Keyboardist with Heldon, Magma and co, joined on his debut LP by the likes of Richard Pinhas and Christian Vander — no less — together with Bernard Paganotti, François Auger, Didier Batard… An outstanding mixture of synthy electronics and jazz-rock. First vinyl issue.

From 1976, the first of the two albums by the Asocial Associates, led by Philippe Doray of Rotomagus.
‘Psychedelic pop, voodoo rock, wrong krautrock, woozy swing… bringing to mind as much Hendrix as Areski, Ash Ra Tempel as Berrocal. No wonder that Nurse With Wound lists Philippe Doray between the Doo-Dooettes and Jean Dubuffet. One of the best albums of experimental song ever recorded.’

His soundtrack to Claude Sautet’s 1972 film, featuring Romy Schneider’s haunting voice-over of La Lettre De Rosalie. ‘Like a magical bridge between baroque and electronic music, mixing Moog synthesizer sequences with acoustic instruments.’

Coming after Nothin To Look At Just A Record, with its densely layered trombones, this is Niblock’s second, rarest LP, from 1984: a collaboration with Joseph Celli (who himself had worked with Cage, Oliveros and Ornette), playing oboe and English horn.
Niblock creates seamless, ringing drones by skilfully cutting all Celli’s breaths and pauses. Play it loud, he says, for its viscerality, and to get its ringing overtones rolling around your room.

Moody Umiliani, with tasty Hammond and plenty of breaks. Set between Egypt and Ferrara, tackling racial integration in 1973, this is the second of Scattini’s films featuring Zeudi Araya. (That’s her singing on the spaced-out Cantata Per Miriam, over proto-Headz funk-drumming. Pretty great.)

Last of PU’s cheeky threesome of early-seventies soundtracks for the noirish erotica of Luigi Scattini, with lots of electric piano, wah wah and vocalese, drama, melancholia and sleaze, shot through with spaced-out jazz, true Umiliani style.

This soundtrack to Romano Ferrara’s 1964 spy movie is one of PU’s best and most celebrated. Featuring Nini Rosso, Chet Baker, Bill Gilmore, Marcello Boschi and many others. Excellent sound, from the original analogue masters, with lots of bonus material; in a beautiful sleeve, with a reproduction of the original movie poster on the inside gatefold.

Perhaps his best-known soundtrack, for Luigi Scattini in 1968.