Electro 188 Items

White vinyl. Copy n° 2540

Still sealed with hype sticker. tiny wear. Clear vinyl Limited edition.

Still in shrink, but opened

What the artist may consider the most formative years for the project and what clubbers may have heard in numerous live sets with the ‘encryption nets’ classic dub track. Despite being created over a decade ago for limited double cassette and then compiled on ‘it stands to conceal’ this is widescreen esoteric cold industrial perfectly suitable for our collapsing world.

Despite being created over a decade ago for a controversial limited double cassette and then compiled on ‘It stands to conceal’ this is patient, esoteric, cold, industrial perfectly suitable for our end times.

A cult was built around this truly ominous original tape by Vatican Shadow. With slowed down mega-apocalyptic drone drum contemplations. Despite being created over a decade ago for limited double cassette and then compiled on ‘it stands to conceal’ this is long form esoteric cold industrial perfectly suitable for our accelerating global amnesia.

One of the most anticipated releases this year drops late october, so be prepared for Justice and their sophomore banger "Audio, Video, Disco"!

The world is already fallen and the temples are all new again.

Originally released on limited 10" double-pack in 2017, 'Luxor Necropolitics' was once again produced by Joshua Eustis of Telefon Tel Aviv, and includes a super rare remix from Female of Sandwell District fame.

This release is limited to 100 copies.

"We are excited to reissue Kuedo's classic 2011 album 'Severant' on double vinyl for the first time, and with a bonus track 'Work, Live &
Sleep In Collapsing Space'. The cover artwork has been redesigned by Raf Rennie (Who also designed Kuedo's recent album on
Brainfeeder, Infinite Window). In terms of feeling, ‘Severant’ explores the space between the detached world of the imagination and the
real-time world; that feeling of coming out of a daydream, on the edge of the drift from the day-to-day grind. Jamie says of this moment
”As reality shapes imagination and escapism affects your choices in the real world, there is a strange relational loop between the two
and the space in between the two. There’s a bitter sweetness in that gap, it has a certain emotive quality, kind of in between being and
non-being”. Again, musically ‘Severant’ is inspired by related themes. It sounds as if it’s in a sweet spot between the emotive, innately
futurist synth soundtracks of Tangerine Dream and Vangelis, borne from a time when the very idea of futurism was more prevalent, in
combination with musical ideas and inspiration from the emotionally ambivalent, materialist fantasies of ‘coke rap‘ such as The Clipse.
Rhythmically the record is influenced by what Jamie calls ”the two ultra modern musics of modern times”, footwork from Chicago, which
Planet Mu has explored in depth on its recent releases, and again the drum machine grids of coke rap. Jamie says ”I wanted to capture
a really futurist sentiment, kind of melancholy and grand luminescent, so I used the instrument that most evokes that for me - that
sweeping Vangelis brass sound.” And on coke rap he talks about the emotional ‘half being’ of the music, the energetically charged,
detached ambivalence of the MCs, and the admission that the MCs could be ”fantasising without admitting to doing so.”

hand stamped and numbered copy Limited edition

Cover and vinyl are close to NM.

It's been two years since GusGus graced us with their enigmatic Kompakt debut "24/7". This album was return to form for the trio, earning much acclaim and fanfare thanks to its conceptual rigidity and pure glamour. Conceived solely with the help of two precious Doepfer modular systems and Daniel August's all-pervasive vocals, it could have been easily characterized as Gus Gus' unofficial live album. If you had the chance to catch one of their many live shows on their exhaustive world-wide tour, you know what drive and emotion their show brought to the stage and crowd. Let’s fast forward to present day. The trio comprised of President Bongo, Biggi Veira and Daniel August felt the urge to reunite. They set up a makeshift studio in a summer cottage in the depths of the lava field. Secluded in silence and beauty they began working on their seventh studio album and have delivered "Arabian Horse" - a full length that brims with highlights showcasing GusGus’ versatility and stunning songwriting ability to creative levels that we feel is their greatest accomplishment in their 15+ year history. A vast array of illustrious guest musicians and singers abound on these powerful ten new songs. Most prominently, we welcome the long awaited return of former band member and gifted vocalist Ur?ur "Earth" Hákonardóttir who appears on the three songs “Be With Me”, “Arabian Horse” and “Over”. Hogni Elisson recently released a wonderful album with his band Hjaltalin and lends his voice to some of the album's most memorable and deepest moments. Samúel Jón Samúelsson contributes the elevating, goosebump-inducing string arrangements, Davd Thor Jonsson contributes accordion and the banjo. Even an un-named Gypsy combo leave their mark on "Arabian Horse"! Compared to GusGus’ stripped down predecessor for Kompakt, "Arabian Horse" is much more "in your face" – the songs brim with big gestures, enthralling hooks, pop and soul! GusGus have perfected the craft of balancing that fine line between commercial pop and underground dance music. But who needs compartmentalization when we're talking about music and emotion? Take the powerful schaffel (aka shuffle) anthem "Deep Inside" which makes use of big room chords you'd normally hear in more commercially tunes but balances that with a ferocious bass line and vocal duel that belongs to anyone. This sincerity in their music carries throughout “Arabian Horse”. Another prime example of this is the Högni fronted "Within You" – strings converge with his breathtaking vocals backed by a thoroughly addictive techno bass kick. It’s a fact that GusGus retrace their original influences and have created a dance pop album that equally resonates a forgotten period of early ‘90’s dance pop (think The Beloved), classic house music and urban soul a la Massive Attack. But make no mistake, "Arabian Horse" does not sound like pure retro in any way. It's deeply rooted in the sound of today backed by one of the most state-of-the-art quality productions Kompakt has released to date. Still need a tag? Why not: Icelandic Hi-Tech Soul.

Warp & LuckyMe unite for a mixture of minimal, bass-bleeding hip-hop beats!

Another great Late Night Tales compilation feat. tracks by Disco Inferno, Julian Cope, The Velvet Underground, Spacemen3 etc. ... also features the exclusive Bauhaus track 'All We Ever Wanted Is Everything', as covered by MGMT!

Following celebrated compilations from Motor City Drum Ensemble and Young Marco – and with the second edition of its limited-capacity festival in Croatia right around the corner – Dekmantel’s Selectors series now continues with an edition curated by Marcel Dettmann
.
Although he’s now known as one of the world’s most celebrated techno artists, even Marcel Dettmann had to start somewhere. Long before he ever held court at Berghain (or its predecessor, Ostgut), he was just another young boy in Eastern Germany, one whose earliest encounters with capitalism involved spending every penny he could scrape together down at the local record shop. In those days, it wasn’t techno that got him excited, but new wave, post-punk, industrial and EBM acts like Front 242 and Depeche Mode

“It’s music from my childhood,” says Dettmann. “It’s still relevant and still inspires me.” That inspiration can be heard across this edition of the Selectors series, as Dettmann has put together what he describes as a “pre-techno compilation.” Much like the previous Selectors editions, the compilation is not a mix CD, but a collection of tracks hand picked by Dettmann from his own vinyl archives. Freshly remastered – and occasionally reworked or re-edited by Dettmann himself – the songs here are undoubtedly vintage gems, but they also represent a very personal journey into Dettmann’s past.

“It was a great opportunity to dig deeper into my own musical outlook,” he explains. “The tracks come from a time before Marcel Dettmann became a DJ.” Simply put, the songs here are some of the building blocks upon which he’s built an incredibly storied career, and now he’d like to entrust them to future generations.

Originally Released on Echocord on 27 August 2012. Transcendent Records finally releases this much wanted ambient techno album by Conforce aka Silent Harbour, completely remastered for vinyl. Boris Bunnik expresses "music for an imaginary deep mental abstract excursion" under the Silent Harbour moniker for Transcendent/Echocord. As his multifarious operations have shown, Boris is a dab hand in the studio, and Silent Harbour is the place to find those machine emissions which would never quite reach the 'floor. Operating on the cusp of ambient Techno and electro-acoustic music, he shapes sheer scapes from elemental source material, rendering his sounds diffuse until we glimpse hallucinatory tones in the gloaming dissonance. 4/4 anchored rhythms are fractured, percussions sent to scout the perimeters while the vast space between becomes playground to radiant metallic timbres and strafing electronic apparitions. Music for Techno heads to fall into when the kicks are too much. White vinyl 2x12", limited to 300 copies!

Sealed copy.
Cover corners slightly dented.

Vincent Feit, Chinaski, Lauer, Massimiliano Pagliara, Benjamin Milz, Felix Strahd, Orson Wells & Benjamin Milz, Roman Flügel, Rolande Garros, Bendedikt Frey, Fort Romeau. Some try it with mouth-to-mouth insufflation and cardiac massage. Others with psychopharmaceuticals or group therapy. Still others with divorce. By going cold turkey. With a new profile pic and a matching hairstyle. Seen it all at Robert Johnson, already endorsed everything – at least as long as it helps: as a lifesaving measure.

The past few years have found Sean McBride, the artist behind Martial Canterel, in a state of flux, ebbing back and forth between material displacement and musical aestheticism. His expert pedigree in electronic sound and arrangement bridges the gap created by an undecidability between life at home and abroad His new album, Lost At Sea, is an attempt for the artist to locate this elusive common ground.The album's introductory track, Giving Up, has all of the hallmarks that Martial Canterel has utilized in the past_melodic chorus, upbeat rhythm and classic sequential dynamism. Where the song diverges is in its core theme of nature: nature's return to a period of restoration after the failures and recklessness of humankind.The slower pace of songs like Scampia and Puszta yearn for McBride's complex love affair with far flung destinations. Re-evaluating the political strife and social unrest in these historical locations, McBride delves deeper into political and geological reference points creating symbolic representations using mechanized percussion, white noise and various sine waves.The conceptual nature of Lost at Sea reaches even deeper depths within the waveforms of Astralize, a track based upon academic Donna Haraway's pre-civilized theories of human neglect after the `azstralization'.

Early Days maps out Nine Circles interpretation of Cold Wave and Minimal Synth. Unbelievably the tracks are mostly from a brief time period, ’80—’82. Alienation and uncertainty course through the 2LP with heavy Korg chords, metallic machine beats and brittle vocals. Nine circles was formed in the early 80s by Peter Van Garderen and Lidia Fiala. In 1980 there was band called Genetic Factor. This band split up when the three members got girlfriends and they started to make music together with their girls. So at that time there were 3 bands living together in one house.

Sealed copy!

When experiencing zero gravity in a space station, looking back at Earth-as-one, most astronauts feel dizzy. A near revelation, this sudden awareness is named the “Overview Effect”. When they eventually come out of these periods of aphasia, they often recall having heard "strange music”, similar to the music they claim to have heard on the hidden side of the Moon. Smagghe & Cross's second collaboration (recorded before the MA album, released last year on Often) is the first attempt to recreate this celestial music.
For the past two decades, Ivan Smagghe has perfected the art of making spaced-out clubbers dance, has ridden a Fine Line and run his label Les Disques de La Mort. Rupert Cross is a London-based composer who has worked with Michael Finissy and Julian Anderson as well as writing music for television and theatre.
Before/after MA, an album which sat on the fringes of experimental music passed through an industrial particle accelerator. S&C give you the tracks codenamed Timothy Dalton (according to Ivan, "The laser sound in the track reminded us of Flash Gordon"). Neither pop, nor psychedelic, nor ambient, nor house, nor techno, nor post punk nor even new wave are spared, but none are singled out. To nurture this proto-album, the duo also called upon the talents of Tim Felton, the outstanding guitarist from the cult band Broadcast.
When listening to Timothy Dalton, the temporal and stylistic boundaries disintegrate to give way to all sorts of speculation: imagine the beardies from Tangerine Dream being kidnapped by Soft Cell, C86 and 1988, the Silver Apples composing a space opera with the help of an electro cardiogram monitor. Or the Wizard of OZ reviewed and reworked by Psychic TV. Eight tracks take us from the New Orderey beaches of Ostend to the rings of Saturn, and gradually unfold before our eyes like a machine to travel through time and space. So what if Timothy Dalton was a one-way ticket to the Twilight Zone?

Still in shrink but opened with hype sticker. Numbered copy. Clear vinyl seems unplayed. Tiny corner wear. Limited edition.

Electronic Leatherette is the new label from Riga based producer Dmitry Distant. After years of making electro and wave music he decided to create a new story and run his label. With a first release label provides a series of 4 basic nature elements. As a fundament of everything this release is dedicated to element Earth and can bring you though atmosphere of esotoric electronic music within guides from Vessel in Distress, Heinrich Dressel, Franck Kartell and new comer name from same planet MSRG. Enjoy your travel and sound scape.

Cover and vinyl are close to NM. Limited edition.

Robert Rental was the stage name of Rober Donnachie (1952–2000), a British pioneer of post-punk, DIY, and industrial music. Originally from Port Glasgow, Scotland, he moved to the south of England with Thomas Leer in the late 1970s where he met Glenn Michael Wallis. Glenn was recording music with the group Heute and leaving to start his solo projects NKVD and Konstruktivists. Both were heavily involved with Throbbing Gristle and the Industrial Records crew. In the Summer of 1979, Robert invited Glenn to his studio in Battersea to jam. Robert on guitar and Glenn on an EDP Wasp synthesizer. For each session that summer they would play for about 40 minutes, maybe longer, stoned. Robert suggested they record it, many times erasing and over recording one session for the next. The music had no titles, as they were never intended to be released. On these recordings, Robert enjoyed playing like Robert Fripp of King Crimson, while Glenn channeled Wolfgang Flur of Kraftwerk. Influenced by Krautrock bands like Can, Neu!, Cluster/Harmonia, as well as Terry Riley and Brian Eno the duo forged a unqiue brand of Industrial music. Tape loops and synthesizer sounds played backward conjure dark ambient moods. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a jacket that features a drawing by Robert Rental from Glenn’s archives as well as a handwritten note from Robert to Glenn. Each copy includes two photo postcards featuring a transcription of Robert’s letter and liner notes from Glenn Wallis.

2022 repress.

The release comes in a gatefold cover. Brainwaltzera’s debut LP “Poly-Ana” follows quickly on the heels of the producer’s Aescoba EP - also released this year via Film. Across thirteen tracks of both previously released material and fresh excursions into the artist’s world, Brainwaltzera explores sounds ranging from luscious, downtempo grooves and expertly reduced braindance cuts with nods to early 90’s experimental IDM to harder, more caustic outings - all bound together by a recurring theme of otherworldly ambience.

Tobias. returns to Ostgut Ton with his third full length Eyes In The Center and expands the musical narrative laid out by his Helium Sessions EP (O-TON, 2016). The Berghain resident keeps exploring the vast modular synth-driven Techno, Experimental and Ambient territories on a journey in-between genres. Tobias Freund is long established as an influential artist and has – since the early 1990s – been working as a professional producer, sound engineer, label owner and strictly live musician. Besides his early solo projects (such as Pink Elln, Metazone or Phobia) he’s also been collaborating with Dandy Jack (as Sieg Über Die Sonne), Ricardo Villalobos (as Odd Machine), Max Loderbauer (as NSI.), Valentina Berthelon (as Recent Arts) and Atom™ to only name a few. With his vast experience, diverse output and interests, Tobias. doesn’t tire to actively push against existing boundaries and explore new areas of electronic music.

Cover with beginning of seam split on top spine and creasing on corner, close to VG+

Still shrink wrapped but opened.
Includes original inner sleeve.
Record is close to NM.

Copy closer to NM

Copy closer to NM

Jean-Baptiste de Laubier, aka Para One, has always been an hyperactive guy. He first started as no-nonsense hip-hop producer in the mid-nineties, making beats for undeground rap artists. His recording studio was actually his one-room apartment in Southern Paris, where MCs were coming on a daily basis, crammed around a mic, an MPC and a battered convertible.

At the turn of the century, he began producing his own instrumental tracks and soon got in touch with the TTC people, then at the core of the burgeoning French indie rap scene. This was the beginning of a new exploration in sound for him : from traditional rap, Para One switched to IDM and techno-infused beats, fizzing with 8-bits FX and deconstructed grooves.

After TTC’s first LP Ceci n’est pas un disque, in 2002, for Ninja Tune’s rap sublabel Big Dada, Para produced L’Atelier’s (an indie rap supergroup) album for seminal Parisian label Institubes, with his boy Tacteel, whom with he also started a live electronic project named FuckALoop.
In 2003 came the massive « Beatdown EP », and then TTC’s 2nd album in 2004, Bâtards Sensibles, two records that definitely proved how rap attitude and electronic wizardry could be melt into one single sound – an idea many people didn’t quite buy at the time. In 2005, Laubier graduated from the FEMIS film school, and found the time to start working on his first solo LP, the critically acclaimed Epiphanie, that came out in 2006 on Institubes.

Clear vinyl.

Dutch synth duo Staatseinde finally releases their debut EP on vinyl, after two 7”s on Enfant Terrible they present this 6 track EP, stripped down through the years from a band to a duo the sound also changed, the songs on this EP are more up-tempo, louder, more beat orientated, and also darker as before mostly, and, for sure more dance floor minded, expect some classic minimal synth tunes in line with El Aviador Dro and Welle: Erdball for example but also more punchy tracks with EBM influences, Staatseinde 2.0 has arrived!

This is a selection of previously unreleased tracks created at home by Enrico Serotti, without any purpose other than the fun of playing with new musical devices. The tracks date from 1983 to 1999. A pretty long time span, coinciding with the transition from analog to digital technology. Cover Art by Alessandro Pessoli.

Edition of 400 numbered copies. Hand stamped sleeve. Includes insert with photos, artwork and liner notes. This time we have been doing some research work in the arcane archival sites in the Bourgogne (Eastern France), namely in beautiful Dijon, and we managed to rescue the forgotten demos by band Hymn, active 1981-1984, with multi-talented musician and post-punk pioneer Lucas Trouble (+2016) in the lineup.