Randall McClellan had been exploring the ancient tradition of using sound in a spiritual context for over 15 years when he created a series of concerts featuring constantly evolving, multi-layered melodies in the early 1980s. During the performances, the audience relaxed on the floor in dimly lit rooms to bring their bodies and minds into harmony.
The atmosphere becomes minimalistic and meditative when Eleh operates the controls and patch cables of his analogue modular synthesizers. The textures he creates with the machines convey a sense of precision, as if they were carved or sculpted. And they are characterised by a spiritual component that seems to be rooted in the cosmos itself.
With 10k+ archived releases, Sounds Central's proprietor, Paul Paulun, tells a personal history of music and sound art.
An intimate track based on an abstract drawing, a sublime sonic exploration into deep liquid space, some atmospheric minimalism, and library music created under complete creative control. 50-minute mix with works by Cosey Fanni Tutti, Joel Vandroogenbroeck, Monolake, Pan American & Kramer and others; realised between 1978 and 2025.
The stoic, almost machine-like drumming of many West German music from the early 1970s became the trademark of a new sound – different from British pop or American rock and in no way related to the country's horrible Nazi past. 45 minutes with Cluster, Faust, Harmonia 76, Wolfgang Riechmann and others.
‘I want to put as many aspects of myself into music as I can, as much as possible of being alive, intensely conscious on all levels.‘ With this attitude, American composer Laurie Spiegel developed her concept of Slow Change Music in the mid-1970s at Bell Labs in New Jersey, using the prototype of a computer system to control synthesizers.
A mix of ethnological recordings, found sounds and pirated material formed the basis for the performances of the radical theatre group Magazzini Criminali from Florence. In 1980, they used ambient music by Jon Hassell without permission. The composer was impressed – and collaborated with the group on an adaptation of Jack Kerouac's iconic beat novel ‘On the Road.‘
“Listen to your world. It may be more interesting than all the things you buy to escape from it.” 46-minute mix that proves Sasha Frere-Jones’ observation from 1999 right – with field-recordings by Alejandra & Aeron, Bill Fontana, Chris Watson, Paul Bowles and others.
An invented language, imitations of field recordings, or the idea of a visual work with sound allow these tracks to express something as yet unknown. 38 minutes with Buffy Sainte-Marie, Gazelle Twin & NYX, Glynis Jones, Valentina Goncharova and others.
Wearing eyeball helmets is the trademark of the Californian artist collective The Residents. Inspired by avantgarde and pop, the band anticipated the idea of audio piracy and developed groundbreaking multimedia projects. A 42-minute mix featuring some of the group's conceptual thematic compositions and deconstructions of Western pop music.
Most artists involved in what critics would call no wave in 1978 shared a nihilistic mindset as they explored areas ranging from abrasive noise to mutant disco in New York City. 44-minute mix featuring tracks by Boris Policeband, Bush Tetras, Jill Kroesen, Konk and others.
For some, the piano is the instrument of instruments. Here are ten good reasons why. 40 minutes with works by Charlemagne Palestine, Graeme Revell, Henry Cowell, Johanna Magdalena Beyer and others.
