Electronic & Dance Sale 163 Items

2 x black heavyweight vinyl, wide spined sleeve, insert.

Nakid presents the first album in years from Max Loderbauer (Sun Electric) and Tobias Freund’s cult Non Standard Institute. Delving deep into the aether with a double LP - almost an hour and a half in length - featuring ruined, vaporous and engrossing ambient variations on a theme.

Planing axes between iridescent new age ambient, sublime folk and avant-classical, to miasmic drone and plangent shoegaze; ‘A Day or Two’ charts the Non Standard Institute’s first actions in 6 years and serves as a compelling reminder of their intuitive work in abundance. Expanding and contracting their sound across 18 parts, they arc from heaving, oddly-tuned drones to smoggy, surreal soundscapes, bringing a wealth of fine-tuned instincts to the table. With Max Loderbauer’s 35+ years as Berlin ambient pioneer with Sun Electric, jams with Villalobos, and roles in Vladislav Delay Quintet and the Moritz von Oswald Trio, he’s matched by Freund’s 40 years of deep engineering expertise embedded in the experimental industrial and techno trenches.

The melancholy, Satie-laced piano meditations that grounded 2018's '5863' are gone, and the human touch that's been present since their very first collaborations is placed under the microscope, enhanced by their use of the Haken Continuum Fingerboard, a gestural synth that was developed to open up new modes of playing. Loderbauer's experience with the piano helps him make the most of the instrument's touch-sensitive 3D surface, while Freund uses two multi-channel loopers, piping the sounds through his arsenal of pedals.

The 18 tracks are billed as "unplanned atmospheres" that arc from sombre, drone-heavy material to humid, tape-saturated imaginary-island jams such as 'Listening To Cells' and 'Are You One Of Them'. On the latter, the duo work patiently, letting dusted string plucks tumble across each other while warbling pads hum below, bending like flutes. On 'Unlikely Events', anxious didgeridoo-like wails are ruptured by environmental rattles, before ominous voices lead us into a pocket of industrialised resonance. In time, the skies open up and the sounds morph into pastoral song, the drone blurring into hopeful pads almost as lucid and eloquent as AFX's 'saw Vol. II', with sonorous synths that float over formless strings. Reflective, cinematic arrangements for flute and silvery ambient give way to diffusions of denser, resonant polychromatics and pucker up in outernational, alien ambient impulses recalling Connor Camburn jamming with dirashe folk pipes.

Red Vinyl. Side 3 has a deeper scratch, the other sides are between VG+ and NM

The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue. Whether taken as warning or promise, No Highs delivers—this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined. Morse code pulse programming flickers like distress signals while a gathering storm of strings, noise, and low-end looms in the distance. Processed electronics shiver and shudder against pitch-shifting assemblages of crackling voltage, mantric horns (including exquisite modal sax by Colin Stetson), and cathedral keys. Throughout, the pieces both accrue and avoid drama, more attuned to undertow than crescendo. Hecker mentions “negation” as a muse of sorts—the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet.

Writing and sticker on label.

As the fable goes: pre-discogs, intrepid disc jocks would often take trips to Italy (many tricking their spouse into believe it was a ‘holiday’!) to source records from the seemingly endless supply of top tier Italo, disco and cosmic record shops across the country. According to legend, the classified sections of local yellow pages and information booklets which would contain the addresses of the record shops and dealers in the area would often be ripped out unscrupulously, thwarting – or at least making it more difficult for – the next vinyl tourist to source out the rare gems amongst the rich seams – a wild west vinyl gold rush if you will.

Such stories are a rarity these days, with youtube making some of the most underground tracks common knowledge, and discogs almost making any record obtainable – at a price of course. Upgrading his digging methodology, Bosco has developed a secret New Technique to side-step the machine and in doing so obtained a clutch of amyl-soaked fluffers that are so rare, that upon writing they aren’t even listed online! Seriously, he must be communicating with some interdimensional, upper echelon Italo overlords; taking us on a primo-thrust tour through the most unexposed recesses of the Italo disco galaxy.

Don’t be hoodwinked by their sheer obscurity however; we wouldn’t give a toss if they couldn’t tear the arse off the dancefloor. But they’re all fuckin rhodium grade tackle peeps! Eight neon-drenched late night roman candles of Italo disco decadence that’ll defo have you jizzing rainbow skittles over the dancefloor as you search desperately through the fog for another huff of poppers off Darren.

Total Discogs market value: as yet undetermined

Pharoah Brunson’s Pyramid Points: 9999999999999

The hottest 1980?s cosmic italo disco songs from the Czech national music archive bundled on one album.

Vinyl with a bit of heat damage, plays fine. Small stickers and writings on labels.

Artists Kyoko Takenaka + Tomoki Sanders team with In Sheep’s Clothing Hi-Fi & Pure Person Press to release their breathtaking debut record as Planet Q.

Gatefold Single LP w/ OBI & Insert

To explore and absorb Planet Q, the new record by artists Kyoko Takenaka + Tomoki Sanders, is to become untethered from structural expectations, to reside in a realm where genre vanishes and a profound musical space remains, where the absence of gravity causes curious things to occur.

It’s a spot where handclaps may not move in time, where sonic gurgles of unknown origin offer texture, where a deep, hooky rhythm can propel a groove into the stratosphere.

At various times the tracks move like Dilla pieces, at others like Terry Riley explorations, like Flying Lotus or Milford Graves or Alice Coltrane meditations. But every time you think you’ve got the sound figured out, it hits from another angle. Though a brief missive at 33 minutes, you exit Planet Q as if leaving an utterly alien spot.

Setting: In 2021, during the covid lockdown in America, Takenaka and Sanders were both living in Tokyo without any gigs or work to be found back home. They met at a mutual friend’s cafe in the Higashi-Koenji neighborhood, and the connection was immediate. “The chances of us meeting not only someone else of the diaspora when the borders are closed, but also queer and non-binary, and also a musician? Pretty slim, and pretty fateful,” Takenaka says.

In early 2022, the Omicron variant prompted a new round of isolation. Returning to New York, they united with kindred musicians by going to private jam sessions, but at the time those evenings didn't tap the magic they were seeking. They decided to quarantine and create together. Takenaka was living alone at the time so they invited Sanders to crash there. Says Takenaka, “We made rice, ate natto, meditated and made music for seven days straight.”

That they would create something masterful does seem somehow predestined. Sanders’ late father is the brilliant composer and saxophonist Pharoah Sanders, their mother a life-long music fanatic who nurtured the same. The younger Sanders, who grew up in New York and Tokyo, has been playing music – drums, saxophone, clarinet, piano – and absorbing profound sound since they had baby teeth. Takenaka is a first-generation Nikkei Japanese American actor, butoh dancer and filmmaker who also grew up with music; their father was a jazz pianist, and by age 7 they were already singing at jam sessions in Boston. Planet Q is Takenaka and Sanders’ debut musical collaboration.

That week together in isolation was pretty ritualized. Their aim, Takenaka says, was to create “a really beautiful, secluded safe space for ourselves as qtpoc folx – a planet where we both belong – and to make music as we created the space. Basking in it. Being inside it.”

They quickly fell into a daily routine that commenced with an improvised spoken meditation, tidbits of which made it onto the record. The layout of Takenaka’s apartment – an open kitchen looking out on the living room – afforded them the chance to mix rituals. They prepped meals and sampled parts of the process. Cooking rice, making curry, eating natto – the sounds simmer throughout Planet Q. Dancing and calligraphy also informed the compositions. Takenaka calls it “embodying the process, the textures.”

Tomoki says, “Before Hip hop, in my dad’s age, the saxophone was where the rapper, or the electric guitar spotlighted. It was only $500 to buy a saxophone in the 50’s...now its anywhere from $3000-$10,000. However, we fortunately are in a current time to have a whole studio literally in our laptops – and you can get a $50 midi device from a music store or online. Time of technology has advanced the music, the sound, the production – I’m challenged to reimagine things in ways never been thought before.”

Though each piece has distinct traits, Planet Q feels more like a suite of tracks, a gathering of waveforms that, despite their differences, when woven together create an utterly striking piece. The intention-setting opening piece was born through their improvised morning meditations. Tomoki uses bells their father gifted them.

“‘My Sweet, My Tender, My Loving, Home’ is dedicated to my dad and his metaphysical and galactic sounds, that is grounding,” Tomoki says. “Every intention I put into the style of music or energy comes from him and the ancestors, or god, ‘subconsciously’ – being a continuation of his DNA but in a completely different generation and time; me matching his point of view in spirituality and raising a level of self-consciousness.”

Borders blur. Rhythms lope and gallop. “竹” is a beat-driven rush featuring Takenaka on guitar. When Sanders grabs their tenor saxophone for “Grow,” the result vibes like a funky film-noir soundtrack, with Takenaka reciting the title.

Their tools: bells, electric guitar, piano, shakers, saxophone, African thumb piano, flute, keyboard, drum programming and voice. Most importantly, Planet Q is the sound of two devoted artists committing in full to exploring the mystic, hellbent on mastering the ways that two mortals can, with focus, desire and ancestral guidance, unite in music to create something that transcends the here-and-now.

Label cover. Writing on label sticker.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

White label test pressing with info sheets!

For the third time Clikno presents two Dr.Nojoke tracks from his vast and impressive catalogue in the super limited Clikno classics dubplates series. This time we selected two remix works, which he did for Canadian Pheek and Brasilian Allan Villar, both highly respected artists themselves.

Record was in DJ use but is still playable. Comes in generic sleeve, limited to 250 copies in 1995 by legendary Hardwax store, rarity

Vinyl with a couple of light scuffs

Outsider ambient soundscape by two musicians from the Paris alternative : Désiré Bonaventure & Zach. An enchanted yet psychedelic dream-like ballad recorded in one take in an ephemeral delirium; borrowing from dub, drone, IDM & techno, reflecting singular inter-worlds and inviting us to join them.

Rue des Garderies is a distillate produced by the spontaneous collaboration of Désiré Bonaventure and Zach, two musicians evolving in the Parisian alternative scenes and so named in homage to a high-place of local other-music Rue des Gardes - now bygone - where this improvisation was conceived. Used to exorcising time and space with the multidisciplinary collective †een▲ge g☺d, Zach has also been evolving for over 15 years in various frequencies - beatmaking, mastering where Désiré Bonaventure is a member of the duo Euphonic Alliances Ltd. and R.A.F. Soundsystem.

Rue des Garderies was recorded in one take, using samplers and effects, in a hail of cables, eyes closed in a delirium that accompanied the dawn, in preparation for another present. Here Désiré and Zach explore the in-between worlds (musical, but not only), immersing themselves in their cracks, their folds and their emanations, and trying to recount us.

From this material they mould a new alchemy lasting over a hundred minutes like a long journey into psychedelia, borrowing from various currents (ambient, drone, IDM, dub techno, the English electronic scene of the 1990s), rich in organic and analogue textures that superimpose, stretch, fold and expand.

The result is a grand and ethereal fresco, with shifting colours and textures, invoking astral projections and sporadic rhythms; a whole other world, populated by shapes, hues and new lives, forming a complex but enchanting sound essay.

Rue des Garderies is an ephemeral harmony, born of a fragile chaos that accompanies moments of existence; a dance without tangible movement.

The latest suite by composer (and Stars Of The Lid co-founder) Adam Wiltzie took shape following a move north from Brussels into the Flemish countryside, although it was initially inspired by a recurring dream wherein “if someone listened to the music I created, then they would die.”

The album uniquely evokes and evades the allure of oblivion, keening between beauty and ruin, forever unresolved. Wiltzie cites the barbiturate of the title as both muse and sacred escape: “When you are sitting face forward on the daily emotional meat grinder of life, I always wished I could have some, so I could just fall asleep automatically and the feeling would not be there anymore.”

Recorded at Wilzie’s home studio, with strings added in Budapest at the old Hungarian National radio facility (Magyar Radio), the tracks feel simultaneously intimate and infinite, unfolding vistas glimpsed in an inner space.

Robert Hampson of English drone rock icons Loop mixed the album, further lending the music a sense of cinematic expanse and oblique hypnosis.

These are fugue states as much as fugues in a literal classical music sense—smeared epiphanies of uncertain memory and spatial dislocation, coaxed from the unconscious and set aloft.

Simultaneous double release of the percussionist / composer Steve Shehan's legendary albums!! The world's first LP reissue of his 1990 CD album "Arrows" from First on Vinyl, and his 1995 CD album "Indigo Dreams" from Silent River Runs Deep.

Vinyl with a couple of light scuffs

Celebrating the interconnected strands of head-tripping electronica she holds dear, Nadia Struiwigh arrives on Dekmantel with her fourth album of widescreen machine soul. Birds Of Paradise joins the dots between electro, techno, ambient and jungle as a reflection of the symbiotic relationship between the contrasting elements which drive all life on earth - the inescapable and chaotic forces of cause and effect. Echoing the free-spirited approach of electronic music in the mid-90s, it’s an album which rejects absolutes in favour of emotionally honest expression, true to Struiwigh’s deeply felt passion for the sounds and styles which defined her own journey into music. Since first emerging in the wider scene, Struiwigh has ably demonstrated her instinct for different sonic approaches across her accomplished career, whether exploring expansive ambience on album projects or holding down the physical intensity of a residency at Berlin techno temple Tresor. Her 2017 debut album Lenticular on Central Processing Unit most closely resembles the approach on Birds Of Paradise, where introspective beat constructions and nuanced sound design folded into a natural, flowing whole unbound by perceived rules around genre. The narrative flow uses contrasting energies to glide though distinctive spaces, unfolding with the considered pace of a truly immersive listening experience.

From the rich, undulating beatless pastures of ‘jsf48’ to the intricate mechanics of ‘02nd’, the dubby downtempo of ‘cmmn cmmn’ to the crunchy beatdown of ‘Dreamsynth’, the spaces Struiwigh defines on Birds Of Paradise are brilliantly vivid and bound together by an affinity for emotionally-charged ambience. At times the effect is nostalgic, calling to mind the exotic ecosystems of Future Sound Of London or Higher Intelligence Agency, but even these passages are charged with a restless futurism informed by the imagined vistas of science fiction as a comment on the realities of the here and now.

Widely recognised for her expertise in a multitude of production processes (not least her extensive knowledge of outboard gear), Birds Of Paradise pools Struiwigh’s devotion to her craft into an exquisite instant-classic to be savoured and absorbed in the same fashion as so many iconic electronica albums which have come before.

Records have light hairlines.
Stickers on cover.

Vinyl with scuffs and hairlines

Vinyl close to NM

White Vinyl.

Pressing error on B1 (piece of paper inside vinyl). Besides that vinyl is VG+. With insert. Price tag.

Vinyl is Close to VG+.

Qui Existe isn't just an album, it's a kaleidoscopic journey through Mézigue's soul. Each track is a chapter, a glimpse into the artist's life, blending raw energy, rhythmic eloquence, and fearless experimentalism.

This release solidifies Mézigue's status as a visionary, unshackled by genre constraints.

Originally digitally released February 11, 2023 and now on vinyl for the first time, 'How To See Through Walls' by Windows 96.

NO Us/canada. “Dedicated to the Island -soundwalk & music for Saunter magazine-” is a new album by Kaoru Inoue, a Japanese DJ/music producer also known as Chari Chari.

Initially released as a CD supplement to Saunter Magazine 06 “Yakushima 2023” issue, and through a new process, its vinyl record will be released for the first time on Record Store DAY 2024.

A gem of nine organic, electronic, balearic, and ambient techno tracks including “Mizukumi”, “Nagareru”, and “Hoshifuru” produced based on field recordings made in Yakushima Island.

180 gram audiophile weight black vinyl with a printed double-sided insert, RSD limited edition.

................................

Since being astonished by Yakushima Island when I first visited in 2002 for Final Drop’s recording, this was my 4th visit. The plan was to conduct field recordings and receive the coverage. I was reading “Introduction to Field Recording” written by Eisuke Yanagisawa, a book that had been the conversation topic among musicians around me, and I accepted the offer without a second thought as I was purely motivated by the idea of going back to Yakushima. However, it became an even more special project for me, as I eventually produced music from it.

“Soundscape”, a concept proposed by Canadian composer Murray Schafer in the 60s encompassed many ideas and matters, and the most interesting of which was its educational aspect: to discern the creativity of attentively listening to the environment and the action of soundwalking as its practice. I believe this trip was a perfect example of this. The music that was sounding faintly as I entered deep in the mountains and the environmental sound of Yakushima is the basis of this album.

(Kaoru Inoue)

*Excerpt from Saunter Magazine 06 “Yakushima 2023” issue*

THE RECORD INCLUDES A 12-PAGE BOOKLET WITH NOTES ABOUT THE ALBUM

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

Lagowski’s ‘Teratology’ (named after the study of the causes and patterns of abnormal development) is a collection of hard, driving tunes that was originally self-released on CDR in 2003. The album is a collection of dark and atmospheric prototype and original techno tracks, featuring heavy use of synthesizers, samplers and digital effects, and its bleak and haunting soundscape reflects this theme.

‘Teratology’ is notable for its use of cutting-edge electronic production techniques at the time, such as convolution sample synthesis and time stretching (bear in mind that these tracks were recorded between 1989-1992). Lagowski’s use of unconventional sound sources and processing techniques helped to push the boundaries of electronic music and influenced many artists in the genre.

The Label famous for its outstanding organic and melodic music, is thrilled to announce the release of Jacob Groening's debut album, „TIMEFADES,“. This remarkable album is set to release on his own imprint digitally and on vinyl preorder on November 24, 2023. "timefades" is an introspective and immersive collection of eight tracks that weaves a narrative from start to

Without the bonus CD!

Cover has ring wear and a tear on the front!

VentureX is an American electronic music producer based out of Chicago, Illinois who creates music that can be described as french house & nudisco. Experimenting with Hip-hop and other genres as times.