Search "depeche mode" 668 Items

Release: 2017 / CA – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: Generic

Actor-Network Theory White Vinyl Edition

Nick Klein

LP | 2020 | EU | Original (Ideal)

18,99 €*

LP | 2023 | EU | Original (Antinote)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Following releases for L.I.E.S, Alter, Bank Records NYC, Viewlexx, Ascetic House and Unknown Precept, Nick Klein makes his debut appearance on iDEAL with a strong album of morose, self reflective productions that will strongly appeal if you’re into anything from Nate Young to Depeche Mode to Nine Inch Nails and Caustic Window. The album marks the end of an era for Klein, his last work recorded in the USA before a move to Europe, and feels like a kind of sad kiss-off to the city, delivered in five parts that drill into a signature style of sourest synths and machine rhythms that revel in the thrill of grinding dissociation, seething with a seat-edge tension with jolts of rawest electronic expression. The thrumming velocity that took Klein up to 2018 feels tempered and chiselled into some of his most unyielding work, offering palpably pensive nerviness to his typically bullish styles in a way that has begun to bleed into his most recent releases on Psychic Liberation and Viewlexx. ‘Tail Eating’ and the fierce traction of ‘Every Move Move For The Monitor’ are countered with keening choral voices and serotonin-depleted strings of opener ‘Choking On Ice’, while the sparing strokes of ‘Pear Brandy’ casts a long shadow of midnight blooz guitar, and bony flutes creep over the stygian flow of ’Spider In Brown Powder’ in a salty balance of his patented, dissociative dryness with more esoteric, emotive urges. It feels like an album tailor made for this moment, full of uncertainty, sadness, staring into the bleak unknown.

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Nico Motte

The Missing Person LP

22,99 €*

LP | 2024 | UK | Original (V I S)

Release: 2023 / EU – Original

Genre: Electronic & Dance, Reggae & Dancehall

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Nico Motte returns to Antinote with his second album ‘The Missing Person’ after his 2015 introductory EP ‘Rheologia’, 2016’s ‘Life Goes On If You Are Lucky’ LP, and 2017’s ‘18 Rays’ EP collaboration with Zaltan and Raphaël Top-Secret. Truly though, Motte never really left, having been the aesthetic eye for each Antinote artwork since day dot. His visual style would prove pivotal to the labels decade long success in the leftfield music underground. But here Motte shows us once again that his skills don’t solely lie in graphic art.

A bandcamp review of Motte’s first LP reads ‘French late seventies synth-laden electronics of avant garde film soundtracks with a touch of early house, minimalism and Balearic…’ ‘The Missing Person’ holds true to that balearic core while adding flavours of lollipop dub, sugary synth and Martin Denny-esque Exotica. Synth-Pop from a tropical island. Perhaps The Missing Person here is the album’s protagonist themself, having sailed away from the trivialities of urban life to lay on a white sand beach somewhere warm, drinking fresh coconut water and not giving a shit. A laissez-faire attitude.

Underneath the cool sonic facade of ‘The Missing Person’ Motte effortlessly meanders through pastel sounds drawn from an extensive collection of vintage synthesisers, drum machines and effects units at Synth City. The result: a smooth textured continuous listen of an ear off to somewhere far… island life perhaps? perhaps urban life in need of reprieve.

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Nika Son

Aslope

Late Night Tales Black Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Nika Son stitches together spoken word, concrète and extracts from various installations into a hazed ode to the nocturnal world on this highly intoxicating new album, landing somewhere between the surrealist sound poetry of Nozomu Matsumoto, Arthur Lipsett’s abstracted film works and Michèle Bokanowski’s acclaimed scores for her husband Patrick.

Constructed out of the kind ephemeral building blocks conjured in liminal space, Nika Son (Golden Pudel Club, Entr'acte) collages moonlit organ vamps, stifled voices and disembodied, robotic poems on this deliriously slippery album. Heaving from smeary abstraction to penetrable drama, featherlight rhythms are cut short by uncanny voices: "stop, turning, a page," like some rogue navigation assistant, slicing into ticking clocks and xerox noise.

Like listening to a film without access to its visuals, all the foley sounds remain (windscreen wipers, trains passing, conversations) but we're left puzzling over what any of it means. The only context provided is from Son herself, who says that although the album doesn't have a consistent theme, each piece is inspired by the night's capability to shift our perception and memory. It comes off like a crepuscular sketchbook of ideas and themes that coalesce into an opaque sonic landscape.

It's music that defies simple categorisation; Son doesn't tie herself to any identifiable mode of expression, and there are no knowing nods to early electronic innovators either. Rather, she follow her own nose, drawing us into an elusive personal space. On 'It's just a cucumber', environmental recordings are edited just enough to enhance the illusion, before voices curl and decompress into rousing bass womps and unmetered rhythms prickle around punkish shouts. The use of voice is omnipresent throughout, even when not there, they appear on the periphery: on 'La nuit tombe', they're muffled behind echoing footsteps and creepy synth wails, on 'Gelbes Feld', incomprehensible chatter envelopes cricket chirps and b-movie arpeggios.

Many artists have tried to map out the dreamworld using sound, but Nika Son takes us to a place that genuinely feels in-between worlds, capturing those moments before vivid memories slip away from the mind's eye forever.

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Nils Frahm

2LP | 2015 | UK | Original (Late Night Tales)

Suicide Commando Purple Vinyl Edition

Release: 2015 / UK – Original

Genre: Electronic & Dance

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A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It’s not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted.

Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's ‘Mango Drive’ adding to the haunting hypnosis, while choral interruptions aid Miles Davis’ ‘Générique’ on its journey towards the light. Meanwhile, on Boards Of Canada’s ‘In A Beautiful Place Out In The Country’, the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor.

Eddy Arnold’s ‘You’re The Only Star’, a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers’ ‘Honey Bunch’, that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

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No More

7" | 1981 | EU | Reissue (El Caballo Semental)

LP | 2022 | UK | Original (-ous)

Release: 1981 / EU – Reissue

Genre: Electronic & Dance

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The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO More releases their second ever single „Suicide Commando“ and their world changes forever. Well, not only their world – THE world. What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrained in the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right. Now the year is 2021. Four decades have passed and NO More's „Suicide Commando“ is back once again - well... the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format. Remastered and re-released with the original tracklisting and paying homage to the original artwork „Suicide Commando“ will be available in 7“ format for the first time since 1981. And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental which also released NO More's „123456789 *baze.djunkiii & Herr Brandt Dream A NuDream Remix“ as a limited to 200 copies one-sided, colored whitelabel 7“ edition in 2019. Initial pressing will be limited to 400 copies.

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Noémi Büchi

Matter

19,99 €*

LP | 2021 | UK | Original (Mute)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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"Music gives us the illusion that time is not time, but space. It is then that the music transforms from process to object, which I find a very interesting thought; a materialisation of the sound process. Sound is matter." - Noémi Büchi
Noémi Büchi's debut album 'Matter' captures the tension between growth and decay, consonance and dissonance, mirroring Büchi's own catharsis through music. Her most personal material to date, 'Matter' is an opus of refined, sculpted beauty, one that aims to blur the distinction between ephemerality and physicality. Inspired by late romantic classical music and early 20th century contemporary music, 'Matter' is driven by the compositional methodologies of Igor Stravinsky, Alexander Skrjabin, Gustav Mahler and György Ligeti to modern sound forms, adapting and expanding upon their ideas in an awe-inspiring exploration of cutting-edge potency and tactility.
Büchi structures the electronic works that constitute 'Matter' in movements, stratifying myriad instrumental parts like the constituent sections of an orchestra. During her work on the album, Büchi engaged in extensive research, obsessively studying specific chords and progressions, and searching for transcendent intonations with resonant properties; complexions of sound with the ability to connect with the listener's body. Transforming our inner worlds into zones of suspension and levitation, Büchi exposes the listener to intoxicating slipstreams of sound. Prominent voices ascend, tectonic disturbances threaten the foundations, perception and sensation becomes subject to elemental countercurrents and inversions. 'Matter' illustrates the fraught pursuit of momentary equilibrium, and makes the fragility of euphoria tangible.
Composer & sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by delicate electronic-orchestral forms and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Büchi has appeared on the Light of Other Days and Visible Dinner labels, and is now an affiliate of -ous, releasing 'Hyle' her debut EP on the label in spring 2022. As well as her solo output, Noémi Büchi is currently working with Feldermelder on their collaborative project Musique Infinie. Their debut album will also be released via -ous in the near future.

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Non

Blast Of Silence

31,99 €*

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Rythmetic: The Compositions of Norman McLaren

Norman McLaren

LP | 2024 | US | Original (We Are Busy Bodies)

Tape | 2023 | UK | Original (Possible Motive)

Release: 2024 / US – Original

Genre: Electronic & Dance

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Pioneering Scottish-Canadian animator Norman McLaren (1914-1987) - creator of seminal short films Dots, Neighbours, Synchromy and many more - is remembered in first ever release of soundtrack works, self-composed from the 1940’s to 1970’s and forecasting the following half-century of electronic music.

Norman McLaren was once described by composer, music theorist, and mathematician Milton Babbitt as “the first electronic musician.” In addition to his pioneering work in animation, the electronic soundtracks McLaren created for his own films employ astonishing foresight and a characteristically precise methodology. They also crystallise boundless creativity, wit and whimsy, and illuminative brilliance into a unique insight to his remarkable mind, with or without visual accompaniment.

Rythmetic: The Compositions of Norman McLaren marks the first time his soundtracks have been released on record, carefully curated from his most important film works, hours of archival tapes, and multiple versions of the same key compositions. It represents an essential overview of McLaren as a composer, in neat dovetail with McLaren the filmmaker. Both are crucial figures in the respective developments of their fields, opening doors to a future that might not have existed without McLaren.

As an animator, McLaren was renowned for utilising or inventing techniques at their very vanguard and shaping to his needs the rudimentary technology of the era. Many of these techniques and technological adaptations, developed at the National Film Board of Canada over the 1940’s and 50’s, would eventually become adopted into standard practice for animation. He also blazed new trails for soundtrack composition: having heard the glue of spliced film reel produce sound as it passed through his equipment, he began meticulously applying his own cuts and notches to the tape and measuring the frequency values of the tones these striations would emit. Over years of refinement, he created a series of cards to correspond to eight octaves of musical notes, frequency by frequency, and to recruit these cards to compose his soundtracks. It was a way to maintain total creative control and freedom over his own work - every single frame would be processed “the McLaren way”.

“He could have used a synthesiser,” writes long-term assistant, friend, and filmmaker of McLaren documentaries Don McWilliams, also at the National Film Board, “but he had his own method and he stuck with it.” John Cage was an ardent fan, inviting McLaren to his infamous downtown NYC socials and once even writing to McLaren to beg a recommendation for his recruitment at the National Film Board.

Unsurprisingly, McLaren was musically capable and aware throughout his career. He was an inquisitive listener, often drawn to rhythmic expression found outside western music, and he collected records for both reference and enjoyment. West African and Chinese music were particular pleasures, as well as the gypsy jigs that in his youth had informed his own practice as a violin player.

The opening piece to this compilation, “Now Is The Time”, is crafted from trilling, birdsong arpeggiations of dulcet high frequency tones that chatter and warble in scattered dialogue. Accompanying the clouds, multiple suns, and dancing figures of the film, the soundtrack is alive with joy and wonderment. Next, “Rythmetic”, soundtracking McLaren’s famed numeric sequence visualisation, pitters and patters with the types of glitching rhythms so coveted by contemporary electronic music almost a century later. Even from these first pieces alone, it is readily apparent that McLaren could not have achieved the effect he desired with scored instrumentation. The “McLaren way”, so crucial to his process, is as much foundational to his soundtracks as it is to the films themselves.

Despite his acclaim and recognition within the world of film and animation - he won an Oscar, a Palme d’Or, is a favourite of George Lucas’, and is recorded in UNESCO’s cultural heritage archives (none of which interested him) - Norman McLaren is not a Walt Disney, Tex Avery, Chuck Jones, or an Ub Iwerks. His work is unflinchingly outré. Seeking out experimental, innovative, and unconventional modes of storytelling, his creative expression went even deeper than pioneering methodology and a prolific output, becoming part of the man himself as his working hours in the studio became longer and longer as his career blossomed. Even his straightest films are decidedly odd at their core, revealing not only a playful and joyously childlike sense of humour, but also the perpetual pursuit of perfection that fuelled his filmmaking throughout his life.

A gay man, McLaren also resisted the normative social structures of the day in his personal life, acutely aware of the legal implications of his relationship with lifelong partner and fellow NFB director Guy Glover. He also remains revered as the most generous and trusting of teachers, bringing under his wing young or inexperienced filmmakers in whom he saw passion and promise. His second protegee George Dunning, who went on to produce Yellow Submarine for the Beatles, had only recently graduated when McLaren brought him to work in the NFB studios.

Towards the end of McLaren’s career, McWilliams asked him how he perceived his own legacy; how Norman McLaren would be remembered in a hundred years’ time. “A filmmaker who made some interesting films,” was his reply. Modest, funny, wise, and yet knowingly sly. An answer most McLaren.

William Norman McLaren was born 11th April 1914 in Stirling, Scotland. He died January 27th 1987 in Hudson, Canada.

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Nothing But Heart

Languor

12,59 €* 13,99 € -10%

7" | 2024 | UK | Original (Possible Motive)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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The luxurious threads of your recent tailored finds are a conspicuous reminder of the sins you can't outrun. Paradise, an elusive escape from the mundane bourgeois existence you yearned to shed, remains an elusive mirage.

Your opulent den, a sanctuary for the modern-day clone, is a testament to the tainted wealth accumulated by a first world that thrives on the exploitation of the so-called others.

Amidst the midnight downtown haze enchanting melodies of smart phones and social media, the allure of fame and recognition hangs like a heavy cloud, casting a shadow over the once-rosy promises of success. Your most recent purchase, which you once cherished, now appear tarnished, their value distorted by harsh realities.

Languor is the captivating and exhilarating new album by Sweden based electronic music duo Nothing But Heart. Languor depicts a suspenseful and honest collection of sonic creations. For fans of Bohren & Der Club of Gore, Com Truise and William Basinski, as well as the foreshadowing visions of Kathryn Bigelow, David Lynch, and Andrei Tarkovskij.

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Nothing But Heart

Suburban Vanguard

LP | 2024 | US | Original (Recital)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Step into the shadowy realms of sound with Nothing But Heart's latest instrumental 7" vinyl single, "Suburban Vanguard." This haunting release features two tracks that echo the eerie dance between reality and the spectral echoes of a digital age.

The title track, "Suburban Vanguard," unfolds like a melancholic journey through fog-laden streets, where whispers of the past entwine with the pulse of a restless present. Its intricate layers and brooding rhythms conjure an atmosphere of introspection, inviting listeners to navigate the labyrinth of their own thoughts.

On the B-side, "Every Dream Is Shot By Daylight" plunges deeper into the human psyche, reflecting the weight of unfulfilled aspirations. This composition resonates with a haunting urgency, evoking the fleeting nature of existence and the shadows that linger just beyond perception.

Together, these tracks reveal Nothing But Heart's mastery in weaving electronic and ambient elements into a rich tapestry of sound, reminiscent of a dark, swirling mist. "Suburban Vanguard" transcends mere music; it serves as a mirror to the complexities and uncertainties of modern life.

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Nour Mobarak

Dafne Phono

2LP | 2024 | EU | Original (Nakid)

Release: 2024 / US – Original

Genre: Electronic & Dance

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Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio: Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; Joan, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and Laxart, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 Foca fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

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Nsi.

A Day Or Two

34,19 €* 37,99 € -10%

LP | 2023 | EU | Original (Because Music)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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

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

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

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

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NxxxxxS

Short Term Agreement

LP | 2022 | EU | Original (Teenage Menopause)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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The name NxxxxxS (pronounced "N-Five X-S”) sounds like it could be an equation, or a mystery. But to begin to unravel the identity of the French producer who just signed to Because Music and Mad Decent (the label founded by Diplo), you first have to look for clues on YouTube and Soundcloud, where so many underground artists have found a place to hone their craft. In the ten years preceding the release of his second album Short Term Agreement in 2023, NxxxxxS built up a solid reputation for himself in the international vaporwave, vaportrap & phonk scenes. This is no small feat considering he didn’t have any real knowledge of production or composition before deciding to take on these classic genres of “Internet music”.
The Paris native first gained exposure when he started making beats on YouTube, taking his inspiration from American rappers of the blog era - when artists, especially in hip hop, used digital technology to break away from traditional distribution models - like Mac Miller or Odd Future. Building on this initial success, NxxxxxS turned to Soundcloud, an essential platform for music enthusiasts, tastemakers or anyone on the lookout for the sounds of tomorrow.
Following in the footsteps of The Alchemist and other producers of the same ilk, NxxxxxS soon became one of the pioneers of vaporwave and vaportrap music. Featured prominently in modern productions, these styles originated on social media platforms such as Reddit or Tumbler in the 2010’s and are recognisable by their frequent use of commercial samples ranging from the 70’s to the 2000’s (taken from jingles, lounge, jazz or elevator music). Altered, chopped up and slowed down to around 60 to 70 BPM to match hip-hop standards, the music offered a critique or satire of capitalism, consumer society and any culture that grew out of it, most notably yuppies from the 80’s.
NxxxxxS put his own spin on the recipe by creating a new world filled with soaring melodies and countless references to movies and horror scenes, and eventually released his debut album Fujita Scale (a scale used to measure the damage inflicted by tornadoes) in 2014. The album reached a worldwide audience because of its composer’s story and of the secrecy around his French nationality, and even won over unexpected fanbases such as the highly closed off Chinese market. Fujita Scale landed on one of China's streaming platforms, making NxxxxxS an identifiable artist in Asia who went on to tour his album three times across the continent.

NxxxxxS kept the ball rolling, collaborating on a new series of more accessible projects, which aimed to be less niche in terms of the references or sub-genres they tapped into, so he could find a new audience. This led to his first hits, “Synthetic Corporation” - which would also become the name of his label - “Remember Last Summer” and “Formatted Excess”, as well as his most popular track to date, “Playa Shit”, with over 11M streams on Spotify. The upcoming album’s title, Short Term Agreement, is a playful reference to his unyielding desire for independence and productivity, and his eagerness to preserve the personal freedom he turned into strength.
Yet NxxxxxS is never one to refuse support, and he has now joined forces with Because Music & Mad Decent to further establish himself as a producer at the international level - alongside Diplo especially, who is a case in point - so that this understated and ever prolific artist can meet his ambitions of widening his audience and have his name known by all.
And so the tracks on Short Term Agreement serve as the foundation for NxxxxxS' new identity, featuring a rich and diverse array of sounds thanks to the numerous guests involved: London rapper Jeshi - a new British rap phenomenon also freshly signed to Because Music, French rappers 8ruki & Bitsu, Canadian Freddie Dredd and American underground talents Pollari and Baby.com. Avoiding the pitfalls of a compilation-like producer album, NxxxxxS has once again carved out his own style from the modern hip hop rule book.

In other words, NxxxxxS’ constant evolution has brought us this much closer to solving the mystery that is his name.

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Nze Nze

Adzi Akal

LP | 2020 | EU | Original (Be With)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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At the crossroads of ritual, industrial, and electronic music, there exists a niche where many experimenters are blurring the lines between genres. Among them are the three members of Nze Nze (uvb76 and Sacred Lodge). Summoning sequenced machines, digital samplers, and multi-effects, they make instrumentals collide with guttural vocals and warrior tales from Fangs mythologies (the vernacular language of Central Africa), arranging it all to create hybrid, unclassifiable, and disorienting pieces. The fundamentals of radical electronic music are there, but the production is on the level of the great free-jazz records, allowing it to claim a heritage far beyond modern-day offerings.

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Ocean Moon

Crystal Harmonics

End Is Important Clear Vinyl Edtion

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit. Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

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Odd Nosdam

7" | 2023 | UK | Original (Where To Now)

The Art Of Sleeping Alone

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Odd Nosdam really doesn’t need an introduction, unless you’ve been living under a rock for the last 20 years then undoubtedly you’ll know what’s up, and what an absolute humbling pleasure it is to now introduce Nosdam to the Where To Now? catalogue with two new cuts that flow from ethereal, meditative contemplation through to downtown abstracted machine damage..

The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.

‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST. However, this is far from a straight up ode to creeping machine funk - Nosdam’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.

“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was over in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.

After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know.

Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow-diver with a message to the world warped cruiser in all of us.” - Odd Nosdam

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Oh Baby

12" | 2019 | UK | Original (Burning Witch)

19,99 €*

LP | 2022 | EU | Original (Students Of Decay)

Release: 2019 / UK – Original

Genre: Electronic & Dance

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The Art of Sleeping Alone marks somewhat of a curveball within Burning Witches ever-growing catalogue, and fans of the label's output may wish to look away now. But they'd be wrong to, of course, because nothing is that simple. Nothing!

Oh Baby are Rick Hornby and Jen Devereux - distant cousins, apparently, who met in unexpected circumstances and began creating exquisitely crafted bitter-sweet 80s-sounding pop songs (that in a parallel dimension would be sung by Carly Rae Jepsen and be soundtracking sweaty end-of-summer evenings across the globe).

The band cite influences ranging from Grace Jones, A Certain Ratio and Kraftwerk, to John Carpenter, The Police and Fun Boy Three, but I'm going to chuck HAIM in there too for a more modern reference point to what some of this music reminds me of, certainly on the fabulous 'Part of the 80's' anyway.

A great EP and really something to fall in love with. A polyamorous sunset bathing all in orange glow.

Cut at the legendary Abbey Road. Artwork design by KidEthic.

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Olli Aarni

Koko Maailma

18,69 €* 21,99 € -15%

To Syria, With Love Remixes

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Since the late aughts, Helsinki-based multi-instrumentalist, linguist, and skateboarder Olli Aarni has released a steady stream of diverse and remarkably consistent recordings via labels such as Mappa, Longform Editions, Cotton Goods, Laaps and Superpang. “Koko maailma” constitutes a major new work in his discography, finding a fertile middle ground between what might be understood as his two primary compositional modes: organic/chaotic/aleatoric music and rule-based, longform works of minimalism. The source material for these compositions was recorded exclusively using the Serge system at EMS Stockholm, but the timbres that Aarni arrives at do not recall archetypal Serge music as most know it. Meticulous editing and processing of the material with an array of digital tools has resulted in music that preserves the erratic and cybernetic character of the Serge system but sounds totally unique unto itself. The first piece, “Ylhäällä,” has the sonic character of fireflies at dusk or ants in the dirt — mercurial, hypnotic, flittering, and scattering tones presented in the spirit of the best environmental music. “Alhaalla” functions almost like a zoomed out impression of what precedes it, with just intonation tuning applied to sine wave generators to create grid-like, harmonically rich, and surprisingly emotive drone music. Micro and macro — two pieces of music, two perspectives of a world.

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Omar Souleyman

LP | 2018 | US | Original (Mad Decent)

20,99 €*

LP | 2024 | UK | Original (Editions Gravats)

Release: 2018 / US – Original

Genre: Electronic & Dance

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Limited edition for Record Store Day 2018!

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Opera Mort

Le Présent

21,59 €* 26,99 € -20%

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Opéra Mort - collaborators of the late, great Ghédalia Tazartès in Reines D’Angleterre - float their first new suite of roving, hallucinatory electro-acoustic works in 4 years on a return to Brittany’s Editions Gravats label.

Èlg & Jo Tanz’s hard-to-classify project Opéra Mort has been in operation since early moves on Jo Tanz’s tanzprocess label paved the way for a 2010 split release with the legendary Smegma, a cult pair of Reines D’Angleterre sides with august outsider Ghédalia Tazartès, and beguiling works for Luke Younger’s Alter label. On their new album ‘Le Présent’ they typically keep everything ambiguously out-of-reach and etheric in forms comparable to experimental ambient musick, electro-acoustic minimalism, and outsider psych-folk, never fully tilting to any of them, preferring a style of shapeshifting that works beautifully well on the back of calm, shut eyelids.

Through a process of improvisation, active listening, and highly attuned intuition, Opéra Mort proceed to induce hypnotic states of mind that encourage the imagination to wander, following a labyrinthine breadcrumb trail of sonic artefacts and fine timbral detail. Their reticence to supply any explicit cues works to the benefit of suspending the listener’s disbelief, reserving the right to surprise and colour the mind with reeling tapestries of phantasmic, fathomless apparitions.

‘Le Monde’ first splashes on the senses with piquant arps and bass drones coaxed into a lush lather that’s pregnant with theatric dread, threaded with alien whispers on ‘Secrets’, and spangled with spring reverb in the eerily naif creep of ‘L’humanite entiere’. Their organic, fractally shifting collage of tape loops and synths in ‘Oeufs’ feels as though we’re combed backwards below the waves on a dreamlike shoreline, where they metamorphose into discordant, howling rave hoovers and caterwaul with ‘La nouvelle fin du mode’, and the deliquescent lounge music ooze of ‘Damien Schultz’, leaving us with no firm grasp of what the hell we’ve just been listening too, but totally enthralled nonetheless.

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CD | 2023 | EU | Original (London)

Optical Delusion

18,99 €*

Release: 2023 / EU – Original

Genre: Electronic & Dance

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“A human being experiences himself, his thoughts and feelings as something separate from the rest [of humanity] – a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison…”

You many have seen this quote attributed to Albert Einstein on social media, the archetypal Smartest Guy Ever apparently having an out-of-character religious epiphany. It certainly leapt out at Paul Hartnoll of Orbital who spotted it in Michael Pollan’s 2018 book How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression and Transcendence.

“As soon as I saw ‘optical delusion’ I thought Oh hey, that’s the album title,” says Paul. “It just seemed to say so much about how people construct their own realities, how we see patterns that aren’t there, how we see what we want to see.

“But it’s actually a misquote. He never quite said that. In the German original what he’s really saying is that human experience is as relative as physics. Wouldn’t it be good if we could accept that, and find a kind of universal theory of everything for the human race? Then you look at everything from history to art to your Twitter feed and you think yeah, that’s what we’re all trying to do all of the time…”

Hence ‘Optical Delusion’, the tenth original Orbital album and the latest in a burst of renewed post-pandemic creativity for two brothers who’ve stayed at the top of their game longer than anyone from the post-1988 Class of Acid House.

Now with ‘Optical Delusion’ the Hartnolls dig deeper into the unquiet psyche of our increasingly surreal and disordered world. Sketched out partly during lockdown but fully recorded in the uncertain After Times, the album summons up conflicting emotions and sometimes beguiling images from years when the science fiction doomsdays that the Hartnolls watched on TV as kids finally came true. There are mesmeric tracks with names like ‘The New Abnormal’ and ‘Requiem For The Pre-Apocalypse’ and ‘Day One’. But there are also straight-up bangers and ethereal cosmic dreams, abstract sound wars and deeply human songs of separation and loss.

And it all starts with a bang. Lead single ‘Dirty Rat’, an outright Fall-meets-Front-242 class rant with vocals by Sleaford Mods mob orator Jason Williamson, harks right back to the Hartnolls’ days of politicised anarcho-squatpunk. It began as a remix swap (Orbital did the Sleafords’ ‘I Don’t Rate You’) and morphed into a comic, brutal, bass-driven harangue not so much against our rulers but at the petty, mean-spirited, frightened, Mail-reading voters who put them there: the people who are “blaming everyone in hospital/blaming everyone at the bottom of the English Channel/blaming everyone who doesn’t look like a fried animal.”

Also key to the album is opening track ‘Ringa Ringa (The Old Pandemic Folk Song)’ which returns to an Orbital truism, that time always becomes a loop. This chugging, cyclical Orbital groove gives way to an unnerving past-meets-present timeslip fit for ‘Sapphire And Steel’ as goth maenads The Mediaeval Baebes materialise to sing ‘Ring O’Roses’ – the innocent nursery rhyme whose roots are in the Black Death.

“I’ve always liked folk music and mediaeval sounds,” says Paul, himself an occasional Morris dancer. “I had the basis of that track and I wanted to spin it off somehow.” Trawling his archives he stumbled on The Mediaeval Baebes’ version of ‘Ring O’Roses’ “and my hackles just went up. I was like, my God, this is the original pandemic folk song.”

?his being Orbital, there are collaborations galore on the album, the roles once played by Alison Goldfrapp, Lady Leshurr or David Gray now filled by new talents. London singer-songwriter Anna B Savage contributes a compellingly fragile, Anohni-like vocal to ‘Home’, in which nature reclaims the scorched and vacant mega-cities. ‘Day One’ is a pulsing techno track featuring the singer Dina Ipavic. Paul got in touch with her after working on a score for a sculpture show of giant robotic installations by his friend Giles Walker during the pandemic. First Paul cut up his own score and Ipavic’s vocals on the track The Crane, which appears on the deluxe version of the album. Then he thought, Why not work with her for real? The result is school of ‘Belfast’, a bassy dreamscape with vocalised clouds billowing above.

The pensive ‘Are You ?live?’ adds to the Orbital product range of existential questions (‘Are We Here?’, ‘Where Is It Going?’) in collaboration Bella Union signings Penelope Isles, AKA brother and sister act Lily and Jack Wolter. “They’re our studio mates, they work upstairs!” says Paul happily. “And they’ve both got amazing voices.”

But Orbital are Orbital and never far from the dancefloor. “Eventually the more abrasive bits came back into the fold…” ‘You Are The Frequency’, first of two tracks to feature mysterious vocalist The Little Pest, surrounds the listener with warped voices ordering you to the dancefloor (Phil: “we wanted the idea that the music is kind of absorbing you”). And the second, the sinister ‘What A Surprise’, traps you in a paranoid electronic hall of mirrors.

In another nod to Orbital’s resurgent past the cover artwork once again comes from fine art painter John Greenwood, creator of fantastical grotesques for the covers of ‘Snivilisation’, ‘In Sides’ and Orbital’s most recent album, 2018’s ‘Monsters Exist’. Orbital had just had a slick Mark Farrow cover for ‘30 Something’ – this is a return to the overripe and bulbous techno-organic constructions that somehow express Orbital’s own uncontrollably fertile sound.

There are gaps in the future that Orbital are desperate to fill too; there will be tours and festivals and rooms and fields full of people. Those long paralysed months when we had little to look forward to but a Zoom DJ set made Paul and Phil appreciate the things that make life worth living.

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Optical Delusion Black Vinyl Edition

2LP | 2023 | EU | Original (London)

35,99 €*

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Optical Delusion White Vinyl Edition

2LP | 2023 | EU | Original (London)

38,99 €*

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Orbital (The Green Album)

2CD | 1991 | Reissue (London)

20,99 €*

12" | 2024 | UK | Original (Mood Hut)

Release: 1991 / Reissue

Genre: Electronic & Dance

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Originally released on September 30, 1991, Orbital's eponymous debut album became known as "The Green Album" to distinguish it from their second album (known as "The Brown Album")
The Green Album includes the seminal 'Belfast' and a live version of 'Chime', the landmark dance track that launched their career in 1990

1. The album will be remastered and represented in multiple formats, to be released alongside the band's 'Green Album' UK tour (the band performing Green & Brown albums) starting on 24th April . They've just be announced for Coachella , as well as Miami's Ultra Festival & headline shows in New York & Chicago.
2. Last available on vinyl in 2015 - long time sold out. Back On Double Vinyl editions.
3. First repress on CD for over 20 years ! Back on Double CD - Bonus CD featuring rarities and classic remixes

BIOG / SHORT PR INFOS

Following on from the UK Top 20 success of 2022's 30 Something, and the Top 10 for 2023's Optical Delusion, London Records launch an extensive 2024 campaign for Orbital, revisiting 1991's seminal debut Orbital (aka The Green Album).

The Green Album heralded a brave new world for the UK musical landscape (DJ Mag would later decry that the album "rewrote the rule book for rave"). Brothers Paul and Phil Hartnoll eschewed formulas and clichés, choosing to explore wider textures, rhythms and stranger mind spaces within dance music. Their resulting album would enjoy both chart success and an enduring legacy, influencing and inspiring artists from Björk to Bicep, with the Hartnoll brothers going on to collaborate with artists as diverse as Madonna, Ennio Morricone, Kraftwerk, Sleaford Mods and Professor Brian Cox.

33 years since its original release the album is revisited, from black vinyl , limited colored vinyl and CD editions (long out of print), to special Record Store Day double Splatter Lp. In the digital space 'Tonight In Belfast' will be lauched on February 2nd, :a reworking of the band's seminal track 'Belfast', remixed by David Holmes and re-interpolated with new lyrics and vocal by acclaimed street poet Mike Garry.

Orbital will be supporting The Green Album with an extensive headline UK tour this April (performing both their Green and Brown albums). Ahead of that they've just been announced today for Coachella 2024, as well as Miami's Ultra Festival and headline shows in New York and Chicago.

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Oro Azul

Water Seeds

2LP+CD | 2023 | UK | Original (Sähkö)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Oro Azul‘s debut offering, ‘Water Seeds,’ takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are moss-like, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

A collaboration between Ultima Esuna and Michael Red, the music of Oro Azul took shape over the course of a year of purposeful and transformative studio sessions. This release follows the pair’s solo releases on DJ Python’s Worldwide Unlimited, Nervous Horizon, and Isla.

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Osmo Lindeman

Electronic Works

32,99 €*

LP | 2019 | EU | Original (New Info)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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This vinyl release is a 2x12-inch with printed sleeve and inner sleeves. Also there is a a CD insert of all the tracks.
Osmo Lindeman is one of the main developers of electronic music in Finland. He was active in Europe, USA and Finland from 50s to end of 70s.In the beginning Osmo Lindeman studied and worked as a modern classical composer. During the 1960s he shifted making electronic music only at his home studio. Lndeman is a Finnish hybrid of Monty Norman, Krzysztof Penderecki and Edgar Varèse There is no album of his electronic work before this.

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Ot To, Not To

It Loved To Happen

Otakar Olšaník / Jan Martiš

Release: 2019 / EU – Original

Genre: Electronic & Dance

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

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Advanced Process (Coloursound)

LP | 1986 | EU | Reissue (Be With)

Our Souls Are In The Hands Of The Translator

Release: 1986 / EU – Reissue

Genre: Electronic & Dance

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Heads have been after Otakar Olšaník and Jan Martiš's Advanced Process for a long time. That's because "coincidentally-cosmic disco" packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as "contemporary synthesizer underscores played by computers; depicting future technologies in today's process." If they'd just added "acid-drenched", they'd have been closer to nailing it.

The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener.

The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its wading through the heaviest K-Hole and is all the more thrilling for it. "Modem" is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. "Robot Masters", would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as "very-80s sounds" and digi-handclaps. The breathless "Digiheart" double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Advanced Process comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

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An Era Of Spiritual Tenebrae

LP | 2021 | EU | Original (Modern Obscure Music)

Romantiq Black Vinyl Edition

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Sun Ra's disciple and multiface artist Jamal Moss is back to Modern Obscure Musicafter his debut on the label with the “The Anticipatory Organization” under The SunGod alias back in 2018. J. Moss more known as Hieroglyphic Being is back to the Barcelona based recordlabel with a new aka, OUR Souls ARE IN THE Hands OF THE Transalor. Threeyears after “s..kr.t.z.m", released on Warpfs sublabel Arcola, the chicago electronic-wizar signs “An Era of Spiritual Tenebraeh. The new EP is composed by two 18minutes long freejazz-psycodelic improvisations. A trip to the dark holes of the spaceeternity.

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Oval

LP | 2023 | US | Original (Thrill Jockey)

31,99 €*

Romantiq Red Vinyl Edition

Release: 2023 / US – Original

Genre: Electronic & Dance

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Markus Popp is endlessly curious and his music as Oval is delightfully inventive. Since pioneering albums in the 90s systemisch and 94diskont., Oval has continually excavated new spaces in electronic music, leaving an indelible mark on the landscape. New album Romantiq finds Popp delivering his most light and delicate tones to date. Like the plucking of harp strings, Popp"s organic and playful approach to sound is warm and bright. Oval continually, confounds with his ability to conjure such lithe, evocative sonics from software. Romantiq evolved from an audio-visual collaboration with digital artist Robert Seidel for the grand opening of the German Romantic Museum, where a huge outdoor projection covered the museum building. Popp sought a more expansive definition of the romantic, conjuring flickering images that glitch, evolve and collapse in on one another - opulent neo-chamber music lit by the paradoxically heartwarming screen glow of social media flirtations. Popp crafted dozens of short vignettes that each sought to evoke a specific mood or emotion. Processed period instruments trace luxuriant spaces that shift from low-lit chambers to glistening palatial grandeur, glitching through past, present and future. Swelling atmospheres emerge like perfume, rich scents flooding the senses before evaporating on the breeze. Romantiq"s musical oxytocin is made from ancient instruments processed and edited by a modern electronic master with the utmost deftness and delicacy.

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Oval

LP | 2023 | US | Original (Thrill Jockey)

34,99 €*

12" | 2015 | DE | Original (LACKREC.)

Release: 2023 / US – Original

Genre: Electronic & Dance

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Pablo Mateo

King Mayonnaise

6,95 €*

Release: 2015 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

12" | 2016 | DE | Original (FFF)

Pablo Mateo

Second Exit

3,29 €* 5,99 € -45%

Release: 2016 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Generic

12" | 2023 | UK | Original (The Trilogy Tapes)

Palestre

Sciogli Assurdi

Palms Trax Presents…Various Artists

Release: 2023 / UK – Original

Genre: Electronic & Dance

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"Palestre is a study of higher-dimensional spaces and altered states of consciousness. It explores parallel dimensions and temporal anomalies from a perspective that blends mythology, modern physics, Adhd, transcendental music and club culture.

Sciogli Assurdi was recorded between art galleries, clubs, squats, and folkloric festivities in 2018."

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The Sound Of Love International 006

2x12" | 2023 | UK | Original (Love International X Test Pressing)

30,99 €*

LP | 2021 | UK | Original (Pan)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-08

Love International and Test Pressing commemorate yet another cracking festival with the latest instalment in their collaborative compilation series for their LIXTP label. For The Sound Of Love International #006 chosen Jay Donaldson aka Palms Trax as their selector.

The Berlin-based Brit launched his career in 2013 with releases on various labels which led to headline slots and globetrotting gigs from South America to Australia. He’s a regular at Love International, having spun at the first one in 2015, playing at Barbarella’s for an RA event.

The scope of this new record reflects the eclecticism of Donaldson’s DJ sets and his long-running ‘Cooking With Palms Trax’ NTS radio show and parties. Comprising of cuts collected on his worldwide trips, it’s a magical mind-blowing selection. Jumping between generations and genres, yet all coming together as a wonderful whole. As document it definitely demonstrates the joys of real record shops and physical digging.

The album opens with Linda Waterfall’s Clarity. A fabulous flight of late 1970s spiritual jazz-influenced folk from the late Seattle-based singer / songwriter, who released her debut on Windham Hill, and studied transcendental mediation under the Indian guru, Baba Hari Dass.

Sebastian’s Follow My Heart is a soulful soft rocker, a sax-y seduction theme. Its very European protagonist trying to entice you into a romantic liaison, and promising the time of your life.

On Did It Have To Be Me, glorious gospel choir-like backing lifts Frank E. Jeffries Jr.’s cool croon, and the spirits of anyone lucky enough to be listening.

Two tracks travel from `90s South Africa. El Pedro’s La Luna is a pumping piece of S.A. bubblegum, that’s strangely partly sung in Spanish and whose echoed snares mimic flamenco handclaps. Tropical, a little zouk-y and more mid-tempo kwaito, Novidade’s Masingita features great guitar picking and warm, welcoming group vocals.

Dieta Berliner & Jean Baptiste’s Paula & Kaspar transports us back to Berlin and forwards to 2012. A B-side secret weapon from Dieta’s short-lived Pakalolo City Records, this is a cowbell-led hypnotic head nodding chug, with a swaying sing-along melody and highlife-like licks hidden way down deep in the mix.

Culled from a cult Canadian 45 Angelo Mallia’s Hideaway is cute, catchy tumbling TR-808- driven synth-pop.

A piece of plugged-in Belgian `80s prog-rock, Zardoz’s brilliant Brasilia Drums pits its titular percussion against big cosmic synths, and segues into a new age-y journey.

Danish keyboard virtuoso Gert Thrue shows off his chops on I Play The Body Electronic. For nearly ten minutes switching between Hammond organ and Moog. Feeding everything through psychedelic phasing effects, and overdubbing some fab Fender Rhodes. A true emotional epic, the sonic auteur clearly got lost in its groove.

In Trance 95 might be one of the better known acts here, since the Athens-based duo’s work has been collected on Veronica Vasicka’s Minimal Wave, and in the 2010s they also supported Depeche Mode. Their 1991 single, Warm Nights Driving On Wet Streets, is chunky chill out room gear. Downtempo techno, with moody minor chords, that’s actually a tender love song.

Frenchman Alain Salvati is behind Flayer’s Wanna Get Back Your Love, which first appeared in 1983, oddly on an Italian 12. Rediscovered at the turn of the millennium it’s become a bona fide modern Balearic anthem.

The closing cut, Jeancky’s Variations Sur Protestation, kind of brings the album, musically, full circle. Returning to the late `70s with campfire congas, bongos, and gentle acoustic strumming. Saxophone and vibes taking it in turns to serenade the soothing mantra-like vocal.

The majority of the tracks included were self-released / privately pressed and in many cases the often mysterious artists’ only recorded outings. So, in putting this together Palms Trax has pulled a lot of talented people out of obscurity. No doubt exposing some holy grails and upsetting a few dealers, while making the dreams of folks who love good music come true. Full of excellent, eccentric finds, it’s a blissful collection that’ll fill floors and catch heads’ attention.

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Pan Daijing

Jade White Vinyl Edition

2LP | 2022 | UK | Original (Pan)

Release: 2021 / UK – Original

Genre: Electronic & Dance

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What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record "Jade", Pan Daijing composes at a different scale than that we've come to know. Since the release of her groundbreaking LP "Lack" in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice. Its nine tracks written and recorded over the last three years, "Jade" is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, "Jade" speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving. "Jade" comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing's own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. "Solitude is like an immense lake you're swimming through," says Daijing of these songs. "Sometimes you dip your head in and sometimes you lift it above. On album centerpiece "Let," she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: "I take my bath in the ocean." We are not just consuming Daijing's story; we are being invited to join her in the water. The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani Gospodinov & design by NMR.

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Pan Daijing

Tissues

LP | 2022 | UK | Original (Nashazphone)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Pan Daijing's exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-act immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing's artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing's expansive live practice. Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work_its libretto written in a mixture of old and modern Chinese_lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief. Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019 Composed, written, produced and directed by Pan Daijing. Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing, additional vocals. The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. *2xLP comes in a gatefold cover, and includes an obi strip and a booklet containing images from the performance & liner notes, as well as a postcard granting access to exclusive video documentation*

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Panstarrs

Batee2

31,99 €*

New Corroded Clear Vinyl Edtion

Release: 2022 / UK – Original

Genre: Electronic & Dance

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A solo project from Cairo underground fixture Youssef Abouzeid (aka Captain Solo and Yzeid), PanSTARRS is described as a "sensitive synthwave" project and comes across like a fluffed-up Suicide or an Arabic-language answer to Cold Cave.

Multi-instrumentalist, producer, effects pedal designer and the founder of Cairo's avant garde artspace and label Hizz, Youssef Abouzeid mutates into a new form on "Batee2", feeling his way thru a coarse set of reverb-drenched darkwave/no wave jams that nod to Suicide, Das Ding, and more modern proponents like Cold Cave and Lust For Youth. Singing in Arabic, Abouzeid avoids traditional song forms in favor of more punkish expressions, squealing forcefully over rolling analog synthesizers and blown-out drum machines.

PanSTARRS has been a prolific project for Abouzeid in Cairo, and his workshopping of these tracks has helped make the album feel completely coherent and unified. There's a distinct, hyper-saturated sound to each song that removes Abouzeid a step or so from his influences, giving him a space to work in that feels fertile and kinetic. It's a pleasure to absorb.

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Pass Lightly

LP | 2024 | UK | Original (Vast Habitat)

19,54 €* 22,99 € -15%

LP | 2022 | EU | Original (Good Morning Tapes)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Guy Brewer (shifted & Carrier) and Daniel Lea (cura Machines, Heliochrysum and L A N D) are NEW Corroded on debut collaborative LP Pass Lightly. Released via Lea’s Vast Habitat imprint, the record was composed remotely and documents an abstract, almost architectural process of sound collage that relies as much on system, balance and careful engineering as it does on chaos and chance. The result is a cohesive and detailed LP that delivers a modern take on the ideal of sound as a malleable force – of sonics as a vehicle for physicality, as much as aural pleasure. A mix of field recordings, rich melodic synth work amongst carefully articulated percussive elements and textures. Single 'Chromosphere' featured on Bbc6 Mary Anne Hobbs

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Pataphysical

Hapticality

19,54 €* 22,99 € -15%

12" | 2023 | EU | Original (Isla To Isla)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Cult ambient trio Pataphysical finally make their exceptional ‘Hapticality’ set available on vinyl with a typically handsome Good Morning Tapes edition, a follow-up of sorts to that killer/prized 12th Isle side, landing somewhere inside/around the CV & JAB x 0PN x BoC dream-interzone. ‘Hapticality’ is a gently febrile session weft from whimful sketches plotted out between 2013-2021, and like their much lauded ‘Periphera’ LP, Andrés Saenz De Sicilia, Camilo Tirado and Matt Linares hustle a dream sequence of FM synth fronds laced with field recordings and analogue textures that effortlessly wrap us up in their sound, calling to mind the post-new age ambient and jazz inflected interzones of CV & JAB as much as 0PN’s hypnagogic wooze or BoC’s pastoral vignettes.Where the moniker Pataphysical could have bogged down other operators, the trio deftly work under that mantle with a mix of sublime, world building lushness and unanticipated turns that slowly bifurcate and reweave the listener’s lines of thought into theirs. With time slipping guile they lead from the contemplative oasis of ’Sonora’ to a perfectly unanticipated arrival of a Welsh narrator on the pastoral ‘Moonlit Picnic’, with the dematerialised dub of ‘Integument’ drifting into their most immersively descriptive sound design on the album’s title cut, and Gabriel Chips’ extended reed tekkers blossoming into 4th world whorls on ‘Break Lament’ to sound something like Tara Clerkin Trio on mushies. Hard to deny that Pataphysical’s brand of sensory seduction is at its most intoxicating here, subtly quilting a more grown-up alternative to the pillowy mass of modern ambient music in a way that’s richly imaginative and satisfying, making for one of our favourite Good Morning Tapes releases of the last couple of years.

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Patricia Kokett

Psykhe

18,99 €*

LP | 2023 | Original (Squama)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Patricia Kokett follows up two critically-acclaimed esoteric techno releases on Knekelhuis (Bizarr [2020], Diabel [2018]) with a new EP – Psykhe – to be released by Isla to Isla on the 25th of april 2023 as a 12” vinyl and digital.

Psykhe sees Lithuanian musician and composer Gediminas Jakubka continuing to explore his distinct sound, but taking it in a new direction: a step away from the euphoric new age dance floor and into a significantly murkier, more precarious territory. Psykhe is meant as a sonic simulacrum of the artist's psyche during the pandemic – a quickened mind bred by a decelerated world. In that and other senses, the record is a modern take on the ‘80s/’90s Detroit ethos of dance music created for an illusory dance floor.

Incidentally (or not!), Psykhe is much more electro-based and darker – intent on delivering catharsis, but not euphoria. Das Risiko starts us off with a eurotrance-infused, punchy electro beat, housing a nostalgic melody and driven forward by a raw, ever-mutating bassline. Throughout this and other tracks on the record, we hear Kokett exploring his love for disembodied voices. On Sangre Seraph, their ghostly presence is felt strongly as they take center-stage in a sequence that feels almost Sleazy-esque. The wistful synths guide us into Love Your Ghosts – an electrific banger slathered in dreamy whalesong and a fitting companion for the just-before-dawn 4x4 vibes of Khaoss, forming the emotional peak of Psykhe. The closer, Eunuchy, epitomizes the record with its soft (and somewhat sad) kosmische background, accentuating a strong rhythmic core.

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Paul Brändle

Paul, Rick & River

23,99 €*

Boundary Macro Clear Vinyl Edition

Release: 2023 / Original

Genre: Electronic & Dance

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"Paul, Rick and River" is a programmatic title for the new album from Munich-based Paul Brändle Trio, a Modern Jazz group led by the eponymous 31-year old guitar player and band leader. Playing together for years and across continents, this recording manifests the trio's current state of matter, focusing on a no-gimmicks approach and a classic, melodic style of musical world-building.

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Paul Kendall

LP | 2021 | EU | Original (Downwards)

25,99 €*

12" | 2024 | UK | Original (Natural Selections)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Downwards descend on Mute’s legendary producer/engineer Paul Kendall, serving as the label’s in-house producer thru the 1980s and ‘90s, working with Nine Inch Nails, Depeche Mode, Nitzer Ebb and Wire - for a new album of surgically precise and invasively curious post-industrial thrills and murky intrigue that comes highly recommended if yr into anything from Mika Vainio to Masami Akita, Recoil to Bruce Gilbert. Kendall’s oeuvre has paralleled the alternative history of post-punk and industrial music for over 40 years; after crossing paths with Karl O’Connor (aka Regis) in 2018, Kendall now takes his solo bow, proper, on Downwards with the fiercely uncompromising and absorbing results of experiments executed during the pits of lockdown in 2020. They arguably resemble a form of disembodied industrial techno searching for a fleshly new host to inhabit, all amorphous and bristling malforms untethered from percussion and sent to rabidly gnaw the senses via various strategies of blizzarding attack, textural attrition, and structural abstraction which can be heard as a side effect of Paul’s ongoing hearing loss from too many loud studio sessions. It’s not hard to clock why Regis was smitten with the material as the pair clearly share a lust for gristly scuzz and tempered, concentrated emotion. However Kendall’s music is more obtuse and comes from a warped perspective inspired by his fascinations with macro photography (magnifying minutiae), with his famously keen ear for detail leading the album into stranger spaces between the wires and noises. Effectively hashing the limen of perception, he invokes a spectra of ghostly, hallucinatory tones by combining recordings of his voice and a Leaf Audio “Microphonic Soundbox”, an experimental wooden instrument with metal springs, rods, sand paper and a kalimba, and then funnels them through processors and FX.

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Paul Mahoux

Lysergie Villageoise

12" | 2021 | EU | Original (Karaoke Kalk)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Natural Selections are proud to present Paul Mahoux’s EP, “Lysergie Villageoise” - the fourth release on Nummer’s oddballs imprint. Taking a step further into Fourth world music territories, “Lysergie Villageoise” is a meticulously crafted collection of four tracks imagined by Okinawa-based guitarist Paul Mahoux. These compositions sum up 30+ years of experience and experiments by the french-born producer, blending traditional music and modern techniques in a very singular way. All four tracks feature Paul Mahoux’s unique concoction of flavours, a signature soundscape which brings Jazz, Folk, Ambient and House together. Constantly blurring the lines between proto and advanced sounding, Paul Mahoux’s music recalls deep forgotten feelings and invites us to a psychedelic voyage through rural impressions and ancient times beyond the frontiers of folklore.

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Paula Schopf

Espacios En Soledad

LP | 2010 | EU | Original (Project: Mooncircle)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Does returning to a place have a sound? Can the ear have a memory? And what if places which we return to are just empty shells? Choreographed rooms which we need to play, fill from scratch each time with fragments from the past and present, layer upon layer, familiar and still somehow always new and differently assembled. Paula Schopf’s Espacios en Soledad are acoustic walks around present day Santiago de Chile, the city where she was born - which she always left, had to leave and to which she always returns - but more than anything also through her own memories which resonate throughout the public places, squares, streets though still in their own way remain strange.

„Every immigrant in the world has a piece like this - a kind of missing link, something which is incomplete. And every time one returns to the home country you are looking for it. For me it was a matter of sound.“ (Paula 2019).

In the mid 70s leaving Santiago was a flight of exile as a child with her family. Leaving in 1990 was an autonomous decision to head for Europe, Berlin, where the wall fell, where the heavens opened up all at once and electronic music became a kind of new home to so many. Paula Schopf belonged there. For her the Ocean Club at Tresor club was a central place where friends and mentors like Gudrun Gut and Thomas Fehlmann made it possible for her to get really into it. Dancing, being and feeling your body, forgetting oneself in the bass and beats, who one is and where one’s from, to becoming the DJ Chica Paula. Chile was very far away during this time, Latin America was more just a code, a musical and habitual cliche to be cautious of. This was especially true for the culture of the Chilean exile, the pathos of the “Canto Nuevo”, the sound and ideologically charged instruments of the „música andina“, for example the Zampoña, Quena or Charango. Techno was the greatest thinkable alternative to this even if or perhaps because so many kids exiled from Chile became key figures in the German and European scene: Ricardo Villalobos, Dandy Jack, Cristian Vogel, Matias Aguayo and many more.

How does returning to a place sound? Does the ear have its own memory? The field recordings which were recorded in Santiago de Chile in 2016 and form the central sonic material for Espacios en Soledad represent the paradox for Schopf’s return to her home country after emigrating: the inevitable drifting apart of her own lived time from that of her former home. Already the Venezuelan and Colombian hawkers are unmistakable signs of the deep change in Chilean society which has happened in recent years due to immigration. Which is in contrast to the old lady who sits on the floor in a pedestrian zone and without break sings the same three songs by Violeta Parra and then keeps falling asleep while doing so. The fragile presence of her voice is joined with a repertoire which is almost mythologically timeless in Chile in a particularly moving way.

By layering, ordering and conjoining such found sounds from modern day Santiago this piece become about the urban sound of Chile’s present. But more than anything by doing this Paula Schopf becomes an arranger of her own sonic memory or sound-triggered memories of returning to this city. Just as techno and Berlin helped her for such a long time to get away from too strong of an identification as a Chilean in exil, now with Espacios en Soledad she has found a way to bring these two seemingly disparate lives and remembered worlds together.

Matthias Pasdzierny

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Pavel Dovgal

Cassiopeia

12,99 €*

LP | 2010 | EU | Original (Project: Mooncircle)

Release: 2010 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Cassiopeia is a constellation in the northern sky. It was one of the 48 constellations listed by the 2nd century Greek astronomer Ptolemy and it remains one of the 88 modern constellations today. In the sky Cassiopeia sits with Andromeda on the South side. In Greek mythology it was considered to represent the vain queen Cassiopeia, who boasted about her unrivalled beauty.
This album is a mix between different sides of the concept of “Cassiopeia”. It’s about life, the universe, humans and the future. Cassiopeia includes musical approaches comparable to Prefuse 73, Robot Koch and Kryptic Minds. The record is predominantly Hip Hop, but features tracks with other artists that are not strictly part of this genre such as BekBekson, Verhovski and Fancy Mike. Pavel’s music is a trip into a fable and his medium is the music of different genres: Hip Hop, Dubstep, Glitch, Wonky and Downbeat, used to form pictures. His work is free spirited and there are hints of feelings, allusions, enigma and mystery. We won’t get into the inner workings of his music, how it finds its way into the hearts and souls of the audience, the important thing is that it serves its purpose. Tracks such as “LA” or “Andromeda” are very personal statements from Pavel, “Quant Magic” is composed using Overtone, Didgeridoo, Boomerang, Yedaki and other Australian instruments. “Sacred Chants Of Shiva” seizes the listener with a sensation of restlessness.
Pavel Dovgal’s “Cassiopeia”, the incision between intergalactic music and the human soul. The same formula that has been present for over a thousand years.

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Pavel Dovgal

Cassiopeia HHV Bundle

LP | 2024 | EU | Original (Modern Obscure Music)

Release: 2010 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Pedro Vian

Earth, Our Planet?

28,99 €*

LP | 2022 | EU | Original (Modern Obscure Music)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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“Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the
founder of Modern Obscure Music - presents his fourth solo album (following his 2020
release, "Ibillorca").
Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving
odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the
protection of our planet. On this occasion Vian has composed the album influenced by the
myth of the eternal return, the compositions are long and repetitive, generating states of pure
trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex
territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the
line of convention and breaks the boundaries of electronic and experimental music with
artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each
track reveals his distinctive ability to create immersive landscapes, guiding the listener into
deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre
collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose
early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in
Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde
approach and ability to conjure unique landscapes, elevates the album's opening tracks
"Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly
with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian
collaborated closely on his previous album "Cascades", known for his experimental
approach and talent for creating extraterrestrial atmospheres also contributes to "Les
Tambours Subterraniens". His artistic perspective adds more complexity and texture to the
piece, pushing the boundaries of contemporary electronic music. There is also a
collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting
“Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic
music, a captivating mix of strings and analogue synth drones which sometimes
flirts with Alice Coltrane-ish spiritual jazz".
With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it
is also a call to reflect on our relationship with the natural world. As a part of a planet where
environmental awareness is more crucial than ever, he urges us to protect and preserve our
world as an extension of ourselves. This extensive work is a statement, Vian addresses the
notion that too often we prioritise immediate needs over the well-being of the planet. It
highlights the fact that we often consider the Earth as a possession when, in reality, we are
but a part of it.

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Pedro Vian & Mana

Cascades

23,99 €*

12" | 2014 | NL | Original (Midlight)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona. Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture of hazy melancholy, uncanny dream-states and euphoria. Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey. Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘prsnt’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily. As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias. Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form the experimental group One Circle. Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.

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Peel MD / Frak

Calavera / Sync Rebate

5,99 €* 9,99 € -40%

Music From The Temple Of Light

Release: 2014 / NL – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: Generic

Clear vinyl.

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Peter Culshaw

CD | 2023 | EU | Original (Iskra)

Music From The Temple Of Light

Release: 2023 / EU – Original

Genre: Electronic & Dance, Classical Music

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Peter Culshaw was described by Malcolm Mclaren as “the Indiana Jones of World Music” and has tracked down music from the Amazon to Siberia and lived with Pygmies in Central Africa and dervishes in Istanbul. Culshaw interviewed many of the greats including Fela Kuti, Nusrat Fateh Ali Khan, Caetano Veloso and Ibrahim Ferrer. His book Clandestino, now published in ten languages, was a biography/ travelogue on the road with Manu Chao. The result of decades of research is this, his first solo album. As a composer, his East-West group West India Company’s album New Demons, which featured Bollywood diva Asha Bhosle, was released by Editions EG , a label set up by Brian Eno. He has composed award - winning music for assorted dance companies and animated films. He wrote an “opera” recorded in Havana, to be released soon. Music From The Temple of Light was recorded mainly in Half Step Audio, in Mumbai with some of the most vital contemporary Indian musicians including Paras Nath on bansuri flute and Chandana Bala Kalyan on enchanting vocals. The music is a mysterious mix of East and West, ancient and modern, led by minimal tantric piano, objective, meditative music for a chaotic age. Other recordings took place in pre-war Odesa and it was mixed in London. It is the first part of a trilogy. The project was funded by the sale of Malcolm Mclaren’s classic Mercedes, which he left to Culshaw and some successful bets on Leicester City Football Club. The next release on Iskra in 2023 will be Aeroclube - an anglo-Brazilian fever dream. recorded in Salvador, Bahia. Music From THE Temple OF Light will be released on Vinyl, CD and digitally in March 2023, preceded by a trio of “singles”……

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Peter Culshaw

LP | 2023 | EU | Original (Iskra)

LP | 2023 | EU | Original (RecordJet)

Release: 2023 / EU – Original

Genre: Electronic & Dance, Classical Music

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Peter Kruder / Di Gioia

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

Release: 2023 / EU – Original

Genre: Electronic & Dance

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7" | 2022 | UK | Original (Polytechuc Youth)

PH (Pete Hamilton)

Slow Ballet

10,99 €*

Nya Sverige - Nothing But The Truth

Release: 2022 / UK – Original

Genre: Electronic & Dance

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The Second of these last PY 45s sees a lovely 5 track 7” EP from Irish minimal synth musician ph (Pete Hamilton), with 5 tracks from his (finally) acclaimed rich body of work in electronic music. From Dublin, Ireland, in 1982, ph emerged from the demise of the peridots (lower case p) that previously had arisen from the ashes of Modern Heirs, who first played live in 1978 with Pete Hamilton and ex-Radiators (from Space) Steve Rapid, sharing a bill with an early U2. The band line-ups in the small Dublin scene were fluid, as were the band names, becoming the peridots in 1981 with Steve Hamilton and Stan Erraught and during a brief period with drummer Pat Larkin (The Blades). In 1983 Steve would leave to form Stars of Heaven. Subsequently, ph was mostly Pete Hamilton with passing members Pat Larkin and Des O'Byrne. peridots released a single “Open Season”, on the Optional Good label in 1981. But it wasn’t until 2012 that peridots and ph appeared again on a vinyl release, on the compilation “Strange Passion: Explorations In Irish Post Punk DIY And Electronic Music 1980-1983”. In 2015, Manufactured Desire Records (Barcelona) began a series of limited releases on cassette, and very limited art editions on lathe cut vinyl, including ‘Slow Ballet’ (ph), ‘Precious Blood’ (peridots), ‘Chrome’ (ph), ‘Later that same day’ (peridots) and culminating in 2017 with a 5 cassette, 48 track, box set, “Pete Hamilton Anthology” described as a treasure-trove of classic minimal synth from early ‘80s Ireland, filled with growling analogue synths, hugely catchy melodies, striking punchlines and beautifully atmospheric minimal electronic music. Sadly, Hamilton gave it all up in 1984, overwhelmed by the underwhelming response from a public who would take many decades and a renewed interest in early 80’s minimal electronic music scene, before finally beginning to appreciate the beauty of his music. Polytechnic Youth hopes to do its bit in either furthering that rediscovery programme or perhaps act as a first time introduction to ph’s music. A pressing of 250 copies in PY’s BBC Library inspired tracing paper bags. Massively recommended to all minimal synth nuts, early mute, Transparent Illusion, Futurisk, Neural circus et al….

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Phauss

CD | 2023 | UK | Original (Room 40)

22,99 €*

New Decade Colored Vinyl Edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Formed in the early 1980s, Phauss is Carl Michael von Hausswolff and Erik Pauser.

"Von Hausswolff and Pauser, who both operated across sound and installation, used Phauss as a means for deconstructing ideas of composition, situationalism, site-specific works and extended performance methodologies. Across the second half of the 1980s and into the early 1990s, they made connections, through their travels, outward from their homeland into scenes and communities that stretched from the Middle East, through North America and into Asia.

Like their travels, their ways of approaching the work they made was similarly wide-reaching and innately curious. They worked with often quite strict conceptual structures within which they were able to unlock entirely new ways of considering composition and also the material production of sound, through performance, through iteration and through considered experimentation which allowed for failure, just as much as success.

Nya Sverige - Nothing But The Truth is a recording made in the United States whilst the pair were undertaking an exhaustive tour in 1991 alongside Hafler Trio and Zbigniew Karkowski. This, now legendary, tour was both arduous and rewarding. Living in a van for many weeks at a time, travelling between cities with the most modest of means meant Phauss came to know a very particular vision of the United States, one that existed below plain view. Their’s was an experience had at the rawest edges of cities.

Equally the performances they gave, from which this edition is assembled, were raw and quite frankly dangerous. Fire on stage, sparks flying from short circuiting electronics and intense physical rituals guided so much of their work during this tour and looking back at bootleg videos from the time it’s difficult to imagine the work being able to be presented in the modern world.

One of the flyers from their tour reads ‘Extreme Swedish Industrial’, and as familiar as those words might appear now, in 1991 they held a very different resonance. They were unfamiliar terms of reference and the intensity of Phauss’s music maintains that unknowability to this day. This is a profoundly individual work and sets the stage for a generation of musicians who followed them."

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Phew

LP | 2021 | UK | Original (Mute)

25,99 €*

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Philip Samartzis & Eugene Ughetti

Array

LP | 2021 | EU | Original (Room 40)

28,99 €*

LP | 2023 | EU | Original (Meakusma)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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

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

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

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

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

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

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Philipp Matalla

Stakes

20,99 €*

Philippe Doray & Les Asociaux Associés

Release: 2023 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Modern Power electronics...TIP!!

Philipp Matalla lives and works in the triangle of Halle, Leipzig and Berlin, in Germany. He has previously released music on labels such as Optimo Music, Kann and Kashual Plastik. His new album on Meakusma delves into some of the themes that have so far defined his work, this time increasing the tension between moments of musical harshness and flickers of introspection, ease and downright beauty. Matalla aims not for perfection, instead deploying the listener's sense of imagination. His work toys with the notion of abstraction in electronic music, often going as far cutting short melodic and other ideas, making for a confrontational stance unafraid of leaving his material in a state of difficult to define rawness, based on versatile ingredients equally rooted in rural and urban territory. Stakes is a gorgeous and gorgeously far out album, integrating elements of psychedelic rock and dub, blending in melodic ideas that are at times abstracted, at times soothing. It is pastoral music for the digital age, where raw bursts of noise and energy dislocate and set the record straight. There is even a croonerish feel to some of its tracks, croonerish from a distorted future that is. Stakes is an experience in eclecticism and musical logic. It dissolves structures and ideas and turns musically recognisable elements on their head.

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Le Composant Compositeur

LP+CD | 2023 | EU | Original (Souffle Continu)

21,74 €* 28,99 € -25%

Phillip Sollmann And Konrad Sprenger

Release: 2023 / EU – Original

Genre: Electronic & Dance

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“Nobody Move!”, so says Philippe Doray and his Asociaux Associés (the Antisocial Associates)! Having dynamited the end of the 70s with two radical albums – Ramasse-Miettes Nucléaires in 1976 & Nouveaux Modes Industriels in 1978, both reissued by Souffle Continu – Doray still hadn’t finished singing. Throughout the next decade he began his Composant compositeur which would document the “second period”, as he calls it, of his Asociaux Associés.

The record includes new schizo-electro songs which make the most of his association with Laurence Garcette, who also plays all sorts of keyboards. A prolongation of the first period of the Asociaux Associés, the duo updates Doray’s poetry: in reaction to the current overcast atmosphere, here are some hallucinatory fantasies to the rhythm of an infernal circle dance (« Le petit géant ») or an ecstatic waltz (“Bombés fluo”) or even coded messages stuffed into bottles and thrown into space (“Secoue le flipeur”, “Choc d’amour”).

On the bonus CD there are further iconoclastic examples: rare recordings (unpublished or even “inaudible”) of the Asociaux Associés but also by Crash, a duo that Doray formed with Thierry Müller (Ilitch, Ruth). At the controls of their experiment- bending machine the musicians multiply the possibilities: peripheral rock, arias in orbit, broken swing, industrial mantras and other joyful falsities. Enough to make you lose your mind? No... as Philippe Doray promised: it is the “jackpot qui frissonne” (the shivering jackpot) which is there to excite.

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Modular Organ System

LP | 2023 | UK | Original (Choose)

LP | 1960 | EU | Reissue (Fantome Phonographique)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Sollmann and Sprenger here tackle some of the most controversial and interesting aspects of the
organ - an instrument that since ancient Greek and Roman times was devised to allow a single
performer to produce a larger ensemble sound.
‘Modular Organ System’ started life as an installation piece devised by Sollmann and Sprenger
as a new model for a modular system that could be used for composition, performance and tool
development in acoustic space. This album is the first proper documentation of that work, offering
two long-form drone compositions that consider space, tonality and acoustics. The duo built the
system out of tubes, air pumps and vibrating reeds, which they could place around a space as
if the instrument were a sculpture. Visitors were encouraged to wander around the installation
and wonder as the sound shifted; sometimes hearing just electrical buzzing from its motors,
and sometimes just its engrossing low end frequencies. “The visitor has the impression of being
inside an organ itself,” composer Arnold Dreyblatt writes in the liner notes, “rather than listening to
it externally.”
On ‘Modular Organ System’, we don’t have the benefit of being able to physically move around the
space, but we do get to interface with the root of Sollmann and Sprenger’s process: its peculiar
tonality, commanding sound, and hypnotic interplay of airy, ancient drone. They use pure power
to lull us into the opening side, with non-tempered harmonics that boom from the speakers. Even
without seeing the instrument itself, it’s easy to hear its unusual properties - at times sounding
like archaic, phased woodwind playing alongside a church organ, or atonal bagpipes in the
distance, over a hill or a mountain. The slow-moving wails connect us wholly to history, but the
recording and texture feels decidedly modern.
On the dense, overpowering second side, the duo layer their drones into a wall of humming
vibrations. These sounds crack and distort naturally, sounding as powerful as Tim Hecker’s
signature granulations but blessed with spiritual magic. Midway into the piece, the drones
descend into near silence before building again into a slowly chugging rhythm that seems to
directly reference Sollmann and Sprenger’s motorik collaborations with Oren Ambarchi, and which
leave us re-evaluating the instrument’s technological and historical boundaries. It makes for a
stunningly meditative, disorienting listen

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Pierre Henry

Orphée Ballet

16,99 €*

Bright Bars From The Stars

Release: 1960 / EU – Reissue

Genre: Electronic & Dance

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Scored for Maurice Béjart's choreography to the 'Orphée Ballet', based on the Greek god Orpheus, this is one of Pierre Henry's finest works of musique concrète, the genre in which Henry was an early innovator and to which he devoted his career. After years working for the French national radio (RTF) and honing his studio chops on radio spots and editing/composition, Henry formed his own studio in 1958 and began working on modern dance and ballet and soundtrack work. Incorporating percussion, industrial soundscapes, nature sounds, spoken French narrative, and synthesized tones, 'Orphée Ballet' is a beautiful piece that, while less known than what is perhaps his most famous work, also for Béjart's ballet production, 1967's 'Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart', is equally compelling and groundbreaking. Following his passing in 2017 at age 89, Henry's work has found renewed interest, and this is a welcome reissue of one of his rarest and finest works. Truly brilliant.

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Pieter Kock

CD | 2024 | EU | Original (Meakusma)

Bright Bars From The Stars

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Producer Pieter Kock, active also as a DJ under his DJ Peacock guise, is known for being one of the people behind the legendary O Tannenbaum bar and club, a haven of sorts in Berlin nightlife for years, and the newly opened second O Tannenbaum called Schankwirtschafft O Tannenbaum. He has released some of his own music on labels such as Musikii, RIO, Full Body Massage, Fantasy Fiction Records, Moonwalk X, and Invisible Inc, and has extensively collaborated with people and projects such as Meeuw and De Fabriek.

His new Bright Bars From The Stars album on Meakusma is a dizzying amalgam of moods and influences. From ghostly and contemplative tracks to spaced-out and dubbed-out dark dancefloor psychedelia infused with melodics, phrasing, and percussive patterns reminiscent of pop and avant-garde alike, Bright Bars From The Stars features a full album on vinyl, with an extra CD included. Kock is a versatile chronicler of the night, capturing the beauty, loneliness, and endless possibilities of wide avenues pining for neon lights, futuristic descents into past moods and modes, and all.

14 tracks in total, Bright Bars From The Stars is a cosmic, at times gentle, at times confrontational affair that brims with ideas and influences. Combining sounds, rhythms, melodies, and textures from a wide variety of sources and meanings, Pieter Kock brings all of his influences together, intent on finding new paths of thinking and feeling. His pictures printed in the CD booklet give some kind of indication of his artistic process, without ever wanting to push things in any kind of direction. Cocktail bars of a dystopian future, unite! Bright Bars From The Stars is the soundtrack to a very encompassing and transformative night out.

All compositions by Pieter Kock except Bright Bars From The Stars by Pieter Kock and Dominik Peacho Noé Mastering & Cut by Rashad Becker Art by Pieter Kock and Meeuw

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Pieter Kock

LP+CD | 2024 | EU | Original (Meakusma)

23,39 €* 25,99 € -10%

LP | 2022 | UK | Original (Warp)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Plaid

Feorm Falorx

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Rising Deep Blue Vinyl Editoin

Pluto

2LP | 1995 | UK | Reissue (Glass Modern)

32,99 €*

Release: 1995 / UK – Reissue

Genre: Electronic & Dance

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Following the release of 'The Weight Of The Sun' LP, Modern Studies shift from light to dark over two new EPs brought together as six track 12-inch 'Life Flows In Endless Song / The Body Is A Tide', a record that further cements their reputation for innovative craftsmanship.

'Life Flows In Endless Song' showcases the band's increasingly expansive sound, swelling with orchestrated drama behind the rich vocal pairing of Emily Scott and Rob St John, before their otherworldly dreaminess is pin-pricked at its height by Emily's beautiful alto on 'The Failing Light'.

'The Body Is A Tide' hails from ominous darker terrains, scratching further into their own psyche; it's heady and baroque, ornate and super-detailed, an opus that climaxes with 'High Hymn Summers' and its slowly-rolling drone, created by processing all the songs from 'The Weight of the Sun' played at once.

"The EP nods at the idea of our collective bodies weathering rough times, played out with massed strings, prepared guitars, slow bass grooves, hypnotic drums, wobbling saw, xaphoon and mellotron.

We shook off our usual song structures in favour of something repetitive, slow and heavy; life flows in endless song." Modern Studies // "Utterly enchanting." Mojo magazine // "Modern Studies make mood music of the highest order, drawing on the members' collective experience in the folk, pop and improvisational realms." The Scotsman // "There's a charm within Modern Studies' DNA which makes them, without fanfare or clamour, one of today's most mesmerising outfits." Prog magazine // "Melancholic magic." Uncut magazine // Track List Side A - Life Flows in Endless Song EP A1 - Endless Song A2 - Slow, then Sudden A3 - The Failing Light Side B - The Body is a Tide EP B1 - The Body is a Tide B2 - The Naked Eye B3 - High Hymn Summers

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2LP | 2020 | UK | Original (Mute)

Fading

Release: 2020 / UK – Original

Genre: Electronic & Dance

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CD | 2020 | EU | Original (Mute)

Fading

12,99 €*

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

Fading Gold Vinyl Edition

2LP | 2020 | Original (Mute)

Release: 2020 / Original

Genre: Electronic & Dance

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

Tempus

40,99 €*

Release: 2022 / EU – Original

Genre: Electronic & Dance, Reggae & Dancehall

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Still in shrink but opened with hype sticker. Pink vinyl. Limited edition. Tiny wear.

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CD | 2022 | EU | Original (Mute)

Tempus

Release: 2022 / EU – Original

Genre: Electronic & Dance, Reggae & Dancehall

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Used Vinyl

Medium: VG+, Cover: VG+

12" | 2023 | Original (Mute)

Tempus Remixes

16,14 €* 18,99 € -15%

12" | 2024 | EU | Original (Holuzam)

Release: 2023 / Original

Genre: Rock & Indie, Electronic & Dance

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Pole, aka innovative German electronic artist Stefan Betke, presents a limited edition 12" single with new exciting remixes of tracks from his latest album, Tempus.

This 12" sees the title track 'Tempus' remixed by long-time Nine Inch Nails contributor, label mate and "synth connoisseur" Alessandro Cortini. The vinyl also includes the track 'Stechmück' remixed by Californian interdisciplinary artist Rrose, reworked by UK's electro-punk duo Sleaford Mods and edited by Pole. The original song embraces the sound of Betke's dying Minimoog, which you can hear manipulated in different ways across the different versions.

Düsseldorf-native musician, producer and mastering engineer Pole is known for his unique musical language oscillating between melody and avant-garde in electronic music, with audible influences from Dub and Jazz music. Tempus contributed to his ongoing musical evolution, while retaining a relationship to previous work, with Pitchfork stating "It's the sound of an artist drawing from his repertoire while demonstrating that he is still looking to the future."

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Polido

Hearing Smoke

LP | 2021 | EU | Original (Squama)

Release: 2024 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Tip!

Polido has been fantasizing with the idea of free music throughout his artistic career. Free from restraints, logos, musical genres, but also from this modern obsession with narratives, plans, business plans, algorithms and bubble wrapped ideas for comfort of those of you that can’t breathe without everything making sense.
“Hearing Smoke” has nothing of that. It has been four years since Holuzam released the double album “A Casa e os Cães / Sabor a Terra” and for four years I have been daydreaming about what would come next. This is it, eleven new pieces about the future of the future of music. It is the result of years of study, research and sound consolidation. Sound as matter, mutating, transforming, absorbing all around, a shapeshifting entity connecting with the principles of freedom.

"Polido has been researching Portuguese contemporary composition, its very own sounds and ideas. Its origins, the web of repression, tension and censorship before the April 25th revolution in 1974; secondly, as an afterthought, freedom, equality and a unique sense of community and belonging screaming through the music. He absorbed those states of mind and made an album that listens to the current world and presents globalization as a mental trap.
If the music that inspired him somehow comes from a post-colonial world, “Hearing Smoke” questions how we can create something new in this permanent state of cultural colonization, where new trends or forms of music only thrive if they are accepted by the dominant cultures. The physical world has been transformed, but ideas like “world music” or “ghetto music” still show that dominance, the Strange can only be accepted if it incorporates the rules and codes of that dominant force. What I am saying is that it is hard for Portuguese musicians to present themselves as original. They will never have that credit unless the music relates to something that exists in another

realm. Never for their benefit, but for the power of association. I may sound arrogant here, but Polido is unique, original, one of a kind (all those words, all those redundant synonyms). I knew it four years ago when I got lost in the way “A Casa e os Cães” is assembled and how he makes something memorable out of the most commonplace conversations. “Hearing Smoke” continues the flow and puts us in the centre of these ever evolving masses of sound.
Somehow his music finds you, it starts speaking with you until it asks you to be a part of it. Polido’s beats and harmonics are combined in such a tender way that you mellow out while listening to these beats - thinking of the brilliant “Saque”. Even when he exposes you to something more harsh - “Canto D’Amorte” or the closing moments of the last track “Custa A Crer” - there’s still a cradle effect.
But what keeps me returning to this album is how it seems to transform in my ears. Not every time I listen to it, but while I am listening to it. The sound seems to move, embracing me and controlling my inner thoughts. These start to move along at the same pace, with the same feeling of cloudiness. Nothing new here, the thing is how it feels different from time to time, how the music, because of something that changes or moves, comes as a catharsis/revelation. It drives me nuts how the beats come and go in tracks like “Fogo Firme (Encomendação)” or “The More I Think, The Less I Can Speak“, leaving everything suspended and, simultaneously, relieved. When dramatic - ”Prova De Existência“ - it is sad af and gorgeously epic.

Trap, bass music, dubstep, ambient, hauntology and contemporary music flow side by side here, no pushing around, free of interpretation, and you are free to feel or listen to whatever you want in “Hearing Smoke”. That’s free music for you. Not a hard concept, something for you to enjoy, feel, reflect about. This is what the future will sound like."

André Santos // Holuzam

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Popp

Devi

23,99 €*

LP | 2004 | DE | Original (City Centre Offices)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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After several collaborative releases, German drummer Simon Popp is back on Squama with his second solo album ‘Devi’. While his phenomenal debut ‘Laya’ was a percussive take on ambient and third stream minimalism, ‘Devi’ features eight tracks of bold organic grooves, uplifting and hopeful in one moment, sinister and dark in the next. This dualism is reflective of the ups and downs in Simon’s own life, making the album a brutally honest and deeply personal record. Over the past two years Popp has steadily refined his skills both as a player and an engineer: There are virtuoso drumming parts, revealing his passion for polyrhythm and complex structures and recording techniques such as heavy limiting, using gated reverb and pitch-shifting give the record a modern 90s vibe. ‘Devi’ is a forceful statement of what contemporary drum music can sound like today.

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Porn Sword Tobacco

Release: 2004 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

LP | 2022 | EU | Original (Where To Now?)

Post Moves

Heart Music

Heart Music (with Seamsplit)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Sam Wenc is a composer and multi-instrumentalist working with sound, text, and objects. He utilises guitar, pedal steel guitar, vibraphone, electronics, field recordings, and found objects to compose both structured and formless pieces that attempt to blur concepts of what constitutes “folk music”. He has released music on labels such as Noumenal Loom, Obsolete Staircases, Moon Villain, and his own label, Lobby Art. Below are Wenc’s own thoughts on his work and approach, which frankly do a far better job of capturing the essence of his spiritual, minimal, and transcendent pieces than we could… “‘Heart Music’ was recorded over the course of 2019 and 2020. The initial intention was not necessarily to produce an album, but rather to explore composing from a percussive perspective and trying to avert relying heavily on the pedal steel guitar and guitar as primary modes of composing. The pedal steel guitar lends itself to such a soft sound palette so even in pieces that are highly structured (Always for Pleasure, Going Right to the Praying Mantis), I wanted to avoid the propensity to let the composition amble along, and rather create a brisk, biting percussive component. This can particularly be heard on "Del Mero Corazon", which pulses along with the droning bowing of the banjo and marimacho before drums kick in and later on the vibraphone. Thematically, much of the music (to me) takes on a somewhat ceremonial feeling and explores the trajectory of exploring intrapersonal contradictions and what it means to navigate a disharmonious public sphere. Films was also a major inspiration for songs and their titles: Wiilka & Phaxsi (named for the characters in the film Wiñaypacha), Always for Pleasure (named for the Les Blanks film) was an attempt at writing something akin to a processional march, "Going Right to the Praying Mantis" & "That's the Boss, Not Some Human!" was a quote of Milford Graves pulled from the film "Full Mantis". On that note, the title of the album, "Heart Music", is in recognition of Milford's exploration of the internal data, knowledge, and ultimately music that is present within our bodies. More so than on previous albums, I felt myself letting rhythm, intuition, and improvisation guide the work, often resulting in longer form pieces that allows myself (and hopefully the listener) to listen deeply, observing moments of tension and harmony tangled, dependent, and resolved by one another. One other noticeable addition is the introduction of poetry into "Madness is a Fully Instrumented Score" and "Evidence" (both spoken by Anna Jeters of the band Ancient Pools). This was touched on in my last album on the track "David's Death", but by bringing in the voice to create both parallel and perpendicular narratives, it creates another line to follow and bring the listener into a deeper state of listening. I like playing with blurred narratives, homespun ideas of conventional thoughts that are ever changing in a climate where fixed ways of relating to sound and composition can become something new and mangled in its own right.” If you dig the following then this is most certainly one for you… Susan Alcorn, Alice Coltrane, Phil Cohran, Bobby Hutcherson, Henry Flynt, Jon Gibson, Mind Over Mirrors, Natural Information Society, Johnny Coley, Oren Ambarchi, Tortoise, Yasuaki Shimizu, Califone.

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Post Moves

LP | 2022 | EU | Original (Where To Now?)

LP | 2020 | EU | Original (Ecstatic)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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A few copies arrived with a Seamsplit Cover. We're therefore selling it on a reduced price.

Sam Wenc is a composer and multi-instrumentalist working with sound, text, and objects. He utilises guitar, pedal steel guitar, vibraphone, electronics, field recordings, and found objects to compose both structured and formless pieces that attempt to blur concepts of what constitutes “folk music”. He has released music on labels such as Noumenal Loom, Obsolete Staircases, Moon Villain, and his own label, Lobby Art. Below are Wenc’s own thoughts on his work and approach, which frankly do a far better job of capturing the essence of his spiritual, minimal, and transcendent pieces than we could… “‘Heart Music’ was recorded over the course of 2019 and 2020. The initial intention was not necessarily to produce an album, but rather to explore composing from a percussive perspective and trying to avert relying heavily on the pedal steel guitar and guitar as primary modes of composing. The pedal steel guitar lends itself to such a soft sound palette so even in pieces that are highly structured (Always for Pleasure, Going Right to the Praying Mantis), I wanted to avoid the propensity to let the composition amble along, and rather create a brisk, biting percussive component. This can particularly be heard on "Del Mero Corazon", which pulses along with the droning bowing of the banjo and marimacho before drums kick in and later on the vibraphone. Thematically, much of the music (to me) takes on a somewhat ceremonial feeling and explores the trajectory of exploring intrapersonal contradictions and what it means to navigate a disharmonious public sphere. Films was also a major inspiration for songs and their titles: Wiilka & Phaxsi (named for the characters in the film Wiñaypacha), Always for Pleasure (named for the Les Blanks film) was an attempt at writing something akin to a processional march, "Going Right to the Praying Mantis" & "That's the Boss, Not Some Human!" was a quote of Milford Graves pulled from the film "Full Mantis". On that note, the title of the album, "Heart Music", is in recognition of Milford's exploration of the internal data, knowledge, and ultimately music that is present within our bodies. More so than on previous albums, I felt myself letting rhythm, intuition, and improvisation guide the work, often resulting in longer form pieces that allows myself (and hopefully the listener) to listen deeply, observing moments of tension and harmony tangled, dependent, and resolved by one another. One other noticeable addition is the introduction of poetry into "Madness is a Fully Instrumented Score" and "Evidence" (both spoken by Anna Jeters of the band Ancient Pools). This was touched on in my last album on the track "David's Death", but by bringing in the voice to create both parallel and perpendicular narratives, it creates another line to follow and bring the listener into a deeper state of listening. I like playing with blurred narratives, homespun ideas of conventional thoughts that are ever changing in a climate where fixed ways of relating to sound and composition can become something new and mangled in its own right.” If you dig the following then this is most certainly one for you… Susan Alcorn, Alice Coltrane, Phil Cohran, Bobby Hutcherson, Henry Flynt, Jon Gibson, Mind Over Mirrors, Natural Information Society, Johnny Coley, Oren Ambarchi, Tortoise, Yasuaki Shimizu, Califone.

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Potter Natalizia Zen

Magari

LP | 2021 | EU | Original (Editions Mego)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Master synthesists Colin Potter (nww), Alessio Natalizia (Not Waving), and Guido Zen reprise their supergroup for Ecstatic with a seductively serpentine follow-up to their superb debut from a couple of years ago. PNZ’s pulsing, twanging, expansive ‘Magari’ was recorded between 2018-2020 in the slipstream of ’Shut Your Eyes On The Way Out’, which is surely one of the strongest new kosmiche-related albums of recent years. Where that album refreshed classic styles of European synth music for modern ears, ‘Magari’ - meaning “I Wish” in Italian - adapts their style to the unique Afro-Latin lilt of Brazilian music with central use of the Berimbau; a single-stringed percussion instrument commonly associated with the elegant martial art/dance of Capoeira, which the band’s Guido Zen brought home from his travels in South America. Combined with their juicy, almost fleshly arps and Guitar pedal-generated computer voice, the results are wonderfully wide-eyed, embracing bouts of motorik rhythm beside vertiginous noise wormholes and mystic tone poems that speak to a cumulative experience spanning decades spent hunting for life between the wires.

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Powell

Piano Music 1-7

12" | 2022 | EU | Original (Cosmocities)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Editions Mego welcomes Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.

Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis.

As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument [one of these can be seen on the rear cover of the LP release]. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work.

Piano Music 1-7, subtitled ‘Music for Synthetic Piano and Assorted Electronics’, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, ’In writing electronic music,’ Robin Mackay once wrote, ‘you also have to direct the invention of new tools.’ Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, ‘. . . What emerged from this fog or soup [for me] were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.’

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Prism

Rain EP SYO Remix

12" | 2021 | EU | Original (R&S)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Rare trance/ambient house reissue from french label Cosmocities Records - including a remix from S.O.N.S. under his SYO moniker!

Lined up next on Cosmocities is a special delivery and direct nod to our formative years’ loves - in this very case, trance music. Fruit of 90s cross-channel outfit Prism, the collaborative endeavour of French producer Pascal Eloy and UK-based Grant Wilkinson, the three-track EP “cmsr006” mixes unreleased music (Refraction), a 1996-issued goodie (Rain) and an exclusive remix from SYO, better known for his ambitiously retro-futuristic output under the S.O.N.S moniker.

Originally released as part of Planet Dog’s 1996 compilation “Feed Your Head”, “Rain” retains all of its original mystique and soulful use of modern production tools - letting a cascading flow of arpeggiated synths, stealth bass onslaughts and 303-borne trippiness pour down as a fully immersive digital shower for the senses.

An unheard gem from the vault, initially written and recorded in 1995, “Refraction” pulls further dynamic traction from a bubbling drum programming and damp, urban jungle-y atmosphere - beaming us straight back in the rave’s most compelling heyday with its feverish maelstrom of fluttering bleeps, spiralling tribal motifs and faux-organic, Neo-Easternmost harmonics.

Adding his ever innovative spin to the table, SYO cuts into the flesh of the original to deliver a further syncopated and spacious version, flush with complex rhythmic sleights of hand and subtle melodic trickery throughout, bound to keep you on the edge with every bar. 25 years on since it was first designed, Prism’s lasting relevancy shines bright on this all-road, bold-to-the-full trance epic that’s lost nothing of its flair.

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Progedia

We Are The Night

Box Set | 2017 | EU | Original (Project: Mooncircle)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Master sampler Fed Conti has a way of making grooves sound as light as a feather, elevating kraut and jazz phrases to dreamy realms where the imagination is tickled. To kick off the forthcoming debut PROGedia album, revered producer and remixer Charles Webster adds his inimitable touch to the single ‘We Are The Night’, expanding on Conti’s heartfelt arrangements, playing with beats and textures, as he travels smooth melodic lines.

PROGedia is the newest alias of the Italian producer Fed Conti, also known as Mahjong and Nardis. After having played his Hammond organ with several jazz deities, and produced samples for Coca Cola and Universal, he is finally unleashing his kinky musical imagination in the PROGedia album; ‘We Are The Night’ kicks off a mixture of kraut, psychedelic grooves and nu jazz, tied together through clever arrangements and a refined sampling process. ‘It’s an escape from modern decadence,’ says Fed, who adores the authentic and offbeat. It only makes sense, then, that the first track of his upcoming album is called ‘We Are The Night’; during the darkest hours PROGedia’s retro extravagance can claim a foothold, offering a warm breeding ground for quirkiness, infatuation, and musical liberation.

The renowned producer Charles Webster, too, is a real music fetishist; he got his first instruments at the age of 13 and went on to collaborate with the likes of Juan Atkins, Derrick May and Kevin Saunderson, founding his own Love From San Francisco project and following with two decades of classy and sophisticated music productions. For this occasion, he has added his unmistakable touch to the ‘We Are The Night’ title track, complementing PROGedia’s infectious grooves with poignant rhythms and motley textures.

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Project: Mooncircle

15th Anniversary Box

59,99 €*

12" | 2023 | UK | Original (Sähkö)

Release: 2017 / EU – Original

Genre: Electronic & Dance

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The limited box (only 500 copies worldwide) includes five colored vinyl LP’s with over 35 exclusive tracks plus four additional digital bonus tracks (with digital download code), a bonus double CD version exclusively designed by Lorena Assisi, a T-shirt (only size L) and an exclusive documentary about the label – all in a specially designed box by Dave McKean.

Only 1 per customer!

A journey to the moon that began fifteen years ago now reaches another milestone – 15 years, one and a half decades, over 150 individual releases, many many artists, countless professional relationships but also friendships along the way. Many many stories and shared memories – not all of them good, not all of them bad either. While modern space age technology would make it possible to reach the moon’s surface a lot faster, for us it is not only about moving forward as quickly as possible, but also to turn around, look back and around ourselves and to reflect on everything that happened and is happening. This is why we have such a broad range of artists guesting on our latest compilation. Some that have been part of the voyage from its earliest stages, others that have been with us for major milestones along the way, and even more that might move ahead with us into new and unchartered musical regions.

Working with Dave McKean – a true legend, especially for anyone into comic illustrations – wraps up this whole trip in the sweetest way. Not only is it a big honour, but – in a way – it completes the circle, as Dave has been a major influence for the label’s artworks from its earliest beginnings already.

Luckily, we have not crashed into any lunar crater with our listeners. We want to thank you for making this long journey possible and we greatly look forward to celebrating this milestone with our partners, musical family and of course with you, our listeners.

Since our 10th anniversary the face of one of our founding members who passed away way too early graces our logo. This release is dedicated to her and commemorates the 11th anniversary of her death.

Featured on the compilation are such artists as Synkro, Rain Dog, Monsoonsiren, Tom Day, Robot Koch, Flako, 40 Winks, Long Arm, submerse, kidkanevil, 1000 Names, Tendts, Kafuka, Erik Luebs, My Panda Shall Fly, CYNE, Soosh, Nuage, Michał Lewicki, Jilk, Sieren, Olof Melander, KRTS, Deft, Barnaby Carter, Rumpistol, Fau, Button Eyes, Deceptikon, Pavel Dovgal, Memotone, Graciela Maria, Mujuice, Stompy’s Playground, Sina., Sweatson Klank, Senoy, Parra for Cuva, Fybe One, and many more. Artwork by Dave McKean (Dark Horse Comics / DC Comics / Tundra).

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Quiet Voices

Hantologies

2LP | 2013 | EU | Original (Project: Mooncircle)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Quiet Voices is a collaborative musical and sound art project, mixing ambient & electronic music, cinematic atmospheres & spoken word, founded by Jean-Yves Leloup, featuring musical pieces he composed with Hélène Vogelsinger, Villeneuve & Morando, Wild Anima, François-Eudes Chanfrault and Maxence Cyrin.

Most of the composers involved in this project are all working in the field of cinema, composing music using electronic and acoustic instruments. All these musicians are also working in the field of modern classical, ambient and electronic music.

Through the use of spoken voices (some of them coming from films), the Quiet Voices project can be heard as a tribute to the power and emotion of cinema. Each track can be heard as a short film, or a scene, fostering the listener's imagination.

All the pieces from the record are dealing with the themes of time, memory, death or loss, and often dealing with the idea of an imaginary intermediate dimension between life and death.

Jean-Yves Leloup is a Paris-based french sound artist/DJ, curator and music writer. He is the curator of various music exhibitions (Electro at Paris Philharmonie, London Design Museum and Düsseldorf Kunst Palast) and the author of various books such as " Digital Magma ", " Global Techno ", " Techno 100 ", " Music Non-Stop " and t " Ambient Music : avant-garde, new age, chill-out & cinema " (2021). He teaches sound in cinema at Paris Esra cinema School, and has released four albums with the RadioMentale duo.

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Rain Dog

Two Words

Rainforest Spiritual Ensalvement

Release: 2013 / EU – Original

Genre: Electronic & Dance

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For Samuel Evans, or Rain Dog, creating this album was a vast experiment to combine different attempts of blending more traditional elements of song writing and composition with the more contemporary influences of modern electronic dance and bass music, all within the confines of his computer and chair…

Being compelled by melody and variation, Rain Dog, by his own admission, never had much talent for songwriting in terms of lyrics. To circumvent this, however, he focuses on creating a narrative within the music through the combination of synth work and samples. He starts with anything that sparks an interest or emotion in him – Tom Waits, Joni Mitchel, Ella Fitzgerald, Portico Quartet and moments from movies, samples like these usually work as a foundation for the tracks. He then adds layers of unique and organic synth sounds (a notion he finds quite interesting when working entirely from a digital platform) before eventually completing the production with the beat. He likes his music like a nice pie – warm, hearty, and crusty.

Artwork by Felicia Simion. Guests: Robot Koch, BigsonTomika & Sam Rogers.

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Ambient Black Magic

3LP | 2017 | UK | Reissue (Hospital Productions)

81,99 €*

Desquamation (Fire, Burn. Nobody)

Release: 2017 / UK – Reissue

Genre: Electronic & Dance

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Official reissue of the modern cult classic - this time on 3xLP with side F snake etching. Focusing on slow paced bass studies and and synthetic dub textures, surrounded by collaged and looped field recording environments, RSE shrouds sound over image to target the sector of brain where fear supersedes rationality - the imagination.

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Rainy Miller

LP | 2022 | UK | Original (Head Ii)

12" | 2021 | EU | Original (Kryptox)

Release: 2022 / UK – Original

Genre: Hip Hop, Electronic & Dance

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Ambitious, complex and hooky breakthru opus by NW english rapper/producer/songwriter Rainy Miller, issued by The White Hotel’s Head II label and featuring contributions from Space Afrika, Blackhaine, Maxwell Sterling, Jam City, Georgia Ellery, Henzo and more. Highly emotive and bruised gear, it’s essential listening if yr into Future, Chief Keef, Drake, more eaze, Rabit, Wayne Phoenix, Iceboy Violet, Kanye, Burial…

No doubt it’s the most cinematic depiction of what makes Rainy tick, with a choral prologue that sounds like a Burial vignette, precipitating a downpour of emotions that veer from tender to seething bass-boosted drill blowouts. The slippery combo of self-skewering and tearful Autotuned vocals and brittle, barely-present electronics immediately and inarguably recall Kanye’s 808s & Heartbreak, but here refracted into greyscale tales of Northern introspection, confidently torched 'n bleary-eyed industrial experiments.

Miller's best known at this point for his work with his college compatriot Tom Heyes (aka Blackhaine), whose ragged drill/power electronic subversions loom large over "Desquamation". But where Heyes zeroes in on viscera, isolation and substance-fueled rage, Miller's compositions are more pensive, melancholy and emotionally fluid, finding hopefulness in supposedly grim terrain on tracks like 'There's A Fiesta MkII On Fire'. "A Fiesta burns bright," he sings, accenting the last word as it collapses into chattering electronics and snatched Rhodes piano loops. It's a glorious amalgamation of influences, folding grime and ambient signals into something altogether new. From here, Miller pushes even further into the abyss, enlisting Space Afrika and Maxwell Sterling to assist on 'Breath, Sigh', a powerful symphony of sheet noise, ice-cold pads and soulful electric piano weaving around Miller's vulnerable voice.

On 'July Iii', the beats are reduced to pinpricks, heaving listlessly between stolen breaths and punctuated kick blasts, ‘while Misery is as Misery Does' revels in negative space, allowing overdriven pads to evoke an anxious tenor for Rainy’s melancholia. 'is 2 Die' grazes the same mood before erupting into a wrecking-ball roll of distorted kick drums and elegiac synths, and Blackhaine shows up on 'Way Out', the pair following 2020's breakout "Armour" with a corrosive back-and-forth, playing to each others' strengths.

Benefiting massively from repeat listens, ‘Desquamation' is an absorbing, deliriously atmospheric re-definition of drill, ambient and rap modes with bare north west soul; an arresting portrait of an ascendant artist attempting to find comfort in their artistic skin, and effectively broadcasting the malaise, uncertainty and future shock of the British working class thru this f*cking grim time of ours.

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Ralph Heidel

Relief

LP | 2019 | EU | Original (Akuphone)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Ralph Heidel is one of the young musicians that represent the spirit of Berlin’s new musical ecleticism better than others. He is part of the avantgarde circles that mix modern jazz and contemporary classical music with elements of new electronica and experimental ambient music.

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Ramuntcho Matta

LP | 2023 | EU | Original (Wewantsounds)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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The poet, producer and visual artist Ramuntcho Matta is coming back to music with 96. 96 - as 96 hours were needed to record this new album. Ramuntcho points out that behind this dazzling recording, years of experience enabled him to achieve the mix of spontaneity and intimacy of the album. He was the man behind the success of Eli Medeiros' Toi mon toit. As a matter of fact, Ramuntcho Matta likes to put artists in the spotlight, as he has done with Brion Gysin, Don Cherry and many others. However this time he decided to put himself in the spotlight, with this record which sounds very 90s - with a wink to Bill Laswell for the bass - but still very contemporary. The album unveils a dark atmosphere, as if Bashung had lost himself in a Lynch film.

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Ramuntcho Matta

33,99 €*

10" | 2008 | Reissue (Med School)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Wewantsounds is delighted to announce the vinyl reissue of Ramuntcho Matta"s rare first self titled album from 1985, mixing funk, no wave and ambient soundscapes. The album released on tiny French label Mosquito was conceived as the soundtrack for French choreographer Régine Chopinot"s play "VIA" with costumes by fashion rising star Jean-Paul Gaultier. It was recorded at a buoyant time in Paris when Matta - who had just spent a few years in New York following the death of his brother Gordon Matta-Clark - immersed himself in Paris" underground scene. Consisting of 19 tracks alternating between funk and ambient soundscapes, the album has been remastered for vinyl from Ramuntcho"s masters and features a 4-page booklet with liner notes (Eng/Fr) by Jacques Denis in conversation with Ramuntcho and a 2p insert featuring the original poster for the VIA show by famed illustrator Marc Caro (Delicatessen).

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Randomer

Blind

10,99 €*

Release: 2008 / Reissue

Genre: Electronic & Dance

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10" | 2009 | Original (Med School)

Randomer

Scapegoat

10,99 €*

Release: 2009 / Original

Genre: Electronic & Dance

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U Can See Alex Park From Ere / Picky Eater

Rat Heart

7" | 2024 | UK | Original (Modern Love)

14,24 €* 18,99 € -25%

Chordial Identikit (Step By Step)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Tom Boogizm’s Rat Heart has already given us AOTY-worthy excursions into fizzing ambience, fritzed Arthur Russel-esque scuzz, flipped neo-soul and bleary-eyed bangers, always with those timeless hooks and wild-but-insular production. Never one to care much about fitting in with any one thing or another, Rat Heart evokes that golden stretch in the mid-late 80’s when heads got past the shine of new technology and started getting deep into the thing - you know the stuff - Thomas Dolby, Prince, Prefab, Scritti. In other words, Rat Heart is supremely well suited to the 45, giving sharp focus to his pop instincts, tightening the screws in a way that echoes contemporary work by Dean Blunt or Vegyn, you can imagine his thing properly going off too. In fact, you don’t really need to stretch the imagination too much with this one, the A side guided by the spirit of Sade via Prince in a slow love mode, Ben Vince’s Saxophone providing an added layer of moody romance. On the flip, it’s all Spanish guitar and broken (heart|)strings, just a solitary synth and that gutted vocal for company.

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Ratkiller

7" | 2023 | UK | Original (Mida)

12,99 €*

2LP | 2021 | EU | Original (Kompakt)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Ratkiller steps into daylight for a brief moment with two tracks of fizzy experimental shenanigans. Let it fry your brain. Step by step. On & on! Ratkiller is one of many projects by Estonia's outsider don Mihkel Kleis.

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Raxon

Sound Of Mind

12" | 1997 | EU | Reissue (F Communications)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Over the past decade, Egyptian-born, Barcelona-based DJ and techno producer Raxon, known to friends and family as Ahmed Raxon, has popped out a steady stream of twelve-inch singles, precision-tooled, for labels like Cocoon, Drumcode, Diynamic, Truesoul, and Ellum Audio. An alumni of Kompakt’s Speicher series – check the insistent, vibrating pulses of “The Ancient” and “Dark Light” on 2019’s Speicher 107 – with Sound Of Mind, Raxon has produced a long-awaited debut album that’s ready and aching both for the dancefloor and the boudoir, traversing the heat of the club and the warmth of the home.

“The idea of an album has always floated around in my head for the past few years,” Raxon confirms, “but it was never the right moment in my mind.” Instead, he’s been insistently pursuing his vision of deep, elegant techno, taking him from early DJ gigs in Dubai, including the legendary audio tonic night, then relocating to Europe on the recommendation of Herman Cattaneo, all the while allowing his experiences to inform and transmute his producer’s thumbprint. He’s an architect by training (though he gave architecture up for electronic music), which might explain why Raxon productions are so sturdy and well-designed; but remember also that architecture is a field filled with brave experimentation, something Raxon definitely draws on throughout Sound Of Mind.

Like many albums from the past twelve months, Raxon’s debut developed partly thanks to the unique social situation the planet has found itself caught within. “In the beginning of 2020 I started working on a few tracks with the album in mind,” he recalls, “with no idea of what’s to come in the next few months. As catastrophic as the situation was/is, I found myself in the studio; in a way the lockdown gave me that creative freedom in the studio, [to] try to tell my story through sound.” And indeed, there is something in the way of ‘life writing’ about Sound Of Mind, particularly in the way Raxon’s productions pay subtle homage, perhaps, to his formative listening experiences in the late nineties.

It’s no retro trip, but there’s plenty of variety here, and a few moments that’ll tickle the collective memory – see the prowling pulsations of the opening “Majestic”, the alien breakbeat action of “Vice” and “Journey Mode”, where the interstellar tones feel like Foul Play or Steve Gurley, the leaking gas and woozy keys that make “Droid Solo” so subtly destabilising, or the strobelight drones that sputter and flare throughout “El Multiverse”, where dappled organ tones fight it out with interdimensional transmissions, all sucked into the vortex of a late-night techno mantra. Beautifully sculpted, Sound Of Mind feels consummate, an elegant set that pulls Raxon’s vision into its sharpest focus. Alive with possibilities, it’s a fever dream of creativity.

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Ready Made

Opack

Recent Arts (Tobias Freund & Valentina Berthelon)

Release: 1997 / EU – Reissue

Genre: Electronic & Dance

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25th Anniversary Edition. Originally released on F Communications 1997. Opack premier EP on F Communications had already stood out for its unique programming and production. It had traced a furrow for French electronica "and established Readymade as an essential composer / producer / arranger, developing a falsely crazy and deeply melancholy universe fed by hip-hop, pop, electronica, dub, house and techno.

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Hypertext

LP | 2022 | EU | Original (Reiten)

22,99 €*