This area of the store is going to be different in that it’s going to be stocked with a little bit of everything: ambient, electronica, non-ambient, new stuff, old stuff and out of print items (sometimes valuable). The catch is that there’s only going to be a single copy of each item in stock, so you’ll need to grab them before they’re gone forever!
We’ll be adding new items on a regular basis, and we’ll be posting reminders about it for you from time-to-time. We think this part of the store is going to be pretty neat and interesting, so check out the USED & SINGLE COPY category soon to see what we’ve got on offer so far, and be sure to check back regularly for newly-added items!
Empetus is full blown sequencer-based music illustrating a further evolution in the visceral side of Roach’s music. Nine precise pieces that still sound fresh today. A favorite of sequencer music lovers. Released in 1986, this recording of intricately-woven sequencer lines and buzzing synthesizers established Roach as the American answer to the pioneering European electronic masters of the ’70s (Klaus Schulze, Tangerine Dream). Alternately thrilling and serene (sometimes within the space of the same track), EMPETUS’ waves of energy rest upon labyrinthine patterns of interlocking notes and wildly cascading tonal clusters. Roach varies the moods from piece to piece as well: the bright, piercing electronics of ”Seeking” contrast vividly with the starker, sweeping veils of sequenced notes and arcing waves of ”Empowerment” or the turbo-charged synths that rev through ”Conquest”. It’s all riveting, exciting stuff, and although Roach largely abandoned the style as he moved forward, EMPETUS remains an important, if largely unsung, statement documenting the course of modern American electronic music. -Darren Bergstein
Resonant Drift return, bearing new worlds of sound that vary from wide, windswept desert-ambient vistas and hushed, cloud-shrouded meditation chambers to uncertain, grit-choked places better left unnamed. Tone and texture chart the course on Full Circle, a journey that goes as far inward as it does out, making it a trip worth taking over and over. -resonantdrift.com
“Barcelona based piano player and electronic musician Bruno Sanfilippo is a classically trained musician and composer who has been exploring the borders of minimal piano concepts and electro-acoustic music for more then 20 years. His CD series “PianoTextures“ sets him in a direct tradition of artists as Harold Budd and Brian Eno, combining slow piano tunes with electronic soundscapes. With “ClarOscuro“ he now makes his step into the genre of modern classical music by presenting his first composition work for piano trio. Most of the nine tracks on the album feature Sanfilippo accompanied by spanish musicians Manuel del Fresno on violincello and Pere Bardagi on Violin, while some of the tracks still let the sensitive piano playing stand on its own. With the fragility and beauty of some Arvo Pärt compositions and a high cinematic touch, “ClarOscuro” brings the perfect soundtrack for an imaginary movie.” –brunosanfilippo.bandcamp.com
“ClarOscuro is completing Bruno Sanfilippo’s return to his origins. As a classically trained pianist with a Grand Piano in his basement studio, he is ready to fulfill his long time dreams and challenges. Bruno Sanfilippo has already proved many times his amazing talent and flexibility within ambient genre and “clarOscuro” is the next, giant step in his recording career. Muchas gracias, Maestro!!! And of course kudos also to all other contributing artists!!!” –Richard Gurtler
Synthetic Memories delivers eight deeply moving and contemplative tracks of pure wonder, where pulsing electronics, billowing synth textures and rich ambient spaces are perfectly blended into a heartfelt and profoundly introspective musical experience. It has much to offer fans of electronic ambient, from the title track which pays homage to the Masters of the sequencer, to the deeper ambient spaces of tracks like 67, DUSK, and COLD BRIGHTNESS to the perfectly placed piano of THE PATH and DROPS, to the driving and powerful opening track, a collaboration with Jon Jenkins entitled FROM BELOW. With Synthetic Memories, Justin Vanderberg has crafted a meaningful and personal album that will not soon be forgotten.
Nada Terma merges the boundaries of ambient, world music and sacred-meditative styles. On Nada Terma (translated as “discovering spiritual treasures through the world of sound”) East Indian tonalities blend with Sufi-like trance percussion immersed in atmospheres, drifts and drones, arriving at a state of relaxed, focused awareness. The continuously-woven 73-minute piece is sequenced into seven discrete segments, perfect for yoga, contemplation and bodywork. -projekt.com
Following his widely acclaimed 2004 Lotuspike release, The Gate, Jeff Kowal (aka Terra Ambient) now delves deeply into his most personal space, sculpting a sonic cathartic experience for all to hear. “It’s a journal,” says Kowal. “What started out as an expected sequel to my previous release, turned into an emotional sketchbook of some major changes in my life, including a move to the American Southwest.”
Previously on “The Gate”, Kowal used strictly acoustic and live recordings to express himself, but this time he turns to the use of electronics and synthesizers to find a deeper voice in Wanderlust. Kowal explains, “Re-integrating digital and electronic sound sources helped me to capture some of the gritty, subtle and grandiose sounds that this music needed.”
Wanderlust does in fact range from the subtle to the grandiose: epic, sweeping and luscious, Wanderlust plays more like a movie soundtrack than an ambient CD. Delicately balanced between tribal, ethno-acoustic earthiness and searing electronic pads and leads, Wanderlust takes the listener on a journey.
Aside from synthesizers, Kowal brings many other acoustic and electric instruments into the mix, including frame drums and percussion, didgeridoo, electric guitars, bass, bansuri and PVC flutes, and a modular analog system. -spottedpeccary.com
Sound Postcards is a sound representation of determinated time-space, of its moods and atmospheres, it’s a sort of soundpostcard in which the artists portray a familiar and hypothetical landscape. The listener is induced to ”identify” the represented subjects through interpretative processes which directly compare sound suggestions with subjective/collective imagination. A semanthic game of mirrors reflecting forms in perpetual transition between auditive dimension and symbolic/mnemonic one. Soundpostcards” is the first collaboration of this two artist, originally releasesd (2004) in two different mp3 work, now reissue for the first time in CD after a been REWORKED and added with an unreleased track. The Sounds is really inmost and peacefully melancholy. Lost and naked melodies (some times near to the feeling of the most dilatated post rock other time much more near to the aesthetics sounds of the avant folk music) on a soft background of field recordings and drones.” -soundohm.com
“Guitars, piano, old keyboards, field recordings, this Italian composer creates long instrumental tracks of repetitive, minimal and relaxing ambient music full of catchy melodies and hypnotic loops.” -alchembria.pl
Seven ‘rooms’ described through the visual essence of sober and linear photographic black and white images, and through sonorities based on whispered and discrete synthesis, often bordering on silence, violated by occasional harshness, chimes of plucked strings, hissings, cracklings, electrical tensions, gurgles and digital creaks. An intimate and introspective path, through long and deserted corridors, entering spacious and bright rooms surrounded by white large walls, walking on reflective polished floors, cold and aseptic just like the sounds that Gianluca Favaron and Stefano Gentile chose to fill with vibrations of their spaces and architectural forms. Ltd x 300 hand-numbered copies in an outsize 6-panel sleeve, including a unique slide with each copy.
Double-CD. KINETIX is Gianluca Becuzzi, electronic composer and sound artist active since the first half of the 80’s. He writes: “The artistic production of KINETIX is characterised by a strong experimental imprint, by the interest into the expressive possibilities offered by the digital technologies and by a clear aesthetic inclination towards minimalist forms and micro noises/sounds.” (from the website) Really, the music sounds like a study about a representational work of minimal art. The first CD includes 9 pieces dealing with volume of sound, time and frequencies to underline the relationship between physical space and acoustic space. Clear digital signal-buzz changes with wide open resounding drones evoking superficial sounds and three-dimensionally impressions. The 2. CD shows very reduced sounds conceived for a sound installation. Only the room is the interpreter. High frequencies circle abstract noises, playing with silence.”
With Enso, Turra has conjured up an organic and contemplative three-track epic, that resonates on subsequent listenings. Infused with Japanese sonic architectures and rigorous reductionist principles, this is a deeply meditative world of gently plucked instruments, and faded atmospherics, peppered with closely focussed tinklings and crystalline shards to add texture. Best appreciated in a solitary environment, these restful pieces will bring calm to an engaged listener. Turra deploys the Japanese instrumentation of Enso with the deft production skills of Kinetix’s Gianluca Becuzzi, and there is a warm ambience to the three tracks, entitled, not surprisingly, Enso 01, 02, and 03. Turra fuses a delicate substrata of drifting tones with elegantly plucked and struck instrumentation, that is never overdriven, and devoid of unessentials. There are no grand, overblown statements here, rather a gracefully nuanced set of pieces, a work that is a striking debut for Small Voices. -soundohm.com
“T.A.C. sonic trip goes on through unexplored territories, forcing the borders between electronica and new psychedelic soundscapes, making room for gentle ballads merciless deconstructed …Enter now T.A.C.’s surreal and swirling world. The tribernetic shamans are back…” -soundohm.com
“Gianluca Becuzzi, for the first time, presents his work under his birth name, confining the Kinetix as an extension of his name. The Tuscan sound-artist focuses his research on electro-acoustic sounds, livening ‘Memory Makes Noise’ with throbbing concrete noises, material manipulations and deep environmental reverberations.” -coldspring.co
“Extended sonic fluxes of synthetic nature mixed with delicate acoustic and electric guitars chords and riffs, crowd noises, indefinite and fading melodic “spots” of unknown origin, feedbacks, echoes, pulsations, vibrations, cracklings, rustling waves in continuous movement… But also sudden pauses, unpredictable and improbable inserts of folk blues radio transmissions, crystal clear water sounds, static, wrapping and dramatic electronic weaves, metallic tickings… An extraordinary range of sounds and atmospheres for this new, challenging and really particular experimental-explorative project by Stefano Gentile and Gianluca Favaron.”
Deep and wrapping digital soundscapes, dotted by micro-noisy granular material, resonant fields where time and space humble themselves in a single perceptive continuum. Contemporary, abstract, minimal, cold, intense and evocative drone music. -soundohm.com
“As unpredictable as he is prolific, multi-instrumentalist/composer Robert Rich defies expectations on a stunning new release that combines field recordings, acoustic instruments (PVC flutes, percussion), lap steel guitar, and electronics. The result is a luscious, organic mix where textures and melodies float naturally in and out of the foreground, often to the accompaniment of irregular rhythms that decorate time as raindrops do, suggesting patterns that are always slightly out of reach.” –Gino Robair, Electronic Musician
“VESTIGES began as the unspoken corollary to the strong concept album ‘What We Left Behind’ and proves even more up close and personal. While traveling forward in his own imagination to experience the earth after human extinction, Robert Rich needed to push aside the brooding sense of melancholy and unfulfilled promise that accompanies thoughts of our own end. Well, VESTIGES explores those feelings without apology, finding catharsis in the melancholy that hovers behind its predecessor … What initially starts out from a dense and dark place transforms slowly into a next level of emotive, organic-flavored and desolate soundscapes growing tenderer and reconciled as a kind of catharsis while facing the inevitable. It reaches a first highlight and transition on the mesmerizing intense ‘Spectre of Lost Light’ where things dissolve in unity in the end. Immersion is deepened again on the hypnotizing textural ‘Obscured by Leaf Shadows’ and “Equipoise and Dissolution”. Both velvet aural perfumes feel like a hallucinogenic and surreal desolate journey beyond. Toward the end, the solitary journey we all have to make seems to dwell on effortless, descending imminently into far-off, misty borderlands and ghostly plains on ‘Anchorless on Quiet Tide.’ It was no repose or release I felt at the end but a brooding vast journey of darker sonic surrealism carrying on elsewhere. It makes VESTIGES an in-depth and most compelling listening experience for all of us confronted with reality and what lies beyond.” –Bert Strolenberg, Sonic Immersion
Robert Rich & Markus Reuter are well-known for their many musical journeys – from the back of beyond to the brink of the mainstream. On Lift a Feather to the Flood (66’00”) they mainly explore tonality, and many of its subtle shades and moods. With Rich at the grand, and Reuter breathing out atmospheres and textures from his touch guitar and synth, this duo realizes eight subtle thought zones meant for pondering and questioning – more so than assurance and confirmation. On Lift a Feather to the Flood we do find the dignified, stately procession of reverberant piano notes walking thoughtfully through a cloudy haze of digital mist. But the most potent pieces are made with an ear for light, motion and surface – compositions that we must reason our way through. It is in these deepest moments that we may feel this album’s personal tone. As they work in this unique frequency, using melody and harmony likes signs and symbols, Rich & Reuter lean into the Avant-Garde. Locating tone is their mission, and the production of these rarefied ambient zones touches a distinctive, inquiring energy, and maybe even a bit of our fear of the unknown. This work does seem to be searching, just for the stimulation of it – with Rich & Reuter sharing their deep wondering about music, humanity and life. This duo knows about this music’s secret mind, and in their dreamy, drifting, lulling, pulling sonics, we approach something like the actual flow of consciousness. –Chuck van Zyl/STAR’S END 18 May 2017
Robert Rich says of this album:
“I am deeply inspired by the scientific forays helping us to discover habitable planets besides earth, showing us that we are almost certainly not alone in the Universe. I feel wonder at our efforts to place our precarious existence into the context of this 13.8 billon year old reality, and at our model-building nature, trying to understand the shape of space and time. As I sought inspiration for this music in the realms of physics and cosmology, I found that the concept of the Anthropic Principle helps to connect my sense of wonder with the scientific curiosity that keeps us doubting what we think we know. The Anthropic Principle observes that our particular universe is well suited to evolve consciousness within it, as evidenced by the fact that we exist. As we look within our own consciousness, we find our place in this immensity, as an eye of the universe observing itself. This doesn’t place humanity in a special central position, but does make note of the surprising complexity of our existence. As we proceed to undermine the dynamic balance that helped us evolve on this Eden Earth, putting our own future in doubt, we should pause to understand the miracle that allowed us to exist at all.”
Hypnos is pleased to collaborate with Robert Rich on this deluxe reissue of Rich’s out of print classic ambient drone work. Originally released on cassette individually three decades ago, Trances and Drones were later released together on double-CD by Extreme (1994) and Release (2000).
Our new edition, designed to be the ultimate archival version of an essential ambient/drone classic, includes a beautiful 6-panel digipak with 8-page full-color booklet insert.
We’re very pleased to make available this archival 2CD digipak reissue of two of Robert Rich’s earliest albums, Sunyata and Inner Landscapes. Both albums were originally released on cassette, then issued for the first time on CD by Hypnos in 1999-2000. Two classic Robert Rich albums together in a deluxe package including 2CDs, 6-panel digipak and 8 page booklet insert.
Of this new release, Robert says:
Three decades after the release of my early works “Sunyata” (1982) and “Inner Landscapes” (1985), we created an archival edition with the help of Mike Griffin at Hypnos, who sponsored the first CD re-issues of these albums back in the late 1990s. After those pressings sold out, we decided to wait before bringing them back, assuming that the interest in physical media might be diminishing in favor of downloads. As it happens, people still express interest in getting a beautiful artistic package holding music that somehow stays relevant after all these years.