The Art of Electronics

The members of Faust are the jokers in the Krautrock pack – jokers because they never formed with any serious intentions, and jokers, too, because whatever preconceptions you might have in approaching that most disreputable-sounding of sonic genres, Faust is guaranteed to explode them. Julian Cope, author of the music's most lasting textbook (1995's Krautrocksampler), steadfastly describes Faust as the most mythical of all the bands forced to the surface by the cultural earthquakes of late-'60s Germany – and that's mythical in every sense of the word.

An essay by Ben Myers (Portico Prize for Literature, Gordon Burn Prize, Roger Deakin Award a.o.)

Nadia Shpachenko’s latest Reference Recordings release The Poetry of Places features World Premiere recordings of works for solo piano, for two pianos, percussion, electronics, voice, and toy piano in a fascinating mélange inspired by great architecture and places. The eight compositions monumentalize places as wildly diverse as the Copland House in Cortlandt, NY, The American Visionary Art Museum in Baltimore, Louis Kahn’s National Assembly Buildings in Bangladesh, Newgrange Ancient Temple in Ireland, and Frank Gehry’s House in Santa Monica, CA. Included is a significant new work from Andrew Norman, Frank’s House, for two pianos and percussion, and another large work from Nina C.

Nadia Shpachenko’s latest Reference Recordings release The Poetry of Places features World Premiere recordings of works for solo piano, for two pianos, percussion, electronics, voice, and toy piano in a fascinating mélange inspired by great architecture and places.

Here is one of the first really thorough presentations on smart robots. Robots, machine vision systems, sensors, manipulators, expert systems, and artificial intelligence concepts combined in state-of-the-art computer integrated manufacturing systems. These "smart" robots increase produc­ tivity and improve the quality of our products.

The Future Now is the seventh studio album by Peter Hammill, released on Charisma Records in 1978. It was the first solo album Hammill released following the 1978 breakup of his band Van der Graaf Generator, although he had released numerous solo albums while VdGG were active. The album contains twelve short songs, several in the new wave style of VdGG's last studio album, The Quiet Zone/The Pleasure Dome. The album cover shows a set of photographs by Brian Griffin, portraying Peter Hammill with half of his moustache and beard shaven. "If I Could" was re-worked for Hammill's 1984 album The Love Songs.