Electro Sale 322 Items

Rising Parisian-talent Berzingue makes a welcome return to Pont Neuf this February, serving up a five-track EP in the form of Quitter Paname. It acts as his first-ever solo release and marks the label’s maiden release of 2022, signifying a fresh milestone for Berzingue and kicking off a stellar release schedule for the French imprint.

Tolouse Low Trax, Sacha Mambo, General Purpose and newcomer Berkay Mate get on the remix of Ex Ponto’s ‚ Neka Neka' LP. Neka Neka is a nod to ex-Yugoslavian experimentalists of the 80s (Rex Ilusivii, Kozmetika, Miha Kralj etc) and the thriving, late-night hedonism of Belgrade's Club 20/44. Tolouse Low Trax provides a remix to Middle Path that is experimental, deep and pulsating. The track is obscure, but has a pulse that you can feel in your chest and ears listening to be beautiful spoken words which will leave you in a trance. Sacha Mambo reworks 20-40 into a vivid melodic trip that goes into the explorations of the cosmos. The movement of this track is groovy and uplifting, it will keep you on the move. The eclecticism and craziness of Sacha Mambo are definitely heard in this remix. General Purpose remix Ex Ponto into psychedelic drug chug. This mid-tempo acid banger will keep your body moving, melt your mind and the break down will set you off. Close your eyes and immerse yourself in the vivid journey. Berkay Mete serves up a remix of intoxicating Eastern sounds. This track is ideal for a sun soaked dancefloor or in the darkness of the nightclubs. Wherever it is played it will, the rhythm will grab you and keep you.

Babel’s latest full-length is a true-to-life treasure – a reflection of the hazy subduedness of Slowdive and the sublime semblance of Cocteau Twins. Fresh off the heels of their last two EPs, Honeyspell and Breathe, the otherworldly dyad is poised to release their debut album Yoga Horror, an introspection of the cult-like propensities of the meditative exercise.

We finally made it: Bewith100lp! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

Quindi Records returns once more to the swooning romanticism of Cabaret du Ciel, the long-running project from Andrea Desidera and Gian Luigi Morosin. After the contemporary material which made up long-player The Breath Of Infinity, Raintears heads back into the group’s archives and focuses on a limited cassette release from 1991. Originally released on Morosin’s own Ionisation Tapes, Raintears is described as heralding a new phase for Cabaret du Ciel following their earlier Solarisation and Weather Colours cassettes. This revised, expanded version of the release opens with ‘Raintears (Piano Version)’, which originally came out on an Ionisation compilation entitled Imago Sonora 1. Truly evoking the spirit of the track and its meaning, it was recorded on a rainy Sunday afternoon when Desidera’s friend and trained pianist Francesco Martignon heard the original melody for ‘Raintears’ and proceeded to improvise on the theme, with Desidera and Morosin embellishinbg Martignon’s exquisite playing with subtle touches of synth and sampling. In its fragile, tape-worn repose, the piece is loaded with the delicate ambience a rainy Sunday afternoon implies - calm, melancholic and wistful. ‘A New Day’ is a piece cast in light and shade, contrasting two core melodic phrases expressed through synth and guitar, with a light touch of speech sampling adding to the cinematic poise of the track. ‘Time Of The Twins’ originally appeared as a single track on the cassette release, but here it’s framed as two distinct parts which meet in the middle. The first half is patient, gliding ambience rich in the harmonic interplay and winding narratives which typifies Cabaret du Ciel overall.

This is the first release of the brand new vinyl label Terra Magica Rec. which was founded by Munich based music producers and DJs Mirko Hecktor and Tom Sprenger in mid-pandemic times of 2021. The first release hosts two tracks of the label bosses themselves under their moniker Hektisch Sprengen DJs. In German language the term Hektisch Sprengen basically means blowing up things in a very hectic manner. Instead prepare for quite the contrary sound vise. Their tracks Social Rub and Dancing Dust are electronic, analog Slow-Disco-Cosmic-Trance-Tunes containing some Sh101 and Korg synth lines with Tr-808 beats and some Japanese, African 2 South-American hints. While one track is tracing an ultra rare psychedelic voice sample from Nigeria’s 70’s Highlife scene the other one uses a little boinx gag. To round things up no other than Dirk Leyers from Africaine 808 did the final mixdown on those tunes. On top DJ Normal 4 straight outta ‚Pott’ hits full on groove with an uncanny Funk Breaks anthem recalling early 90s Warp and the best of UK-Big-Beat-Acid and conga easiness. Last but not least Down Under`s DJ Chrysalis jumps into the genre madness on Terra M`s first release delivering a raw UK-Garage-IDM influenced dreamy synth shiver down your spines transcending those fellow e-dancers straight into the golden years of club culture.

The pandemic has affected people in all sorts of different ways, but for FJAAK, life in
lockdown led to one key realization: nothing in life is permanent, and what you do have can
disappear at any moment, no matter how solid it may appear. That idea is at the core of the
Berlin duo’s new EP, Your Time Is Ov3r, a four-track effort that sits somewhere between a
rallying cry and a desperate primal scream. It’s not a coincidence that the record’s jagged,
electro-flavored title track contains an ominous vocal refrain (“Hypnotize me”), born out of a
time when FJAAK were looking for something, anything to make the days go by more quickly.
Still, there’s more to Your Time Is Ov3r than emotional strife. The tracks here have been
primed for the dancefloor, and are easily some of FJAAK’s sharpest productions to date.
Unbridled EP opener “Identity” fuses elements of ’90s rave techno with modern electro, the
whole thing powered by the song’s menacingly crunchy bassline. “Chunks” drops the hammer
even harder, its heavy kick and low-end growl rumbling along like a vintage muscle car. And
for those seeking something a bit more chaotic, the blaring sirens and frenzied breakbeats of
“Falcon Punch” come off like the club equivalent of a nuclear sub attack. Throughout Your
Time Is Ov3r, FJAAK tiptoe right on the edge of completely losing control, and while their
skilled hands prevent things from ever veering off the road and into a ditch, the music’s
inherent sense of instability is undeniably exhilarating.

With the new Serwed III on Flaty's promising Anwo Records, Flaty and OL set out to explore and celebrate the altered visions of today's mundane futurism with a kind of keen aesthetic intuition that could only be enabled by the vast volume of their listening, production, and teaching experience. Following the first two Serwed albums on Asyncro and West Mineral Ltd., the current fruits of the flourishing long-time collaboration between OL and Flaty comprise an oddly coherent kaleidoscopic set of free-wheeling journeys across varied pseudo-desolate soundscapes full of anomalies and sometimes thrills. Beyond the now seamless blending of the artists' individual styles, a whole bunch of other boundaries get blurred on the record, whether it be between the human and computer data processing algorithms, originality and referentiality, anxiety and euphoria, signal and noise. Serwed III postmodern world is the one where the orbital space is just another littered parking lot, neural networks are appreciated mostly as a source of absurd imagery, and delivery drones are used as designer drug mules. The sonic collection is fittingly complemented by the visuals based on Regula Bochsler's The Rendering Eye, an art project capturing the "erroneous" yet "picturesque" renderings found in the 3D world of Apple Maps.

Ouxh joins Salt Mines for his sophmore EP, unearthing a psychedelic palette combining golden years prog, tech house & breakbeat in a singular style.

The Spinning Plates imprint returns this October with Club Winston’s ‘Guzzle’ EP, comprised of four gritty club workouts from the London artist. The UK’s Club Winston has been steadily unveiling a series of tripped-out club ready cuts via his own Ukgeorge label over the past few years along with remixes from the likes of D.Tiffany and Tim Reaper. Here though we see him join the roster of Spinning Plates with his latest collection of works, an imprint that’s played host to material from the likes of Shkn, Neksha, Andy Rantzen, DJ Spider and Bruno Schmidt since its inception in 2015. Title-track ‘Guzzle’ leads, laid out across five minutes with a menacing arpeggio bass lead, howling atmospherics and crunchy analogue drums. ‘Hell’ follows and tips the focus over to heavy doses of sub bass, intricately dynamic, modulating drums and intense swells of processed synths throughout. Opening the flip-side is ‘Chart’, upping the energy levels with a pacey 4/4 drum groove while twitchy resonant synth lines, low-end pulsations and cavernous reverberations ebb and flow throughout. ‘Partook’ then rounds out the release, a cinematic ambient composition which lays focus on swirling, textural pads, glitched out resonant bleeps and fluttering low end hits.

Amsterdam's rising dark horse / talented misfit / rising talent mayo presents her debut EP for United Identities. "Sad Violin Music'' holds three dirty jams, driven by her self-built modular synth.