Downbeat | Electronica | Leftfield 131 Items

Lucifer & Lust is a 10-inch mini album by Dmitry Distant, showcasing the diversity of his talent. The 6 tracks by the Russian-born artist who currently resides in Latvia reflect the atmosphere of the Baltic and the mystic sides of electronic music. Showing where his devotion lies, Dmitry experiments on the verge of techno, wave and industrial. On this mini album, he grasps our attention with minimalistic trance-like rhythms covered in fluctuating painful melodies, using wonderful analogue sounds and exotic instruments such as the electric violin.

Leon Vynehall’s beautiful ambient, cinematic race car track now reconstructed for the dancefloor. Comes with an unreleased beat version on the A-side and the original version taken from Gerd Janson's "Music For Autobahns 2" on the flip. Tip!

Incomparably prolific multi-instrumentalist, member of Tortoise, & piller of the Chicago expierimental & jazz music scenes offers new recordings conducted to capture composed passages as well as free playing that used PARKER's beats & sample suites as improvisational criterion

First released in 2016, »EP 2« was the 2nd volume in Suction Records’ 4-part »EP series« by Rx-101, serving as an introduction to this elusive producer’s vast, mind-blowing archive of unreleased late ‘90s braindance, melodic techno, and IDM tracks. Rx-101 is a previously unknown producer from the Netherlands, Erik Jong, who recorded hundreds of tracks, live to cassette, in a feverish burst of creativity from 1997-1999. Riyl Bochum Welt or Aphex Twin’s »Selected Ambient Works Volume 1.«

There’s a myth about music critics that says we are frustrated, wannabe performers. Evidence to the contrary: Vivien Goldman. Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hiphop and Afro-Beat, the London-born, New York-based Goldman has made documenting music her primary life work.

Many of you will remember Manuel Göttsching by his Masterpiece “E2-E4? and know the fact it got sampled by far more than once. Think “Sueno Latino” to start with… and the plethora of further re-recordings by Derrick May, Joe Claussell, and a bootleg by Carl Craig that prove how “Now” and Iconic Manuel´s Work is. The 2006 edition “Joaquin Joe Claussell meets Manuel Göttsching” is the first attempt to bring these once illegal mixes finally to a broader and wider audience. It comes with 2 very rare and first time officially released tribute mixes of 1970´s Göttsching Classics, carefully remodeled by Joe Claussell (21.12 minute “Deeper Distance” plus 10.17 Minute “Ain´t No Time For Tears"). The last words, however, are left to MG himself, with “Shuttlecock", a final eighteen minute excursion, which has Manuel improvise over a soft carpet of delayed bell sounds, before the guitar fades away and the track deepens and thickens, like a dark river sweeping along ever more motives and harmonies.

Reissue, in vinyl format only, of the last Androcell album released in 2014.

300 copies pressed in double 180 grams black vinyl, remastered for this special release.

Since 2012 Erased Tapes peers Ólafur Arnalds and Nils Frahm have spent many hours together in their studios across Berlin and Reykjavik, freely improvising and occasionally capturing the music for their fans. The duo's sound is an astoundingly rich, tonally pure example of synth-driven experimentation, conceived and performed by two prolific collaborators.

During a session at Nils's Durton Studio in Berlin last summer the two specially invited photographer Alexander Schneider to capture one of their unique improvised sessions. Lasting long into the night, the pair gradually and organically formed several individual songs – each contributing to the narrative of a larger, transformative piece of music. Recorded in eight hours with no overdubs or edits, 'Trance Frendz' is a captivating journey through grand soundscapes and droning crescendos which crash and recede back, making way for delicate piano notes and swirling synthesizers.

Known as the co-founder of Climax Golden Twins, Messenger Girl's Rrio and AFCGT, Robert Millis really delivers the goods here. The songwriting has depth, stinging clarity and vaporizing ambiguity. The LP features percussion by Dave Abramson (Diminished Men, Master Musicians Of Bukkake) and backing vocals by Alan Bishop (Alvarius B, Sun City Girls).

Electronic musician Ryan West's latest release as Rival Consoles has a level of warmth and humanity missing from his earlier records. This is his most expressive and emotional music yet. - pitchfork.com

"Day Of My Death" by Pavel Milyakov, also known as Buttechno, is his 8th release coming out this year. It consists of 6 pieces which were composed for Gosha Rubchinskiy S/S 17 show and performed in a extraordinary place in Florence which is depicted on the front cover. Mostly ambient, overdriving noise soundscapes and spoken word collages referring to the dreamy mood of the show. This work is more serious and mature than Milyakov's previous releases, exploring deeper and sacred images of his world.

Delia Derbyshire is one of the most innovative electronic musicians of the 20th Century. She is best known for her pioneering work for the BBC Radiophonic Workshop, and for composing the classic theme song for the original Doctor Who, believed to be the earliest "electronic" theme song in television history. A brilliant composer and one of the few women operating in the early era of electronic music, In the early '60s she collaborated with the British artist and playwright Barry Bermange for the BBC's Third Programme to produce four Inventions for Radio, a collage of people describing their dreams, set to a background of electronic sound. This is the first, simply titled Dreams, an attempt to represent, in sound, the sensation of dreaming. Derbyshire's electronic and musique concrete soundbed is the perfect underscore to the narration, simultaneously jarring, dissonant, and terrifying. An amazing piece of work from one of the legendary pioneers of electronic music.

Anthems for society's collapse that would appeal to both alt rockers with chock full Expedit shelves in LA & band weary oogles from Baltimore. From sea to shitty sea, this is controlled paranoia available for micro dosing, just drop the needle.

Behind this work lays the evolution of our idea of the human, with all that it entails in current times. This is an effort to reflect with compassion and to experience feelings of helplessness through loss. The cognitive volitional duality of being a human in 2016 - Where do we belong?

During the '60s and '70s, three distinguished gentlemen who had built their careers playing French-made exotic jazz (Roger Roger, Nino Nardini and orchestra leader Eddie Warner) met each evening in the Ganaro recording studio. They mainly experimented -or simply played- with keyboards that looked like prototypes of spaceships. Flying high on whimsical and joyful inspiration, the improbable trio used their strange instruments to sketch out the beginnings of something that, at that time, resembled the future of music. This collection presents some of the highlights that resulted from their light-hearted, electronic pop sessions.

Light green Vinyl Edition des 2016 erschienenen Albums. Gold Pandas drittes Album wurde durch seine Besuche in Japan beeinflusst.

- “So pretty, so welcoming, so ridiculously clever.“ - The Skinny
- “It sounds quite unlike any of the electronic music being made in 2016, and is refreshingly unfashionable in that way.“ - Pitchfork
- “Bound to give you that warm, fuzzy feeling.“ - The Guardian

Blood Debts' is the compulsive debut album from Years Of Denial, the alter-face of London-based French musician/producer and DJ, Jerome Tcherneyan. Though his formulative Marseille youth was spent exploring the darkest corners of post-punk, New Wave, not to mention Public Enemy and the inspirational Mille Plateaux and Basic Channel labels, Tcherneyan, already an extremely capable drummer, quickly extended his sonic palate toward and beyond the bass-heavy electronic isolationism, insistent beats and drone experimentation that's still very much prevalent in his work today.

A duo can be the most magical of things, and it seems like the meeting of minds between Morr Music veteran F.S.Blumm and contemporary classical darling Nils Frahm was a match made in heaven. The ease in which they perform together is the first noticeable thing on ‘Music for wobbling Music versus gravity’ – there is a discernable weightlessness to their sound as they circle around each other, moving and meeting, touching with their musical fingertips.

Five years ago Sven Kacireks released his legendary album “The Kenya Sessions” on Pingipung. The drummer's collaboration with musicians from Kenya connected electronic, instrumental and field recordings in a unique manner and received kudos from various scenes between techno and world music. For the fifth anniversary Kacirek delivers two more songs with previously unreleased material: The Kenya Encores.

The London-born artist has traded Vienna for the warmth of Los Angeles, but the influence of his former home still lingers (Rennen is a German verb meaning ‘to run’). Resuming a nocturnal schedule – as he did with Tremors – SOHN spent a month writing alone in northern California, recording until the morning most days. The ten songs of Rennen are confidently direct and focused. Consciously exercising restraint SOHN used only a handful of musical elements on each track, eager to allow the spotlight to shine on the vocals, melodies and rhythms.

POP – the album that has become widely recognized as the defining moment in which Wolfgang Voigt brought us into a clearing of his deep, psychedelic forest. A landmark release in the GAS odyssey that drew international attention, POP was originally released in 2000 on the iconic Frankfurt imprint MILLE PLATEAUX. POP was heralded by Pitchfork at the time of release as being “an exercise in sonic texture… pure sonic velvet, the layered drone radiating a palpable warmth.”

POP has since been reissued in 2016 as a part of GAS “BOX” (now out of print) and finally now, POP is released on KOMPAKT – for the first time on CD in its original artwork.

Please note: This CD is a single release of the GAS BOX released in 2016.

Vinyl is close to NM.

Heavyweight double gatefold vinyl with remastered audio and new and updated artwork reworked by the designer of the original sleeves

180 gram vinyl!

Charbel Haber is a Lebanese musician, performer & composer from Beirut. Co-founder and member of longstanding Lebanese post-rock group, scrambled eggs Haber’s work encompasses a wide range of disciplines and styles such as film, video art and theatre, both as a solo artist and as a member of Scrambled Eggs, Malayeen and Johnny Kafta anti vegetarian orchestra.

After the exploit of Osmose in 1978, Kalma returns into the studio in 1980 with Interfrequence a library record on space ambients. A continuation of his personal research based on the combination of electronic machines with natural sounds and acoustic instrumentation. The french musician fully wears the robe of master of ceremonies of the synths. However, the path taken is not that symphonic of the minimalist and galactic suites composed by other standard bearers like Richard Pinas and Klaus Schulze. Here, we find 18 short pictures sound (few of them in collaboration of M. Saclays) that emanate a variety of ideas and ethno-cultural influences unparalleled. A distinctive compositional style always returns an crescendo of ecstatic emotions, a reflection on the hidden and secret aspects of the micro and macro cosmos. If in Osmose the sampling sound from the mother Gaia was more explicit, here the Nature is investigated not only in terms of pure tones, but especially in the dynamics of flows and movements dictated by the frequency of moogs and organs and embellished with hyper-space flutes trumpets and clarinets. Kalma so writes yet another chapter of his personal saga of a new world of sound imagery.

Travelling extensively across Asia and Africa from 1974-1985 to study music, Roberto made many field recordings and collected many instruments on his travels which he would then combine with synthesizers and electronics back in Italy. TIP!

Finders Keepers invite you to witness these incredible earl Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking. This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance. In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith. These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then. The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne’s gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne’s work, a vast vault of previously unpublished “nonrecords”, will already know how the creative politics in her art of “being” simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last “first” with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines. You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani’s initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these “non-records” that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again. You, are invited!

Subtle killer grooves derived from Friedman’s outernational percussions & musics infected works.

Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid-1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called “Big Four” of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich’s influence can easily be seen today in both the classical world and contemporary pop music. “Four Organs” is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson’s stoically-steady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound – stretching the tones to create (in Reich’s words) “slow-motion music.” Inspired by Reich’s early training on drums, “Phase Patterns” treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs / Phase Patterns is one of the most highly regarded avant-garde recordings of the past 50 years. This first-time vinyl reissue features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.

Peter Zummo (born 1948) is an American composer and musician. He plays the trombone, valve trombone, euphonium, synthesizer, other electronic instruments, and also sings. He is associated with the postminimalist and Downtown aesthetics, and he describes his music as "minimalism plus a whole lot more." He’s well-known for his work with Arthur Russell.

Mild High Club founder Alexander Brettin grew up playing flute in the school band and majoring in jazz studies in Chicago. In 2012, a visit to Los Angeles allowed him to connect with the Stones Throw crew. Within a year, after passing the early demos of what would become Timeline onto Peanut Butter Wolf, Brettin made the move out west.

“The difference between Timeline and Skiptracing is detail,” Brettin said. “I was stubborn with the process for Timeline, it took almost three years to let go of it.” On Timeline, Brettin resorted to vague lyrics so as to highlight the music itself. But for Skiptracing there’s both a heightened thematic aspect as well as more complex musical arrangements encasing it. In Brettin’s estimation, the album’s story arc is that of a “private investigator attempting to trace the steps of the sound and the spirit of American music.”

And in investigating the spirit of American music, Mild High Club re-imagine AM radio hits as blasting in from a parallel universe, the sound of early 70s LA in a smog of sativa. If Todd Rundgren was the primary touchstone for Timeline, Brettin and band now look to the wry, trenchant wit of Steely Dan, gazing deep into the dark underbelly of sun-bright L.A. and coming away with catchy songs underpinned by slippery jazz phrasings.

Dig deeper into the lyrics and imagery and that detective story slowly emerges. But it’s no simple whodunit? Instead, think The Long Goodbye, The Late Show, Chinatown, Night Moves or any early 70s inversion of the detective noir genre, where the gumshoe protagonist ultimately winds up investigating himself, navel-gazing so as to solve the ultimate mystery. Skiptracing is Philip Marlowe driving around LA listening to Caetano Veloso or that deleted scene in John Cassavetes’s The Killing of a Chinese Bookie where Cosmo Vitelli reads Cosmic Trigger.

In crafting Skiptracing, Mild High Club have made an album that strikes a balance between the known and unknown aspects of art and creation. While Brettin sought to have complete control over the creation of the previous album, in opening up and allowing these creative variables in, he learned a valuable lesson that lies at the heart of Skiptracing itself: “When you wish upon the unknown, you might be surprised by the rewards.”

Jardín' is Gabriel Garzón-Montano’s debut album, out January 2017 on Stones Throw Records. Gabriel Garzón-Montano’s formidable skills have come to fruition on his Stones Throw debut. “This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,” he said. “I've always wanted to make music that is healing, comforting, and funky. I named the album 'Jardín' hoping for it to create a space for healing when people put it on.
“A garden is full of life, growth and beauty,” Gabriel said of choosing that unifying image as the title for his new album. “It makes me think of green and white and all the colors as they appear in different flowers.” That vivid spectrum bursts forth on 'Jardín' itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches.
From the heartache and aching vocals that float over the dusty drums of “Crawl” to the stutter-step thump of “Bombo Fabrika” to the high falsetto he nails on “Octave,” GarzónMontano proves himself to already be one of 2017’s biggest breakout talents.

Musiche di L.u.c.a. Produced and written by Francesco De Bellis L.u.c.a. is Francesco De Bellis aka Francisco. Years ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You’d have to go throw the whole selection of 100 tracks without skipping, because every single one was important. Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations. But it wasn’t always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything? And so L.u.c.a was born. Now, while preserving the same mind set, L.u.c.a is back with an album that embraces a new-hippie vibe, strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo’s legacy.

Second Woman is a collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, »Second Woman« is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

Beautiful Deluxe Artwork, Limited ot to not to is an experimental RnB project by VA native Ian Mugerwa that combines low fidelity electronic recording techniques with unconventional song structures to produce music that serves as homage to dusty old blues recordings. At 19, Ian left his hometown of Fairfax for Richmond, where he slept on friends’ floors for several months while recording Goshen. During the day he would “hunt dussy” and during the night he would haul borrowed equipment over to the VCU music facilities and record until the morning. He was moderately successful on both fronts. The resultant recordings form a coming of age album, a snapshot of Ian from the ages of nineteen to twenty. Ian’s goal was to explore new aesthetics in black music through use of nontraditional methods, creating less polished, less sterile RnB in the process. Such methods included layering 40+ cello tracks to create the illusion of an orchestra, or collaging four, separate, 4-minute tracks of improvised percussion into one. Most drums were recorded last. Despite the focus on experimentation, it was important to Ian that he be crafting pop music. It is his belief that an impactful artist has, at least to some degree, a moral responsibility to deliver their art to the maximum amount of people (to efficiently help art as a whole progress). In other words, if restraint can be exercised, it ought to be. Similar artists include James Blake, Phil Elvrum, Mark Hollis, and D’Angelo.

Emotional Rescue looks back again with a 2022 repress, digging deep in to the early 80s Bristol post punk scene of Pig Pag, the Wild Bunch and the Dug Out club. A short lived project of just 3 releases, Mouth trail-blazed leftfield percussive jams in the rich vain of Liquid Liquid and ESG but in their own jazz-infused way. Centered round the cultural melting post of the St Paul's district, it's pubs, clubs and blues parties threw together young and old to the sounds of dub, funk, jazz and soul and took the spark lit by punk rock and new wave and spawned music that still resonates today. Consisting of a floating line up based around main members Andy Guy and Rob Merrill, alumina included a young Nellie Hooper before he would go on to be a founding member of the Wild Bunch and on to produce the likes of Bjork, U2 and Madonna. Based around a hard tribal drumming, mixing guitar, trumpet, shouted vocals and effects, the thrown in the mix nature was inspired as much by avant-jazz than punk's do it yourself attitude. Here then, on one EP are their complete recordings, including as the title cut, their best and deepest, Voyage To The Bottom Of The Sea. Featured on a compilation LP from the legendary Y Records, its bottom heavy dub sound is augmented by female and toasted vocals riding a top a heavy stepper style riddim. This is followed by an increasingly dizzy array of percussion jams. Acab Part 2) is all skips and trumpets, while the versions of Take Your Coat Off perfect skat vocal / tom interplay, before the finale busts out the rockabilly influences in full effect with jagged guitar, skipping hats meets double bass punk style.

'Old Future Worlds' is the second full-length instrumental album from Danish producer Lord Akton.

For this release, Akton's inspiration was ignited by Northern European forests, ancestral thoughts, jazz legends and the idea of tomorrow.
Genre-defying, the sound can be described as "sample-based spiritual synth-electro".

Working with everything from vinyl to synthesizers, drums to guitars, samplers to Logic, Rolands to Rhodes, dreams to reality, coffee to herbs, Lord Akton seeks to capture the listeners’ attention and curiosity, as they embark on an infinite train ride through unexplored worlds.

33 minutes of otherworldly traveling.

Limited to 150 copies.

incl. Remixes by Claude + Dollkraut

FULGEANCE drops his own vision of club funk and future beats. 4 original tracks that prove FULGEANCE has no limit in sound. From dreamy vocoder poetry to broken dance moves, this EP is complete. Even more with 2 remixe

2021 Repress, limited 500 copies. 'Tristes Tropiques' – named after & dealing with Claude Lévi-Strauss' landmark ethnographic writing of the same name – is an album of "synthetic exotica & pseudo-ethnographic music". Sounding like the field recording from an imaginary landscape, Tristes Tropiques deals with the meaning of Exotica & ethnographic recordings (without using them) as well as with cultural categories like "Otherness". As smart as it is, it's also totally stunning, free-floating music, Riyl Dolphins Into The Future or Jan Jelinek.

ZAUBERBERG – Wolfgang Voigt’s most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography – finally stands alone once again and is released in the way its original splendour.

Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, ZAUBERBERG is now released on his own label KOMPAKT on CD.

Though this narcotic symphony is not the first release under the GAS moniker, ZAUBERBERG is the first to disclose the true nature of Wolfgang Voigt’s unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, ZAUBERBERG is the definitive GAS album and a perfect starting point for those not familiar with his music.

Please note: This CD is a single release of the GAS BOX released in 2016.

‘Beautiful People’, the lead track from Mark Pritchard’s latest and critically acclaimed album ‘Under The Sun’ gets a 12" relase!

Teklife Records are ready to drop their third release: New Start by Taso. The 7 track LP features collaborations with DJ Rashad & DJ Spinn, Gant-Man, DJ Tre, DJ Manny, DJ Taye and DJ Earl. New Start follows on from a highly coveted vinyl edition, critical acclaim and strong DJ Support for Open Your Eyes by DJ Earl. Once again, the spirit of collaboration is a key element: Teklife is a closely connected group of friends, working together harmoniously, and pushing each other to greater heights and depths through a shared love of footwork music. Smoke Dat Green, Taso’s collaboration with DJ Earl, was featured on Open Your Eyes, and now Taso himself takes centre stage for the next instalment, presenting unreleased classics alongside brand new footwork sounds. An accomplished DJ and MC, Taso frequently appears alongside Spinn at Teklife showcases all over the world. But despite a busy touring schedule, Taso never stops making beats. A multi-instrumentalist with a degree in audio engineering, Taso fuses raw musical talent with technical expertise. Since January this year, he has released an impressive 8 volumes of the Cold Heat EP series, bringing together a whole range of musical styles and moods through his MPC at 160 BPM. This versatility and willingness to draw inspiration from different sources is evident throughout the New Start LP. The title track is sultry and soulful, with Rashad and Spinn’s masterful influence clearly present. Don’t Get Mad provides a stark contrast: a dancefloor-orientated hype track featuring an on point vocal by Gant-Man. Bussin featuring DJ Manny and DJ Tre sounds like a love letter from footwork to jungle music. Over on the flip side, we start off with AM Track: another beautifully crafted classic featuring DJ Rashad and Dj Spinn. In the Green Room featuring Dj Taye is a muscular, speaker-rattling West Coast jam, and Murda Bass takes its cue from golden era UK Dubstep. The heavily - filtered final notes of De Capo Al Coda featuring DJ Earl round off a diverse but consistently high quality outing from Taso and the Teklife family. Message from Taso: “Thank you and much respect for supporting Teklife music. Without you there is no us. This record is dedicated to DJ Rashad and his family.”

The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop/Abnormal Sensations) combining the ethos of Can’s Ethnological Forgery Series (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks.

Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country’s vibrant, and seldom rivalled musical secret society. The cliché “behind every successful man, there is a strong woman” might not do Alessandro and Giulia’s long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni’s limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo’s finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984 Giulia’s collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens, Revolver, Questo Sporco Mondo Meraviglioso, The Night Evelyn Came Out Of The Tomb, Angoscia, Inchiesta Giudiziaria and Witchcraft ‘70 (Angeli bianchi Angeli neri) earning increasing “Most Wanted” status on the collectors’ market. It is of no coincidence that Giulia’s nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis’ seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best.

Limited edition double LP on Cobalt Vapor Colored Vinyl in full colour gatefold jackets with OBI strip and shrink wrapped.

The Philly hip-hop veteran RJD2 will return with a new album this spring. Titled "Dame Fortune", it features guest vocalists including Son Little, Phonte Coleman, Blueprint and more. According to the press release, the album’s centerpiece is an orchestral composition inspired by Ferguson titled ‘PF Day One’ (PF standing for ‘Post-Ferguson’).

Latency 009, from Tokyo serves us four eerie, multi-rhythmic, bass-heavy excursions, with roots in abstract hip hop and the classic D ‘n’ B of Photek and Source Direct.

When Theodore Adorno opposed the new musical paths heard in concerto rooms, in his “Philosophy of Modern Music”, to those of mass culture, he did not anticipated that from this antagonism would emerge artist that, from the new resources of the so called classical music, would produce a sound capable to encompass and instruct itself through the musical scenario consumed by the masses. The XXI century music is born with the sign of the harmonization of these two tendencies that the former century insisted in separate and oppose. Among the artists in the threshold of the millennium, Vitor Araujo is one of those capable of articulate the Brazilian and world- wide classical music avant-garde with the undisputable artistic conquests of experimental-pop music of his time.

Limited edition for Record Store Day 2016!

Apichat Pakwan is a music collective put together by Olivier Schreuder, an Amsterdam-based musician, DJ & producer.

Together they produce “Isantronics” - a hybrid approach to blending Molam (folkmusic of the ethnic Lao, of whom the largest population is living in Isan, another name for Northeast-Thailand), electronic music, Dub & Hip Hop.

Apichat Pakwan consists of Olivier Schreuder (electronics, production, percussion), Pongsapon Upani (Kaen), Artit Krajangsree (Phin, bass), Robin Koek (drums), Angkanang Pimwankum (percussion) and is based in Amsterdam (the Netherlands) and Khon Kaen (Thailand). TIP!!!

CD Jewel Case. In 1975 I was doing a series of concerts in France with Lutz Ulbrich, where we were presenting "Inventions for Electric Guitar” and other compositions, which we developed together that year. In August, we were invited for two concerts in the South of France, one in the wonderful Roman theater in Arles, the other at the Festival Palace in Cannes.This is where we met the musicians of the German band CAN and the singer Nico, who also played at the festival. After the concerts we stayed together a few days in the beautiful city of Arles. Nico's friend, the French director Philippe Garrel, was working at that time on a film starring Nico, Anita Pallenberg and Dominique Sanda and was looking for music to make you dream. I always recorded most of our concerts, that's how we were able to offer him the piece that we had performed as "encore” in Cannes. It became the main theme of the film. Other parts were recorded during several sessions throughout 1975 in my studio in Berlin. Instruments and electronic devices were relatively simple compared to today's technology: four-track tape recorder, an old Farfisa organ, the beautiful EKO Rhythm Computer (Italian machines controlled by punched cards), the EMS superb guitar-Synthi HiFli and of course, our "usual” guitars. All this combined with the patching, the filtering and echo has produced its own unique sound to "electronic dreams” of the 70s. , Manuel Göttsching 1993 Recorded in 1975 at Studio ROMA, Berlin, with the exception of "Le Berceau de Cristal", recorded during the concert on August 7, 1975 at the Palais du Festival in Cannes.

Last copies, re-imported from the US.

Otto’s Bangalore Whispers gets finally repressed. The psychedelic track which he recorded together with the Indian singer MD Pallavi in 2016 has become a hit in the downtempo scene around the globe (“Saaaa - resa nisa”). Pingipung press a new edition of the much sought after single on the occasion of their 20th label anniversary. In this 2022 edition the original track is paired with the Peter Power remix which has not seen the light of day on vinyl before.The Brazil-based producer slows the track down a notch and adds even more space. A perfect tune both for the dancefloor or meditation.

Chris Hooson of Dakota Suite asked Emanuele Errante to work with him on a project composed for the death of his sister-in-law. Chris had composed a series of themes around the loss of his sister-in-law and in Emanuele found a partner to create the sounds which would evoke loss, the temporary nature of life and the stillness to get through. The powerful result 'The North Green Down' was originally released on Lidar in 2012 as a limited CD which is long since sold out. Now Karaoke Kalk makes this heartfelt and poignant album available again and for the first time ever on vinyl, including one additional previously unreleased track.

Music From Memory continue their 12” series with the release of an EP from St. Louis outfit Workdub, taking four tracks from across the groups elusive privately released albums; ‘Workdub I’ (1989) released on LP and ‘Workdub II’ (1992) which was a cassette only release.

11 roomy, beatific songs rounded around Kyson's delicate vocal work.