspect of his oeuvre which is woefully under-represented on cd. cage and tudor, using well-amplified contact microphones on a piano, deliver an electrifying performance, alternating distorted stretches of harsh 60s reality with bountiful silences. volume 2 lifts off with a fiery example of tudor's piano virtuosity, his mastery of dynamics well evident in a performance of klavierstück x (1961) by karlheinz stockhausen. the titular shock of this series is delivered even more forcefully with the next piece, cage's 26'55.988" for 2 pianists and a string player (1961), which was first performed the year before in darmstadt by tudor and kobayashi, a combination of two of cage's solo pieces. the performance here, from osaka, has a slightly altered title and the composition becomes a seismic quartet with the addition of toshi ichiyanagi and yoko ono, with the four performers providing acutely-angled blasts of sound. the final cd of the series features cage's 0'00" (1962), also referred to as 4'33" no.2, performed by the composer, with daily activities such as writing and drinking coffee amplified by contact microphones into sonic abstraction, following the score's directions: "with maximum amplification (no feedback), perform a disciplined action". next is composition ii for 2 pianos (1960/61) by michael von biel, lovely and sparse, performed by tudor and ichiyanagi. the disc closes with ichiyanagi's piano music #7 (1961), performed also by tudor and ichiyanagi, beds of silence disrupted by pianistic stabs, music box madness, traffic recordings, percussive thumps, tape manipulations and more. the "john cage shock" series features truly historical recordings, all previously unreleased, of compositions by an amazing roster of international composers. the intensity of these performances by cage, tudor, ichiyanagi, kobayashi, ono and takahashi has remained hidden and unheard for half a century, but remains undiminished. these three cd’s, as well as the special double lp (including a vinyl only bonus track), feature rare photos plus japanese and english liner notes.

john cage / david tudor / toshi ichiyanagi / kenji kobayashi / yoko ono “john cage shock • vol. 2” compact disc

• karlheinz stockhausen - klavierstück x (19:39)
  
• john cage - 26'55.988" for 2 pianists & a string player (22:41)

em press release...

catalogue# : em1105cd (op-0009) artist : david tudor, toshi ichiyanagi, kenji kobayashi, yoko ono title : john cage shock vol. 2 media : cd + all tracks are previously unissued + joint production of omega point + em records + tribute to the john cage centenary and the 50th anniversary for his first japan tour + many scarce photos + japanese - english liner notes including a commentary by toshi ichiyanagi +2 x 12" lp, quality pressing + a large size liner + lp only bonus track in october 1962 john cage and his great interpreter/co-visionary david tudor visited japan, performing seven concerts and exposing listeners to new musical worlds. this legendary "john cage shock", as it was dubbed by the critic hidekazu yoshida, is the source of this series of releases, three cds and a "best hits" double lp compilation. recorded primarily at the sogetsu art center in tokyo on october 24, 1962 (with two performances from october 17 at mido-kaikan in osaka), all recordings in this series are previously unreleased. a major historical trove, unearthed. the performances on this tour featured cage and tudor with some noteworthy japanese musicians playing pieces by cage and a number of other composers. volume 1 begins with toru takemitsu's corona for pianists (1962), played by tudor and yuji takahashi, an indeterminate piece scored using transparencies, a sign of cage's influence on younger japanese composers of the era. following this is duo for violinist and pianist (1961) by christian wolff, written specifically for david tudor and violinist kenji kobayashi. the final piece, a near-twenty-minute realization of variations ii (1961), is a rare example of the rougher side of cage, work that presaged much of the live electronic music and noise of the following decades, an aspect of his oeuvre which is woefully under-represented on cd. cage and tudor, using well-amplified contact microphones on a piano, deliver an electrifying performance, alternating distorted stretches of harsh 60s reality with bountiful silences. volume 2 lifts off with a fiery example of tudor's piano virtuosity, his mastery of dynamics well evident in a performance of klavierstück x (1961) by karlheinz stockhausen. the titular shock of this series is delivered even more forcefully with the next piece, cage's 26'55.988" for 2 pianists and a string player (1961), which was first performed the year before in darmstadt by tudor and kobayashi, a combination of two of cage's solo pieces. the performance here, from osaka, has a slightly altered title and the composition becomes a seismic quartet with the addition of toshi ichiyanagi and yoko ono, with the four performers providing acutely-angled blasts of sound. the final cd of the series features cage's 0'00" (1962), also referred to as 4'33" no.2, performed by the composer, with daily activities such as writing and drinking coffee amplified by contact microphones into sonic abstraction, following the score's directions: "with maximum amplification (no feedback), perform a disciplined action". next is composition ii for 2 pianos (1960/61) by michael von biel, lovely and sparse, performed by tudor and ichiyanagi. the disc closes with ichiyanagi's piano music #7 (1961), performed also by tudor and ichiyanagi, beds of silence disrupted by pianistic stabs, music box madness, traffic recordings, percussive thumps, tape manipulations and more. the "john cage shock" series features truly historical recordings, all previously unreleased, of compositions by an amazing roster of international composers. the intensity of these performances by cage, tudor, ichiyanagi, kobayashi, ono and takahashi has remained hidden and unheard for half a century, but remains undiminished. these three cd’s, as well as the special double lp (including a vinyl only bonus track), feature rare photos plus japanese and english liner notes.

john cage / david tudor / yuji takahashi / kenji kobayashi “john cage shock • vol. 1” compact disc

• toru takemitsu - corona for pianists (9:34)
  
• christian wolff - duo for pianist & violinist (12:09)
  
• john cage - variations ii (19:16)

em press release...

catalogue# : em1104cd (op-0008) artist : david tudor, john cage, yuji takahashi, kenji kobayashi title : john cage shock vol. 1 media : cd + all tracks are previously unissued + joint production of omega point + em records + tribute to the john cage centenary and the 50th anniversary for his first japan tour + many scarce photos + japanese - english liner notes including a commentary by toshi ichiyanagi +2 x 12" lp, quality pressing + a large size liner + lp only bonus track in october 1962 john cage and his great interpreter/co-visionary david tudor visited japan, performing seven concerts and exposing listeners to new musical worlds. this legendary "john cage shock", as it was dubbed by the critic hidekazu yoshida, is the source of this series of releases, three cds and a "best hits" double lp compilation. recorded primarily at the sogetsu art center in tokyo on october 24, 1962 (with two performances from october 17 at mido-kaikan in osaka), all recordings in this series are previously unreleased. a major historical trove, unearthed. the performances on this tour featured cage and tudor with some noteworthy japanese musicians playing pieces by cage and a number of other composers. volume 1 begins with toru takemitsu's corona for pianists (1962), played by tudor and yuji takahashi, an indeterminate piece scored using transparencies, a sign of cage's influence on younger japanese composers of the era. following this is duo for violinist and pianist (1961) by christian wolff, written specifically for david tudor and violinist kenji kobayashi. the final piece, a near-twenty-minute realization of variations ii (1961), is a rare example of the rougher side of cage, work that presaged much of the live electronic music and noise of the following decades, an aspect of his oeuvre which is woefully under-represented on cd. cage and tudor, using well-amplified contact microphones on a piano, deliver an electrifying performance, alternating distorted stretches of harsh 60s reality with bountiful silences. volume 2 lifts off with a fiery example of tudor's piano virtuosity, his mastery of dynamics well evident in a performance of klavierstück x (1961) by karlheinz stockhausen. the titular shock of this series is delivered even more forcefully with the next piece, cage's 26'55.988" for 2 pianists and a string player (1961), which was first performed the year before in darmstadt by tudor and kobayashi, a combination of two of cage's solo pieces. the performance here, from osaka, has a slightly altered title and the composition becomes a seismic quartet with the addition of toshi ichiyanagi and yoko ono, with the four performers providing acutely-angled blasts of sound. the final cd of the series features cage's 0'00" (1962), also referred to as 4'33" no.2, performed by the composer, with daily activities such as writing and drinking coffee amplified by contact microphones into sonic abstraction, following the score's directions: "with maximum amplification (no feedback), perform a disciplined action". next is composition ii for 2 pianos (1960/61) by michael von biel, lovely and sparse, performed by tudor and ichiyanagi. the disc closes with ichiyanagi's piano music #7 (1961), performed also by tudor and ichiyanagi, beds of silence disrupted by pianistic stabs, music box madness, traffic recordings, percussive thumps, tape manipulations and more. the "john cage shock" series features truly historical recordings, all previously unreleased, of compositions by an amazing roster of international composers. the intensity of these performances by cage, tudor, ichiyanagi, kobayashi, ono and takahashi has remained hidden and unheard for half a century, but remains undiminished. these three cd’s, as well as the special double lp (including a vinyl only bonus track), feature rare photos plus japanese and english liner notes.

thonghuad faited “diew sor isan • the north east thai violin of thonghuad faited” long playing record

• diew sor (sor solo)
  
• diew sor kid hod baan (sor solo - missing home)
  
• ruammit (mix up)
  
• eua aree see sor (eua aree playing sor)
  
• hae klongyao (klongyao drum parade)
  
• lam plearn isan samakkee (lam plearn isan unity)
  
• zeang klong kao (ricebox zeang)
  
  
• hongthong kanong lam (hongthong's rumble dance)
  
• waen wiset (baanleng) (magic glasses (instrumental))
  
• diew sor radap lok (sor solo - world class)
  
• sinchai taam fan (sinchai finding girlfriend)
  
• diew sor lom pat prao (sor solo – wind blowing the coconut tree)
  
• diew sor - diew khaen (sor solo – khaen solo)
  
• lam tud (lam tud)
  
• lam plearn kieow lam plearn (lam plearn chatting up lam plearn)

em press release...

catalogue# : em1101 lp & cdartist : thonghuad faited title : diew sor isan : the north east thai violin of thonghuad faited media : 12" lp + first release outside of thailand and the first-time ever reissue in worldwide + anthology of the 1970s recordings by legendary number one 'sor warrior' from isan, thailand + collection of heavy, deep & funky molam inst. and some vox tunes + supported by maft sai (zudrangma) and chris menist of paradise bangkok <lp version> + quality pressing + english-japanese liner notes =============================== we are concentrating on the ‘sor’ from thailand, the traditional two-stringed violin that is a mainstay of isan musical culture.  "diew sor isan : the north east thai violin of thonghuad faited" focuses on the talents of one of the instrument’s greatest proponents and brings his key releases together onto one anthology for the first time. thonghuad comes from the ‘molam’ tradition, the dominant rural music that hails from isan, the north east thai province that borders with laos and cambodia. underpinned by woozy basslines, drones and clattering percussion, his music is characterised by sprightly melodies through to haunting dirges that could come from as far a field as eastern china, or even the celtic traditions of ireland.   detailed notes trace his history from humble beginnings to playing up to five gigs a night in bangkok at the peak of his fame. whether it’s playing beautifully crafted solo pieces, or providing a counterpoint for raw vocal work, thonghuad faited is a nationally recognised master of his craft who has additionally cut sides with dozens of established singers over the years, such as waipod petchsupan and angkanang kunchai. percussive, otherworldly and universal, we are proud to present this unique music to the world, much of it released outside of thailand for the first time.

thonghuad faited “diew sor isan • the north east thai violin of thonghuad faited” compact disc

• diew sor (sor solo) (2:25)
  
• diew sor kid hod baan (sor solo - missing home) (3:52)
  
• ruammit (mix up) (3:30)
  
• eua aree see sor (eua aree playing sor) (3:24)
  
• hae klongyao (klongyao drum parade) (3:10)
  
• lam plearn isan samakkee (lam plearn isan unity) (4:20)
  
• zeang klong kao (ricebox zeang) (3:31)
  
• hongthong kanong lam (hongthong's rumble dance) (3:45)
  
• waen wiset (baanleng) (magic glasses (instrumental)) (2:51)
  
• diew sor radap lok (sor solo - world class) (2:55)
  
• sinchai taam fan (sinchai finding girlfriend) (2:43)
  
• diew sor lom pat prao (sor solo – wind blowing the coconut tree) (2:18)
  
• diew sor - diew khaen (sor solo – khaen solo) (3:31)
  
• lam tud (lam tud) (2:46)
  
• lam plearn kieow lam plearn (lam plearn chatting up lam plearn) (3:24)

em press release...

catalogue# : em1101 lp & cdartist : thonghuad faited title : diew sor isan : the north east thai violin of thonghuad faited media : cd + first release outside of thailand and the first-time ever reissue in worldwide + anthology of the 1970s recordings by legendary number one 'sor warrior' from isan, thailand + collection of heavy, deep & funky molam inst. and some vox tunes + supported by maft sai (zudrangma) and chris menist of paradise bangkok <cd version> + gatefold cardboard sleeve jacket plus inserts + english-japanese liner notes =============================== we are concentrating on the ‘sor’ from thailand, the traditional two-stringed violin that is a mainstay of isan musical culture.  "diew sor isan : the north east thai violin of thonghuad faited" focuses on the talents of one of the instrument’s greatest proponents and brings his key releases together onto one anthology for the first time. thonghuad comes from the ‘molam’ tradition, the dominant rural music that hails from isan, the north east thai province that borders with laos and cambodia. underpinned by woozy basslines, drones and clattering percussion, his music is characterised by sprightly melodies through to haunting dirges that could come from as far a field as eastern china, or even the celtic traditions of ireland.   detailed notes trace his history from humble beginnings to playing up to five gigs a night in bangkok at the peak of his fame. whether it’s playing beautifully crafted solo pieces, or providing a counterpoint for raw vocal work, thonghuad faited is a nationally recognised master of his craft who has additionally cut sides with dozens of established singers over the years, such as waipod petchsupan and angkanang kunchai. percussive, otherworldly and universal, we are proud to present this unique music to the world, much of it released outside of thailand for the first time.

matsuo ohno “i saw the outer limits • play on animals (choju gigaku)” compact disc and three inch compact disc set

• part-0 • universal is born (3:15)
  
• part-1 • a brief tour of the solar system and interplanetary space (5:56)
  
• part-2 • a slightly longer tour of the galaxy and interstellar space (6:10)
  
• part-3 • extragalactic and intergalactic space (4:59)
  
• part-4 • pulsation (6:23)
  
• part-5 • n-dimension (6:00)
  
• part-6 • mandala (6:13)
  
• part-(infinity) • extracosmos gazing beyond the horizon (3:22)
  
  
• sekaino kunikara kon'nichiwa
  
• sakura sakura (japanese traditional song)
  
• funiculi and funicula [italy]
  
• volga boatman [russia]
  
• oh my darling and clementine [united states]
  
• yagi bushi [japan]

em press release...

catalogue# : em1098cd artist : matsuo ohno title : i saw the outer limits media : cd + incl. a bonus mini-cd reissue of a rare "play on animals (choju gigaku)" [em1094cd] + foldout thick paper sleeve about bonus disc: + a miniature reproduction of "play on animals (choju gigaku)", which has been reissued on 7" (rated as one of 2011's top releases by byron coley of the wire)+ pressed on a mini-cd (8cm) and packed in a triple foldout sleeve, same style as a original 1970 issue, and is inserted in the em1098cd sleeve. =============================== "i am not interested in sounds that already exist." thus spoke the esteemed "onkyo designer" matsuo ohno, early in his expansive, influential career. this reissue of his stellar 1978 lp "i saw the outer limits" presents him at the peak of his powers, combining his mastery of classic analog tape music techniques (honed to perfection whilst providing sound design for "astro boy" and numerous other films and tv programs) with then-state-of-the-art analog synthesizers. this is a true under-recognized classic, a masterfully recorded, massive-sounding poetic construction of unearthly sound, an undulating, breathing behemoth, with ohno's galaxy moving beyond "sounds that already exist" in search of new sonic spaces. matsuo ohno was born in kanda, in central tokyo, in 1930. the relentless bombing onslaught of the war years, the near-apocalyptic conditions, were defining, formative forces. as a youth he was interested in surrealism and philosophy, and was uninfluenced by music and musicians - an exception being the electronic works of karlheinz stockhausen, especially his "gesang der jnglinge" ("song of the youths"), which inspired him further in his quest to create "unearthly sounds." other early influences were the film director fumio kamei and the dramatist michio kato; rather than viewing himself as a musician, and never studying under any masters, ohno has forged his own path as the original "onkyo sound" artist, defining himself as an "onkyo designer" in the 1960s. his innate independent streak manifested itself early on, when, chafing under creative restrictions and unhappy with the low esteem in which his efforts were viewed by his hierarchical "betters", ohno left a prestigious post at nhk, japan's national broadcaster. but of course his skills were in high demand and he was extremely busy as a freelance sound designer for a wide range of films, television shows and radio programs, developing his ear and his technical savvy. in 1963 he began his most famed efforts, providing sound design for the legendary japanese animation series "astro boy," with takehisa kosugi as his assistant. the 1978 lp "i saw the outer limits," reissued here, was the first full-length non-soundtrack release by matsuo ohno. the record was a huge step for him, being non-programmatic music, designed to stand alone, free of visual imagery. ohno himself has stated that he was uninterested in notions of message, expression and representation. ohno had nothing to do with the title and subtitle of this album. shinji hinoki, a producer at toho records, approached ohno with the offer of releasing an album; hinoki perhaps envisioned something to cash in on the popularity of the synth-driven elements of pink floyd what he got was something much more abstract and otherwordly. hinoki supplied both title and subtitle, including the latter's variant spelling of "marijuana," a ploy to evade japanese censors. on these recordings, made at sogosha in tokyo, his private studio, ohno used the ems synthi aks, which at that time in japan carried a price close to that of a family car, the newly released roland system 100 (three of these, in fact), and a custom-made synth. he combined these synthesizers with his virtuosic control of analog tape recording techniques, resulting in a magnificent lp. the original vinyl release was, however, somewhat marred by 50 hz hum generated during the mastering process at toho studios. this em vinyl reissue of "i saw the outer limits" restores the masterpiece to its primal, clear, massive glory. people and are you ready for this? a slice of lost history unearthed for your enjoyment and delight. a first-ever reissue, on seven-inch vinyl and of choju gigaku (play on animals), an ultra-rare 33rpm seven-inch flexi-disc by esteemed sound designer matsuo ohno and the legend behind the soundtracks for anime classics “astro boy” (1963-66), “submarine cassiopeia” (1964) and “space battleship yamato” (1974-75). the original flexi-disc was released as a souvenir during the famed world expo '70 in osaka (think stockhausen and xenakis), but was available for only a brief time and soon disappeared and an object of rumor and mystery for collectors. as befitting expo 70's remit as a meeting of world cultures and ohno chose six well-loved japanese and international songs - and rendered them entirely in animal and bird sounds and using analog tape recordings. choju gigaku contains equal measures of musicality, magic, madness and mayhem and with domestic and barnyard animals combining their natural and pitchshifted voices with the calls and cries of a multitude of birds. eschewing musical instruments, ohno utlized japan's first variable-speed tape recorder to create these melodies and adding delay and reverb to the warm analog mix. the five songs of choju gigaku are “sekaino kunikara kon'nichiwa”, the theme song for expo '70 originally sung by haruo minami, the japanese traditional songs “sakura sakura” and “yagi bushi”, an italian song “funiculi, funicula”, the russian “volga boatman” and an american classic “oh my darling and clementine”. recording in sogosha studios (his production company) in aoyama and ohno was ably assisted by avant-garde composer/musician takehisa kosugi (taj mahal travellers and merce cunningham and many others), who was an integral part of the recording process.

mustapha skandrani “istikhbars and improvisations” compact disc

• mode: raml maya (2:04)
  
• mode: raml maya improvisation (3:05)
  
• mode: moural (2:31)
  
• mode: moural improvisation (1:38)
  
• mode: sika (2:32)
  
• mode: sika improvisation (1:35)
  
• mode: araq (2:26)
  
• mode: araq improvisation (2:45)
  
• mode: mezmoum (2:18)
  
• mode: mezmoum improvisation (1:43)
  
• mode: sahli (3:13)
  
• mode: sahli improvisation (1:50)
  
• mode: ghrib (1:49)
  
• mode: ghrib improvisation (2:15)
  
• mode: zidance (2:12)
  
• mode: zidance improvisation (2:13)
  
• mode: kourdi (2:25)
  
• mode: kourdi improvisation (1:56)

em press release...

catalogue# : em1096cd & lp artist : mustapha skandrani title : istikhbars and improvisations + reissue of a 1965 album + synthesis of oriental music (andalousian music as integrated in the algerian culture) and occidental classical music (bach's goldberg variations are not far away) <cd version> + gatefold cardboard sleeve jacket + liner notes in english and japanese =============================== mustapha skandrani. besides having an excellent name, this man, a luminary of algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of arabo-andalusian and european styles. "istikhbars and improvisations", recorded in 1965 in paris, is a solo piano album presenting a trans-mediterranean crossover based on traditional algerian vocal pieces known as istikhbars. playing these istikhbars (which have roots in the islamic arabo-andalusian culture which flourished in spain) on the piano, that quintessentially european instrument, skandrani was greeted with derision by some purists. skandrani's powerful musical vision, however, perceives the european element involved in arabo-andalusian musical culture, a world of exchange and co-existence, and his decision to play this music on the piano reminds us of this european influence. skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on the istikhbar and its attendant mode. this a/b alternation continues throughout. the pellucid clarity of skandrani's playing on this album may remind the listener of a modal goldberg variations, bach and glenn gould transplanted to andalucia. other ears will hear the arabic/maghreb elements more strongly. skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not vast. this is an admirable acheivement, resulting in beautiful music of a rare charm. mustapha skandrani was born in algiers in 1920, and died there in 2005. he mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. later in his life, he devoted much energy to education. "istikhbars and improvisations" is available with english and japanese liner notes.

t. k. ramamoorthy “fabulous notes and beats of the indian carnatic - jazz” compact disc

• gowla (3:22)
  
• ranjani (3:02)
  
• begada (3:45)
  
• mohana (3:37)
  
• udaya ravu chandrika (3:28)
  
• natta (5:14)
  
• byag - maya malava gowla (3:10)
  
• sahana (3:57)
  
• kanakangi (2:57)
  
• rasikapriya (5:11)

em press release...

catalogue# : em1091cd artist : t. k. ramamoorthy title : fabulous notes and beats of the indian carnatic - jazz media : cd come join em records on another of our spatio-temporal musical journeys. this time we're off to madras 1969 to hear legendary south indian film music composer/director, t. k. ramamoorthy's prescient fabulous notes and beats of the indian carnatic - jazz, a daring fusion of carnatic music and jazz. although jazz musicians had been using indian elements before this time, fabulous notes was the first recording in which accomplished indian musicians adopted jazz elements. and these are accomplished musicians indeed, veterans of the demanding indian film music studios, trained in the strict discipline of the traditional carnatic system, led by the visionary ramamoorthy, a legendary composer who collaborated with m. s. viswanathan in providing soundtracks for more than 700 films. the music here is a true indian music, adhering to traditional carnatic ragas with their varying ascending and descending modes, using a wide range of indian instruments in an appealing fusion with jazz instruments, ideas and rhythms. the result is not a slavish imitation of modish western styles, but a stimulating and surprising new entity; fans of later ethio-jazz may well experience a frisson of familiarity at certain moments when listening to these recordings. famed composer ramamoorthy is also a masterful arranger and orchestrator, giving us surprising vistas of timbre, allowing instruments to come to the fore, supported in appealing combinations. but the true heart of both carnatic music and jazz is improvisation, and tkr allows these fine players space within the relatively brief to make their own statements within the ragas, as detailed in the the liner notes accompanying this reissue. what we hear is a new meeting of worlds, both sharing a respect for the primacy of improvisation, a love for the intricacies of ensemble playing, and a fine understanding of the power of propulsive yet sophisticated rhythms. fabulous notes reveals a true indian music, not merely occidental music with hints of indo-spice. we can picture the recording sessions, with the musicians seated on the floor of the studio, indian musicians playing indian music, playing jazz, playing fabulous notes and beats of the indian carnatic - jazz.

nicolas collins “devil’s music” double long playing record set

• devil's music a (from 1986 lp) (18:46)
  
  
• devil's music b (from 1986 lp) (17:29)
  
  
• real landscape a (from 1988 cassette) (26:04)
  
  
• real landscape b (from 1988 cassette) (25:47)

em press release...

catalogue# : em1086 artist : nicolas collins title : devil's music *newly remastered *english & japanese text *scarce photos *bonus including a previously unissued recording and pc software & a movie. lp version: two lp set in gatefold sleeve. … devil's music is a performance piece about global media and local culture and individual interference. it developed in 1985 out of the confluence of my fascination with early hip hop dj’s, a cagean love of the splendor of radio, the introduction of the first affordable, portable samplers (electro-harmonix's 16 second digital delay and super replay) and a simple home-made “stuttering circuit” (inspired, perhaps and by my years as a student of alvin lucier)… … nicolas collins “devil's music” and more! we presents the reissue of nicolas collins' live radio sampling masterpiece and originally released on vinyl in 1986, served up in all its stuttering glory, a time capsule of the mid-80’s new york city airwaves, acclaimed by philip sherburne as “an early template for techno”, with a feel somewhat akin to scratching turntablist madness and a block-rocking party put through a blender and reassembled by body-popping demons. and more: “real landscape” and a 1987 “remix” recorded in europe (originally released on cassette), and (cd only) “the spark heard 'round the world”, a fascinating tape piece sourced from multi-band radio and scanner recordings, plus (also cd only and alas) video of a live performance of “devil's music” from 1987 in birmingham and uk. and if you're still not satisfied, cd purchasers also get a downloadable software version of the original hardware circuitry used for “devil's music” which, a la david tudor and constitutes the original composition itself. make your own “devil's music”! nicolas collins is hugely influential in contemporary electronic music, having performed world wide for many years, collaborating with christian marclay, elliot sharp and david shea, david tudor and john zorn, composing, recording, modifying circuits and inventing instruments and spreading the good word through his writing and teaching. the pieces released here are only part of his ongoing and multifaceted and truly experimental activities.

nicolas collins “devil’s music” double compact disc set

• devil's music a (18:46)
  
• devil's music b (16:33)
  
• the spark heard 'round the world (25:28)
  
  
• real landscape a (26:04)
  
• real landscape b (25:47)
  
  
• extra-program :: software for performing devil's music (rev. 2.5 may 2009).

em press release...

catalogue# : em1086 artist : nicolas collins title : devil's music *newly remastered *english & japanese text *scarce photos *bonus including a previously unissued recording and pc software & a movie. cd version: two disc set, audio cd + cd extra (cd-rom) and in triple gatefold sleeve. … devil's music is a performance piece about global media and local culture and individual interference. it developed in 1985 out of the confluence of my fascination with early hip hop dj’s, a cagean love of the splendor of radio, the introduction of the first affordable, portable samplers (electro-harmonix's 16 second digital delay and super replay) and a simple home-made “stuttering circuit” (inspired, perhaps and by my years as a student of alvin lucier)… … nicolas collins “devil's music” and more! we presents the reissue of nicolas collins' live radio sampling masterpiece and originally released on vinyl in 1986, served up in all its stuttering glory, a time capsule of the mid-80’s new york city airwaves, acclaimed by philip sherburne as “an early template for techno”, with a feel somewhat akin to scratching turntablist madness and a block-rocking party put through a blender and reassembled by body-popping demons. and more: “real landscape” and a 1987 “remix” recorded in europe (originally released on cassette), and (cd only) “the spark heard 'round the world”, a fascinating tape piece sourced from multi-band radio and scanner recordings, plus (also cd only and alas) video of a live performance of “devil's music” from 1987 in birmingham and uk. and if you're still not satisfied, cd purchasers also get a downloadable software version of the original hardware circuitry used for “devil's music” which, a la david tudor and constitutes the original composition itself. make your own “devil's music”! nicolas collins is hugely influential in contemporary electronic music, having performed world wide for many years, collaborating with christian marclay, elliot sharp and david shea, david tudor and john zorn, composing, recording, modifying circuits and inventing instruments and spreading the good word through his writing and teaching. the pieces released here are only part of his ongoing and multifaceted and truly experimental activities.

yoshi wada “earth horns with electronic drone” triple long playing record set

• earth horns with electronic drone (1) (27:00)
  
  
• earth horns with electronic drone (2) (27:00)
  
  
• earth horns with electronic drone (3) (27:00)
  
  
• earth horns with electronic drone (4) (15:00)
  
• earth horns with electronic drone (5) (12:00)
  
  
• earth horns with electronic drone (6) (27:00)
  
  
• earth horns with electronic drone (7) (27:32)

em press release...

yoshi wada "earth horns with electronic drone" (3lp) publisher: omega point / em records (op-0007 / em1081cd) a world premiere from yoshi wada and em records / omega point: the first-ever release of "earth horns with electronic drone", recorded live in 1974. combining four of wada's self-made "pipehorns" (made from plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early minimalism, placing wada rightfully in the pantheon with la monte young, phill niblock, maryanne amacher and alvin lucier. recorded live in syracuse, new york, this recording captures the room-filling complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. this is a music of ritual hypnotic power, its heavy low end mass and sense of change within constancy engendering a meditative transcendency. "earth horns with electronic drone" is the fourth and ultimate release in our yoshi wada series, a must for all fans of minimalism, heavy drones, ritual, mystery and world-shaking transcendence. from an original performance of almost three hours, the cd features a 77 minute excerpt; we are especially honored to also offer the full performance as a triple lp set. from earth horns to beyond the firmament: prepare to be elevated!

yoshi wada “earth horns with electronic drone” compact disc

• earth horns with electronic drone (77:00)

march 2009 release ; at long last - the fourth and final installment in this joint edition omega point / em records series, covering the sound-art work of fluxus-lineage sound-artist yoshi wada ... and what a long, strange trip it’s been !!! this whole series has instilled so much collective joy in amongst the leagues of past-looking experimental & drone-music followers that i’m sad to see it come to an end, but all things must ... and what better way than with this 77-minute excerpt of a 2 hour, 25 minute performance by yoshi, garrett list, barbara stewart, jim burton, and liz phillips recorded on february 24th, 1974 at the everson museum of art, syracuse, new york ... the piece opens (listen to the sound-sample) with a dry, slightly overtone-riddled sine-wave drone, over which the ensemble begin to intone on their “earth horns” - extended didgeridoo-lineage pipes (some up to 20 feet long !!!) - in unison over the tonal root ... as the piece gets underway, you really begin to feel the fabric of time slip away ; several consecutive listens-through consumed an entire afternoon, after which i had little memory of any events taking place ... this cd edition happens to be my preferred format-of-choice here as it offers the longest continuous stretch of music (plus, as the piece itself is something of a static, almost sculptural event you’ll probably want to keep this on automatic repeat for a few days - something very easy to achieve with cd players these days) ; comes with a fold-out booklet with english program notes on one side, and a george maciunas flyer for a performance by wada’s lip vibrators (see just below) on the flip. highly recommended !!!

em press release...

yoshi wada "earth horns with electronic drone" (cd) publisher: omega point / em records (op-0007 / em1081cd) a world premiere from yoshi wada and em records / omega point: the first-ever release of "earth horns with electronic drone", recorded live in 1974. combining four of wada's self-made "pipehorns" (made from plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early minimalism, placing wada rightfully in the pantheon with la monte young, phill niblock, maryanne amacher and alvin lucier. recorded live in syracuse, new york, this recording captures the room-filling complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. this is a music of ritual hypnotic power, its heavy low end mass and sense of change within constancy engendering a meditative transcendency. "earth horns with electronic drone" is the fourth and ultimate release in our yoshi wada series, a must for all fans of minimalism, heavy drones, ritual, mystery and world-shaking transcendence. from an original performance of almost three hours, the cd features a 77 minute excerpt; we are especially honored to also offer the full performance as a triple lp set. from earth horns to beyond the firmament: prepare to be elevated!

yoshi wada “off the wall” compact disc

• off the wall i (20:27)
  
• off the wall ii (20:02)
  
• die konsonanten pfeifen (27:23)

em press release...

yoshi wada "off the wall" em records + omega point / em1078cd + op-0006 the long-awaited reissue of wada's 1985 lp off the wall, recorded in berlin and originally released on the esteemed fmp label. a minimalist yet majestic monsterpiece ("massive", as tom johnson declares in his perceptive liner notes), off the wall features wada and wayne hankin on bagpipes, marilyn bogerd on adapted organ, and percussionist andreas schmidt-neri. the original album consisted of two side-long pieces recorded on successive days by jost geber, who captured the power and dynamics of the quartet without losing the meditative delicacy of the bagpipes and the intricacy of their interplay with the homemade organ (constructed by wada), resulting in a slowly evolving mosaic of combination tones and overtones. simultaneously static yet changing, rooted and ethereal, homespun and alien, ancient and very modern, the music is created entirely with acoustic instruments but has "electronic" textures at times, yet is very warm and human, always pulsing, shifting and mutating. omega point is pleased indeed to release off the wall for the first time ever on cd, with the bonus track "die konsonanten pfeifen (the consonant pipes)", a slightly earlier recording with wada and hankin on bagpipes and kevin newhoff on percussion, originally released as a cassette.

yoshi wada “the appointed cloud” compact disc

• the appointed cloud (60:07)

em press release...

yoshi wada "the appointed cloud" (cd) em records + omega point / em1076cd + op-0005 this cd is the first-ever release of an extraordinary 1987 new york city performance. recorded at the great hall of the new york hall of science, this majestic recording captures the 60-minute opening performance of yoshi wada's interactive sound installation "the appointed cloud", which consisted of a self-made 80-pipe organ, a pipe gong, sirens and a massive suspended metal sheet, all triggered by a computer program designed by david rayna. the cd also features wada, bob drombowski and wayne hankin on bagpipes, plus michael pugliese (percussion, he has performed in tour of merce cunningham dance company with david tudor and kosugi). dramatically structured, shifting and intense, "the appointed cloud" features massive low frequencies and regal percussion vying with the ululations of bagpipes, all resounding in the huge reverberant space of the great hall with its 24-meter ceiling. this cd, the second yoshi wada release on em records (the first being the 2007 reissue of the 1982 "the lament for the rise and fall of the elephantine crocodile"), is sure to delight all who enjoy drones, dynamics and drama.

yoshi wada “lament for the rise and fall of the elephantine crocodile” compact disc

• singing (31:07)
  
• bagpipe (33:17)

em press release...

yoshi wada lament for rise and fall of the elephantine crocodile * 96khz/24bit digital remastered * complete full length version (original lp edition was edited) * new 2007 liner notes by yoshi wada * english & japanese texts * scarce photos inside first issue of joint production of em records & omega point !!! ************************************ if you have heard the music of yoshi wada, you have no doubt been impressed by his amazing sound-worlds. born in kyoto, he moved to new york in the late 1960s. he is well-known as a fluxus artist with links to la monte young, and has been involved in many performances and sound installations. however, he has released only 2 recordings (as his solo albums) , both hard to find. finally, a cd reissue of his most important and rarest lp, "lament for rise and fall of the elephantine crocodile" (recorded in 1981, issued on india navigation in 1982). this cd contains 2 pieces: track 1 - solo overtone voice (he studied with legendary indian vocalist pandit pran nath) recorded at performance space 'dry pool', with a deep underground echo feeling; track 2 - dense psychedelic drones using bagpipe-like self-made instrument. these wondrous sounds will take you to another, better world!! ************************************ "lament for the rise and fall of the elephantine crocodile is a vocal and instrumental work, on which i started working in 1979. this recording is meant to be one continuous piece; side a: solo singing & side b: the instrumental music of the bagpipe with singing. the piece itself is an experiment with reed & improvisational singing within the modal structure. the instrument could be played solo or as a drone accompaniment for voice. i originally built the bagpipe instrument out of plumbing fittings & pipes pumped by a large air compressor. i called it "an adapted bagpipe with sympathy". since that time, the original instrument has been altered and improved for the stability of the air source and accuracy of the tuning". "the photograph above shows the instruments used for this recording (note; see the cd back cover). the elephantine crocodile (right) & the alligator (left) are both reed instruments pumped by the air. the alligator instrument plays precise pitch and enables me to tune the elephantine crocodile drone pipe pitch. when i began to work with these cane reed pipes, i realized that they could be tuned to produce the intervals of extremely fine tolerance. one of the strong characteristics of these bagpipe drones is the clarity of harmonics & partials in the higher octaves. when these pipes are perfectly in tune, in unison, or in different intervals, one can hear the high microtonal partials very clearly." "in 1979, i came to the "dry pool" (an empty swimming pool in the basement of media study, buffalo, n.y.) with "an adapted bagpipe with sympathy" to do a concert. although i normally do not like long reverberation added to my music, when i entered the pool i immediately liked the acoustics of the space, which had very long delay time. the pool gave rich resonance to the voice & bagpipe sound. since that time, i became much more aware of the psychological effect of the acoustics of the room." "last november, i had a chance to come to the "dry pool" to do the recording. i stayed in the pool for preparation and slept there as well. it was very quiet. it gave me the feeling as though i were in an anechoic chamber. i started to hear all kinds of droning sound and almost could not tell as if i were hallucinating or not. when i began singing, it was with a very simple overtone series, then i gradually developed a series of intervals which i felt strong. my concern is with the timbre and tuning of the multiple chords which enable me to evolve my improvisational singing and the mode in progression." (taken from original lp liner notes on "lament for the rise and fall of the elephantine crocodile" in 1982) ************************************ (left photo) yoshi wada and "an adapted bagpipe with sympathy ii". at phil niblock's studio (this concert was sponsored by experimental intermedia foundation), 1979. photo by phil niblock. (right photo) "the lament for the rise and fall of the elephantine crocodile" by yoshi wada. at his loft in soho, ny, 1981. photo by marilyn bogerd.

rudy smith quartet “still around” compact disc

• blues l'armoise
  
• ursia
  
• elise
  
• blues for bradick
  
• be bach
  
• still around
  
• el vito

the modern sound quartet “otinku” compact disc

• otinku
  
• flowers in the rain
  
• bye bye blackbird
  
• flamenco groove
  
• mercy, mercy, mercy
  
• suger daddy
  
• bags groove
  
• taking a nap
  
• ursia
  
• softly as in the morning sunrise
  
• memphis underground

brenda ray “walatta” compact disc

• starlight
  
• d-i-z-z-i-e
  
• sweet romance
  
• sweet sweet wine (feat prince far i)
  
• dreamin
  
• lend a helpin hand (feat knowledge)
  
• hearts entwine
  
• swirlin hearts (scientist production feat. sir freddie viadukt aka the minister of noise)
  
• another dream
  
• perfect choice
  
• please be mine tonight
  
• everybodys talking
  
• love's to share
  
• keep on rollin
  
• rollin down
  
• sweet sweet wine - part 2
  
• vision dreamin

tim gaze band “band on the run (o.s.t.)” compact disc

• lazy day fever
  
• brothers and sisters
  
• rivers
  
• bermuda
  
• this is a place
  
• give me life
  
• oceans
  
• beautiful lady
  
• mauritius
  
• goin down

tamam shud “evolution (o.s.t.)” compact disc

• (a) music train (b) evolution *
  
• i'm no one
  
• mr strange
  
• lady sunshine
  
• falling up
  
• feel free
  
• it's a beautiful day
  
• jesus guide me
  
• rock on top
  
• slow one and the fast one
  
• too many life
  
  
• bali waters
  
• got a feeling
  
• my father told me