Squarepusher Ultravisitor

Squarepusher Ultravisitor (20th anniversary edition)

Japanese CD version

Moonlight Club

Joy Division - Bernard Sumner and Ian Curtis performing at Moonlight Club London, 1980.

People do not understanding the policy of major sources

"People do not understanding the policy of major sources, if this year we had a Dance music deejay at the top number one is by a simple reason, since 25 or 30 years the Dance music was the main engine of promotional sources, being the radios that promoted this genre as mainstream, the reason is because the multinational labels invest money in it, and being big we can imagine the number of this investing, if someday something changes in the point of view of this main labels surely we will get other types of genres in the worldwide top one, but meanwhile this main labels do not change the direction we will have the same type of music on main radios from morning to night. And all of this will cause deejays providing other genres will not get the first positions."

What old deejays cannot do

"What old deejays cannot do is criticize current scenes, because everybody evolves in different speed, when you get age you evolves slowly, current scenes is what it is, and someday the current will old and will come more different sounds. And we cannot criticize for the eternity."

Oren Ambarchi classic 'Quixotism'

Oren Ambarchi classic 'Quixotism', 2014, underpinned by Thomas Brinkmann's computable drums plus Jim O'Rourke (synth), crys cole (contact mics, brushes), Eyvind Kang (bowed gender & violas), John Tilbury (piano) and more. Newly remastered by Joe Talia

Giovanni Alibrandi enters

Giovanni Alibrandi is a violinist, teacher at state schools and sound artist of ambient and acousmatic music. Author of songs also with the addition of acoustic and electric violins, he has published for numerous labels all over the world. He has also recorded for Warner, Universal, Carosello, CNI Compagnia Nuove Indie, Mellow Records, Diaphonia and for RAI, Canale 5 and Sky Classica.

He is a live electronics technician at the Filarmonica Laudamo Creative Orchestra and regularly collaborates in the activities of the improvised music collective FraCarGio. He is also violinist and keyboardist of The Windfall Project created by Gianluca Gugliotta. He has collaborated on multimedia works with photographers Jurgen Heckel and Enzo Alessandra and with the Phós Graphé exhibition space in Palermo. He also provided soundtracks for important events held at the “V. Emanuele” of Messina, the Palaculture “Antonello” and the Saletta ARB of Messina.

First electronic music in history

Silver Apples were an American electronic rock group from New York, active between 1967 and 1970, before reforming in the mid-1990s. It was composed of Simeon (born Simeon Oliver Coxe III, June 4, 1938 – September 8, 2020), who performed on a primitive synthesizer of his own devising; and, until his death in 2005, drummer Danny Taylor. The duo were among the first to employ electronic music techniques outside of academia, applying them to 1960s rock and pop styles.

As part of New York's underground music scene, the band released two albums—Silver Apples (1968) and Contact (1969)—to poor sales. They began recording a third album before a lawsuit by Pan Am, owing to the use of their logo in the artwork of Contact, forced the end of the group and its label Kapp in 1970. In the 1990s, German bootleg recordings of the band's albums raised their profile, and Simeon reformed the group with other musicians and released new music. In 1998, he reconnected with Taylor, and the two completed their original third LP The Garden (1998). After Taylor's death, Simeon continued releasing Silver Apples projects using samples of Taylor's drumming.

Darius Ciuta; it's going to be appeared as new recording

Darius Ciuta; it's going to be appeared as new recording for 2025, in No Records.

basic sound objects - stones

Recorded, composed and mastered in A.Šančiai , Kaunas , Lithuania.

Darius Ciuta, Lithuanian architect, sound artist, born 1966, is an artist that definitely can not be pigeonholed for the marketing purposes of narrative and aesthetic unidrectional coherence, although if you stand between and shuffle through his work you will find a labyrinth of communicating vessels. His works  explore continuously new alphabets spectrums, building an intricate vocabulary of frequencies and densities as translations and transformations (exchange between sound and spaces). Structured architectural approaches with a clear perspective not only invites to what is beyond stritctly personal music but rather etwines a evershifting method of researching a singular plunge into sound itself.

Vinyl records is not a best format

"Vinyl records is not a best format than all digitalism material we are having these days. Today the digital format has a volume and body never achieved before, in the mix transitions the deejay nowadays has more hard to not be discovered in mistaken because the volume of the body on beats has more force and relevance in sound and it's more easy to be catched in an error of wrong tempo transition. Technology gives more quality to the sound that 20 or 30 years ago, and it is something many people knows and nobody speaks about it. We are trapped in a nostalgic romanticism that do not let us see the reality. In the 80s the wave of a track had more low volumen in the body than these days, not in a high scale, in the width and in 20 or 30 years more it will achieve more volume on the body and giving quality to the sound and things will become more hard still, be sure."

Joy Division

Gatefold 2lp, inner sleeves of demos 1978/79 beautiful release and quality.

Joy Division were an English post-punk band formed in Salford in 1976. The group consisted of vocalist, guitarist and lyricist Ian Curtis, guitarist and keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.

Sumner and Hook formed the band after attending a June 1976 Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk rock, they soon developed a sparse sound and style that made them one of the pioneering groups of the post-punk genre and movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.

Curtis struggled with personal problems, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's health condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of what would have been the band's first North American tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest-charting releases.

Between July and October 1980, the remaining members, with the addition of keyboardist and guitarist Gillian Gilbert, regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences. In 2023, both Joy Division and New Order were nominated as one act for induction into the Rock and Roll Hall of Fame.

NA grm | Présences électronique 2024

NA grm | Présences électronique 2024 に出演した際のインタビューが公開されました。不慣れなので にゃっぱり (やっぱり) とか言っていますが、現地のアトリエで録音したフランソワ・バシェの音響彫刻を中心とした後半パートは会場録音も混じえた ここでしか聴けないものになっています。

https://www.youtube.com/watch?v=5XQ6UDP2mmU

また Tribute to Ryuichi Sakamoto "Micro Ambient Music" Vol.3 が commmons よりレコード & 配信で発売開始されました。こちらも坂本龍一さんも "async" (2017) で用いていた バシェの音響彫刻を録音した楽曲が収録されています。

Nühn | Julio Gutiérrez finalize his albums production

Nühn | Julio Gutiérrez finalize his albums production in 2025 with a last single early next year. The solo project needs a long rest, the label will go on with the releases of more artists

Aube / Dschim K. Sandbleistift

Aube / Dschim K. Sandbleistift

The Split

Still House Plants'

Still House Plants' 2020-released ‘Fast Edit’ album back in print //// a brittle, alembic flux of post rock, R&B, free improv and noise, cut-n-pasting dictaphone recordings, rehearsals and laptop jams into a post-everything collage

NagNagNag

"NagNagNag (Original Mix / RHK #4 mix / Tiga & Zyntherius Full Version / Akufen's Karaoke Slam Mix)" double white label 12" promo, UK/Europe 2002.

1991

"It's all about the start. Pieces like this from 1991 was the most easy jobs to do in electronic music production, difficult to listen it full without not enter in exhausting boring. Todays is still boring, but it's all about a start, when nobody knew Warp and it was only an small store in Sheffield. Surely just 100 record copies pressed from this track and just 25 sold, also, the acronym WARP referending to: Weird And Radical Projects, invites to think that it was called like this to give a chance to be selled or listened. It's all about a start."

KLF

The KLF

(also known as the Justified Ancients of Mu Mu, the JAMs, the Timelords and other names) are a British electronic band who originated in Liverpool and London in the late 1980s. Scottish musician Bill Drummond (alias King Boy D) and English musician Jimmy Cauty (alias Rockman Rock) began by releasing hip hop-inspired and sample-heavy records as the JAMs. As the Timelords, they recorded the British number-one single "Doctorin' the Tardis", and documented the process of making a hit record in a book The Manual (How to Have a Number One the Easy Way). As the KLF, Drummond and Cauty pioneered stadium house (rave music with a pop-rock production and sampled crowd noise) and, with their 1990 LP Chill Out, the ambient house genre. The KLF released a series of international hits on their own KLF Communications record label and became the biggest selling singles act in the world in 1991.

From the outset, the KLF adopted the philosophy espoused by esoteric novels The Illuminatus! Trilogy, making anarchic situationist manifestations, including the defacement of billboard adverts, the posting of cryptic advertisements in New Musical Express (NME) and the mainstream press, as well as unusual performances on Top of the Pops. In collaboration with Extreme Noise Terror at the BRIT Awards in February 1992, they fired machine gun blanks into the audience and dumped a dead sheep at the aftershow party. This performance pre-announced the KLF's departure from the music business and, in May of that year, they deleted their entire back-catalogue. Drummond and Cauty established the K Foundation and sought to subvert the art world, staging an alternative art award for the Worst Artist of the Year, and burning one million pounds sterling (approximately £2.35m as of 2022).

The duo have released a small number of new tracks since 1992, as the K Foundation, the One World Orchestra, and in 1997, as 2K. Drummond and Cauty reappeared in 2017 as the Justified Ancients of Mu Mu, releasing the novel 2023, and rebooting an earlier campaign to build a "People's Pyramid". In January 2021, the band began uploading their previously deleted catalogue onto streaming services, in compilations.

Oneiron

Ohrwert 

Has been the moniker for dub excursions since 2006 and the focal point of musical output for many years. Have been doing hardware live shows since 2008 but minimized the setup over the years. Still incorporate hardware in shows, but not as much due to logistics and vulnerability of vintage equipment. “Ohrwert” has been registered as a business since 2013 at the Chamber of Commerce in Arnhem, the Netherlands under number 57557209 with EU-VAT ID NL001863977B42, and is also trading as “Arjen Schat” and “Trésor D’argent”.

Have been releasing live ambient and sequential music as Arjen Schat since 2006 as well. Though most of the releases are influenced by the Berlin-school of electronic music, some albums include meditative drones and deep electronic soundscapes. Demonstrate a lot of the techniques uses on my YouTube channel, besides uploading studio performances and video clips.

Kluster - Klopfzeichen

Klopfzeichen 

Is the debut full-length album by German experimental music trio Kluster.

Klopfzeichen was recorded on 21 December 1969 at Rhenus-Studio, Gordorf, Germany. Liner notes on the CD reissue on the Hypnotic label as well as some websites place the recording date precisely one year later in 1970. This is incorrect as it would place the recording after the initial release date. In addition Kluster founder Conrad Schnitzler stated in interviews that the recordings took place during the same period as the first Tangerine Dream album, Electronic Meditation, which occurred in late 1969.

Klopfzeichen was released in November 1970 on the Schwann label. With a plastic embossed cover, including two multi fold-out inserts. Only 300 copies of the original LP were pressed and sold.

The album was first reissued by Schwann in 1980 – with new cover art and a sticker touting Cluster and Conrad Schnitzler's previous membership in Tangerine Dream – and then on the U.S.-based Hypnotic label in 1996. This CD reissue also contains a nearly 16-minute-long bonus track from the 1980 Cluster & Farnbauer release Live In Vienna.

The album was again reissued on the Japanese Captain Trip label on April 20, 2007 as a 450 copy limited CD edition with an adaption of the original cover art-work and a bonus track by Eruption, "Black Spring", from their 1971 sessions.

In 2012 Bureau-B released another reissue on CD as well as on 180gr vinyl. The original cover art-work was adapted, new liner-notes provided by Asmus Tietchens.

Tadao Kikumoto

Tadao Kikumoto, was the chief engineer of the Roland TR-808 drum machine

Sato Yoshiaki

9/26(木)&27 (金)2Day’s 音の始源を求めてPresents 電子音楽の個展「佐藤聡明」耳を啓く(ひらく)NHK電子音楽スタジオ70周年記念事業 VOL.5 を開催します! at Artware hub KAKEHASHI MEMORIAL

<佐藤聰明が自作を語る！>佐藤聰明の原点！NHK電子音楽スタジオで生まれたまぼろしの電子音楽！羅鑾幻聲(ららんげんじょう)を含むテープ音楽、全4曲を一挙再生！チケットの発売は8/17(土)11時

https://otonohajimariwomotomete70-5.peatix.com/

More to come

"As we could speak about similar to The White Stripes band, this genius from Belgium knows how to punch with the aesthetic electronic rock the minds and hearts. Sometimes it is an honorific composition to the Primal Scream most electronic rock albums. Covering from now the 70s rock in modern times, more is going to come in this form Machine 26, this is the supreme entertainment for those lovers of the freak vibes from rock music in 2024.

We would love to categorize this guy as the best unique version of a solo rocker, sometimes getting into collaborations an exceptional and special talent. This way to mix the electronic aspect from 90s to nowadays rock music is an exceptional idea turned reality as difficult could be materialize only with special endowments this mix, no matter how many times you gotta listen to this

without getting an alarm into your head the terrific sound hits inside you. Marvelous talent from Belgium."

Franco Grignani

IWS International Wool Secretariat.

1964

Presentation of the Italian graphic designer Franco Grignani (1908-1999) This is a text in which he himself presents his work and his vision of the profession (initially published in the collection "Graphic Designers in Europe" in 1973).

Harold Budd

Harold Montgomory Budd 

(May 24, 1936 – December 8, 2020) was an American music composer and poet. Born in Los Angeles and raised in the Mojave Desert, he became a respected composer in the minimal music and avant-garde scene of Southern California in the late 1960s, and later became better known for his work with figures such as Brian Eno and Robin Guthrie. Budd developed what he called a "soft pedal" technique for playing piano, with use of slow playing and prominent sustain.

Budd was born in Los Angeles, California, and spent his childhood in Victorville, California on the southwestern edge of the Mojave Desert.

Harold was only 13 when his father died, and soon his family fell out of their comfortable middle class existence. He was sent up to the desert to live with friends and relatives as often as possible, but the reality in Los Angeles was growing up in a tough neighborhood, and as the oldest son, being the man of the house. During this time Black culture had an enormous impact on Harold, especially jazz music and bebop, and he could be found in his teenage years playing drums in bars and jazz clubs in South Central Los Angeles.

Drafted into the army, he joined the regimental band where he played drums at Presidio of Monterey (POM). Jazz saxophonist Albert Ayler was drafted at the same time and was also a member of the band. Budd joined him in gigs around the Monterey area. Budd's experience of the army made him determined to get an education.

Swans (Michael Gira & Jarboe)

Martin Phillipps has died unexpectedly

Martin Phillipps, the founder and frontman of seminal Dunedin band The Chills, has died unexpectedly. He was 61. Phillipps’ death was announced this evening on The Chills’ social media pages. “It is with broken hearts the family and friends of Martin Phillipps wish to advised Martin has died unexpectedly,” The Chills’ post read. “The family ask for privacy at this time. Funeral arrangements will be advised in due course.” The guitarist and lead singer was the driving creative force behind The Chills and has been part of the band since its inception in the 1980. The Otago Daily Times reported Phillipps was recently admitted to Dunedin Hospital with liver problems. The band signed with Flying Nun Records and were one of the earliest proponents of the Dunedin sound - a musical, and cultural, movement in the Otago city in the early 1980s characterised by a mix of punk rock with jangly, psychedelic-influenced guitar playing. The Chills website described Phillipps as having “a single-minded determination to take quality, original NZ-sounding, melodic rock music global”. He battled with drug addiction, alcoholism and contracted hepatitis C in the 1990s. Some of the The Chills’ biggest hits include; Pink Frost, Heavenly Pop Hit, I Love My Leather Jacket and Kaleidoscope World. A 2019 documentary titled The Chills: The Triumph & Tragedy of Martin Phillipps explored the history of the band and Phillipps’ life-threatening brush with hepatitis C and liver failure. Phillipps told RNZ in 2021 that watching the documentary led to some self-reflection. “I had not sort of seen how basically odd I was and how that impacted on other people and that gave me a lot of cause for reconsidering things that had happened in the past and so on,” Phillipps said. “I know that I’m not a hurtful person by nature but realising that just the sheer being unaware of people’s situations around me could also be hurtful, so that was quite a revelation really.” Phillipps said his health was much better having cleared the hep C, but compared to other people his energy levels were still comparatively depleted. Reflecting on one of The Chills’ later singles Destiny in the same 2021 RNZ interview, Phillipps said he was trying to face up to his own mortality in the face of the Covid-19 pandemic. “It’s a wee bit of a struggle between how much of this is pre-planned and how much of it is me shaping my own destiny... I think a lot of people have been going through those same kind of questions, particularly overseas where there is still a lockdown, they must be thinking a lot of them ‘well what did I do to deserve this or what have we done?’.”

NZ Herald

Aphex Twin | 26 Mixes for Cash

26 Mixes for Cash is a compilation album of remixes produced by Aphex Twin. Most of the remixes were produced for other artists between 1990 and 2003. It was released on 24 March 2003 by Warp Records.

Despite becoming a sought-after remixer during the 1990s, James admitted to not actually using the original source material in the case of some of his "remixes" for artists he disliked (such as Nine Inch Nails), explaining: "I never heard the originals...I don't want to, either." In some cases, he submitted his own original work, or the work of his flatmate Global Goon in place of his own work.

Along with the 22 remixes on this release, four original Aphex Twin tracks are also included. Two are new versions of previously released tracks: "Windowlicker, Acid Edit" and "SAW2 CD1 TRK2, Original Mix". The other two were previously available only on Further Down the Spiral, the remix album by Nine Inch Nails: "The Beauty of Being Numb Section B" and an edited version of "At the Heart of It All".

In addition to the remixes featured on this release, James has also remixed tracks by Beck, DJ Pierre, and Soft Ballet, as well as additional remixes of tracks by Seefeel, Gavin Bryars, Jesus Jones, Saint Etienne, and Mescalinum United.

Today Nühn project celebrates 11 years

Today Nühn project celebrates 11 years, in 2019 the project became a record label and this was the first logo, creating sympathy for the moths, those beings appear on your life to bring you prosperity. The logo makes reference to a blend between influences and tastes in the electronic music.

Stones in Focus

Saint Raphael

Original working drawing - logo for Hospital of Saint Raphael, New Haven, CT (1984)

Ryuichi Sakamoto: Opus

Ryuichi Sakamoto: Opus, graphically rendered as Ryuichi Sakamoto | Opus, is a 2023 Japanese concert film directed by Neo Sora. It premiered out of competition at the 80th edition of the Venice Film Festival.

The film documents the last concert that Ryuichi Sakamoto, who was already struggling with cancer and who had not performed live for many years, held in late 2022, a few months before his death.

The film had its world premiere out of competition at the 80th Venice International Film Festival. It was later screened in other festivals, including the New York Film Festival, the BFI London Film Festival, and the Tokyo International Film Festival.

Bill Connors

Bill Connors 

(Born September 24, 1949) is an American jazz guitarist who was a member of Chick Corea's band Return to Forever. After leaving Return to Forever, he recorded three acoustic albums and then three electric albums as a leader/soloist.

Connors was born in Los Angeles, California, in 1949 and began to play the guitar at the age of 14. After three years of extensive self-study of the rock and blues influences that were his first inspiration, he began to play gigs around the Los Angeles area with a heavy blues/rock group called Middle Earth. He found his way to jazz, the music that would lead to a lifelong commitment.

"I'd been playing for about four years", he explained at the time of his RTF tenure, "and suddenly had an overnight change. I didn't want to be a blues guitarist anymore. I began listening to people like Bill Evans, Jim Hall, Wes Montgomery, [bassist] Scott LaFaro, Miles Davis, [John] Coltrane—anyone who had a 'jazz' label. Django Reinhardt really got to me. The first time I heard one of his records, I thought that was just what I wanted to be. He had all the fire, creativity, and energy that rock players have today. And the amazing purity of his melodies—you just knew they came from a totally instinctive place."

He and Django differed however over the matter of electronics with Bill preferring the sound of the electric instrument. "I always wanted to use the electric guitar in a sophisticated context, like with Chick [Corea]. I like to play jazz with that electric-rock sound. For me it's a lot closer to a horn than the traditional guitar, and that's what I love about it; I can sustain notes, get into different kinds of phrasing—do things other instruments do naturally, only the guitar does it with the aid of technology."

Connors moved to San Francisco in 1972 to join the Mike Nock Group (formerly known as The Fourth Way) with drummer Eddie Marshall and bassist Dennis Parker. He met up with drummer and vibraphonist Glenn Cronkhite, who introduced him to greater knowledge of jazz. Connors also played with bassist Steve Swallow and pianist Art Lande.

Demo disk

Things weren't as easy before the WWW and the word "download".

Now extremely rare, the demo disk you would get in your letterbox from the distributor.

Empty the Bones of You

The cover of Chris Clark's last album, 2001's celebrated Clarence Park, depicted a crystalline winterland, populated by a young boy in a knit hood. In contrast, the cover of this year's Empty the Bones of You is a pale figure thrust into a nightmarish spiral of skulls, spears, and oblivion. I'm wagering that Chris has been to a couple of funerals in the last two years.

While, contrary to what my first paragraph might suggest, I did actually listen to this album, the distinction is instructive. Clark's last album, while not a bad album by any means, struck many as standard-fare Warp, the type of guy you hear on a comp and then attribute to some better known artist. And while the songs were better Aphex/Squarepusher tracks than the ones on either Drukqs and Go Plastic, they were still just Aphex/Squarepusher songs. The sole innovation was Clark's segregation of moods; with a few exceptions, there were happy songs and sad songs, with very little in between. It was classic Warp without the ambiguity, a technically virtuoso performance channeling mediocrity.

On the new album, however, Clark gains some unique ground. "Indigo Optimos" opens with a minimal Detroit techno beat, then gets trounced by some jarring cuts. Rather than tediously layering one audio track on another and then peeling them off slowly at the end, he'll simultaneously put on three or four tracks for a bar, then get rid of them all at once, only to sample the same passage later in the song. The result is haunting, and leagues more accomplished than anything on his debut. On "Early Mass," a music box gets stuck on a groove, grows increasingly metallic, and then gradually fades away until only a shell of the initial sound remains-- the erosive gives way to the evocative. The sound is literally haunted. Later, the apparition circumnavigates the original music box sample and, until "Tyre" comes along and drops the instrument into the street, the sound perfectly balances infantile calm and sophisticated mourning.

Most songs seem on the brink of collapsing completely. Each struggles to get its melody out, but is threatened by static, loops, and that form of antagonistic buzzing that can only be described as Basic Channel. "Holiday as Brutality" features a jazzy synth absorbed by distortion until the song starts over again on a lighter frequency. The melody here is weathered, but intact. The phenomenal "Gravel (Obliterated)" seems to rest on a dilapidated suspension bridge-- eventually the ropes fray, the planks fall, and the entire song just sort of drops into a static that continues into "Gob Coitus", which restructures the white noise and melody into a more subterranean atmosphere.

The album's second half flounders a bit with well-executed, but not particularly memorable pieces ("Farewell Track", "Betty"). What must have been intended as the centerpiece, the six-minute "Wolf", is a surprisingly traditional "epic hip-hop" instrumental (think DJ Shadow) and not nearly as impressive as the next shorter track, "Slow Spines", a potpourri of harp, grated cheese, robot handclaps, and whistling. While Chris Clark has found his voice on this album and will, in all likelihood, become a household name on par with the Warp flagships, he hasn't yet recorded his masterpiece. Still, there's an ambition in this stuff that was absent in Clarence Park-- one that will surely make this Best Promising Sophomore Album sometime in the near future.

Eric Dolphy

Along with Coltrane and Coleman, Eric Dolphy played a significant role in influencing the development of the avant-garde in jazz in the late 1950s and early 1960s. He featured on Coleman’s seminal Free Jazz from 1960, and toured and recorded extensively with both Mingus and Coltrane. He developed a style of playing that was wholly his own, characterised by wide interval leaps and unorthodox note-to-chord relationships and played a leading role in extending the range of the alto saxophone by at least an octave.

✌🏻

Roland MC 500

Roland Corporation 

(ローランド株式会社, Rōrando Kabushiki Kaisha) is a Japanese multinational manufacturer of electronic musical instruments, electronic equipment, and software. It was founded by Ikutaro Kakehashi in Osaka on 18 April 1972. In 2005, its headquarters relocated to Hamamatsu in Shizuoka Prefecture. It has factories in Malaysia, Taiwan, Japan, and the United States. As of December 2022, it employed 2,783 people. In 2014, it was subject to a management buyout by its CEO, Junichi Miki, supported by Taiyo Pacific Partners.

Roland has manufactured numerous instruments that have had lasting impacts on music, such as the Juno-106 synthesizer, TB-303 bass synthesizer, and TR-808 and TR-909 drum machines. It was also instrumental in the development of MIDI, a standardized means of synchronizing electronic instruments manufactured by different companies. In 2016, Fact wrote that Roland had arguably had more influence on electronic music than any other company.