Search "the+presets+pacfica" 2568 Items

2LP+CD | 2022 | EU | Original (Aufabwegen)

Time Ends Deluxe Edition

44,99 €*

LP | 2021 | EU | Original (Downwards)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Desiderii Marginis, Troum, Martin Bladh & Karolina Urbaniak and Anemone Tube, who have gathered to pay homage to the first four novels of British writer J.G. Ballard: »The Wind from Nowhere«, »The Drowned World«, »The Drought and The Crystal World«, which are often seen as disaster novels. Each of the four projects presents a very unique take on the chosen work, using the respective text as a starting point to offer sonic representations of and (further) perspectives on these books, using drones, field recordings, words and much more to create evocative and richly layered soundscapes.

Adorned by a painting of German artist Alex Tennigkeit depicting a sphinx-like hybrid creature, a phoenix rising from the ashes of our civilization, the double album also includes an in-depth essay by Michael Göttert (African Paper) on Ballard's works in which he argues that the novels can best be understood as texts of transformation, as well as texts by the sound artists.

The double album starts with Desiderii Marginis' track “The Wind From Nowhere”, on which field recordings and intense drones suck the listener into a stormy vortex. Troum interpret The Drowned World, and their two dynamic tracks illustrate both the changes happening to the (outer) landscape and the (inner) world of the protagonists. Martin Bladh & Karolina Urbaniak make use of sound and words on “The Poisoned Well”, their interpretation of The Drought, referring to Shakespeare, the Bible and scorched earth policy amongst other points of reference. The album closes with Anemone Tube's take on The Crystal World, using field recordings made in Japan’s Mount Fuji forest. “Sea Of Trees” aims to show a devolutionary process, in which man gains access to his actual spiritual home – a primordial wisdom, which lets him discover an internal non-dual space, allowing to ultimately becoming one with the earth as body-being consciousness – the ‘perfect dream’ landscape.

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Nonexistent

25,99 €*

12" | 2021 | EU | Original (Morr Music)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Hingeing around the processed cello of visionary dronesmith and psych se’er Alexander Tucker - fresh from the excellent Microcorps project - his fellow north east London residents Steehouder and Murray bring Prophet 5 synth and sampled electronic textures to the table for an uneasy examination of the unrest below the surface of blighty in the early 2020s. The nine pieces come to evoke and explore a sort of deep topographical reading of their native landscape, transmuting inspiration from Walthamstow’s hinterland overlap of residential, woodland, and industry, with a palette of damp, mildewy tones and depressive atmospheres that get under the skin by a clammy process of osmosis. Murray’s smudged samples fuse ‘ardkore and illbient signatures into a surrealist backdrop, so disembodied voices become ghosts of the past, and backwashed percussion transforms into jangling industrial chains or coal-fired machinery. Distorted through a modular rig, Tucker’s cello drones don’t lose their inherent baroque grandeur, but take on cybernetic armor plating, materializing in-and-out of Steehouder’s brassy analog chords. Simultaneously pulled by retrogressive, atavistic, pagan spirits and and the tarnished allure of progression, the album oscillates from dankly soothing sensations and gritty abrasion on ’Terminal Starfall’ to the gristly, keening distortion and percussive porridge of finale ‘Cold Walls’; transitioning between the curdled glory of ‘October Mission’ to the stereoscopic eye-wobble and shivering vox of ‘Attachment Areas’, before leaching into the cinematic beauty of ‘Deepening Ground’, and turning lorry alarms into tart ambient residue on ‘Dedicated Tear’, leaving ears ice-burned with the sheer electronics of ‘Skeleton Scars’. Nonexistent have made a soundtrack not to the end of the world, or a bolted-on power-ambient aesthetic flex for the always-online Netflix gen, but a shared reflection on history and present turmoil that’s far too cerebral and elemental for binging. Stirring together disparate ingredients, the trio have concocted an antidote to British malaise at a point where it’s never been worse.

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Nosdam + Rayon

From Nowhere To North

LP | 2021 | EU | Original (Kythibong)

Release: 2021 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Long-time musical pen pals and partners David Madson (aka Odd Nosdam) and Markus Acher (aka Rayon) re-establish the connection between Weilheim, Germany and Berkeley, California for the first time since 2011, when US alt hip-hop innovators Themselves and German indie electrifiers The Notwist teamed up to form 13 & God. Nosdam & Rayon return with a heavy-hitting collaborative EP “From Nowhere to North”. Based on a shared love for “obscure albums and 60s/70s melancholy psychedelia,” they started working remotely in 2017, ultimately deciding to release four collaborative tracks that feature Madson’s beats, samples, and production, with Acher adding vocals, guitars, more samples, and various instrumental layers. Psychedelic pop melodies sail over steady beats on the opener “From Nowhere to North” – a track that perfectly sets the tone for the whole EP. Elsewhere, fuzzy lights over the “Desert” and more reassuring beatscapes serve as compass to stay the course, while “Bow and Arrow” feels fairly mesmerizing: fast-moving layers, moving up and down, floating over the Atlantic, northward bound. Closing out the EP is “Colours / Heavy Load”, an epic 10-minute finale: after the raw and gritty lo-fi acoustic intro, the first part comes with a grainy guitar tune that soon leads to a vast plateau; once up there, things feel surprisingly serene and soothing – like the last warm rays of October light slowly fading as we move further north. Both huge fans of Bristol’s late 90s DIY/post-rock scene (e.g. Flying Saucer Attack, Crescent, Third Eye Foundation, Movietone), Odd Nosdam & Rayon are happy to present their new EP with an artwork created by Movietone’s Kate Wright.

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Will Guthrie

People Pleaser Pt. II

Tape | 2016 | EU | Original (Bloody Hands)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Black Truffle presents People Pleaser, the new LP from Nantes-based drummer and percussionist Will Guthrie. Initially rising to prominence in Australia as a drummer in the fields of jazz and improvised music, Guthrie later turned increasingly toward electronics and amplified percussion, developing an idiosyncratic style of electro-acoustic performance characterized by shimmering metallic textures, rapid-fire textural transformations and aggressively high volume. Recent years have seen a return to the drum kit in both solo and collaborative work, in performances where Guthrie uses duration and endurance to push at the limits of his formidable technical abilities as a player in the free jazz tradition, working variations on short rhythmic units into an endless flow of non-metered pulse. Although drawing on many aspects of Guthrie’s past work, People Pleaser stands alone in the catalogue of his recorded work. Working fast and intuitively over a period of three weeks, Guthrie has crafted a suite of song-length pieces that combine his drumming with electronics, field recordings, and sampled detritus. Inspired by rough and ready sampling style of producers like RZA, J Dilla and Knxwledge, and by the endless possibilities of musique concrète, People Pleaser uses a highly divergent array of sound sources, building pieces from drum and percussion tracks left over from other projects, audio ripped from skate videos, noise electronics, fragments of a police interrogation, and anything else ready to hand. Guthrie’s unique rhythmic sensibility is the thread drawing all these elements together, his drum performances propulsively rhythmic yet insistently irregular in a way that sometimes brings to mind the uniquely open rhythmic space carved out in the early Weather Report and other classic fusion. Drawing together a manifold of influences in an entirely sui generis way, People Pleaser is a raw, exciting, and surprisingly accessible peak into the laboratory of a unique sensibility.

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Tellavision

Jux Tap O Remixes

LP | 2020 | EU | Original (Pan)

Release: 2016 / EU – Original

Genre: Electronic & Dance

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I‘ll skip your school, I‘ll change the rules“ sings Fee R. Kuerten aka Tellavision on ‘Juxtaposition‘ a short but poignant track on her latest album ‘The Third Eye‘. Though it‘s seemingly only a small moment on the record amongst grander gestures – performed half-jokingly in the form of an avantgardist nursery rhyme – it manages to sum up Tellavision‘s modus operandi perfectly. The singer, instrumentalist, and producer is no stranger to trying new things. Over the course of three albums, she honed a very distinct sound aesthetic where there seems to be a twist lurking around the odd corner – be it musical styles clashing, unexpected dynamical shifts or her soulful yet unusually expressive vocal delivery that swings like a pendulum between Pop-exuberance and DIY-understatement. With ‘jux TAP O Remixes‘ Tellavision makes the move to give the songs of her LP ‘The Third Eye‘ to a group of diverse artists to broaden the musical realm of her work even further. The selection of remixers was natural to Fee R. Kuerten as she is a vital and integral part of the DIY music scene, whether she is performing shows in the US and Europe or collaborating with other like-minded musicians. As much as we are familiar with remixes, mashups, and shreds from the music we know, ‘jux TAP O Remixes‘ somehow manages to be a quite surprising compilation of reworkings and deconstructions. From the opening Hammond hooks by Look Look to the modular sound dissections of René Huthwelker, from Host Stuart‘s pitch-vocal discotheque to the tape mangling synth excursions of Window Magic, from Tintin Patrone‘s concrète teasings to Zooanzoo‘s liquid transformations – the range and sheer creative joy of sonic exploration is ever present. Essentially, it‘s these traits that make the music of Tellavision refreshingly engaging and real in the first place.

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Amnesia Scanner

Tearless

LP | 2018 | EU | Original (West Mineral)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Amnesia Scanner announces Tearless, the Berlin-based duo's second LP. As Amnesia Scanner founders, Ville Haimala and Martti Kalliala watch their icy home country of Finland thaw, the staggering scale of political recalibration and the worldwide climate crisis to come blows open old norms. This album reflects what it feels to experience Earth at a time when collapse is emerging as the prevailing narrative.The musical scope of the record is expansive, with guest vocalists - the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA - descending into a vast uncanny valley of sound. Tearless follows the 2014 `AS Live [ ] [ ] [ ] [ ] [ ]' mixtape, 2015 audio play Angels Rig Hook, two EP's for Young Turks, and their 2018 debut album, Another Life (PAN)."There's a looming sense of radical change," they note, connecting the present to a fin de siecle horror and curiosity regarding what new world is being ushered in. Someone called Tearless a "breakup album with the planet." To which Amnesia Scanner responds, on the LP's closing track: "You will be fine, if we can help you lose your mind."With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Listening through: Opener "AS Enter" sets a sombre tone until the fucking riffs of the second track (the titular, Lalita-helmed "Tearless") make clear there's plenty of roaring to come. A feature from metalcore band Code Orange on "AS Flat" follows, along with "AS Trouble" (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as blackmetal-gaze dirges. At the album's midpoint, Lalita returns for the beautiful, operatic breakdown of "AS Ac" (released as a single in 2019), before "Center of the Labyrinth" guides listeners through three club ready tracks - the grain-processed dembow of "AS Too Late" and "AS Going" with LYZZA, and then the ambient headbanger "AS Labyrinth." Closing 'Tearless' is the sadboy grunge of "AS U Will Be Fine" with a clear statement o...

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Exael

Collex

12" | 2018 | EU | Original (Dope Noir)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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2022 repress

Exael debuts on Huerco S’ West Mineral Ltd with ‘Collex’, a deep, impressionistic album of ambient soundscaping recorded between Chicago and Berlin, following an excellent split EP with likeminded producer, Ryan Fall a.k.a. uon, as well as a number of compilation appearances with Allergy Season/Discwoman, Physical Therapy and Carpet Group Recordings, the latter of whom coincidentally issued Exael’s self-titled 2017 album under the Naemi alias.Crafted over the two years since their first album, ‘Collex’ finds Exael mining a finer and more elusive variant of ambient music, connecting dots between classic vapor-trail dub and hyper-modern inversions you’d more readily associate with 0PN or Kara-Lis Coverdale. With a richly refractive, iridescent quality, it marks the inward/outward distance travelled between concrète and electronic textures and spatial parameters, manipulating notions of stasis and kinesis with an unfathomable, gaseous quality that also reminds us of classic Vladislav Delay and Robert Henke’s site-specific work.From the milky plumes of ‘Into Deep’, thru the scudding subaquatic electro-dub of ‘Split’, to the bristling gunk of ‘Choeo3’ and the Wanda Group-like subsidence of ‘Cart’, to the lushly fractious flux of ‘Glass In Plastic (with Arad Acid)’ and ‘Anc Alt’, Exael maintains a cool head despite the disorienting G-force and upended context, elaborating a form of simulacra that uncannily reflects the real world’s realigned ideas about gender, mental health, and emotional wealth.Offering a modernist re-vision of classic Chain Reaction and early 00’s dub inversions, it’s an uncanny reminder of a relatively recent era in electronic music that seems far out of reach in the present climate, a perfect accompaniment to that brilliant Pendant album that kicked this fine label off earlier this year.

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Waldeck

Stay Put EP

16,99 €*

Memoosh Deluxe HHV Bundle

Release: 2018 / EU – Original

Genre: Electronic & Dance

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It is hard to believe, but Waldeck´s signature album “Ballroom Stories” is 10 years old. The people at Dope Noir Records feel that this marks the perfect occasion to celebrate its anniversary with the release of a legitimate successor going by the name of “Atlantic Ballroom” - due later in 2018.
For those curious what the new album might sound like the wait will be sweetened by this very “Stay Put” EP available on 150 gr vinyl & digital formats.
Four brilliant downtempo tracks, all of them featuring Waldeck´s new chief-chanteuse Patrizia Ferrara whose extraordinary vocal performance will give you goose bumps right from the beginning all the way through.
Ferrara, being half Sicilian & half Austrian spent the better part of her musical career in Brooklyn, NYC. Asked for a comment Waldeck simply smirks:
“She is a real million-dollar baby”
As with previous releases this one once again hits the spot and highlights Waldeck´s ability to create a whole new sound universe. “Electro-Blues” meets “James Bond- in Casablanca”.
The first track “Stay Put” is quite obviously inspired by the legendary blues & swing icon Fats Waller and captures the mood of the early days of swing, when Al Capone allegedly hi-jacked Waller for a couple of days to play exclusively on one of his private mob parties.
Followed by “So it shall be” – a real beast - that lures with a snake charming seductive Ethiopian groove.
With “Rough Landing” Waldeck then time travels to the 21st century. It could well serve as a title song to the yet to be finished Bond movie “James Bond in Casablanca” (2024).
The last song “Je t´aime beaucoup” is a super slow downtempo blues that haunts you with a longingly whisper for love. A late night in Paris…. no questions asked.
Waldeck dwells on smokey Jazz riffs & bluesy piano lines. He likes to keep the overall electronic feeling subtle, but yet present.

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memotone & Soosh

2LP | 2014 | EU | Original (Project: Mooncircle)

19,99 €*

Charlemagne Palestine & Simone Forti

Release: 2014 / EU – Original

Genre: Electronic & Dance

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Be fast and get the highly limited PMC134 - memotone & Soosh 'Memoosh' album deluxe bundle with handpainted cover sleeve and a handmade wooden necklace by OddSupply.

‘Memoosh’ is the collaborative project between William Yates (memotone) and Soroosh Khavari (Soosh).

Without any pre-planning, the project started to grow and develop a life of its own as soon as the first session started. Over the course of more than eight weekends spread over a year, the two visited each other for recording sessions, not relying on modern modes of communication. Making all the music in person to keep to the collaborative nature of the project, leaving more room for improvisation and opportunity to jam out all their ideas.

The album is a mixture of live instrumentation (guitars, piano, cello, zither, drums, clarinet, synths and numerous others) coupled with effect boxes, samplers, vocals and field recordings, influenced by everything from random static and buzz, to a beautiful early morning rain or the bass thud of a closing door. The whole album being more an exploration of their approach rather than anything conceptually thematic, representing both characters and personalities in the music.

“To be honest, had we not been asked by Project Mooncircle to make the album we probably would never have met to make music. Thankfully they did ask! And it has been a very fruitful conquest. Not only has the album created music we are proud of, but in it’s construction it created a new and lasting friendship.“

‘Memoosh’ comes out worldwide on limited grey-marbled double vinyl, limited handmade and handpainted cassette edition (both including download code) as well as a limited edition CD including a bonus track via flau records in Japan.

All tracks written, performed and produced by William Yates and Soroosh Khavari. Vocals on ‘This Hush’ by William Yates. Recorded in the Soosh Studio, Brighton. With Thanks to all our close friends, family and the team in Berlin.

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Illuminations

LP | EU | Original (Alga Marghen)

Sonn Und Mond - Rare & Unreleased Austrodub Tracks 1995 - 2009

Release: EU – Original

Genre: Electronic & Dance

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Alga Marghen proudly presents the first ever release of "Illuminatios", or Charlemagne Palestine and Simone Forti duo interactions, illuminated with dim red lights. In early 1970 Morton Subotnick asked Charlemagne Palestine to join his soon to be created Media Department at the new "Dream School of the Future" endowed by the Disneys to be called the California Institute of the Arts. Charlemagne and Simone Forti met there in 1970, when La Monte Young asked them to arrange a California concert for Pandit Pran Nath. They decided to try an improvisation session together and Charlemagne invited Simone the first time to the electronic music studio where he worked regularly. Their medium blended as a play of interacting sound waves and solid matter in motion as Charlemagne and Simone shared energy and focus. The three previously unreleased recordings on this LP were made between October and December 1971. The first take titled "Illumination" is for two voices moving in the space with small bells and crystal glasses while Simone Forti plays the molimo, a corrugated tube meant for connecting the gas stove. The second take titled "Wed Oct 13th 1971" has Simone and Charlemagne in a song dialogue as animals do. It was also at Cal Arts that Charlemagne Palestine first encountered a Bosendorfer Imperial Piano of Vienna. He played it often as Simone danced during their "Illuminations". Take three is a song sang in falsetto while playing the Bosendorfer Imperial in an arpeggiated style that predates the "strummings". Listening to these "Three Takes" 40 years later they oooozza timeless carefree mystical magical dreamy atmosphere that evoked the times of the late 60s to early 70s in Charlemagne and Simone part of the California Art Scene. Illuminations were a unique open spontaneous form of performance, ritual and prayer. Edition limited to 365 copies with an essay by both Charlemagne Palestine and Simone Forti, as well photos of the performances reproduced on the LP front sleeve.

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Hey-O-Hansen

CD | 2009 | EU | Original (Pingipung)

LP | 2024 | UK | Original (Bastard Jazz)

Release: 2009 / EU – Original

Genre: Electronic & Dance, Reggae & Dancehall

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by Hey-O-Hansen
00:03
With "Sonn und Mond" Pingipung presents an insight into the archives of the Austrian Dub Act Hey-O-Hansen. "Sonn und Mond" is far more than just a "Best-Of". As the subtitle reveals, this record collects "Rare and Unreleased Austro-Dub Tracks", which are in the first place scarce gems from the last decade’s oeuvre of this outstanding duo. Hey-O-Hansen have been famous for their musical output on remote formats such as rare vinyl singles or even on cassette tapes, through their own label heyrec. Following the contribution "Rflu" to the compilation "Pingipung Blows: the Brass", "Sonn und Mond" is the first feature-length cooperation between Pingipung and Hey-O-Hansen. Why Austro-Dub? Obviously, Helmut Erler and Michael Wolf who are Hey-O-Hansen originally come from Austria. Raised to the off-beats of Tyrolian folk music, then practising offbeats in Ska and Rocksteady bands they eventually moved to Berlin in order to explore samplers and sequencers for their music, alone or as Duo. Soon they had their professional studio, call it the musical instrument of Dub. And they literally carried it on stage for their many gigs. This is what makes Hey-O-Hansen’s tracks so special. Their extraordinary skills and tricks in sound engineering join their detailed, Lo-Fi playfulness which is based on the artistic cross-grainedness of the duo and the fact that they appreciate the openness of a live performance as essential for their compositions. Maybe that is why numerous guest musicians appear on this record; for example Dirk von Lowtzow (Vocals), Gordon Odameteys (Percussion), Olaf Rupp (Gitarre), and Kazumi (Vocals), just to name a few. In Hey-O-Hansen’s music the deepness of Dub is always combined with the catchiness of a Chanson or the stubborn straightness of a dancefloor track. Although "Sonn und Mond" shows above all the versatility of Hey-O-Hansen by pointing at hidden beauty, this record contains several hits and evergreens such as "J'ai peur" or "Dreams never die".

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Manatee Commune

Simultaneity

2LP | 2021 | EU | Original (Music From Memory)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Seattle's own Manatee Commune (aka Grant Eadie) makes his long-awaited return to Bastard Jazz with his fourth album, 'Simultaneity'. Lush and vibrant production is familiar to his previous works, though Eadie has significantly matured in the activation of space and character. A step away from standard songwriting, and a total disassociation from lyrics at all, has made this record closer to the ambient genre than anything Manatee Commune has released, all the while keeping one solid foot in the realm of dance music.
'Simultaneity', as a whole, is an exploration of the collision between texture and time. Captured recordings reminiscent of wind in wheatgrass, soft rain showers in the open plains, and cascading beach sand wash over the mix, splashing into warm drones and ascending melodies that cleanly syncopate against a steady rhythm. Though decidedly electronic at times, a raw human element is ever-present in the form of a vocal motif: just tiny moments of a loving voice lost in a sea of reverberation.
The album is a noticeably positive evolution from previous works. All nine tracks depict a calmness and subtlety in musicianship, relying primarily on tenuous snippets of live instrumentation and synthesis that hypnotically coil and coalesce with one another. 'Love Tone', the opening track, features Eadie's partner, a small voice memo clipped and expanded into an ethereal vocal melody. A crisp felt piano delivers a complex arpeggiation in 'Mosaic', a warm sonic bath scape reminiscent of Olafur Arnalds or Kiasmos. Simple, undemanding bass lines drive tracks 'Path' and 'Faulted', though their simplicity is contrasted with a variety of patterns that combine to create unique auditory shapes, both building and landing in satisfying climactic movement. The album culminates in the final track, 'Touch Theme', where a block of sound in the form of a broad, open synthetic chord warms the ears, eventually twisting and shifting to rhythmic chunks that shove against a familiar house rhythm.

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MLO

Oumuamua

7" | 2024 | UK | Original (4Bit Productions)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Sealed, Cover: Sealed

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995.

MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor.

‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”

Artwork by Vica Pacheco, design by Steele Bonus, liner notes by Dr. Rob

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Ulrich Troyer

Echoes

Eugene Carchesio + Adam Betts

Release: 2024 / UK – Original

Genre: Electronic & Dance

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"echoes Part 1 and 2 scheduled for release on 17th of May is the first of three singles set to introduce the next album project of Ulrich Troyer - Transit Tribe - to be released later this year.

Featuring the jazz vibes of Flip Philipp of the Vienna Symphony Orchestra, "echoes" has all the resonance of pure gamelan in dub, stately, processional and instrumentally rhythmic with its sparser second part isolating contrasting pulses as the complexity unfolds and dazzles.

Twenty years in the making, now the fully developed vision of multi-instrumentalist Vienna-based Ulrich Troyer can be heard coming to its final fruition. The interface of electronics and the unique warmth of human interplay is apparent on this track as well as all the other sounds to be heard on the album where a remarkable array of new and old friends contribute to the proceedings. Thematically the album, as may be gathered from its title, is a clear appeal for humanity to be shown as the people of the world struggle to cope with increasing problems, whether caused by movement or lack of movement."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,
now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:
Flip Philipp: vibraphone, c-marimba
Ulrich Troyer: analog synthesizers, drum-machine, sampler, field recordings, dub effects

Written & arranged by Ulrich Troyer
Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow except Vibraphone, C-Marimba recorded by Ulrich Troyer at Konzerthaus, Vienna
Mixed by Ulrich Troyer at 4Bit Bungalow, Vienna
Produced by Osman Murat Ertel & Ulrich Troyer
Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin
Cover Drawing by Ulrich Troyer

Kindly supported by the City of Vienna (ma7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), Ske-fonds (at) & Amt für Kultur, Bozen (it)

Special Thanks: Steve Barker, Osman Murat Ertel, Eva Kelety & Flip Philipp

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Circle Drum Music

LP | 2023 | EU | Original (Room 40)

LP | 2023 | UK | Original (Klang Tone)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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A note from Lawrence English:

Occasionally ideas present themselves in ways that no one can expect. This recording from Australia’s Eugene Carchesio and the UK’s Adam Betts is one such unexpected presentation.

A couple of years ago, Eugene passed me a collection of recordings that he explained were in the orbit of his now legendary Circle Music series. The recordings, in Eugene’s particular manner, maintained an intensely rhythmic quality rooted in a deep and unwavering sense of minimalism. Eugene has a way of making a tiny cosmos from just the barest of materials. He wondered though, about mixing it up and adding something unexpected to the pieces, and asked about some drums being added.

At almost exactly the same moment, I had been reminded of the amazing work of Adam Betts, who I have been fortunate to be in the orbit of for more than a decade now. We’d first met at Bad Bonne, sharing a bill, and then crossed paths most recently in Tbilisi where he was performing with Squarepusher.

The reason Adam was on my radar though was entirely unrelated to music and it was down to the fact that he had just participated in a welsh toss competition and done quite brilliantly. Somehow, watching Adam lug those weights made me think he’d be the perfect candidate to work with Eugene on this project. To my delight, he agreed.

What results here is a melding of two incredible musical spirits, each of whom have an unerring sense of restrained energy and rhythmic ferocity. It is a parallel reading of how minimal motion can create giant affective waves of energy. It’s also a record of careful listening and generous exploration.

It’s not everyday music can emerge from such curious orbits of thought, but when it does it is a cause for celebration. With that in heart I am so pleased to share this incredible edition with you.

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Radiolarians

13,79 €* 22,99 € -40%

Randy Raine-Reusch & Michael Red

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Experimental multi-instrumentalist Dave Cudlip releases his debut full- length album as Radiolarians via brand new experimental label Klang Tone Records.

Having already garnered plaudits from one of the most authoritative voices in UK electronic music, Electronic Sound magazine, the 10-track album presents a stunning and unique combination of ethereal ambient soundscapes, undulating rhythms and jarring sound collages; the result of what Cudlip describes as a “quick and spontaneous” recording process using a limited setup of analogue synthesisers and drum machines.

The release marks an exciting new chapter for Klang Tone, which is already considered a musical institution in the vibrant town of Stroud, Gloucestershire. The record shop, founded by avant-grade sound artist and obsessive crate-digger Sean Roe has earned a reputation as one of the South West’s nuclei for contemporary jazz, electronic and experimental music.

After the instantly sold-out limited edition lathe-cut 7” of the Radiolarians single ‘Obsidian 2’, Klang Tone is now proud to launch its label arm proper with Radiolarians as its first limited run vinyl release.'

Dave Cudlip was born in North Devon. After moving to Stroud as a child and playing in bands as a teenager, he left the West Country to study archaeology at Durham University, with his subsequent work as an archaeologist taking Cudlip all over Britain. After returning to Stroud, Cudlip has continued to make music, drawing on his love for the work of artists such as Harmonia and Autechre. He created Radiolarians in response to what he calls the “tyranny of choice” when it comes to electronic instruments, streamlining his creative process and consciously limiting his options to produce a veritable distillation of extraordinary ideas.

Written, Performed,Recorded and Mixed by Radiolarians. Mastered by Ed DMX. Artwork by Detritus Plates. Notes/Story by Matthew Ingram (Woebot). Layout & Design by Nick Buckle.

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Eras

12" | 2023 | EU | Original (Isla)

LP | 2023 | UK | Original (Miasmah)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Seven suites of deep and sprawling sonic meditations built around ‘call and response’ improv sessions between Randy Raine-Reusch and Michael Red.

Slow and tempered recordings of Asian flutes, African harps, temple gongs and a myriad of obscure instruments from Randy Raine-Reusch's deep collection mutate and ebb into swirling gossamers of tone. Sonic incantations stretched and magnified further by Red's Sends. An otherworldly play between light and shadow worlds; at times idyllic and light-filled, at times dark and eerie– all engrossing. Dream-reality reconciliations weave between the spectral world of Michael Red's sound processes and the direct physicality of Raine-Reusch's playing. The tension across the pieces builds between the live playing and processing techniques, dutifully revealing a growing familiarity with collective transcendence through sound (bigger than the sum of its parts). Real-time interactive dream music.

Initially realized over the course of a few days in Randy’s instrument museum in Vancouver BC [December, 2014] 'eras' is made up of processed, and sometimes multi tracked, improvisations between Randy and Michael. Through these sessions Randy would choose instruments he sensed possibilities within, and Michael then revealed and sculpted these possibilities. Both resonating, sensing sonic structures, environmental nuances, and further worlds in each other’s art, all within the moment. Being present for each other, they acted on instinct, trusting a first thought, trusting each other; committing, responding to that commitment, then mutating and letting go. Always moving forward, synthesizing and letting the living moment lead the way.

The recordings were left to distill and mature for many years before the composers felt it was ready. With minimal judicious edits and a very light dusting of FXs, both careful to preserve the direct and intuitive process that permeates the recording, Eras now emerges.

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Svarte Greiner

Devolving Trust

25,99 €*

LP | 2022 | EU | Original (Head Ii)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Erik K Skodvin's alter persona “Svarte Greiner” re-appears with another chapter in his “zen music for disturbed souls” series, channeling both spiritual distress and meditation in a live recording from the bunkers of a bombed out brewery. The first piece, entitled “Devolving Trust” is recorded live in the bunkers of Schneider Brewery in Berlin, 2018. Erik explains : “I was invited to use the vast old cellars located underneath the site for a performance / installation. Wet and hollow with a dark past and long reverb, it was a perfect location to channel a cello and electro-acoustic improvisation in the spirit of my two long-form, meditative albums Black Tie & Moss Garden. As a 30 minute piece, it was left looping in the room for hours after it ended as an echo of the performance, allowing people to walk around and soak up the sounds and empty hallways alone. I am usually not into the idea of releasing a live recording, as there are so many factors that are lost in the translation from being present and listening to it in another space. The eyes, ears and body can often see beyond small mistakes once a live performance unfolds in front of you. The details are usually lost in translating it to a pure recording. I made an exception for this as I feel it translates the live feeling in a way I like. Very personal and full of small mistakes it creates its own life. Also, as an improvisation, I am very happy with it, and have been listening to it on and off since a few years. With this in mind I decided I want it to be another document in my ongoing series of longform, atmospheric pieces following the aforementioned two albums. The second track simply called “Devolve” is mostly constructed out of fragments from the performance as a sort of minimal, reversed echo, further tunnelling into the unknown. These pieces has given me calmness, reflection and escape from the madness escalating outside of our doors. I hope it can do the same for you”.

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Blackhaine

And Salford Falls Apart

LP | 2022 | EU | Original (Timedance)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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‘And Salford Falls Apart’ is the searing 2nd EP of cinematic drill noise by North West polymath, Blackhaine; five tracks staging a brutalist, exhaustive expression of disaffection with life in a post Brexit England of the early 2020s, and paying witness to a genuinely prodigious talent coming into its own. It’s no doubt a massive recommendation to anyone who can join the dots between North West England’s resoundingly rich history of punk/post-punk, electro, rap, and rave electronics into the hard present. Between the stomach-knotted dread of its opener ‘Saddleworth’, the caustic fulmination of its Rainy Miller-produced title track, and the magisterial poise of parting shot ‘Let Me Know’; the EP sees Blackhaine develop a more personalised, storytelling articulation of life in the precariat; drawing on the experience of unsatisfying jobs and a love of social-realist film (the eponymous La Haine), surrealist literature (Samuel Beckett), and road level, punk-spirited music - from John Lydon’s formative post-punks PiL, to the bruxist, staccato delivery of donk MCs - to wrest a vital, remediating energy from the void. Now pronounced with a broader range of poetic and textural tekkerz, Blackhaine’s sound is deeply gratifying and absorbing in its psychic purging and knife-edge urgency. Its incursions on the no-person’s-land between detuned drill, noise, and industrial ambient paradigms are as vital as they come at the start of a new, foreboding decade - baldly resetting boundaries and rekindling a fire in the gut-level consciousness of rap and punk musicks that echoes the North West’s indefatigable spirit, and likewise spearheads a crucial new movement beside the likes of Space Afrika, Rainy Miller, and Croww. When factored by his uncanny gift for physicality, as inspired by traditional Japanese butoh dance and petrified city centre spice heads, Blackhaine’s art patently refuses, as much as acknowledges, the pressures of the times. A vital new working class voice demands your attention right here.

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Batu

Opal Black Vinyl Edition

2LP | 2001 | EU | Reissue (Keplar)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Building on the promise of nearly 10 years testing limits within club music, Batu presents his debut album Opal. Experimentation is a well-established facet of Omar McCutcheon’s identity within the leftfield techno zeitgeist, but more than ever on Opal he seizes the opportunity to incorporate ideas beyond dancefloor impetus into his animated, forward-leaning sound.

Through the course of 11 tracks, rhythmic forms are mutated and manipulated, sonic matter bends across the frequency range and narrative structures coalesce and dissolve according to Batu’s own internal logic. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint. It’s a sound intrinsically connected to the superlative string of club 12”s, EPs and collaborations Batu has spun behind him thus far, even as it moves into unfamiliar terrain, guided by abstract inspiration from coastal landscapes and the mineral matter all life on Earth is built on.

On Opal the visceral production isn’t necessarily geared towards shock tactics. Instead, emotional depths are explored through melodic and textural forms which take on an elemental quality. It’s a space which can accommodate the explicit heart and soul of the human voice, as recent collaborator serpentwithfeet demonstrates weaving a mesmerising vocal through ‘Solace’, but it can also take in broad sweeps of interpretive landscape. There’s also room for small fragments of instrumentation, recorded by Memotone, processed by Batu and subtly threaded throughout the album. Balancing micro and macro in specific sounds as much as moods, Batu’s finely-sculpted work calls to mind the immensity of passing time cast in cliff faces, and the intimate personal growth we experience in our own lifetimes.

Mimicking the iridescent stone it takes its name from, Opal refracts Batu’s distinctive artistic imprint, giving us a deeper, more revealing impression of the artist as he explores ideas bigger – and indeed smaller.

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Donnacha Costello

Together Is A New Alone

LP | 2019 | EU | Original (Patience)

Release: 2001 / EU – Reissue

Genre: Electronic & Dance

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For its 20th anniversary, Keplar presents an absolute milestone in the history of IDM and ambient music for the first time in its definite form: »Together Is the New Alone« by Donnacha Costello was originally released on Mille Plateaux in 2001 as the second LP under the Irish producer’s given name and firmly established him as one of the leading artists in the field of forward-thinking electronic music after he had primarily made a name for himself with house and techno releases under the Jayrod moniker. This vinyl reissue with an entirely new artwork comprises all ten tracks originally only included on the CD version in their edited and final form in which they were last presented on the digital re-release under the name »Together,« remastered by Stephan Mathieu and self-published by Costello, in 2015.

Truly prescient artists rarely opt for introspective sounds, however that was the case when Costello set out to produce »Together Is the New Alone« during nightly session in his hometown Dublin between April and July in 2001, and it also explains the album’s enduring appeal and unwavering radiance twenty years on. While many of his contemporaries dedicated themselves to explore the musical zeitgeist and notions of the future in conceptual terms, Costello made them emotionally tangible, allowing his audience to feel their underlying ambiguity rather than just reflect on it. »Together Is the New Alone« is an album that wordlessly speaks of the paradoxical sense of social alienation and isolation expressed by its title and thus seems even more topical today than it did at the time of its release.

Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once throughout the album adheres to tried and tested formulas and conventions, but holistically moulds complex compositions out of distinct and discrete parts. The result is a record that is at once easily accessible and deeply affecting, but also infinitely rich and stunningly sophisticated in musical terms. A personal record expressing a universal sentiment—a truly timeless statement that will reverberate for decades to come.

(Kristoffer Cornils)

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Leo James

Infinity

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Infinity is the new release by Melbourne-based Leo James, and the second Patience production. Leo scratches a longstanding itch and delivers two sidelong excursions that inhabit a similar sonic space but spin off in opposite directions on the continuum.
Desert Nightflower hums with vitality in a seemingly lifeless landscape. Impressionistically tracing the lifecycle of a flower’s bloom in the desert night – from the searing afternoon sun through dusk’s chill, the midnight blossoming and symbiotic relationship with travelling bats, through the blue hour comedown to first light – Leo employs vibrant, buzzing electronics, plaintive strings and levitating clarinet to illustrate beauty’s brief conquest of nature’s harshest environment, with vividly evocative and deftly moving results.
After Desert Nighflower floats completely off the grid, an ever-present kickdrum drives Infinity’s near 20-minute trip into timelessness. Sharing Side A’s subliminal synthesised hum and free-form clarinet, Infinity moves fast and firm down a dub techno dirt road towards the end of time. As elements drop in and out of the mix, Infinity builds momentum to a pulsing, cathartic peak of poignant piano, ethereal keys and lucid clarinet expressions.
As an avid nature enthusiast, spatial awareness looms large in Leo’s work. His solo releases on Berceuse Heroique, Neubau and his own label Body Language have been inspired incarnations of techno, EBM, industrial and wave.
Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.
Releases will be available via the regular digital platforms.

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10 Years Of Rhythm Section International

12" | 2024 | UK | Original (Boxset)

91,99 €*

LP | 2024 | EU | Original (Beacon Sound)

Release: 2024 / UK – Original

Genre: Hip Hop, Electronic & Dance

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Rhythm Section International, the impossible-to-define label founded in South East London by Bradley Zero in 2014 has reached the ripe old age of 10 years. Funny thing is, it feels like it could have been almost double that. It’s hard to imagine the Landscape of the London music scene without this foundational force whose influence is felt more than ever.

With this special anniversary release, the label takes stock at this milestone to present a compilation in 3 parts: Past, Re-imagined AND Future: honouring the labels tradition of always paying homage to what has come before while setting sights firmly forwards.

With 100-odd releases in their extended back catalogue covering every imaginable style and boasting influence in every inhabited continent on earth, it’s been quite a decade for the independent label, which began on a shoestring budget with funds made via the now legendary Rhythm Section pool hall parties in Peckham.

From humble beginnings to an era defining output - few would have predicted the slow and steady rise of the imprint and the impact it has had on generations of Dj’s, musicians and listeners - at home and abroad.

Spanning 6 discs and 30 tracks, the compilation begins by taking us on a walk down memory lane and presenting one track from each year of the labels output - highlighting some forgotten classics from the archives over the first 2 discs. For discs 3 & 4, the label invited it’s stable of artists to pick a track from the back catalogue to re-imagine in their own style. This process resulted in some incredibly playful contributions from the likes of Ruf Dug, Session Victim and Private Joy - whose playful reinterpretations add new depth to old material.

Finally, the last 2 discs are entirely new material for 2024, carrying the torch of the previous Shouts compilations - whose sole aim is to shine light on new music from emerging artists

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Soft As Snow

Metal.wet

Tape | 2024 | UK | Original (Hive Mind)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Unbound by place or genre, mercurial, experimental pop duo Soft as Snow find freedom to intuitively reflect the disarray of human connection with their intricate, shape-shifting pop production. With each successive release, the duo evolves, unfurling into their own poetic sound, now fully realized on their intimate, third full-length, Metal.wet.

The oft-present trappings of male-female duos are eschewed here as the Berlin-based Oda Starheim and Øystein Monsen contribute equally across a canvas of analogue synthesizers, samplers, live drums, and processed guitars. At once a part of and yet apart from the zeitgeist, their forward-thinking modernity stretches the limits of expectations across Metal.wet's ten insouciant tracks. Fans of Tirzah, Hype Williams, and even Angelo Badalamenti will find much to love in this haunting work peppered with Asmr moments and rough sampling wrapped in high production –– twinkling glasses and sirens in the distance, rhythms and voices up front. The result is synth-driven, noisy, and dripping with laidback, confident sensuality.

Although Starheim's voice begins the album in a whisper, it quickly becomes apparent that the group has jettisoned their previous tendency to bury and distort her vocals. Nested in a bed of thorny electronics and broken rhythms, her multifaceted vocals might bring to mind Kazu Makino of Blonde Redhead or Hope Sandoval fronting Massive Attack. London MC Brother May (Mica Levi, Curl) makes an appearance on the driving and ethereal “Whip,” while Øystein’s own voice appears for the first time in a state of languid background haze.

Soft as Snow create and record across Europe. Defiantly averse to genre, the pair become vessels for their “electronic music pushed to the brink of collapse” (The Wire), previously released by Infinite Machine and Houndstooth. Informed by backgrounds in film and performance art, “there’s a surrealism that comes with watching Soft as Snow in the flesh,” (Vice) as seen at L.E.V. and Lunchmeat Festivals. Collaborations with visual artist Guynoid, designer AGF Hydra, and sculptor Camilla Steinum add depth to the corporeality of their “strange, mesmerising and utterly unforgettable” electronic experimentations. (DJ Mag).

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Boycalledcrow

Eyetrees

LP | 2023 | EU | Original (WRWTFWW)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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boycalledcrow eyetrees

Hmr033 Cassette £7.50 worlds sweet dunes honeybee a heavy heart magic medicine a blissful day with her westbury kids my friend, janu noah autumn love cutie pie loves churp

'We're excited to be able to bring you the latest wonderful album from Chester's boycalledcrow, after a series of superb releases for labels such as Mortality Tables, Waxing Crescent Records and Subexotic Records, including the wonderful Kullu from earlier this year.

Knott's music doesn't sit easily in any pre-existing genres, being at once strange and experimental, yet melodic and somehow comforting. His music is intimate and evocative, deeply personal, and manages to be both bucolic and yet totally 21st century, like Kraftwerk's robots dreaming of sheep.

The songs and sounds on “eyetrees” are inspired by a rich family life and the wonderful times spent with his wife and kids, both at home and out in nature.'

Knott said of the album and its inspirations: “We enjoy spending time in the woods with our young children, creating stories about the "eye tree”. This tree, with thousands of eyes, watches over us and cares for us like family. We make fox medicine and cherish these blissful moments. The music reflects these times, seen through the colors of an old, fuzzy reel—orange, red, and yellow with blurred edges, like an old photo scorched by the sun.

I feel a deep spiritual connection to the countryside; the hands of Arcadia cradle me when I feel sad. Some of the album was created during times of sadness when I felt death was close and the lines between worlds were blurred. This feeling—that anything can happen and that life is delicate and can be taken away in a flash—permeates the music.

The song titles are stories and memories of my family, filled with hazy pinks, yellows, reds, and oranges.

Wonky acoustic guitar, broken electronics, and a warm, otherworldly space."

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Gareth Quinn Redmond

Umcheol

Release: 2023 / EU – Original

Genre: Electronic & Dance

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WRWTFWW Records is proud to announce a brand new album by Irish producer Gareth Quinn
Redmond, following his amazing Satoshi Ashikawa-Inspired Laistigh Den Ghleo released in 2019.
Umcheol, his ambient-meets-Irish-traditional-music soundscape is available as a limited edition LP
(500 copies worldwide) housed in a 350gsm gatefold sleeve with a superb triptych of paintings by
Irish artist Conor Campbell. The album comes in digital format as well.
A splendid pairing of Irish folk instruments (harp, tin whistle, fiddle, harmonium) with synthesizers,
Umcheol tells the tragic yet beautiful tale of two legendary figures of Irish mythology, Cú Chulainn and
Ferdiad. The 40+ minute ambient narrative is a subtle and touching alliance of past and present,
tradition re-contextualized and retold with a modern approach.
Gareth Quinn Redmond explains: "For the longest time, I have desired to blend elements of both
ambient and Irish traditional music. Umcheol - Cú Chulainn agus Ferdiad, is the first in a series of
works that seeks to coalesce these two palettes of sound. The primary focus of this album was to
begin using traditional instruments such as the harp, tin whistle, fiddle and even the harmonium,
which in recent times has become commonly used in Irish folk music. By pairing these instruments
with synthesizers, I hope to create a soundscape that gives new agency for the stories of my culture
to be realized and retold."
Very personal and delicately visceral, Umcheol is a contemplative journey that will resonate with fans
of Japanese environmental music, minimalism, folk experimentations, and mythological soundtracks.
Gareth Quinn Redmond’s previous album, Laistigh Den Ghleo, an ode to the work of Satoshi
Ashikawa is still available on WRWTFWW Records - perfect time to re-visit!
Points of interests
- For fans of ambient, Irish folk music and history, minimalism, synth, Satoshi Ashikawa, Midori
Takada, Brian Eno, beautiful paintings, single LPs in gatefold sleeves, well hidden treasures.
- Limited edition (500) vinyl of Gareth Quinn Redmond’s brand new album, with an artwork by Conor
Campbell.

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2Tape | 2022 | UK | Original (Kashual Plastik)

Field Of Progress

7" | 2022 | UK | Original (Hell Yeah Italy)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Wind and cars hum in harmony. Ancestors croon in the factories of the future. Hippos in swimming pools, dancing on mechanical milker rhythms. Cows rehash in the melodic air of church bells. A melodeon sobs in a vague radio broadcast. Someone warps a present, while a data processor calculates his own death. Can frogs talk to the machine? Sacred chants sang about their conversation. That night when the jungle cried. That night when whales hummed waves of sadness. A klaxon symphony on tribal grooves, street talks in Brics countries. Someone flushes the gig economy, while the dishwasher gently weeps. Kashual Plastik been in the fields, bringing home the true fake, that surrounds us every day, everywhere, hidden in the sounds of many. A phonography compilation, that comes in two chapters: Document 1 and Document 2. Nothing authentic, yet genuinely realistic. Recorded in the global economy grasslands. On the fly and thoroughly planned. Netted by mindful observers, who respire the ambient noise for a better tomorrow, that might never come. Snow reaches out to the Tuatara, while in Berlin Spandau trains plow through the afternoon. Somebody comes home from a walk, engines squeal, tailpipes buzz in distance. Let’s fill up a glass of rum and toast on organ harmonics, sitting on a random platform at Tokyo’s Chōfu railway station, seduced by train announcements. Does a quiescent room breed noise? Analogue living in old towns, down there, where working on Sunday is the new Monday. At London’s Kingsland High Street religious rhythms cut the street noise. Nearby, in a local pub, a beer concert cheers millions. A Method To Exist, Malvern Brume, Susannah Stark, Jamie Burke, Laura Not, ML, Nika Son, Felix Kubin, or Red Brut, they all listened and absorbed. And many more too. How does the ambient sound to you? Never asked yourself this question? “Field Of Progress” hands out 28 ethnomusicological answers. They can polish the senses. For the fables of the environment. For the folklore of atmosphere. Bio music for data bodies. Wind and cars hum in harmony …

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Jazz N Palms

Milano

12,99 €*

LP | 2022 | EU | Original (Isla)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Hell Yeah is proud to present the return of Jazz N Palms with a superb new project following the success of his Ses Rodes album. 'Milano' as a 7" with radio and instrumental versions alongside an original video and expressive artwork by Parisian studio Nokko.

Jazz N Palms is a jazz-inspired project from Italian DJ and producer Riccio. He started this project after moving to Ibiza and falling under the spell of its ancestral side, its sweet and slow pace of life and the natural rhythms of the beauty in the north of the island. In summer, he served up his fantastic Ses Rodes double album which was dedicated to the original way of life that had remained almost unchanged till the early 80s party explosion.

This new track came about after Riccio heard Piera Martell's 1978 soul-jazz track 'Exotica' in a mix by Phil Mison. The idea was reimagine the song with new lyrics and set in Milan, in the early days when the town was invaded by unusual and exotic palm trees in Piazza Duomo. The song tells the story of a country teenager who is unsure about heading to a big new city after receiving an invitation. The story will retrieve familiar emotions for many of us who have faced similarly important decisions in our life, but this time married to an escapist groove.

For this release, the original 'Exotica' has been fully replayed by contemporary musicians from the multi-genre Italian ensemble 291out, with whom Riccio has worked in the past. It has new lyrics sung in Italian by fellow 291out collaborator Giovanna Lubjan after permission was given by original composer Salvo Ingrassia.

'Milano' is a luxurious soul-jazz fusion. It has exotic guitar lines and gently persuasive rhythms topped by the soaring vocal from Lubjan. A steamy sax helps the temperature rise as the track unfolds and traps you under its gorgeous spell.

This is a timeless package of blissed-out brilliance from Jazz N Palms.

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Heap

False Hope

17,99 €*

Nested Russian Dolls Of Paranoia

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Over the past decade, Vienna-based Florian Stöffelbauer – also known as Heap, has built a consistent reputation as a skilled DJ, producer and Neubau’s label head.

Isla is proud to present his latest effort “False Hope” which explores the intersections between industrial, electro and dark wave – all with a leftfield twist.

As diverse as it is powerful, the 7 tracks featured here almost feel like nocturnal tales, chalking out Heap’s observations wandering through the streets of a silent city, with cigarette smoke permeating the air and sirens ringing in the distance. The cinematic essence of the release emerges from the very beginning, with the atmospheric beauty “Diall” transporting us straight into some late-80s scenery of Kraftwerkian nostalgia. In “Jetzt Oder Nie” a sharp knit of drums is placed on top of the grave frequencies of the bass: it’s indeed “now or never”, the moral imperative of the release, requiring us to take action. Throughout the whole album, hypnotic sounds punctuate the dark space, bouncing between the polyrhythmic and uplifting energies of “Inner peace” and “No Palm Too Big”, a sneaky slow-burner with a nocturnal groove and Gayna Rose Madder’s robotic voice reciting the stream of consciousness of this urban wanderer.

“Trist” rises slowly yet powerfully thanks to its mystical synths covering the ground and preparing us for what comes next. The title track “False Hope” holds the unique charm of a creature effortlessly floating in between dualities. As obscure as it is airy, as delicate as it is forceful, this hybrid composition is rich in details and plot twists.

At the end of this journey, “Losing time” reminds us of the urgency to take action expressed at the beginning of the album. In a rarefied canvas, an off-kilter solitary sound comes in, starting off as insistent as a car horn in rush hour, and evolving into a beautiful instrument arpeggiating the melody.

Here Heap concludes his narrative for now. We like to imagine him walking away, a shadow fading in the smoke of the city as the first lights of the day appear.

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Prophetas

Tape | 2022 | EU | Original (Sucata Tapes)

12,99 €*

LP | 2022 | UK | Original (Castles In Space)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Third and probably last volume from Gonçalo F. Cardoso’s most disillusioned moniker, Prophetas.

Where the first tape, Reveal, Accept, Remember, Forget, revived mid 50’s ideas of weird hope (ufo sightings, suburbia, space race) and the second, Maury Island Reverie, explored early 90’s disillusionment through a sound world of mall culture, late night cable TV and rampant consumerism, this new work concludes de unplanned trilogy with a more randomised yet no hope approach to the sentiments and concepts explored previously.

Produced over what we call now the pandemic years, and pressed just before the outbreak of yet another war, the feeling here is schizophrenic to say the least : full channel surfing, all tabs open, zero attention span and out of control consumerism has settled into the music (and our lives), the new normal, no time to think, no time for much really, keep going, feel sorry, carry on and die.

The Fake prophets have now established their claws firmly in every corner of our societies, ripping all of our planet benefits whilst leaving nothing in return, the world is now a gigantic cash dispenser, a credit card landfill, everything is up for grabs as long as it can turn a quick profit. Technology? Science? Art? Who needs it when we can just use it to exploit, to make a other quick buck whilst keeping tabs on the population. All this whilst appearing as humanity saviours? I’ve got a plan, it’s ok, let's all go to Mars.

Secret and not so secret wars have been raging since this work was completed. The old present has finally cancelled any possible future, thank god we have the past to look at and wonder… like this tape does, all hail the ubiquitous fake prophets of the 21st century, it’s us!

‘Bring to the storehouse a full tenth of what you earn…I will open the windows of heaven for you and pour out all the blessings you need’ – Malachi 3:10

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Keith Seatman

Sad Old Tatty Bunting

Un' Altra Forma Di Vibrazioni

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Castles in Space is thrilled to present a timely new album from Keith Seatman - his first “extraordinary adventure” since 2020’s “Time To Dream But Never Seen”. “Sad Old Tatty Bunting” is another multi layered, deeply psychedelic construction which contains collaborations with Jim Jupp (Ghost Box, Belbury Poly) and Douglas E. Powell (Broken Folk). Keith provides the vision and background to the album: “The inspiration for Sad Old Tatty Bunting came about very early one morning in April 2020, during the first UK lockdown. I had taken to going for long walks between six and seven o’clock in the morning. I would stroll aimlessly and directionless up and down terraced streets, along the beach and on the prom. On these early morning walks, places that were once very familiar to me seemed to have changed and taken on an unfamiliar feel. With this change I noticed new things, things which I had not seen before or maybe had no memory of ever seeing. “One morning I passed an old pub. Hanging in the beer garden was some very old and quite shabby looking bunting. As I stared at the faded old colours I started to wonder why the bunting was there? Was it put up to mark a long forgotten occasion? Or had it been placed there to just brighten up the garden? As the weeks went by, I started to wander further and every now and then would notice more random old tatty bunting hanging from trees, lamp posts or in windows. On theses walks an idea started to take root. I came up with and really liked the phrase Sad Old Tatty Bunting. I mentioned this to my friend Douglas E Powell who said it sounded like the name of an old scarecrow (Tatty Bunting) it was then that I realised that Sad Old Tatty Bunting could refer to many different concepts/ideas/places/books and things. What, who or even where was Sad Old Tatty Bunting? I honestly had no idea…but it was definitely an idea I was going to pursue…”

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Tagliabue

LP | 2022 | UK | Original (Invisible Inc)

18,99 €*

LP | 2021 | EU | Original (Raakvlak)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Following hot on the heels of his recent mini-album for Elephant Gait, Italian producer Joseph Tagliabue is back with a full-length album on Glasgow's Invisible, Inc. With Un' Altra Forma Di Vibrazioni Tagliabue continues to expand on the cosmic foundations laid by such pioneering experimental forefathers as Franco Battiato and his ground-breaking abstract ambient work of the '70s and Klaus Schultze whose legendary Innovative Communications label birthed the “Berlin school” sound at the start of the '80s, then tracing a path toward later luminaries like Boards of Canada and Plaid. There's a personal, emotive and ethereal quality also present here conjuring feelings of 4AD's glory years and the likes of This Mortal Coil and Dead Can Dance. However, backwards-looking music this is not. It's fair to say the Milan-based producer is developing his very own distinct sound as he matures from one release to the next and regardless of his wide range of influences, it's Tagliabue's firm grasp of sound design and audio engineering that takes this album far beyond the realm of just “electronica” or “psychedelia” and plants it firmly into a distinctly forward-looking contemporary space of its very own that's as much music for the heart as it is music for the head. Tagliabue provides some insight: “Un' Altra Forma Di Vibrazioni (meaning Another Form Of Vibration in Italian) is a concept album inspired by one of the most sensational scientific discoveries of recent years, namely evidence of the existence of the "Cosmic Web". The album is comprised of ten tracks, each linked to one another, much like the various forms of matter in the cosmic web, and whose meaning can only be understood by listening to them as a collective whole, rather than as separate pieces of music. The album therefore is a well constructed sonic experience fusing elements of ambient, psych, rock, experimental and trance and is designed to be listened to continuously from start to finish; the album's journey through the universal elements is reflected in each track, whose rhythms resonate in harmony with the phenomena they represent, whilst a backdrop of drones and mesmeric grooves contribute to an atmosphere of otherworldly mechanical oneirism."

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Rik Van Boeckel

Deze Hoofden Praten

11,89 €* 16,99 € -30%

12" | 2024 | EU | Original (Subsist / Faith Disciplines)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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New label on the block Raakvlak returns for its second release, this time brancing out into more local territories. Deze Hoofden Praten is a vast recollection of the idiosyncratic work of spoken-word guru Rik van Boeckel. Next in line for Raakvlak is a recollection of the wicked work of poet, spoken-word expert and all-round expressionist Rik van Boeckel. Deze Hoofden Praten is the result of two mid- eighties tapes released on Kubus Cassettes, the same label that accommodated the work of subterranean ambient wizard Enno Velthuys. Although van Boeckel’s oeuvre contains some similar elements, the outcome here is much wilder; a musical hodgepodge of new wave pop, ambient and quirky dub. What’s more, emphasis is just as much on the Dada- bordering poetry at present as on the sonical equivalent. Think Ton Lebbink’s cousin if he would’ve been into new age instead of punk. Van Boeckel initially made name as a famed spoken word artist, doing rounds in the Dutch pop venue circuit. One of the first ones to notice his Dada-bordering poetry was Rob Smit, musician and overseer of Kubus Cassettes, the label that already been home to the mind- stretching ambient of subterranean-chill pioneer Enno Velthuys. It did not take long for Smit to think up the musical backdrop to van Boeckel’s words, adding bright synths, tranquil guitars and the more off-side sounds that Kubus was known for. The result? One odd hodgepodge of new wave pop, quirky ambient and new age sounds, spearheaded by van Boeckel’s surreal tales about Dame Nature, travelling and other everyday nonsense. Two cassettes came to fruition, both released on Kubus Cassettes, both in the mid-eighties, of which Raakvlak now has cherry-picked some of the finer moments. Certainly one to turn heads and ears alike, this may serve as a (re-)introduction of a singular mind to the wider universe.

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Group

Seedman EP

15,99 €*

LP | 2024 | Original (Quindi)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Group is a project with its own sound and a gradually expanding style, and Seedman perfectly reflects these attributes. With 160925_1145, the first cut on side A, the ritualism he has previously exhibited on other albums such as Esoteric Free Afrika, or more recently with Broken Faces, is somewhat apparent, due to the slow cadence, steady rhythm and tribal arguments. 160205_1066 is created from another perspective, however, it is not what it seems because from the first bars there is a syncopated and constant rhythmic pattern that places you in an industrial scenario, and gradually a simple two-tone melody appears that completely changes its initial musical context. 170218_1475 moves between an industrial and dark ambient concept, as it mixes gloomy atmospheres with deep breaks.

The sonic properties of 160131_0683, the cut that opens the B-side, connect with an unexplored environment, with a new, recently discovered and inhospitable scenario, since among other things we can appreciate sounds of machines, radio signals, filtered and choppy voices, combined with disturbing acoustic phenomena. 170213_1455 is a track that describes quite concisely the creative sense of Group, and for this we must take into account that it could be catalogued as a techno production, with groove and aimed at the dancefloor, however, he manages to minimise all these factors by giving it a volatile and atmospheric aspect. 170105_1398 closes the B-side of the vinyl, returning once again to the tribalism and ritualism that characterises many of Group’s productions, given that on this occasion his rhythm is not diluted, it has much more presence and manages to generate a hypnotic state.

In addition to these six tracks that make up the entire vinyl tracklist, Seedman also presents a couple of bonus tracks in digital format. And the first of them, The beast11, already arouses curiosity because its title is not due to a sequence of numbers, as is usual in this project. Musically, it once again shows Group’s ability to adapt any environment to a sonic degradation very much in keeping with his style. 150407_0166, the last track on the album, is an ode to chaos, a hodgepodge of frequencies devoid of rhythm that appropriately serves as an outro.

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Dead Bandit

Memory Thirteen

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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LP | 2023 | UK | Original (Keroxen / Discrepant)

Radar Keroxen Volume 4

Electropica Yellow Vinyl Edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Yearly compilation album Radar by Keroxen returns with its fourth volume in the ongoing series of themed based albums showcasing the talents and misfortunes of carefully selected musical projects based or connected with the Ca-nary Islands.

With its first volume released in 2020 aiming to promote and divulge adventurous Island based music, the Keroxen im-print now presents Vol.4 with another showcase of the various insular musical scenes made in the outermost regions – in this case, a very rare incursion outside the Canary Archipelago by way of handpicking friends and colleagues working in the further most regions we can think of. A very special showcase then, featuring the Azores Islands, Reunion Island, Canary Islands and French Guiana - a true connection of likeminded minds whom demonstrate once again that you do not need to be in an western hipster mecca to make interesting work.

The presentation format sticks to its breakable rules, with each artist offering one track per side and the full thing of course wrapped up in Pura Marquez dizzying post-tropical art.

The album opens with the Julee Cruise inspired project Akane by Tenerife’s Carolina Machado where synth arpeggios intertwine organically with her soothing voice, setting the tone for Reunion Island’s Jako Maron and his unique take on local Maloya music by way of electrifying it into a trance like looping beat. Enter French Guyana’s Daryanna Jean unique sound artistry with sampling, cutting and pasting local(?) sounds into a disorientating needle jump glitch fest. Side A eventually closes with a very Azorean take on the very English hauntological sound by borrowing those pastoral melo-dies and synth riffs of yesterday and transposing it to the remote Sub-Tropical fields of São Miguel island, in the Azores, courtesy of Flipping Candy.

Side B emphatically reinforces the compilation’s original concept that no matter where you are, in this post internet, post everything world, outsider music thrives and keeps raising the invisible bar, true that!

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Richard Bone

LP | 2023 | CA | Original (Tiger Blood Tapes)

39,99 €*

Electropica Red Vinyl Edition

Release: 2023 / CA – Original

Genre: Electronic & Dance

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"Rediscover your love of Bossa Nova!"

Tiger Blood Tapes proudly presents for the first time ever on cassette, Richard Bone's 1998 Ambient Electro Jazz album "Electropica". Features an unreleased outtake "Cosa Nova".

"Electropica" is part one in a trilogy of Richard Bone's Ambient Electro Bossa Nova albums.

Originally released in 1998 on CD by Quirkworks Labratories.

Press Release:

"A curious thing happened to me during the summer of 1996. While leaving a favorite music store, I detoured down the jazz isle. Suddenly, one of the discs flung itself out of the bin and landed squarely at my feet. I was immediately drawn to its cover. A giraffe was gliding across cobalt blue sand beneath an emerald green sky. Without a second thought I bought the disc and brought it home. My life was about to change.

The disc was Antonio Carlos Jobim's "wave". Recorded in 1967, it was one of the most sensual works I had ever heard. The gentle rhythms, the haunting melodies were mesmerizing. The stereo imaging of producer Creed Taylor was magical. I must have played it ten times that night. These were beats of another time, another place. Innocent, yet primal, but most of all...romantic. This was Bossa Nova!

I have spent the last year and a half researching this old/new music. I discovered the masters of this genre: Jobim, Luiz Bonfa and Joao Gilberto. During those many months I listened to little else.

Electropica is my homage to these artists. Through the melding of sampled, found and created sounds, I have tried to capture my impression of this music, these rhythms. My work in the past has been described as ambient or electronic. For this release, I set those catagories aside.

I hope you will take a little time and listen to Electropica with unbiased ears. Close your eyes and envision a different world. With giraffes, perhaps, and emerald skies above cobalt sand.

Peace Always," -Richard Bone

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Richard Bone

LP | 2023 | CA | Original (Tiger Blood Tapes)

39,99 €*

Electropica Black Vinyl Edition

Release: 2023 / CA – Original

Genre: Electronic & Dance

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Richard Bone

LP | 2023 | CA | Original (Tiger Blood Tapes)

38,99 €*

12" | 2021 | EU | Original (Ballyhoo)

Release: 2023 / CA – Original

Genre: Electronic & Dance

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Thee J Johanz & MSRG

ADS-7

LP | 2019 | EU | Original (New Info)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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(Very Limited Full Color Sleeve edition, comes with sticker) Semi promotional record for the Russian Ads7 drumsynthesizer. Thee J Johanz is going from the Chicagoish banging drumsynth only I Wanna Turn On My Beatbox, to nearly Italoesque electro in Drops Of Joy, to end with the (only playable inside out) trippy Italo proto techno adventure in Calm Your Tits Kitty. On the other side 4 tracks with top class electro, all made by Msrg, who is also the man behind the drum synthesizer. Funky, jazzy and even stamping in the last track, always elegant and spot on. Sleeve by Afrobot.

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Ot To, Not To

It Loved To Happen

15,99 €*

It Loved To Happen [Remixes]

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Ot to not to is the experimental RnB recording project of Virginia natives Ian Mugerwa and Noah Smith In 2016, Mugerwa released the first Ot to Not to LP Goshen through Nicolas Jaar’s OTHER PEOPLE imprint after being discovered by Jaar in 2015 while recording.
Goshen was a very deliberate effort to create an RnB concept album that explored aesthetics and recording methods usually more associated with European experimental electronic music. More specifically, it was an effort to subvert tropes in pop RnB, whether those be the stereotypical, sterile cleanliness of radio RnB or the safe themes and song structures. While Goshen was undertaken primarily as a solo effort while Ian was casually homeless in Richmond, Virginia, the contributions Noah did make (namely the last track) served as the basis for the aesthetic shift seen in their most recent 2nd LP It Loved to Happen.
After releasing Goshen in 2016, Mugerwa did a series of informal experiments in laptop recording that resulted in his These Movements I & II double EP. The EPs, released through European ambient label ACR, served as an outlet for Mugerwa to explore genres like ambient, modern classical, IDM, and lo-fi R'n'B without the added pressure of being bound to a strict concept or narrative. Furthermore, these EPs afforded Mugerwa some familiarity with the styles and techniques he would explore with Smith on the next Ot to not to LP.
In late 2016, Ian joined Noah at his family’s cabin in the Virginia Appalachian mountains to record a follow-up to Goshen. Prior to this, both artists had been suffering the isolating effects of untreated mental illness, and retreating to mountains to record seemed to offer a desperately needed cathartic outlet. This sylvan setting inspired a shift from the more cold, abstract, electronics of Goshen to the more naturalistic, analog-focused, and guitar-driven aesthetic of the new LP. Artists like Talk Talk, Baden Powell, Nick Drake, Vashti Bunyan and Phil Elverum were playing constantly in the cabin when the duo weren’t actively tracking, influencing the sound of the LP. Just as on Goshen, tape processing was heavily utilized as a way to collage and manipulate samples.
All instruments - even the orchestral parts - were performed by Ian and Noah. Subtle, but detailed sample-based sound design was utilized throughout the album for texture and, unlike their debut, no synths were used. Instead there was an emphasis on manipulating samples the duo would amass from hours of field recording. Throughout the recording session the duo adopted a religious reverence for the woods and mountains that surrounded them, and as a result the album took on themes of spiritual yearning and exploration that flowed under allegorical lyrics about isolation and lost love. Additionally, elements of ambient electronic music were explored on It Loved to Happen, with some tracks abandoning any song structure in favour of raw sound exploration.

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Ot To, Not To

12" | 2019 | EU | Original (New Info)

LP | 2016 | EU | Original (Other People)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Ot to not to is the experimental RnB recording project of Virginia natives Ian Mugerwa and Noah Smith - These are the remixes!
Ot to not to is the experimental R'n'B recording project of Virginia natives Ian Mugerwa and Noah Smith. In 2016, Mugerwa released the first Ot to Not to LP Goshen through Nicolas Jaar’s OTHER PEOPLE imprint after being discovered by Jaar in 2015 while recording. Goshen was a very deliberate effort to create an R'n'B concept album that explored aesthetics and recording methods usually more associated with European experimental electronic music. More specifically, it was an effort to subvert tropes in pop R'n'B, whether those be the stereotypical, sterile cleanliness of radio R'n'B or the safe themes and song structures. Forthcoming LP "It Loved to Happen" will be released March 1 and is preceded by a remix 12 featuring abstract interpretations of tracks by Xiu Xiu, Carlos Nino, Ben Chatwin & Machinefabriek.

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Ot To, Not To

Goshe

19,99 €*

Charlie Lownoise & Mental Theo

Release: 2016 / EU – Original

Genre: Electronic & Dance

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

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Charlottenburg

LP | 2022 | EU | Original (Cloud 9)

30,99 €*

Release: 2022 / EU – Original

Genre: Electronic & Dance

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2LP | 2024 | EU | Original (Black Truffle)

David Rosenboom

Future Travel

47,99 €*

Release: 2024 / EU – Original

Genre: Electronic & Dance

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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.

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LP | 2022 | CA | Original (Seance Centre)

Incantations

Buchla Concert At Galeria Bonino New York 1974

Release: 2022 / CA – Original

Genre: Electronic & Dance

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Incantations is a collection of sixteen visual and sonic experiments centred around the idea of score as spell,

A spell and its incantation are distinct, but conjoined by a symbolic, almost umbilical force. A spell is a totem text, a material call for change — a seed, a recipe, an instruction, a potential. The incantation of a spell gives it life, brings breath to body, raises hairs, moves minds. For this project, eight spell- scores were created by visual/text-based artists for a musician/composer to incant. Taking a wide interpretation of what can be considered a score, these works include concrete poetry, collage, painting, drawing, spell-poetry, instructional art, and recipe. The resulting sound works give voice to these evocative “texts”, residing in the liminal space between musical form and magical utterance.

Creating what became the cover artwork for this release, musician and artist Benjamin Kilchhofer conjured salt paintings reminiscent of ancient runes and salt circles — improvised talismans of protection. Translating these expressions into sound using a hydro harp (water drops hitting tuned water-filled porcelain bowls), musician and artist Tomoko Sauvage evokes an embryonic environment, the cleansing and purification of salt water oceans. Artist Mehrnaz Rohbakhsh created a piece that arose from a drawing ritual — a meditation on textile, pattern, and code. In response, Museum Of No Art (Mona Steinwidder) worked her composition by “weaving the piece, layer by layer”. She was “particularly interested in the state one achieves when one works repetitively, stoically and excessively towards a form. Which leads to trance or meditation and creates its own immaterial energy.”

Dani Spinosa, poet of digital and print media, created a typewriter poem that emerged after consulting Hesiod's “Works and Days and Theogony” to learn more about the witch goddess Hekate. Synchronously, interdisciplinary artist Gavilán Rayna Russom had recently returned to research on Hekate, teaching about the goddess in her class “Queering European Witchcraft Traditions”. Russom spent time with Spinosa’s spell, spoke to Hekate, and then unlocked the gate, seeking to “stir sonic emanations that were radiant, multiple and liminal.”

The side ends with a composition by musician and artist Felicia Atkinson via an instructional text from conceptual artist David Horvitz. What is it like to inhabit the mind of a crow? This simple gesture to befriend a crow, to be in relationship with something other than human implies much more, a re- orientation to our living environment and forms of intelligence.

The B-side opens with electronic composer C.R. Gillespie’s sonic manifestation of a score by bricolage artist Andrew Zukerman. Taking compositional inspiration from the Smiss stone, Zukerman created a collaged visual score on staff paper that hints at the formal aspects of occult symbols and sigils, while remaining obliquely secular. Creating an interlocking tapestry of “Roman gamelan”, Gillespie’s track dramatizes the negotiating power and structure of the abstract score

Over three days, iconic Canadian poet bill bissett created a jazz-scape painting filled with an ecstatic gathering of eidetic spirits, “connekting trembling xploring serching remote brooding grooving melodee solo lifting n refrain filling.” Immersing himself in the energy of the painting, musician and composer Idris Rahman overlaid three takes of bass clarinet and found that “melodies, textures and harmonies emerged without thought and the piece took on a life of its own.”

As a way to explore the connection between food and music, the curators commissioned a recipe from electronic producer and home chef, Yu Su. Her simple and wholesome pudding recipe lays out instructions for texture and taste that musician Scott Gailey stirs into a sonic caldron of field recordings and electronics. The closing chant, penned by writer and activist adrienne maree brown and incanted by musician Beverly Glenn-Copeland, was the result of a synergistic conversation between the two. The refrain, “surrender to the present moment / what’s coming now is all that’s left” is a mantra reminding us of the power of speech, repetition, and the evanescent nature of temporal experience.

he eight spell cards, inspired by the format of oracle and tarot cards, are invitations for further interpretation and play. To be under a spell is to be lost in a transformation, an alternate reality, to be in collaboration with an unknowable and powerful force. The works in this collection have created a spontaneous and ludic alchemy, courageous attempts to catalyze and spark in our present moment.

Curated by Seance Centre

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Suzanne Ciani

LP | 2024 | UK | Original (Finders Keepers)

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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Lifesaver 5 Compilation - Tell Me Something Good - 25 Years of Famous When Dead

5x12" | 2024 | EU | Original (Live At Robert Johnson)

127,99 €*

Birds (In My Mind Anyway)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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5x12" Box Set

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In the heart of Offenbach, where the city's pulse synchronizes with the beat of the night, stands the illustrious Robert Johnson Club. For a quarter of a century, it has stood as a bastion of sonic exploration, a sanctuary for those who seek solace in the rhythm, and a beacon of inspiration for the global electronic music community. As it proudly raises its glass to toast 25 years of unrivaled musical excellence, the echoes of countless memories reverberate through its storied halls. To honor this landmark anniversary, „Live at Robert Johnson“ presents a kinda like masters blueprint of sound: "Tell Me Something Good - 25 Years of Famous When Dead!" This compilation, aptly named after the club's mantra, serves not only as a celebration of its rich history but also as a testament to the enduring legacy of the artists who have graced its stage. Crafted with meticulous attention to detail, each track on the compilation is a sonic journey unto itself—a symphony of beats and melodies that weave together to tell the story of Robert Johnson's evolution over the past quarter-century. From the pulsating rhythms of underground techno to the ethereal melodies of deep house, the compilation encapsulates the club's eclectic spirit and unwavering commitment to pushing the boundaries of electronic music. But beyond the music lies something deeper—an intangible energy that permeates every aspect of Robert Johnson's existence. It's the sense of camaraderie that binds together the club's patrons and artists alike, the shared experience of losing oneself in the music, and the profound sense of belonging that transcends language and culture. As the compilation reverberates through the speakers, it serves as a rallying cry—a call to arms for all who have ever felt the transformative power of music. It's a reminder that, even in the darkest of times, there is beauty to be found in the simple act of coming together and losing oneself in the rhythm of the night. So let us raise our voices in celebration of Robert Johnson Club and the indelible mark it has left on the world of electronic music. Here's to 25 years of passion, of creativity, and of "something good" that will echo through the ages for generations to come.

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Doc Sleep

LP | 2023 | UK | Original (Tartelet)

21,99 €*

Significant Soil Dark Green Vinyl Edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Tartelet Records is thrilled to present the debut album from Doc Sleep – 10 tracks of exquisitely rendered melodies and rhythms shaped with grit and beauty in equal measure. Birds (in my mind anyway) is a widescreen vision of electronica as a medium to express your personal situation and respond to your environment – a rave adjacent art form free from the perceived rules of the dancefloor. To date, Melissa Maristuen known as Doc Sleep has established herself in the context of the club – first engaging with the culture in San Francisco before moving to Berlin. She helps run the Room 4 Resistance party, DJs on Refuge Worldwide, co- owns the Jacktone label and has released on Detour, Dark Entries and her own label. But in making Birds (in my mind anyway) she set herself an ultimatum.

“At the time of recording this album, my life, all my routines and priorities had to change – music was no exception. I decided if I couldn't be happy making an album free of the dancefloor, I was finally going to be done with music. Instead, I found a musical voice free of tempo and textural restriction. Eventually, I had a sound, and once I had the sound, the album came pretty quickly. It was a very different process writing music for no one...except myself.”

If the impression given is one of a consistent style across the album, think again. Doc Sleep moves freely between tempos and themes, even if there are some recurring qualities binding the music together. She weaves fluttering arps with poise, lending them an almost choral quality which gives the album a very human touch. But they’re equally emotionally ambiguous or pockmarked with sonic interference – reflections of the collisions and conflicts that typify the human experience.

Every inch of the album is a personal touch – the title was pulled from Doc Sleep’s mother’s response to hearing the album, while her friend Kiernan Laveaux offered a beautiful text which appears on the back. Those closest to her all fed into the artwork process, which captures the curious dichotomy between urban brutalism and botanical finery often found in the parks of Berlin – a vital place of respite when she was making the album.

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Mister Water Wet

LP | 2022 | UK | Original (West Mineral)

Live Performance 2019 - 2020

Release: 2022 / UK – Original

Genre: Electronic & Dance

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West Mineral return with a followup to Mister Water Wet’s 2019’s subtropical ambient slow-burn debut ‘Bought the Farm’, expanding Iggy Romeu’s horizons to contrast feverish Afro-Caribbean ambient jazz with jaunty illbient and atmospheric freakouts. Low-lit heat that’s highly recommended if yr into Nick León, Carlos Niño, Kelman Duran, Gonçalo F. Cardoso. Mister Water Wet continues to excavate the tropical soundscapes that simmer the producer’s Kansas City home with his Puerto Rican roots, on a new album of extended vignettes and mood pieces that cross a late 90’s Mo Wax instrumentals vibe with present day feelings of displacement and ennui. LP opener ‘Bory’ tunes us into Water Wet’s weirdly fuzzed frequencies, where tremeloed strings and found sounds resemble what might have been a lost dean blunt x dean hurley sound design concept for Inland Empire, while ‘I Saw the Green Flash’ opens a swirl of strings and traditional rhythms caught in a reflecting pool of canned classical orchestrals and 1950s theremin wails. ‘Good Apple’, meanwhile, cranks up the mood with aged x looped piano paired with an undulating, bass-heavy shuffle that wouldn’t sound out of place on a Kelman Duran x Martin Denny mixtape. ‘When Kennybrook Burned to the Ground’ leans into heady jazz vapours, spreading crackle over pitch-fucked horn samples, but it’s the producer’s weird use of percussion that keeps us gripped: scattering his arrangements across the grid, mimicking an ensemble of players deployed in irregular formations. Romeu embraces trip-hop on ‘Any Other Time’, blending Afro-Caribbean percussion with a swung downtempo beat, while ‘Isthmus’ reminds us of the clatterbox plunder of Moonshake’s PJ Harvey hookup ‘Just a Working Girl’ - with all its asymmetric hooks. The extended closing track ‘Losing Blood’ takes a leaf out of Fennesz’s glitched rulebook, stretching and folding disintegrating loops through an 11 minute descent into the elegiac aether.

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Svetlana Maras

Tape | 2023 | UK | Original (-ous)

13,99 €*

Even Parker & George Lewis

Release: 2023 / UK – Original

Genre: Electronic & Dance

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"The nearly infinite improvisational potential in my performances is a result of tweaking the technology, using it in unpredictable ways, musically exploiting it, and maybe even misusing it." - Svetlana Maraš
Composer, sound artist and musician Svetlana Maraš has spent years developing her unique setup for live performances. She builds her live sets as frameworks for exploration by emphasising the sculptural and improvisational potential, rather than reproducibility. The core of Maraš' performative practice lies in the accessibility of all layers of what a 'musical image' at any given point consists of, and gestural manipulation of these layers.

Using micro samples as a basis of her musical vocabulary, Maraš treats her live setup equivalent to an acoustic instrument. Using tablet controllers running a self-built 'Touch Osc' interface, pedals and different pressure- based interfaces, she manipulates and morphs the material with the mindset of a sculptor, while exposing herself to the audience and the room. Her focus lies on the musical form and structure, while the shape of the sounds projected into the performance space define which turn she might take next. Maraš explains: "I am interested how sounds fill up the room, how they spread, how near or far they are, how 'big' or 'small' they seem, how they morph and move." With the set she played from 2019 to 2020, Maraš had reached an extreme regarding the handling and manipulation of micro samples and micro-collaging. -ous is releasing a live recording of this set as deep dive into the vast possibilities of live sound manipulation.

Svetlana Maraš is composer and sound artist active in the field of experimental music. Her work, which she presents internationally, encompasses variety of formats such as live performance, electro-acoustic composition, sound installations and works for the radio. She is the winner of the most prestigious Serbian composition prize "Mokranjac", awarded by the Serbian Composers' Association. From 2016-2021, she was composer in residence and artistic director at Radio Belgrade's Electronic studio, where she established numerous programs such as artistic residencies, educational courses and most notably, restoration of EMS Synthi 100. Currently, Maraš is Professor of Creative Music Technology and Co-head of Electronic Studio at Hochschule für Musik Fhnw, Basel.

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Coming Soon

From Saxophone & Trombone

LP | 2024 | EU | Original (Otoroku)

Classical Curves 10 Year Anniversary Special Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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First vinyl re-issue of Evan Parker’s duo with George Lewis. Transferred from the original masters, we discovered that the original Incus LP was cut at the wrong speed - and so, we present the first vinyl issue of the correct masters, or ‘mastas’ as Adam Skeaping, legendary engineer who is also responsible for Six of One and Compatibles, fondly calls them.

Skeaping, always working with the latest in recording technology for the time, has a knack for gaining access to remarkable spaces. Good spaces that were cheap because no one else had discovered them. The Art Workers Guild is a Georgian Hall in Bloomsbury, London, with lofty ceilings and hard wooden floors. It’s the perfect room to exercise an instrument to its full length, to ‘run the full length of the staircase’ in Parker's words. Two bells to ring off the floor and remain in dextrous, airy resonance. Recorded at 30ips on enormous reels, the recording captures all the fine filigree detail so celebrated on Parker’s later ‘Six of One’, though here we are treated to tenor as well as soprano, plus, of course, George Lewis’ trombone. Parker and Lewis first met at Moers festival, Lewis having just played excerpts of Coltrane’s ‘Giant Steps’ with Anthony Braxton. Living in Paris, it wasn’t so hard for a young Parker to invite him for a session on his new imprint, Incus. Though having been part of the Aacm, toured with Count Basie and made records for Black Saint, this would be Lewis’ first foray into British improv, excited by the idea the Bailey and Parker were attempting to open up the notion of improvisation to include “the freshness of the immediate encounter”. Lewis had not long recorded his solo, which mixes lively hints of Ellington and tender lyricism with total experimentation in three part overdubbed trombone. From Saxophone to Trombone veers towards his wilder end of technicality, some of Lewis’ rarer, starker improv - all avant garde burbles and bubbles, breath control and scalar flights. It’s a recording of two young masters, documented beautifully, and released for the first time on vinyl at its intended speed.

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Jam City

2LP+7" | 2012 | UK | Reissue (Earthly)

Mountainmouth Clear Vinyl Edition

Release: 2012 / UK – Reissue

Genre: Electronic & Dance

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Jam City’s debut album Classical Curves is a landmark in the history of UK-club music. Released in the summer of 2012, it blazed a trail through the tangled aftermath of the late 2000s DJ-renaissance. Not purely a dance album nor overly cerebral, it offered something fresh. Menacing and playful, sensual and razor-sharp, the 10 tracks moved listeners in a bodily way that defied words. It soon became clear that Jam City had done something spectacular; the artist invented a genre. “Deconstructed Club”—the term eventually used to describe the sonic aesthetic of Classical Curves—doesn’t quite capture the record’s impact. Jam City’s synthesis of honeyed melodies and angular drums set the tone for what would blossom into Hyperpop. The record also inspired a generation of aspiring producers to experiment with unconventional sound-design, providing them with an imaginative template to adapt and make their own. 10 years on, the significance of Classical Curves is clearer than ever before. Featuring an additional 10-tracks of rarities and unreleased material created around the time of its initial release, this deluxe 2 x LP reissue invites fans to delve deeper into the record’s multi-sensory world. In addition to an exclusive 7-inch vinyl, listeners also have access to unseen photographs taken by the artist as research for the record’s infamous cover art. Beloved tracks “her” and “How we relate to the body” are pre-primed for the club, appearing as extended versions. Glassy fragments of 80s art-pop coalesce in suspended silence on the previously unreleased “He Watches Over Us All’. For respite, listeners can bathe in the 26-minute “Goodbye Hyatt Park”, a reverie that harnesses the record’s more soothing qualities. As influential as Classical Curves was upon its release, it was also ahead of its time. Nostalgic as this reissue may be for some, it also brings into view aspects of the record that have yet to be appreciated in full. Meanwhile, Jam City has gradually been coming full circle. Listen closely, and you may hear traces of the 2012 debut on his future solo material.

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Yiannis Iliakis

12" | 2022 | EU | Original (Equinox)

18,99 €*

12" | 2022 | UK | Original (Domestic Exile)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that’s only one side of Iliakis’ creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents. The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track “Mountainmouth” – an extremely energetic composition which won’t leave you unaffected. As per most of Iliakis’ songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release. The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes “Infected Walkman”. According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following “Sad Plants”, are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, “Exodus Denied” is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of “Carbonated Soap” that jumps right to the more energetic parts after the first break. Mountainmouth may not be an easy listen at start – but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

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Grim Lusk

Diving Pool

16,99 €*

Mountainmouth Violet Vinyl Edition

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Domestic Exile warmly welcome the return of Grim Lusk, coming full circle to follow up 2018’s ‘sunp0101’ after releasing under their Dip Friso and Sunny Balm aliases in the interim. ‘Diving Pool’ is a hallucinogenic concoction of marshy, aquatic, oscillated dubs and skittering, microtonal beat experiments. Grim Lusk's signature production style is in full effect, often occupying some liminal space nearing offbeat discordancy, but beautifully pulling together on the brink. Gelatinous machine funk rhythms and sweet, syrupy dub bass ooozing with a vibrant convergence of bright psychedelic greens, yellows and oranges, akin to bubbling sulphur pools and lava lakes, are present throughout the 6 tracks; Nuovo takes late 80’s drum machine patterns and twists them up with rough-cut vocal chops and long-form sampling of a 60’s film on the first iteration of ‘Il Gruppo”. Striding into the turbulent sea, Partans is kept jovial by rim shots, cymbals and snares fed back over the forward bass buzz. Not Enough is a bizarre, primordial, stretched-out gloop sludge half-speed version of the B-side track Too Much, twisted into new rhythmic territory by an off-kilter breakbeat sample. Diving Pool takes crushed, bouncing drum machines and loop-focussed experimentation to find incidental interplay between the two, whilst somehow retaining ebullient make-you-movable gusto. Angular rhythm and zealous sample manipulation seep through in Too Much, live drums patched, extrapolated and pulled further out in the mix, where jump cuts between familiar vocal chops and distorted tape delay contort manically- a warped, swinging echo of Slum Village's ‘I Don’t Know’. Wazoo rounds things out with the most club-leaning moment of the record, a saturated, throbbing atmosphere hanging over a beat-up, lurching drum sample layered with malleable pitched percussion and fuzz guitar. Peculiar shapes, fragmented shards of rhythmic patterns, crushed, crystallised snares, and congealed, jelly-like dubs; the music embodies a sense of carefree fun and playfulness, where dissolving layers of organic echoes, warm, slippery reverbs, and expansive phaser EFX stretch out into nebulous space…

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Yiannis Iliakis

12" | 2022 | EU | Original (Equinox)

18,99 €*

Philip Samartzis & Eugene Ughetti

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Array

LP | 2021 | EU | Original (Room 40)

2LP | 2021 | UK | Original (Invisible, Inc.)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Array expresses the experience of a remote Antarctic research station through the convergence of sound, site and performance. The result is an immersive and affective experience of the spaces, protocols and conditions comprising the bracing polar environment. Array is a companion piece to Polar Force, a performance-installation work by Philip Samartzis and Eugene Ughetti, presented by Speak Percussion.

Array features recordings of radar and scientific instrumentation used for upper atmospheric research and terrestrial communication. These sounds reveal the sophisticated technology and architecture used and heard within the Australian Antarctic Territory. Many of the recordings focus on the way the built environment is transformed through stress and fatigue caused by extreme climate and weather events including freezing temperatures and high velocity winds.

Together with the field recordings are layers of live performance using custom built instrumentation to produce a unique series of textures, rhythmic cycles, resonances and timbral phenomena. The application of tension and pressure upon the assorted instruments recalls the distressed state of highly specialised infrastructure found within the perimeters of a research station.

A polar research station comprises many types and volumes of prefabricated space. In dialogue with this are the unique spaces used to record the instrumental performance. By merging different spaces Array brings into focus various industrial resonances, spatial characteristics, timbres of metal and concrete, and sonic artefacts produced by hard and permeable materials and surfaces.

In three parts, Array presents Antarctica as a liminal space oscillating between representation and abstraction to challenge often repeated tropes. The intent is to blur the relationship between the recorded and performed to produce a hyper-realistic encounter of the powerful forces that operate at the margins of our planet. One hears the precariousness of a remote research station contorted by unrelenting stress, compressed air forced through waterborne fipples and the volatility of weather events.

Life on remote research stations is progressively resembling the broader contemporary experience, in which strict protocols are used to govern and preserve life. The resilient communities who live and work in these places have learnt how to co-exist with an increasingly hostile environment, along with its unknowns and necessity for hyper-vigilance. Rather than consider it as a place on the edge of elsewhere, Antarctica and its assemblage of durable, super modern colonies provides an archetype for an uncertain future in anticipation of the volatility that awaits.

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Veslemes

Apolithoma

2LP | 2021 | EU | Original (Raster)

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Veslemes (aka Felizol) makes his debut on Invisible Inc with this astonishing new album that comes hot on the heels of last year's ground-shaking I Know Where You Live Vangelis!. With Apolithoma film director Yannis Veslemes takes us further into the dark crevices of his psyche. The album's themes are inspired by the dystopian sci-fi of JG Ballard's The Drowned World and The Crystal World: both novels eerily prophetic in their dystopian visions of an irradiated Earth over which a bloated, blinding sun makes living as we know it bearable only within a few hours around dawn and dusk. Sea levels have risen and cities that are not wholly flooded are overgrown with emergent new flora adapting to this new and hostile environment. In more remote locations, overgrown jungles and forests are exhibiting signs of a strange crystallisation: entire swathes of jungle petrified, calcified, crystalized, fauna included...and stories of missing explorers rumoured to themselves have crystalized! An allegory for our times, for sure....but more importantly, the album is as adventurous musically as it is conceptually. Where on the surface we have stories themed around an external dystopian world, the music, like the rising floodwater, presents us with a lens through which to look at the internal world: on one hand a distorted prism into what lurks beneath, yet at the same time a perfect reflection - a mirror into the psyche. At times dark, at times playful, unreservedly psychedelic, the album's wildly different musical styles all capture an atmosphere that is as profound and mystical as it is unique. It's clear too that Veslemes' background in film and OST production has a strong influence making the whole album seem like an imaginary soundtrack to a film that never was. Several of the pieces are strongly reminiscent of the early works of Barry Adamson...but where these faux soundtracks were solely dark and brooding (in particular the classic Moss Side Story) Apolithoma adds mystique, profundity and light which balances the music perfectly. Featuring an assortment of guest musicians on saxophone, clarinet, vibraphones, oboe, guitars and other instruments not often heard in partnership with electronic music, the resulting collection of songs is up there with the best of Invisible Inc.

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Island People

LP | 2021 | EU | Original (Optimo Music)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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The four Scottish-Irish musicians Conor Dalton, David Donaldson, Greame Reedie and Ian Maclennan are Island People. After their highly acclaimed debut from 2017, they have now finished their second album with the simple and consistent title »ii«. Compared to their debut, »ii« sounds more mature and complex. The arrangements unfold like the long tracking shots of an early Antonioni film - time seems to stand still, circling the moment. Impressionistically, one feels transported into the Scottish island landscape with its contrasting lights and harsh elements. Gloomy, darker, richer textures have conquered their space on »ii« as much as the more present acoustic components. As much as its predecessor, also this record was skilfully produced, the musicians’ entire experience is audible (Conor Dalton is a sought-after mastering engineer; David Donaldson a Grammy Award-winning producer) – but anything fashionable or sensationalist has been intentionally waived. The musical serenity, holding up a craft that neither has to show itself off every minute nor wants to respond to the latest trends impressed us the most. The cover photo was contributed by the Scottish artist Helena Ohman. She also provided the video for the track »Crash«. Furthermore, singer Alice Hill-Woods was invited to contribute the lyrics and vocals to »Stalling«. Island People »ii« will be released as gatefold double LP as well as on CD and digitally. In advance we asked Island People about the creative process behind the album and quote as follows: This album reflects on the destination we have in common before us, and celebrates the longer road while also considering paths not taken and journeys that ended too soon. It has been said that »art is how we decorate space; music is how we decorate time.« For us the writing of this album has been a great journey through both, shared with friends. While our first album acknowledged our own spaces and borders as individuals, the new album seemed to grow very quickly from our travels together as a band. Periods spent on the road playing live afforded extra time together and while we didn’t feel constrained to a concept at the start, more and more of the tracks evolved to reflect these journeys and experiences together.

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Jose Manuel

Janara

18,69 €* 21,99 € -15%

Will Guthrie & James Rushford

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Optimo Music presents “Janara” the new album from Italy’s José Manuel. We always have our ears open for music that is unique, powerful and that can conjure up a ritualistic atmosphere, and this meistrerwerk did all that, and then some. We knew we had to release it after the first listen. We’ll let José tell you about it. This album is a result of the necessity of exploring and opening my mind to new musical horizons, by testing the main traditional instrument of the Italian region Campania, whose name is “Tammorra”. It is a big drum, which must not be confused with the typical tambourine, made from a wrap of wood shaped in a circle and covered with dried skin (almost always goatskin or sheepskin). This instrument was used during playful events, especially during rituals and ceremonies, such as the frequent devotional pilgrimages in honour of the Virgin Mary. By using this instrument, the sound, the rite and the magic could take possession of the mind and the body creating a perfect union. Also, the dancers, as if they were bitten by a tarantula and possessed by a strange evil, launched themselves to an uncontrolled dance by moving every part of their body. In addition to the Tammorra, I also inserted some texts, which have been written by some Neapolitan friends and interpreted with Neapolitans voices, in honour of the “janara”. The Janara represents a popular belief of the Southern Italian regions, particularly of the Benevento area. The Janara is one of the many types of witches represented by folktales belonging to the rural tradition. The Janara was expert in medical herbs, which were also be used for her magical practices, such as the manufacturing of ointment. The ointment gave her the power to become incorporeal with the same nature as the wind. According to the tradition, in order to snatch the Janara it was necessary to grab her by the hair. It was also said that if anyone was able to capture the Janara during her incorporeal moment then Janara herself would offer protection to them and their family for seven generations, in exchange for her freedom. With this work I hope that the listener might get carried away by the spirit of this pagan and popular legend that can be still be considered as current. As a matter of fact, the folk tales speak of a probable comeback of the Janara, who after being burned at the stake seems to be thirsting for revenge for the evil suffered.

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Real Real World

LP | 2021 | EU | Original (Black Truffle)

18,69 €* 21,99 € -15%

LP | 2013 | EU | Original (Pingipung)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Real Real World is the first collaborative effort from Nantes-based Australian drummer/percussionist Will Guthrie and Australian keyboardist/composer James Rushford. Primarily recorded in a fluid, spontaneous studio session in Nantes, with overdubs added later in Melbourne and Nantes, Real Real World presents five spacious, unhurried pieces that inhabit a unique sound world characterised by wheezing, half-voiced organ chords, chiming metal percussion, and eruptions of small sounds. Beginning with the eerily beautiful, shakuhachi-esque sound of Rushford performing on detuned portative organ, the opening title track is abruptly transformed by the entry of Guthrie’s sizzling cymbals, deep gong strikes, and rustling hand percussion. On the epic ‘Lumbering’, which occupies the majority of the record’s first side, organ chords define a space in which a kaleidoscopic succession of amplified thuds, chiming bells, rustled and dragged objects, and abruptly silenced clusters advance and recede in an oneiric blur, eventually making way for a passage of Guthrie’s virtuosic polyrhythms, itself unexpectedly overtaken by waves of melting fairground organ. The record reaches an energetic climax mid-way through the second side with the stunning ‘Slakes’, where lugubrious chords in the organ’s lowest register are joined by Guthrie’s skittering rhythms, which somehow manage to call to mind both the most chaotic moments of Balinese Gamelan and the stochastic breakbeats of late-90s Autechre. On this piece, Guthrie and Rushford are joined by Melbourne saxophone maverick Scott McConnachie, who contributes an alto sax solo of burning precision, working with a single-minded palette of piercing long tones and wild intervallic leaps. Though it makes extensive use of overdubbing, Real Real World retains a strong sense of having been performed, rather than constructed: while at times the fleeting succession of events can recall electroacoustic music, its primarily acoustic nature and unhurried pace is also reminiscent of the music of Aacm affiliates or Marion Brown’s classic Afternoon of a Georgia Faun. Immediately engaging while also hiding countless details in the folds of its polychrome fabric, Real Real World is a relaxed and joyous document of collaborative musical invention.

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Springintgut (Andi Otto)

Where We Need No Map

12,59 €* 17,99 € -30%

Suono In Un Tempo Trasfigurato

Release: 2013 / EU – Original

Genre: Electronic & Dance

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Six years have passed since the last album by Andi Otto alias Springintgut, (“Park and Ride”, City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His “Fello” is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, “Where We Need No Map” Otto takes the “Fello” to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in “Bangalore Kids” is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like “Ka- mogawa Cycling” and “Western Kyoto”. In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in “Bullet” one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of “Where We Need No Map” points us to unknown territories. The journey itself is the reward, let's listen!

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Bono / Burattini

LP | 2023 | EU | Original (Maple Death)

17,59 €* 21,99 € -20%

Release: 2023 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Infinite reveries or translucent hallucinations, calm and steady pace, ghostly but undeniably present: this is ‘Suono In Un Tempo Trasfigurato’, Bono / Burattini’s debut for Maple Death.

Inspired by three movies of avantgarde cinematographer Maya Deren (At Land, Ritual in Transfigured Time and A study in Choreography for Camera), Francesca Bono (vocalist, performer, founder of Ofeliadorme and member of the Donnacirco collective) and Vittoria Burattini (percussionist, multi-faceted drummer and member of influential Italian avant-rock band Massimo Volume) created a dense hypnotic transfixing collection of songs based upon the sole use of the Juno 60 synthesizer and the organic linear pulsating sound of a drum kit.

These apparent limitations set the scene for an incredibly rich and rewarding voyage that immediately establishes a strong identity that oscillates between circular dream soundscapes and psychedelic rhythmic architectures. Bono / Burattini excels in threading magical images where objects transform without warning (Your House Is A Ghost) and collapse into kosmische grooves (La Trama Del Desiderio) or when humming electronics mold into temporal dimensions (Sogno Nel Vigneto). Burattini’s astonishing use of the drum kit and her mallet driven timbre produce space and tension (Dinner Illusion) perfectly complementing Bono’s synthesized realm made of nuance and reflection (Dancing Demons). One of the album’s key elements is the sparse use of Bono’s singing, an intricate mix of measured phrasing, breathing, spiral structures and extrasensorial-like choirs that seem to reference the rich Italian tradition of cosmic jazz, library music and the unmatched work of the RAI engineers in the 70s working with Gruppo Di Improvvisazione Nuova Consonanza, Morricone, Daniela Casa. The driving Can-like pulse of Le Ossa shows force and flow while Stella’s haunting piano recreates a futuristic horror-movie OST.

'Suono In Un Tempo Trasfigurato' is beautifully recorded and mixed by Italian composer Stefano Pilia, a perfect match for Bono / Burattini’s sonic explorations and for a record that intersects experimental wave, alien grooves, contemporary electronics and futuristic sci-fi. Their blend of analog electronics and organic pulses place them in a time out of joint where dancing remains the one constant ritual.

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2CD | 2023 | EU | Original (Kashual Plastik)

Accidental Journey

2LP | 2024 | Original (Imbalance Computer Music)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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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.

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Monolake

Studio

33,99 €*

LP | 2024 | Original (Real Gone Music)

Release: 2024 / Original

Genre: Electronic & Dance

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My studio is my shelter, I feel comfortable there, surrounded by wonderful inspiring machines. A small cosy room where ideas emerge, mature, morph, and solidify into their final shape. 'Studio' is the result of spending time in that space. The album's intention is simple: Presenting a beautiful personal musical journey. The creative process in itself matters to me, the interaction with my instruments, the accidental discoveries, the successful execution of a vision and anything in between.
Most of the tracks on this album got revised countless times, and then even more, once I knew in which context and order I wanted to arrange them. I have been living with my music for months now, listening, thinking, changing, diving deeper and deeper into each piece.
I love albums, they are a beautiful long-form format where each part has its place, a journey from the start till the end. Each piece has its own story, its own flavour and history.
Some of them have been with me since a while already. There is material which I created years ago for installations and music derived from previous audiovisual works, all completely ripped apart and rearranged multiple times. During their creation my pieces often turn into something completely different, they repeatedly shift from one state to another until they become solid. What I consider a core element at the beginning might be later discarded completely, and a little detail in the background might become the essence.
Many explorations ended in the trash bin before the results had a chance to be part of 'Studio'. Things did not fall into place, did not feel right.
Other compositions had to fill the void instead, some created quickly in a rush of inspiration, some slowly, shy, questioning their significance. This album did not come into existence in a hurry, it took as long as it needed. I used the time to walk around my creations, to listen to them from the distance, physically, mentally, with friends, in all kinds of different contexts. I tried to understand what I just did. I started to see patterns, hidden motifs, things that were buried in between too many layers of sound. What is essential? What is ornament? I reduced, rearranged, added again.
The closer I got to the final state of 'Studio' the more clarity I found. The inherent doubts and the nagging voices from the inside got more quiet, and a sense of achievement started to manifest itself. More and more details just fell into place. And now it is done. After making electronic music since almost thirty years I don't care anymore about genres, about how to label things. It is music, my own personal music, and that's it. Call it electronica if you wish.
Process Notes
The music on this album has been constructed in Ableton Live. Most of the sounds have been created with my collection of beloved hardware synthesisers and effects, often further processed until something completely different did emerge. Sometimes I spend days in the studio just recording sounds or creating new presets, without already having a composition in mind. A few selected musical instruments contributed significantly to the palette of this album; a New England Digital Synclavier II, which also served as inspiration for the artwork, a Sequential Prophet VS, which is present on all Monolake albums since 1996, a Yamaha SY77, Linn Drum, and the Oberheim Xpander. And then there is Operator in Ableton Live, which I developed in 2004 and still love to use, and a lot of the other effects and instruments in the software. And of course my Granulator III instrument, and the PitchLoop89 audio effect. The final sonic world is often the result of radical processing of these elements, via filtering, pitch shifting, time stretching and other types of processing, both in Live and with my hardware. The good old Alesis Quadraverb deserves an honorary mention here, so does the AMS RMX 16.
Artwork
The cover combines a few complex elements. A composition of various lichen photographs, and a computational noise field that cuts rivers into the structure, where the inner artwork of the album shines through: The inside of the CD package and the gatefold vinyl cover shows a non-existing musical instrument, based on the user interface of the Synclavier II. I've always been fond of its futuristic button matrix with red LEDs, which conjures a sense of nostalgia for early computer systems. But I wanted more than just a photograph of it. Instead, I created a collage that not only consists of its existing controls but also integrated additional features it never possessed, though it might have in a subsequent iteration. In essence, I crafted a vision of a future that never materialized.
Geeky detail: When a Synclavier II is turned on, and the connected mainframe computer did not boot yet, the LEDs in the buttons light up in random patterns. The imaginary version of it does the same.

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Willie Tee

I'm Only A Man

38,99 €*

Release: 2024 / Original

Genre: Electronic & Dance

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LP | 2022 | EU | Original (Sonic Pieces)

To Move

41,99 €*

2LP+Book | 2021 | EU | Original (Mecanica)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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To Move is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends.

We´re carried into a time and place not afraid to embrace a sense of optimism - even if it comes wrapped in a certain distorted shape. Transporting, blissful tones emanate free of concerns from the unifying keys; at least until the melodies are pulled and dragged from purity to become something wholly else – their own lived life; fitted with obstructions and unpredictability. The intertwining pianos linger like lovers in unison, full of drift, rhythm and life; all while analogue electronics and tape manipulations degrade and move them from their original form and closer towards earth itself.

The album came to light while Anna and Ed were temporarily residing in the English countryside between 2016 and 2019. Musical weekend visits from Alex turned into the fruitful collaboration presented here. 'To Move' is a compelling musical storyboard with a name that captures the essence of their music better than any written essay could do. This is music to resonate to, music to dance to, music to engulf your being. As for fans of the Sonic Pieces sound – if there is one – this record hits as close to home as it could do.

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Die Form

Ad Infinitum

64,99 €*

LP | 2019 | US | Original (Dark Entries)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Die Form is the seminal post-industrial electronic act started in the late 70’s by French musician and multimedia artist Philippe Fichot. He began recording a number of experimental cassettes under different names but Die Form became the main project and with which he has developed a prolific career during more than four decades. Whilst the project was still in its first stage, the underlying concepts were already evident: a combination of esoteric electronic experiments with an underlying theme of eroticism, death and other taboo subjects, apparent in both the music and artworks. “Ad Infinitum” was recorded with dark and stifling atmospheres almost simultaneously with the album “Confessions”. It includes cult pieces such as “Bite Of God” and “Chronovision”, which has made the success of Die Form in clubs, alongside more ambient and industrial tracks such as “In The Evening Of Life” or “Unlimited”. “Ad Infnitum” was originally released on CD in 1993 by Hyperium Records and now is available for the first on vinyl record. This new edition includes the complete original track list plus a selection of instrumental versions and unreleased tracks from the same period. Limited edition of 474 numbered copies on double vinyl with a deluxe 16-page casebound hardcover book featuring unpublished images as well as other reworked photographs taken from “The Visionary Garden”. Every copy includes a certificate and one sticker. “The taboo leads to transgression … the taboo transgression spellbinds” (Georges Bataille)

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Dark Day

Darkest Before Dawn

21,99 €*

LP | 2017 | EU | Original (Central Processing Unit)

Release: 2019 / US – Original

Genre: Electronic & Dance

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Dark Day is the brainchild of Robin Crutchfield, a New York City based musician, performance artist, and writer. Robin’s musical path began in 1977 when he formed the no wave group DNA with Arto Lindsay and Ikue Mori. In 1979 Crutchfield left DNA to pursue his more synthesizer-based solo project. He released the ‘Hands In The Dark’ 7” followed by two albums, ‘Exterminating Angel’ in 1980 and ‘Window’ in 1982. In 1984 he re-launched Dark Day as an acoustic chamber ensemble performing ethereal soundscapes and self-released two cassette albums “Obsession” and “Beyond The Pale”. ‘Darkest Before Dawn' is a collection of 13 songs recorded between 1985-86, released on CD in 1989 that have never been pressed to vinyl before. The album is a lost medieval collection of pagan tunes for private ceremonies. Played on echoey pipe organ backed by saw-like rhythmic cello lines and melodic woodwind recorder, driven by the beats of rattles, bells, and drums. These simple, cyclical layered instrumental rounds owe much to the inspiration of Moondog as well as the efforts of the Penguin Cafe Orchestra and Dead Can Dance. The original press release stated, “Serious gothic organ works which cross Captain Nemo's Nautilus pipe organ with the standing stones of Stonehenge and reminisce Babylonian battle hymns and Egyptian burial ceremonies.” All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket featuring illustrations from Thomas Bewick’s ‘Vignettes’ and includes a double sided insert with photos and notes.

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S>>d

Co Intel Pro

14,24 €* 18,99 € -25%

LP | 2023 | EU | Reissue (Der Katalog)

Release: 2017 / EU – Original

Genre: Electronic & Dance

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S>>D aka Sean Dorris from Belfast delivers his debut album 'Co Intel Pro' on CPU. Refined sampling alongside hip hop influenced breaks sees S>>D operating in a similar dimension to VHS Head. Reminiscent of 1980s sci-fi soundtracks interwoven with IDM-tinged electro, haunting atmospheres prevail throughout with hints of a genre that has yet to emerge. Presented over 2x12" vinyl at 45rpm for superior sound quality.
Fans of Pye Corner Audio, Gescom or indeed anything on Skam will certainly dig this.

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Die Selektion

Release: 2023 / EU – Reissue

Genre: Electronic & Dance

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Deine Stimme Ist Der Ursprung Jeglicher Gewalt

Die Selektion

LP | 2017 | EU | Reissue (Der Katalog)

Release: 2017 / EU – Reissue

Genre: Electronic & Dance

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12" | 1983 | NL | Original (Rams Horn)

D-Train

Something's On Your Mind

6,99 €*

LP | 2023 | EU | Original (Innovative Leisure)

Release: 1983 / NL – Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG

Cover is close to VG+!

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De Lux

Love Is Hard Work

Release: 2023 / EU – Original

Genre: Electronic & Dance

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LP | 2023 | UK | Original (O Singatme)

Seaming To

Dust Gatherers

12" | 2014 | UK | Original (Meda Fury)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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When Bjork sang of an ‘Army of Me’, it evoked not just the powers she could summon if wronged, but also her multiplicity as an artist. That is still more the case with the enigmatic, dazzlingly versatile artist, Seaming To. Though working here mostly solo, she has the capacity of a full ensemble, not just in terms of her remarkable vocal range and multi-instrumental virtuosity, but in her ability to shapeshift effortlessly, to merge between genres, and change colour at will. Dust Gatherers is a unique achievement, an album of unclassifiable, magic-realist avant-pop. Drawing on and alluding to classical, jazz, blues, pop, and electronica, Dust Gatherers always wears its eclecticism weightlessly, airily, dreamily... Beguiling, evocative, emotionally fraught, but never putting a foot wrong, Dust Gatherers is an Army of Her.

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D-Ribeiro

Purple Ghost Dance EP

3,14 €* 6,99 € -55%

Release: 2014 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: VG+

12" | 2022 | EU | Original (Optimo Music)

De Ambassade

Young Birds

2LP | 2022 | US | Original (Innovative Leisure)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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The Netherland’s De Ambassade have dropped the ‘De’ and are now known as Ambassade. Optimo Music is extremely happy to be working with them and will be releasing their second album in 2023. Ahead of that is this glorious 2 track 12” featuring music that took our breath away when we first heard it. Both tracks are exclusive to this release. We asked Ambassade to tell us a bit about the tracks. “These 2 songs were born after a collaboration with Naama Freedman. She’s an artist from Amsterdam and former member of Ambassade. She brought a couple sketches to the studio and we came out with these 2 songs. The lyrics on ‘Young Birds’ come from an old traditional English folk song from around 1903. It has been re-arranged a couple times throughout the years by multiple artists. The song reflects our development in sound and arrangement with extended synthesiser parts, less conventional song-writing. Also, us singing in English is a new path. The pulsing song ‘Palette’ is a perfect combination of sequence and extended legato vocal parts. It creates a tense atmosphere which builds up to the very end.”

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De Lux

Do You Need A Relaese?

20,39 €* 33,99 € -40%

12" | 2022 | EU | Original (Persephonic Sirens)

Release: 2022 / US – Original

Genre: Electronic & Dance

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‘Do You Need A Release?’ is De Lux at their poppiest, prettiest, danciest, and also their most abrasive. Built on a hotbed of tension, the songs give release in surprising yet immediately satisfying ways. The verses often pummel you with aggressive beats and grooves only to blossom into open, encouraging, and even angelic refrains. Recorded with their live band at Jonny Bell’s Jazzcat Studio, De Lux give us their firebrand danceable and quirky pop songs with a strong dose of wit, matching the quality and camaraderie of their intense and acclaimed live performances. Their funny and profound sound remains immensely groovy, but the band is more influenced by the fun ‘80s new wave of the Tom Tom Club and the experimentation and imagery of The Clash’s “Sandinista!”. De Lux matters because they make music to dance to and be inspired by.

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Die Ecke

Jukebox Politics

LP | 2022 | Original (Young Art)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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A download code is included.

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Manu Dia

Often Inside

Release: 2022 / Original

Genre: Electronic & Dance

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LP | 2022 | EU | Original (Laaps)

't Geruis

Bain D'étoiles

Folge 215: Und Die Verlorene Zeit

Release: 2022 / EU – Original

Genre: Electronic & Dance

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t Geruis is a discreet musician from Belgium, working in the field of ambient, with a grainy and organic texture deriving from lo-fi recordings/samples. »Bain D'Étoiles« is his third solo release, after 2 albums on Lost Tribe Sound and several self-released digital albums. This album is about searching for wonder. Stories that give a sense of adventure. a vague memory of a discovery, something that lurks in the forest.

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Die Drei ???

LP | 2022 | EU (Europa)

Release: 2022 / EU

Genre: Electronic & Dance

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LP | 2014 | US | Original (Content (L)abel)

Dday One

Dialogue With Life

19,99 €*

12" | 2020 | EU | Original (Knekelhuis)

Release: 2014 / US – Original

Genre: Hip Hop, Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Clear vinyl.

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Zaliva-D

Immorality

13,99 €*

Tapetopia 002: Ihre Grossen Erfolge 1983-85

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Beijing-based duo Zaliva-D returns with a second installment on Knekelhuis. After last year’s great EP, released on Shanghai label Svbkvlt, Zaliva-D unleashes a new record in these unreal pandemic times. At its core is a concept of data’s capacity to overcome any boundary, whether that’s physical, digital or mental. The material at hand, created after the second European tour, pushes heavily through walls, with bombastically accentuated kicks. Blended with joyous, psychedelic songwriting, it is a testament to the power of music to unite despite involuntary confinement. Artwork by Fenna Fiction. Mastering by Brandenburg.

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Die Gehirne

LP | 2020 | EU (Play Loud!)

25,99 €*

LP | 2011 | DE | Original (Fauxpas)

Release: 2020 / EU

Genre: Electronic & Dance

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To release a tape in East Germany in 1986 called “Ihre großen Erfolge” (‘Their Great Successes’) illustrates how every situation produces people unwilling to accept that situation. Claus Löser and Florian Merkel were two such people. Their band Die Gehirne and their many side-projects ensured that their hometown of Karl-Marx-Stadt, today’s Chemnitz, could assert its role in the independent art world of the GDR. Inspirations included Frank Bretschneider from the experimental electronic band AG Geige, the artist friend Klaus Hähner-Springmühl, the jazz guitarist Joe Sachse and the free jazz figures Conny Bauer and Luten Petrowsky.
A small batch totalling some 35 copies of "Their Greatest Hits" by Die Gehirne was gradually handed out around the scene to trade with other musicians. For tapetopia 002 we’ve put together a shortened vinyl version. (Robert Mießner)

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Yoko Duo

Behaving Like A Widower

Release: 2011 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

LP | 2015 | US | Original (Mermaid Avenue)

Tei Shi

Verde

Release: 2015 / US – Original

Genre: Electronic & Dance

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2LP | 2010 | EU | Original (Favorite)

Mr. Day

Small Fry

16,99 €*

Tape | 2024 | UK | Original (Kit)

Release: 2010 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Authentic Blue Eyed Soul. Jamie Lidell fans, listen up!

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Mazy Day

Go 'Swish

13,99 €*

12" | 2017 | DE | Original (Majestic Casual)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-29

Goldsmiths graduate, visual artist and composer Maz Gilkes - aka Mazy Day - untethers a debut of simmering organ improvisations and disembodied pop, with Go 'Swish.

Working from organ recordings made in a Cornish church, Mazy can be heard toying with familiar structures, as popular music forms and progressions are delicately pulled apart and held up to the bliss and crackle of electroacoustic light.

The album reads like a crumpled collection of charcoal rubbings; melodies and hooks traced and pondered over like bundled inscriptions - a burnished record of exultant song, from a forgotten place and time.

Recommended if you like Sarah Davachi, Aphex Twin, Klein, Low.

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Two Feet

First Steps

210,99 €*

LP | 2024 | EU | Original (Futura Resistenza)

Release: 2017 / DE – Original

Genre: Electronic & Dance, Pop

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Used Vinyl

Medium: VG+, Cover: VG+

Single sided Limited edition. Vinyl is close to NM.

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DE MOND

Glow

19,54 €* 22,99 € -15%

LP | 2024 | EU | Original (Hallo Ground)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Introducing De Mond's debut LP, 'Glow.' Stijn Wybouw (also known as Kramp) and Arno de Bock (who provided drums for Hermann among other projects) throw you into a maelstrom of bold sounds and rhythms. From squiggly synth bursts to kaleidoscopic loops, they push the outer parameters of 21st-century musical art.

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Fuji||||||||||Ta

MMM

2LP | 2024 | EU | Original (Nedjma)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Fuji||||||||||ta returns to Hallow Ground with his second full-length for the label after we had released his international breakthrough album »iki« in early 2020. Active since 2006, the Japanese composer and sound artist has become prolific since the release of »iki,« releasing a slew of records while also touring the world. His new album »mmm« is Yosuke Fujita’s most complex so far. Changing the set-up of his pipe organ by switching to an electric air pump allowed him to activate new sonic and compositional potentials of the instrument, while he also expanded upon his experiments with his own voice. »mmm« is a masterpiece of conceptual and formal rigour—a testament to how multi-layered and versatile the music of Fuji||||||||||ta can be.

Previous releases had already showcased Fujita's interest in working with the rhythmic potentials of the organ he built himself in 2009. Replacing its hand-operated air pump with an electric one allowed him to work with it more freely and simultaneously record its sounds. This marked the starting point for the opener »M-1,« for which he recorded the pipes by waving a gun microphone close to it, thus creating shifting rhythmic patterns. The piece engages in a perpetual play of repetition and difference, balancing sonic intensity with compositional dramaturgy. For »M-2,« the artist uses his voice and works with a singing technique he has developed over more than a decade: constantly exhaling and inhaling, he puts a strain on his internal organs in order to create what he calls a »third voice.« The resulting piece is built on a throbbing rhythmic foundation topped by wordless melodies.

»m-3« closes the album as a synthesis of these two pieces, but is far more than the mere sum of its parts. The subtle tonal shifts of the organ take on a more subdued role this time, and Fujita’s scat growling and singing reappears in processed form. »m-3« combines the rhythms and melodies of the previous pieces to let something entirely new emerge out of them, much like the album is based on perpetual changes and recombinatory strategies. In fact, Fujita explains, the acronymic title can be read in many ways: this album is minimalistic, but freely mixes and mingles different materials in magical and even metaphorical ways while also paying its dues to his wife and daughter—M. and M. Just like its title can mean a lot of different things, »mmm« itself is ever-evolving, traversing different moods and opening itself up to a plethora of interpretations at each of its many turns.

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Idriss D

Bled El Fen