As interesting and fun as the Daevid Allen period was, the name Gong became more meaningful in the context of the music as percussionist Pierre Moerlen assumed the role of bandleader. An emphasis on percussives of all sorts became clear on Gazeuse!, the band's first completely instrumental album, and the music became much jazzier, though never considered jazz. Expresso II finds Pierre Moerlen's Gong at their peak. Like their previous studio release, Gazeuse!, the album is instrumental, the music is very polished, the sound very clean. Vibes and xylophone dominate on this album, somewhat reminiscent of the sound Zappa achieved through Ruth Underwood on One Size Fits All just three years earlier.

David Bowie is the second studio album by the English musician David Bowie, released under that title by Philips in the UK, and as Man of Words/Man of Music by Mercury in the US, on 14 November 1969. It was reissued in 1972 by RCA Records as Space Oddity (the title of the opening track, which had reached No. 5 in the UK Singles Chart). Space Oddity was the name used for CD releases of the album in 1984, 1990 and 1999, but it reverted to the original, eponymous title for 2009 and 2015 reissues. The album came about after Bowie had made the transition from a cabaret/avant-garde-inspired musician to a hippie/folk-based sound and as such the album is a major turning point from his 1967 debut.

A glorious re-match for Chicago’s superb free-rock trio, Mako Sica, and the jazz world’s percussionist of choice, Hamid Drake. Their last collaboration, Ronda (FTR 409) was a glorious, open-ended studio conversation spread across two LPs. Balancing Tear is a mix of studio and live recordings, awash with calmly oceanic passages, interspersed with compressed and feverish form-blurts.

Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors…

Wolfgang Dauner, one of the few internationally renowned German jazz musicians, was born in Stuttgart on Dec. 30, 1935. Oddly enough, having learnt to play the piano as a child, he eventually graduated from the conservatory in Stuttgart with a major in “trumpet”. Yet, it is the piano that remains his great love. He fancied contemporary jazz and, in 1963, founded his first own band: The Wolfgang Dauner Trio, with Eberhard Weber playing the bass and Fred Braceful on the drums. He would continue playing with these musicians well into the 1970ies. Dauner is extremely important with regard to modern jazz and jazz rock in Germany, and his efforts can be compared to the spade work Miles Davis did for jazz and jazz rock in the USA.

Collection includes all studio albums and two compilations by English musical group Talk Talk. The group had a string of international hit singles including "Today", "Talk Talk", "It's My Life", "Such a Shame", "Dum Dum Girl", "Life's What You Make It" and "Living in Another World". In their later years the band's commercial appeal receded, but their critical reputation increased as they moved from synthpop to a more experimental form. Their final two albums, Spirit of Eden and Laughing Stock, were highly acclaimed and remain influential to experimental alternative rock genres, especially post-rock.

Enthusiasts expecting to hear a continuation of the type of material that Jack Bruce (bass) had been responsible for during his tenure(s) with Cream or the Graham Bond Organisation might be in for quite a shock when spinning Things We Like (1970) for the first time. Instead of an album's worth of blues-based rockers, the seven instrumentals feature Bruce with other former Graham Bond stablemates John McLaughlin (guitar), Jon Hiseman (drums), and Dick Heckstall-Smith (sax) performing post-bop and free jazz. A majority of the compositions were penned by Bruce in his preteen days of formal scholarship at the Royal Scottish Academy of Music, where he also mastered the cello and composed a string quartet at the age of 11.

Saxman / keyboard player Clive Stevens from Bristol, England, was among the earliest to explore the nexus of jazzrock and electric jazz in his two 1974 albums. And both releases, “Atmospheres” and “Voyage to Uranus” have stood the test of time. “Atmospheres” was finished in one day with no rehearsals in New York City. This was a super session of the highest level with bassist Rick Laird and drummer Billy Cobham’s only recording together outside John Mclaughlin’s Mahavishnu Orchestra. The world class guitarists Steve Khan and John Abercrombiefeeding off of each others’ incredible talent, Ralph Towner on electric piano/ring modulator in awesome form and Harry Wilkinson added later on percussion.
The raw power of the session was electric, beyond belief. So don't expect to hear something mellow, this is dark, sometimes scary music for those late nights.

With Mundo Civilizado, downtown denizen Arto Lindsay is probably the first person to successfully integrate the sounds of techno and drum'n'bass into an already established pop music style. Others, notably David Bowie, have tried to do something similar, but although Bowie's attempt in particular was more successful than most critics give him credit for, it never sounded as natural and seamless as Lindsay's. That the former king of skronk guitar was able to achieve such a fusion while singing in Portuguese is even more impressive. Highlights include the funky female worship of "Q Samba" and the scattered herky-jerk of "Complicity" (which features the deathless couplet "Complicity, unconscious wit/Borders without borders under eyebrows"). His taste in covers is a bit more suspect – he brings as little to Prince's material as you'd expect, but is surprisingly more adept with Al Green's "Simply Beautiful." Overall, this one's a solid winner, if not quite a classic.

Light Falls is the fourth album by Wrekmeister Harmonies, their third for the Thrill Jockey label. The band is centered around the work of J.R. Robinson, who brings in others to assist in his sonic mayhem. This was released on 16 September, 2016.

Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned from Beck's previous lineups. To Beck's credit, Blow by Blow features a tremendous supporting cast…

In 2019 the album "4" takes shape, the fourth new work of Métronhomme: an LP 33 rpm 180gr. self-produced by the band, in which there are 11 instrumental tracks, for a total duration time of 43 minutes of great emotional music. "4" for the band is the result of a long period of separation from the "live" scenes, passed in the rehearsal room and dedicated exclusively to composition and musical exploration, with the subsequent studio recording final moment. The musical material was the result of the freest creative moment of the band, a freeness that previous works of the band had necessarily contained.

Deluxe Edition 2 CD set features 35 tracks including b-sides and previously unreleased versions. Sonic Youth's second major-label album, produced and mixed by Butch Vig and Andy Wallace (a team that had helped turn Nirvana's NEVERMIND multi-platinum) was not the barefaced bid for mainstream acceptance that surly underground souls grumbled about in the pages of fanzines. While Vig and Wallace give guitarists Thurston Moore and Lee Ranaldo, bassist Kim Gordon, and phenomenal drummer Steve Shelley a wide-screen panorama for their bizarrely-tuned assaults, DIRTY is probably Sonic Youth's most uncompromising album since 1985's BAD MOON RISING–particularly in the lyrical department. Dropping the deliberate obscurantism, Philip K. Dick references, and smart-alecky snottiness, Sonic Youth brackets a slew of pointed political attacks ("Youth Against Fascism," "Swimsuit Issue," and the Jesse Helms-bashing "Chapel Hill") with two passionate tributes to the band members' murdered friend, Joe Cole ("100%" and "JC"). That DIRTY is Sonic Youth's most commercial-sounding album makes it that much more subversive.

Chocolate Synthesizer is the 1994 album by Japanese noise rockers Boredoms. There are no hit songs on this but this is all about extreme noise and rage, with such classics as "Acid Police", "Eeedoms", "Uoredoms", "Tomato Synthesizer", "Synthesizer Guide Book On Fire" and "Mama Brain". This is the Reprise edition.

Diamond Dogs is the eighth studio album by the English musician David Bowie, released on 24 May 1974 by RCA Records. Thematically, it was a marriage of the novel Nineteen Eighty-Four by George Orwell and Bowie's own glam-tinged vision of a post-apocalyptic world. Bowie had wanted to make a theatrical production of Orwell's book and began writing material after completing sessions for his 1973 album Pin Ups, but the author's estate denied the rights. The songs wound up on the second half of Diamond Dogs instead where, as the titles indicated, the Nineteen Eighty-Four theme was prominent. The album is ranked number 995 in All-Time Top 1000 Albums (3rd. edition, 2000) and number 447 in NME's The 500 Greatest Albums of All Time.