Downbeat | Electronica | Leftfield Vinyl 276 Items

180 gram vinyl

Not many acts who continue for a few albums get a chance to go back and take care of what they might see in retrospect as mistakes or tentative starts — but there are always glorious exceptions. Thus the course of events that led to the Croatian surf-rock quartet The Bambi Molesters rerecording their 1997 debut Dumb Loud Hollow Twang in a ‘deluxe’ edition, with special guests, bonus tracks and more besides.

What might have seemed a quixotic exercise gets explained in the liner notes — the album’s original run, though popular in surf-rock obsessive circles, had not resulted in a reprint, while the group’s growing popularity resulted in further demand and attention for the start. The band themselves felt the debut was far too rushed — it was literally recorded in three hours as a one-take rip with instrument leakage and bad mixing ruining the impact — so with more time to spare and a chance to flesh out the sound, the result was 2003’s Deluxe.

The quartet’s command of the surf vernacular is unparalleled — guitarists Dalibor Pavicić and Dinko Tomljanović have the reverb down and rhythm section Lada and Hrvoje Zaborac shift between mania and moodout with ease. The guest musicians add just the right touches — keep an ear out for Neven Franges’s piano on the late-night menace of “Pearl Divin’”, as well as on the smoky Eurospy vibe of “Sun Stroke” and a trumpet/sax duo on a variety of songs adding some further sting.

If the overall effect is pleasantly reverential rather than a striking new reworking of surf and garage roots, it’s still a solid result that works beyond mere genre exercise. The bonus tracks are all covers, and winners they are — the Molesters collaborator in the Strange project, Chris Eckman, adds whispering menace to “Restless”, the album’s sole vocal track. Best song title of the bunch — “Beach Murder Mystery.” (Ned Ragget, All Music Guide, 2005)

Nothin’ dumb about this one! The Bambi Molesters hail from Sisak, Croatia, and they play a slightly dark brand of traditional instrumental surf music. They’re all about subtlety. Lead guitarist Dalibor Pavicić lays back in the mix, painting the sound with dreamy apparitions of melody and tone. How much of this was always part of their formula, and how much producer Phil Dirt created at the console, I don’t know, but either way they’re onto something good here.

All fifteen tunes were written by Pavicić and guitarist Dinko Tomljanović, and that’s surprising enough for such a young band, but on top of that, all fifteen are exquisitely crafted and fully realized. “Sun Stroke” is one of the most beautiful surf tunes of the year, filled with passion and power and delivered with a delicate touch. If you fancy a twist of spy in your surf, “Beach Murder Mystery” is the bomb. By the way, if you’re voting for great titles of the year, you may want to consider “Standing on the Nose in a Stylish Manner”, which also happens to be a killer surf tune. So add Croatia to your surf scene map and keep an eye on The Bambi Molesters, because they’ve officially taken their place in the book of who’s who. (DJ Johnson, Cosmik Debris, 1998)

A stunningly good set of tracks from the only surf band in Croatia. Their writing is melodic, pristine, well structured, and unique. I find their slower material to be the best, with its stellar beauty and delicate balance between lead and rhythm. I’ve been communicating with the band for about a year, and earlier this year, they asked me to produce their album. I was honored. They laid down 16 track ADAT in Croatia, and mailed them to me in the US. I mixed them here, and mastered them as well. Based on the DAT I’d received late last year, I was expecting good tracks. I was not prepared for just how good they’d turn out to be. This will be a classic of the future. (Phil Dirt, DJ KFJC)

Dancing Bear Band Information (from 2005)

Formed in 1995 under the influence of 60’s garage and surf classics, the Croatia based band The Bambi Molesters won sympathies of rock critics and underground rock audience with their first album “Dumb Loud Hollow Twang” which was released in 1997. Since then they have been playing regularly in Croatia and all over Europe and their fiery and energetic live performances have helped to build their reputation as one of the finest and most original contemporary instrumental bands.

In 1999 the band signed the record deal with Dancing Bear. They released their second album called “Intensity”. The same LP was also released in Germany on Kamikaze Records. Both “Intensity” and “Dumb Loud Hollow Twang” gained positive reviews in the music press and were nominated in various categories of the Croatian music award.

In December 2001 The Bambi Molesters released their 3rd CD “Sonic Bullets: 13 from the Hip” (the LP version is from 2003) with the following guests: Peter Buck (REM), Scott McCaughey (Minus Five, REM touring band), Chris Eckman (The Walkabouts), Terry Lee Hale and Eduardo “Speedo” Martinez (The Flaming Sideburns). Just like the previous one, the new The Bambi Molesters album was published by the Croatian record label Dancing Bear. The CD got excellent reviews in various magazines (Mojo, Uncut, Pitchfork, ...) and received the Croatian journalist award for the best album of the year 2001.

In June 2002 “Sonic Bullets: 13 from the Hip” was licensed by ACE Records and was released on their Big Beat label.

The Bambi Molesters’ songs are regularly played on American (KFJC, KFAI, KXLU, WREK, WHUS) and British (BBC RADIO 1 in London) radio stations. The song “C Alpha E” was included in the movie called “The Treat” by Jonathan Gems (screenwriter for “Mars Attacks” and “1984”). Their music can also be heard in videos (“Cross Cuts” for Tonix Pictures and Dragonfly BMX video). Three songs from the first LP are included in the movie “Barabe” (Viba film, Slovenia). During the last couple of years the band has played more than 100 gigs and supported well known acts including The Cramps, REM, Chrome Cranks, Man or Astroman,...

In July 2003 the band played as a support at the R.E.M. European tour. The Bambi Molesters played at three gigs in front of 50000 people altogether.

In June 2004, together with The Walkabouts singer Chris Eckman they formed The Strange. Their debut album “Nights of Forgotten Films” is out on Dancing Bear.

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

FlyLo's debut for Warp and basically the blueprint for all the LA Beat Scene madness!

Originally released on Firstcask Records in 2003. A selection of my styles and ideas at the time, ranging from drum n bass, ambient, acid etc etc

2024 Reissue of the classic Bersarin Quartett debut album.

“It's rare that I'm able to give an album my fullest recommendation without trepidation. (...) Bersarin Quartett is one such album. There's nary a misstep, every potential danger has been avoided and smoothed out to present the optimal audio experience for your dollar. (...) Something this good can't possibly be real." The Silent Ballet (8.5/10)

So yes, references to Stars Of The Lid, Ulver's Perdition City, Bohren & Der Club Of Gore and Cinematic Orchestra are fully justified. (...) An excellent debut album, great for nocturnal couch consumption, closing your eyes and dreaming away. (...) Slickly produced without becoming becoming empty chillout fastfood, Bersarin Quartett does what it promises and does it well and a recommendation for everyone into the bands I mentioned earlier. Musique Machine (5/5)

This music could be written on a lonely island or onboard of a spaceship looking on our planet. Time becomes a new unit and feelings become more weight. This is a real great album that owns a special atmosphere and a nonesuch orchestral sound. Wonderful tracks with wonderful titles that leave the listener with a feeling of freedom and contentment. A wonderful perfect 10. Cuemix (10/ 10)

Make no mistake, Bersarin Quartett is an incredible release in the electronica world, but one that fans of many other genres will enjoy. Sputnikmusic (4,5/5)

Dettinger’s Intershop and Oasis have long been held, by many fans of ambient and electronic music, to be some of the finest albums in their field. Produced by the mysterious Olaf Dettinger, about whom not much is publicly known, they were some of the earliest full-lengths released by the then-nascent Kompakt, and in many ways, they both articulated and defined the sound that would come to be known as Pop Ambient, while also existing, somehow, to the leftfield of any clearly recognisable genre.

Beautiful, sui generis works, it is a rare pleasure to see them being reissued on vinyl for a new generation of listeners to embrace. Originally released on CD only in 1999, Intershop was Kompakt’s first artist full-length. The music here simmers and broods, with opulent banks of tone marking out territory for rhythms that seem to be built from the clacking detritus of technology – hisses, thunks, knocks. Bass is deployed carefully, each drop a dubbed-out depth charge; drones spin and spiral, warping and weaving between the beats.

Oasis, released in 2000, refined the palette that Dettinger had explored on its predecessor. A blurred crusade of ambient texturology, its unassuming patterns, and subtle, incremental dynamics, admit to real beauty, and a kind of abstract sensuality that you don’t often experience with music that is, perhaps, similarly tooled, but not as poetic. Through seemingly simple gestures – whether lushly expansive repetitions, hyper-acute tremolo tones, or ear-tickling rhythms – it builds complex emotional resonance. It’s no surprise to discover Oasis is held in high esteem by artists like Panda Bear of Animal Collective, who once said of Dettinger, “For us, he was the dude.”

There is, of course, other music to know Dettinger by, too – his three excellent EPs for Kompakt, Blond (1998), Puma and Totentanz (1999), the latter of which, Michael Mayer once argued, “invented dubstep.” There is also a small, yet graceful run of compilation contributions, many of which can be found on Kompakt’s Total and Pop Ambient series. All this music has plenty to recommend it, sharing a clarity of purpose, and a rare, human warmth and depth. But Intershop and Oasis are the releases that distil Dettinger’s singular vision, and allow him, should he wish, to claim his place as a modern master of ambient and electronic music.

At the time of original issue, there was a small run of a few hundred vinyl copies done by a small German label, but this was pressed on an inferior sounding single LP which was much too short for the length of the album, not to mention the wide dynamic range of the recording. This new version is mastered at 45rpm over four sides for maximum sound quality. "The whole album moves with a sort of barely-contained violence that threatens to disintegrate or burst tracks into flame outs at nearly any point. it's powerful and intense ambient music that really doesn't sound like anything else being created right now."—Almost Cool

Cafe Del Mar chill out classic classic from 1992. Tap into your subconscious and conquer anything with these 4 different mixes featuring the voice samples of new age hypnotist Barry Konicov, known for an outstanding proclivity towards not paying Federal Tax in the US, but also for being the founder of Potentials Unlimited, a self-help hypnotism program that became especially popular in some circles during the 80s and 90s. From beat less ambient excursions to rhythmic drum samples these mixes explore modern Balearic themes in different ways - take a trip.

A Bad Diana is a project from Diana Rogerson, someone I first became aware of aged 12 when I read about Nurse With Wound and their United Dairies label in Smash Hits magazine. I was confused, mystified and intrigued in equal measure, and a couple of years later as a result I bought my first Nurse With Wound album. This led to an interest in all things NWW related. I guess Diana could be described as the matriarch of the Nurse With Wound world but she also had her own very distinguished pre-history with Fistfuck, an early-80s extreme noise outfit. She then made two mid 80s cult classic albums as Chrystal Belle Scrodd, both far out there rollercoaster rides of audio wildness, highly recommended to anyone with wide open ears. She then moved to rural Ireland and raised a family. There was the odd collaboration and then in 2007 A Bad Diana’s “The Lights Are On But No-One’s Home” was released on CD. I feel this is her meisterwerk and it has become something of a cult favourite over the years. Now for the first time, almost two decades later it is available on vinyl on Optimo Music Archiv. Produced in association with Steven Stapleton and Colin Potter from Nurse With Wound and irr. app. (ext.)’s Matt Waldron this is some seriously beautiful and strange listening. Next level sound design means this is an incredible headphone record but it is also a deeply warm and engaging home listening gem. Beautiful, magical, ultra hypno, soulful reverberations with the deep emotion of Diana’s voice tones and bio-vibrations.

Ulver's Blood-Red Baroque 'n' Roll Album turns 18! Hailed by critics and clerics upon its release, and described by the band as a maelstrom full of wreckage, it is undoubtedly their most byzantine and excessive work to date. A trip through the lavish void!

Ulver's Blood-Red Baroque 'n' Roll Album turns 18! Hailed by critics and clerics upon its release, and described by the band as a maelstrom full of wreckage, it is undoubtedly their most byzantine and excessive work to date. A trip through the lavish void!

UK National Album Day Limited Release. You've Come a Long Way, Baby is the second album by Fatboy Slim. It was first released on 19 October 1998 in the United Kingdom on Skint Record and a day later in the United States by Astralwerks. You've Come a Long Way, Baby proved to be Cook's global breakthrough album, peaking at number one on the UK Albums Chart and number 34 on the US Billboard 200. Praised by critics for its sound and style, the album brought international attention to Cook, earning him a Brit Award in 1999, and was later certified four times platinum by the BPI and platinum by the Riaa. Four singles were released from the album: "The Rockafeller Skank", "Gangster Trippin", "Praise You", and "Right Here Right Now", all of which peaked within the top ten on the UK Singles Chart. "Build It Up – Tear It Down" was also released as a promotional single. The album has now been remastered at half speed into the best available audio quality possible.

The Keplar label presents the next instalment in a series of reissues from the catalogue of Sasu Ripatti’s seminal Vladislav Delay project. Originally released on Mille Plateaux, the vinyl edition of »Entain« from 2000 omitted two shorter tracks and included all others in an abridged form. With this reissue, the full album as it was pressed on CD is finally made available on vinyl. Besides a new remaster by Kassian Troyer, it was also given new cover artwork by Marc Hohmann that picks up on that of the »Whistleblower« reissue, released in early 2023 by Keplar. This serial visual approach highlights the conceptual continuity between those masterful explorations of the interplay between dub techniques, noise, and repetition. Ripatti himself had reworked material from 1999’s »Ele« album for the release of »Entain,« which means that it can be considered the debut album proper of his Vladislav Delay project. It saw the Finnish artist aim more vigorously for abstraction than in his earlier releases as Vladislav Delay for labels such as Chain Reaction, which were collected on the iconic »Multila« compilation in 2000; another milestone from his back catalogue that has been reissued by Keplar in recent times. To mark this special occasion, »Multila« will be repressed by Keplar with a new artwork that matches the new design of »Whisteblower« and »Entain«. »Multila« and »Entain« correspond with each other conceptually as much as they seem to differ on a musical level. The material on »Multila« was clearly indebted to the Berlin dub techno sound, marked by its grainy and at times abrasive sonic aesthetics. From the very first moments of the 22-minute long opener »Kohde« however, it becomes clear that »Entain« takes things further away from the dancefloor, aiming less for physical impact than for intellectual stimulation. A sort of electronic minimal music, it was primarily interested in letting discrete elements freely come into play with one another. Much like »Multila,« however, »Entain« highlighted the subtle differences embedded in what only feels like repetitive music. Of course the massive bassline and ghostly dub riddims that permeate »Notke« as well as the deconstructed beat at the core of »Ele« still hint at Ripatti’s roots in beat-driven music. However, they also make his artistic transformation audible by turning their sources of inspirations into something entirely unheard of. »Entain« took the dub techno formula further than any other record before it—onwards into the realms of pure abstraction.

“Upopo Sanke“ means “Let's sing a song" in the Ainu language. Umeko Ando (1932-2004) was one of the best-known artists of the Ainu, an indigenous, long-suppressed community in northern Japan. She sings their traditional songs together with Oki Kano on the Tonkori harp, who also recorded the album. The two are supported by members of the female vocal group Marewrew as well as Ainu percussionists, a string player and a male singer who provides rhythmic shouts and also throat singing. The call-and-response structure of many of the songs is performed with a mantric quality in a vocal style that is perhaps best described as elastic and breathing. There seems to be a gentle smile in every note and syllable. This music softly hits the heart.

Upopo Sanke was recorded on a farm in Tokachi in the summer of 2003. We hear dogs barking, a distant thunderstorm and voices imitating animals. The liner notes that accompany the 2LP release gather the anecdotal memories of Umeko Ando and Oki Kano about the stories of the 14 songs. Oki Kano is a musical ambassador of the Ainu culture who tours worldwide with his Oki Dub Ainu Band and also gives solo concerts, always playing the Tonkori, the five-stringed Ainu harp.

The Ainu have suffered from the oppression of their culture and language by Japan, especially since the 18th and 19th centuries. Only recently, in 2008, were the Ainu officially recognized again as an indigenous people culturally independent of Japan. As a result of the marginalization, there are now only a few hundred native speakers of the Ainu language left, making it a particularly worthy object of preservation.

"Upopo Sanke" was mixed again in part by Oki Kano, before being mastered and cut to vinyl by Kassian Troyer. The 2LP plays on 45rpm and it sounds fantastic. This album was the second album by Umeko Ando, the follow-up to „Ihunke" and also re-released in 2018 by Pingipung together with Oki Kano.

While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

The first complete version of »Eye For An Eye« including the two unreleased tracks »Sub Cahra« pt1 & pt2 that were not on the first vinyl release. »Eye For An Eye« sounds very much like Muslimgauze material from 1993 (»Salaam Alekum Bastard«, »Veiled Sisters«). Much more laid back than their later output. Sometimes the distorted glitches and rapid stop - start cuts of later releases gets on my nerves. This one, like most of their others sounds dark, dirty and hot.

(Gatefold Sleeve) Album of the month in The Face, Muzik and Ministry. A little something for everyone with splicing downtempo tracks next to deep house next to breakbeat work outs next to retro techno.

Box set featuring remixes of the song “Innocence”

Arovane's acclaimed 2004 album »Lilies« has been out of print on vinyl for nearly 2 decades now. It finally gets a well-deserved reissue through the Berlin based Keplar label. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. »Lilies« was a follow-up to »Tides« in every sense, exploring a trip to Japan and drawing on shimmering textures and the sort of melodies that you might need some time to recover from. There's a hugely evocative sense to these tracks, emotionally driven, free of complexity or conceit, piano melodies providing the central focus for a twilight cascade of light that seems perfect for the Tokyo skyline - just as the sun sets. It's an album that radiates warmth and vulnerability, fusing the technological might at the heart of each track (and at the heart of the city) with an age-old understanding that certain echoes of sound, small melodic changes and cushioned lullabies can imprint sounds on your mind like childhood memories - remembered forever. Like a dreamlike score, or maybe even an alternate soundtrack to »Lost in Translation« - the sort of music that intertwines with images and stays in your mind indefinately. After coming back from Tokyo and completing the production of »Lilies«, Uwe Zahn disassembled his studio in the big flat in an old building in Berlin's Prenzlauerberg district and stored it away in boxes. He needed a break from making music. »Lilies« was the last album prior to a nine-year hiatus for Arovane, ending in 2013 with the release of »Ve Palor«.

Run by Gabriele and Paolo, Italy based newborn label Sunny Crypt's first output is a reissue of the sought-after "Random Rooms" album by Danish poets and multidisciplinary artists Niels Lyngsø and Morten Søndergaard. Both attending the Literature university in Copenhagen, they were linked at first by a mutual passion and fascination towards music - or rather "sound" - even before unveiling each other that they were writing poems. Niels and Morten started bringing their solo homemade DIY sound experiments together, giving birth to a wide genre-spanning album that ranges from slow tempo mutant disco to folk inspired synth-pop to sound collages and more musical compositions that is fairly complex to put in a precise musical genre box. First released in 1992 on the same day as their debut poetry collections, Random Rooms should be a house or a flat or an exhibition space that you could walk through and in each room you would come across something new. A fusion of genre and bits and pieces of culture and play. A kaleidoscope of past, present, and future.

The Focus Group is the recording alias for Ghost Box co-founder and well respected graphic designer and film maker Julian House. This debut album was first release in 2005 on a burn to order Cd-r. Now packaged in a 4 panel digipack with the original sleeve art by Julian House that established the rules for the primary Ghost Box artwork layout. It’s a design grid that the label has continuously revisited and tinkered with ever since.

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions" upon its initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes.

The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: "Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university." As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a "bliss out," static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all."

The E.A.R. debut project, Mesmerised, is a total collage of drones, tones, and endless atmospheric washes that becomes a logical extension of earlier works into realms of psychedelic haze. This mysterious and beautiful sound is a complete exploration into 90's post/space rock. Only released on vinyl once in 1994, this RSD 2023 release has been created to exactly replicate the Space Age Recordings release from 2009. Transparent red vinyl, inside a clear acetate bag with concentric circles and the EAR logo printed direct to it (plus barcode, track list etc).

We're absolutely delighted to announce the reissue of Ouroborindra on the Ghost Box Records label.

Ouroborindra was first released in 2005 on Cd-r, and now re-issued on CD and, for the first time, on Vinyl. Eric Zann was an alias for the more experimental work of Jim Jupp, aka Belbury Poly and Ghost Box co-founder.

Inspired by early 20th century cosmic horror fiction, Ouroborindra sets out to conjure up it's own awe inspiring and chilling imagery. It's drone music with melodic elements, stitched together with synthesizers, samples, found sound and effects.

Another exceptional reissue from the consistently excellent Ghost Box.

Out soon via After 6 AM - A6a05 - Solar Eclipse - Human World (12") Re-issue from 1994!!! After 6 am is going to re-issue one of the most wanted releases vy solar eclipese from 1994. highly recommended!

“… an album which shows that Carter Tutti are in a state of continuing evolution” – The Wire. 2007’s Feral Vapours of the Silver Ether will be available here for the first time on vinyl, and was the second release under the Carter Tutti name. On it, the electronic and the acoustic are merged in a seamless, crafted album that is awash with echoes of the sea, the moon, the open road, and flatlands.

“Muzik Fantastique! is another example of their hidden talents” – NME. 1993’s Muzik Fantastique! will receive its first ever vinyl issue in March. The album finds Chris & Cosey in one of their most dynamic and melodic periods with an album that slides towards subtler grooves and textures.

"This is the real 'shmoov' 5 banging electro flavoured abstract hop trax for quality chilling! + 1 experimental sound scape madness feat. J. Linschinger from Austria's harshest music/performance group Fuckhead." Limited stock.

Joseph Raimond and his myriad pals team up with the unstoppable fuzz-guitar-slop genius of the German "Drunken King" Eric Hysteric for this remarkable release of twelve-plus minutes of falling-down-a-flight-of stairs wonder. Numerous guests (including Sylvia Juncosa), nice sleeve with 12 page art-booklet designed by the band (available on mail order copies only), 600 copies made.

»Holo« by the US-American three-piece Kiln, first released in 1998, is one of those rare records that managed to carve out a niche of its own while also building bridges to variety of genres like Chicago-style post-rock, the ambient mysticism of projects like Rapoon or the music made at the intersection of shoegaze, and electronic music in the late 1990s. Lush textures, subtle rhythms, jazzy inflections and electronic experimentation seamlessly blend into each other over the course of the eleven tracks. This reissue through the German label Keplar makes the fully revised version, self-released by the group in 2007 under the name »Holo [re/lux],« available on vinyl for the very first time. »Twenty-five years later this newly mastered vinyl edition is evidence that the sound of ›Holo‹ continues to attract like-minded listeners,« says member Clark Rehberg III. »Which on many levels means that our mission was successful.«

Rehberg had embarked on this mission together with Kevin Hayes and Kirk Marrison in 1993. They had first worked together under the name Fibreforms as a live trio that used treated guitars, kit drums, and tapes of found sound to explore the balance between band composition and recording experiments, while Marrison made heavy use of the Akai S612 sampler as a fabricating strategy with the project Waterwheel. »Kiln seemed to encapsulate the evolution and melding of those previous approaches to one that insisted on the continual opening up of the compositional process, allowing more of the mystery that can be discovered through studio experiments—and accidents—to become important elements of creating our music,« says Rehberg of the trio that is still going strong after three decades. »The word Kiln implies heat and transformation, an attitude that we apply to every sound we use—we begin with notes and performance and then mosaic with shape and colour.«

»Holo« followed up on the trio’s debut self-titled EP that had been recorded in the summer of 1996. »That same year, during a lull in our collabs, Kirk began building pieces on a low-memory Mac using an early 8-channel DAW,« explains Rehberg. Enchanted by the unprecedented fidelity and energy of those recordings, the three reconvened to build upon them and make more music in that manner. »I’d say our intention was no different than any other time: create something immersive and compelling: dense melodic blasts of uniquely constructed but ultimately accessible audio moments.« The group worked individually and in pairs for about 18 months while being spread across the United States. »We poured everything into it that we had at the time, working dead-end jobs by day and on audio in every other open moment. I remember the struggle of that process, but also the pure joy as we pulled down countless moments of magic while the pieces took shape.«

One of Celer's best albums, released on triple vinyl for the first time.

This is a brand new re-issue to celebrate the album's 25th anniversary since original release. Each variant is hand-numbered, and comes with a fold out insert with brand new liner notes included.

On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track.

It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats.