During the Seventies, musical traditions are being rediscovered in Japan. By blending them with their own preferences, artists create new sound worlds. 46 minutes with Akio Suzuki, Haruomi Hosono, Jun Togawa Unit, Toshi Ichiyanagi and others.

Reminiscent of a certain time or place, these tunes are for a chill-out zone. 49 minutes with memories and fantasies by Cluster & Eno, Geir Jenssen, Graeme Revell, Muslimgauze and others.

Owing to a straightness rooted in punk, new things and personalities got invented everywhere and all the time in West-Germany’s music scene of the Eighties. 53 minutes with Freiwillige Selbstkontrolle, Ingrid Wiener & Chor, Martin Kippenberger, Santrra and others.

In the late Sixties, women composers start mixing various kinds of sonic material. Often their idea of intermedia art has a link to human life. 88 minutes with Christina Kubisch, Eliane Radigue, Frankie Mann, Ruth Anderson and others.

Forming a loose community of interdisciplinary collaborators, fluxus artists are rethinking the role of art in society during the Sixties. 47 minutes with Carolee Schneemann, Henning Christiansen, Terry Riley, Yoko Ono and others.

The electrification of music during the 1950s led to a multitude of artistic concepts. 50 minutes of fieldwork and funny sounds with Alireza Mashayekhi, Delia Derbyshire, Else Marie Pade, İlhan Mimaroğlu and others.

Only the development of new technologies will mark the progress of sound poetry, states Enzo Minarelli in his manifesto on polipoesia from 1987. On the basis of 11 sound poems, Minarelli talks about the concept of Polipoesia, and where it all started.

With reel to reels, poetry reaches the next level in the 1950s – language gets arranged in completely new ways. 37 minutes with Ernst Jandl, Henri Chopin, Neil Mills, Sten Hanson and others.

Synthesizers brought new sounds into the world. 43 minutes of oscillators, filters and envelopes controlled by Conrad Schnitzler, Daphne Oram, Erkki Kurenniemi, Laurie Spiegel and others – between the early Sixties and 1977 (plus an exception).

For some, the piano is the instrument of instruments. Here are ten good reasons why. 40 minutes with works by Charlemagne Palestine, Graeme Revell, Henry Cowell, Johanna Magdalena Beyer and others.

Snapshots on national pride, cars, country music, and human abysses behind proper facades – 51 minutes with Amiri Baraka, Ann Magnuson, Henry Rollins, Madeline Ridley and others.

Letters and numbers as material for expression. 40 minutes with inventions by Brion Gysin, Demetrio Stratos, Henri Chopin, Lawrence Weiner and others.

Artists see things differently. 45 minutes with sound works by Carole Caroompas, Dieter Roth, Jess Holzworth and Jutta Koether, Magazzini Criminali and others.

39 minutes of ideas being expressed with sound: made up trains, works with found sounds, or a collective approach in making music – realized by Amy Taubin, Angus & Hetty MacLise, Tom Recchion, Tuli Kupferberg and others.