Trans Europa Express/Trans-Europe Express was the first Kraftwerk album to be mixed in two entirely separate versions, one in German, the other in English. In addition, a French language version of 'Showroom Dummies' entitled 'Les Mannequins' was included on French pressings of the album (which otherwise features the English mix).
Most German pressings (as well as the 2009 remastered reissues) list 'Metall Auf Metall' as two separate tracks, the second part entitled 'Abzug'. Most other versions only list 'Metal On Metal', but include both tracks.
The original German pressing (and many of the other editions) features a monochrome portrait by New York photographer Maurice Seymour, with the group dressed in suits to resemble mannequins. A highly retouched colour photo montage of the group by J. Stara is used for the British, American and other editions. A color collage of the group sitting at a small cafe table designed by Emil Schult was used for the inner sleeve. Most of the 2009 reissues feature a simplified monochrome 'TEE' design.
The original German release includes a colour poster of the Emil Schult image.

Warm earth music for plants...
and the people who love them
Recorded in stereo at Patchcord Productions
Hollywood, California
Includes Mother Earth's Indoor Plant Care Booklet
by Lynn & Joel Rapp

Autobahn is the fourth studio album by German electronic band Kraftwerk, released in November 1974. It was the band's first album to fully embrace the repetitive electronic sound they would become known for (although organic instruments still remained part of their sonic palette) and was inspired by the titular German motorway system

Companies, etc.
Marketed By – Polydor Incorporated
Manufactured By – Polydor Incorporated
Distributed By – Phonodisc, Inc.
Recorded At – Jean-Michel Jarre Private Studio
Mixed At – Studio Gang
Lacquer Cut At – Translab
Credits
Composed By, Arranged By, Producer, Synthesizer [A R P, A K S, V C S-3, R M I Harmonic], Organ [Farfisa, Eminent], Mellotron, Drum Programming [Rhythmin' Computer] – Jean-Michel Jarre
Cover [Front] – Michel Granger
Engineer [Mixing] – Jean-Pierre Janiaud
Engineer [Mixing] [Assisted Byt] – Patrick Foulon
Photography By [Back Photo] – David Bailey (5)
Notes
Label design:
Side 1[/2], ℗ 1976 Francis Dreyfus Music [text left of the centerhole]
PD-1-6112, (PD-1-6112 A[/B]), 2310 555 [text right of the centerhole]
Manufactured by Polydor Incorporated, New York, N.Y. [white text at the bottom of the label]

Yann Tiersen is a French musician and composer. His musical career is split between studio recordings, music collaborations and film soundtracks songwriting.

Istanbul based Aleksandir follows up recent outings on Church,Tessellate and others with his latest album - “Skin”.
This album represents a snapshot of the past year in Aleksandir's life. As an album it is one of his most ambitious productions, with recordings of friends, loved ones and moments of intimacy woven into the tracks to tell this personal story. As a producer he has explored various sounds in his back catalogue and this piece of work continues that trend with an exploration of some deeper musical ideas and more experimental sounds backed up with the odd recognisable sample and memorable synth line half heard through a broken, blurry window.
With this record he pushes his sound and the concept further, adding intricate dub details and vocal flourishes that give something more than the stereotypical club track whilst also offering a variety of different cuts that make full use of the format.
“Skin” is a collection of disparate influences brought together by a producer with an intimate knowledge of the club scene and what it is truly about. A distillation of sounds and feelings from a period of his life, presented in a thoroughly modern album.

releases April 7, 2023
I am upset because I see something that is not there. was manifested at the Cat Shack in the Chicagoland boonies 10/2020 - 3/2022. Composition, lyrics, vocals, electric & acoustic guitar, fretted & fretless bass, electronic drum kit, virtual instruments, & all production by Fire-Toolz / Angel Marcloid. All mixing & mastering by Angel as Angel Hair Audio, LLC.
Sax on “Mantra-ing” & “Paraclete” by Josh Plotner. Sax on “I Couldn’t Have Been” by Ian Smith. Flute on “Inlet” & sax on “The Great Allower” by Curt Oren. La Croix on “Soaked” by IODES LYKOS. Drums on “A Thin Place” by Andrew Huang.
Artwork by Nick Krueger. Text & layout by Angel.
Thank you Eliza Janus, Angie Mapura, Doug Kaplan & Max Allison / Hausu Mountain, Doug Scott / Doug Esse, Alana Schactel / Lipsticism, Porcelina, Basket, Süki, Ben Levin, Faye Fadem / Trust Fund Ozu, Manda Boling, Martin Shure, past & future incarnations of “me,” my guides & guardians, all of the mystics / therapists / psychologists / authors, etc. who inspire me, & the One Infinite Creator.
license
all rights reserved

What Remains is a dynamic confluence of sonic worlds — four interconnected passages that venture from floating sequencer woven elegant futurism, to yearning and mysterious tribal ambient, to conclude with the heart-wrenching, pure-atmospherics of the title track. This sonic odyssey reveals a masterful culmination of the different electronic musics Roach has developed and explored over the last forty years.
Deep emotion, soulful longing and vast interweaves of sonic epiphanies of grace and beauty are immersed and nourished in a balance of darkness and light. The four distinct — yet allied — movements progress as one stylist space opens to the next, each emerging from the resonance of the previous piece.
What Remains is a powerful meditation upon Steve’s journey of one. “As I grow deeper into time,” Steve reflects, “my devotion to deeply engaging in this creative life progressively increases the potency to burn away that which is no longer needed. The shedding of old skins, patterns and perceptions have to be examined. What remains infuses the art with this essence. This transcendental state inherently evolves as one is tempered through the priorities of time. There are no boundaries around what I do. I venture to the place I feel in my imagination or discover while creating the music; it is how it wants to unfold. I desire to keep pushing further and deeper into places that are connected to what I’ve done while also pushing me into new worlds to explore. As an artist, I use these instruments with the agility to move between a lot of dynamic soundworlds. Like an actor, I inhabit different roles and disappear into them. That creative experience embodies all these incredible emotional, spiritual and psychological spaces as a daily meditation upon what remains vital.”
Sean Williams, New York Times best-selling author: “The final track, ‘What Remains’ is a great pay-off to what feels like a quartet of distinct answers to the question ‘What Remains?’ While the title doesn’t have a question mark, it’s easy to feel it in the music. Everything remains, and nothing. Consonance, and dissonance. At times driving, relentless, urgent, and at others: fractures, and healing. This closing track has a deep sense of lamentation and acceptance, of rolling time and final breaths, bringing the endless moment around full circle. This is classic Steve, really, my favourite kind of his music, with heavy, repeating chords holding court over bottomless depths of nuance. How he manages such perfect clarity with such dense reverberance, I don’t know — but I feel as though every momentary sound is caught and held forever, right up to the last tiny tintinnabulation.”
credits
releases August 5, 2022
released August 5, 2022
Created in 2022 by Steve Roach using only analog and digital instruments, mixing console, hardware effects, Eurorack modular, large format analog modular and ocarina
Graphic design by Sam Rosenthal
Mastered byHoward Givens — Spotted Peccary
Studios NW, Portland, Oregon
Special thanks to Frank Beissel for additional
recording support, Chris Meyer, Tony Ober,
Glen Darcy - ASM for the Hydrasynth support,
1010 Music - Black Box support,
and Linda, Flint, Mica &Ravi.
©2022 Soundquest Music, BMI
© all rights reserved

What Remains is a dynamic confluence of sonic worlds — four interconnected passages that venture from floating sequencer woven elegant futurism, to yearning and mysterious tribal ambient, to conclude with the heart-wrenching, pure-atmospherics of the title track. This sonic odyssey reveals a masterful culmination of the different electronic musics Roach has developed and explored over the last forty years.

Deep emotion, soulful longing and vast interweaves of sonic epiphanies of grace and beauty are immersed and nourished in a balance of darkness and light. The four distinct — yet allied — movements progress as one stylist space opens to the next, each emerging from the resonance of the previous piece.

What Remains is a powerful meditation upon Steve’s journey of one. “As I grow deeper into time,” Steve reflects, “my devotion to deeply engaging in this creative life progressively increases the potency to burn away that which is no longer needed. The shedding of old skins, patterns and perceptions have to be examined. What remains infuses the art with this essence. This transcendental state inherently evolves as one is tempered through the priorities of time. There are no boundaries around what I do. I venture to the place I feel in my imagination or discover while creating the music; it is how it wants to unfold. I desire to keep pushing further and deeper into places that are connected to what I’ve done while also pushing me into new worlds to explore. As an artist, I use these instruments with the agility to move between a lot of dynamic soundworlds. Like an actor, I inhabit different roles and disappear into them. That creative experience embodies all these incredible emotional, spiritual and psychological spaces as a daily meditation upon what remains vital.”

Sean Williams, New York Times best-selling author: “The final track, ‘What Remains’ is a great pay-off to what feels like a quartet of distinct answers to the question ‘What Remains?’ While the title doesn’t have a question mark, it’s easy to feel it in the music. Everything remains, and nothing. Consonance, and dissonance. At times driving, relentless, urgent, and at others: fractures, and healing. This closing track has a deep sense of lamentation and acceptance, of rolling time and final breaths, bringing the endless moment around full circle. This is classic Steve, really, my favourite kind of his music, with heavy, repeating chords holding court over bottomless depths of nuance. How he manages such perfect clarity with such dense reverberance, I don’t know — but I feel as though every momentary sound is caught and held forever, right up to the last tiny tintinnabulation.”
credits
releases August 5, 2022