RARITIES

Artist: Klaus Schulze, M. Schönwälder, D. Keller, Wave World...
P: 2004
Exclusive new tracks by the listed artists. All played with the Schrittmacher Sequencer build from Manikin.

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Artist: V/A
P: 1995
This is a nice collection of unreleased tracks by the artists.

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Artist: Broekhuis, Keller, Schönwälder, Spyra, Fox
P:2007
LTD 300
The Ricochet Gathering Live Concert of all the musicians together within 4 long tracks.

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Artist: Various Artists
P: 1996
Best of CD with the popular tracks of the late night TV show: Space Night.

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Artist: Various Artists
P: 1997
Best of CD with the popular tracks of the late night TV show: Space Night.

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Artist:
P: 1996
The fifth part also shows many new talents beside the known ones. A nice mix of different EM styles with all you can imagine.

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Artists: Various Artists
P: 1992
LTD 1200
Variations on a theme by John Kerr:
John Kerr composed the original theme 'The Seed'.
This theme with a floppy-disc was sent to the artists on this release, they had to use the theme at least once in their contribution.
Hand numbered copies.

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Artist:  Venja
P: 1993 / 1995
Originally released as Arcadia.
Overall an album with gentle and relaxed electronic / new age music.
Venja brings together the extremes of musical tradition.
The computer technology of the high-tech era together with the soft timbre of classically trained female singers. The two are finely balanced. When anyone accuses the creators of electronic music that their sounds are subdued and bizarre, Venja can teach them the error of their ways. Even though this musician considers himself to be a syntheziser purist. Venja lives in the eastern part of Belgium and has an education into digital technologies and so he build his first intruments himself. The millions of sounds which he can entice out of these instruments fascinate him and fill him with enthusiasm. This is the raw material for his "sound painting" much simular to the paint which painters place on their palettes.
"Combining sounds in the right way, i.e. using them in the right context and breathing live into them, this is what puts the harmony into my music", he says.
All songs composed and digitally recorded by Venja at the Wetland Studio, Hasselt, Belgium
Erwin Geens - bass on track 3 and 8
Bas. B. Broekhuis - drums on track 8 and additional percussion on track 11
Reinhilde Weytjens - vocals on track 1,3,6 and 11

Artist: Victor Cerullo
P: 2000
The album is an excellent blend of melodical, rhythmic and progressive electronic music with sometimes traces of the music of Jean Michel Jarre. A great example of this is the impressive track “Above The Clouds” which really gives you the feeling of flying above the clouds. All alone, but free.
With “Loneflyer”, Cerullo proves that he’s one of the finest new talents in electronic music.
“Loneflyer” is based on the novel “Jonathan Livingston Seagull” from Richard Bach, a source of inspiration for many musicians (Gandalf for instance). Cerullo dedicates the album to all the gulls living far away from the flock, as well as to his father.
Loneflyer is a CD inspired by Richard Bach’s “Jonathan Livingston Seagull.” Victor Cerullo’s soundscape would serve well as a soundtrack for this fable about aspiring to be more and about nonconformity allowing the heart and soul to take the physical being beyond conventional reality. Victor’ soundscape includes symphonic synthesizer washes, subtle electric guitars and genuine seagull samples. Victor mixed and arranged the soundscape with great integrity and meticulous detail. The result is a crossover of symphonic sequences and pastoral ambience. Vintage instrument samples augment and integrate the sound design. It has a “new age feel” without pushing the envelope. The CD is pure electronic fun! Victor has chosen to highlight the purity of Jonathan’s quest to become more. The deep pastoral synth washes and manipulated samples maintain thematic integrity. The symphonic overtones create a grand crescendo. Deep rhythms and sequences provide the dénouement. The CD closes with two tracks from Ludus as arranged for E-Live 99. They serve well as a coda.

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Artist: Victor Cerullo
P: 1998
Now this is something classic EM listeners will enjoy from the very first moments. Not only has Cerullo managed to squeese ALOT of amazing sound from the only two synthesizers used (Korg 01/W and Korg Polysix, with the help of Roland R8 Rythm Composer and Emu Procussion) but the music covers just about anything from the classic EM genre in terms of style and arrangements. And not only can one easily spot influences from the great masters of electronic music, but also influences from classical music.
The music is divided into three main parts, and each part is divided again into 13 separate tracks (the 14th track is a bonus piece). The intention was to form a theme for each main part, and expand on that theme in different directions for each sub-part. There are no songs here that outshine others, the quality is constant during all of the album.
The sounds here are also amazing. If it is true that only a couple of synthesizers were used, those musicians who collect synths because they think they need dozens of machines to make good music, have no valid arguments anymore! There is not one single second without great sound. "Less is more". So not only is the music classic EM, but the sounds are also classic and resemble both the smooth analogue of the 1970s and eerie processed vocal samples.

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Artist: Vidna Obmana + Asmus Tietchens
P: 1999
Linea [1+3] was originally released as a cassette in 1988. Recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops, FM noise and feedback. Produced, recorded and mixed at the Serenity Studio, Belgium, in December 1996.

Nachtstücke was released in 1980. Contains pieces recorded between 1975 and 1978 on 2-track Revox and 4-track Teac tape recorders. All sounds were created on the Moog Sonic Six synthesizer, using a Philips reverb and an Echolette tape delay for effects. Composed, arranged and recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops and harmonizers. Produced, recorded and mixed at the Serenity Studio, Belgium, in January 1998.
Comes with 4-page booklet.

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Artist: Vidna Obmana + Asmus Tietchens
P: 2002
Source material for this project was recorded in Den Haag and Nijmegen, The Netherlands, from 1995 to 2000 using PT device, electric and acoustic guitars and 4 and 8 track recording machines. Identical recordings were given to Asmus Tietchens and vidnaObmana, which they "recycled" into the recordings contained on these two CDs.

Artist: Vidna Obmana & Jan Marmenout
P: 1999
When it comes to creating those luxurious soundwaves, few are as consistently transportive as Belgium's Vidna Obmana. Here, with help from Jan Marmenout, VO stirs the Spirits of tribal sound explorations with a host of traditional ethnic/primitive musicmakers and, of course, modern synthsounds as well. The flutey tendrils which drift through the Ceremonial air of the opening track are accompanied by various clattering, drumming and whispering. More percussion surfaces during Traveling Moon Part 1 & 2, setting a rhythmic pace for the hovering electrodrones and fluttering Ney flute, and accelerating in the second movement, while wispy sheets of sound waft alongside a buzzing Jew's harp and hypnotically serpentine wind instrumentation.Slower, lower and beatless, Majestic guidance resonates with the rippling prescence of processed fujara sounds, backed by a moodily thrumming veil of electrons. As the track progresses, pressures rise, then fade so slowly away. Various drums, ceramics, woodwinds and more converge at The meeting ground for a peaceful-yet-animated gathering, uniting their musical voices in rather cinematic expressiveness. A particularly lush ebb-and-flow langorously spreads beneath The sacred balance, its softness occasionally stippled by distant random clatter. Simply gorgeous! Closing on the trio of pieces which make up the Temple of dawn, things shift back into the rhythmic... a swirling flurry of drumbeats, pattering ceramics and chiming metals dominate Part 1; this primal thunder is joined by an animatedly growling digeridoo, animalistic wails and skywardly climbing flutage. As everything else vanishes, the didge carries on, pulsing like a live electric current into Part 2 (3:28), where it meets with a sparkling fujara counterpart. The two entitities entwine and dance through various contortions, often sounding like grungy guitar feedback. These tones subside into the much smoother, velvety expanse of Part 3 (16:41). Trickling sands, tweedling tones and ghostly whispers accent the drift-and-shimmer of VO's synthesizer magic.

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Artist: Vidna Obmana
P: 1994
Lovers of ambient music will find two hours of solid delight in this two-disc collection of early material (1988-89) from Belgium's Dirk Serries (a.k.a. Vidna Obmana). The first disc, Monument of Empty Colours, done in collaboration with Puerto Rican experimental artist PBK, is the grittier of the two, with a distinctly postindustrial rumbling making up the low end of most of the otherwise relaxing, synth-loop-driven compositions. Gathering in Frozen Beauty, the other disc in this lavishly packaged set, is brighter and a bit more serene. It's Obmana on his own this time, and it's the kind of work that would presage the smooth, calming ambiance so skillfully executed on his early-'90s material (captured superbly on the Trilogy box set). According to Obmana, this music was meant to be played at low volume, presumably in the background. Not to deny the artist's intent, but you might find that headphone listening really captures the stark beauty of these introspective soundscapes.

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Artist: Vidna Obmana
P: 1994
Lovers of ambient music will find two hours of solid delight in this two-disc collection of early material (1988-89) from Belgium's Dirk Serries (a.k.a. Vidna Obmana). The first disc, Monument of Empty Colours, done in collaboration with Puerto Rican experimental artist PBK, is the grittier of the two, with a distinctly postindustrial rumbling making up the low end of most of the otherwise relaxing, synth-loop-driven compositions. Gathering in Frozen Beauty, the other disc in this lavishly packaged set, is brighter and a bit more serene. It's Obmana on his own this time, and it's the kind of work that would presage the smooth, calming ambiance so skillfully executed on his early-'90s material (captured superbly on the Trilogy box set). According to Obmana, this music was meant to be played at low volume, presumably in the background. Not to deny the artist's intent, but you might find that headphone listening really captures the stark beauty of these introspective soundscapes.

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Artist: Vidna Obmana
P: 1994
Remastered archival recordings from 1988 - 1991, resequenced by the artist, with an additional 30 minutes of unreleased music from that era added per disc.
Lovers of ambient music will find two hours of solid delight in this two-disc collection of early material (1988-89) from Belgium's Dirk Serries (a.k.a. Vidna Obmana). The first disc, Monument of Empty Colours, done in collaboration with Puerto Rican experimental artist PBK, is the grittier of the two, with a distinctly postindustrial rumbling making up the low end of most of the otherwise relaxing, synth-loop-driven compositions. Gathering in Frozen Beauty, the other disc in this lavishly packaged set, is brighter and a bit more serene. It's Obmana on his own this time, and it's the kind of work that would presage the smooth, calming ambiance so skillfully executed on his early-'90s material (captured superbly on the Trilogy box set). According to Obmana, this music was meant to be played at low volume, presumably in the background. Not to deny the artist's intent, but you might find that headphone listening really captures the stark beauty of these introspective soundscapes.

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Artist: Vidna Obmana
P: 1993
With REVEALED BY COMPOSED NATURE I had the opportunity  to explore my first compositional ideas, in the ambient genre, onto record, sequel to my cassette works.
Using only the internal sequencers of my instruments, I could manage  to create, structure and synchronize short loops in compositions.The changing of timbres shows the melody towards the end  of each composition. Unfortunately due to the poor quality of the vinil pressing,  my intention to offer particular moods was lost.
Hopefully, thanks to this reissue on digital format and  the recent remastering  from the original cassette master,  the character and atmosphere of this work is restored.'

Vidna Obmana, November 1993

Artist: Vidna Obmana
P: 1994
LTD 1000
Part One: Recorded live in concert at RaamTeater op 't Zuid, Antwerp, Belgium on the 19th of March 1993. Part of a two hour 'Echoing Delight' concert, remastered at the Theatre of Magic in July 1993.

Part Two: Recorded live at Comopoly, Hamburg on the 5th June 1993. No editing involved.

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Artist: Vidna Obmana
P: 1996
This is one of Vidna's very best solo efforts, and was composed between 1995 and 1996; he describes it, "The River of Apppearance translates my affection for the calm, serene and almost untouched: and it is definitely one of my most personal albums in years." Separated into eight pieces (ranging in length from 5'15" to 10'23"), the album as a whole is a peaceful, soothing excursion, with instruments (e.g., keyboard) often played "live" over an ambient background.
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Artist: Vidna Obmana
P: 1994
Here the collaboration from 1994 with Steve Roach, Robert Rich, Djean Ajakan Shean, Alio Die and Vidna Obmana.

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