This release contains parts from the original pre-show soundtrack from the legendary Schiller Live events. All tracks by Schiller under various names.
Almost an album and almost a compilation. Sleepingroom consists of material specially written for Schiller’s gigs, which were grandiose, with sophisticated lights and singers from the albums. While all the equipment was being tuned, a beautiful instrumental piece of music with crickets was played for about nine minutes in the venue. Other people explain why: in order to make the wait less boring and more pleasant for the audience. Sleepingroom comes from the name of the label, which was formed after the success of the first single by Christopher von Deylen and Mirko von Schlieffen, who were a duo back then…

Radio Massacre International is a trio of British musicians, Steve Dinsdale (Keyboards and Drums), Duncan Goddard (Keyboards and Bass), and Gary Houghton (Guitar, Synth). They specialize in improvisational experimental electronic music, utilising vintage synthesizers and sampled sounds alongside electric guitar. They are also leading exponents of the mellotron keyboard. More recently they have begun to incorporate Bass Guitar and Drums by varying degrees in an attempt to stretch musical boundaries within the confines of a three piece. Their music has been described alternatively as ambient music, space rock, Krautrock, New Age, Berlin School, and various other terms, although the band itself prefers the label "organic music". Points of reference include bands ranging from Tangerine Dream to "Rabbit"-era Chas and Dave. Borrowed Atoms, a double CD from 1998, was a return to extended improvisation…

"My name is Christopher von Deylen - and I am Schiller." At some point during every Schiller concert, von Deylen speaks these ten words and the crowd goes wild. Schiller’s ethereal “global pop”, as his fans and the press have coined the style, gives the listener a feeling of floating in a dream world. Inspired by electronic classics such as Tangerine Dream, Kraftwerk, and Jean-Michel Jarre, von Deylen is known for creating visionary sounds that are way ahead of their time.
"Timeline: The Very Best of 1998-2011" looks back on Schiller’s accomplishments through the years as it chronicles the best and most important songs of Schiller’s career - compiling noteworthy tracks from prior albums such as Zeitgeist, Voyage, Day and Night, and Desire. Guest artists include Nadia Ali, Colbie Caillat, Chinese pianist Lang Lang, Indonesian-French artist Anggun, and more.

Featuring shorter compositions and an increasingly lyrical lexicon of electronic sounds, Le Parc has more in common with the burgeoning new age movement than Tangerine Dream's earlier, eerier work. The songs are essentially musical postcards from great parks around the world, though the focus is on the mood generated by these places rather than a literal translation of geographic qualities. Thus, "Yellowstone Park" is rendered with an American Indian spirituality, "Zen Garden" is peaceful and mysterious, "Central Park" highly stylized and danceable. Tangerine Dream's music in recent years had shifted toward more accessible and melodic arrangements, so coming from the vantage point of a Phaedra or Stratosfear, the music on Le Parc could be viewed as a considerable "dumbing down" of their artistic origins…

Internationally acclaimed harpist Alina Bzhezhinska and Ibiza-based producer Tulshi announce their collaborative album ‘Whispers of Rain’.

Spore is the second disc in Vidna Obmana's (Dirk Serries) trilogy based on Dante's Inferno. This is also quite a departure for Serries. He uses quite an array of eclectic devices to create this experimental - almost avant-garde - album. The most interesting sounds are from the overtone flutes and fujaras. Serries has commented that this is not an ambient CD. That is correct. This CD is interesting enough to be the focus of deep listening. It is not innocuous enough to be ignored as background music. It demands attention. The rhythms and atmospheres complement each other smoothly. The experimental sounds are neither dominant nor dominated. This disc is certainly electronic, definitely experimental, and decidedly Vidna Obmana. It will appeal to fans of Steve Roach, Robert Rich, Jorge Reyes, and Ma Ja Le.

Martin Gore has famously noted that Depeche Mode stopped worrying about its future when the first post-Vince Clarke-departure single, "See You," placed even higher on the English charts than anything else Clarke had done with them. Such confidence carries through all of A Broken Frame, a notably more ambitious effort than the pure pop/disco of the band's debut. With arranging genius Alan Wilder still one album away from fully joining the band, Frame became very much Gore's record, writing all the songs and exploring various styles never again touched upon in later years. "Satellite" and "Monument" take distinct dub/reggae turns, while "Shouldn't Have Done That" delivers its slightly precious message about the dangers of adulthood with a spare arrangement and hollow, weirdly sweet vocals…

All credit to Gary Moore for having the courage to leap into the relative unknown with A Different Beat. It is indeed greatly removed from anything he had released prior to 1999. Perhaps it was the new-found freedom from the guitarist's contract with Virgin that fuelled the change of direction–that and Moore's obvious affinity with outfits along the lines of Apollo 440 and Fatboy Slim (to whom "Fatboy" is a tribute).