Downbeat | Electronica | Leftfield 2537 Items

Release: 2020 / Reissue

Genre: Electronic & Dance

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Nothing Is True; Everything Is Permitted

Carlos Peron

LP | 1984 | EU | Reissue (Mecanica)

2LP | 2024 | EU | Original (On Rotation)

Release: 1984 / EU – Reissue

Genre: Electronic & Dance

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40th anniversary edition of this seminal work by the multi-talented musician and producer Carlos Perón. After the release of “Impersonator” and the score of the film “Die Schwarze Spinne”, “Nothing Is True; Everything Is Permitted” is his third album released in the beginning of 1984. While still being an active member of Yello, it was around the start of the recording of “You Gotta Say Yes To Another Excess” that Carlos met the American musician Chris Lunch in Hamburg. He invited Chris to Zurich and together played with projects such as Romantic Rubber, Heavymetallen and recorded some sessions that become the basis of “Nothing Is True; Everything Is Permitted”. After the release of “You Gotta Say Yes To Another Excess”, Carlos decided to leave Yello and focused to finish the recording and mixing of his new solo album.

“Nothing Is True; Everything Is Permitted” has gone down in music history as a dark soundtrack without a film, influenced many artists and helped to develop diverse genders of electronic experimental and dance music.

Limited edition of 300 copies including all original tracks and new artwork.

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Lisene

Science Friction

LP | 2024 | EU | Original (Ideologic Organ)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Following a string of releases on a who’s who of top labels such as Planet Euphorique, Salt Mines, Haws and Craigie Knowes, prog-trance pioneer Lisene drops a full-length LP on his On Rotation imprint. With 8 hyper-detailed tracks ranging from club-focused techno, progressive and electro to slo-mo downtempo, Lisene brings his A-game to an album sure to cement his place as one of the most exciting producers and DJs in the UK’s underground music scene.

Created over several years with a perfectionist’s attention to detail, “Science Friction” flits between moods and sonic environments with ease while retaining the cohesion of Lisene’s inimitable production style. Despite being an album, this is still very much a record for the DJs, featuring heads-down club tracks and bass-heavy electro crafted with precision and a cinematic sense of scale. For the home listeners, expansive slo-mo soundscapes and cerebral synth odysseys float high above the clouds, with widescreen details revealing themselves ever further with each re-play.

“This album has been 15 years in the making and represents a culmination of everything I’ve worked towards in defining my own sound and style without letting myself be pigeonholed. I’m immensely proud of each track - it really reflects where I was at musically while making this, while giving a glimpse into my future sound. This is a record that deserves to be played on the finest sound systems and hi-fis, and I couldn’t be more happy with how it’s turned out. Dive in and enjoy!”

Combining influences from across the spectrum of dance music with a cinematic sense of psychedelia and his own inimitable production skills, “Science Friction” is sure to see a lot of airtime across the festivals, after-parties and living rooms of the world this summer and beyond.

On Rotation is a Leeds based label, event & mix series run by Chris I’Anson, Lisene & Adam Pits. Artwork illustrated and designed by Patch D Keyes.

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Timothy Archambault

Onimikic

LP | 2024 | Original (Mille Plateaux)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Timothy Archambault's unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). An important document of new music meets contemporary musicological research via Stephen O'Malley of Sunn O)))'s Ideologic Organ. The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence Rivers. To the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the "throat rattling" vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with similar traditional ceremonial practices.

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Kiwanoid

Vanathühi

Die Reise Zur Monsalwäsche

Release: 2024 / Original

Genre: Electronic & Dance

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"Vanatühi" by Kiwanoid is a technopagan concept album. Track titles refer to the word "nothing" in various languages.
The sonic landscape is crafted using deprecated tools: a first-generation 4-bit laptop, the DOS operating system, and a tracker program. Inspired by glitch aesthetics, the sound palette includes clicks, error noises, and low-bitrate techno sounds. Initially, the structures of the pieces may appear complex and chaotic. This electronic thicket might seem abstract, cold, and inaccessible, yet upon closer examination, it reveals a plethora of diverse species, coming across as somewhat nostalgic and warm, evoking surreal associations. From beneath towering sequoias peek pixelated ferns, LED eyes are blinking from below the undergrowth, and against the backdrop of a crackling campfire and cave paintings, a lively stomping of microchips unfolds.
Sudden contrasts, sharp cutting edges, a tachycardic bass drum engine, and irregular polyrhythms make themselves physically felt. Elsewhere, haunting lo-fi textures, hidden ambient drones, mysterious hums, and obscurely garbled samples offer introspective breathers. The dynamic range of the music is favourably extensive, and the raw imperfections of the sound are unmasked by reverb effects or other generic tools. Interwoven throughout are outsider rhythm loops, which could find a home at an alien rave party or a hobgoblin honky-tonk. Various human voice samples build a bridge to the listener, allowing them to embody a cyborg-like experience.

While each twist and turn remains unpredictable, these diverse approaches align in complementary patterns and stochastic regularities, making the whole surprisingly coherent, despite its chaos. The album doesn't bore the audience with intentionally irritating compositions or pseudocomplexity - it demands attention, but doesn't try to outrun its listeners.

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Läuten Der Seele

LP | 2024 | EU | Original (Hands In The Dark)

LP | 2024 | UK | Original (Principe)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Christian Schoppik aka Läuten der Seele brings his »Water« trilogy to a close with his new album »Die Reise zur Monsalwäsche« (The Journey to Monsalwäsche) following up »Die Mariengrotte als Trinkwasseraufbereitungsanlage» (2022, Hands in the Dark) and »Ertrunken im seichtesten Gewässer« (2023, World of Echo). While the compositional technique of this opus still relies primarily on samples and altered audio-collages, each chapter of the trilogy was intentionally created from very different sources. The present collection is arguably less ›experimental‹ than some of Läuten der Seele's previous works, as classical music takes center stage this time. However the mastery in crafting such magnificent and intriguing narratives sees the simplicity and emotional depth of these sonic mariages become the beauty of it all.

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Nuno Beats

Sai Do Coração

LP | 2024 | UK | Original (Extended Techniques)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Usually spotted peering into dancefloor futures with his Rinchoa crewmates DJ Nulo, DJ Lima, Farucox, MC Pimenta and DJ Narciso, Nuno Beats tailors his own identity on ‘Sai Do Coração’, decelerating the tempo and ramping up the flirtation. His productions already stood out on RS Produções’ brilliant 2LP ‘Sa ú de Em 1º Lugar’, and the Portuguese DJ/producer has developed his signature in the meantime, re-sculpting the bruised batida shakes of tracks like ‘PrinCIPES’ and ‘Tribal’ into muted, voluptuous quivers. Tarraxo rhythms are always sexy, but Nuno Beats plunges deep into the thing, draping his hard-swung woodblock hits with silky amapiano basslines, reverberating vox and stargazing Detroit pads. It’s a bold fusion that shimmies to the far left of the dancefloor, but like we saw with DJ N-Fox’s AOTY-level ‘Chá Preto’, the risk fully pays off. Firstly, ‘Sai Do Coração’ runs like a proper album. Sickly piano phrases wheeze thru euphoric stabs and rubbery fretless bass knocks on ‘7 Apaixonados’, while on the title track, Nuno pipes hushed guitar riffs into Roger Troutman’s talkbox, suspending g-funk synths in icy, granulated minor-key wails. It’s those subtle soft rock and street soul elements that makes the producer’s rhythms pop so effortlessly, before the latent psychedelia of ‘Confusão No Ghetto’ unravels a haunted tangle of half-heard melodies and complex syncopations that sound as if they’re falling on top of each other. Nuno’s control of rhythm is mind-boggling, but it’s on vivid display here, drifting luxuriously off grid before the clattery drums are met with stringy twangs and rolling log hits. Similarly, he tucks the tempo into a tight corner on stand-out winder ‘N-Dengue’, upsetting a 4/4 chug with rattling knocks and a blunted sawtooth bass that’s had all its aggy power swapped out for sweaty carnal impulsiveness. Turn the lights down low and give it some quality time - it’s just too good

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Lamusa II

Don't

Selected Ambient Works Volume 2 Expanded Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Don't surfaces as an organic collaboration, born from the accidental union of Lamusa II and countless artists active in the arts scene, seamlessly merging into a singular entity.
Conceived, crafted, and captured entirely in the streets of Milan, Don't finds its essence rooted in the ethereal realms of trip-hop and the pulsating energy of 90s electronic rock. The culmination is a mesmerizing exploration, a kaleidoscopic embrace of his fluid artistic evolution, solidifying his position as a seminal figure in Italy's contemporary music scene.
The album features collaborations with several artists, including Canadian electronic musician and producer Marie Davidson, the Italian artist Zara Colombo and the mysterious music duo Assembly Group.

Don't will be released via Jay Glass Dubs' label Extended Techniques on May 17th, 2024 and distributed by Kudos and Boomkat.

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Aphex Twin

3CD | 2024 | UK | Original (Warp)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Jerry Ropero, Denis The Menace, Sabor

Coracao Colored Vinyl Edition

12" | 2024 | Original (Blanco Y Negro)

Release: 2024 / Original

Genre: Electronic & Dance

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Jerry Ropero, Denis The Menace, Sabor

Coracao Black Vinyl Edition

12" | 2024 | Original (Blanco Y Negro)

Release: 2024 / Original

Genre: Electronic & Dance

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LP | 2024 | UK | Original (V I S)

Nika Son

Aslope

LP | 2016 | UK | Reissue (Finders Keepers)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Nika Son stitches together spoken word, concrète and extracts from various installations into a hazed ode to the nocturnal world on this highly intoxicating new album, landing somewhere between the surrealist sound poetry of Nozomu Matsumoto, Arthur Lipsett’s abstracted film works and Michèle Bokanowski’s acclaimed scores for her husband Patrick.

Constructed out of the kind ephemeral building blocks conjured in liminal space, Nika Son (Golden Pudel Club, Entr'acte) collages moonlit organ vamps, stifled voices and disembodied, robotic poems on this deliriously slippery album. Heaving from smeary abstraction to penetrable drama, featherlight rhythms are cut short by uncanny voices: "stop, turning, a page," like some rogue navigation assistant, slicing into ticking clocks and xerox noise.

Like listening to a film without access to its visuals, all the foley sounds remain (windscreen wipers, trains passing, conversations) but we're left puzzling over what any of it means. The only context provided is from Son herself, who says that although the album doesn't have a consistent theme, each piece is inspired by the night's capability to shift our perception and memory. It comes off like a crepuscular sketchbook of ideas and themes that coalesce into an opaque sonic landscape.

It's music that defies simple categorisation; Son doesn't tie herself to any identifiable mode of expression, and there are no knowing nods to early electronic innovators either. Rather, she follow her own nose, drawing us into an elusive personal space. On 'It's just a cucumber', environmental recordings are edited just enough to enhance the illusion, before voices curl and decompress into rousing bass womps and unmetered rhythms prickle around punkish shouts. The use of voice is omnipresent throughout, even when not there, they appear on the periphery: on 'La nuit tombe', they're muffled behind echoing footsteps and creepy synth wails, on 'Gelbes Feld', incomprehensible chatter envelopes cricket chirps and b-movie arpeggios.

Many artists have tried to map out the dreamworld using sound, but Nika Son takes us to a place that genuinely feels in-between worlds, capturing those moments before vivid memories slip away from the mind's eye forever.

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Suzanne Ciani

Buchhla Concerts 1975

Buchla Concert At Galeria Bonino New York 1974

Release: 2016 / UK – Reissue

Genre: Electronic & Dance

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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!

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Suzanne Ciani

LP | 2024 | UK | Original (Finders Keepers)

LP | 1987 | EU | Reissue (Mannequin)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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The very first Buchla synthesiser performance by revolutionary composer Suzanne Ciani finally makes its fifty year journey from its switch-on New York art gallery to its long deserved and discerning global phonographic audience. With this previously unheard vinyl pressing, Finders Keepers Records are proud to present an archival project of ‘art music’ that not only redefines musical history but lays 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 have come to understand it. To describe Italian-American composer Suzanne Ciani’s resurrected Buchla concert records as genuine gamechangers would be a gross understatement. These records represent a musical revolution, an artistic revelation, a scientific benchmark and a trophy in the cabinet of counterculture creativity. This sonic installation album, alongside her recently liberated WBAI/Phill Niblock 1975 sessions (fkr082), are triumphant yardsticks in the synthesiser space race and the untold story of the first woman on the proverbial musical moon. While pondering the early accolades attached to these golden era New York recordings it’s daunting to learn that these records were in fact not even records at all. What exists on this disc now was a manifesto and a one-time gateway to a new world, which somehow was only partially pushed ajar. Captured here is a genuine live act exploring new territories with a fully performable music instrument. If the unfamiliar, modernistic, melodic pulses, tones and harmonics found on these 1970’s artistic gallery collaborations/ live presentations (then soon to be followed by academic grant applications and educational demonstrations) had been placed in a phonographic context alongside the widely marketed work of Morton Subotnick, Walter Carlos or Tomita, then the name Suzanne Ciani and her infectious influence would have already radically changed the shape, sound and gender of our record. With the light of Buchla and Ciani’s initial flame Finders Keepers continues the journey through the vaults of this increasingly celebrated music legacy, illuminating 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.

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Caroline K

Now Wait For Last Year

LP | 2024 | EU | Original (Ideal)

Release: 1987 / EU – Reissue

Genre: Electronic & Dance

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Mannequin Records is proud to present the official reissue of Caroline K's outstanding 1985 album, "Now Wait For Last Year."

This haunting, wistful work of post-industrial synthesizer music sees the late Nocturnal Emissions co-founder only solo record, which has accrued a fervent cult following over the past 40 years, and copies of the original pressing are today extremely rare and sought-after. The music on "Now Wait For Last Year" seems to exist firmly outside of it. Tags like industrial, minimal synth or proto-techno can't really do justice to the richly cinematic sound-world that Caroline K describes: from the sustained ambient tension of sidelong opener "The Happening World" to the future-primitive rhythms and stately piano flourishes "Animal Lattice", and the melancholic, deep-frozen synth sequences of "Cheart".

For fans of Throbbing Gristle, Chris Carter, Nocturnal Emissions and even early Detroit techno lovers should pay special attention to it.

All selections composed, arranged and played by Caroline K Recorded and produced by Caroline K

Photograph by Jake Kirkwood Original design by Nigel Ayers

The first five tracks of Now Wait For Last Year were originally released as a vinyl LP by Earthly Delights in 1987.

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The Idealist

Extended Player

Tales From The Subterranean

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Inspired by a life long obsession of dub, synth, industrial and different kinds of minimalism, "Extended Player" 12"ep by The Idealist is a tribute to these inspirations aswell as an attempt to move forward or elsewhere. This is experimental techno and electronic music from an artist that is freely moving between drone and noise to this. Party music for professionals.

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Julius Gabriel

LP | 2024 | EU | Original (Ana Ott)

LP | 2024 | EU | Original (Built In Parts)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Fifth solo album from saxophonist Julius Gabriel. Born out of new sounds and rhythms that the musician discovered during the pandemic, “Tales From The Subterranean” embodies a blend of primal energy and inventive exploration across twelve tracks. The opener “Time Riding” sets the mood, a tearing rhythm that sounds like a frenetic tap dance. It invites you to move and when you get to “Footworks” you are all set up, merging saxophone finger percussion with a continuous siren whisper emanating from the instrument, provoking euphoria, fear and satisfaction all at once. Moving on, you start to understand the sense of discovery behind the record and the needs Julius had, like to construct a saxophone with drone capabilities and closer to an idea of natural sound. “Hailing From The Mountains” has a meditative tone; “Westward At Sundown” feels like a ballad. Born from darkness yet radiating with newfound light, “Tales from the Subterranean“ stands as a testament to the resilience of artistic expression. It is primal music.

All music composed and performed by Julius Gabriel on electroacoustic tenor saxophone and twin soprano saxophone.

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Mculo

Bedroom Artist

12" | 2024 | EU | Original (Futura Resistenza)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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I thought I would write this one myself. Over the last few years, I found myself making music for everyone else. What would other musicians think about this record? Would this track get me more gigs? The process of creating become secondary and I fell out of love with it entirely. This album is a journey to get back to the reason I started doing this in the first place, because I love making music. It is a return to embodying that most unfairly derided of phrases, the bedroom DJ, the bedroom artist. Where else is the love for this game stronger than in those early years, surrounded by your friends and the endless possibility of creation. Lots of love, Dan

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Bergur Anderson

Unisong

LP | 2024 | UK | Original (Bank Nyc)

Release: 2024 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Unisong is like a second chapter in Bergur's troubadour/trobairitz research (after Around the Songster's Commune, 2022) and an exploration into/practicing of Bergur's own poetic and melodic ability. It's a beautiful experiment in unifying and synthesizing something of a conceptual nature with something autobiographical. Let's call it bare, easy-feeling, domestic pop. 'Bare' naked -- and as in not-too-much-production. 'Easy-feeling' because that's how it feels. 'Domestic' a la John Lennon, Watching the Wheels, and as in home and living a life. 'Pop' because it is; because it's for everyone. It's about travelling, longing, searching, finding -- love.

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Terrestrial Paradise

Artificial Hell

LP | 2024 | UK | Original (Balmat)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Club music culture necessarily shifted gears in many ways during and after the course of the pandemic. Older participants found their way into other interests and younger participants took new reigns to orient spaces they felt good inside of. The agenda for the music, and the cultural industry surrounding it at large, took a more frivolous and “fun” turn. Clubs needed to recoup lost money, people needed more refreshing catharsis for their nightlife escape, and in some pockets scattered around the globe a newer and younger cadre of producers/promoters/DJ’s pulled optical cues from a scattering of “darker” influences to give an alternate aesthetic to the aforementioned “vibes” culture. In the midst of this, a large polarization of conceptual energy shifted within the compositional and utilitarian machinations of the club music culture leaving behind the brooding and cerebral placeholders for different kind of enjoyable hedonism. Terrestrial Paradise’ “Artificial Hell” harkens to another prescient time before that shift occurred. “Artificial Hell’ might just be an illustration of what all of this fun escapism encapsulates.

Terrestrial Paradise is the latest moniker from Montreal come Los Angeles based producer Jaclyn Kendal. Having developed and cemented her sonic positionality with releases on North American labels like Ascetic House and Summer isle over the years, as well as a series of monolithic live sets, Bank is pleased to announce Kendal’s Terrestrial Paradise first full length album “Artificial Hell”. Over the course of nine recordings, “Artificial Hell” gives a master class in pressurized industrial techno of the slower variety. Fitting with the legacy of Bank’s output since it’s inception, Terrestrial Paradise’s aesthetic sensibilities sit within the canon of a certain tinge of club music imbued with a sense of natural grit, sans pretense.

“Artificial Hell” nods to artists like Scorn, Regis, and 400 PPM while maintaining it’s own territory in the landscape of cerebral and brooding rhythmic techno. Ominous, mechanistic drones sit above succinctly exacted percussion composition and sound design. Throughout “Artificial Hell”, Kendal shows her proficiency with the push and pull of building and releasing tension. On tracks like “Salvation” and “Relativity” she melds her synth wash wallscapes with driving percussion, serving as both a hint and counterpoint to the the entirety of the latter part of the album taking on spartan ambient compositions as a way to keep the listener in a subdued stasis. This album is a statement piece from a long time participant in the North American underground music sectors. It reminds the listener through perilous, considered rhythms and darker drone impositions to cement themselves back into a place where not everything is always a good time.

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Bartosz Kruczynski

Dreams & Whispers

Berrocal / Epplay / Comelade

Release: 2024 / UK – Original

Genre: Electronic & Dance

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We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczyński, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.

Those qualities come to the fore on Dreams & Whispers, which might be the most focused encapsulation of Kruczyński’s atmospheric sensibilities to date.. Across 14 stripped-down tracks for shimmer and pulse, Kruczyński evokes overlapping styles in ambient—warm vibraphones, taut arps, massing strings, lonesome delay chains —but always with his own twist. Fitting the album’s title, the album is loosely divided into two distinct moods: The A-side, “Dreams,” is charged with subtle movement, rhythms spreading out like rings around skipped stones, while the B-side, “Whispers,” plunges into a zone of shadows and hush. The two complementary moods flow into one another like the faces of a Moebius strip, yielding an album that’s intuitively shaped and rich in emotion.

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Funeste Human Nature

LP | 2024 | EU | Original (Via Parigi)

12" | 2024 | EU | Original (Foom)

Release: 2024 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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"Step into the enigmatic realm of ‘Funest Human Nature’, an audacious collaboration between avant-garde luminaries Jac Berrocal, Pascal Comelade, and Vincent Epplay. In this mesmerizing sonic odyssey, the boundaries of experimental music are shattered as Berrocal's haunting trumpet, Comelade's whimsical piano, and Epplay's immersive soundscapes converge to create a kaleidoscope of textures and emotions. A journey through the depths of the human psyche, where surrealism meets primal instincts and the absurd dances with the profound. The trio's fearless exploration of sound, inviting listeners to unravel the mysteries of the human condition through an eclectic tapestry of sonic experimentation. From the eerie whispers of forgotten dreams to the jubilant cacophony of uninhibited joy, 'Funest Human Nature' is a testament to the boundless possibilities of artistic collaboration. Embrace the unexpected, embrace the sublime, and immerse yourself in the haunting beauty of this extraordinary musical venture." Pascal Comelade, born in Montpellier, France in 1955, is a prolific Catalan musician and composer known for his distinctive blend of minimalism, surrealism, and musical primitivism. He started his music career in the mid-1970s and has since created a unique sound using toy instruments, pianos, and traditional ensembles. Comelade's work is characterized by its eclectic influences, ranging from rock and folk to classical and avant-garde. He has collaborated with various artists, including PJ Harvey and Robert Wyatt. Over the decades, Comelade has built a cult following with his unconventional approach to music and his impressive discography that spans numerous albums and soundtracks. Jac Berrocal, born in 1946 in Saint-Jean d'Angély, France, is a pioneering avant-garde trumpeter and composer known for his fusion of jazz, rock, and experimental music. His career, which began in the early 1970s, is marked by innovative albums like "Musiq Musik" and extensive collaborations with artists from Nurse With Wound to Vince Taylor. Berrocal is celebrated for his theatrical live performances, which often incorporate elements of poetry and drama. His work continues to defy conventional music boundaries, maintaining a cult following and influencing diverse musical genres. Through his distinctive approach, Berrocal has carved out a niche in the avant-garde music scene, continuously exploring the intersections of sound, performance, and art. Vincent Epplay, born in 1964 in France, is an innovative sound artist and musician known for his work in creating immersive audiovisual environments. His artistic approach often involves the manipulation of sound to explore its interaction with space and audience perception. Epplay's works are characterized by a keen interest in the experimental music tradition, incorporating elements of chance and the use of unconventional sound sources. He has collaborated extensively with other artists, including Jac Berrocal and David Fenech, contributing to a dynamic and exploratory sound art scene. Through installations, performances, and recordings, Epplay continually challenges and expands the boundaries of auditory and visual experiences.

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Bruno Pronsato

Rare Normal

LP | 2024 | EU | Original (Cafetra)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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First new album in 3 years from Bruno Pronsato, fusing experimental tunings with his signature percussive workouts

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Maria Reis

Suspiro

LP | 2024 | UK | Original (Mood Hut)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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By now one of our most cherished and respected portuguese songwriters, Maria Reis has been steadily creating a legacy that will undoubtedly endure in the portuguese songwriting canon for years to come. Co-founder of the Lisbon based Cafetra label- collective, Reis spent her teenage years honing her craft, particularly with her co- leading role on Pega Monstro with her sister Júlia Reis, with albums like 'Alfarroba' and 'Casa de Cima' on Upset !the Rhythm and whose indefinite hiatus since 2018 opened the gateway for a prolific solo venture. After a raw debut EP released in 2017 – Maria -, 2019 saw the release of the celebrated 'Chove na Sala, Água nos Olhos', a definitive statement of Reis' almost casual gift of painting vivid and impressionistic portraits of everyday life, conveying all the anger, resignation and melancholic joy of moving on. Two years later, following a string of widely praised live appearances, Reis records the 'Flor da Urtiga' EP with musical production of Noah Lennox aka Panda Bear, a sweeter affair, crossed by a witty irony that tackles such subjects as family, love and toxic masculinity, through layered acoustic guitars, lightweight percussion and joyful harmonies. 'Benefício da Dúvida' from 2022, strips back most of the production to rely on simple but affirmative arrangements assembled with the help of her sister Júlia and longtime collaborator Leonardo Bindilatti.

And now, almost two years on the clock after 'Benefício da Dúvida', Maria Reis returns with a newfound maturity with 'Suspiro...' - Portuguese for sigh. Created in close collaboration with Tomé Silva - a young and versatile musician and producer who's been recently leaving a mark on the portuguese scene - and recorded in the intimacy of the latter's bedroom, 'Suspiro...' doesn't cut ties with that recent past but reflects the learning process embedded in previous ventures in its lyrics and arrangements, towards song's eternity. A projection of different emotional states and physical spaces throughout these years, 'Suspiro...' carries in the apparent simplicity of its title the plurality of meanings found in such a natural act, from anger to being in love, from resignation to resilience. Life in a sigh? We've been further from that.

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Hotspring

Apodelia

Counting The Beats Clear Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Hotspring is the alias of musician Scott Gailey.

Recent collaborative releases include a 2023 appearance on 0 Records’ 02 alongside C3d-e and Hashman, and a 2022 drop of three releases by loose Vancouver collective Kinda Green; past solo releases include 2019’s Polysensuality on Séance Centre and 2020’s Obit for Sunshade, also on Mood Hut.

The forthcoming Apodelia is Gailey’s second solo release on Canadian mainstay electronic label Mood Hut, and is partly a further exploration of song forms, studio techniques and instrumentation explored on 2020’s Obit for Sunshade. Apodelia explores lifting into revealing; scouring fidelities, playing with emotion, and improvising by night.

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Band Of Nowhere

LP | 2024 | EU | Original (Wah Wah)

Box Set | 2008 | EU (One Little Indian)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Band Of Nowhere is a new constellation project by Juanjo Sánchez, together with other collaborators with whom he had previously worked. It is worth mentioning Bob Drake on drums, former member of the legendary formation Thinking Plague (also on Hail, 5UU's, The Science Group) who has also mastered the project from their studio in the Midi-Pyrénées and also to mention the guitarist Jordi Cabayol (Camino al Desván) both Juanjo and Jordi began their career in a significant band of Barcelona of the early eighties, such as Entr'acte.

The becoming of Juanjo Sánchez would take him to other latitudes as a member of Alondra Satori and without losing the lighthouse of his city, he would collaborate with other outstanding musicians such as Quicu Samsó (Koniec, Macromassa).

The fluidity and chromaticism of his previous album Gonza Magilla is still perceived in here, but in a much more electrified way with guitars that are sometimes expansive, other times exuberant wrapped up with contagious synthesizer modulations and very marked rhythms. The production and especially the arrangements are fantastic with those special presences of synthesizers that are not common around here.

Its original improvisation and experimentation is skilfully adjusted by Juanjo Sánchez, giving a much more playful result with unexpected combinations, very much in continuity with a certain European Art Rock such as Aksak Maboul, Etron Fou, Zamla,The Work or the mischievous resonances of The League of Gentlemen; all this mapping the sound transit, to an unpredictable and vibrant non-place.

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Björk

Innocence

Mapagkeun Kawani / Digital Leather Tweaker

Release: 2008 / EU

Genre: Electronic & Dance

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Box set featuring remixes of the song “Innocence”

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Xin Lie

12" | 2024 | UK | Original (Dance Data)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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LP | 2024 | EU | Original (Softtribe)

Soft

Passing Tone

Release: 2024 / EU – Original

Genre: Electronic & Dance

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LP | 2024 | UK | Original (Ampoule)

Pub

Process The Wise

2CD | 2024 | UK | Original (Shadow World Archive)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Pub emerges from the mists to follow the 'Autumn' ep with his first album of new music in over a decade. 'Process The Wise' LP. A selection of tracks that are deeply lustrous and magical, equally measured yet wandering, with complimentary harmonics & scattered chaos. An inexplicable vibe, liquid feelings for endless summer nights.

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Kristen Gallerneaux

The Mcclintic Chorus

Richard Pinhas & Rg. Rough

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Tag this as somewhere between “hospital ambient” and “backwoods industrial.”

Shadow World Archive is proud to present The McClintic Chorus, the second full-length LP from Kristen Gallerneaux. The follow-up to her critically acclaimed debut Strung Figures, The McClintic Chorus finds Gallerneaux in world-building mode, crafting a psychogeographic landscape of folkloric Appalachia through sound. Turning her inimitable, idiosyncratic ear to field recordings and sound sources recorded or re-recorded in and around Point Pleasant, West Virginia and the McClintic Wildlife Area's infamous TNT domes, Gallerneaux performs a sort of alchemy, teasing uncanny and unknowable deep-time histories from post-industrial rubble. Transforming the hyper-local and hyper-personal into something that can be universally felt - in your head, heart, and guts. Literally. 'Cause this gear bangs.

The McClintic Chorus is presented as a digital download and as a luxe 2xCD + zine. The second disc includes Where The Whistles Mingle, an album-length longform track only available with the physical release.

But enough from us. Let's hear from Gallerneaux herself: The McClintic Chorus is a 68-minute composition and multimedia performance created from recordings gathered at the McClintic Wildlife Management Area in Point Pleasant, West Virginia. From 1942-1945, this site was known as the West Virginia Ordnance Works or “tnt Area,” in reference to its history as a WWII-era explosives manufacturing facility. Over 720,000 tons of TNT were produced daily on the grounds. A series of concrete “igloo” storage huts were erected and covered with earth to camouflage them from potential enemy aircraft. These structures are the only architectural clues that remain of this landscape’s former life.

In November 1966, the TNT Area received attention in local newspapers as the place where a mysterious 6-foot-tall, winged humanoid with red eyes known as “Mothman” was first spotted. A flood of reports connected to the TNT Area described Mothman’s penchant to silently glide alongside cars and interfere with telephone calls by emitting shrill blasts of tinny static, beeping, and electronic pulses. Today, many paranormal seekers visiting the site believe the cryptid was a “harbinger of doom” who was attracted to the Point Pleasant area to observe or warn of the fatal December 1967 collapse of the town’s Silver Bridge.

The McClintic Chorus is a biography of place—exploring the tenuous collisions between industrial landscapes, ecological redemption, and contemporary legends embedded in rural Appalachia. While producing this work, the complicated oscillations between the bucolic and the vaguely threatening were visibly and audibly palpable. Searching for the overgrown entrances to abandoned ordnance huts—the deafening sounds of bullfrogs, redwing blackbirds, and other wetland wildlife compete with the rattle of gunfire from the nearby range.

Binaural, contact, and stereo microphones were used to capture the powerful echoes from inside and around the TNT domes. Recognizable recordings of these sounds permeate the work, blended with fragments of recordist stomps, gasps, coughs, and voices—which were transformed into several DAW-based drum kits and instruments.

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End Of The Line Record Store Day 2024 Edition

LP | 2024 | EU | Original (Bam Balam)

LP | 2024 | Original (Sounds Of Subterrania)

Release: 2024 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Richard Pinhas' playing offers quite a few surprises alongside his trademark guitar sound, on this new collaboration with French/ British multi instrumentalist RG Rough. Ambient , noise, post rock and a fair share of motorik drums blend together in a heady flow which evokes a contemporary take on psychedelia.

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Jaqee Nakiri

Kokoo Girl

Release: 2024 / Original

Genre: Electronic & Dance

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LP | 2024 | Original (Sounds Of Subterrania)

Jaqee Nakiri

Yes I Am

Release: 2024 / Original

Genre: Electronic & Dance

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LP | 2024 | Original (Sounds Of Subterrania)

Jaqee Nakiri

Nalubaale

Release: 2024 / Original

Genre: Electronic & Dance

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Océan Oublié / Assordante

Junee

LP | 2024 | EU | Original (Stone Pixels)

LP | 2024 | EU | Original (Soda Gong)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Junee (Fhunyue Gao and Zoé Sjollema) is an encounter between a violin, a theremin, two voices and two synthesizers. An intimate investigation into the formation of the duo, which mirrors the take-off into imaginary worlds, sometimes obscure, sometimes celestial. The point of friction between experimental and pop opens up in-between worlds of melodious stories, non-places and sonic squeaks. After several successful concert tours since 2021, the duo were keen to work on a first musical release bearing the name Océan Oublié / Assordante and containing seven songs of different lengths and stylistic colors for a total duration of 30-35 minutes. The album was recorded in Geneva by Augustin Sjollema and was developed on the compositional foundations already acquired, during residencies at Smem (Swiss Museum Of Electronic Music) and « Südpol Theater Luzern » and will be released provisionally in spring 2024, on the Geneva-based label Stone Pixels Records.

Océan Oublié / Assordante will represent the first official release of the Junee musical project. The two-part title evokes the very source of the duo's thinking around the concept of duo. A project with two names, an interstice between two universes, a two-sided album: on one hand, Océan Oublié tends towards melancholic pop, and on the other, Assordante is more experimental and theatrical approach to the « Junee » Sound.

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K. Freund

Trash Can Lamb

LP | 2024 | EU | Original (Hands In The Dark)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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“Trash Can Lamb” is a new solo album from Akron, OH-based multi instrumentalist Keith Freund. For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs. Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust.

All music by Keith Freund, with contributions by Linda Lejsovka, G.S. Schray, Steve Clements, and Corey Farrow. Mastered by Kassian Troyer at D&M. Art/design by Alex McCullough and Felix Luke.

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Andrea Taeggi

Nattdett

LP | 2024 | UK | Original (Rocket)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Berlin-based, Italian-born sound artist Andrea Taeggi introduces his debut release on Hands in the Dark records with 'Nattdett', an album showcasing six mesmerising and rhythmically intricate electronic compositions. Drawing inspiration from previous works such as 'Mama Matrix Most Mysterious' (2015), 'Batch 0006' (2017), and 'Zimní Král' (2018), Taeggi delves further into his exploration of cyclical patterns and tension-filled compositions within his creative process.

The album's tracks focus on unsettling atmospheres, unusual rhythms and percussive tones, using a vast array of rare equipment, including the analog computer from the Willem-Twee synthesis studio in the Netherlands, initially employed for flight simulation in the Cold War-era. 'Nattdett' eloquently showcases Taeggi's talent in transmuting the essence of vintage machinery into a compelling primal language, offering an immersive and mind-expanding listening journey.

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Ex-Easter Island Head

Norther

LP | 2024 | UK | Original (Motion Ward)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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In meteorology, the word Norther refers to a cold wind that blows down from the north. For Liverpool’s Ex-Easter Island Head, it’s also an apt title for the strange and multi-faceted sound of their new album that now descends upon the world at large: ever shifting, a multiplicity of sounds both acoustic and manipulated, and yet one that still moves as part of a single mighty breeze. At times it might recall the experiments of Rhys Chatham and Glenn Branca, the widescreen beauty of The Necks, the relentless experimentation of Arnold Dreyblatt or the boundary-pushing roster of Kompakt Records, yet ultimately this is music that has no direct compare. Each of its six pieces demonstrates a different creative process. On blossoming opener ‘Weather’, whirring motors dance fairy-like atop strings and drums; on the dizzying ‘Magnetic Language’ voices are played back through phones and amplified through pickups made of magnets wrapped in copper wire; the title of ‘Golden Bridges’ refers to the brass rods the band shift beneath the strings of their guitar. All, however, tap to one degree or another into that abiding theme of the weather. Norther is Ex-Easter Island Head’s first studio album since 2016, a time spent on collaborations and one-off performances with everyone from classical musicians and fellow experimentalists to schoolchildren. “All of the projects we were involved in between 2016 and 2024 have expanded the boundaries of what we do by exposing us to a huge variety of instruments, personalities and ways of working. It's really allowed us to see the purity of making music with a four-piece group,” says the band’s Benjamin D. Duvall. That status as a quartet is a new one, with the addition of longstanding friend and collaborator Andrew PM Hunt. Having a member of the band handling recording and mixing helped them push further and further into sonic territory that until Norther remained entirely unexplored – not just by Ex-Easter Island Head, but by any other band on earth.

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Ulla & Ultrafog

It Means A Lot

Oasis Remastered 2024 Repress Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Two individuals from faraway journeyed the world together, and were given many tiny gifts from the surroundings. Then the music came out as a matter of course, as if a thing was being put in its right place.

Releases on April 12th, 2024, on Motion Ward

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Dettinger

LP | 2000 | EU | Reissue (Kompakt)

Intershop Remastered 2024 Repress Edition

Release: 2000 / EU – Reissue

Genre: Electronic & Dance

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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.

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Dettinger

LP | 1999 | EU | Reissue (Kompakt)

Nicole / Overwhelmed By The Unexplained

Release: 1999 / EU – Reissue

Genre: Electronic & Dance

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Nino Gvilia

LP | 2024 | UK | Original (Hive Mind)

Coral Morphologic & Nick Leon

Release: 2024 / UK – Original

Genre: Electronic & Dance

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"Born in Poti, near Lake Paliastomi in Georgia, Nino Gvilia is a singer-songwriter whose lyrics offer up meditations on what it is to be human in the 21st Century, and aim to carry us beyond into ecology and the politics of the non-human world.

Her songs are influenced by folk and minimalism and make use of magnetic tapes, field recordings, vocal samples of contemporary thinkers and philosophers, and an array of strange instruments and vintage textures, drawing for us an intense dreamlike atmosphere.

Now I should tell you that Nino Gvilia does not exist. She is a purely fictional character invented in order to help us reflect on the place of the songwriter in times of global crisis."

Nino Gvili: songs & lyrics, vocals, toy guitar, harmonium, field recordings. Zevi Bordovach: arrangements, synth, hammond, harmonium, vocals. Pietro Caramelli: arrangements, electric guitar, electronics, vocals. Giulia Pecora: violin. Clarissa Marino: cello. Recorded by Paul Beauchamp at O.F.F. Studio, Turin, March 2023. Mixed by Paul Beauchamp and Pietro Caramelli.

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Projections Of A Coral City

LP | 2024 | EU | Original (Balmat)

LP | 2024 | Original (Circus Company)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Coral Morphologic and Nick Leon's Projections of a Coral City marks a series of collisions between distant worlds: the organic and the artificial, the Eocene and the Anthropocene, sea and cement--and even, perhaps, ambient music and activism. Coral Morphologic are the Miami duo of marine biologist Colin Foord and musician J.D. McKay; since 2007, they have used a variety of multimedia projects to generate environmental awareness of marine biodiversity--most notably Coral City Camera, an underwater webcam streaming live from an urban reef ecosystem in PortMiami. Their citymate Nick Leon is a linchpin of South Florida's contemporary leftfield electronic scene, with releases for Tra Tra Trax, Future Times, and Naafi, and credits on records by Rosalia, Gaika, and Iceboy Violet, among others. This collaborative project dates back to 2022, when Coral Morphologic mounted a monumental projection-mapping installation on Biscayne Boulevard. For five nights in late November and early December, macroscopic films of corals played out across the exterior of Knight Concert Hall. The installation was, on the one hand, a glimpse into a possible future, imagining how the city's skyline might appear if unchecked global warming and rising seas led coral reefs to colonize the built environment. But it also represented a look back into the deep past, a reminder that Miami is literally built from marine limestone mined from the Everglades. Its concrete foundations began life, eons ago, as a marine ecosystem--the same ecosystem that may one day reclaim them. As above, so below. As an album, Projections of a Coral City is a suite of interconnected movements spread across two sides of vinyl. The tones are watery, the mood elegiac, the colors a washed-out pastel. Forms that appear static on the surface gradually open up to reveal hidden depths teeming with microscopic movement. You might detect resonances with other aquatically minded works--Jurgen Moller's Science of the Sea, Harold Budd's liquid piano compositions, even the slow-moving melancholy of Dr. Roger Payne's Songs of the Humpback Whale. But ultimately Projections of a Coral City creates the impression of a world unto itself--a hauntingly beautiful space at the meeting point between sorrow and hope.

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Ezechiel Pailhes

Ventas Rumba

LP | 2024 | UK | Original (Ghost Box)

Release: 2024 / Original

Genre: Electronic & Dance

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With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy.

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Pye Corner Audio

The Endless Echo

5CD | 2024 | Original (Edition Kymata)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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The Endless Echo is the fifth album on Ghost Box for the highly prolific Martin Jenkins. Pye Corner Audio cinematic electronica shifts effortlessly between brooding ambience and menacing dance floor grooves. It evokes awe-inspiring vistas and moments of sublime spine-tingling wonder. This time around Jenkins draws inspiration from scientific and science-fictional notions about the nature of time and the idea that it may be entirely unreal.

Pye Corner Audio’s discography includes eleven full length albums and many more singles and EPs across several labels. There are also remixes for John Foxx, Mogwai, Ride’s Andy Bell, Mark Lanegan, Maps, Apta, Alice Hubble, Stealing Sheep, Knightstown, Dolphin Midwives and Japanese Television.

Pye Corner Audio’s music appears in the soundtracks to Adam Curtis’s 2016 film HyperNormalisation, the 2018 Shudder TV series Deadwax, Sky TV’s 2019 sci-fi drama series Curfew and 2022 Netflix documentary Slay.

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Stefan Goldmann

Expanse

LP | 2024 | EU | Original

Release: 2024 / Original

Genre: Electronic & Dance

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For its first publication, Edition Kymata has commissioned a five-part long-form work from Stefan
Goldmann. This exposé to an incorporeal spatial structure captures infinite reverb responses to five
carefully designed immersive spaces.
Building on his earlier reverb-only work 'Call and Response' (2022), the capacity of reverberation to
enable the experience of impossible architecture is further explored – possibly in its clearest form to
date. The five zones of intangible aural sensibility compiled in this box set range from soothing to
menacing, inviting to a unique critical listening situation in which the listener's perception is the
dynamic side of the exchange while the stimulus persists in profound permanence.
The properties of the five enclosures – boundless in the time domain, distinct in their spatial
characteristics – reveal themselves completely and can be precisely described in statistical data,
allowing for multiple levels of access: a brief visit, long-term contemplation, exclusive ownership.
Stefan Goldmann is an electronic music composer based in Berlin, Germany.
Edition Kymata is a publishing house for audio arts with a focus on the study of first principles.

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Pimao

Duangkamol

2Tape | 2024 | UK | Original (Reel Torque)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Pimao's debut album, 'Duangkamol,' is set to hit the shelves on March 22, 2024. The Berlin-based producer, DJ, and avid vinyl collector, Pimao skillfully weaves together samples from Thai, Chinese, Japanese, and Indonesian rarities, framing them with a cinematic sound design. The title, 'Duangkamol,' means ‘straight from the heart' in Thai, reflecting the album's deeply personal essence. It embodies the culmination of Pimao's long musical journey and his deep thirst for exploring diverse sounds and cultures. From the striking melodies of Southeast Asia to the bass heavy undercurrents of Berlin, 'Duangkamol' encompasses a rich sonic tapestry. The music flows effortlessly, taking unexpected turns but always remaining tethered to a soulful core, as heard on the captivating single 'Suay Isan.' With a musical career spanning back to 2005, Pimao's sound is both forward-looking and nostalgic, evoking the depth of iconic releases from labels like Ninja Tune and Stones Throw Records. Scheduled for release on March 22, 2024, 'Duangkamol' was polished by Blanka at Kasablanka Mastering Studio in France. The album's artwork, crafted by Subwway, features the imposing figure of 'Yaksha,' a protector deity whose calling into ward off malevolent forces. Pimao's 'Duangkamol' is a captivating musical journey, blending traditional influences with contemporary innovation, delivered uncut straight from the heart.

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Roc

Makina Trax 2013-2023

A.S.O. (Aka Tornado Wallace And Alias Error)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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On his crazy solo debut album, Evol’s Roc hails Eurodance x happy hardcore x acid trance as mutant folk music with a 2 hour collection of live recordings, oddities and installation works directly inspired by the contemporary Catalan dance sound of Mákina - a massive tip if yr into Pastis & Buenri, Nana Makina, The New Monkey, Acid in the Style of Peter Beardsley…

Marking 25 years since Evol’s first record, ‘Principio’ (1999) for Mego, the prolific project’s main man, Roc Jiménez de Cisneros, deploys a distinctly personalised conception of Mákina from his Barcelona IP. After 10 years of adding to its special folder, Roc yields 28 psychoactive cuts marinaded in synthetic bath salts and sweat to wickedly skew the sound’s conventions - virulent 303 arpeggios, see-sawing melodies, and in-your-face beats - with the sort of playfully singular bloody-mindedness that has come to define his Evol works with Stephen Sharp and others. However, the sound here is distinguished by Roc’s personalised inflections and warped nuance that locates unique vitality in the viscera of Europe’s most maligned, but equally beloved, hard dance style.

Although technically rooted in the ‘90s megaclubs of Valencia, Mákina (machine) music also became native to its Catalan neighbours, including Roc, based further up the Spanish coast. And with thanks to a bunch of entrepreneurial Mackems who were bitten by the Makina buzz in the late ‘90s, it more unusually sparked a phenomenon in North East England and Scotland, where it alloyed with happy hardcore and rhythmelodic auction-style MCs to form a whole new offshoot in its own right, heard everywhere from the estates to notorious/legendary clubs such as The Blue Monkey/The New Monkey by Charvers trotting their Rockports off in a sword-dance style hyperfolk step. Roc’s ‘Makina Trax 2013-2023’ follows with a celebration of the sound’s role as regional rave soundtrack and folk signifier, paying no concession to “taste” or normality as he isolates, gurns and exaggerates Mákina’s features to a ludicrous yet immediately functional effect as divisive and energetic as marmite-flavoured wizz.

Pinging from gibber-jawed 303 graffiti to durational 14’+ screwball pounders, and even a killer old skool 808 electro variant (‘Makina Trax 22’), Roc really gets under the hood of this sound with results unmistakably comparable to the style and pattern fascinations of his Evol gear, yet surely tweaked out with a notably more live-wire, hands-on, accentuation. We hear it in the 50 seconds of anthemic fanfare to ‘Makina Trax 16’, the pitching, throaty yowl of ‘Makina Trax 03’, and in the scuttling briskness of ‘Makina Trax 04’, with particular standouts in the screwed, almost bloozy Makina sleaze of ‘Makina Trax 06’, the extreme flange of ‘Makina Trax 19’, and a 180bpm goblin bop ‘Makina Trax 28’. Basically some of the most potent tackle by one of the leading rave experimenters of his generation, whose uncompromising, brilliant work links everyone from the dearly departed Peter Rehberg to Florian Hecker, Mark Fell, to Lorenzo Senni.

Aweee the radgies, pasty droppers and pooter hooligans; it’s your time.

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A.S.O. 2024 Repress

LP | 2023 | EU | Reissue (Low Lying)

Kaunis Maa White and Green Marbled Vinyl Edition

Release: 2023 / EU – Reissue

Genre: Electronic & Dance, Pop

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Here is the debut, self-titled album from a.s.o., singer/songwriter Alia Seror-O'Neill, and producer Lewie Day. 'a.s.o.' is a thematic consolidation of the previous three singles and an impressive artistic progression. Day and Seror-O'Neill show they've mastered the format of the radio-friendly pop song and found how to subvert it completely. Across eleven songs, they have built a rich and compelling body of work.

We know where we are now, emotionally complex, trip-hop torch songs for club freaks. But the palette has broadened to encompass ethereal dream pop à la Cocteau Twins, slow-burning AOR-soul, and dubwise stylings. As a result, 'a.s.o.' is a satisfyingly coherent listen but never a musical monoculture. Variously there are nods toward Julee Cruise, Fleetwood Mac, and the uneasy listening of Portishead. It's an album that wears its influences lightly, is never weighed down by them, and always sure of its own identity.

It's anchored by Alia's unique voice. Her words speak of restraint and release, taking us from the elegiac to the euphoric. This elegantly crafted, perfect pop music sounds like it has had enough of your shit. And Day's music is the perfect foil; deep, slightly menacing, restrained, and powerful. The album has a cinematic texture, as with David Lynch; the seemingly familiar becomes uncanny and strange the closer we look. a.s.o. take our emotions for a joyride before leaving us floating in space.

'a.s.o.' is a journey; by its end, we all are changed.

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Riccardo Giagni

LP | 2019 | EU | Original (Archeo)

Higgs Boson (With Slightly Damaged Cover)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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"This release is LP and it's individually 300 hand-numbered limited edition. The first 100 copies are pressed on WHITE & GREEN MARBLED vinyls (AR016).
It's dedicated to the 1988 Experimental / Electronic masterpiece by the Italian contemporary guitarist Riccardo Giagni, originally released on Stile Libero (Italy) + a special Balearic Remix by SIMON PETER.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

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Gammelsæter & Marhaug

LP | 2022 | EU | Original (Ideologic Organ)

2LP | 2017 | EU | Original (Kontor)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. “Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a storylike arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

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Lexer

Against The Current

Release: 2017 / EU – Original

Genre: Electronic & Dance

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LP | 2024 | Original (No Salad)

Sunna Margrét

Finger On Tongue

LP | 2003 | EU | Reissue (Keplar)

Release: 2024 / Original

Genre: Electronic & Dance

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Icelandic musician and visual artist Sunna Margrét is set to release her debut full-length album, Finger on Tongue, via No Salad Records. Citing influences from krautrock legends CAN and Neu!, outsider synth pop artist The Space Lady and electronic music pioneers Suzanne Ciani and Eliane Radigue, Finger on Tongue is a masterclass in experimental pop, capturing an authentic Icelandic essence through its electronic and spellbinding sounds. Some tracks offer softness and peace while others invite you to dance, and the album homogeneity is precisely ensured by the rigorous approach to writing.

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Tujiko Noriko

From Tokyo To Naiagara

Marina Rosenfeld, Greg Fox, Eli Keszler

Release: 2003 / EU – Reissue

Genre: Electronic & Dance

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Keplar presents the first-ever vinyl edition of the 2003 album »From Tokyo to Naiagara« by Tujiko Noriko. This reissue with new artwork by Joji Koyama is an abridged version of the album as Tomlab label owner Tom Steinle and producer Aki Onda had originally intended to publish it alongside the original CD version. Written by the France-based Tujiko while she still lived in Japan, »From Tokyo to Naiagara« followed up on her two seminal Mego albums and marked a turning point in both the artist’s career and personal life: While she was preparing to leave Japan behind, she succinctly connected the dots between her experiments in pop music and her interest for more abstract sounds. Tujiko worked primarily with a Yamaha synthesizer and an MPC sampler while also incorporating contributions by other musicians such as Onda, Riow Arai and Sakana Hosomi into the pieces. Sometimes approaching an IDM and clicks’n’cuts-style production or working with trip-hop and hip-hop beats while using conventional song structures in the most unconventional of ways, the album showcases her multifaceted influences and skills as a singer and musician to full effect. Tujiko fondly remembers the time when she made the album. »I had a lot of time for myself back then and I didn’t even feel like I was very busy,« she says today. She describes producing it in close collaboration with Onda, who would relocate to New York City shortly after, as »quite Tokyo and very local.« They explored parts of the city that they hadn’t yet been to for a photography project (finding, among other things, a coin laundry called Naiagara—a transliteration of Niagara). This left its mark on a record that mixes melancholia with joy. The driving opener »Narita Made,« named after one of Tokyo’s airports, already makes this clear: Tujiko’s wistful vocals and lyrics like »I miss you terribly« emphasises the sense of bittersweetness that forms the common thread for a sonically diverse and stylistically open-ended album—this music is looking back while moving forward. It is probably no surprise that its reissue too evokes tender memories of Onda and Steinle in Tujiko, while also reminding her of what lies ahead. »I have so much more to do and not enough time for that,« she muses, before quickly adding: »But I also feel less alone having that album again.« Influenced in equal parts by the experience of strolling through previously unknown Tokyoite back alleys and thinking about the paths not (yet) taken, »From Tokyo to Naiagara« is precisely that: the perfect travel companion for a journey that leads its listeners from past to future.

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Greatest Hits

LP | 2024 | UK | Original (Info)

LP | 2011 | EU | Original (Denovali)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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A decade on from that stunning ‘P.A./Hard Love’ album that firmly placed Rosenfeld’s avant-dub fascinations on our map, the NYC-based sound artist releases these immersive recordings of her and two revered drummers interpreting scores generated by SuperCollider, which were then reworked by Rosenfeld, cut to dubplate, and played back in the hallowed arts space of MoMA P.S.1. With her last few releases, Rosenfeld has averted her gaze towards the fuzzy boundary between the avant garde and popular music, most notably covering Christina Aguilera and György Ligeti on 2021’s genius ‘Teenage Lontano’. Here, she takes a step further into febrile abstraction, using dubplates fed through a SuperCollider algorithm to reduce the data into a “proper” composition, with Eli Keszler joining Greg Fox on percussion and Rosenfeld further editing the material for release. Over 5 pieces the trio smartly short-circuit distinctions between free jazz, musique concrète, and dub- as-method, manifesting a masterful grasp of music’s spatio-temporal metaphysics on a remarkably wide and awning sound stage that benefits from detailed stereo dynamics. It starts tentatively with insectoid percussion appearing to scuttle the walls while phantasmic creatures growl and click from the rafters, and really comes into its own with bat-like zaps that feel out the room’s architecture on ‘Carys’. At its mid-way point, the percussion recedes to leave the artist’s voice swept in bleeps and crackle that slosh into the gyre of the sub-heavy, Gamelan-like ‘Solace’, before concluding with the seat-edge tension of Fox & Keszler’s gripping drums, spun out with Rosenfeld’s electronics like a real-time diffusion of a Parmegiani piece.

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Infinite Light Ltd.

Infinite Light Limited

Release: 2011 / EU – Original

Genre: Electronic & Dance

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LP | 2024 | Original (Circus Company)

Rejoicer

This Is Reasonable

Soft Selection 84: A Nippon Diy Wave Compilation

Release: 2024 / Original

Genre: Electronic & Dance

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Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.

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V.A.

LP | 1984 | EU | Reissue (Glossy Mistakes)

LP | 2024 | EU | Original (Erased Tapes)

Release: 1984 / EU – Reissue

Genre: Electronic & Dance

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Celebrated new wave compilation from Japan reissued for the first time on Glossy Mistakes.
A much-cherished gem from the 1980s underground Japanese music scene returns as Soft Selection 84 is reissued by Glossy Mistakes for its 40th anniversary. Originally released on DIY label Soft, the compilation sees 13 tracks from nine acts spanning minimal, ambient, zolo and more for a beguiling listen.
The result is a charming time capsule of eclectic creativity in which nothing sounds dated. Take La Sellrose Can Can, whose two party jams predate Kero Kero Bonito's hyperpop by decades. In addition, an impeccable remastering from the original master tapes adds to the "could have been recorded yesterday" feel of the collection.
Soft Selection 84 also includes the eccentric Picky Picnic. One of the few featured artists with recordings beyond the anthology, the trio is an essential act for those curious about Japanese art pop of the era. There is also new wave introspection from Name, whose "Do We All Need Love" plays out as a sensual nod to John Lennon. In a similar vein is Clä-Sick, the recording name of Goro Some, the compilation's original producer and founder of Soft.
The record's rerelease comes with Some's blessing, along with his original artwork and photography. Ultimately, the listener is left tantalised by his selection and its bold excursions into no wave, synth pop, radioplay and bizzaro house. Most of the artists on this release would fade into obscurity, but the transient nature of the potential showcased has helped cement the compilation's reputation over the years.
Soft Selection will be released on vinyl LP by Glossy Mistakes on March 2024, with a remastering from the original master tapes.

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Sheherazaad

Qasr Black Vinyl Ediiton

Release: 2024 / EU – Original

Genre: Electronic & Dance

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LP | 2023 | EU | Original (Kontor)

Sono

In The Haze

Release: 2023 / EU – Original

Genre: Electronic & Dance

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LP | 2024 | EU | Original (Altin Village & Mine)

Hjirok

LP | 2018 | EU | Original (Sono Music)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

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Sono

Human

Release: 2018 / EU – Original

Genre: Electronic & Dance

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12" | 1984 | DE | Reissue (ZYX Music)

Scotch

Disco Band

Release: 1984 / DE – Reissue

Genre: Electronic & Dance

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LP | 2024 | EU | Original (Subtempo)

Rene Lorenzo

Pulses & Resonances

LP | 2024 | UK | Original (Holoverse Research Labs)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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“Pulses and Resonances” is Rene Lorenzo’s debut album on Subtempo. This album represents a culmination of more than 20 years of electronic music exposure as a DJ and a clear point of view. We can hear in

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Lost Souls Of Saturn

Reality

LP | 2024 | US | Original (Helical)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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For their first album, Seth Troxler and Phil Moffa joined forces and became multidimensional creative dissidents Lost Souls Of Saturn. This time, even further into the vortex, they’ve metamorphosed into sci-fi AR comic characters John and Frank who’ve explored the galaxy and returned with this perception-melting new LP.

Although ‘Reality’ still possesses the wigged-out conceptual brilliance which garnered installations and performances at Saatchi Gallery (London), Fondation Beyeler (Basel), The Metropolitan Museum of Art (nyc), and Museum of Contemporary Art Detroit, plus live sets at Field Day, Glastonbury and Kappa Futur, as its title might suggest, there’s vividness amidst the mind-bending. Where its predecessor was a murky exploration of weird and dark cerebral passageways, this album – though still fathoms deep – has a dazzling clarity of sound, as if listeners are beginning to crack the arcane codes, and reach for enlightenment.

A prime example of these newfound beams of light guiding participants through the maze is their recent single; the chugging cosmic techno synth pop of ‘Mirage’, featuring the voice of Adam Ohr. Also guesting on the album is Lvv Gvn, whose honeyed Billie-Holiday-meets-Rickie-Lee-Jones tones adorn the tranquil pixelated broken beat of ‘Click’, Greg Paulus’s trumpet sessions on ‘Zorg Arrival’ and ‘Scram City’, and Protomartyr’s vocalist Joe Casey and guitarist Greg Ahee, who grace the liminal drifting celestial plane of ‘Lilac Chasers’. Sitarist Rishab Sharma, the last disciple of guru Ravi Shankar, also shreds on ‘Scram City’.

Elsewhere, across the LP’s immensely inventive instrumental passages techno, dub, house, jazz, psych and ambient are vapourised into an expansive yet pleasingly concise series of morphing dream states. Fans of Air Liquide, Ravi Shankar, Ray Manzarek, Carl Craig, Pole, The Orb and ‘Son Of A Lung’ era Fsol should find much to like.

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Leonardo Barbadoro

Musica Automata

2LP | 2015 | EU | Reissue (Clone Aqualung Series)

Release: 2024 / US – Original

Genre: Electronic & Dance, Classical Music

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Musica Automata is an album that brings together two dimensions often perceived as incompatible: the boundless expressive possibilities of electronics implemented by an acoustic instrumental body in a sensory reality, beating, vibrating, and blowing. An orchestra of automated instruments – robots – controlled by digital impulses. This ensemble of musical robots (part of the Logos foundation in Ghent) includes numerous classical instruments as well as many unconventional instruments, making it the largest orchestra of robots in existence. The expressive possibilities of these instruments, thanks to their many controllable parameters, are innumerable: in fact, these are not limited to note control, but also dynamics, sound envelope, microtonal control and much more. If it is true that an electronic instrument can foster compositional invention, exploring where the musician, due to anatomical limits, cannot go, it is equally true that the sound produced by a vibration in real space has physical characteristics that make the sonic uniqueness of every single event fascinating. The second aspect is the precise control of every detail of the performance. Traditionally, the composer entrusts the score to the musicians, who perform it by translating the signs into actions. In this scenario, an ineliminable gap emerges between the author's concept and the sound event. This, in the case of Musica Automata, does not happen: Leonardo was able to calibrate and draw every tonal detail for every single note played. What you hear, therefore, is the exact and arbitrary snapshot of the musical fact imagined by the author who, in doing so, also becomes the performer of his own work. To be faithful to the performance of the pieces, Leonardo has chosen a radical approach: no artificial processing has been added in post-production, even the reverberations of the instruments are those recorded in the real environment and with them, the sounds of the moving robots that become part of the music itself.

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Der Zyklus

Biometry 2024 Repress

Peter Wolff & Jens Borgaard With Kai Lietzke

Release: 2015 / EU – Reissue

Genre: Electronic & Dance

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Re-issue of the classic album by Heinrich Mueller. Originally released in the early 00's (2004 to be precise) which basicly was deep into the future for everyone born before 1980. Techno was still about innovation, stepping into the future, going ahead, updated technologies, exploring the new.? Like previous releases Heinrich Mueller takes inspiration from latest technologies and developments. For this album he had support from Biometric systems Gmbh in Bayern, Germany. He was allowed to visit their laboratories and gather information of biometric research (which at that time was the latest developments in human interaction with hi-technology). The results are 11 tracks that are a brilliant abstract reflection of these new technologies and the effective practical use of these techniques in our daily live. Heinrich Mueller takes his musical journey further away from his well-known early Dopplereffekt releases and several side projects and merges those early projects wit h hi-technology applications available for modern studio engineering. The full length album shows the dark emotions and also the energy and positive feelings which come with new technological applications. These 11 tracks are a selection of musical arrangements with and without rhythmical structures. It’s a collection of abstract interpretations and expressions of human emotions during a period of discovering the latest scientifically applications (in general) and finding new information about the possibilities of biometrical identification in 2004. Actually 3 years into the future if we consider 2001 the fruition of the idea of the future for the 70 and 80's generation. And it was just before or maybe even right at the moment that techno music lost its focus on the future and became retrospective. This album is the future.

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Destroyer Red Vinyl Edition

LP | 2023 | EU | Original (Myproudmountain)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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The Lights Are On But No-One's Home

A Bad Diana

LP | 2007 | EU | Reissue (Optimo Music Archiv)

LP | 2023 | EU | Original (Musica Per Immagini)

Release: 2007 / EU – Reissue

Genre: Electronic & Dance

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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.

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Heinrich Dressel

Polarlys

7 Types Of Ambiguity - A Parade

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Musica Per Immagini is about to go beyond vinyl reissues of soundtracks and music libraries, with a brand new series of products. From 2024 onwards, it will release a series of albums of contemporary and electronic music often "inspired by" different sources, both sonic, if not literary and cinematographic. A way to embrace the future without forgetting the past. Heinrich Dressel's “Polarlys” is the first album of unreleased tracks published by Musica Per Immagini, or a soundtrack for a imaginary noir film set in the icy waters of northern Europe, inspired by the book “The Mystery of the Polarlys” by Georges Simenon. Drones and ethereal atmospheres are paired with a cinematic background in order to describe the frost of the northern seas and the restlessness of the journey: beyond the classic analog sounds, a specific use of additive and vector synthesis particularly in vogue during the Nineties and typical of vintage synthesizers.

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Arto Lindsay

LP | 2024 | EU | Original (No Salad)

Imerro Black Vinyl Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Arto Lindsay's 7 Types of Ambiguity - A Parade is a stereo mix of an original sound installation that was installed at ECAL / University of Arts and Design, Lausanne, Switzerland, in 2022 as part of a research project led by Thibault Walter and Stéphane Kropf called Phantom Power. The idea was simple, and yet the process and level of collaborative work implied was enormous: how to recreate a carnival parade -of the kind Arto had witnessed in the streets of Bahia in Brazil numerous times- inside a white cube and using only sound. How to replicate the complex intrications of those stories, heard or fantasized, the smaller blocos of musicians crossing the path of blasting sound systems mounted on trucks, those religious rythmes mingling with popular traditions, class and race struggle at street level " prime example of the proximity of sexuality and religion, of tradition and novelty and a place for true social innovation " and the effect it all has on the bystanders that are completely part, or even become the subjects of the whole?
Arto went to Salvador de Bahia with a narrative of a parade in his mind, and recorded excerpts in a terreiro, a temple of Afro-Brazilian religion, with four musicians leader of blocos, three of which he had previously worked with. Those mixed tracks were crafted into a sound sculpture directly in the room in Lausanne on a 27 channels immersive installation, adding layers of meaning within the room itself, hallucinations, weather patterns or places, like when the parade stops during a rain shower or gets so close to the ocean as to lose the sound of the percussions in waves.
This 26'30'' composition was later remixed, the spiral of speakers on the floor of the room engraved on a vinyl, and the position of the listener defined for your experience of this record, Arto Lindsay 7 Types of Ambiguity - A Parade, out on February 2nd 2024 on No Salad Records.

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C. Diab

LP | 2024 | UK | Original (Tonal Union)

Laya 2023 Transparent Vinyl Repress Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single ‘Lunar Barge’.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations “post-classical grunge”. Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed ‘No Perfect Wave’ (2016, Injazero) and subsequent releases ‘Exit Rumination’ (2018), ‘White Whale’ (2020) and ‘In Love & Fracture’ (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer’s unprecedented second “heat dome”, which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of “simple ecstatic improvisation.” Diab explains: “I wanted to place myself in a space for creation with little thematic pretence, with the belief that music ‘shows its face’ as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play.”

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Popp

LP | 2019 | EU | Reissue (Squama)

Release: 2019 / EU – Reissue

Genre: Electronic & Dance

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Boiling Wells (Demos '10 - '22)

Jabu

LP | 2023 | UK | Original (Six Of Swords)

LP | 2024 | Original (Quindi)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

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Dead Bandit

Memory Thirteen

Lassigue Bendthaus / Atom Tm

Release: 2024 / Original

Genre: Electronic & Dance

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Three years on from the desolate beauty of their debut, Quindi Records is proud to present the
second album from Dead Bandit. The ghosts of their past endeavours still haunt their guitars, but
on Memory Thirteen the duo's delicately dishevelled Southern gothic feels tonally distinct from their
prior outing.
Dead Bandit is Ellis Swan and James Schimpl - the former a noted solo singer-songwriter from
Chicago with a penchant for eerie, witching hour murder ballads and the latter an accomplished
Canadian multi-instrumentalist with a bias towards heartworn, roaming soundscapes. Their
instrumental collaboration has an open, lyrical quality which says as much as any spoken line, and
on this album they've especially embraced the power of contrast as we're guided between scenes,
sometimes within the confines of one track.
'Peel Me An Orange' is especially instructive in this regard, beginning as a blown-out paean to
sonic degradation and the acute sense of hopelessness it projects, only to yield to a lilting tape
loop of twanging guitar before entirely widening out in an emphatic burst of post-rock optimism.
Post-rock isn't noted for its banal cheeriness as a genre, and Dead Bandit aren't about to lay down
feel-good drive-time anthems, but the sense of pulling at extremes of energy and introspection
show Swan and Schimpl to be testing the emotional limits of their weatherbeaten sound. The
cautiously sentimental mood of 'Blowing Kisses' hints at the hard-won light which can be
encountered while pointedly driving into darkness.
Sometimes noise is a subtle device - a looming bed of unease under the forthright pluck of Swan's
distinct guitar tone or the cracking round the edges of a beaten up drum machine. On 'Memory
Thirteen' the distortion on the bass becomes a central figure in its haggard waltz, while 'Staircase'
and 'Perfume' leave the signal wet until the delay feedback becomes the body of the riff. Either
way, the sound is never left untouched as Swan and Schimpl grow more comfortable in their
exchange, blurring their respective sonic languages as they expand their shared vocabulary to
create an album of depth, difference and devoted distortion.

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Compilation / The Overcome EP

12" | 2023 | EU | Original (Fill-Lex)

LP | 2021 | EU | Original (Ever/Never)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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On the occasion of the release of the book “AtomTM, the noncon- formist virtuoso”, the Valencian labels Fill-Lex Records and In- dustrial Complexx join forces to release “Transitions”, a limited edition of only 200 copies that brings together a select compila- tion of tracks by Lassigue Bendthaus on side A, and the EP The Overcom by AtomTM.

Side A opens with Transitory (Anti-Matter Edit), an alternative version released only on the 1991 CD maxi Automotif, in which the German producer shows a premature ability to generate com- plex rhythmic patterns and futuristic electronic textures. Infor- mation, the second cut on this A-side, was originally released on Biohazard in 1992 and its sound mixes influences from styles such as EBM and electro. Render appears on the album of the same name, released in 1994 and only on CD, and here we can observe the sonic evolution of Lassigue Bendthaus in which he integrates a heavier rhythm.

The B-side of Transitions hosts the two tracks from The Overcom EP, released by AtomTM in digital format in May 2022. Kuro- sawa sounds like a transgressive industrial with a fast cadence. On The Overcom, the EP’s closing track, the rhythmic intensity continues, and even intensifies to the point of focusing much of the track on percussive patterns.

AtomTM, the nonconformist virtuoso is a book that explores the artistic evolution of one of the most multifaceted and ver- satile producers on the international electronic music scene. It offers an insight into the progression and different musical paths that this German artist has taken since the mid-80s to the present day.

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Rider/Horse

Select Trials

Release: 2021 / EU – Original

Genre: Electronic & Dance

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LP | 2022 | EU | Original (Ever/Never)

Rider/Horse

Feed 'Em Salt

Release: 2022 / EU – Original

Genre: Electronic & Dance

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LP | 2023 | EU | Original (Mappa Editions)

Adela Mede

Ne Lépj A Virágra

LP | 2023 | EU | Original (Vaagner)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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A year and a half has passed since Slovak-Hungarian artist Adela Mede self-released her debut album ‘Szabadság’. Its liner notes described it as “a navigation”, a search through “the personal, familial, cultural, folkloric and geographic of her past and present.” Her second album, ‘Ne Lépj a Virágra’ no longer searches; here, she puts down roots and delves deeper into the earthy reality of her home, Central Europe. Mede sings in three languages with newfound conviction and grace – this is an album of profound faith and confidence in the potential of this fertile soil.

Composed and recorded during the last 18 months in Bratislava, Slovakia – a city where three countries meet, where the East and the West collide – 'Ne Lépj a Virárga' translates to “don't step on the flower”. Its themes – budding potential, recognizing the beauty in the ordinary, solidarity, turning despair into hope – emerged through Mede's wholehearted involvement with her community, teaching singing to both children and adults, and various grassroots volunteering initiatives. It features collaborations with local artists, Mede's singing students, as well as fellow Eastern European contemporary artists Martyna Basta and Wojciech Rusin.

Adela Mede embellishes carefully crafted songs with minimalist and folklore influences, but also embraces more experimental approaches. The result is a collection of quite varied yet consistent pieces which highlight Mede's proficiency as a singer, arranger, producer and improviser. It is a grounded, confident next step for the Bratislava-based artist. Whether her vocals are naked, heavily processed, warped and reversed, or looped and layered; whether the production is sparse and minimalist or overwhelming and swampy; none of that changes the fact that the gentle tentativeness of her debut is gone. This is “Central European music”, at its most striking and meaningful: patient, determined, embracing both complexity and possibility.

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Aging

Reworks (Rewoven)

Tam tikri objektai erdvėje

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Whisky soaked, nocturnal, brooding. Aging’s album »Troubles? I Got A Bartender« was a noteworthy, film-noir infused suite that quietly slipped out on cassette in 2015 by a then budding Manchester avant-jazz ensemble, led by David McLean. In 2020, amidst the pandemic’s tempest and winter's gloom, the idea manifested of showcasing McLean’s slow burning, wistful soirée in a new light via a curated effort by Berlin’s Vaagner label, which invited a series of hand-picked artist to rework selected compositions from the album, rendering its mournful, smoke-tinged resonances into new shapes. Its result is »Reworks (Rewoven)«, and it presents 6 new interpretations by 5 artists. These range from ruminating, tape smudged ambient works interlaced with sublime acoustic strums by fellow Manchester musicians The Humble Bee and Tape Loop Orchestra, to poignant steel guitar renditions by Nashville based Kelby Clark. Furthermore, Barcelona based Dania and London based Laila Sakini, each present pieces that draw the listener into opaque realms harbored by swooning reverie and eerie, glistening prophecy. Carefully assembled across two sides of vinyl, McLean’s penchant for hard-boiled detective novels, vintage Japanese crime flicks and film noir iconography have a continued lurking presence in the reworks, yet the new pieces each add a modern facet to the original’s cinematic narrative, its morose and sulky mood now opening into new avenues of interpretation. And whilst some artists have chosen to dive further into the themes of contentious ambivalence and pensive solitude, others have sought to slightly lift the haze, stirring up melodies tinged with a sense of hope, hinting at times, towards instants of poise and vivacity. In the end this leaves us with a new body of work that manages to feel poignant in its complexity whilst remaining dissonant and elusive in its renditions, hinting at a modern day existence even more opaque, intricate and convoluted than the film noir classics of old might have pictured the world.

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Sam Gendel and Ugnė Uma

LP | 2023 | EU | Original (Meakusma)

12" | 2023 | EU | Original (ZYX Music)

Release: 2023 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Between improv, pop and r&b abstractions, and contemplative balearics, Sam Gendel and Ugné Uma “Tam tikri objektai erdvėje” subtly meanders through a fragile and forward cosmos both inward and out.

Sam Gendel and Ugnė Uma’s Tam Tikri Objektai Erdvėje album sketches a layered, melismatic and intertextual view on what both performers define as a lightness of being. Ugnė Uma’s musical stance is influenced by experimental poetry and Lithuania’s 20th century underground music scene - jazz and folk, resulting from the liberation of the country’s independence movements. Sam Gendel, from Los Angeles, is a saxophonist and producer, proficient on more instruments than the saxophone alone, whose recorded work both solo and collaborative has brought him acclaim as a vital new voice in modern jazz and beyond.

Tam Tikri Objektai Erdvėje is Lithuanian and translates as Some Particular Objects in Space. The six tracks on the album stand for every letter of the word Saturn. They sketch out a sound palette both fragile and full of forward momentum. With hints of improv, sampling their own recorded work and sounds of a childhood’s Yamaha Portasound PSS-290 synth into abstractions of pop and r&b, some of these tracks reach an almost balearic feel, the more contemplative end of it. With lyrics delving into cosmic phenomena, Tam Tikri Objektai Erdvėje is an album about space, whether cosmic or inward or the one in between. It easily surpasses the sum of its influences and the materials and tactics used to produce it.

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Martinelli

Cenerentola Cinderella

Release: 2023 / EU – Original

Genre: Electronic & Dance

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12" | 2023 | EU | Original (ZYX Music)

Koto

Jabdah

Release: 2023 / EU – Original

Genre: Electronic & Dance

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LP | 2023 | EU | Original (Karaoke Kalk)

Golden Disko Ship

Oval Sunpatch

LP | 2023 | EU | Original (Futura Resistenza)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Theresa Stroetges returns to Karaoke Kalk with her second album for the Berlin-based label, her fifth solo full-length with her Golden Diskó Ship project in total. Having released records with the Indian-German band project Hotel Kali as well as Painting, a group dedicated to audio-visual concepts, »Oval Sun Patch« sees her embrace influences from club culture, advanced electronic music, and pop more firmly than ever before. Over the past 15 years, Golden Diskó Ship has served a vessel with which the Berlin-based multi-instrumentalist has traversed a variety of genres and circumnavigated all conventions in the process. With »Oval Sun Patch,« Stroetges again sets sail into unknown waters with what is perhaps her catchiest album so far—beat-driven, playful, atmospheric, and at times thoroughly anthemic. This is the sound of Golden Diskó Ship moving forward. A life lived in transit, the vastness of bodies of water and the isolation of islands as well as more generally notions of processes and progress have been recurring motives throughout Stroetges’ previous records and also mark »Oval Sun Patch.« In fact, the foundation for the six pieces was laid when she was working abroad and at times close to the sea. The massive three-part album closer »Earth Before The Space Race« was conceived as a multi-channel audio-visual performance piece during a 2021 residency at Zaratan Arte Contemporânea in Lisbon. The others were written in the following year during two other residencies when Stroetges first spent time in Austria at the sound art festival Klangmanifeste in Lindabrunn and then visited Portugal once more for a stay at Goethe-Institut in Lisbon. With the help of Shelley Barradas, who lent her a guitar, and Julia Klein, who helped her setting up a temporary studio in the Goethe-Institut Portugal’s auditorium, she made the preliminary recordings of what would later become this album. »Oval Sun Patch«, later refined in Berlin and mixed in close collaboration with London-based engineer Hannes Plattmeier, is a direct result of Stroetges having to work with what was available to her at the time of writing and recording. While her distinct guitar playing—evocative yet funky, complex but catchy—once more features heavily and she uses her voice in manifold ways to sometimes harmonise with herself or creating complex canons as counterpoints to her her own lead vocals, the electronic gear she worked with dominates the album both compositionally and sonically. Stroetges’ music has always displayed a passion for club culture and advanced electronic music, but on »Oval Sun Patch« she proves once and for all how well these influences can be integrated into her unconventional approach to songwriting. However, the punchy beat and Moroder-like bassline that form the backbone of »Dolphins With Soft Helmets,« the throbbing house and techno grooves underneath »Ephemeral Carnivores« and »Well-Oiled Machine« as well as the jittery IDM rhythms of »Google Your New Name« and her nods to trip-hop with »Tiny Island« do not so much follow established formulas as they use them as a starting point for wild experimentation instead. Stroetges juxtaposes complex rhythms with interlocking melodies and rich harmonies in ways that continue to surprise throughout and still leave enough space for the occasional wistful guitar or vocal passage. Nowhere does this approach feel more epic than on the 12 ½ minutes long »Earth Before The Space Race,« which takes its time to unfold, changing its pace and mood throughout. »Oval Sun Patch« is an album about change. The lyrics describe constant transformations of sceneries, relationships, physical and emotional states as well as the climate throughout its running time. Stroetges in the meanwhile leads the way as a singer, songwriter and producer who lets her music evolve constantly. This is sound, moving forward.

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Nadagen

LP | 2023 | EU | Original (Kompakt)

Release: 2023 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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In the early '80s, Dutch band Nadagen carved themselves a niche in Amsterdam's post-punk scene, where nihilism was a call to arms. Their name translates to 'aftermath' or 'twilight years', reflecting their existential outlook: their songs offered prophecies of impending doom, echoing their belief in the imminent end of the world. Nadagen's minimal instrumentation and shouted lyrics convey a sense of rebellion, denouncing the consumerism and so-called decency of the era. Despite a brief existence, they left a legacy that resonates in today's troubled times, making their records a gleeful experience for all the long-standing doomsayers out there.

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V.A.

Pop Ambient 2024

LP | 2023 | UK | Original (Ghost Boxqlp)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Dear gourmets of audio-aesthetic rapture, dear sound poets, please welcome - Pop Ambient 2024. Twenty-four. Twenty-four can be divided by two, four, six, eight, twelve and itself. If something can be divided by itself, it is not really divisible. Truthfulness knows no formulas. Beauty knows no formulas. Beauty saves the world for no reason whatsoever. “Beauty is a promise that beyond mediocrity there is something where calmness reigns. Beauty calms the nerves. Beauty is not a good intention but a fact. Beauty is provocation, rigor, responsibility. And beauty has its price”.

In addition to the official version of Pop Ambient 2024, there will be an art/music edition limited to 10 pieces, consisting of an exclusive mini bonus album (vinyl dubplate) from Blank Gloss, in combination with 10 individual fine art print artworks by Veronika Unland. The edition will be available via kompakt.fm/art exclusively on November 24th, 2023.

Ladies and Gentlemen please welcome, Pop Ambient 2024

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Large Plants

The Thorn

LP | 2023 | Original (Squama)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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The music of Large Plants could be characterised as psych rock, with this outing having a folkier, proggier and more fantastic feel than the heavier biker-rock of the 2022 debut, The Carrier. The tracks on The Thorn also weave synths into the traditional four-piece sound palette.

The Thorn was partly recorded at the same time as the The Carrier, with more songs added subsequently. However, all tracks for both albums were recorded and performed entirely by Jack Sharp in a barn, since demolished. “It was a dirty, rusty, metal shack with no insulation or sound treatment, and it was full of junk, but it sounded weirdly great, and I loved it.” Sharp told Shindig magazine.

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Polygonia, Popp

Candid

LP | 2023 | EU | Original (Refractions)

Release: 2023 / Original

Genre: Electronic & Dance

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Roots run deep on "Candid', the first LP by Munich-based producer Polygonia and drummer Simon Popp. The record is a perfect blend of their distinct voices, with Popp's drumset and his signature percussion sounds buzzing around Polygonia's bold and blooming productions.
Comprised of live material recorded at Munich's ZIRKA in late 2022 and over several studio sessions in-between touring duties, 'Candid' is a meadow of herbal Electronic, mystic at times, but joyful nonetheless.

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Jan Nemecek

Dissolved

Zbigniew Preisner & Lisa Gerrard

Release: 2023 / EU – Original

Genre: Electronic & Dance

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"There could barely be a better figurehead for Belgrade's simmering multi-limbed music scene than Jan Nemeèek" The Quietus `Dissolved', a new album by Serbian synthesist and sound designer Jan Nemeèek, began its life cycle in a studio live room. It unpacks the paradigm of the individualistic act of computer music creation, transporting it into the communal setting of a band, its performers contributing elements ranging from prepared piano to Turkish lyre. The album opens with an unexpected falter, a false start that imbues the album with a sense of vulnerability. It's as if the album itself is finding its footing, mirroring the dissonance of an orchestra tuning. This digital ensemble, an assembly of electronic voices, seems to search for its harmony, its discord, its pitch, its timbre - much like a traditional counterpart would. As it unfolds, `Dissolved' further taps into the raw tonalities of partially defunct digital synthesizers, ranging from early 2000s' attempts at neural networks to precursors of oscillator-laden software synthesizers, in order to build its cloud of suspended tension and alternate histories. Through this clash of wistful piano and biting frost of digital pads with the iridescent hum of tube amps, the album reflects New Age tropes through the prism of metal (machine) music. Hailing from Belgrade, Serbia, Jan Nemeèek has been releasing electronic music since 2005, with a particular focus on ambient and bass-heavy electronic compositions. Nemeèek's music is characterized by his use of a wide range of sound generating tools, including neural networks, analog synthesizers, and granular synthesis. His approach to music production allows his work to unfold with patience, influenced by borderline dub sub-bass movements and heavily based on deconstructed recordings. Jan has released several albums, most notably 2014's Fragmented and later Recurrences. Prior to that, he co-founded the Creative Commons-based net label Norbu. `Dissolved' is set to be released on vinyl and digital on 10th November 2023 via Refractions, a new imprint founded by Nemeèek.

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It's Not Too Late

LP | 2023 | Original (Preisner Productions)

Release: 2023 / Original

Genre: Electronic & Dance

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2LP | 2006 | EU | Reissue (Re:Discovery)

Off The Sky

Gently Down The Stream

Last Light Black Vinyl Edition

Release: 2006 / EU – Reissue

Genre: Electronic & Dance

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re:discovery records proudly presents the first vinyl issuing of Off the Sky 'Gently Down the Stream'. Originally released in 2006 on the cult ambient label Databloem, it has grown over the past 15 years as one of the seminal releases in their discography. Fans of glitch styled rhythm based ambient like Shuttle 358, Mille Plateaux, Thinner, 12k records and later Force Inc to minimal and dub fans of the Cologne style should really be taken by this beautiful sounding album. Like the title suggests, expect to drift off to a desert island to this beautiful serenade. Off the Sky (Jason Corder) is a veteran of the ambiant scene. With over 25+ albums to his credits, come listen to one of hisearliest in his discography. A magical album to chill-out to. Bring back the chill-out rooms!

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Tor Lundvall

LP | 2023 | US | Original (Dais)

LP | 2023 | EU | Original (Laut & Luise)

Release: 2023 / US – Original

Genre: Electronic & Dance

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Originally released as a hand-numbered CD on New Year's Eve of2004, Last Light captures Tor Lundvall 's hushed songcraft at its most ghostly and grayscale, stripped bare like branches bracing for winter. Initially conceived of as "a piano album with sparse electronics" (with the working title November), Lundvall's palette steadily expanded, incorporating synthesizer, samples, bass, metronomes, and his signature spectral vocals.A journal entry from the spring of 2002 proved formativeto his evolving vision: "I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness."The album's 12 tracks are steeped in this sense of autumnal transience, of bearing witness to what fades. The music moves in whispered swells, between dirge, drift, and devotional. Synths chime like slow-tolling bells; percussion shuffles and shivers, icy and isolated; bass traces a low-lidded plod -it's a mode both austere and seductive, lulling the listenerinto its landscapes of deepening dusk. Lyrically, Lundvall's language skews observational and depressive ("through lace curtains / grey light falls / dark clouds gather / in my soul"), with each song like a gauzy glimpse into a different tableau framing winter's descent: rust - colored leaves, frozen ponds, cold crescent moons. Lundvall has long considered Last Lighta "personal favorite" in his discography, and it's easy to hear why. In texture, finesse, and pacing, it vividly evokes the rare mood of fragile, frosty pastoral noir depicted in hisiconic oil paintings. His is an art of the half-seen and half-remembered, of fleeting figures, shapes and shadows, and gathering darkness. Of all that disappears, and the ghosts that never leave: "So I wait / as the years / slowly drain the magic and the light / and the girl / I never loved / haunts me through the dark roads of my life."

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AFAR

The Refuge

Mkwaju Ensemble (Midori Takada)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Afar is a Berlin based music duo consisting of Elena on vocals and guitar, and Joseph on synthesizers and live hardware. Their forthcoming album stems from the misty heights of the pyrenees, hidden and sheltered within thick, old walls. The whole album was written and recorded in four winter weeks. An intense and demanding period, yet liberating and empowering. »The Refuge« is the collection of stories, the process of it is a story on its own. All tracks are touching, drifting, driving. Soft and raw voices meet between rough synthesizer lines. The result ranges from powerful breakouts to fragile moments. Honest and vulnerable, bold and brave: A true journey, a real refuge.

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Mkwaju (2023 Repress Edition In Biovinyl)

12" | 2023 | EU | Original (WRWTFWW)

Indo Tribe & The Future Sound Of London

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Beautiful 1 LP Edition Classic with 350g cardboard sleeve, Sticker Noen in a 2023 Repress Edition in BioVinyl (co2 neutral in zteh Vinyl Production process)

- THE holy grail album Mkwaju by acclaimed Japanese percussionist Midori Takada's Mkwaju ensemble

Wrwtfww Records is proud to announce the highly anticipated official reissue of holy grail album Mkwaju by acclaimed Japanese percussionist Midori Takada's Mkwaju ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD.

Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato's debut album, Yasuaki Shimizu's Kakashi, Colored Music self-titled LP and many more) Mkwaju is the fruit of the collaboration between Takada's crew and world-famous composer/musical director Joe Hisaishi, the man behind most of of Hayao Miyazaki's Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano's Sonatine, Hana-Bi, and Kikujiro. The ensemble's transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album. Historic.

Led by Midori Takada on marimba, gong, vibraphone, and tom tom, Mkwaju is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada's career and an all-around pioneering album.

Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on Mkwaju includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion fame, Junko Arase (heard on Satoshi Ashikawa's legendary Still Way - Wave Notation 2), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).

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The Pulse E.P.

LP | 1993 | EU | Reissue (Jumpin & Pumpin)