3x LP wooden box, printed fullcolour, with photographic inserts and liner-notes, edition of 199 copies.
First time vinyl reissue of “Cosmos From Diode Ladder Filter” CD released on Alchemy Records, and the three limited Space Machine mini-CDs released on P-Tapes.
”(…) In 2000 Maso Yamazaki was forced to temporarily cease Masonna activities due to ill health, and this allowed him to concentrate more fully on Space Machine. Space Machine – the end result of Yamazaki’s daily inner trip explorations of music at his Space Machine Systems Studio – and Masonna are like two sides of the same coin. Space Machine’s concept exists at the opposite pole to Masonna’s screaming noise action and extreme one-man rock band style. In Space Machine, all vocals, physical action and rock elements have been comprehensively excluded in favor of a non-rhythmic, pure electronic sound that cannot even be considered as part of the noise genre. The sounds are created using only analog echo machines and analog synthesizers (including the EMS VSC3, Roland System 100 & 100M, PAIA 4700 Modular, Doepfer Modular, etc). There is no use whatsoever of the fuzz and distortion effects so characteristic of noise and rock’s musical palette and which were heavily featured in Masonna.
While the sound does have points in common with what is generally known as electronica or onkyo, what sets it firmly apart is the music’s tenaciously psychedelic viewpoint. The absence of a beat signals its difference to the hedonistic physicality of trance dance music. And of course there is no connection to old synthesizer music with its whiff of religion and its leanings towards new age naturalism. However, in the fervent and endless cosmic spaces of Space Machine, in the infinite floating weave of its future retro electronic tapestry, in its mixture of the organic and inorganic we can perceive an uncanny vibration. In order to improvise a reflection of the flow of spiritual cosmic space in Yamazaki’s subconscious, he has naturally adopted a psychedelic sense of development” • Satoru Higashiseto
Although there are no direct links to the great Kosmische music, the comparison to Klaus Schulze’s early work is a must. Cosmic space bursts into Earth’s atmosphere, and the use of the legendary EMS VCS3 in Yamazaki’s hands takes us back in time, creating a time bridge between 21st century Japan and early 1970s Germany. A bewildering experience with space exospheres, black holes and cosmic darkness. Paths are a mixture of synthetic sounds whispered from beyond, spectral gusts, ultraviolet flashes along with a collage of electrostatic waves.”