Invisible Target (2007)

Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it's not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis.

Welcome to the eleventh chapter of this exquisite compilation series that was launched wayback in 1995. The longevity may be the most obvious proof for its success - and quality! Not for nothing in the past years Future Sounds Of Jazz has been voted repeatedly one of the best compilation series of all times in English and German music magazines like Mixmag, Jockey Slot and Groove. But instead of being misled to rest on his laurels Mr. Reinboth is only incited to update his track record.
Anyway, a lot of great soulful electronic music out there at the moment and this package right here takes you on a diversified trip into the deeper spheres of advanced dance music…

For the true follow-up to 2002's Every Day - since 2003's Man with a Movie Camera soundtrack had actually been recorded four years earlier - J. Swinscoe & co.'s Cinematic Orchestra produced another soundtrack, this one virtually invisible. Not long after Every Day's release, Swinscoe began writing music for another Cinematic LP, but in another direction from where he'd gone previously. This was a series of quiet, contemplative instrumentals, with Rhodes keyboards and reedy clarinets, simply begging for a narrative (call them orchestrations for cinema). With scripts for each supplied by a friend - each track got its own story, together comprising different scenes from a single life - and a series of unpeopled photographs supplied by Maya Hayuk, Cinematic Orchestra had the narrative they needed for their invisible soundtrack…

Invisible Allies is a collaboration between well known West Coast downtempo aficionado Bluetech and Philadelphia electronic mastermind KiloWatts. Both established with numerous releases and projects spanning various genres, the Invisible Allies collaboration is a meeting between two distinct and imaginative minds, each with acute musical sensibilities and signature aesthetics. Exploring futuristic spacefunk, textural ambient, odd time signatures, complex harmonic developments, detailed digitalia and a sublime sense of the exotic, the first Invisible Allies EP, 'Hyperdimensional Animals', gives a first look into what promises to be an exciting and evolving conversation between two singular and eccentric producers.

The Russian band Roz Vitalis (from Saint Petersburg) exists since 2001 as a studio project, since 2005 as an electroacoustic chamber ensemble and since 2008 as a full-blown rock-band. Style of Roz Vitalis music can be described as the "Unclassifiable Branch of Prog Rock", Avant Prog, Sympho Prog, Instumental. The "metaphysical" goals of Roz Vitalis are "per musica ad lucem" and "to overcome chaos by means of making music". The main influences are Gentle Giant, Univers Zero, King Crimson, Le Orme, Yes.

2350 Broadway (1993) is the first in a series recorded by Namlook and Tetsu Inoue. The first half is rather too short on tones and melody but the second disc, consisting of the 70-minute epic "Hands Of Light" is a masterful exercise in deep spacemusic. It's glacial pace varies only marginally between beatless and gently pulsed and its mix of electronic drones, wind effects and melodies is deceptively simple.
2350 Broadway 2 (1994) is a seminal, almost fabled release spanning two CDs and recorded by Namlook and Tetsu Inoue in real time (no pre- or post-production and no overdubs). Remarkably engaging for its simplicity, the set was subsequently reissued by popular demand and spawned a pair (and counting) of follow-ups in the series…

Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks…

Steve Coleman - Invisible Paths: First Scattering (2007) {Tzadik TZ 7621}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 307 Mb | MP3 @320 -> 171 Mb | Artwork | 5% repair rar
© 2007 Tzadik | TZ 7621 | Tzadik Key Series
Jazz / Contemporary Jazz / Avant-Garde Jazz / Saxophone

One of the most accomplished and influential saxophonists in the world in his first ever solo recording. In the best visionary tradition Steve Coleman has traveled the world from India to Egypt in search of knowledge, truth and beauty. Drawing upon centuries old traditions of numerology and mysticism, he has created a veritable textbook of revolutionary musical concepts through the instrument whose modern language he has helped to define. This is a long overdue intense personal statement by one of the world’s great musical seekers.