Downbeat | Electronica | Leftfield Vinyl 298 Items

First time vinyl issue of this 1997 Mego classic. General Magic, the duo of Ramon Bauer and Andi Pieper, who, alongside Pita, first pioneered the classic Mego sound on the Fridge Trax 12” in 1995. The following year proved to be formulative when Mego released Frantz alongside a slew of game changing releases from Farmers Manuel, Pita and Fennesz.

Originally released as Mego 010 Frantz presented a thrilling digression from what was in vogue in music at the time. This was the advent of portable computing and the Vienna based label was at the forefront of harnessing the potential of audio within this new technology.

At once smart and playful these releases reconfigured once disparate genres such as industrial, techno, glitch and the avant garde, folding them into a bright, audacious and euphoric new system of sound. The music on Frantz (named after the Austrian skier, Franz Klammer) still pushes the boundaries of acceptable audio constructions with it’s startling fried electricity and twisted sensibility. The sense of joy in the audio discovery is palatable as techno laced explorations unfold a variety of unexpected and unprecedented sonic manoeuvres.

Tyrell launches proceedings as schizophrenic stuttering handclaps simultaneously slice into pieces as it propels forward. The bending of the brain is on display with the likes of ‘Obvious’ and ‘Close, But Not Quien’. Temko skewers digital debris in which a ghost melody comes to the fore. Brazen rhythms mobilize the tracks ‘No Ketting’ and ‘Bonden’ whilst the Official GM Ski-WM Theme is a short stab of priceless pop wizardry skittering about a strange exhilarating melody in homage to the finest of winter activities.

This reissue also includes ‘Die Mondlandung’ which was released as a 12” in 1995 (Mego 002), and has never been released anywhere, physical or digital, since. This track is based on the live German TV coverage of the moon landing. An apt theme for the abundance of exploration contained within this classic release.

Originally released in 2008 on CD and in a very limited vinyl edition, "The Malady Of Elegance" by Goldmund aka Keith Kenniff finally gets its long-deserved vinyl re-release, featuring a new artwork and remastered audio by Taylor Deupree.

Taking cues from 'Corduroy Road' Keith Kenniff (aka Helios) again restricts himself to the piano in conjuring up his humble soundscapes and again we are pulled into a deep, meditative and filmic world as the notes glide to a slow, pensive meter. Keith's precedent release was the challenging 'Two Point Discrimination' EP, released on the Western Vinyl label as part of their portrait series, but where that record was a collection of haunting experiments in form and sound, 'The Malady of Elegance' sees us back into the warming, homespun territory of 'Corduroy Road'. That's not to say these compositions are upbeat, far from it in fact, but there are lines to be drawn to folk music, and while Keith no longer draws on the American Civil War as a primary influence there is still the sense that the ghosts of old America haunt the keys.

On top of these references we see Keith tripping somewhat fittingly into a flickering filmic world somewhat in line with his taste in European film. There is a delicate narrative on show throughout the record from the opening hopefulness of Image-Autumn-Womb through the melancholy of Now to the sensitive romance of the album's closer Evelyn. Listening to the record almost creates its own cinematic accompaniment in the minds eye, and this is simply a testament to Keith's incredible talents as a composer.

Fans of Erik Satie, Sylvain Chauveau and Hauschka need look no further, 'The Malady of Elegance' is a deeply personal meditation which you cannot help but get lost inside.

The first ever vinyl reissue of Ecstasy Boys' major debut album from 1994, "Moon Dance". The Ecstasy Boys had been actively producing and performing shows worldwide from the late 80's to the 90's. They had been recognized by legendary DJs such as Larry Levan and Frankie Knuckles. The unit "Ecstasy Boys" was named by NY based legendary producer Mark Kamins, who was known as Madonna's producer for her first single "Everybody". The track "Happiness" (a2) and "Tsukino Oshie" (b1) were produced by Mark Kamins. The album also compiles their signature track "Holly Spirit Dance" which was released from Strictly Rhythm also in 1994! The whole album has been newly remastered by the maestro Dr.Tommy (ex. Vibrastone) for this special double LP Japanese pressing!!

Neon City is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Listening to Neon City in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20ies after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic Pale Ravine.

Although Erik and Otto both had been making music solo before, Neon City was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original.

First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Darký spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Gyatso is the 1994 album by legendary “industrial noise jazz” outfit 16-17 produced by Kevin Martin (Techno Animal, The Bug) and first released on CD on his Pathological label, re-released on Savage Land in 2008. Gyatso is the only pure studio album recorded by the original 16-17 line-up of Alex Buess, Markus Kneubühler and Knut Remond and besides Martin also features G.Green from Godflesh as a guest musician. Praxis is teaming up with Skin & Speech, Alex Buess’s label, to bring forth the first ever vinyl release of this crucial album and releases a 6-track LP edition with all the other tracks (there are 13 in total) available as a download. 16-17 started in 1983 in Basel, Switzerland. They released a number of cassettes, before debuting with their self titled and self released album in 1987. Two years later this was followed up by When All Else Fails, an LP of treated live record- ings on Vision, the precursor label to Praxis. By this time 16-17 had already garnered a cult following with their incredibly forceful live performances. Gyatso is a crucial release where the raw power of 16-17’s live appearances clashes with a studio-as-instrument approach, as Kevin Martin and Alex Buess add effects and dub techniques to the band’s recordings. Further collaborations between Martin and Buess include the ICE project which also included Justin Broadrick aka J.K.Flesh of Godflesh, the other half of Techno Animal, as well as Human Distortion, released on Digital Hardcore Record- ings in 1998. Buess also took part of the Sprawl project with Peter Brötzmann, William Parker, Michael Wertmüller and Stephan Wittwer which appeared on Trost Records in 1997. This vinyl release of Gyatso comes hot on the heels of two important records that came out in 2020: The album Phantom Limb on Trost, based on band recordings from 1995 and finished in the studio in 2019 by Alex Buess, and most recently Praxis is very happy to present this release in collaboration with Skin & Speech, for the first time on vinyl and download! Available now through all the usual outlets and directly from Praxis! pre-Praxis days of the Vision label, continuing with the 1999 release of Mechanophobia on Praxis as well as the more re- cent Vacuum Theory by Cortex and “Skin Craft” by Alex Buess and Daniel Buess.

/ DJ Maxximus remix

Re-release with stefan marx’s new artwork. it’s a mule musiq classic,kuniyuki classic. theo parrish made a beautiful remix of the main song of kuniyuki’s 2nd album “all these things” limited repress. don’t sleep!

For its 20th anniversary, Keplar presents an absolute milestone in the history of IDM and ambient music for the first time in its definite form: »Together Is the New Alone« by Donnacha Costello was originally released on Mille Plateaux in 2001 as the second LP under the Irish producer’s given name and firmly established him as one of the leading artists in the field of forward-thinking electronic music after he had primarily made a name for himself with house and techno releases under the Jayrod moniker. This vinyl reissue with an entirely new artwork comprises all ten tracks originally only included on the CD version in their edited and final form in which they were last presented on the digital re-release under the name »Together,« remastered by Stephan Mathieu and self-published by Costello, in 2015.

Truly prescient artists rarely opt for introspective sounds, however that was the case when Costello set out to produce »Together Is the New Alone« during nightly session in his hometown Dublin between April and July in 2001, and it also explains the album’s enduring appeal and unwavering radiance twenty years on. While many of his contemporaries dedicated themselves to explore the musical zeitgeist and notions of the future in conceptual terms, Costello made them emotionally tangible, allowing his audience to feel their underlying ambiguity rather than just reflect on it. »Together Is the New Alone« is an album that wordlessly speaks of the paradoxical sense of social alienation and isolation expressed by its title and thus seems even more topical today than it did at the time of its release.

Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once throughout the album adheres to tried and tested formulas and conventions, but holistically moulds complex compositions out of distinct and discrete parts. The result is a record that is at once easily accessible and deeply affecting, but also infinitely rich and stunningly sophisticated in musical terms. A personal record expressing a universal sentiment—a truly timeless statement that will reverberate for decades to come.

(Kristoffer Cornils)

Utterly unmissable first digital edition of SND’s god-tier triple pack, cruelly out of print since 2008, now finally available to discerning dancers/DJs - packing a pinnacle of avant-dance beat science certain to connect with fans of garage, UKF, footwork and experimental minimal techno A peerless masterclass in nanoscopic funk editing, ‘4,5,6’ has never bettered in our books. It originally arrived as a limited pressing of 300 x 3LPs in 2008 but has been sorely notable by its lack of availability ever since, often leading us to offer wild handed descriptions to bewildered mates, who, even if they looked for 2nd hand copies, would still be stumped as nobody in their right mind is selling a set. However that is all corrected with this first digital edition, representing one of the most crucial reissues of the decade and an unmissable opportunity to revel in some of Mark Fell and mat steel’s finest work, bar none. When it landed in 2008, a decade after SND’s seminal early trio of self-releases, ‘4,5,6’ frankly took our heads off. It marked a leap in form from their self explanatory ‘Tender Love’ LP of 2002 with a return to their early EPs’ avant club focus, but drawing on processes and tekkers they had sharply refined over the interim. Aspects of the deep house, garage and computer music that originally inspired them are rendered inside out, revealing and recalibrating their mechanics in something like an iridescent Haynes manual one could dance to, or simply marvel at if the legs weren’t willing. It stood out a mile from the rote minimal techno and dubstep of the time, which had started moving in the “future garage” direction by 2008, and effectively gave the sharpest side-eye to that sound, innovating-not-imitating in order to update and galvanise the original ‘90s forms with visionary mix of pointillist and mercurial flex. But, no mistake, for all its radical restructuring of garage and related styles, the results aren’t intended for chin stroking: they’re a direct, physically urgent extension of Mark and mat’s deeeep love of dance and electronic music, itself rooted in original synth-pop/industrial and the first wave of US deep house/garage/techno that took their generation, and cities such as Sheffield, by the balls.

The classic debut LP by Dub Narcotic Sound System, originally released on K Records and unavailable on vinyl for 25 years. The oddball indie-funk collective Dub Narcotic Sound System was spearheaded by vocalist Calvin Johnson, the former frontman of the legendary Beat Happening as well as the founder of the famed K Records label. Named in honor of Johnson's own Olympia, WA-based basement studio Dub Narcotic, the project was begun in 1994 with a rapid-fire series of funk-, rap-, and reggae-influenced singles including "Bite," "Fuck Shit Up," "Booty Run," and "Shake-a-Puddin'"; from the outset Johnson was the group's sole constant member, although over the course of subsequent releases, including the EPs Industrial Breakdown, Ridin' Shotgun, and Ship to Shore, the revolving lineup grew to include Olympia scenesters like Lois Maffeo as well as Larry Butler, Todd Ranslow, and Brian Weber, all three members of the hip-hop unit Dead Presidents. The first Dub Narcotic Sound System full-length, Rhythm Record, Vol. One: Echoes From the Scene Control Room, appeared in 1995; later efforts included 1996's Boot Party and 1998's Out of Your Mind. Sideways Soul, a collaboration with Jon Spencer Blues Explosion, followed in 1999. Trouser Press wrote that "when not delving deep into the usual sorts of ambient studio trickery, the songs hit a '60s R&B stride, bathing in the stoned soul picnic ambience with uplifting spirit."

Following the release of 'The Weight Of The Sun' LP, Modern Studies shift from light to dark over two new EPs brought together as six track 12-inch 'Life Flows In Endless Song / The Body Is A Tide', a record that further cements their reputation for innovative craftsmanship.

'Life Flows In Endless Song' showcases the band's increasingly expansive sound, swelling with orchestrated drama behind the rich vocal pairing of Emily Scott and Rob St John, before their otherworldly dreaminess is pin-pricked at its height by Emily's beautiful alto on 'The Failing Light'.

'The Body Is A Tide' hails from ominous darker terrains, scratching further into their own psyche; it's heady and baroque, ornate and super-detailed, an opus that climaxes with 'High Hymn Summers' and its slowly-rolling drone, created by processing all the songs from 'The Weight of the Sun' played at once.

"The EP nods at the idea of our collective bodies weathering rough times, played out with massed strings, prepared guitars, slow bass grooves, hypnotic drums, wobbling saw, xaphoon and mellotron.

We shook off our usual song structures in favour of something repetitive, slow and heavy; life flows in endless song." Modern Studies // "Utterly enchanting." Mojo magazine // "Modern Studies make mood music of the highest order, drawing on the members' collective experience in the folk, pop and improvisational realms." The Scotsman // "There's a charm within Modern Studies' DNA which makes them, without fanfare or clamour, one of today's most mesmerising outfits." Prog magazine // "Melancholic magic." Uncut magazine // Track List Side A - Life Flows in Endless Song EP A1 - Endless Song A2 - Slow, then Sudden A3 - The Failing Light Side B - The Body is a Tide EP B1 - The Body is a Tide B2 - The Naked Eye B3 - High Hymn Summers

limited edition on white wax, only 500 copies made!

Originally released on January 26, 2009 via Magic Bullet Records, this excellent split release between This Will Destroy YOU and Lymbyc Systym (featuring all songs exclusive to this release) now sees formal reissue via Dark Operative. All tracks were recorded in succession in late 2008 at Elmwood Studios in Dallas, Texas with Grammywinning engineer and mixer John Congleton at the helm. This Will Destroy YOU recorded their songs first with Lymbyc Systym arriving in town toward the latter part of those sessions to carry right into the tracking of their material immediately following. Mixing of the entire album was done all at once at the conclusion of tracking to ensure sonic consistency across both sides. Since its initial release, “Field Studies” stands tall in the discography of both bands, with This Will Destroy YOU’s “Freedom Blade” having garnered numerous syncs over the years and the entirety of Lymbyc Systym’s material being regarded by fans and critics alike as among the best they ever wrote and recorded. Marketing /

The CD version of Yapoos’ third album released in 1991 continues to be a best seller at P-Vine records, but this release marks the first time the record has been released in analogue vinyl format. As a solo-artist, frontwoman Jun Togawa already has an extensive catalogue of art pop/new wave releases under her own name, but along with her band-members in Yapoos, they have been a household name at the forefront of the Japanese post-punk movement. Their legacy is unquestioned within japan, and with the help of internet forums and youtube sharing, audiences across the world are slowly coming round to the unique world of Yapoos.

If Succour was Seefeel’s departure from the cul de sac of shoegaze music to wander through the desert of abstract electronics, 1996’s (Ch-Vox) which has been out of print since its original release is the sound of a group building a civilisation in the remotest spot, revelling in their sound far away from the rest of the world, their tones arriving to us like strange signals through the air. Singular as each of Seefeel’s LPs are, (Ch-Vox) could well be their definitive statement, a compelling album fuelled by deepest mystery.

Chief among its mystique is that it’s often hard to tell what we’re hearing most of the time. The humid drones of ‘E-hix²’ could have been created using samples, guitar feedback or a string quartet. The clipped ambience of ‘Utreat (Complete)’ ambiguously suggests either a piano or a bass guitar, a grainy twang-thump which revisits the closing motif of Succour, signposting the maturation of the Seefeel project. Although, ‘maturation’ isn’t quite the right word; (Ch-Vox) is amniotic in nature, each of its tracks boiled down to elemental values, co-mingling with plentiful breathing space. ‘Hive’ gives us the first hint of a clangorous beat, rendered alien by its ambient backdrop of what sounds like the howling of wolves.

This expanded edition of (Ch-Vox) comes loaded with unreleased material on the second LP that’s just as thought-provoking, delivering an even more rounded experience for this immersive album.

Just as paradigm-shifting ideas are met with some cautious scepticism when they first occur, the history of Seefeel’s second LP Succour is a little chequered. Coming in hot from the success of their 1993 debut Quique — regarded as a prophetic example of shoegaze’s eventual transformation into post-rock — a newly minted contract with Warp would prove symbolic of where the group would steer his project next. The few “rock” elements of its full-length predecessor had evaporated, and vast spaces of dub and ambient would come to inform 1995’s Succour. Skeletal rhythmic elements amalgamating into their brooding, elemental and completely singular sound.

Bookending tracks ‘Meol’ and ‘Tempean’ open up like two gaping mouths on a mottled, heavy beast of droning synthesis, laying the groundwork for the world-enveloping tones Stars of the Lid would later produce. The delicate balance of weights teeters throughout the LP, crushing up sheet metal percussion on the techno-minded ‘Fracture’ and ‘Rupt’, which both simultaneously recall Aphex Twin’s rhythmic experiments and large-scale dub textures. The latter style is heavily hinted in the third LP of mostly unreleased tracks in this expanded (Redux) edition, all delay-drenched and booming with bass.

Seefeel proselytised the limitless potential of the post-rock genre with Succour — and produced one of the 1990s’ greatest albums in the process.

Half speed mastering Amazing and legendary 1994 album on the equally amazing and legendary Irdial Disc label, remastered at Emil Berliner Studios in half speed mastering.

The first release on Calax Records is a re-release of the tape "Energy Is Eternal Delight", co-released by Siegmar Fricke and A Thunder Orchestra. Although the original material was released exclusively on cassette in 1991 we re-release this album on double-vinyl with two unreleased tracks by Siegmar Fricke. SIegmar Fricke is based in Germany and he has been working on music since the early 80s. At that time, he recorded sounds from the radio which were then sampled, transformed and recombined to rhythmic disco-collages of very unique nature and incomparable style. A Thunder Orchestra is cult-artist from the 80s, who specialized in ambient, electronic wave and industrial music and who released them under several names: Danton's Voice, White House White, A Thunder Orchestra and Ratbau.

Limited deluxe reissue on black vinyl Beherit’s first masterpiece, hypnotic “Drawing Down The Moon”, was unleashed in late 1993. However, by the release of this black metal classic, Laiho had drawn colossal interest in electronic music, and Beherit was soon turned into Laiho’s solo project. During the years 1994-1995, two characteristic studio recordings, namely “H418ov21.C” and “Electric Doom Synthesis”, were published under Beherit’s name. Experimental guitar-driven metallic assault was gone for good, as these records contained designated doses of ritualistic electronic music. Enter 1999. Helsinki-based Spinefarm Records, established in 1990 and mainly responsible for building up the international Finnish music scene during the last decade of the millennium, announced the signing of a new artist by the name of Suuri Shamaani – The Great Shaman in English. Behind Suuri Shamaani’s minimalistic musical landscape was – who else? – Marko Laiho. – Beherit’s widespread discography travels from relentless black metal to dark ambient and beyond. So, in some other time and space, Suuri Shamaani’s record “Mysteerien maailma” – “The World Of Mysteries” in English – could have been released under Beherit’s wings.

Kenny Dope and Louie Vega's Nu-Yorican Soul project was responsible for some of the biggest underground club hits to come out of NYC throughout the 1990's, their collective vast musical knowledge, impeccable taste and legendary status as DJ's in the city only helped elevate them to the highest level. "The Nervous Track" is a fine example of the duo's deep musical heritage, originally released on Nervous Records in 1993 it's deep pads, bassline and solid as a rock breakbeats captured the ears and minds of any self respecting DJ or dancer who came within a hundred miles of it, the very definition of a classic! Fusing the worlds of Jazz, Latin, HipHop and House MAW set the blueprint for generations of DJ's and producers to come with records like this. Here, re-mastered and re-issued from the original DAT's in conjunction with Nervous Records NYC is a piece of dance music history, "The Nervous Track" is available again and still sounding as vital and groundbreaking as it did on it's original release.

Another timeless release by Redeye from 1994 to be back in stock on After 6 AM in January. Highly recommended! Don't support the Discogs sharks. Support the original label and the artist!

Limited edition remastered, originally released on F Communications 1996. For a long time, Jay Alansky has always had within him the complete music culture, from decadent folk to pre-punk. His Balearic House project 'A Reminiscent Drive' was electro reinvented without samples or computers, by hijacking Burt Bacharach and/or The Residents. For a long time, Jay Alansky has always had within him the complete music culture, from decadent folk to pre-punk. His Balearic House project 'A Reminiscent Drive' was electro reinvented without samples or computers, by hijacking Burt Bacharach and/or The Residents. Enriched with modal mutations, down-sampled drums and creeping tempos, created prophetic electronics by tapping into a giant jukebox, which served as its brain. Otherwise, simply caught up in the emotion, oblivious to references and obsessions.

We are very excited to bring you a new IFP release – the first vinyl edition of Peter Ulrich's debut solo album “Pathways And Dawns”. Widely known for his past work as drummer/percussionist with legendary Dead Can Dance and contributor to 4AD's This Mortal Coil, Ulrich emerges here as a writer of hauntingly beautiful melodies and deeply poetic lyrics. “Pathways And Dawns” is packed with driving rhythms and meditative ritual patterns of percussion. With some inspired guitar-work, arrangement and production from DCD mastermind Brendan Perry, the result is a pure delight...

The album was recorded in two parts, the first in England in 1990, and the second after a long time break in 1996-97, by Brendan Perry at DCD's Quivvy Church studio in Ireland. The album was released on CD in 1999 on the US label Projekt and was dubbed by critics as "the album the Beatles might have made had the group signed with 4AD instead of Capitol" and "a wonderful collection of songs that, while in the 4AD school, shimmers with an inner lightness that makes it very different ".

This absolute masterpiece of spiritual music, so badly wanted on vinyl for so long, is available now. Mastered from Original master takes by Martin Bowes (Attrition).

Reviews:

"His first album is a remarkable piece moving on the edge between ethnic and medieval art pop music" - SideLine "Ulrich's gifts as composer, percussionist and vocalist win over the listener... The excellent "Nocturne" is Beatlesque, with Spanish guitar and rich orchestral bridges, and "The Springs of Hope" sounds swiped from the same album the Fab Four might have made had they signed with 4AD instead of Capitol. The closing track "Time and a Word", recalls late 70s Eno, nicely rounding our a release that leaves one wanting more." - Alternative Press "Pathways and Dawns is a wonderful collection of songs that, while in the 4AD School, shimmers with an inner lightness that makes it very different from any other 4AD album." - Lexicon "Ulrich makes his own way... from the majestic epic of the ten years old soldier “Taqaharu” to the joyous celebration of the source of inspiration on The Springs of Hope... dreamy lyrics a la Sid Barrett... This is a fine album by an artist I'd love to hear more from soon." - Ink Nineteen "It’s beautiful... it's also very interesting in its choice of world-sound crossovers and skillful lyrics... Emotionally poignant, poetic and in its own way, experimental." - New Age Voice "Ulrich successfully incorporates graceful folk music, powerful tribal beats and soothing synths into one enchanting full length effort" - Outburn

25th Anniversary Edition. Originally released on F Communications 1997. Opack premier EP on F Communications had already stood out for its unique programming and production. It had traced a furrow for French electronica "and established Readymade as an essential composer / producer / arranger, developing a falsely crazy and deeply melancholy universe fed by hip-hop, pop, electronica, dub, house and techno.

A download code is included. Re-release of the album which Marc Weiser (rechenzentrum, zeitkratzer) and Jürgen Hendlmeier (producer for The Flaming Sideburns, Thee Ultra Bimboos) created as Arurmukha. With the use of soundbites, field recordings, and stylistically diverse tracks, they reprocess the clearing of 13 squats on Mainzer Straße in Berlin-Friedrichshain in November 1990, forming it into an acoustic scenography in the style of the “Maifestspiele” by Einstürzende Neubauten. 14.11.2020 marks the 30th anniversary of the clearing of 13 squats on Mainzer Straße in Berlin-Friedrichshain. The violent confrontation between the police and about 500 squatters, involving armored vehicles, helicopters, and 10 water cannons, was the biggest police operation in Berlin’s post-war history, with 4000 officers deployed, and is deemed to be the last big “battle” of left-wing squatters in Germany. The insert for the LP provides a detailed chronicle of the events (taken from the book “Berlin Mainzer Straße: Wohnen ist wichtiger als das Gesetz [Berlin Mainzer Straße: Housing is more important than the law]”, published in 1992 by Basis-Druck).

Electronic are proud to present the release of their self-titled album. Pressed on 180g black vinyl, this reissue features the black cover on vinyl for the very first time, which was first used on the CD version released in 1994.

Electronic were the coming together of Bernard Sumner and Johnny Marr in 1987. This was the year of the sudden and wholly unexpected demise of The Smiths, who imploded in July after Marr left the group. Two months later, midway through a North American tour, Bernard Sumner shocked his bandmates by announcing that he planned to take time out from New Order.

Marr and Sumner had met in 1984 when Marr added guitar to Atom Rock by Quando Quango, an electro-dance track co-produced by Sumner. Marr sums up their coming together for Electronic; ‘We were two musicians who wanted to get away from the suffocating politics of the band. At the same time, it was OK for duos and DJs and non-groups to make records, and that really appealed to Bernard and me.”

The project was a joyous Venn Diagram of Sumner and Marr’s influences. Although ostensibly coming from different disciplines, the experimental dance-pop of New Order and the fullbodied jangle of The Smiths, their common interests were many: dance music, a good tune and pushing musical boundaries. At the time of release (May 1991), ‘Electronic’ was met with huge acclaim and stands up as one of the most important electronica albums of all time.

after6am presents redeye - guinea pigs agree. after 26 years this masterpiece of trance/ ambient will be back on black gold - remastered!
highly recommended!

/ Harzkrafthof remix

Originally self-released as a tape under the artist name Pest(e), this 1996 collection of IDM and analog electronics is in fact the debut Lowfish album. Intended as a demo, it caught the attention of infamous UK label Skam —but after months of fruitless phone tag with the label, it was time for Gregory De Rocher to strike out on his own. Dropping his Pest(e) moniker in favour of Lowfish, in 1997 De Rocher co-founded Suction Records with like-minded producer Jason Amm, aka Solvent. While that Test(e) tape wasn’t technically a Suction Records release, it served as the impetus for starting the label, and we’ve always referred to it as catalog # suction000.
Fans of mid/late-90s Artificial Intelligence classics from Autechre, Locust, Aphex Twin, u-Ziq, and Bola will recognize those hallmark sounds here, alongside traces of formative influence from Skinny Puppy, OMD, and Tangerine Dream. Recorded live to DAT with a bedroom full of analog classics (Roland Jupiter 6, TR-808, TR-606, Arp Odyssey, Korg MS-20), a sampler, and an arsenal of cheap FX units, the melodies here are lush and addictive, with layers of warm, lo-fi-ish (get it?) grit - often intentional, sometimes just a product of the process. Although largely on the armchair techno tip, the dense drum programming also nods to the burgeoning drum and bass movement, which De Rocher was firmly (but only briefly) obsessed with.
For the first time on vinyl and rightfully re-branded as a Lowfish release, we’re thrilled to have Test(e) officially join the Suction Records catalog

Limited edition of 400 copies including Marnie Weber sticker. Hidden gem from the L.A. performative art rock scene. Discos Transgénero is proud to announce the re-issue of the Marnie Weber classic first solo LP, “Songs Hurt Me” originally from 1990. This seminal record was an important part of the Los Angeles post-punk performative art rock scene. Brooding synthesizers, heavy bass, strange melodies, and poetic lyrics lead you through an industrial journey. These songs were born from Weber’s earliest performance art characters: a deer, an old woman, a manic courtesan, and a butterfly. Songs Hurt Me was originally co-produced by Phillip Drucker AKA Jackson Del Ray of Savage Republic and 17 Pygmies fame.

Techno, Disco, Italo, Electronics, House, Library, Cosmic and Ambient frequencies - These are the bedrocks of the Midnight Drive ethos and sound. A label shining a light on overlooked or unheralded creations and respectfully reissuing them for the contemporary audience. A label that respects and understands the connection between these disparate and sometimes forgotten forms of musical expression and celebrates them. Midnight Drive are extremely proud to reintroduce the world to the sublime after-hours, cult downtempo sounds of Belgian duo Pieter Kuyl and Jan Van Den Bergh aka Mappa Mundi.

The alchemist Bebo Baldan, accompanied by Steve James on violin and sarod (as well as on instruments of various geographical extractions) mixes, in a personal way, sounds from a bevy of different cultures – from Mediterranean and Indian, to South American – with synths, samples, and loops. The result is a boundless music that carries us, riding soft waves and bobbing between Balearic ambient, jazz and electronic, on islands that have been quietly, yet carefully cultivated; peaceful, fascinating, and reflective – places where time appears to dissolve. Vapor frames 86/91 was originally released for Venetian Divergo – a non-profit label, which after the Baldan album, also released "The Wind Collector" by Gigi Masin and Alessandro Monti a few months later.
This reissue includes two added bonus tracks from the same sessions, both at the end of each side.
The result is a stunning auditory atmosphere that relaxes the spirit in the same vein as a reiki treatment.

DsorDNE (pronounced Disordine) is a project from Torino, Italy that evolved as group out of the electronic experimental post punk project Novostj in 1987. At the core of DsorDNE is Marco Milanesio, musical engineer and co-founder of the HAX record label, joined by a revolving cast of musicians. Their spectrum ranged from experimental to structured electro-poetry and Soundtrack like instrumental electronic music. In 1987 they released their first track on a split-single with The Legendary Pink Dots. Between 1987 and 1994 they released 6 full length albums, 3 split-EPs and appeared on various cassette compilations.


È Un Sole (It’s a Sun) was the group’s only vinyl full length originally released in 1990 on HAX. It’s 8 tracks of electro-beat poetry and experimentation recorded between July 1989 and January 1990 by Marco Milanesio (music) and Roberta Ongaro (vocals) with guests Claudio Burdese (guitar), Danilo Beltrame (guitar) and Cristiana Bauducco (vocals). The album is broken up into two distinct halves. Side A contains four chunks of hard hitting, percussive patterns and rushing bass sequences. Dark, moody female vocals force their monologues through the machinery in their native Italian tongue. The traditional song structure is carefully avoided by giving lyrics equal opportunities be they recited, half-sung, whispered or spoken. Side B displays moodier moments, less savage attacks and subtler sensuality, veering towards the more melodic and existential. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white drawing with silver metallic spot color housed in a clear PVC plastic cover with a three color screen-printed design. Each copy includes a 11x11” double-sided lyrics sheet with English translations as well an 8x11” sheet with original press notes from 1990 by Marco Pustianaz. Limited to 800 copies.

Radical Connector was originally released in 2004 and is now fnally back on vinyl. This re-issue is pressed on mixed splatter color vinyl and presented in a high gloss jacket with free download card.

“Though reference points like Daft Punk and Prince have rightly been thrown around, Radical Connector is in fact a strange album that doesn’t sound like much else.” - Pitchfork

Mouse on Mars is recognised as one of Germany’s most defning and versatile electronic music projects. With their
anarchic mixture of sound that oscillates between uncontrollable chaos and meticulously arranged structures,
Jan St. Werner and Andi Toma have forged a unique musical language, which is readily decomposed by the
unpredictability of its myriad mutations. Free from schools of thought, genre conventions, and from the constraints
of the music establishment, they have worked under the Mouse on Mars alias for 24 years, mapping their own
idiosyncratic trajectory through a no man’s land between pop, art, club music, and the avant-garde. - Jan Rohlf

“Sexy robot vocals slip and slide all over juicy squeals, raindrop plops, and jungle-thick beats.”
- Entertainment Weekly
“Stirring songs drift out of its frantic aural mishmashes, fnding a controlled center amid all the dizzy spin.”
- AV Club
“Mouse on Mars have a gift for making electronic bleeps and buzzes sound like tangible objects that bounce,
bend and collide in physical space.” - Rolling Stone

11 years since it´s inception, the surreal and darkly romantic Knive still sounds like a mystery and something that´s hard to pin down. Svarte Greiner´s debut album feels like a trip into the forest at midnight, with all the sounds and impressions that comes with it. Spiritual, horrific and fragile in essence, it´s melancholic core is hard to shake off, and feels as present today as it did back then.

Don’t shoot me, I’m only the piano player. The Scene: The Welsh mountains, remote and harsh, a special place. A good place to produce a special album. The characters: Volker Bertelmann in his friend Adam Fuests’ studio, equipped with only a piano and a laptop.