Electronic & Dance CD 413 Items

Accidental Journey 10 years drifting thru Genres and combining Materials.

Where does a decade start, where does it end? Years come; hours go. A group of ten. 0-to-9, 1-to-0, calendar years went by, flying high. Time is irrelevant, and yet, we like a look back to stare forthright. So, here it is, a big dark tempting audiobook for people with time, Acid Zen citizens, deep listening folks, slow consumers, with a desire for thrill, thrills for desire. A double CD. 40 exclusive contemporary illusions. Composed, droned, improvised, felt, and unrealized. Some just came up, others were profoundly formed. Pop, folk, ambient, field music, vocal pleasure, psychedelics, dub tunnels, dance sensations, freaky corners, ever so user-friendly. Deep-rooted Kashual Plastik associates like DJ Richard, Georgia, Bobby Would, Läuten der Seele, Time Is Away, Don’t DJ, Robert Bergman, Lamusa II, or Malvern Brume socialize with inner Kashual circle creatures like Inkasso, Laure Boer, Primitive Structures, Crude Fact, ML, or Edition D Art. Some bring hummed hits, like “Bucket Rain” by Omen, or “Opus I” by Ugne Uma. Other make you wonder in sound, like Paul Arambula‘s “On Display” or Sholto Dobie’s “Trough”. Not your average evergreens, but those that come to stay. As friends. In civil and all evil days. Lots of stuff to junk. In your brain, to accompany the rain, while being on a train. Plenty levels of utilization, for a novel civilization. Over there, they do not count in numbers, as nothing is to count for. Airs to airs, music to music, sound to sound. A decade of love and hate, of sorrow and borrow, tears, and all those repetitive fears. Accidental meetings in prewritten times.

Includes digital pre-order of Accidental Journey. You get 11 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released.

Siavash Amini’s new album is an attempt to wrestle with Safi-al-din Urmavi’s theory of tuning, rhythm and
maqam, using a 17-tone scale as the basis for three long-form experiments.
There’s been a lot of digital ink spilled on intonation and temperament lately, but it’s a subject that’s often
revisionist, and can willfully ignore the musical development of countries and cultures who have long
embraced tonality outside equal temperament. Amini has been fascinated with Urmavi’s 17-tone scale since
he was at high school but has only tentatively approached it before in his compositions. While writing his
last album ‘A Trail of Laughters’, this scaling was at the front of his mind, but he felt limited by conventional
instruments and compositional techniques. ‘Eidolon’ then is his attempt to wrestle with the concept outside
of its history, using Urmavi’s scale as a starting point rather than an end point.
‘Ortus’ is initially hard to place, erupting in hissing noise before it reveals its hand. Shimmering, metallic
drones eventually make themselves known, but they sound like traces, hidden beneath frothy waterfall sounds
and static. But when the noise subsides, Amini builds a delicate lace of drones, using Urmavi’s technique to
guide him to the sublime. ‘Instantia’ is even more forthright, a dense mesh of notes that revels in its powerful
thrum, occasionally pricked by field recordings and subsonic rumbles.
The 15-minute final track has us most enthralled; ‘Relictio’ is the most unassuming track of the three, and its
tonality isn’t even completely obvious at first. The squealing horn sounds might be a malfunctioning machine,
and the vibrating, resonant tones might be feedback or rugged ambience, it’s hard to tell at first. In the final
third, Amini strips away the gristle, leaving glistening waves that serenade us into silence.
Essential listening if you’re into anything from Kali Malone and Ellen Arkbro to Duane Pitre, or Mattias
Petersson’s excellent ‘Triangular Progressions’

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.

Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!

Russian Ilya Bitekhtin, also known as Illocanblo, has already impressed with previous outings but now steps up his game with new album, Liminal Rhythms. He is a party promoter behind Saint-Petersburg's IDM Nights who also runs the Nenormalizm netlabel as well as producing so really knows what it takes to get the floor going and draws on that here. The record has six tracks of signature electro and seventeen remixes from artists all around the world. 'Nebulonix' kicks off with freewheeling synth lines and cosmic colours, 'Solitude' is a restless and richly layered track of percolating electro-funk and 'Ethereal' is a celestial party starter. The likes of Ambidextrous, Bistro Boy, Cyance and Energy N-13 then step up with the remixes to make this a global release.

With his first widely available new material in 5 years, Aphex Twin returns with an intricate and melodic addition to his discography.

The machines co-opted in production are as complex as the Weirdcore artwork, layering signature sombre ambient chords with intricate drum programming.

‘Blackbox Life Recorder 21f’ marks Aphex Twin’s official and celebrated return to augment our current reality.

ASA

Arturo Lanz Saverio Evangelista AtomTM

are the last three futurists on earth.

Radial« is the result of a vivid creative merge between Esplendor Geométrico and AtomTM. A transparent diamond formed by a heavy implosion. Its underlying massive mechanics are covered by a crystal surface made to cut reality in half. Just one letter short of “radical”, this album is no less than exactly that - an orgy of powerful, blunt repetition and hyperbolic simplicity, a profound evocation of nothingness and its surroundings. The 13 tracks (which comprise the digital full-length version) of »Radial« are the exact expansion of sonic ideas those three artists have explored during the last couple of decades. Unexpectedly so, this makes this production an outstandingly atemporal one - some would even classify it as meta-contemporary. A selection of 10 tracks of the digital full-length album will be released on CD through raster on September 01, whereas an accompanying vinyl release is scheduled for the end of 2023.

The journey gives your senses a taste of a future groove, erotica and nu-disco exploitation. With Private Alex is stepping forward musically into a new club direction, bringing a fresh sound to the production with retro drum machines, synthesizers, house piano, and killer funky basslines. Open the door and walk through the secrets of the night with ”Submission”, ”Blue City Club”, ”Dark Room”, ”The Visitor” and the singles ”I Feel You”, ”Attraction” and ”Odyssey 9000”.

Including The singles Weekend At The Club Paradiso and Rock mMy Disco

Rompe HECHIZO's first release comes in the form of an 11-track CD compilation from different ATX artists such as Marcos Cabral (L.I.E.S. Records), Bill Converse (Dark Entries), Mures (MRT/Lux Rec), and Quarters Eye (Joshua Cordova & Kyle Dixon - Kyle being a musical composer for the Stranger Things TV series). Techno, EBM, and other forms of 4/4 experimentation take the listener to different corners of the dance-floor.

The memorable debut album "unrest", the origin of the Harakami sound, has been reissued!! It was once reissued in 2015 with a new jacket design, featuring an illustration by tomokochin-pro, a well-known illustrator of Rei Harakami's works. This album shows how the Harakami sound was established from the debut album.

Canaan Balsam’s work revolves around the exploration of the dead space between ambient and new age music, the liminal zone between the harshness of industrial, and the beatific serenity of devotional music. ‘Eternity lies within or nowhere’ builds on the themes of loneliness, Isolation, and vulnerability, first explored on their debut album ‘Cruise Utopia’ (Modern Obscure Music). Responding to the context where ever-expanding modes of communication seem only to blur the line between connectivity and solitude, Canaan often returns to the theme of Isolation in his work, creating a deep melancholy - exploring how it can grow and metastasize, until it becomes incommunicable, resistant to empathy; an alien host overtaking the body. Canaan’s considered, emotionally aware experimentations hold that unique power to stop our world dead in its tracks, lulling the listener through the darkness but ultimately towards the light - there is intense hope within Canaan’s work, where pieces guide us through a crushingly low emptiness, but always towards glistening introspective peaks. “I wanted a music that spoke to solidarity, that in a quiet manner offered solace, a brief step outside of this world - not a meditation, nor a background ambient shimmer, or anything vague. That inspired to an almost religious intensity of serenity. Something with the potential to engender empathy and clarity. A music you could wear like an amulet, like a spell, like a religious medal around your neck. Music as protection.” Canaan often uses spoken word to further bring his soundscapes to life, but these self penned passages are far from being clumsily walloped vocal tinglers, instead Canaan’s use of voice compliments and contextualizes the states explored within his pieces with hauntingly evocative precision, where carefully curated guest speakers lament a often bleak scene of dread, despair, and longing recollection. The album culminates with the incredible ‘Requiem for a Wolf’, encapsulating the hints of light that have flickered the album, but blooming them to become 6 minutes of pure celestial minimalism, where bells swing in and out of focus, and radiant zither play looms below Canaan’s swelling ambience. Produced and mixed by Canaan Balsam. Mastered by Rupert Clervaux. Art design by James Hines and Liam Cosford. All tracks by Canaan Balsam except for 'I AM Skeleton' by Canaan Balsam / Saint Jude's Infirmary. 'Rat in a skull '- narration by Daniel Mutch. 'You are the architect of your own utopia' & 'A passive apocalypse': narration by Alex Johnston. 'You fell into a screen as you had no place left to fall': narration by Cosima Cobley Carr. 'I am Skeleton': narration by Jack Vettriano, taken from the track by Saint Jude's Infirmary.

Produced by DJ Koze

Produced by Brian Eno and Fred Gibson

4th April 2020 - 23rd December 2022

Mastered by Kieran Hebden

Lacquer cut by Bernie Grundman

Artwork by loose

Gatefold photograph by Brian Eno

It wasn't so long ago we were writing about the joys of BVDUB's Fumika Fades, a new double pack in February that sunk us deep into moving ambient soundscapes. Now the Bay Area dub techno titan Brock van Wey is back once again with yet another album - he dropped plenty of them last year too so is clearly in a mad creative patch. Slowly Shifting Lakes comes in multiple formats, this one being a double CD. The ambient here is coarse and textured, fizzing synths stretching out over skittish rhythmic frameworks before sinking into calmer waters on cuts like the escapist 'Searching For Glowing Shores.' Another triumphant album for sure.

Barely a week goes by without BVDUB popping up with a vast new collection of his absorbing ambient music. Hot on the heels of February's Fumika Fades album is this, Slowly Shifting Lakes, another epic collection of fuzzy, lo-fi, gorgeously textured and lived-in ambient. It's intense and full by some ambient standards - soundscapes that demand the attention and go from misty, rainy visions to more serene and blissed-out vibes. This is the perfect way to pick this album up - as both a double CD and also a double cassette including download codes.

CD reissue of Rei Harakami's third album, "red curb," which was created in a personal way, is a masterpiece that has garnered acclaim from many quarters and solidified his popularity. "In making the third album, I was thinking that I should do only what I like, or rather, I can only do what I like... By the way, I thought I would retire after releasing this album, but that did not happen." - Rei Harakami

The CD reissue of Rei Harakami's 4th album "lust", which includes the classic songs "joy" and "owari no kisetsu"!! The reissue includes new liner notes by Carlos Nino, who has collaborated with Rei Harakami. Four years after his third album "red curb," this album includes "joy," one of Rei Harakami's best-known songs, and "owari no kisetsu," a cover of Haruomi Hosono's song, in which he takes on the challenge of singing vocals for the first time.

Japan's world-famous masterpiece by the late Rei Harakami has been revived! The long-awaited reissue of the CD written by Rei Harakami for "Colors of the Dark", the contents of the planetarium projector Megastar-ii cosmos at the National Museum of Emerging Science and Innovation (Miraikan), is now available!! "I created this album for a planetarium project, with the idea of sustaining the atmosphere for over 30 minutes so that you may fall asleep. Ikuko Harada from Clammbon reads the poem by Shuntaro Tanigawa. I really don't mind you falling asleep while listening." - Rei Harakami

First missive on new label from Simon Gabriel, late of 2 Bridges NYC, and Georgia’s Justin Tripp. Disarming and timely cornucopia of stateless, off-kilter tendencies. Cryptic puzzle of pop, tech, noise, bangers and outsiders. Nu-digital folklore, disembodied voices, Midi caprices. Through-line of vital currency. Designed to confound and excite. Early ‘00s slimline mixtape packaging, built for repeat plays.