The link to listen to „Die Minnesota Kathmandu Connection“ , ein Portrait der ECM-Jahre von Steve Tibbetts:  HERE!

Steve Tibbetts: Close (2025) 
Steve Tibbetts: Yr (1980, reissued 1988) 
Steve Tibbetts: Northern Song (1982) 
Steve Tibbetts: Safe Journey (1984) 
Steve Tibbetts: Exploded View (1986) 
Steve Tibbetts: The Fall Of Us All (1994) 
Steve Tibbetts: A Man About A Horse (2001) 
Steve Tibbetts: Natural Causes (2010) 
Steve Tibbetts: Life Of (2018) 
Steve Tibbetts: Close (2025)

Close is like a dark Rothko painting on fire. The love of life, the losses. Honestly, this album breaks my heart.”  Flowworker.org

Close takes us on the kind of enigmatic but enticing journey we’ve come to expect from Tibbetts: strange and beautiful.“ — The Big Takeover

The link to listen to „Klanghorizonte vom 28. Mai“: HERE! feat. Bill Wells, Don Cherry, Jonathan Richman, Asher Gamedze, Pan American, Jan Garbarek-Bobo Stenson Quartet, Björn Meyer, Khelan Phil Cohran, Sirāt (O.S.T.), Tinariwen, Eivind Aarset and Étienne Nillesen

Klanghorizonte, September 24

HERE!

PART 1: NOCTURNAL GREEN

Brian Eno: Music For Films (1978)
Text 1 Michael (inside the music)
Robert Wyatt talking 
Robert Wyatt: Cuckooland (2003)
Text 2 Michael
Sakamoto & Noto: 12 Conversations  (2026)
Woman Speaker (1) – Annette Peacock
Annette Peacock: An Acrobat‘s Heart (2000)
Text 3 Michael
Daniel Lanois: Belladonna Nocturne (2026)
Daniel Lanois talking
Daniel Lanois: Belladonna Nocturne (2026)
Lambchop: Punching The Clown  (2026)
Text 4 Michael
Seefeel: Sol Hz. (2026)

PART 2: RED SPORTS CAR IN L.A.

Seefeel: Sol.Hz  (2026)
Laurie Anderson talking 
Laurie Anderson: Bright Red (1994)**
Woman Speaker (2) inside Jana‘s field recording
Jana Winderen: Spring Bloom at the Marginal Ice Zone (2017)***
Brian Eno talking
Brian Eno: Nerve Net (1992)
Woman Speaker (3) „end titles“ at the instr. beginning)
Brian Eno: Song, cont.

(Michael‘s album of 2026)

* “Unsung Heroine“ (doc)

** “We’d look out at the river, and if the music seemed to be naturally going with it, this was our editing device. Brian’s motto was: if it goes with the river, it goes on the record. So, for example, if the river was really choppy and active, and the music was going pah-bah-dah-dah – whoa, that looks so great! – or if it was smooth and there was some kind of ambient thing going on. We always tried to match – tried to feel – the naturalness of the river, and in this case the Hudson, and if it seemed to fit. It was a very infallible rule while recording „Bright Red“ in Manhattan, because it showed you when you were making it too difficult, not natural.“ (laurie anderson)

*** Nearly everybody has a story to tell with „field recordings“, that will always trigger the knowledge about some of the most adventurous sounds being „out there“. Some of those albums became famous, some very much stayed under the radar (very much like the spaces they had been exploring). Even the so-called well-known can easily turn into stranger things. By chance, I once discovered an old album named „Trains in the Night“ beautifully capturing the sounds of old locomotives in England‘s vast hinterland, and the nature around. Listening to the compositions of artists like Jana Winderen or BJ Nilsen, is always a special experience. Is the howling of the wind real, or enhanced by electronics? How can someone „document“ sounds that cannot be be heard within our „normal“ range of perception? In a way the act of „cartographing“ distant areas includes sharpened senses, adequate tools – and inventiveness. When I was sinking, literally, into the „music“ of Jana‘s „arctic“ record, I couldn‘t help but remember, in moments passing by, old sci-fi movies and books, but from minute to minute I was more and more drawn into the sounds themselves and forgetting my sepia-tinged nostalgia. Where-am-I-music of a rare kind. Like all of the albums of this Radio hour! (michael engelbrecht)

(kind farewell words by Steve Tibbetts)