He produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity.
Viewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.įor the first release, brilliant corners regular and Meda Fury signing Ryota OPP curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.īorn 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. Time Capsule is a new reissue label that unites the record collectors and DJs of the brilliant corners and Beauty & The Beat communities in London. STAFF COMMENTS Matt says: A truly immersive and ear-prickling listen which takes in found sounds, music concrete, advanced synthesis and exotic percussion.
Marco Shuttle is certainly not new to these sort of elements, but in Cobalt Desert Oasis he brings the environmental element of his sound into the forefront in a way that takes the listener into a hazy expanse where it is sometimes difficult to distinguish the machine elements from the natural - and where the music almost becomes a visual experience, which relates to Marco's own photography used throughout the cover and insert images. Amongst other percussion instruments, Marco used the Tombak, a traditional Persian hand drum capable of reaching a very wide range of frequencies - from deep round subby toms, to high pitched sharp rimshots, throughout the record. The album is rich in complex rhythmics, and more than in any of his previous work, has strong acoustic elements. The theme of the journey turns into a something more abstract than a travel diary, where environmental sounds blend in with modular synthesis, drum machines, effects and analog oscillators resulting in a cinematic listening experience where psychedelia, ritualism, and mysticism weave together in a sort of alien soundscape - that as the title of the album suggests, is reminiscent of a parallel utopian world. Often traveling to remote destinations, Marco would come back to Berlin with field recordings, images, and other inspirations to process in his studio and turn into sound. Marco Shuttle's third album, Cobalt Desert Oasis, features a varied collection of music recorded across a two year period. A wonderfully important and undeniably gigantic piece of musical history.
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STAFF COMMENTS Barry says: As one of the most legendary indie gigs of all time (or series of gigs, rather), Knebworth will go down in history, so this document of the live show is something to be treasured.
Released alongside the cinema debut of the feature length documentary film of the event, ‘Oasis Knebworth 1996’ is the definitive live recording featuring a setlist packed with stone cold classics album taken from across both nights of the concert, from the opening salvoes of ‘Columbia’ and ‘Acquiesce’, to ‘Champagne Supernova’, ‘Don’t Look Back In Anger’, ‘Live Forever’, an orchestra backed ‘I Am The Walrus’, and ‘Wonderwall’ the first song from the 1990’s to reach over one billion streams on Spotify and universally loved anthem. The shows were both the pinnacle of the band’s success and a landmark gathering for a generation of young people. This year marks 25 years since Oasis’ two iconic record breaking live concerts at Knebworth Park in Hertfordshire on the 10th and 11th August 1996.