Search "the+presets+pacfica" 2570 Items

2LP | 2014 | UK | Original (Silva Screen)

Release: 2011 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Cristobal Tapia De Veer

OST Utopia: Series 1

89,99 €*

12" | 2017 | NL | Original (Baltermore)

Release: 2014 / UK – Original

Genre: Electronic & Dance, Soundtracks

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Used Vinyl

Medium: Near Mint, Cover: VG

Limited pressing on yellow wax. Stciker residue / small tears on the cover front!

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Antenna / Mark Du Mosch

Nokia / Heights Machine

Release: 2017 / NL – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: Generic

Tiffy L'Amour / Die Gesunden

Follow Me (Frey & Menqui Glockenspiel) / Film Musik (Frey & Otter Dive)

12" | 2022 | EU | Original (Serious Trouble)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: VG+

12" | 2021 | SG | Original (Midnight Shift)

Prequel Tapes & D-Bridge

Ionize

9,99 €*

Melting Sphere / Tired Dancers

Release: 2021 / SG – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

small seam split. close to NM

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Ritornell & Abby Lee Tee

7" | 2014 | AT | Original (15pcs.)

5,99 €*

Magazine Creme De La Deutz White Vinyl Edition

Release: 2014 / AT – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Generic

Vinyl with a couple of light scuffs

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Crème De La Deutz

12" | 2023 | EU | Original (Magazine)

LP | 2023 | EU | Original (RecordJet)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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This is the birth of Crème de la Deutz

Crème de la Deutz are a desire freeway and palm lodging. Mousy trees yearning for shell stars.

During the release phase Crème de la Deutz will show an exhibition at Matjö, Cologne as well as perform at Kunsthalle Düsseldorf / Salon des Amateurs and at Temporary Gallery, Cologne on the occasion of Düsseldorf Cologne Open Gallery Weekend.

The record is strictly limited to 100 copies / white vinyl

Also a special edition of 15 copies will be available, containing the record and the sculpture: Crème de la Deutz, “Mousy trees yearning for shell stars”, 2023, cotton baseball cap, drain valve, 26,5 x 27 x 8 cm; comes in an acrylic glass box, signed and numbered, 40 x 40 x10 cm

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Peter Kruder / Di Gioia

,, --------, ,

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Aquapelagos Vol.1: Atlantico

Lagoss & Banha Da Cobra

LP | 2023 | EU | Original (Keroxen)

Fontaines D.C., Massive Attack, Young Fathers

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Introducing the first volume on the »Aquapelagos« series - a collection of split LPs where selected artists offer their own take into water surrounded cultures and communities. After the initial release of the Anthology compilation, this first volume opens up the series with a sound journey inspired by the majestic and sometime furious Atlantic Ocean. The music was recorded throughout special artists residencies held during the Keroxen Festival in 2020 in Santa Cruz de Tenerife, where throughout a week each band recorded their own free vision of an aquapelagic Atlantic culture. Lagos is comprised of, Gonçalo F. Cardoso, Mladen Kurajica and Daniel García while, Banha da Cobra is Mestre André and Carlos Godinho.

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Ceasefire

12" | 2024 | UK | Original (Battle Box)

Feelings Black Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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*Copies have been packed using different combinations of Colored Vinyl and sleeves. All orders are selected at random.

Fontaines DC, Massive Attack and Young Fathers have announced the pre-order release of an exclusive, limited edition vinyl record in support of Médecins Sans Frontières / Doctors Without Borders (msf) emergency operations in Gaza and the West Bank.

*The 12” vinyl only release, features material from Fontaines DC, and Massive Attack/Young Fathers, and a ceasefire sleeve design by 3D of Massive Attack. The initiative will also include a limited-edition/artist signed large-print sale of the sleeve artwork, available exclusively via: https://www.fire-sale.store/

The reverse sleeve of the 12” features words written on a hospital whiteboard in Gaza by Doctors Without Borders medic Dr Mahmoud Abu Nujaila – words which went viral on global social media - depicting the desperation of medical professionals and civilians in Gaza. Tragically, Dr Nujaila was killed in a strike a few weeks later.

"whoever Stays Until THE END Will Tell THE Story,

WE DID What WE Could. Remember US"

Despite repeated deadly attacks on its staff, medics, surgeons, and aid conveys, Doctors Without Borders volunteers continue to offer critical support to the civilians of Gaza.

Fontaines DC, Massive Attack and Young Fathers have donated their music in full support of the incredible Doctors Without Borders staff working in Gaza today, as a statement for an immediate ceasefire in Gaza and the West Bank, and in solidarity with the Palestinian people living under a brutal military occupation.

Fontaines DC, Massive Attack & Young Fathers will donate 100% of the profits from this promotional venture to Médecins Sans Frontières (UK - charity number: 1026588) emergency operations in Gaza and the West Bank. The total donation is expected to be in excess of £150,000.

3D (Massive Attack) said: "The hourly scenes of horror in Gaza, with hospitals and schools bombed to dust and innocent civilians, journalists and doctors killed in unspeakable numbers has been made so much worse by more than ten weeks of abject political failure. We're in awe of the Doctors Without Borders medics who place their lives on the line to help innocent civilians in Gaza. The ceasefire EP is a tribute to them, and their incredible ongoing work in truly indescribable circumstances. We stand in solidarity with the people of Palestine”

Fontaines DC said: “Fontaines DC join millions across the world in demanding an immediate ceasefire and a permanent end to Israel's brutal occupation of Palestine. Since October, Doctors Without Borders have been on the ground in Gaza, where every human is an IDF target, risking their lives to give vital care to the thousands injured by Israel's indiscriminate attacks on the starving and defenceless. We feel utterly helpless in what we can do at this point however we do hope our small contribution to this record can raise some desperately needed funds for Doctors Without Borders in Gaza. Ceasefire Now. Free Palestine”

Natalie Roberts, MSF Executive Director said: “After more than two months of war, Israel’s unrelenting and indiscriminate strikes on Gaza have caused unprecedented and catastrophic levels of civilian harm. Nowhere is safe. Hospitals that are overflowing with the sick and wounded are coming under fire or being raided by Israeli forces, killing doctors, health workers, colleagues. Our teams continue to do what they can without even the basic guarantees of safety. We desperately want to do more, but for that we need an immediate and unconditional ceasefire. Huge thanks to Massive Attack, Fontaines DC and Young Fathers for all their support.”

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Brijean

LP | 2021 | US | Original (Ghostly International)

LP | 2024 | UK | Original (World Of Echo)

Release: 2021 / US – Original

Genre: Electronic & Dance

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"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. Riyl: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

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Able Noise

High Tide

25,99 €*

Frédéric D. Oberland / Grégory Dargent / Tony Elieh / Wassim Halal

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-01

Able Noise are a cross-continent duo based between The Hague (nl) and Athens (gr), built around the experimental baritone guitar and drum playing of George Knegtel and Alex Andropoulos. After a few formative attempts at collaboration, they officially came together as the Able Noise we see now in 2017, uniting over shared thoughts on art and performance encountered while studying at The Royal Academy of Arts in The Hague. Their first recorded work, a seamless 30 minutes of glistening post-rock anti-formalism, emerged in low-key fashion in 2020 as a cassette through Glasgow’s famed Glarc label. Numerous European wide tours and left-of-centre festival appearances led the pair back to the studio for the recording of debut LP, High Tide, to be released via World of Echo on 1st November.

The shift to a studio environment was a significant one, since Able Noise was primarily conceived as a live band, thinking of and writing for the live concert experience specifically. Consider their practice an Active Performance of sorts, one that seeks to challenge understandings of the medium of the live arena, how its properties and limitations can be addressed creatively, and the dialogical relationship between performer and the audience. Those who have caught them live will have witnessed very physical yet malleable performances, shaped each time by the context at hand, be that the time of day, the acoustic properties of the space, and the shared energy of the assembled patrons.

True to this approach, the pair have embarked upon the recording of their debut album with a similar exploratory impetus. In a studio without a physical audience to confront, the questions are suddenly quite different: how does one create a definitive recorded music initially rooted in improvisation, how is that recording then listened to and understood, and, without the spectacle of performance, how is it possible to work with the sense of hearing alone. Unsurprisingly, the music of High Tide is significantly different to that of an Able Noise live set. Minimalism has been traded for a detail-oriented approach, the limitations of two sets of hands suddenly lifted by the possibilities of multi-tracked thinking, post-production and various processing techniques. Real-time gives way to fragmentation, distortion and dilation, and the shift is notable - High Tide is a woozy and often disorientating listen that plays quick and easy with conventional notions of structure, at once both centreless and impressionistic, yet somehow guided by an imagined formless space.

Reliant much less on their own capabilities - and limitations! - as musicians, Knegtel and Andropoulos heartily invited the contributions of friends from both their local Athenian music community and those made while playing the UK, with the important disclaimer given that anything played during the recording session will not sound the same once on record. The result is duos, trios, quartets and sextets playing in different experiences of time, and on dynamic scales vastly different from one another, brought to equal footing.

Critically, the wholesomeness of their creative communion belies the darker theme of inertia that the pair acknowledge runs throughout the album, a sense of bodies of very different weights and momentums existing alongside each other, either adapting to or clashing with one another. In short, the outside world can’t help but seep in, even as you create within your own hermetic universe - the feeling of hopelessness amidst endless political and social strife, obsolescence in the face of technological development, time’s inexorable march. These are things we’ve all felt, and while High Tide, like much before it, doesn’t provide any definitive resolution for these challenges, it does present its own set of unique possibilities written in the shared language of its creators.

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SIHR

LP | 2024 | EU | Original (Sub Rosa)

Taurhiphanie / Voyage Absolu Des Unari Vers Andromède / Gendy 3 / S.709

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Sihr: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, Sihr is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands Foudre! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the Nahal Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

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Iannis Xenakis - Electroacoustic Works Part 5

Diamorphoses / Concret PH / Orient Occident / Bohor

Release: 2022 / EU – Original

Genre: Electronic & Dance

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This album is disc V "Late Works" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

„Electroacoustic Works“ celebrates the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by Reinhold Friedl (zeitkratzer) and rare photos from the Xenakis archive.

Iannis Xenakis (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.

After he arrived in Paris in 1947, Xenakis not only studied composition with Messiaen and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although Xenakis also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). Xenakis’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as Michel Chion put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.

His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.

The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of Xenakis are now available on record the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director Reinhold Friedl, in collaboration with sound engineer Martin Wurmnest, made these critically reflected stereo mixes possible, which were appropriately mastered by Rashad Becker and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

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Iannis Xenakis - Electroacoustic Works Part 1

LP | 2019 | EU | Original (Soave)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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This album is disc I "Early Works" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

„Electroacoustic Works“ celebrates the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by Reinhold Friedl (zeitkratzer) and rare photos from the Xenakis archive.

Iannis Xenakis (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.

After he arrived in Paris in 1947, Xenakis not only studied composition with Messiaen and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although Xenakis also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). Xenakis’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as Michel Chion put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.

His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.

The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of Xenakis are now available on record the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director Reinhold Friedl, in collaboration with sound engineer Martin Wurmnest, made these critically reflected stereo mixes possible, which were appropriately mastered by Rashad Becker and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

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Riccardo Sinigaglia

Ambient Music

10th Anniversary Box Compilation

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Futuro Antico, the mesmerizing collaboration of Riccardo Sinigaglia with Walter Maioli and Gabin Dabirè evoked in its name the uncanniness of simultaneously witnessing past and future. Ambient Music, Riccardo Sinigaglia’s first solo work –recorded in Dec. 1984 and originally out on cassette from ADN Tapes in 1985— ultimately delivers on that idea, embodying different irreconcilable time frames not just in name.
From our vantage point, the sounds of the two performances --“Watertube” and “Ringspiel”-- appear as though they arrive to us from a past which we have great difficulty in recognizing and imagining ourselves coming from while simultaneously working as a projection of a future that is both our contemporaneity yet also surpasses it. It’s this ability that Riccardo Sinigaglia’s work has of being both rooted in its context while instantaneously capable of transcending our own that makes him one of the key figures of that explosion of beauty and creativity that defines the peculiar iteration of radical minimalism that characterized the experimental and avant-garde music scene in Italy, particularly the Milanese one with its rich countercultural scenes crossing over into the long reverberating academic legacy of the Studio di Fonologia Musicale RAI di Milano during a hyperactive decade starting in the late 1970s. An aggressively conquered freedom which resulted in works of an incredible gracefulness aimed towards a future at a moment when both grace and the future had seemingly begun their slow obliteration under the blows of powerful destructive forces.
“Watertube” starts as a synth and magnetic-tape based ambient soundscape that slowly adds what appears to be a prepared piano which eventually competes for audibility with a phrase that evokes the titular watertube, treated, looped and stacked as it phase-shifts producing a busy polyrhythm that asynchronously gurgles and bubbles, approaching but never breaking into chaos. It’s some strange version of Eno’s oblique discreetness ostensibly being overwhelmed by the perversity of a Stevereichian shape-shifting pattern but the moment the former is about to be overwhelmed the composition begins a slow recession back towards the system it originated from.
“Ringspiel” is a more playful yet warped affair, a complex ecology rather than a simple economy of sounds. Opening with a whimsical melody seemingly played on a prepared toy piano this gives way to a tape loop punctuated throughout the rest of the piece by individual sounds whose origins remain uncertain. These produce scattered melodies that underscore an electronic based minimalism with a synthetic heart that nonetheless showcases a pulsating, wet, fibrous core that beats with organic life. It ends not in the opening whimsy but in fragmenting percussive shards of sounds. While it might superficially appear deceitfully familiar and comforting and evoke recognizable pleasures this is neither your father’s ambient nor your mom’s minimalism. And it sure as hell ain’t your older brother’s lame substanceless new age noodling. There’s a dark heart to Sinigaglia’s record – listened to today we are conscious that the future “Watertube” and “Ringspiel” pointed towards never arrived and yet we are aware of nonetheless inhabiting it. That is ultimately the tragedy and the thrill of these compositions. We are told that the future’s been annulled due to a degenerative process that began precisely around the time in which this music was first recorded. And yet. As time folded in on itself and we were made to inhabit the futureless predicament of an eternal present these recordings act as relics from the last possible instance where a future could still stand to be imagined. A little sliver of opportunity. Look into it. It just might give you a peek into tomorrow. The time is out of joint.

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Project: Mooncircle

4LP | 2012 | EU | Original (Project: Mooncircle)

Lorenzo Dada / Luciano Michelini

Release: 2012 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Project: Mooncircle, as the name reveals, has been on a journey to the moon since day one, exploring the frontiers of music and art, always looking for new discoveries and giving a different perspective to look at the earth. In it’s 10 year history the label has published roughly 100 releases by equally as many artists from all corners of this globe and, therefore, the selection of sounds on this compilation represents the development of the label from the past, present and going into the future.

Some of the artists featured on this compilation have been a part of the label from its very beginning, like CYNE, Manuvers and Jahbitat, whose song will be the last one he produced and published under this moniker, while others, like Robot Koch, fLako and Long Arm, are outstanding examples of its growing popularity and success. Furthermore, the box also features an exceptional selection of close musical friends and inspirational artists like Jehst, Dday One, Kwala and Ichiro_, just to name a few.

The logo and artwork represent someone who was very close to the label, especially in the early years but unfortunately passed on and whom this box is dedicated to. Featured on the compilation are artists such as Mike Slott x Diane Badié, CYNE, Sweatson Klank aka Take, Jahbitat, Robot Koch, fLako, Jehst, Beat Butcha, Long Arm, Kelpe, Pavel Dovgal, Blossom, Daisuke Tanabe, Dday One, Inner Science, Substantial, Arts The Beatdoctor, Rain Dog, Kidkanevil + Microkorg by Dorian Concept, John Robinson, Sorrow, Rumpistol, The Red Baron, Christoph El’ Truento, 40 Winks, Sina., 1000Names, DZA, Ichiro_, EAN, Tom Dicicco, Headshotboyz, Graciela Maria, Gards From KC, Sekuoia of Kilimanjaro, Sense of The Q4, Sneaky, I.V.A., Empt, John LaMonica, Mike Gao, Bambooman, Manuvers, Krts, Kwala, Soosh, Memotone, Sun Glitters, Called Understandable Souls & Szenario.
The limited box includes 4 white vinyls LP’s with 32 tracks, 13 additional digital bonus tracks, and a poster (with digital download code) all in a specially designed box that features a special light-reflecting varnish, which makes this truly a collectors and music lovers item.

Berlin-based label Project: Mooncircle and it’s two sublabels Project Squared and Finest Ego is an official label from HHV. It was founded in 2002 and is specializing in the conjunction between electronic and organic music. The label, at first envisaged as a compilation project only, soon released the first instrumental and vocal solo releases by such artists as The Q4, CYNE, Mr Cooper, Robot Koch, fLako, 40 Winks, John Robinson & MF Doom, DZA, Krts, Sina., Graciela Maria, Manuvers, Lambent, Lewis Parker, Non of Shadowhuntaz, Strand, Ta-Ku, Mika Gao, Onra, Obba Supa, Asusu, Furesshu, AnD. Kowton or Glen Porter. The work of illustrators and graphic designers such as Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria, and The Binh create images that accompany the acoustic spaces.
Project: Mooncircle with its various producers & vocalist shall be an interesting experience for anyone looking for the extraordinary.

A&R: Laurent Fintoni, Jinna Morocha, Karolina Kaczor, Gordon Gieseking and Malte Tarnow. Mastering by Sven Friederichs. Artwork and original paintings by Gordon, LNY & Bioniq. Webdesign 2006 – 2012 by Thimo Hörster & Hendrik Stein. Animation trailer by Sebastian Muñoz.

Release date: March, 23rd.

10th Anniversary Showcase with Mike Slott, Robot Koch, fLako, Long Arm, Jehst, Arts The Beatdoctor, Sekuoia of Kilimanjaro, & Graciela Maria @ Club Gretchen in Berlin, Kreuzberg – March, 17th!

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Lucifer

CD | 2024 | EU | Original (Kompakt)

12,74 €* 14,99 € -15%

Lorenzo Dada / Luciano Michelini

Release: 2024 / EU – Original

Genre: Electronic & Dance

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With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives.

There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance.

Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977).

In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice.

Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts.

And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.

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Lucifer

LP | 2024 | EU | Original (Kompakt)

Ash Ra Tempel Remastered By Manuel Göttsching

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Ash Ra Tempel

CD | 1971 | EU | Reissue (MG.Art)

LP | 2023 | Reissue (Horn Of Plenty)

Release: 1971 / EU – Reissue

Genre: Electronic & Dance

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Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel.
It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many,
became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)

Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

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Annelies Monsere

Mares

Passepartout Duo And Inoyama Land

Release: 2023 / Reissue

Genre: Electronic & Dance

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Essential repress of this great LP of experimental Belgian folk music. Original pressing sold out within weeks and was listed at number 10 in the Quietus' best albums of the year so far. Horn of Plenty casts its gaze into the thriving contemporary Belgian underground with Annelies Monseré’s Mares, a remarkable body of experimental compositions that taps the deep well of raw, emotive expression rumbling below numerous traditions of European folk music.

As a member of Ghent’s experimental music scene, over the past two decades Annelies Monseré has slowly refined a singular approach to musicality, moving from the sparse, instrumental piano works from that defined her early career, toward increasingly complex arrangements of instrumentation that offer a central place to her own voice, issued by noteworthy imprints such as Morc Tapes, Stroom, and three:four. Like her work within the widely celebrated ensemble, Luster, as well as Distels, her duo with Steve Marreyt, Monseré’s solo efforts establish a strikingly beautiful and remarkably unique territory that elegantly balances between rigorous experimentalism, minimalism, drone, and folk.

Recorded between 2016 and 2022, Mares is arguably best approached through the song that marked its inception and conclusion, a rendition of Cyril Tawney’s Sally Free & Easy. Written in 1958 and popularised by Pentangle during the early 1970s, it has been approached by so many artists - Davy Graham, Trees, Tony Caro & John, Marianne Faithfull, Flying Saucer Attack, etc. - that it’s become a “standard” within the folk scenes of the last half century or so. Initially drawn to the melodic qualities of the tune, Monseré became fascinated with the lyrical content, which she points out are “ethically problematic: a sailor ‘slutshaming’ a woman because she left him.. blaming her for his (planned) suicide”. Refined from paired down beginnings over a six year period, a droning, feminist dirge slowly emerged from her hands, incorporating male backing vocals and harmonium as brooding counterpoint to her voice, that entirely recasts the song into a new and radically prescient form.

It is this sense of contrast - the elemental humanity and tension that runs below countless traditions of folk, reconceptualized within the forward thinking temperaments of contemporary experimental music - that defines Mares as such a distinct piece of work. A departure from her previous solo efforts, being the first to leave behind her main instruments, the guitar and piano, the album was conceived by Monseré as something akin to timbral painting; “adding similar layers upon each other with (slightly) different hues”. Taking the image of the sea and the ethical tensions within Sally Free & Easy as a conceptual departure point - weaving these themes like a thread through the record - amongst complex sets of harmonic relationships and varied durational structures that unfold within the remaining seven compositions, she intertwined her own childhood memories of the sea with interrogations of how “these memories are often arbitrarily fixed and tainted by the present, and more metaphorical (even biblical) connotations of the sea, hinting at toxic human relationships and intoxication in its multiple senses.”

Appearing with the immediacy and emotiveness of folk music, imbued with sense of adventure of experimentalism and bred with the restraint and elegance of minimalism, Mares’ is a deep body of sonority that draws upon the fundamental human need to express and commune through sound, projecting this ancient need into forward-thinking forms without sacrificing its roots. Profoundly beautiful, elegant, and poetic, these eight tracks offer immersion into the singular creative voice of one of the most unique artists currently working in the Belgian scene.

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Radio Yuga Transclear Vinyl Edition

LP | 2024 | Original (Tonal Union)

Young Druid (John T. Gast)

Release: 2024 / Original

Genre: Electronic & Dance

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Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

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Young Druid

LP | 2023 | UK | Original (5 Gate Temple)

Cheb Terro Vs. DJ Die Soon

Release: 2023 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Limited copies of this John T. Gast (Apron, Planet Mu, Blackest Ever Black etc) project from 2017 - originally released on a hyper limited CDR. Now on vinyl for the first time featuring all the original tracks Special stuff from this shadow dwelling soul. Really killer.

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Cheb Terro & DJ Die Soon

LP | 2022 | UK | Reissue (Drowned By Locals)

20,99 €*

Cheb Terro Vs. DJ Die Soon

Release: 2022 / UK – Reissue

Genre: Electronic & Dance

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Cheb Terro vs DJ Die Soon features Cheb Terro's posthumous vocals on Die Soon's beats; a work that was finished one day before Terro's tragic passing. Starting somewhere in the last quarter of 2020, having approached Daisuke Imamura aka DJ Die Soon for a release, and just heard about Cheb Terro's work with his Toxic Club, Drowned By Locals made the hook up that would result in a match made in the Underplanet, as Terro would describe it.

Hailing from the city of Sousse in Tunisia, the site of the worst of several Jihadist attacks in recent years, Cheb Terro's writings and delivery embody the violence stemming from the frustration shared by Tunisia's new generation; and reflect sadness, rebellion and an obsession with death.

Rayen Hermassi, aka Cheb Terro, was a multifaceted artist; writer, rapper, video editor, designer and founder of Toxic Club, the first Tunisian movement to merge horrorcore, hip hop, hardcore punk, Memphis gangster rap, devil shyt, vaporware, tinged with occult elements taken from the country's mystic past.

Daisuke Imamura is a Berlin-based artist born in Japan. His releases include 'Kappa Slap' [Morphine Records], in which Die Soon collaborates with Ecko Bazz, Infinite Livez, MC Yallah, Lord Spikeheart from Duma, and MA; and his latest production for Sekelembele split with Swordman Kitala [Hakuna Kulala].

In commemoration of the too-soon departed Rayen Hermassi, Cheb Terro vs DJ Die Soon is planned to release on March 25th, 2022, the day of Rayen's passing, on digital and vinyl - Mastered by Rashad Becker.

Rayen Hermassi's share of proceeds will go to his family.

released March 25, 2022

Music and cover art by Daisuke Imamura
Vocals and lyrics by Rayen Hermassi
Mastered by Rashad Becker

Dbl10lp

Patrick Clarke | The Quietus | The Quietus Albums Of The Year So Far Chart 2022
https://thequietus.com/articles/31727-the-quietus-best-albums-mid-2022
Matador Recommends | Playlist by Matador Records
https://spoti.fi/3yayJRC
Zoe Camp | Bandcamp Daily | Essential Releases
https://bit.ly/3FXDbGV
Emna Maaref | Ma3azef |شب تيرو ودي جاي داي سون(Cheb Terro Vs DJ Die Soon) Review
https://bit.ly/3sKA7Za
Toxic Club | Nika7 Official Video Premiere
https://www.youtube.com/watch?v=CYUHaC2KoDw
Noel Gardner | The Wire — Issue 458 | Cheb Terro Vs DJ Die Soon Album Review
https://bit.ly/3loBBUO
Gonzo (circus) — Mind The Gap 154 | Cheb Terro Vs DJ Die Soon - Pine Review
https://www.gonzocircus.com/mind-the-gap-154/
Clot Magazine | Underplanet Official Video Premiere
https://bit.ly/39xZGWK
Nyshka Chandran | Resident Advisor | Cheb Terro vs DJ Die Soon - Abtal AL Digital Single Review
https://ra.co/reviews/34696
Ransom Note | Posthumous record from Cheb Terro alongside DJ DIE Soon set for release
https://bit.ly/3yJDpjn
Tom Ravenscroft | BBC Radio 6 Music
https://bbc.in/3G4JpVl

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Cheb Terro & DJ Die Soon

Tape | 2024 | UK | Original (Drowned By Locals)

36,99 €*

Dave De Rose & Dan Nicholls

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Plants Heal

12" | 2021 | UK | Original (Ddr)

Frederic D. Oberland & Gaël Bonnefon

Release: 2021 / UK – Original

Genre: Electronic & Dance

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100 copies limited edition 12" black vinyl. Printed artworks on labels, black inner sleeve with holes on both sides and 3mm outer sleeve decorated by sticker + A4 paper print about the project including track listing & personnel details.

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Meme Soleil

LP | 2021 | EU | Original (IIKKI)

Senyawa Vs. Black To Comm

Release: 2021 / EU – Original

Genre: Electronic & Dance

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"Même Soleil" is the result of a dialog between the French photographer Gaël Bonnefon and the French musician Frédéric D. Oberland initiated by Iikki, between December 2019 and June 2021. Self-taught multi-instrumentalist & photographer, Frédéric D. Oberland finds himself at the crossroads of image and sound, favoring a synesthetic approach. Gaël Bonnefon has exhibited at Villa Pérochon, at the Eté photographique in Lectoure, at the 104 in Paris during Jeune Création 2012, at Rencontres Internationales de la Photographie d’Arles and at PhotoEspaña, at the Abattoirs Museum in Toulouse in 2014, at the Château d’Eau Gallery in 2012 and 2019 and in the Vitrine of Frac Île-de-France in 2020.

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Alkisah Versi Hitam

LP | 2021 | EU | Original (Dekorder)

Sleep D & Ad Lib Collective

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Alkisah Versi Hitam is a radical deconstruction and reimagination of Indonesian duo Senyawa's most recent album Alkisah by Hamburg's Marc Richter aka Black To Comm. The original album was released to critical acclaim in February of this year as a decentralized release on a multitude of labels from all corners of the world, Germany’s Dekorder being one of them. Richter is now completely reinventing the original album from scratch by doing an almost Teo Macero-level production job here, cutting up the originals and (re)constructing new material from scratch.

Arcane chants and vocal cut-ups, fierce freeform percussion, grimy No Wave collage, monochrome drones exploding into multicolour streams, unearthly psychedelic Noise and sheer sonic mayhem, warped discordant rhythms between moments of calming beauty - it's never easy to digest but the outcome is both ecstatic and transcendental - never sounding anything less than a fully formed singular album.

A special cassette version of the album will be released by Jordanian label Drowned By Locals.

Black TO Comm is the moniker of Hamburg composer/musician Marc Richter who is creating intricate multi-layered collage based works for labels like Thrill Jockey, Type and Dekorder. His 2019 album "Seven Horses For Seven Kings" revealed an increasingly angry, transcendental and fearless approach, attaining new levels of urgency through noise, volume, rhythm, repetition, atonality and beauty.

Jogjakarta’s Senyawa embody the aural elements of traditional Indonesian music whilst exploring the framework of experimental music practice, pushing the boundaries of both traditions. Their music strikes a perfect balance between their avant-garde influences and cultural heritage to create truly contemporary Indonesian new music. Their sound is comprised of Rully Shabara’s deft extended vocal techniques punctuating the frenetic sounds of instrument builder, Wukir Suryadi’s modern-primitive instrumentation. Inventions like his handcrafted ‘Bamboo Spear’; a thick stem of bamboo strung up with percussive strips of the animal skin along side steel strings. Amplified it fuses elements of traditional Indonesian instrumentation with garage guitar distortion. Sonically dynamic, the instrument can be rhythmically percussive on one side whilst being melodically bowed and plucked on the other.

They have collaborated and performed with many notable musicians such as Stephen O'Malley of Sunn o))), Otomo Yoshide, KK Null, Keiji Haino, Rabih Beiani, Trevor Dunn, Greg Fox, Arrington De Dionysus, Melt Banana, Damo Suzuki and Oren Ambarchi.

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Cavern

7" | 2021 | UK | Original (Play On)

Felix De Luca & Shatter Hands

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Cavern is a collaboration between Australian artists Sleep D and Ad Lib Collective. Sleep D is an underground electronic music duo and Butter Session label heads. Ad Lib Collective is a classical mixed chamber ensemble.
Cavern is the first record release from Play On, a Melbourne based classical/electronic music events company and now record label. Sleep D x Ad Lib Collective's recorded work is a culmination from a two-year project borne out of a live performance at Play On show in a Melbourne underground carpark. Limited to 150 physical copies, this single is taken from the upcoming full length album Flashed Glass.

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Some Wear

LP | 2021 | EU | Original (Palmspree)

18,99 €*

Alterazioni Video / Giovanni De Donà

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Some Wear is the collaborative debut album from the Copenhagen based producer Shatter Hands and rapper Felix De Luca. The LP features 6 tracks and 2 interludes with an the instrumental version of the EP on the b-side. All rugged sample based hiphop full of crackles, dirt and a lot of soul and with features from danish L.A based singer Nanna.B on the first single 'Verner Panton' and rapper Niki Bernard.

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Photons

LP | 2021 | EU | Original (Koo Editions)

28,69 €* 40,99 € -30%

12" | 2018 | EU | Original (Baltermore)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Unprecedented submolecular laser class 4 electro session, recorded in Physics Dept, Freie Univeristät Berlin, in 2005. The modern photon concept was originated by the work of Albert Einstein at the beginning of XX century, when he elaborated the relativity theory, in 1905. To celebrate the centenary (2005) of that singular event, the AEM - "Casa dell'energia" of Milan - organized the presentation of a dedicated installation and a live performance by the artistic collective Alterazioni Video. To develop this photonic work, they went to the physics laboratory of the Freie Universität in Berlin. Together with Giovanni De Donà, then researcher Markus Gühr (now director at Potsdam University after his experience at Stanford) carried out his research using a class 4 laser. There are various types of lasers and class 4 is one of the most powerful. Certainly not a free sale item. The class 4 is able not only to pierce the retina, but also to break the bond that holds the oxygen molecules together, thus generating flashes of light and powerful micro-couplings with interesting rhythmic flaps. The session involved a certain risk, the atmosphere was naturally electrified, and under the supervision of Markus it was possible to trigger the laser through a drum machine in order to control these bursts and use them as rhythmic units. Improvising a unique session of electro to all effects properly sub molecular, minimal electronic sounds interacted with the rhythms of the matter stimulated by the laser while producing light phenomena. The Waterlaser track in particular was created by concentrating the laser focus on a water surface, and documents the background sound given by the splitting of the molecules of the liquid. This experimentation on the border of art and science goes beyond the reductionism given by the programmed structures of the explosions, and highlights the obscure aspect of indeterminacy revealed by uncontrollable explosions, out of the rhythmic grid and out of every possible control. This took place because of a physical principle that we could touch with our hands, which brought science closer to the aesthetics of magical realism, as we could experience with our eyes and ears: Gdd- Markus, what's going on? There are explosions that I didn't program, that create these syncopated rhythms, as if someone was improvising on the sequence... And it's not me...- MG- It's ... (sneering) a matter of “sympathy”, “vibratory sympathy”. Sometimes, some molecules follows the ones that blows, with no particular apparent reason...- This true Berliner experimental session was recorded with room microphones, and the balance was all in all positive: no one injured, a professional digital camera burned for daring to linger too long in framing the focus of the explosion of molecules. and a recording that is now presented in this record 15 years later. The B side features Chris Mitchell with Bass influenced kinematic interpretation using parts from the session. The recording of the next Milanese public session was lost in the black hole of the RAI archives.

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Billy Ray De La Haye

Globetrotters

M.M.M. (Macelleria Mobile Di Mezzanotte)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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Rotterdam's mysterious studio-wizard strikes on the joyful label of Baltermore isle. Get alleviated and dream on!

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Hiver Noir

LP+CD | 2018 | EU | Original (Subsound)

25,99 €*

Cheb Terro Vs. DJ Die Soon

Release: 2018 / EU – Original

Genre: Electronic & Dance

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The new record from M.M.M. (Macelleria Mobile Di Mezzanotte) goes back to the sound of "Black Lake Confidence" and reveals more cold and deeper Doom Jazz suites in the style of Bohren and Der Club of Gore, The Mount Fuji Doomjazz Corporation, Dale Cooper quartet. Manuele Frau (Der Noir, Blackland) joins the band to play guitar tunes, while Riccardo Chiaretti (Moonlite Bunny Ranch, Chaos/Order), who has contributed on the last two records, performs more songs and helped with songwriting. New soundscapes are explored by the band on this fine new album on Subsound Records.

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Cheb Terro & DJ Die Soon

Tape | 2024 | UK | Original (Drowned By Locals)

36,99 €*

Lindy-Fay Hella & Dei Farne

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Hildring

LP | 2021 | EU | Original (By Norse Music)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Alterazioni Video / Giovanni De Donà

Lightwaves

LP | 2023 | EU | Original (Koo Editions)

35,99 €*

Riccardo Sinigaglia & Mario De Leo

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Together with Photons (2005), released as Koo002, Lightwaves completes the investigation of the electro archetype, documenting the Neosurrationalist* bridge between art and science, that began with a dialogue in a Kreuzberg bar involving Giovanni De Donà, Paololuca Barbieri of Alterazioni Video, and physics researcher Markus Gühr, now professor and lead of the Experimental Quantum Physics group at Potsdam University in Berlin. The dissemination given by the current interpretations made by various artists, reveal the possibility of radical vibrant electro made without synthesizers, in spite of Kraftwerk's tradition. To play directly with neonlights instead of singing them, and to amplify even the invisible infrared of a remote control without fearing a T.V.O.D -television overdose-, it meant entering definitively into the new normality of the bruit, the rauschen, the shum, the záyīn, the new “Arte dei rumori” of the electromagnetic noise of the new millennium, revealing both the inaudible of light frequencies and also the invisible through its raw sound and potential for irreverent, chromatically-limited pulsations. The first pocket-sized Chinese solar panels are turned into photomicrophones, and with an inexpensive set-up made of different light bulbs, neon, remote controls, LEDs, and a dimmer, we experienced the zeitgeist by closing a cycle that involved popular culture and contemporary art. Lightwaves was on tour for some years from No Art Gallery and Mediateca Santa Teresa in Milan to MoMa PS1 and Location One in New York, MoCa and Duolun Museum in Shanghai, Ikra club in Moscow, then in other locations as Kunstlerhaus in Stuttgart, Link in Bologna, Flowers in Catania, Acusmatiq 2.0 in Ancona, Mayr 3 in Milano again, and Breakout music festival featuring Steve Piccolo in Genova in 2009.

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Lettera Cosmica

LP | 2023 | EU | Original (Black Sweat)

LP | 2024 | Original (Be With)

Release: 2023 / EU – Original

Genre: Electronic & Dance, Classical Music

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Since the 1970s Mario De Leo works as a musician and visual artist. His mechanical paintings are hybrid works that reveal the cosmic spiritualism hidden in the meanders of electronics. With Riccardo Sinigaglia (Futuro Antico, Correnti Magnetiche, Doubling Riders) De Leo consolidates an artistic and human partnership with Lettera Cosmica, a work unpublished to date, produced and recorded in 1981. In a wacky electronic vision of the succession of time, the tracks trace the four seasons in a fine process of analog loops, prepared tapes of strings and piano, time and pitch shifts, filtering with Synthi Ems and Teac 3340 4-track recorder. On this seemingly cold palette, De Leo deploys his own personal Mediterranean fingerpicking, with vocal timbres peculiar to the music of the South of Italy, but no longer circumscribed to the origins of his Pugliese regionalism, as much as to an expressive range seasoned also with irony and avant-garde.The sound writing harmonizes with the evocative cover, in which emerges a warmest human note of "technological peasant”.

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Steve Moore

Cursed Objects

LP | 2022 | EU | Original (Kitchen Label)

Release: 2024 / Original

Genre: Electronic & Dance

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Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.

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Meitei

Kofu II

34,99 €*

2LP | 2002 | EU | Reissue (Keplar)

Release: 2022 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Meitei’s 2020 album 'Kofū' was the bold bookend to an expedition, where sounds were first navigated and then subverted in 2018’s 'Kwaidan' and 2019’s 'Komachi'.

All three albums were Meitei’s attempt at immersive storytelling, reimagining moments of Japanese history he felt were being washed away – not least by the unforgiving sands of time – through wistful compositions that stretched across ambient music, hauntology, and musique concrete.

When it came to finalizing 'Kofū', Meitei found he was left with over 60 fully realized tracks, bursting with ideas that fired in divergent, curious directions. Meitei was content with the 13 tracks he had selected. But when it came time to begin his next album, he found that it had been sitting in front of him all along. He realized his work wasn’t over yet.

Meitei sounds right at home celebrating the past he first reimagined in his previous work. The merriment is palpable in its first two tracks of 'Kofū II' – a loop of cheery whistling amidst the clanking of wood leads into strings, cricket sounds and flutes, all united in bustling harmony.

'Happyaku-yachō' is where it comes into focus. Pitch-shifted vocal samples roam around in the crowded sonic field. “My image of this music is that it expresses the vibrant mood of Edo's merchant culture,” says Meitei, “where old Japanese dwellings were densely packed together in a vast expanse of land.” The affair becomes bittersweet as the track leads into the desolate 'Kaworu', a compositional piece lifted from his 'Komachi' sessions – a final requiem to his late grandmother.

The album is bursting with spectral vignettes of wandering samurais, red lanterns, ninjas, puppet theatres, poets, even a vengeful assassin ('Shurayuki hime', known to Western audiences as ‘Lady Snowblood’).

'Saryō' is as elegant and refined as you would expect. It induces stillness in its repetition, with each synth note a brushstroke. It was inspired by a Sengoku-era tea house he once visited, designed by national icon Sen no Rikyū. Meitei tied it to the reaction he felt while poring over the ink paintings in his grandmother’s house. “The decayed earthen walls and faded tatami mats gave me an emotional impression,” he says. “And the cosmic flow of time drifting in the small room. I decided to put my impression of this into music.”

In 'Akira Kurosawa', an appropriately thunderous track, Meitei finds deep resonance in his vast filmography, which drew equally from Japan’s rich heritage and troubled circumstances post-WWII.

'Kofū II' is not a leftovers album, nor is it a straightforward companion piece. In this album, Meitei has his biggest reckoning with the Japanese identity yet. Over the years, he has attempted to peel back what he believes has defined Japan and its people. After seeking answers with three full-length albums, his fourth poses more questions.

If his first three albums inspired a sense of longing – or, perhaps inevitably, fed an irreparable nostalgia doomed to history – 'Kofū II' compels us to reassess our relationship with the past. By constantly looking back, are we ever afforded a clearer present? After capturing the “lost Japanese mood”, where does that leave its country in the modern world? Meitei offers no immediate answers with 'Kofū II'. It forces you to sit with its disparate moods, to meditate amidst the textured fragments.

'Kofū II' will be released on 180g LP, CD and digital format on December 10, 2021 (LP expected to land January 28, 2022) via KITCHEN. LABEL. Both LP and CD format are presented in a debossed sleeve with obi strip and include a 16-page insert with words in Japanese and English from Meitei, printed on premium paper stock with design by KITCHEN. LABEL founder Ricks Ang, and is mastered by Chihei Hatakeyama in Tokyo, Japan.

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Ekkehard Ehlers

Plays

33,99 €*

Iannis Xenakis - Electroacoustic Works Part 4

Release: 2002 / EU – Reissue

Genre: Electronic & Dance

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Ekkehard Ehlers' seminal plays series was originally released on three 12inches (Staubgold) and two 7inches (Bottrop-Boy) in very limited runs. The entire series was previously only available as a CD compilation or digitally. Keplar finally presents it on double vinyl for the first time, featuring a new cover artwork. Domestic ethnology: Ekkehard Ehlers plays. ‘Play’ is a word in English with many meanings attached. Each one sends you down a different cognitive pathway. When I think of ‘playing’, in the sense of a game, I think of an activity involving more than one person. When Ekkehard Ehlers plays, he is very much on his own. Or, at least, alone but at the same time keeping intimate company with the artistic innovators named in his titles. Robert Johnson. John Cassavetes. Albert Ayler. Cornelius Cardew. Hubert Fichte. Is he playing with them, against them, about them, for them, to them? This can never be known. It is certainly a mistake to try to hear the ‘work’ of these originals in the sounds played by Ekkehard. They’re not cover versions. They’re hardly tributes in the conventional sense. Cassavetes and Fichte are not even musicians, although music played an important part in both their careers. Sure, there are little nods and flashes of recognition – tiny guitar licks among the minimal beats of ‘Robert Johnson 2’; rich bowed instruments in ‘Albert Ayler’, recalling the violin, cello and double bass arrangements on Ayler’s 1967 Live in Greenwich Village LP; the elongated organ lines of ‘Cornelius Cardew 1’ gesturing towards passages in Paragraph 1 of the British composer’s 1971 Marxist monolith, The Great Learning. Ekkehard is not so much playing these figures as allowing himself to be played by them. Playing as an activity also suggests freedom. Maybe the only thing all five named persons have in common is that they were all quiet radicals. In music, literature and cinema, they all stepped, without self-promotion or fanfare, into unmapped territories. Once there they found it necessary to invent new languages in order to survive. Necessity was the mother of their inventiveness. They were also uncomfortable avant gardists. Lonely types, fighting their corners out on the margins, with little reward, often misunderstood, ridiculed or ignored. All died unfairly young. Fichte a victim of Hiv/aids, Cassavetes of cirrhosis of the liver. (‘Cassavetes 2’ sounds like a tender farewell played across the 59 year old alcoholic director’s death bed.) The deaths of Johnson, Ayler and Cardew have never been satisfactorily explained, and remain shrouded in myths and conspiracy theories. The pioneering expeditions of all five began in that spirit of playful freedom, but inexorably drew them towards the heart of darkness. So these ‘plays’ are micro-dramas, sonic soliloquies, monolog-ins to the private accounts of various geniuses in Ekkehard’s ‘follow’ list. Hacked sensibilities. Artistic manifestos boiled down and distilled, skinned and dried in the digital smokehouse. (Ekkehard Ehlers Flays.) Each of these plays was originally floated out into the world alone on its own disc. The collected works play well as a team – a tranquil, introspective experience where each artist has his own identifiably unique sound character. As an album, Plays is a ‘Plattenragout’ – a ‘record stew’ – which was the title of Hubert Fichte’s LP review column in the leftist culture magazine konkret in the 1960s. The novelist’s work investigating the cultures of South America and the Caribbean islands has been called ‘domestic ethnology’. The writer himself referred to his ‘ethnopoesie’. Ekkehard Ehlers’s intuitive electronic portraits are a form of domestic ethnology in themselves. Invoking another of Ekkehard’s musical aliases, they are portraits of cultural ‘autopoiesies’ – creators whose works were strong enough to have their own self-regenerating life force. (by Rob Young)

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La Légende d'Eer

Iannis Xenakis - Electroacoustic Works Part 3

Release: 2022 / EU – Original

Genre: Electronic & Dance

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This album is disc IV "Les Polytopes III" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

„Electroacoustic Works“ celebrates the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by Reinhold Friedl (zeitkratzer) and rare photos from the Xenakis archive.

Iannis Xenakis (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.

After he arrived in Paris in 1947, Xenakis not only studied composition with Messiaen and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although Xenakis also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). Xenakis’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as Michel Chion put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.

His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.

The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of Xenakis are now available on record the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director Reinhold Friedl, in collaboration with sound engineer Martin Wurmnest, made these critically reflected stereo mixes possible, which were appropriately mastered by Rashad Becker and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

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Persepolis

Hibiki Hana-Ma / Mycenae Alpha / Polytope de Cluny

Release: 2022 / EU – Original

Genre: Electronic & Dance

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This album is disc III "Les Polytopes II" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

„Electroacoustic Works“ celebrates the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by Reinhold Friedl (zeitkratzer) and rare photos from the Xenakis archive.

Iannis Xenakis (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.

After he arrived in Paris in 1947, Xenakis not only studied composition with Messiaen and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although Xenakis also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). Xenakis’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as Michel Chion put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.

His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.

The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of Xenakis are now available on record the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director Reinhold Friedl, in collaboration with sound engineer Martin Wurmnest, made these critically reflected stereo mixes possible, which were appropriately mastered by Rashad Becker and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

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Iannis Xenakis - Electroacoustic Works Part 2

20,99 €*

LP | 2022 | EU | Original (Glossy Mistakes)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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This album is disc II "Les Polytopes I" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

„Electroacoustic Works“ celebrates the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by Reinhold Friedl (zeitkratzer) and rare photos from the Xenakis archive.

Iannis Xenakis (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.

After he arrived in Paris in 1947, Xenakis not only studied composition with Messiaen and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although Xenakis also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). Xenakis’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as Michel Chion put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.

His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.

The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of Xenakis are now available on record the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director Reinhold Friedl, in collaboration with sound engineer Martin Wurmnest, made these critically reflected stereo mixes possible, which were appropriately mastered by Rashad Becker and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

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Danny Scott Lane

Wave To Mikey

28,99 €*

Finest Ego: Faces 12" Series Volume 5

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Wave to Mikey, the fourth album from the Los Angeles-based actor, musician and photographer Danny Lane is a nocturnal, neon-lit ode to the friendships that shape us. “I made this album for my friend Mikey from back home,” Danny explains. “We were pretty much inseparable for a large part of our lives, and our musical and social minds were always in sync in a special way. Then with age, we drifted apart, especially since I moved to Los Angeles. This album is just a little wave hello to an old friend and a kindred spirit.”

Equal parts avant-garde composition, instrumental city-pop, ambient, Kankyō Ongaku (environmental music) and Fourth World music, Wave to Mikey is an impressionistic and reflective cycle of eleven richly detailed memory portraits. Throughout the album, the influence of Jon Hassell, Arthur Russell, Hiroshi Yoshimura and Yellow Magic Orchestra hangs in the air like late-night mist, adding character but never overshadowing the rhythmic ambience of Danny’s musical visions.

Wave To Mikey began as a series of sketches on analog synthesisers, guitar, sample and found percussion sketches, initially recorded in Danny’s home studio. Once he’d located the vibe, Danny called on his friends E Talley II, Solange collaborator John Carroll Kirby and Destroyer session musician Joseph Shabason, who respectively added flute, spiritual synth textures and saxophone to the record.

For Glossy Mistakes founder Mario G.R., who originally discovered Danny through his photography, Wave To Mikey captures a vivid feeling of melancholy and peace. “He's able to encapsulate emotions in a very straightforward way, either in his portrait or songs,” Mario says. “I think that's a kind of virtue or skill given to talented artists, no matter the field.”

Born and raised in Staten Island, New York, Danny began playing music with his friends when he was thirteen, before putting that passion on pause to study Fine Arts (Theatre) at Rider University in Lawrence Township in pursuit of an acting career. Acting led him to photography, after playing a photographer in a film, he was inspired to pursue the medium. Danny began shooting photos on film for magazines and lifestyle brands, spent a stint living in New York’s Chinatown neighbourhood, and eventually relocated to Los Angeles in 2017.

Four years ago, Danny started recording and releasing music under his own name, leading to the trilogy of releases that preceded Wave To Mikey, How To Empty A Cup (2019), Memory Record (2019) and Caput (2021). Over the course of these releases, he’s revealed himself to be a sophisticated composer and producer with a studied ear from years spent digging through record bins for ambient, experimental, new age, jazz and electronica records from around the globe, with a particular emphasis on Japan.

“Music is something that’s always been involuntary for me,” Danny reflects. “It’s unconditional, always there. It’s something I just have to do. I’ve taken breaks and it’s always gloomy when I’m not playing. I just want to get better and better and understand more and more.”

Here at Glossy Mistakes, Wave To Mikey marks our second contemporary album release, following on from Evenings by Japanese composer Metoronori. We’re proud to be able to present Danny, Metoronori and other modern musicians' work alongside reissues of classic works from Stevia aka Susumu Yokota, Akira Ito, Yuji Toriyama & Ken Morimura, and Takashi Kokubo.

Mastered by Damian Schwartz, Wave To Mikey will be released on Vinyl LP Glossy Mistakes on June 27 2022. Besides the regular black vinyl, a limited clear vinyl will be available in an edition of 100 copies. Both editions come packaged with original cover art photography shot by Danny.

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Tendts / Daixie / Hanami

12" | 2013 | EU | Original (Project: Mooncircle)

9,99 €*

10th Anniversary Box Compilation HHV Bundle

Release: 2013 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Project: Mooncircle & Finest Ego have teamed up to establish a fresh new 12” producer series, entitled “Faces”. On every edition, you will find two different producers. Respectively, each producer will have their own record-side and unique cover artwork by the aspiring Bioniq, known for his surrealistic portraits, blending humans and elements of technology.

The fifth edition of our “Faces“ series comes with double the amount of producers as usually. One side we find Greek brothers and production duo Tendts while the other side is shared by the two young artists Daixie and Hanami, from Australia and the UK respectively.

- gnothi seauton | nosce the ipsum –
The oldest masks are more than 9000 years old and have been a part of earliest ritual ceremonies.
A mask disguises our true emotion and can also give the impression of fake feelings or make us appear emotionless. Strangely contrasted like the painted face of a clown, we appear sad and happy simultaneously. Moods and temper change rapidly, while there is nothing visible on the outside. We reflect ourselves in the image of others, project our ambitions and wishes but also fears into them, caring more about our perception by others until we don’t recognize our own image in the mirror anymore, instead of focusing on self-awareness and knowledge of self.

Where is the thin line between the truth and a lie? Do we all wear invisible masks during our everyday life? A story fractured into million pieces of a puzzle, waiting to be put back together.

If you were an idea, would you be a static one? An idea that never changes ?
An idea that tends to become something else ? An idea that becomes an obsession?
An idea can be an object, can be a sentence or just one word.
“Tendts“. What kind of word is that ? Could it be two words merged into one ? Or was it one from the beginning ? Let’s just say that the idea behind the word came up when two people were writing music in a room. In this particular room the only window that had a view of the outside world was always blocked by a rusty, dusty tent. Was this annoying tent worth becoming their artistic totem ? Maybe. But the one thing sure needed was a change. They had to transform the word into something else. They had to add something else. One letter.
Tent. Tend. TENDTS.

Hertfordshire based producer ‘Hanami‘ is set to stir things up in the coming months for the UK electronic music scene.
Now moving away from his days of working in a live electro band, Ryan Newton has decided to embark on an ambitious solo project. A direction that he has been meaning to pursue for some time. Whilst still keeping the use of sampled instruments and drum sequencers he is looking to bring a new lease of life to the increasingly generic sounds the scene continues to produce as the music becomes more popular.

Only 19 years of age and only producing for seven months now, Alex Xie, alias Daixie, is a young producer from Australia with a Chinese and Cambodian background. While drawing influences from many artists, his main inspiration comes from nature and his everyday personal interactions. His music, based heavily on field recordings, is a way of expressing his emotions – something that he has trouble doing in his day to day life. It is his release which allows him to feel more deeply about things he can not express by other means.

Bioniq is an artwork designer, DJ and producer from St. Petersburg in cold Russia and Project: Mooncircle’s special KGB agent. With his drawings he aims to create new horizons on paper and draws inspiration from historic tales, events of the present age but also possibilities the future might hold.

Limited 12” vinyl for serious collectors, DJ’s and record addicts only!

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Project: Mooncircle

LP | 2012 | EU | Original (Project: Mooncircle)

34,99 €*

Science, Art And Ritual 30th Anniversary Edition

Release: 2012 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Project: Mooncircle, as the name reveals, has been on a journey to the moon since day one, exploring the frontiers of music and art, always looking for new discoveries and giving a different perspective to look at the earth. In it’s 10 year history the label has published roughly 100 releases by equally as many artists from all corners of this globe and, therefore, the selection of sounds on this compilation represents the development of the label from the past, present and going into the future.

Some of the artists featured on this compilation have been a part of the label from its very beginning, like CYNE, Manuvers and Jahbitat, whose song will be the last one he produced and published under this moniker, while others, like Robot Koch, fLako and Long Arm, are outstanding examples of its growing popularity and success. Furthermore, the box also features an exceptional selection of close musical friends and inspirational artists like Jehst, Dday One, Kwala and Ichiro_, just to name a few.

The logo and artwork represent someone who was very close to the label, especially in the early years but unfortunately passed on and whom this box is dedicated to. Featured on the compilation are artists such as Mike Slott x Diane Badié, CYNE, Sweatson Klank aka Take, Jahbitat, Robot Koch, fLako, Jehst, Beat Butcha, Long Arm, Kelpe, Pavel Dovgal, Blossom, Daisuke Tanabe, Dday One, Inner Science, Substantial, Arts The Beatdoctor, Rain Dog, Kidkanevil + Microkorg by Dorian Concept, John Robinson, Sorrow, Rumpistol, The Red Baron, Christoph El’ Truento, 40 Winks, Sina., 1000Names, DZA, Ichiro_, EAN, Tom Dicicco, Headshotboyz, Graciela Maria, Gards From KC, Sekuoia of Kilimanjaro, Sense of The Q4, Sneaky, I.V.A., Empt, John LaMonica, Mike Gao, Bambooman, Manuvers, Krts, Kwala, Soosh, Memotone, Sun Glitters, Called Understandable Souls & Szenario.
The limited box includes 2 white & 2 black vinyl LP’s with 32 tracks, 13 additional digital bonus tracks, a T-shirt (only at HHV) and a poster (with digital download code) all in a specially designed box that features a special light-reflecting varnish, which makes this truly a collectors and music lovers item.

Berlin-based label Project: Mooncircle and it’s two sublabels Project Squared and Finest Ego is an official label from HHV. It was founded in 2002 and is specializing in the conjunction between electronic and organic music. The label, at first envisaged as a compilation project only, soon released the first instrumental and vocal solo releases by such artists as The Q4, CYNE, Mr Cooper, Robot Koch, fLako, 40 Winks, John Robinson & MF Doom, DZA, Krts, Sina., Graciela Maria, Manuvers, Lambent, Lewis Parker, Non of Shadowhuntaz, Strand, Ta-Ku, Mika Gao, Onra, Obba Supa, Asusu, Furesshu, AnD. Kowton or Glen Porter. The work of illustrators and graphic designers such as Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria, and The Binh create images that accompany the acoustic spaces.
Project: Mooncircle with its various producers & vocalist shall be an interesting experience for anyone looking for the extraordinary.

A&R: Laurent Fintoni, Jinna Morocha, Karolina Kaczor, Gordon Gieseking and Malte Tarnow. Mastering by Sven Friederichs. Artwork and original paintings by Gordon, LNY & Bioniq. Webdesign 2006 – 2012 by Thimo Hörster & Hendrik Stein. Animation trailer by Sebastian Muñoz.

Release date: March, 23rd.

10th Anniversary Showcase with Mike Slott, Robot Koch, fLako, Long Arm, Jehst, Arts The Beatdoctor, Sekuoia of Kilimanjaro, & Graciela Maria @ Club Gretchen in Berlin, Kreuzberg – March, 17th!

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Bedouin Ascent

3LP | 2024 | EU | Original (Lapsus Perennial Series)

36,99 €*

2LP | 2017 | US | Original (Dark Entries)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Science, Art And Ritual' is a story of 'process'. Growing up in Harrow (a then quiet suburb of London) in the 70's and 80's from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80's dub via David Rodigan's Roots Rockers shows was the first prominent influence he received, and with punk roots --and his burgeoning record collection-- became exposed to the breathless post punk experimentation that followed in the early 80's sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent's house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby's Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers --punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane. At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, Tr-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we'd now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn't yet plugged into the global conversation. At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, Tr-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we'd now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn't yet plugged into the global conversation. 'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before --'sar' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too. Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean Iii", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80's soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70's MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines --tr-808, Tr-707 and R-8-- is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul. Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" --regularly performed live at that time and produced in the same period as the album sessions in 1993. 'Science, Art And Ritual' may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

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Patrick Cowley

Afternooners

Ash Ra Tempel Transparent vinyl Edition

Release: 2017 / US – Original

Genre: Electronic & Dance

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Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, “The San Francisco Sound.” Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70’s, Patrick’s synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance Disco Heat” and “Stars.” This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer’s “I Feel Love” and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12″ singles, like “Menergy” and “Megatron Man”. He also had founded Megatone Records, the label upon which he released his debut album, “Menergy”. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album “Mind Warp”. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scenes. The result was the VHS collections “Muscle Up” and “School Daze” released in 1979 and 1980. “Afternooners” is the third collection of Cowley’s instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we’ve used the titles from Fox Studio’s 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick’s time spent in the bathhouses of San Francisco. The songs on “Afternooners” reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

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Ash Ra Tempel

LP | 2023 | Original (MG.Art)

39,99 €*

LP | 2022 | UK | Original (Jazz & Milk)

Release: 2023 / Original

Genre: Electronic & Dance

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Transparent Vinyl, Sticker, 50th Anniversary RE-Edition, first-ever official reissue on vinyl since 1975,
Re-Cut carefully overseen by Manuel Göttsching.

TRACKLIST:

A. "Amboss" 19:40
B. "Traummaschine" 25:24

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel.
It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.
This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label.
It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many,
became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)

Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

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Ifsonever

18,99 €*

Rone With Orchestre National De Lyon

Release: 2022 / UK – Original

Genre: Electronic & Dance

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If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of "ifsonever". This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in "one takes". A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences.
Trying to appreciate the recent times of silence and deceleration, Daniel Helmer aka ifsonever has quickly developed a tonal language as a solo artist. With a non-compromising approach he would visit his studio, a cozy garden shed, to record one new track a day in strictly analog fashion as "one takes". His aim for this project was to capture the innocence and instinctive creative energy of the present moment. These 9 timeless pieces invite the listener to explore hypnotic and meditative atmospheres such as on the opener "transpose" or on "jonesy dreams of birds", as well as gloomy and almost mystical sounding tracks such as "total global" or "an unexpected error has occurred". ifsonever is a wonderful amalgamation of organic, laid-back sounds and electronic, club oriented elements.
Recorded at a time when social contact was forbidden and culture was at a standstill, many professional musicians felt challenged not to feel useless when performances and sessions in public were cancelled, while the need for expression, participation and communication persisted. What happens when you've read all your books, when you're tired of looking at screens, and when you're digitally saturated? Then the unbearable lightness of being will begin. Daniel Helmer decided to let his creativity flow into a picture depicting that moment in time. He gave himself the opportunity to reflect this period through the creation of music. Not always an easy thing to do when the only social interactions would be cats passing by or the sound of children playing nearby. However that can be exactly the perfect tranquil surrounding to ground oneself in the here and now and draw inspiration from the inside. This self titled album reflects a peaceful journey from start to finish.

Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie "Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for "jonesy dreams of birds"' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise.
Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote "an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club "Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe.
Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band "Gudrun von Laxenburg" with album releases on the legendary Skint label, collaborated with Sam Irl on "International Major Label" as the production duo "Mantra Mantra" and released an album as "Yogtze" on Gerd Janson's imprint "Running Back Incantations", together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria.
"ifsonever" offers a timeless ambience to help you slow down, reflect and enjoy the beauty of nothingness. It might help us to learn and accept a state of being unutilized without feeling futile and benefit from this rare silence.
The cover artwork is a collaboration between Jazz & Milk graphic designer Tim Schmitt and photographer Frank Hulsbömer. A scan of the artist's head, hand and foot was 3D printed, photographed and transformed into an otherworldly scenery that visualizes the musical atmosphere.

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L(Oo)Ping

LP | 2023 | Original (Infine)

Release: 2023 / Original

Genre: Electronic & Dance

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Victor De Roo - Azertyklavierwerke - Alex Deforce

Les Editions Deforce Combipack

2x7" | 2024 | EU | Original (Les Éditions Deforce)

Quantum Collapse (Eduardo De La Calle)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-01

Led004 = Led001+led003, mathematically and poetically it made sense to make a glow-in-the-dark boxset with these two contemporary belpop EP’s. 001 with Victor De Roo and 003 with Azertyklavierwerke

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Orthogonal Eigenstates

2x12" | 2022 | EU | Original (Apnea)

Marsicoditrapani (Maurizio Marsico & Stefano Di Trapani)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Orthogonal Eigenstates is the title of the new full-length album by Quantum Collapse aka Eduardo de La Calle where the author definitively moves away from dance music and starts a new period of exploration strongly influenced by the English Glicht IDM trends from early 90's and styles that goes from Soundtrack to Experimental Jazz ,Cinematic Electronica or Abstract Hiphop

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Greatest Nots

LP | 2020 | EU | Original (Plastica Marella)

Die Angel (Ilpo of Pan Sonic)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Sooner or later it was bound to happen. They are those unforeseen occurrences that suddenly and unexpectedly appear inside your auricle that make the history of Italian music. “History” with an incorruptibly lowercase “h”; because it’s the fact that it’s lowercase that changes our cultural existence. That unanticipated oversight that comes bursting through, that unwanted error that rises up with absolute certainty. The minimum common divisor that becomes huge in the mainstream imagination. Inside or outside. With or without. It is or it isn’t. The philosophical garbage heap for the underclass perpetually suffering from symptoms of withdrawal from everywhere and anyway.
Maurizio Marsico, the magnificent mistake of Italian music. An absolute master at running decades of contemporary music through the spin cycle in the pressure cooker of post-modern madness. Inadvertently. Since the end of the seventies, he has been silently leading the way for Italian cultural processes, giddily masturbating them and tossing them to people who are hungry but have no digestive apparatus, aimlessly displaced in the outskirts of nothingness. From Milan to New York. Almost always with no return.
Then there’s Stefano Di Trapani, the absolute presence of the “other cultures” that have traversed the first twenty years of the 2000s. Without Di Trapani (often masquerading under the pseudonym “Demented Burrocacao”), Rome would have failed to dictate forms and methods within the architecture of international sound. He is an absolute manipulator of compliant thought and a declared destroyer of the planetary rules of sound. He is also a member of the cultural underclass in the wretched realm of absolute certainties. Together they created The Greatest Nots, an encyclopaedic crib sheet of what was, is and will be missing from Italian music. A Hahnemann-esque project where forty years of splinters of Italian music have been diluted and dynamised. A homeopathic process carried out by two alchemists who are totally unaware of the processes that led to the creation of the homunculus, settling for just his hearing apparatus and his hypothalamus. Like modern butchers, they offer us the rotten meat of Italian music, blood and fat to feed the proletariat crushed by contemporary simultaneity. Everything is so that everything returns, in distorted yet fascinating and obsessive forms. Things that make the “newness” we’re drowning in look like the sludge extracted from the sewers of a modern psychiatric facility. Nothing will be as it was before because what there was before never existed.
All this is contained within an eye-catching extendable cover illustrated by Enrico Infidel D’Elia and Simone Tso. Inside you can find a record telling you about everything you’ve missed over these years of pointless sound existence. Amen.

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Entropien I

LP | 2017 | EU | Original (Cosmo Rhythmatic)

La Chatte Rouge / Etienne De Crécy

Release: 2017 / EU – Original

Genre: Electronic & Dance

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Ilpo Väisänen (Pan Sonic) and Dirk Dresselhaus (Schneider TM) retitle themselves die Angel for Entropien 1; their eighth LP of electro-acoustic music together, and the duo’s debut for Shapednoise’s Cosmo Rhythmic label. Accompanied by skilled improvisor Oren Ambarchi on two tracks, die Angel model a complex physicality through raw, elemental inputs, exploring a flux of reactive feedback processes and mutating, unstructured sonic states generated from crackling fusions of electronics, drums, electric guitar and field recordings warped and riddled with FX. Taking its title from both the Finnish word and German plural for entropy - in physics, the measure of thermodynamic disorder within a system - Entropien 1 renders seven examples of their kinetic systems in elusive action, keening from arrhythmic mulch to sloshing brownian motions and a brilliantly towering 15 minute exploration that tips into billowing, white hot feedback with scintillating effect. The amorphous results document and describe a freeness of energy travelling from body to machine and diffused across alternating acoustic environments. Each player works as controlled, external variables which act upon and interact with the different acoustic conditions to tempestuous impact, convulsing between squashed, recursive diffractions in Roha, to the sublimated roil of jazz drums and electric guitar wail in Terminen Kevät, before harnessing sloshing feedback chaos in the combustible, diaphanous two parts of Entropia - both North and South - which bring the LP to its logical, compelling conclusion.With the addition of Wold or KTL-like metal emulsification and lacquer-bubbling grain in Kitka, and Ambarchi’s plasmic overdubbing in the burning plasmic plong of Silvaticum, the overall impression is like auditive DMT, dissolving the senses and the ego - simultaneously theirs and the listeners - to better snag us in the music’s metastable potential and aid our unanchored exploration in those dimensions. Entropien 1 is dedicated to Mika Vainio.

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Affaires A Faire / Prix Choc

10" | 1997 | FR | Original (Disques Solid)

Release: 1997 / FR – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

Monika Werkstatt, Mania D., Malaria!, Matador

M_Sessions

2LP | 2021 | DE | Original (Monika Enterprise)

44,99 €*

2LP | 2024 | UK | Original (Spare Thought)

Release: 2021 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Mint, Cover: Near Mint

Sealed copy. Cover with very light wear.

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Adult Jazz

So Sorry, So Slow

30,39 €* 31,99 € -5%

Seastones: Set 4 And Set 5 Blue Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.

Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.

“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”

Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.

“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”

“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”

“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”

So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.

Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.

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Ned Lagin

LP | 2020 | US | Original (Important)

Lifted (Max D, Beatrice Dillon, Co La ++)

Release: 2020 / US – Original

Genre: Electronic & Dance

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Ned Lagin's Seastones is a pioneering electronic composition interweaving metaphors from nature, science, art and music and the origins of music. Reflecting the technology, science, modern art, new ecological awareness and optimism of the times and culture, Seastones embodies the history of electronic music by taking full advantage of tape music, analog synthesizers, and computer technology to create pieces that are dynamic, rich, and deep.

Originally released by the Grateful Dead's Round Records in 1975, Seastones' reputation as a gem of electronic music was further enhanced by the celebrity of the musicians who contributed to the source material. Seastones musicians include Ned Lagin (processed piano, clavichord, organ, prepared piano, electric piano, synthesizers), Jerry Garcia (processed electric guitar, pedal steel guitar, voice), Phil Lesh (processed electric bass), David Crosby (processed electric guitar and vocals), Grace Slick and David Freiberg (processed vocals), and Mickey Hart and Spencer Dryden (percussion).

This new LP presents two crafted Seastones sets (Sets 4 and 5, 18 tracks) drawn from the entire Seastones composition and contains gorgeous extended processed vocals by Garcia, Crosby, Slick, and Freiberg, and beautiful abstract instrumental passages by Lagin and all.

Lagin is considered a pioneer in the development and use of minicomputers and personal computers in real-time stage and studio music composition and performance. He had classical music training in piano, counterpoint, harmony, orchestration, composition, and the history of music. Growing up in 1960s New York he was deeply influenced by modal and free jazz, and by modern art. Lagin studied jazz improvisation, arrangement, and piano and played in small jazz groups and a big band. Seastones was influenced not only by modern jazz and forms for improvisation, but also by Lagin's studies of early, Renaissance, and 20th century music. He was a touring, studio, and guest keyboard player with the Grateful Dead from 1970 to 1976.

Seastones composition began in 1970, while Lagin was attending the Massachusetts Institute of Technology (mit). In 1974, with a minicomputer and an E-mu modular analog synthesizer, Lagin was able to play a polyphonic keyboard and hybrid computer-controlled instrument, as well as create simple generative musical processes. The normal controls found on the analog synthesizer were customized to accept computer control and the system was large enough to input audio and control voltages from the other musicians' instruments. This means that the synthesizer controls which were processing the incoming audio from the musicians could be controlled by what the artists were playing. These control voltages and timing signals derived from the amplitude envelope shapes of what the musicians played, as Lagin puts it:

"... became the sources of modulation that are the imprints, the musical touch and articulation, personality and presence of each musician. Interweaving multiple musical identities within an interconnected group. Ensemble interaction and improvisation through instrument and compositional interconnection."

Each track on Seastones is what Lagin refers to as a "moment form". Each track is self-contained, like a sea stone on the beach, a moment in time full of feelings and meaning, an entire world unto itself. Again, Lagin:

"Each stone on a fragment from another place and time. Some are just one mineral, some made of many; some are crystalline; some magnetic; some meteorites from the birth of this solar system or the universe; some contain fossils of ancient lives and little life form's, their stories are imprinted. Ephemeral existence."

"Like real sea stones, the Seastones moment forms are each a placetime, a time island, a droplet of time. They are composed and synthesized and skeletal improvisational forms. Some moment forms are ideogrammatic; the communicate their own self-contained structure, each a sensuous object in and of itself. Some of the moment form compositions are individual, some are related."

"Some are metaphoric abstracted forms derived from geology, and natural history and paleontology, electronics and electricity, organic and biochemical synthesis, physical processes, mathematics, physics and quantum mechanics, language and linguistic structure, and different forms and perspectives from pictorial (and abstract) visual art (paintings - cubism, pointillism, impressionism, expressionism and color field). And some from the sea with tonalities that are complex ocean surface and deep wave forms and currents, with the superposition of many waveforms from many sources. Some moment forms are just one waveform cycle."

Seastones: Sets 4 and 5 is available in this audiophile edition of 2000 copies. This audiophile quality LP was cut by Golden Mastering and pressed at RTI to insure excellence in reproducing Seastone's rich analog sound.

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LP | 2015 | UK | Original (Pan)

Two Form A Click Vs Horacio Pollard

Release: 2015 / UK – Original

Genre: Electronic & Dance

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PAN is pleased to announce the debut release from Lifted, an ongoing collaborative project initiated by Matt Papich (AKA Co La) and Beautiful Swimmers' Max D.

Drawing on studio sessions recorded in their respective hometowns of Baltimore and Washington DC, the album sees the pair break free from the constrictions of the grid and exercise their versatility through improvised fusion. Working outside the framework that underlies their solo output, the eight tracks on offer showcase experiments in freeform techno, hyaline electronics, and ambient, with the duo reaching out to Motion Graphics, 1432 R co-founder Dawit Eklund, and Jeremy Hyman for additional synthesis, drumset and percussion.

The album also exhibits solo performances from Gigi Masin and Jordan GCZ (Juju & Jordash), who submitted overdubs from their bases in Venice and Amsterdam.Lifted are Max D, Co La, Gigi Masin, Jordan GCZ and friends.

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Backpfeifenphaseshift

Tape | 2023 | EU | Original (Futura Resistenza)

15,99 €*

Release Spirit Pink Vinyl Edition

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Two Form a Click (DJ Snaffy, Wretchen Redspiders) collide with Horatio Pollard to deliver two sides of beautifully coalesced psychedelic synthesis, heavy with dub's production values and freed from the grid of analog electronics.

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Khotin

LP | 2023 | US | Original (Ghostly International)

Release Spirit Black Vinyl Edition

Release: 2023 / US – Original

Genre: Electronic & Dance

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Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio Sk-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

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Khotin

LP | 2023 | US | Original (Ghostly International)

Computer Imagina Blue Vinyl Edition

Release: 2023 / US – Original

Genre: Electronic & Dance

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B O D Y L I N E

LP | 2013 | CA | Reissue (Tiger Blood)

39,99 €*

Release: 2013 / CA – Reissue

Genre: Electronic & Dance

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LP | 2015 | EU | Reissue (Cityman Productions)

B O D Y L I N E

Instant Images

Tape | 2020 | CA | Original (Tiger Blood Tapes)

Release: 2015 / EU – Reissue

Genre: Electronic & Dance

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➤ Limited to 300 copies ➤ Light blue vinyl ➤ Full-color inner sleeve ➤ Professionally mastered for vinyl ➤ 2nd press

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B O D Y L I N E

Freshroom '89

18,99 €*

Release: 2020 / CA – Original

Genre: Electronic & Dance

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Mark De Clive-Lowe / Andrea Lombardini / Tommaso Cappellato

Dreamweavers

LP | 2020 | EU | Original (Mother Tounge)

20,99 €*

Alliyah Enyo X Angel R (Florian T M Zeisig)

Release: 2020 / EU – Original

Genre: Hip Hop, Organic Grooves, Electronic & Dance

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Musical maverick Mark de Clive-Lowe returns to his roots with a new electro-acoustic record ‘Dreamweavers’, displaying his talent as a pianist and composer in partnership with creative collaborators bass player Andrea Lombardini and drummer Tommaso Cappellato. The two Italians have been a consistent presence on Mark de Clive-Lowe’s European tours for several years now, and it was during a road trip from Italy to Switzerland that Lombardini and Cappellato envisioned producing an MdCL album themselves. ‘Dreamweavers’ reflects on and celebrates the sounds that de Clive-Lowe grew up loving and finding inspiration in – from Sakamoto’s meditative melancholy and Ahmad Jamal’s soulful playfulness, to the rhythms of broken beat, boom bap and global rhythms. With the Italian rhythm section in empathetic support from start to finish both in their playing and producing, de Clive-Lowe embraces new found freedoms on ‘Dreamweavers’.

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Selkie Reflections

LP | 2024 | UK | Original (Somewhere Press)

Alexei Borisov / Sergey Kasich / Giovanni De / Donà / Gianluca Ghini

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Alliyah Enyo’s genius 2022 ‘Echo's Disintegration’ album infused William Basinski's "Disintegration Loops" with choral smoke, and she now returns with an even more immersive followup alongside ambient enigma and Kelela producer Florian T M Zeisig, making heady and translucent loop-finding vocal soundscapes tipped if you’re into Grouper, Cucina Povera, Seefeel, Julianna Barwick, or Selected Ambient Works II’s frozen dream-weaving.

In 2022, Enyo worked with the Edinburgh Sculpture Workshop on an epic two-hour composition made from tape loops inspired by selkies, mythical creatures in Celtic folklore. Contemplating memory, grief and time itself, Enyo devised a "sonorous myth" installation and performance that drowned her voice in the deep sea, using echo to help parallel the communication of humpback whales. It was powerful enough for her to net the award for Sonic Arts at the Scottish Awards for New Music last year, and it's this material that she revisits here, entering into a dialog with Berlin-based producer Florian T M Zeisig, here adopting a new avatar - Angel R.

On the A-side, Enyo distills two hours of the original composition into 11 haunted fragments that ooze in and out of each other like a dream. Reworked at Glasgow's Green Door studio, she sculpts her voice into weightless Radigue-style incantations, leaning into the tape loops' corroded inconsistencies. Enyo's voice becomes the selkie's song: wordless echoes that sound as if they're being dragged slowly towards the sea bed. There are remnants of folk forms in there; we hear traces of church music and Celtic ballads - but she obscures her influences with dubbed reverb, distortion and repetition. Phrases disappear and re-appear, time becomes a loop, best absorbed in a single sitting to properly perceive its graceful, sinking bliss. By the end of the side, Enyo’s vocals are completely waterlogged, dimmed against Robin Guthrie-like shimmers, all brassy, blurred incantations emanating from the depths of a floatation tank.

Florian T M Zeisig responds on the B-side with three flooded, longer-form pieces that will appeal to anyone who devoured his album of corroded Enya loops a couple of years ago. Enyo's voice is now reduced to a whisper, blistered and gauzy expressions that float over dense pads on 'Untitled I' before getting lost in the weeds completely on the muggy 'Untitled II'. On the closing 'Gates of Heaven', he sculpts Enyo's voice until it's just an illusory, hypnotic reflection, slow-fading into the aether.

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Moscou Aller-Retour

LP | 2023 | EU | Original (Koo Editions)

32,99 €*

Horros Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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An imaginary train journey between Bologna and Moscow. The original recording of the entire experimental electronic session performed at the audiovisual festival "Geometry of Now," Moscow (2017) curated by Mark Fell, reworked in Bologna (Italy) with custom analog equipment in 2022. Alexei Borisov, the Moscow underground legend who has spanned new wave, electronic noise and constructivist experimentation, measures up with artist and curator Sergey Kasich, a sound and media artist originally from Sevastopol, Crimea, founder and main curator of the Sa)) community for experimental sound artists from the post-Soviet regions (https://soundartist.ru), as well as the Sa))_gallery and Sa))_studio in Moscow. The deconstruction of that live performance is meant to underscore the evidence of the lie of the end of history and the inadequacy of theories produced by the relativist burden of postmodernity with its illusory recombinations, revivals and remixes, lead to the search for a misaligned and alt-modern subjectivity that concretely emerges from an imaginary journey into the era of the materialization of the unexpected, like the sudden concreteness of a window that no longer squeaks, but slams... The “Petroni apartment session” was recorded in Bologna, by also mixing concrete elements of environmental recording to emphasize the sudden impending immediacy of the real dimension.

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Virta

LP | 2023 | EU | Original (Svart)

28,99 €*

Giovanni Di Domenico, Pak Yan Lau, And John Also Bennett

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Horros, the third album by Finnish sonic voyagers Virta, is set to be released on Svart Records on October 6th

With Horros, Virta build on and take into new terrain the questing, jazz-tinged electroacoustic adventures of their last album, December 2016’s Hurmos, and its predecessor, their November 2012 debut Tales From Deep Waters. Still recognisable as who they were, the Virta of 2023 now delves further than ever before into their inner world to craft their most affecting, most atmospheric and most cinematic music to date.

Even so, Horros does not need to be accompanied by images – it envelops so much that signposts are unnecessary. The music itself is the guide through this sound world.

The creators of this environment are Antti Hevosmaa (electronics, flugelhorn, trumpet, vocals), Erik Fräki (electronics, drums, percussion, vocals) and Heikki Selamo (bass, electronics, guitar, lap steel, vocals). Together as Virta – which translates from Finnish as electricity, energy or stream – the trio were acclaimed as a “cornerstone of Finnish experimental music” by Finnish daily by newspaper Savon Sanomat in 2016. Horros will ensure this status becomes the case internationally. Beyond Finland, Virta already have dedicated listeners in Canada, France, Germany, Poland, the United States and the UK.

Reflecting on Horros, Antti says “We’ve always made music we want to listen to ourselves. We’ve asked what is the sound we want to listen to? We are digging deeper now, with new elements – more vocals. Lyrics too, which we haven’t done before.” Without sacrificing who they are, Virta now have a wider scope than ever.

“A key idea with Virta is to make the music you hear in your head and share it with people,” adds Heikki.

“Yes, to share what is in our heads,” agrees Erik. “But also, it becomes live music, that’s the point – to make music we share, to make connections.”

Practically, some things have changed. Erik and Heikki are supplementing their traditional instruments with more electronic gear than before. The band formed in Kuopio and had moved to capital city Helsinki. Nowadays, they are dispersed across Finland. Nonetheless, they remain creatively and spiritually united as Virta.

Coming together on Horros, Antti, Erik and Heikki have fashioned an album with a flow, which, although not explicitly stated, has a narrative drive. “It is as if you are arriving on a strange planet,” explains Erik. “It is quite solitary at first. The opening track ‘Aelita’ feels like entering some kind of unfamiliar atmosphere which you come through to see a landscape. Then, with ‘Tunneli’, exploring begins. It’s quite chaotic, you don’t know where you are. With ‘Sola’, the landscape starts to open up a little. When the album’s second side is reached, the mood is warmer, you understand where you are.” The album’s cover image portrays how the seemingly impenetrable atmosphere appears on reaching this world.

The Finnish-language lyrics and title reflect this voyage of discovery. Horros translates as hibernation – which has two meanings: Virta have reawakened, and the album’s journey is an awakening too. The opening track “Aelita” asks “Ei kai oo valoo ilman varjoo?” – “I guess there’s no light without a shadow?” The album ends with “Aamu”: “Hei aamu, Tummuu, Yön kaipuu” – “Hey morning, Getting dark, Longing for the night.” This place has become somewhere comfort can be found, where the coming of night presents no anxieties.

When they began composing what became Horros in early 2020, Virta already had the rough drafts of some of the building blocks. Elements of “Aelita” had been performed during a live performance film soundtrack project. “Toukokuu” grew from improvisations Erik and Heikki had undertaken in 2018. Virta had performed for weekly live streams in 2019, some themes from which also fed into Horros.

And although Virta did not discuss the music they were currently listening to – in the past, they would say “hey, have you heard this?” to each other – when they began recording at Erik’s summer cottage in the middle of 2020, there were some subliminal, long bedded-in touchstones: the original animé film of Ghost In The Shell and its soundtrack, seminal Finnish cross-genre outfits Nuspirit Helsinki and RinneRadio, the pioneering 3D video game Metroid Prime and the earlier role-playing video game Chrono Trigger. Mostly, the trio talked about immersion in music and sound.

Once they had assembled, they spent two weeks recording Erik’s drums and Heikki’s guitars live. All the while, Antti worked out where to play and sing. Then his contributions were recorded as Erik finished his drum tracks. What was captured was shaped and reshaped – Erik says “we all threw ideas in to help the music find its final form.”

“There were happy accidents which ended up on the album in post-production,” adds Heikki.

Antti stresses that “It’s organic, we wake music together as a band. We started making music in 2011 and we already knew each other before then – the music comes from all three of us, Virta is never the one person.”

Such empathy means that when Horros is played live, room is there for improvisation. “We may expand the sonic palette live, stretch out,” reveals Antti. “We might do some jamming to fit the ambience of the show.” The journey taken by the album is not over.

Horros is more than an album for Virta. It is also an expedition into fresh territory for Antti Hevosmaa, Erik Fräki and Heikki Selamo – creatively, musically and metaphorically. The spell it casts instantly captivates. Once this world is entered, it is not possible to depart.

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Tidal Perspectives

LP | 2024 | EU | Original (Editions Basilic)

31,99 €*

LP | 2024 | UK | Original (4Bit Productions)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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This album’s four parts are a rippling alchemy of processed Rhodes piano, sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the effortless inevitability of the oceanic tides. The album’s title track and climax, the eighteen minute »Tidal Perspectives«, drifts in with some kind of clarity, Lau’s glinting tonal waves edging in just beyond the horizon lines drawn by Di Domenico’s Rhodes and Bennett’s bass flute

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Ulrich Troyer

Transit Tribe

One Theme & Subsequent Improvisation

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-22

*** LP with CD in cardboard sleeve & 8 page CD booklet incl. liner notes by Steve Barker & DL Code ***

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album Transit Tribe can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!
Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.
So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, marimba, djembe, contra-alto clarinet, Farfisa - all bound together by organic live-drums and dub effects.
Liner notes by Steve Barker
(DJ, Radio Presenter - On the Wire, BBC 1984 – 2023, now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Mamadou Diabate: vocals (3) & talking drum (3)
Osman Murat Ertel: electric saz (6, 7) & guitar (7)
Reinhilde Gamper: zither & bass-zither (9)
Susanna Gartmayer: contra-alto clarinet (8)
Diggory Kenrick: flute (2)
Didi Kern: drums (1, 2, 5, 6, 7, 8), percussion (3, 6)
Hamidou Koita: vocals (3), djembe (3)
Lukas Lauermann: cello (1)
Martin Mallaun: zither (9)
Wolfgang Pfistermüller: trombone (1)
Flip Philipp: c-marimba (1, 9), percussion (6)
Roger Robinson: vocals (4)
Ulrich Troyer: analog synthesizers (1-9), analog drum-machines (1-9), e-bass (1, 5, 7), sampler (1-9), prepared zither (1), field recordings (3, 6, 8), dub effects (1-9)
Kwame Yeboah: rhodes (5), vox (5), farfisa (5)

Written & arranged by Ulrich Troyer except 2 written by Diggory Kenrick & Ulrich Troyer / 3 written by Mamadou Diabate, Hamidou Koita & Ulrich Troyer / 4 written by Roger Robinson & Ulrich Troyer / 5 written by Kwame Yeboah & Ulrich Troyer / 6 & 7 written by Osman Murat Ertel & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except: electro saz on track 6, 7 & guitar on track 7 recorded by Osman Murat Ertel at Saniki Studio, Istanbul / flute on track 2 recorded by Diggory Kenrick at Holloway Studio, London / vocals on track 4 recorded by Roger Robinson at Dog Heart City Studios / c-marimba recorded by Ulrich Troyer at Konzerthaus, Vienna / rhodes, vox & farfisa on track 5 recorded by Kwame Yeboah at Kwashibu Music Studio, Accra

Mixed by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna
Produced by Ulrich Troyer & Osman Murat Ertel / kindly supervised by Diggory Kenrick
Cover Artwork: Ink drawings & design by Ulrich Troyer / kindly supervised by Eva Kelety
Mastering & Laquer-Cut: Kassian Troyer at Dubplates & Mastering, Berlin

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Sam Wilkes

LP | 2022 | EU | Original (Leaving)