VA - Late Night Moods Bossa Lounge

Artist: VA
Title Of Album: Late Night Moods Bossa Lounge
Year Of Release: Aug 29, 2006
Label: Phantom
Genre: Jazz / Easy Listening
Bitrate: VBRkbps / 44.1 kHz / Joint Stereo
Total Time: 01:56:07 min
Total Size: 155 MB

Tracklist
--------
CD1
----
1. Andr Hornez - C'est Si Bon
2. Pablo Beltan Ruiz - Quien Sera (Sway)
3. Irving Berlin - Cheek To Cheek
4. George Gershwin - Embaranceable You
5. Robert B. Sour - Body And Soul
6. James Van Heusen - Call Me Irresponsible
7. Oscar Hammerstein - All The Things You Are
8. Barodin - Bauble, Bangles And Beads
9. Jerome Kern - Smoke Gets In Your Eyes
10. Cole Porter - Easy To Love
11. George Shearing - Lullaby Of Birdland
12. Johnny Mercer - Tangerine
13. Duke Ellington - Satin Doll
14. Ogden Nash - Speak Low
15. Simons - All Of Me
16. Milt Gabler - Love
17. Edward Hayman - Love Letters
18. George Gershwin - Someone To Watch Over Me

CD2
----
19. Antnio Carlos Jobim - Garota De Ipanema
20. Antnio Carlos Jobim - Corcovado
21. Robert Menescal - Ah! Se Eu Pudesse
22. Antnio Carlos Jobim - Chega De Saudade
23. Antnio Carlos Jobim - Meditaao
24. Antnio Carlos Jobim - Samba De Uma Nota So
25. Antnio Carlos Jobim - Aqua De Beber
26. Carlos Lyra - Infuluencia Do Jazz
27. Antnio Carlos Jobim - A Felicidade
28. Antnio Carlos Jobim - Ela e Carioca
29. Luiz Bonfa - Manha De Carnaval
30. Marcos Valle - Samba De Verao
31. Antnio Carlos Jobim - Insensatez
32. Antnio Carlos Jobim - Triste
33. Antnio Carlos Jobim - So Tinha Que Ser Con Voce
34. Antnio Carlos Jobim - Desfinado
35. Antnio Carlos Jobim - Wave
36. Antnio Carlos Jobim - Outra Vez

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Raphael Marionneau - Abstrait

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Released: 08-03-2009
Street Date: 01-03-2009
Source: Radio (N-Joy) Live Session
Genre: Ambient, Chillout, Lounge
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~107min
Size: 134mb

Tracklist:
n|a

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Father - Sunday PM

Released: Mar 3, 2009
Rip Date: Mar 9, 2009
Label: Bonzai Elemental
Cat.#: EM-2009-046
Source: WEB (audiojelly)
Genre: Downtempo / Chillout
Quality: 320kbps / 44.1kHz / Joint-Stereo
Size: 86.1mb

Tracklist:
1 Origins 6:52
2 Train Of Thought 7:58
3 Ghosts 7:04
4 Beaches 7:48
5 Los Sunrises Del Mar 7:53

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Nu Note Lounge Festival 2008

Released: 29-03-2009
Year: 2008
Label: NuNote
Source: CDDA
Genre: Chillout / Lounge / Nu-Jazz
Quality: VBRkbps
Length: ~56min
Size: 76.5mb

Tracklist:
01 VA - Intro 01:01
02 Bonobo - Nightlite (Feat. Bajka) 05:12
03 Pauline London - Fly in the Sky 05:55
04 Kurt Maloo - Young King 04:27
05 Gus Gus - Sweet Smoke 04:11
06 Bonobo - Pick Up 04:11
07 Pat Appleton - Smart Traveler 03:48
08 Bonobo - the Fever 04:24
09 Pauline London - Love Can Sing 04:30
10 Kurt Maloo - the Capitan of Her Heart 04:39
11 Gus Gus - Degeneration 04:13
12 Bonobo - Ketto 05:09
13 Pauline London - Talking to the Moon 04:04

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Bar Lounge Classics - Late Night Edition (2009)

Released: 21-03-2009
Label: Sony BMG
Source: 3xCDDA
Genre: Chillout / Lounge
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~233min
Size: 310mb

Tracklist:
CD1
01 Nightmares On Wax - Calling 07:43
02 Blank & Jones - Heart Of Wax (Late Night Mix) 04:42
03 Karen Gibson Roc - Painted Room 04:06
04 Tafubar - The Man Who Had Bad Dreams (Lemongrass Woolgathering Mix) 03:54
05 Homme Beige - June 06:56
06 Groove Armada - Dusk You & Me 05:36
07 Bliss - Positive Reaction 03:51
08 Northbound - Dawn Stroll 05:18
09 GXR - Groove Diving 04:53
10 Stardelay - Earthlight 02:56
11 Gabriel Le Mar - Welcome to Dreamland 04:03
12 M.Age.Project - Distant Disturbance 04:52
13 Beese & Brtschitsch - My Attitude 04:35
14 Marga Sol - Poison & Passion 04:59
15 Slackwax - Nightout 05:21
16 Mystfy - Stardust I keep 05:03

CD2
01 Pit Baumgartner - Virgin Forest 04:01
02 Clelia Felix - Under The Moonlight 04:33
03 Unit Blue - Deejays Feel 04:22
04 Leftfield - A Final Hit 03:09
05 Musetta - Red Star 03:21
06 Jet Tricks - Love Hangover 05:46
07 Greenlab - Virtual Mandala 04:31
08 Living Room - Brasilian Flair 03:28
09 Barrio Jazz Gang - Linda Cancao 04:02
10 Natalie Clavier - Dormida 03:20
11 Asheni - Easy Come 05:11
12 SoulChillaz - La Musica 04:15
13 ueNN - Escape the time 05:45
14 Under Pressure - Wanna Talk 05:45
15 Sabo & Zeb - Con Chill 05:38
16 Lira - Feel Good 05:06
17 Marbert Rocel - The Harder They Come 06:23

CD3 Exclusive DJ-Mix by Christian Hornbostel
01 Cesar Martinez Ensemble - Contigo 05:37
02 Christian Hornbostel - Waiting At Potsdamer Chaussee (Re-edit) 05:37
03 Don Gorda Project - Daydreaming (BLC Version) 05:52
04 Premasara Council - Song Of The Self (Part 2) 05:05
05 Blue Wave - Blue Wave 05:55
06 Don Gorda & The Sura Quintet - (Theme from) I Remember 06:25
07 Enrico Donner - On The Lake (BLC Version) 05:08
08 Christian Hornbostel - A Vineyard In The Desert 04:40
09 The Sura Quintet - Ultima Noite De Verao 05:52
10 Cane Garden Quartet - Into The Green (BLC Version) 05:09
11 The Dream Catchers - Flower Of Spring (Suntheca Lounge Mix) 06:08
12 Proxy Brides - Everything (Late Night Mix) 04:40
13 Suntheca Productions - Kiss Of Life (BLC Version) 04:24
14 Christian Hornbostel - Love Supreme (Lovelight Mix) 04:20

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Paris Lounge (2009)

Released: 26-03-2009
Label: Wagram Music
Source: 2xCDDA
Genre: Chillout / Lounge / Downtempo
Quality: VBRkbps
Length: ~124min
Size: 160mb

Tracklist:
CD1
1 Dimitri From Paris - Toujours Lamore 4:16
2 Shazz - Sit Down 3:47
3 Kid Loco - Confessions (Parov Stelar Remix) 3:12
4 Blackjoy - Mercurian dub1 3:27
5 Lanoiraude - Bloom Doudouk 5:36
6 Alb - Sweet Sensation (Breakbot Remix) 3:14
7 Uptown Funk Empire - Boogie 5:24
8 Wax Tailor - The Games You Play 4:16
9 Refactory - City Science 4:13
10 Tribeqa - Bridge The Gap 2:55
11 Tassel & Naturel - Walk With Me 3:37
12 Dajla - At Last 4:10
13 Roudoudou - Tiki Walk 4:07
14 Le Tone - Lake Of Udaipur 3:43
15 Gotan Project - Lunatico 3:00
16 Bob Sinclar - Kiss My Eyes (Reggae Version) 5:04

CD2
1 Benjamin Diamond - This Is It 4:14
2 Barbara Carlotti - Cannes 2:28
3 Cocosuma - The Servant 4:53
4 Domingo - The Grace 3:29
5 La Maison Tellier - Killing In The Name 3:50
6 Yael Naim - Too Long 4:40
7 Fugu - Here Today 3:04
8 Hey Hey My My - Belle & Julian 2:57
9 The Fugitive Kind - The Thrill 3:43
10 Caravan Palace - Ended With The Night 5:00
11 Bumcello - Lychee Queen 3:26
12 Solal - 7 Guns 7 Holes 3:26
13 Mathieu Boogaerts - Come To Me 2:25
14 B. Alone - Time Is Love 3:56
15 Sporto Kantes - Concrete 4:09
16 Sandra Nkake - Happy 3:33

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London Fashion District 2 (2009)

Released: 26-03-2009
Label: Cool Division
Cat.#: CLDCD060-09
Source: 2xCDDA
Genre: Chillout / Lounge / House
Quality: VBRkbps
Length: ~122min
Size: 174mb

Tracklist
CD1
1 Brian Eno - Deep Blue Day 3:43
2 Mint Royale - The Effect On Me 3:50
3 Culcha Candela - 3 Steps 3:46
4 Hint Feat. Kinny - Afro Love Forest 4:03
5 Kidda - Smile 4:48
6 Ikon - Dirty Girl 4:29
7 Marcel - Ten Ways Of Return 3:48
8 Ganga - All I Want 4:57
9 Sepalot Feat. Frank Nitty - She Likes Me 4:00
10 N.e.r.d. - Run To The Sun 4:33
11 Variety Lab - Soda Pop Confusion 2:56
12 Ava Leigh - Mad About The Boy 3:20
13 The Cuban Brothers - Miguel For President 5:06
14 Tom Jones - If He Should Ever Leave You 3:31

CD2
1 Kylie Auldist - That S Why 3:58
2 Slowtrainsoul - I Want You To Love Me (Varano Mix) 5:30
3 Ben Watt - Guinea Pig (Vocal Variation With Julia Biel) 5:05
4 Eleze - Teardrop [ Fonzerelli Mcclelland Radio edit] 3:18
5 Freemasons Feat. Bailey Tzuke - Uninvited 5:06
6 Dj Gomi Feat Louie Balo & Yasmeen - Glad I Found You [scott Wozniak remix] 5:21
7 Bob Sinclar Feat. Linda Lee Hopkins - The Beat Goes On 09 [louis Botella remix] 4:57
8 Mowo Feat. Sharon May Linn - Don't Go Lose It Baby [fratty & Presti Club mix] 4:47
9 Kris Reen Vs. Majuri - Lift Me Up [pain & Rossini remix] 4:26
10 Wamdue Project - King Of My Castle 09 [mischa Daniels 2 Am remix] 4:38
11 Brizi Vs. Laura Gaeta - Boa Sorte (Good Luck) [relight Orchestra remix] 4:35
12 Copyright Feat. Imaani - Deeper [original version] 4:49
13 Kid Massive Feat. Elliotte Williams nґdure - Get Busy [original Old Skool mix] 4:25
14 Chris Lake Feat. Nastala - If You Knew [original mix] 4:50

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Marcus Schossow - From My Heart

Label: Tone Diary
Catalog#: TONE010
Source: WEB
Release date: Mar-27-2009
Format: mp3
Quality: 320 kbps
Size: ~37 MB
Genre: Electronic
Style: Progressive Trance / Tech Trance

Tracklist:

1. From My Heart (Original Mix) 7:54
2. From My Heart (Dub Mix) 7:54.

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Stimming - Reflections 2009

Artist: Stimming
Title: Reflections
Label: Diynamic
Genre: Minimal House/Tech House/House
Released: 06, April 2009
Size: 165 МБ
Quality: 320 Kbps / Full Stereo

Tracklist:

01. Stimming - Sunday Morning
02. Stimming - After Eight
03. Stimming - Song For Isabelle
04. Stimming - Fruits Of Life
05. Stimming - Silver Surfer
06. Stimming - One Weekend
07. Stimming - The Loneliness
08. Stimming - Tel Aviv Calling
09. Stimming - The Beauty
10. Stimming - Sleep On
11. Stimming - The Kiss

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Irukanji - Z Lisu (2009)

"Z Lisu" - is the debut album of Irukanji project. Behind this name is standing talented musician and charismatic dj – Igor Orlovskiy, member of duet from Ukraine Sphingida (2003 - 2008).
Also Igor Orlovskiy is known as co-founder of experimental chill-out label Sentimony.
Created in 2008 Irukanji combined all experimental ideas and fresh twisted downtempo style.
Irukanji is breaking all rules and standing beyond the scope.
In his tracks you will here crazy conversion between pure psychedelic down beats and mysterious tales.

Released: 28-03-2009
Label: Sentimony Records
Cat.#: SENCD006
Source: CDDA
Genre: Ambient
Quality: VBRkbps
Length: ~69min
Size: 99.5mb

Tracklist:
01. Onset (In)
02. Swamp
03. Recapture The Past
04. Return Home
05. Hybrid Seven
06. Nymphosis
07. On One Wave
08. Forest Speakers
09. Sphingida - Crystal Silence
10. Irukanji feat. NeiRula - End (Out)

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Beatport Top 10 (27.03.2009)

Artist : VA
Album : Beatport Top 10
Style : House / Electro House / Progressive House / Tech House
Size, MB : 171 mb
Bitrate : 320 kbps / 44.1kHz/ Joint-Stereo

Tracklist:

01.Hoxton Whores - Devil Toy (Main Mix)
02.Fatboy Slim, Koen Groeneveld - Rockafeller Skank (Original Mix)
03.Chris Kaeser - The Rhythm Of The Beat (Original Mix)
04.Faithless Feat. Cass Fox - Music Matters (Mark Knight Remix)
05.Deadmau5 - Word Problems (Original Mix)
06.Joey Seminara, Simon Gain - Far Away (Original Mix)
07.Granite & Phunk, MC Flipside - So Fly (Prok & Fitch Vocal Mix)
08.Christian Smith, John Selway - Move (Steve Angello Remix)
09.Steve Lawler - Distrait (Nick Curly & Gorge Remix)
10.Antillas, Uppermost - Somebody (Antillas Club Remix)

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Beatport - 15 New Tracks (22-03-2009)

Artist: VA
Title: Beatport - 15 New Tracks
Release date: 22-03-2009
Source: WEB (Beatport)
Format: MP3
Quality: 320 kbps / 44.1KHz/ Joint Stereo
Size: ~230 mb (rar)
Length: 117:58
Type: 15 tracks
Genre: Electronic
Style: House / Electro House / Progressive House

Track-list:
01. Jody Wisternoff - Starstrings (Dabruck & Klein Mix)
02. Antillas, Uppermost - Somebody (Antillas Club Remix)
03. Albin Myers - Archipelago (Original Mix)
04. Dario Nunez Feat. Ray Isaac - Four To The Floor (Original Mix)
05. Miles Dyson & Count Sinca - Superbowl (Original Mix)
06. Superstrobe - The Freak (Original Mix)
07. Pete Gooding & James Doman - Heaven (Filthy Rich Remix)
08. Sean Biddle Feat. Krukid - Direct Connection (Paul Anthony & ZXX Remix)
09. Albin Myers & Jonas Sellberg - Crash (Original Mix)
10. Sidney Samson - Riverside (Afrojack Remix)
11. Yeniloca - Parisienne (Chris Kaeser Remix)
12. Zoo Brazil - Gainer (Original Mix)
13. Peter Gelderblom - Lost (Hi-Tack Dub)
14. Proff & Mango - 5th In Blue (Proff Mix)
15. Quintin vs Dj Jean - Original Dutch (Original Mix)

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Terry Callier - Hidden Conversations (2009)

Hidden Conversations is the follow up to Terrys last album Lookin Out.
Following Terrys performance at last years Meltdown Festival (curated by Massive Attack), Terry has once again hooked up with the British trip hop trio. On Hidden Conversations Massive Attacks Robert Del Naja co-wrote Wings and John Lee Hooker and exclusively wrote Live With Me. The collaboration of Massive Attacks haunting production and Terrys beautiful, emotive vocals is quite simply, stunning.

On Hidden Conversations all the other songs were exclusively written by Terry himself. This new electronic edge complements Terrys style perfectly and offers a new direction that will appeal to fans both old and new. Hidden Conversations is as innovative and compelling as ever.

Released: 04-05-2009
Rip Date: 28-03-2009
Label: MR Bongo
Source: CDDA
Genre: Downtempo / Funk / Soul
Quality: VBRkbps
Length: ~49min
Size: 64.8mb
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Tracklist:
1. Wings 6:06
2. Sunset Boulevard 5:05
3. Hidden Conversations 3:54
4. The Hood I Left Behind 5:38
5. Once I Dreamed Of Heaven 5:21
6. Fool Me Fool You 3:34
7. Rice And Beans 4:06
8. Jessie And Alice 3:59
9. John Lee Hooker 5:01
10. Live With Me 6:05

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Carl Hanaghan & My Digital Enemy - Leyenda (WEB) (2009)

Label: Vacation Records
Ripped on: 27.03.2009
Genre: House
Catalogue: VR024
Quality: 320kbps / 44.1kHz / Full-Stereo
Tracks: 02

Tracklist:
1. Leyenda (Original Mix) 7:12
2. Leyenda (Bass Kleph Remix) 6:29

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Side Liner - Crying Cities (2009)

A music story for the future of big cities and their citizens dreams! Nick Miamis loyal on his annual music report, bring us his forth Side Liner album. A concept about the future of big cities, a future that maybe has already come! Emotional patterns and soundtrack atmospheres, a kaleidoscope of sounds from downtempo to chill out, from breaks to
ambient, under crystal production and the unique side liner style. A fantastic journey through the melancholy of music with soft and hard moments.
Including collaborations from artists as D.Batistatos, Zero Cult, Cydelix, Red Eye Express & Secret Sound Labs.
Join the chilling shade of our cosmic leaves.

Released: 27-03-2009
Street Date: 16-01-2009
Label: Cosmic Leaf Records
Cat.#: CLCD014
Source: CDDA (mix + cue)
Genre: Downtempo / Ambient
Quality: VBRkbps
Length: ~67min
Size: 99.5mb
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Tracklist:
01 Crying Cities 06:37
02 Highway Dreams 06:11
03 Old Neighborhood 06:50
04 Dead End 06:33
05 Camera Obscura 06:37
06 Violet Room (Remix for Zero Cult) 06:45
07 Tall Stories (Remix for D.Batistatos) 07:15
08 2222 (Prostranstvo 2008 Edit) 07:15
09 Urban Haze 05:41
10 Crying Cities Remix (Cydelix's Ambient Version) 06:38

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Piet Blank - The Lounge

The Lounge is a weekly radio show from Piet Blank (Blank & Jones) bringing you the best in Ambient, Chill Out, Lounge, light Jazz and Easy Listening. 1 hour non stop time to relax.



Street Date: 01-03-2009
Release Date: 08-03-2009
Source: Radio (N-Joy), mix
Genre: Ambient, Chillout, Lounge
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: 50:08min
Size: 60.6mb


Tracklist:
n|a

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Venue Connection - Madrid Boogie (2008)

VENUECONNECTION was formed in 2002 by Javier del Aguila and Fara Alvarez, who share influences from jazz. lounge, funk, pop, electronic and hindu music.s
The first work of the band is an MP3 title Orange Light in the Phantom Room, released in 2003 on various websites.
In 2004, Angeles Gomez (a jazz and soul singer with a vast musical path and black music influence) joined the band.This is the actually new CD.


Released: May 26, 2008
Rip Date: Mar 9, 2009
Label: Phazzdelic Records
Cat.#: PHAZZ001-ES
Source: CDDA
Genre: Downtempo / Chillout
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~63min
Size: 83.1mb
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Tracklist:
01 madrid boogie 03:56
02 cool vanilla 04:41
03 stay at home 04:01
04 stand up 04:29
05 bring back the funk 01:42
06 walkin your dream 04:34
07 not in luck 04:22
08 mar de calmas 03:38
09 mmmm song 04:26
10 art of disappearing 03:42
11 lo siento 03:28
12 oriental glamour 01:52
13 lets freeze 04:33
14 the guitar 05:30
15 goodbye 13th century 04:00
16 is it right_ 03:50

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K-Mo - La Boum De Luxe

Released: 14-02-2009
Source: Radio (FM4), mix
Genre: Lo-Fi
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~71min
Size: 60mb

Tracklist:
01 - La Boum De Luxe (FM4) 03-14-2009 70:38

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Gilles Peterson - Worldwide International 625

Released: 19-03-2009
Source: Radio, mix
Genre: Lo-Fi
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~120min
Size: 132mb

Tracklist:
01. Worldwide International 625-SAT-03-19-2009 120:00
Mayer Hawthorne - Maybe So Maybe No - Stones Throw
Q Tip - Getting Up - Universal
Sound Species Ft Ahu - We Call It Love - Kindred Spirits
Al Haca Ft RQM - Earth - Test
General Elektriks - La Nuit Des Emphemeres - Discograph
The Longlost - Woebegone - Ninja Tune
Joyce & Nava Vasconselos - Chegada - Far Out
Naima - Unknown - Test
Holly Rose - Inside My Love - Test
Mayer - Hawthorne - Interview
Unknown - Unknown - Test
Curtis Mayfield - Weve Only Just Begun - unknown
Voices Of East Harlem - Unknown - Just Sunshine Records
Mayer Hawthorne - Just Aint Gonna Work Out - Stones Throw
Mayer Hawthorne - Love Is Alright - Stones Throw
Mayer Hawthorne - When I Said Goodbye - Stones Throw
Mayer Hawthorne - Maybe So Maybe No - Stones Throw
Carlos Nino & Miguel Atwood Ferguson - Fall In Love - Stones Throw
Jam Da Silva - Dia Santo - 3014
Wax Poetic Ft. Otto - Dagmar Nao Tava Nao - Nublu
Nacho Patrol - African Space Program - Kindres Spirits Electronics

Worldwide Family Mixtape - Phlash & Friends - Notting Hill, London
Phlash & Friends - Exaltation Beat - Archive Records
Phlash & Friends Ft Rich Medina - Minotaur - Archive Records
Phlash & Friends - Revolution Solution - Archive Records
Phlash & Friends - Putting It Down - Archive Records
Phlash & Friends - Putting it Down LP version - Archive Records
Phlash & Friends Ft Bobstar - Hazy - Archive Records
Phlash and Friends Ft Sandra Nkake - Exaltation - Archive Records
Martyn - For Lost Relatives - Aus Music
Dobie - Good Will Hunting - Test

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Andrey Gorn - Espresso 001

Released: 18-03-2009
Source: mix
Genre: Chillout / Lounge
Quality: 192kbps / 44.1kHz / Joint-Stereo
Length: ~61min
Size: 85.5mb
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Tracklist:
01 Jose Padilla - Voltar [Planetworks]
02 Enigmatic - Aqua Roja [Little Angel]
03 Love Potion - Sugarman [EQ Music Pte Ltd]
04 Rey Salinero - Didascalias Theme [Comfort Sounds]
05 Groovecatcher - Further From Home [Elektrolux]
06 Delerious 3 - Inspiration [More Music]
07 Batuk - Quero Quero [Planetworks]
08 Minus 8 - Snowblind [Compost Records]
09 Christian Hornbostel - Schakunta (Bossamba Mix) [Stereoheaven]
10 Flamingo Star - Porque [Peacelounge Recordings]
11 Moodswings - Sleepy Head [Mettle Music]
12 SoulChillaz - La Musica [Chillball Music]

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Jazzanova - Radio Show

Released: 23-03-2009
Source: Radio, mix
Genre: Lo-Fi
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~123min
Size: 150mb

Tracklist:
01 radio show mar-23rd-2009 60:40
02 radio show mar-23rd-2009 61:22

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Tobi Tobsucht - Chillzone (Sputnik)

Released: 22-03-2009
Source: Radio (Sputnik), mix
Genre: Chillout / Lounge / Nu-Jazz
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~56min
Size: 74.7mb

Tracklist:
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GXR - Skylines

'Skylines' is the eagerly awaited debut album from GXR, the new project from U.K. producers Phil Webb and Simon Cooper. Pushing back the boundaries of chill-out, 'Skylines' encompasses lush downtempo, electronica, deep house, mellow drum 'n' bass and trip hop within warm, evocative Balearic soundscapes.

Following their seminal remix of the classic Billie Holiday track 'Long Gone Blues' for Sony Legacy, 'Skylines' is the realization of GXRs creative vision drawing on all the experience and inspiration that has seen Phil and Simons music appear on over 150 compilations and in the Top 10 iTunes Electronic charts worldwide.

'Skylines'... album highlights include the luscious, floating chill-out of 'Groove Diving' and the vinylistic exquisite hip-hop funk of 'Ultramarina'. The elegantly sensual vocals of Manuela Van Geenhoven return on 'Time And Tide', smooth Latin lounge evoking hot summer days on Balearic shores, and 'Smoke And Mirrors', an exotic adventure in mellow drum & bass through fleeting cities at night.

Finishing the album on a high is the transforming deep house of 'Dazed', penned by Chris Brann (Ananda Project/Wamdue Project) and featuring the superb, smooth-as-silk vocals of Solu Music's Kai Martin.

The music on 'Skylines' transports the listener into that rarefied zone between the city and the sky, visual and unique, where soundscapes as ethereal as the clouds meet the deepest beats from the street.



Released: 12-09-2008
Rip Date: 23-03-2009
Label: Xtra Rare Music / BFM DIGITAL
Source: CDDA
Genre: Cillout / Lounge
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~61min
Size: 92.2mb
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Tracklist:
1 Groove Diving 5:02
2 Fade Away 6:06
3 Ultramarina 5:58
4 5 A.M 4:59
5 Time & Tide 5:21
6 All This Could Be Yours 5:28
7 Moments 4:50
8 Smoke & Mirrors 7:08
9 Moonstruck 5:26
10 The Magic 5:29
11 Dazed 5:06

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Gilles Peterson - Live on Radio 1

On this week's show an Original Soundtrack cut from Boyz N The Hood, and music from Doom, Martyn, Mulatu Astatke & The Heliocentrics and Winton Marcellus. Plus to celebrate his trip to Istanbul as part of International Radio 1, Gilles plays a Turkish Delight Mix featuring Okay Temiz, Burhan Tonguc and Erol Pekcan

Released: 12-03-2009
Source: Radio (Radio 1), mix
Genre: Lo-Fi
Quality: VBRkbps / 44.1kHz / Joint-Stereo
Length: ~120min
Size: 137mb
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.::Tracklist::.
Paddy Steer – ‘Street Dreams’ (Red Deer Club)
Nomo – ‘Elijah’ (Ubiquity)
DJ Oil – ‘Lord Have Mercy’ (Test)
Doom – ‘Gazzillion Ear’ (Thom York Remix) (LEX)
Josip Klobucar – ‘Sad Space Story’ (Fulgeance Remix) (Test)
Dorian Concept – ‘Fort Teen’ (Kindred Spirits)
Paul White – ‘Alien Nature (Extended Version)’ (One-Handed)
Sound Species Ft Ahu – ‘We Call It Love’ (Kindred Spirits)
Ramadan Man & Appleblim – ‘Sous le Sable’ (Aus Music)
2000 And One – ‘Wan Poku Moro’ (Test)
Maya Nidam – ‘Saltando Chispa’ (World & Sound)
Martyn – ‘For Lost Relatives’ (Aus Music)
Cerritos Jazz Rock Ensemble - ‘Come Together’ (Stage Band Research)

Turkish Delight Mix
Orient Expressions – ‘Intro’ (Double Moon
)Arif Mardin's – ‘Forms’ (Atlantic)
Aksu Orkestrasi – ‘Bermuda Seytan Ucgenie’ (Bosporus)
Baris Manco – ‘Lambaya Puf De’ (Yavuz)
Okay Temiz – ‘Denizalti Ruzgarlari’ (Yonca)
Okay Temiz – ‘Dokuz Sekiz’ (Yonca)
Yeni Bir Gun – ‘Ham Meyvani Kopardilar Dalindan’ (Yavuz)
Erol Pekcan – ‘Senlik’ (Bosporus)
Ferdi Ozbegen – ‘Kopruden Gecti Gelin’ (Bosporus)
Erol Pekcan Orkestrasi – ‘Gel Sevgilim’ (Diskotur)
Erkin Koray – ‘Magarada Dugun’ (LM)
Mustafa Ozkent – ‘Zeytinyyagli’ (Finders Keepers)
Burhan Tonguc – ‘Ritm Grubo Ve Ismet Siral’ (Test)
Paddy Steer – ‘Loufoque’ (Red Deer Club)
Mulatu Astatke & The Heliocentrics – ‘Cha Cha’ (Strut)
Oumou Sangare – ‘Lyo Djeli’ (World Circuit)
Winton Marcellus – ‘Girls’ (Blue Note)

Original Soundtrack Material – Boyz N The Hood (1991)
Force One Network – Spirit (Warner)

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Beatport - 10 NEW TRACKS - Electro House 23.03.2009

Albin Myers - Archipelago (Original Mix)
Albin Myers & Jonas Sellberg - Crash (Original Mix)
Dario Nunez Feat. Ray Isaac - Four To The Floor (Original Mix)
Miles Dyson & Count Sinca - Superbowl (Original Mix)
Jody Wisternoff - Starstrings (Dabruck & Klein Mix)
Pete Gooding & James Doman - Heaven (Filthy Rich Remix)
Sidney Samson - Riverside (Afrojack Remix)
Sean Biddle Feat. Krukid - Direct Connection (Paul Anthony & ZXX Remix)
Zoo Brazil - Gainer (Original Mix)
Yeniloca - Parisienne (Chris Kaeser Remix)

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Ben Watt & Gui Boratto - Mix @ Buzzin Fly - Proton radio 13.03.2009.

Ben Watt Tracklist:
01 Dj Hell - The Angst Parts 1 And 2 [Gigolo]
02 Rone - Belleville (Clara Moto And Tyler Pope Remix) [Unsigned]
03 Mr V - Bring The Beat Back [Sole Channel]
04 3rd Face - Canto Della Liberts (Derrick Carter Remix) [Classic]
05 Dop - I'm Just A Man (Agnes Remix) [Eklo]
06 Audgang - Sonar (Spitzer Remix) [Unsigned]

Gui Boratto Tracklist:
01 Gui Boratto - Take My Breath Away [Kompakt]
02 Dada Attack - Clearly Imply (Gui Boratto Remix) [Unsigned]
03 Gui Boratto - Atomic Soda [Kompakt]
04 Gui Boratto - Haute Couture [Kompakt]
05 Gui Boratto - Opus 17 [Kompakt]

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Audiokinetiks - Feel the depth @ Dissenters Proton 19-2-2009

Tracklist:

01 Darren Duvall - My Control (Murat Ozer's No Keys Remix) [Promo]
02 Audiokinetiks - True Heart (Original Mix) [Magnolia Digital Label]
03 Bart Van Wissen - The Bee's Knees [Promo]
04 Arthur Deep - White Park - Artificial Harmonies Ep [Promo]
05 Darren Duvall - My Control (Daniel Kyo's Remix) [Promo]
06 Human8 - She Is Gone (Marrakech Remix) [Promo]
07 Bart Van Wissen - Make No Mistake [Promo]
08 Kruse & Vesuviano - Dont Mute Me (Original Mix) [Promo]
09 Kl00b - Gudanbad [Triple]
10 Remute - Wanderer (Original Mix) [Buy You Sell Me]

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Nosak - Unexplored Fields

Release Date: Mar 19th, 2009
Styles » Deep House / Other/Electronica


01. Unexplored Fields [original mix]
02. Unexplored Fields [Agent Matteo Foreign Promises Mix]
03. Unexplored Fields [Audio Noir Bermuda Mix]
04. Unexplored Fields [Judea Stonez Mix]




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Mark Broom & Mihalis Safras - Jelle

Artist: Mark Broom & Mihalis Safras
Title: Jelle
Label: Soma Recordings
Cat#: SOMA262D
Genre: Tech-House
Quality: 320kbps avg / 44.1KHz / Full Stereo
Released: 23-03-2009
Tracks: 4
Size: 62.5MB

Tracklist:

1. Jelle 6:41
2. Stutter (Original Mix) 5:54
3. Please 6:13
4. Stutter (Kerkez Remix) 7:37

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Solarsoul - Life movement

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Artists: Various Artists
Album: SOLARSOUL - LIFE MOVEMENT
Release Date: 24.04.2008
Genre: ChillOut / Ambient
Format/Bitrate: mp3 / 320 kbps / 44.1KHz / Joint Stereo
Track: 11
Length Time: 00:47:01
Size: 127 Mb

TrackList:

01. S-Tune - Urban Silence (Original chillout Mix)
02. Coalesced - Awakening (Nieghel Remix)
03. Arthur Deep - Friends (chillout Remix)
04. Corderoy - Sweetest Dreams (Ferry Corsten Remix)
05. Airwave - Ladyblue (ambient Dream)
06. Solar Stone - The Calling (Inner Peace Mix)
07. Tetrazone - Glorious Night (S-Tune Lonely Breaks mix)
08. Arthur Deep - Beyond Reality (Original Mix)
09. Black Pearl - Coral Sea (chillOut Mix)
10. Davison Tim feat. Stacey Kitson - Deliver Me (Christopher Lobsinger's ambient Mix)
11. Cold Blue - Oasis (chillout Mix)

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Fabrique (2009)

In 2001, on a rainy november sunday afternoon, a performance took place on the Brisbane Powerhouse Turbine Platform. It was a crowded affair, some 600 people turning out for DJ Olive meets I/O3, a performance since released as 'Powerhouse Sessions' (EDRM400). Whilst the actual shape of the series was yet to take form, this event was the genesis for a series of events curated by Lawrence English.

Titled Fabrique, the series ran for eight years and produced 40 events - each celebrating the full breadth of electronic and avant musics. Fabrique presented artists from from Japan, Spain, Slovenia, USA, UK, Belgium, Germany, France, Austria, Italy, Denmark, New Zealand and Australia amongst others.

The event prided itself on creating networks between Australian and international artists all of whom shared an interest in testing for the very edges of contemporary sound in performance. During its eight years, Fabrique co-presented events with festivals and performance series including Liquid Architecture, Phonoscape, Open Frame, What Is Music?, Impermanent Audio, Puls8 and Sound Polaroids.

The CD features exclusive tracks or live recordings at Fabrique from:
David Grubbs
Chris Abrahams
Fourcolor
Pimmon
Keith Fullerton Whitman
Janek Schaefer
Andrew Pekler
Ulrich Kreiger
Scanner
DJ Olive & I/O3
John Chantler
Greg Davis
Camilla Hannan
Robert Henke
KK Null
Leighton Craig
Seaworthy
Tujiko Noriko

Released: 23-03-2009
Label: Room40
Source: CDDA
Genre: Ambient
Quality: VBRkbps
Length: ~79min
Size: 103mb
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Tracklist:
01.David Grubbs - Blessed Are The Masters 03:19
02.Chris Abrahams - Leiden 05:30
03.Fourcolor - Familiar 05:04
04.Pimmon - Chirippk 04:12
05.Keith Fullerton Whitman - Live At Fabrique 04:55
06.Janek Schaefer - Fields Of The Missed 07:00
07.Andrew Pekler - Dust Enforcer 03:38
08.Ulrich Krieger - Black Forest Dreaming 04:45
09.Scanner - Thrown Together Like Leaves (Live At Fabrique 2002) 03:31
10.DJ Olive Meets I/03 - Then We Exhaled 05:34
11.John Chantler - A Short Thesis 04:56
12.Greg Davis - True Gateway 04:19
13.Camilla Hannan - Forest (Edit) 06:24
14.Robert Henke - Hommage_17 01:12
15.K.K. Null - (Synchroflash) 01:43
16.Leighton Craig - San Souci 03:37
17.Seaworthy - Points North And East 04:28
18.Tujiko Noriko - Magic (Live At Fabrique) 04:34

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Natural Born Chillers 2

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The second chapter of the Natural Born Chillers series took a long time to construct. DJ Shahar & Shulman carefully picked the best tracks in order to bring you again a musical genre-breaking story that journeys through different musical landscapes and geographical territories. Expect hypnotic rhythms, dubby moves, psychedelic adventures and refreshing sounds with ventures into different corners of our globe and into other dimensions. Once again we invite you to come and give your mind the chance to chill out, relax, and project itself to other realms and mental soundscapes with deep powerful emotions and cutting edge sounds. Come chill with us - Be a Natural!



Released: 23-03-2009
Label: Aleph Zero Records
Source: CDDA (mix + cue)
Genre: Ambient, Dub, Downtempo
Quality: VBRkbps
Length: ~80min
Size: 112mb
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Tracklist:
01 Hibernation - Hibernation
02 Bluetech - Prayers for Rain (Ott remix)
03 3 Wise Monkeys - It's Gonna Rain
04 Majan - Explore It
05 Tau Kita - Flying in the Rain
06 Interlaced - Insologic
07 Agalactia with Midival Punditz - Aatmatyaag
08 Midival Punditz - Vande Maataram (Electro Indian mix)
09 Outersect - Kali Ma
10 Pi - Numb
11 Eitan Reiter - Coffee

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Vibrasphere - Selected Downbeats Vol. 2

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The second volume in this classic Vibrasphere downbeat series. The first volume is the best selling Vibrasphere digital compilation ever. On this volume you will find a previously unreleased track called Spring Flood as well as some other famous Vibrasphere downbeat tracks from the past years.


Artist: Vibrasphere
Album: Selected Downbeats Vol. 2
Discogs: http://www.discogs.com/release/1655939
Label: Cloud 99 Music
Catalog#: C99D004
Released: 2009-02-16
Style: Dub / Downtempo / Ambient
Quality: 320kbits



Tracklist:
1 Tierra Azul (Omnimotion Feat. K. Linder Remix) (3:37)
2 Mountain Lake (6:31)
3 Late Winter Storms (8:34)
4 Spring Flood (7:30)
5 Ensueno (6:40)
6 Forest Fuel (7:27)
7 Fuzzy Vibes (7:50)
8 Breathing Place (7:16)
9 Tierra Azul (6:55)

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Electronic music

== History ==
===Late 19th century to early 20th century===
[[Image:Teleharmonium1897.jpg|thumb|200px|[[Telharmonium]], [[Thaddeus Cahill]], 1897.]]
The ability to record sounds is often connected to the production of electronic music, but not absolutely necessary for it. The earliest known sound recording device was the [[phonautograph]], patented in 1857 by [[Édouard-Léon Scott de Martinville]]. It could record sounds visually, but was not meant to play them back.Rosen 2008

In 1878, [[Thomas A. Edison]] patented the phonograph, which used cylinders similar to [[Raymond Scott|Scott]]'s device. Although cylinders continued in use for some time, [[Emile Berliner]] developed the disc phonograph in 1887.Russcol 1972, 67.


A significant invention, which was later to have a profound effect on electronic music, was [[Lee DeForest]]'s triode [[Audion tube|audion]]. This was the first thermionic valve, or [[vacuum tube]], invented in 1906, which led to the generation and amplification of electrical signals, radio broadcasting, and electronic computation, amongst other things.

Before electronic music, there was a growing desire for [[composers]] to use emerging technologies for musical purposes. Several instruments were created that employed electromechanical designs and they paved the way for the later emergence of electronic instruments. An electromechanical instrument called the [[Telharmonium]] (sometimes Teleharmonium or Dynamophone) was developed by [[Thaddeus Cahill]] in the years 1898-1912. However, simple inconvenience hindered the adoption of the Telharmonium, due to its immense size. The first electronic instrument is often viewed to be the [[Theremin]], invented by Professor [[Léon Theremin|Leon Theremin]] circa 1919–1920.[http://www.bbc.co.uk/dna/h2g2/A520831 ''Theremin'', BBC h2g2 encyclopaedia project, Undated]. Accessed: 05-20-2008. Another early electronic instrument was the [[Ondes Martenot]], which was most famously used in the ''[[Turangalîla-Symphonie]]'' by [[Olivier Messiaen]] as well as other works by him. It was also used by other, primarily French, composers such as [[Andre Jolivet]].{{Fact|date=June 2007}}



\===="New Aesthetic of Music"====
{{main|Ferruccio Busoni}}
Just a year later, another significant contribution was made to the advent of experimental music. This was the 1907 publication of [[Ferruccio Busoni]]'s ''Sketch of a New Esthetic of Music'', which discussed the use of electrical and other new sound sources in future music. He wrote of the future of microtonal scales in music, made possible by Cahill's Dynamophone Only a long and careful series of experiments, and a continued training of the ear, can render this unfamiliar material approachable and plastic for the coming generation, and for Art.

Also in the Sketch of a New Esthetic of Music, Busoni states:

Music as an art, our so-called occidental music, is hardly four hundred years old; its state is one of development, perhaps the very first stage of a development beyond present conception, and we—we talk of "classics" and "hallowed traditions"! And we have talked of them for a long time! We have formulated rules, stated principles, laid down laws;—we apply laws made for maturity to a child that knows nothing of responsibility! Young as it is, this child, we already recognize that it possesses one radiant attribute which signalizes it beyond all its elder sisters. And the lawgivers will not see this marvelous attribute, lest their laws should be thrown to the winds. This child—it floats on air! It touches not the earth with its feet. It knows no law of gravitation. It is wellnigh incorporeal. Its material is transparent. It is sonorous air. It is almost Nature herself. It is—free! But freedom is something that mankind have never wholly comprehended, never realized to the full. They can neither recognize or acknowledge it. They disavow the mission of this child; they hang weights upon it. This buoyant creature must walk decently, like anybody else. It may scarcely be allowed to leap—when it were its joy to follow the line of the rainbow, and to break sunbeams with the clouds.

Through this writing, as well as personal contact, Busoni had a profound effect on many musicians and composers, perhaps most notably on his pupil, Edgard Varèse, who said:

Together we used to discuss what direction the music of the future would, or rather, should take and could not take as long as the straitjacket of the tempered system. He deplored that his own keyboard instrument had conditioned our ears to accept only an infinitesimal part of the infinite gradations of sounds in nature. He was very much interested in the electrical instruments we began to hear about, and I remember particularly one he had read of called the Dynamophone. All through his writings one finds over and over again predictions about the music of the future which have since come true. In fact, there is hardly a development that he did not foresee, as for instance in this extraordinary prophecy: 'I almost think that in the new great music, machines will also be necessary and will be assigned a share in it. Perhaps industry, too, will bring forth her share in the artistic ascent...



====The 1920–1930s====




This decade brought a wealth of early electronic instruments. Along with the Theremin, there is the presentation of the [[Ondes Martenot]],Composers using the instrument ultimately include [[Pierre Boulez|Boulez]], [[Arthur Honegger|Honneger]], [[André Jolivet|Jolivet]], [[Charles Koechlin|Koechlin]], [[Olivier Messiaen|Messiaen]], [[Darius Milhaud|Milhaud]], [[Gilles Tremblay|Tremblay]], and [[Edgard Varèse|Varèse]]. In 1937, Messiaen wrote ''Fête des belles eaux'' for 6 ondes Martenot, and wrote solo parts for it in ''[[Trois petites Liturgies de la Présence Divine]]'' (1943–44) and the ''Turangalîla Symphonie'' (1946–48/90). which was designed to reproduce the microtonal sounds found in Hindu music,{{Fact|date=August 2008}} and the [[Trautonium]]. Maurice Martenot invented the Ondes Martenot in 1928, and soon demonstrated it in Paris.



Another development, which aroused the interest of many composers, occurred in 1919–1920. In Leningrad, Leon Theremin (actually [[Lev Termen] built and demonstrated his Etherophone, which was later renamed the Theremin. This led to the first compositions for electronic instruments, as opposed to noisemakers and re-purposed machines. In 1929, [[Joseph Schillinger]] composed ''First Airphonic Suite for Theremin and Orchestra'', premièred with the[Cleveland Orchestra]]with [[Leon Theremin]] as soloist.

In 1924, [Ottorino Respighi]] composed ''The Pines of Rome'', which calls for the use of a [phonograph]] recording of nightingales. However, at the time of composition, phonograph players were acoustical, not electric, and this is actually more along the lines of using a sound effect, and therefore cannot be considered an electroacoustic element in the composition.



The following year, [[Antheil]] first composed for mechanical devices, electrical noisemakers, motors and amplifiers in his unfinished opera, ''Mr. Bloom'', as a response to the "art of noises" of [[Luigi Russolo]], [[Marinetti]] and the other Futurists.{{Fact|date=May 2008}} And just one year later in 1926, was the première of Antheil's ''[[Ballet Mécanique]]'', using car horns, airplane propellers, saws, and anvils (but no electronics).

Recording of sounds made a leap in 1927, when American inventor J. A. O'Neill developed a recording device that used magnetically coated ribbon. However, this was a commercial failure. Two years later, [[Laurens Hammond]] established his company for the manufacture of electronic instruments. He went on to produce the [[Hammond organ]], which was based on the principles of the [[Telharmonium]], along with other developments including early reverberation units.Russcol 1972, 70.



The method of photo-optic sound recording used in cinematography made it possible to obtain a visible image of a sound wave, as well as to realize the opposite goal—synthesizing a sound from an artificially drawn sound wave. The research work by the Russian optical engineer Evgeny Murzin{{Fact|date=August 2008}} taken from 1937 to 1957{{Fact|date=August 2008}} made it possible to create a photoelectric synthesizer—a musical instrument that combined three processes: creation, recording, and playback of music. Murzin named his invention in honour of the composer Alexander Nikolayevich Scriabin (“ANS”).{{Fact|date=August 2008}



===Developments from 1945 to 1960===
====Musique concrète====
{{main|Musique concrète}}
{{seealso|Acousmatic music}}
Low-fidelity magnetic [[wire recorder]]s had been in use since 1898, and in the late 1920s the movie industry adopted optical sound-on-film recording systems based on the [[photoelectric cell]],{{Fact|date=March 2009}} but it was not until the 1930s that the German electronics company [[AEG]] developed the first practical audio [[tape recorder]], the "[[Magnetophon]]".{{Fact|date=March 2009}} During [[World War II]] AEG technicians discovered the [[AC bias]]ing technique, which dramatically improved the fidlelity of magnetic recording by adding an inaudible high-frequency tone, and by 1943 AEG had developed the first [[stereo]] tape recorders.{{Fact|date=March 2009}} However these devices and techniques remained a secret outside Germany until the end of WWII, when captured Magnetophon recorders and reels of [[I.G. Farben|Farben]] recording tape were brought back to the United States by [[Jack Mullin]] and others.{{Fact|date=March 2009}} These captured recorders and tapes were the basis for the development of the first commercial tape recorder, the Model 200, manufactured by the American [[Ampex]] company (Angus 1984) with support from entertainer [[Bing Crosby]], who became the first performer to record radio broadcasts and studio master recordings on tape.{{Fact|date=March 2009}}



Magnetic audio tape opened up a vast new range of sonic possibilities to musicians, composers, producers and engineers. Audio tape was relatively cheap and very reliable, and its fidelity of reproduction was better than any audio medium to date. Most importantly, unlike discs, it offered the same plasticity of use as film. Tape can be slowed down, speeded up or run even backwards during during recording or playback, with often startling effect. It can be physically edited in much the same way as film, allowing for unwanted sections of a recording to be seamlessly removed or replaced; likewise, segments of tape from other sources can be edited in. Tape can also be joined to form endless loops that continually play repeated patterns of pre-recorded material. Audio amplification and mixing equipment further expanded tape's capabilities as a production medium, allowing multiple pre-taped recordings (and/or live sounds, speech or music) to be mixed together and simultaneously recorded onto another tape with relatively little loss of fidelity. Another unforseen windfall was that tape recorders can be relatively easily modified to become [[echo machine]]s that produce complex, controllable, high-quality [[echo]] and [[reverberation]] effects (most of which would be practically impossible to achieve by mechanical means).

It wasn't long before composers began using the tape recorder to develop a new technique for composition called [[Musique concrète]]. This technique involved editing together recorded fragments of natural and industrial sounds."Musique Concrete was created in Paris in 1948 from edited collages of everyday noise" (Lebrecht 1996, 107). The first pieces of ''musique concrète'' were assembled by [[Pierre Schaeffer]], who went on to collaborate with [[Pierre Henry]].

On 5 October 1948, [[Radiodiffusion-Télévision Française|Radiodiffusion Française]] (RDF) broadcast composer [[Pierre Schaeffer]]'s ''Etude aux chemins de fer''. This was the first "[[Movement (music)|movement]]" of ''Cinq études de bruits'', and marked the beginning of studio realizations and [[musique concrète]] (or [[acousmatic art|acousmatic music]]). Schaeffer employed a disk-cutting [[lathe]], four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit.

Not long after this, Henry began collaborating with Schaeffer, a partnership that would have profound and lasting affects on the direction of electronic music. Another associate of Schaeffer, [[Edgard Varèse]] began work on ''Déserts'', a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio, and were later revised at Columbia University.

In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the [[Ecole Normale de Musique de Paris]]. "Schaeffer used a PA system, several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before."Snyder [n.d.] ''[http://csunix1.lvc.edu/~snyder/em/schaef.html Pierre Schaeffer: Inventor of Musique Concrète]''. Later that same year, Pierre Henry collaborated with Schaeffer on ''Symphonie pour un homme seul'' (1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, ''Orpheus'', for concrete sounds and voices.

====Elektronische Musik====

[[Karlheinz Stockhausen]] worked briefly in Schaeffer's studio in 1952, and afterward for many years at the [[Westdeutscher Rundfunk|WDR]] [[Cologne]]'s Studio for Electronic Music.



In Cologne, what would become the most famous electronic music studio in the world was officially opened at the radio studios of the [[NWDR]] in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951.Eimert 1972, 349. The brain child of [[Werner Meyer-Eppler]], Robert Beyer, and [[Herbert Eimert]] (who became its first director), the studio was soon joined by [[Karlheinz Stockhausen]] and [[Gottfried Michael Koenig]]. In his 1949 thesis ''Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache'', Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, ''elektronische Musik'' was sharply differentiated from French ''musique concrète'', which used sounds recorded from acoustical sources.Eimert 1958, 2; Ungeheuer 1992,



With Stockhausen and [[Mauricio Kagel]] in residence, it became a year-round hive of charismatic avante-gardism (Lebrecht 1996, 75). "... at Northwest German Radio in Cologne (1953), where the term 'electronic music' was coined to distinguish their pure experiments from musique concrete..." (Lebrecht 1996, 107). on two occasions combining electronically generated sounds with relatively conventional [[orchestra]]s—in ''Mixtur'' (1964) and ''[[Hymnen|Hymnen, dritte Region mit Orchester]]'' (1967).Stockhausen 1978, 73–76, 78 Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space," sensations of flying, or being in a "fantastic dream world""In 1967, just following the world premiere of ''[[Hymnen]]'', Stockhausen said this about the electronic music experience: '... Many listeners have projected that strange new music which they experienced—especially in the realm of electronic music—into extraterrestrial space. Even though they are not familiar with it through human experience, they identify it with the fantastic dream world. Several have commented that my electronic music sounds "like on a different star," or "like in outer space." Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space. Thus, extreme words are employed to describe such experience, which are not "objectively" communicable in the sense of an object description, but rather which exist in the subjective fantasy and which are projected into the extraterrestrial space'" (Holmes 2002
More recently, Stockhausen turned to producing electronic music in his own studio in [[Kürten]], his last work in the genre being ''Cosmic Pulses'' (2007).

====American electronic music====



In the United States, sounds were being created electronically and used in composition, as exemplified in a piece by [[Morton Feldman]] called ''Marginal Intersection''. This piece is scored for winds, brass, percussion, strings, 2 oscillators, and sound effects of riveting, and the score uses Feldman's graph notation.



The Music for Magnetic Tape Project was formed by members of the [[New York School]] ([[John Cage]], [[Earle Brown]], [[Christian Wolff (composer)|Christian Wolff]], [[David Tudor]], and Johnson 2002, 2. and lasted three years until 1954. Cage wrote of this collaboration,

In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative.| Johnson 2002,



Cage completed ''Williams Mix'' in 1953 while working with the Music for Magnetic Tape Project. "Carolyn Brown [Earle Brown's wife] was to dance in Cunningham's company, while Brown himself was to participate in Cage's 'Project for Music for Magnetic Tape.'... funded by Paul Williams (dedicatee of the 1953 ''Williams Mix''), who—like [[Robert Rauschenberg]]—was a former student of Black Mountain College, which Cage and Cunnigham had first visited in the summer of 1948" (Johnson 2002, 20). The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including the studio of Louis and Bebe Barron.

====Columbia-Princeton====
{{main|Vladimir Ussachevsky}}
Also in the U.S., in the same year, significant developments were happening in New York City. [[Columbia University]] purchased its first [[tape recorder]]—a professional [[Ampex]] machine—for the purpose of recording concerts.



[[Vladimir Ussachevsky]], who was on the music faculty of Columbia University, was placed in charge of the device, and almost immediately began experimenting with it.

Herbert Russcol writes: "Soon he was intrigued with the new sonorities he could achieve by recording musical instruments and then superimposing them on one another."Russcol 1972, 92.

Ussachevsky said later: "I suddenly realized that the tape recorder could be treated as an instrument of sound transformation. Both pieces were created at the home of Henry Cowell in Woodstock, NY. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance. Luening described the event: "I improvised some [flute] sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations.



1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated and/or electronically generated sound. Three major works were premiered that year: Varèse's ''Déserts'', for chamber ensemble and tape sounds, and two works by Luening and Ussachevsky: ''Rhapsodic Variations for the Louisville Symphony'' and ''A Poem in Cycles and Bells'', both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternates with mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers.

''Déserts'' was premiered in Paris in the first [[stereo]] broadcast on French Radio. At the German premiere in [[Hamburg]], which was conducted by [[Bruno Maderna]], the tape controls were operated by [[Karlheinz Stockhausen]]. The title ''Déserts'', suggested to Varèse not only, "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man is alone, a world of mystery and essential loneliness."Anonymous 1972.

====Stochastic music====
{{Unreferenced section|date=June 2007}}
{{main|Iannis Xenakis|Stochastic music#Music}}
An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds. [[Iannis Xenakis]] began what is called "musique stochastique," or "[[stochastic music]]," which is a method of composing that employs mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. Xenakis used graph paper and a ruler to aid in calculating the velocity trajectories of [[glissando|glissandi]] for his orchestral composition ''Metastasis'' (1953–54), but later turned to the use of computers to compose pieces like ''ST/4'' for string quartet and ''ST/48'' for orchestra (both 1962).

====Mid to late 1950s====

In 1954, Stockhausen composed his ''Elektronische Studie II''—the first electronic piece to be published as a score.

In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio de Fonologia (already mentioned), a studio at the [[NHK]] in [[Tokyo]] founded by [[Toshiro Mayuzumi]], and the Phillips studio at [[Eindhoven]], the [[Netherlands]], which moved to the [[University of Utrecht]] as the Institute of Sonology in 1960.

The score for ''[[Forbidden Planet]]'', by [[Louis and Bebe Barron]],"From at least Louis and Bebbe Barron's soundtrack for 'The Forbidden Planet" onwards, electronic music - in particular synthetic timbre - has impersonated alien worlds in film" (Norman 2004, 32). was entirely composed using custom built electronic circuits in 1956.

The world's first computer to play music was [[CSIRAC]] which was designed and built by [[Trevor Pearcey]] and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the [[Colonel Bogey March]]{{cite journal| last = Doornbusch | first = Paul| title = The Music of CSIRAC | journal = Melbourne School of Engineering, Department of Computer Science and Software Engineering| url = http://www.csse.unimelb.edu.au/dept/about/csirac/music/introduction.html}} of which no known recordings exist. However, [[CSIRAC]] played standard repertoire and was not used to extend musical thinking or composition practice which is current computer music practice. CSIRAC was never recorded, but the music played was accurately reconstructed (reference 12). The oldest known recordings of computer generated music were played by the [[Ferranti Mark I]] computer, a commercial version of the [[Manchester Small-Scale Experimental Machine|Baby]] Machine from the [[Victoria University of Manchester|University of Manchester]] in the autumn of 1951. The music program was written by [[Christopher Strachey]].

The impact of computers continued in 1956. [Lejaren Hiller] and Leonard Isaacson composed ''Iliac Suite'' for [[string quartet]], the first complete work of computer-assisted composition using [[algorithm]]ic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly."Schwartz 1975, 347. Later developments included the work of [[Max Mathews]] at Bell Laboratories, who developed the influential [[MUSIC-N|MUSIC I]] program. [[Vocoder]] technology was also a major development in this early era.



In 1956 Stockhausen composed ''[[Gesang der Jünglinge]]'', the first major work of the [[Cologne]] studio, based on a text from the ''[[Book of Daniel]]''. An important technological development of that year was the invention of the [[Clavivox]] [[synthesizer]] by [[Raymond Scott]] with subassembly by [[Robert Moog]].

The [[RCA Mark II Sound Synthesizer]] made its debut in 1957. Unlike the earlier Theremin and Ondes Martenot, it was difficult to use, required extensive programming, and could not be played in real time. Sometimes called the first electronic synthesizer, the [[RCA Mark II Sound Synthesizer]] used [[vacuum tube]] oscillators and incorporated the first electronic [[music sequencer]] driven by two punched-paper tapes. It was designed by RCA and installed at the Columbia-Princeton Electronic Music Center where it remains to this day.{{Fact|date=June 2007}}

In 1957, [MUSIC-N|MUSIC], one of the first computer programs to play electronic music, was created by [Max Mathews]at [[Bell Laboratories.

Later, [Milton Babbitt]], influenced in his student years by Schoenberg's "revolution in musical thought" began applying serial techniques to electronic music.{{Fact|date=February 200 From 1950 to 1960 the vocabulary of tape music shifted from the fairly pure experimental works which characterized the classic Paris and Cologne schools to more complex and expressive works which explored a wide range of compositional styles. More and more works began to appear by the mid-1950s which addressed the concept of combining taped sounds with live instruments and voices. There was also a tentative interest, and a few attempts, at incorporating taped electronic sounds into theatrical works.Dunn 1992, 17.

The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's ''Poeme Electronique'', which was played over four hundred loudspeakers at the Phillips Pavilion of the 1958 [Expo '58|Brussels World Fair]. That same year, [[Mauricio Kagel]], an [[Argentina|Argentine]] composer, composed ''Transición II''. The work was realized at the WDR studio in Cologne. Two musicians perform on a piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers use tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance.



====Computer music====
{{main|Computer music}}
{{seealso|Music-N|Algorithmic composition}}

[[CSIRAC]], the first computer to play music, did so publicly in August 1951 (reference 12).{{cite journal| last = Doornbusch | first = Paul| title = The Music of CSIRAC | journal = Melbourne School of Engineering, Department of Computer Science and Software Engineering| url = http://www.csse.unimelb.edu.au/dept/about/csirac/music/introduction.html}} One of the first large-scale public demonstrations of [[computer music]] was a pre-recorded national radio broadcast on the [[NBC]] [[radio network]] program [[Monitor (NBC Radio)|Monitor]] on February 10, 1962. In 1961, [[LaFarr Stuart]] programmed [[Iowa State University]]'s [[CYCLONE]] computer (a derivative of the [[Illiac]]) to play simple, recognizable tunes through an amplified speaker that had been attached to the system originally for administrative and diagnostic purposes. An interview with Mr. Stuart accompanied his computer music.





The late 1950s, 1960s and 1970s also saw the development of large mainframe computer synthesis. Starting in 1957, Max Mathews of Bell Labs developed the MUSIC programs, culminating in [[MUSIC-N|MUSIC V]], a direct digital synthesis language (Mattis 2001).



====Live electronics====
{{main|live electronic music}} {{seealso|electroacoustic improvisation}}

In America, live electronics were pioneered in the early 1960s by members of Milton Cohen's Space Theater in [[Ann Arbor, Michigan]], including [[Gordon Mumma]] and [[Robert Ashley]], by individuals such as [[David Tudor]] around 1965, and The Sonic Arts Union, founded in 1966 by Gordon Mumma, Robert Ashley, [[Alvin Lucier]], and [[David Behrman]]. ONCE Festivals, featuring multimedia theater music, were organized by Robert Ashley and Gordon Mumma in Ann Arbor between 1958 and 1969. In 1960, [[John Cage]] composed ''Cartridge Music'', one of the earliest live-electronic works.

In Europe in 1964, Karlheinz Stockhausen composed ''[[Mikrophonie (Stockhausen)|Mikrophonie I]]'' for [[tam-tam]], hand-held microphones, filters, and potentiometers, and ''Mixtur'' for orchestra, four [[Sine wave|sine-wave]] generators, and four [[ring modulator]]s. In 1965 he composed ''[[Mikrophonie (Stockhausen)|Mikrophonie II]]'' for choir, Hammond organ, and ring modulators.

In 1966-67 [[Reed Ghazala]] discovered and began to teach "[[circuit bending]]"—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm, and influenced by [[John Cage]]’s [[aleatoric music]] concept.{{cite web
|url = http://www.gamemusic4all.com/backto8bit%204.html
|title = Back to the 8 bit: A Study of Electronic Music Counter-culture
|last = Yabsley
|first = Alex
|authorlink =
|coauthors =
|date = 2007-02-03
|publisher = Dot.AY
|quote = This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard (Gard, 2004). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard of pitch and rhythm in a classical sense. ... . In a similar vein to Cage’s aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the final outcome.



====Digital synthesis====
{{seealso|Digital synthesizer|Sampling (music)}}
In 1979 the Australian [[Fairlight]] company released the [[Fairlight CMI]] (Computer Musical Instrument) the first practical polyphonic digital synthesiser/sampler system. In 1983, [[Yamaha Corporation|Yamaha]] introduced the first stand-alone digital synthesizer, the [[DX-7]]. It used frequency modulation synthesis (FM synthesis), first experimented with by [[John Chowning]] at Stanford during the late sixties.Chowning 1973.

[[Barry Vercoe]] describes one of his experiences with early computer sounds:



At IRCAM in Paris in 1982, flutist Larry Beauregard had connected his flute to DiGiugno's 4X audio processor, enabling real-time pitch-following. On a [[Guggenheim]] at the time, I extended this concept to real-time score-following with automatic synchronized accompaniment, and over the next two years Larry and I gave numerous demonstrations of the computer as a chamber musician, playing [[Handel]] flute sonatas, [[Boulez]]'s ''Sonatine'' for flute and piano and by 1984 my own ''Synapse II'' for flute and computer—the first piece ever composed expressly for such a setup. A major challenge was finding the right software constructs to support highly sensitive and responsive accompaniment. All of this was pre-MIDI, but the results were impressive even though heavy doses of tempo rubato would continually surprise my '''Synthetic Performer'''. In 1985 we solved the tempo rubato problem by incorporating ''learning from rehearsals'' (each time you played this way the machine would get better). We were also now tracking violin, since our brilliant, young flautist had contracted a fatal cancer. Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called '''MAX'''.Vercoe 2000,


====Advancements====
In the 1990s, interactive computer-assisted performance started to become possible, with one example described as follows:

Automated Harmonization of Melody in Real Time: An interactive computer system, developed in collaboration with flutist/composer [[Pedro Eustache]], for realtime melodic analysis and harmonic accompaniment. Based on a novel scheme of harmonization devised by Eustache, the software analyzes the tonal melodic function of incoming notes, and instantaneously performs an orchestrated harmonization of the melody. The software was originally designed for performance by Eustache on Yamaha WX7 wind controller, and was used in his composition ''Tetelestai'', premiered in [[Irvine, California]] in March 1999.Dobrian 2002, ''[http://music.arts.uci.edu/dobrian/research02.htm Automated Harmonization of Melody in Real Time]''

Other recent developments included the [[Tod Machover]] (MIT and IRCAM) composition ''Begin Again Again'' for "[[hypercello]]," an interactive system of sensors measuring physical movements of the cellist. Max Mathews developed the "Conductor" program for real-time tempo, dynamic and timbre control of a pre-input electronic score. Morton Subotnick released a multimedia CD-ROM ''All My Hummingbirds Have Alibis'


===The 2000s===
In recent years, as computer technology has become more accessible and [[music software]] has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional [[performance|musical performance]] practices:Emmerson 2007, 111–13. for instance, [[laptop computer|laptop]] performance (''laptronica'')Emmerson 2007, 80-81. and [[live coding]].Emmerson 2007, 115; Collins 2003.



In the last decade a number of software-based virtual studio environments have emerged, with products such as Propellerhead's [[Reason (software)|Reason]] and [[Ableton Live]] finding popular appeal. [http://www.wintermusicconference.com/events/idmas/winners2008.php 23rd Annual International Dance Music Awards:] Best Audio Editing Software of the Year - 1st Abelton Live , 4th Reason. Best Audio DJ Software of the Year - Abelton Live.
Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in [[microprocessor]] technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have, for better or for worse, democratized music creation,Chadabe 2004 leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet.



Artists can now also individuate their production practice by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as [[Max/Msp]] and [[Reaktor]] and [[freeware]] packages such as [[Pure Data]], [[SuperCollider]], and [[ChucK]].



====Circuit bending====
[[Image:Bending.jpg|thumb|Probing for "bends" using a jeweler's screwdriver and alligator clips.]]
{{main|Circuit bending}}
A practice originally pioneered by [[Reed Ghazala]] in the 1960s; it has recently found significant popular appeal. [[Circuit bending]] is the creative [[short circuit|short-circuiting]] of low [[voltage]], battery-powered [[Electronic musical instrument|electronic audio devices]] such as [[guitar effects]], children's [[toys]] and small [[synthesizers]] to create new musical instruments and sound generators.{{Fact|date=April 2008}} Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with [[noise music]], though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments. Fact date April 2008



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