Search "backck" 1037 Items

LP | 2021 | EU | Original (Avon Terror Corps)

Release: 2022 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Preorder shipping from 2024-11-22

“There is a German satellite falling to earth!” a woman’s voice urgently announces. “She says, what if it hits me? Welcome to anxiety group.” A dense cloud on the horizon heralds a fresh onslaught from that infamous swarm of free jazz killer bees, a new project from self-described “conceptual kleptomaniac post digital free jazz outfit” Drone Operatør. Riding hard along the line between experimental electronics, blockbuster sound design and the loosest jazz improvisation, this rogue’s gallery of players, headed up by art world provocateurs Paul Barsch and Tilman Horning, take the fevered pulse of the relentlessly flattened now and note down four key observations which presented together make up Welcøme TO Anxiety Group. Coaxing lively theatricality from a continually provoked altercation between acoustic instrumentation and synthetic sound, each of the project’s four tracks provides a new perspective on what it means to improvise through technological mediation. “Here we are now,” write Drone Operatør. “22 after 2k. mp4 flex to 32bit float. The sax - the heart. The quadcopter - the brain. Duo d'Allemagne not wasting a life time learning jazz standards.” To open proceedings, our faithful operatør whips up exquisite dissonance with ‘Bot Møther’, smashing together squalls of saxophone and ripples of percussion with the sounds of sci-fi artillery, like an amphetamine-fuelled, midnight jam hammered out oblivious to an ongoing alien invasion. Slowing to a furtive creep for ‘German Satellite’, picking out keenly felt anxiety in suggestive plucks, stuttering clacks and strained wails, their cosmic warning signalling a neurotic climax before settling back into a post-coital skitter, flourishes of keys, both digital and analogue, harmonising with Drone Operatør’s weary welcome to the group. Eschewing the electronic completely for the cacophonous gallop of ‘Røhrstøck’, we’re invited to hold on for dear life during a mad scramble towards the ‘The Vessel,’ a staggering sequence of tumbling synthetic chimes, embellished with peals of ornate sax that flare up and out to illuminate the track’s irregularity, alternately submerged and retrieved through a subtle manipulation of filters. It’s a session that has to be heard to be believed, crammed with as much difficulty and as much revelation as any good therapy should. As Drone Operatør describe: “From iconic spamming to intellectual nonsense. Always never predictable, never not cheesy. Battery life cycles full of joy. You say you like free jazz. We don’t believe you.” Welcøme to Anxiety Group will be released on July 29th, 2021 by Participant, on limited edition clear red vinyl, and digital download via the Participant Bandcamp. The release will be accompanied by a series of films by Drone Operatør, featuring editing, FX, and CGI by digital artist Darío Alva. Text by: Henry Bruce Jones Participant is a record label and creative studio run by filmmaker William Markarian-Martin and conceptual artist Richie Culver

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Bad Tracking

LP | 2021 | EU | Original (Faitiche)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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On the event horizon for a while, at last we’re able to share the first full length hard copy from Bad Tracking - known in the flesh as Gordon Apps and Max Kelan. Edge-to-edge, this duo inhabit a cold realm where every endpoint is compromised and circuit board is fried. Their notorious and blistering live show immortalised in the thousand yard stare of its survivors - innocent bystanders who often struggle to erase the experience from their now, corrupted memory dumps. LP opener ‘Heart’ promptly sets the tone - greeting us with an auditory blue screen of death, jittering and shuddering forwards with no known resolution…. But it’s not long before blasts of harsh rhythmic noise erupt from static, dissociated fog. By ‘Black Rew’, proceedings reach full velocity before crashing abruptly to a halt. Beneath the squall, you can almost hear the drone back at the data centre as the operator pulls frantically at the underlay, struggling to distinguish sinew from circuitry and meshwork. Reboot the system onto Side B, and we’re even treated to a guest appearance from Harry ‘Iceman’ Furniss, who’s cornet eructs some of the only distinguishably organic matter on the record. Then, power on through more mechanical, pulsating chaos - until outro ‘Leisure Park’ hoses you off and sends you on your way. Hardwire yourself into this one.

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Trip Shrubb

Trewwer, Leud Un Danz

LP | 2021 | UK | Original (Mute)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Faitiche presents, for the first time on vinyl, a selection from the 84-track (!!) remix project originally released in 2013 as a three-tape set by Trip Shrubb aka kptmichigan aka Michael Beckett. Known to many from bands like Tuesday Weld or The Schneider TM Experience, Beckett remixed his way through Harry Smith’s famous Anthology of American Folk Music – a compilation of American folk, blues and country recordings released in 1952, soon to become key point of reference for the emerging folk revival movement. Having translated the title into the local dialect of the part of Germany where he lives, Beckett began reinterpreting all of its 84 tracks using sampler, effect pedals and loops – sometimes making several tracks in a single day. A colossal undertaking whose results are beyond accomplished and that is summed up in the selection of thirteen tracks on 'Trewwer, Leud un Danz'.

Murray Royston-Ward writes about 'Trewwer, Leud un Danz':

"Total sacrilege ... A collection of remixes of tracks from Harry Smith’s Anthology of American Folk Music which was originally released in its entirety. The album is titled Trewwer, Leud un Danz (sorrow, song and dance) which is drawn from an endangered ‘Low German’ dialect (lippisch Platt) and is poetically approximating Smith’s volumes Ballads, Social Music and Songs.

The hardware employed encompasses analogue, virtual analogue and digital. A primordial soup of electrical fields, striated granulation, micro-circuitry, molecular oscillations and mathematical manipulation; communicating directly with the guitars, zithers, mountain dulcimers, fiddles, jaw harps, banjos, harmonicas and human voices of 1930’s America: itself a reterritorialization of African and European folk traditions that reach back farther and farther into our collective pasts. (…)"

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Yann Tiersen

Kerber

High Atlas To The Sahara Desert

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Songwriter and multi-instrumentalist Yann Tiersen is back with his new album Kerber. With Kerber,a new chapter in Yann Tiersen's career opens. True to his nuanced and subtle sound approach, the composer offers us here a beautifully textured, highly immersive and carefully constructed world in which he invites us to enter. In this new album, the piano is the source, but electronics is the environment in which it exists: "The piano was a precursor to create something around which electronics could work." After spending the spring writing the piano parts, he spent the summer creating a bank of sound samples inspired by these parts and playing them on instruments such as the piano, mellotron and harpsichord. Stunningly beautiful, Yann Tiersen mixes classical influences with more contemporary influences on Kerber. An atmospheric and cinematic result captivating.

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Ross Alexander

LP | 2019 | EU | Original (Discrepant)

Gravity Pairs Colored Vinyl Edition

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Ross Alexander first came to our attention with Memorias Vol.1 - Bugandan Sacred Places, released back in 2017 on Sucata Tapes, it featured a mind altering mix of recorded sounds from a series of visited sites considered sacred within the Bugandan kingdom and session recordings with Ugandan musicians Albert Sempeke and the Nilotika Collective layered with his own original composition using the Yamaha DX7 and programmed FM synthesis. The result being an unique reconfiguration of new age vocabulary with East African traditional sensibilities. The tape quickly sold out and the new Volume of Memorias presented here arrives now on the mother label Discrepant, on Vinyl with an expanded sound palette appropriate to the format.

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Beacon

LP | 2018 | US | Original (Ghostly International)

2LP | 2015 | EU | Original (Badance)

Release: 2018 / US – Original

Genre: Electronic & Dance

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Beacon's third full-length record enters sight as a work of meticulous revision and refraction.
Returning home to New York in 2016, four years and several tours since the duo's first
release with Ghostly International, Thomas Mullarney III and Jacob Gossett knew the next
direction would be di-erent. Together they embarked on open-ended sessions, adopting a
more linear style of songwriting compared to their previous loop and texture-driven method.
They fundamentally constructed demos from piano chords and guitar phrases with vocal
melodies, editing iterations almost ad infinitum, looking through each from a multitude of
angles. Compositions expanded, while others pared back to where they began. Like the
bending of light, this abstractive and patient process outlines a space and scale in which
seemingly separate colors _ minimalist ballads, elaborate pop spirituals, and four-on-the-floor
dance sequences _ can coexist at di-erent speeds, fanning out with spectral cohesion. A
prismatic collection Beacon call Gravity Pairs. On Gravity Pairs, Beacon channel the
philosophy with pure pop mystique, slicing through dense and foggy dance and electronic
music apparatuses to create something familiar but unique, melodic but cathartic. Rippling
through these songs are iridescent synthesizer lines, stoic piano phrasing, dazzling percussion,
posh harpsichord, understated xylophone, and a crisp voice in complete control. Taken as a
whole, in their various combinations and compressions, these complementary and secondary
tones unlock the lushest field of color, a universe of light.

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Eduardo De La Calle

The Intellinet Prophecy

LP | 2022 | UK | Original (-ous)

Release: 2015 / EU – Original

Genre: Electronic & Dance

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After releasing « Mystic EP » in 2013 Eduardo De La Calle came back on Badance Records to release his first LP. This LP is composed by eight tracks that introduce you to « The Intellinet Prophecy ». Be prepared to dive into the Eduardo’s retro futuristic deep waters, from the first to the last beat.

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Noémi Büchi

Matter

LP | 2017 | EU | Reissue (Spectrum Spools)

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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Second Woman

S/W Clear Vinyl Edition

LP | 2017 | EU | Reissue (Spectrum Spools)

Release: 2017 / EU – Reissue

Genre: Electronic & Dance

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Future music duo Second Woman’s sophomore full-length for Spectrum Spools further hones their distinctive fusion of shapeshifting software sculpture and tessellated footwork. Shivering digital textures oscillate with and against algorithmically mapped percussion samples; smeared synthetic chords levitate in the distance; stabs of digital noise punctuate the mix in twitchy, time-distorting patterns. Their anamorphosis verges on ascetic: stark, splintered waveforms rendered into unique fiber optic hieroglyphs.

Multi-instrumentalists Josh Eustis and Turk Dietrich share a deep history going back to their days in the New Orleans ambient electronic community, as part of Telefon Tel Aviv and Belong, respectively. Even so, S/W pushes beyond their combined discographies to date, flexing impossibilities, building rhythms from arrhythmia, teasing veiled emotion from bold iterations of cold code.

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Second Woman

S/W Black Vinyl Edition

12" | 2022 | EU | Original (Gost Zvuk)

Release: 2017 / EU – Reissue

Genre: Electronic & Dance

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The Oaken Chariot

Biznes Time

Peter, Barbara, Beth & Friends

Release: 2022 / EU – Original

Genre: Electronic & Dance

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What is the sound of Russian dub? There is a storied history of attempts to adapt roots music to the Russian soil, but most of them can be attributed to reggae (the so-called 'northern' variety) rather than dub. Gost has history with the town of Smolensk. It's home to Gamayun, whose great album Filterealism was released on our label last year. Now Anton, one of Gamayun's members, presents his new duo Dubovaya Kolesnitsa (The Oaken Chariot). In his words, it has no connection to his other band at all, and is an attempt to go back to the roots of a genre that doesn't exist.

This isn't a serious theoretical proposition, but rather one with a sense of irony and joy: you can even feel it in the name of the collective. The Russian word for oak, 'dub', looks exactly like the genre, and the chariot emerged from the name for the group's jams - 'telega' - which can be translated as cart. All the music here is the result of live improvisations: no samples, just instruments (notably Vasiliy Shilov's bass). These recordings have been slightly edited, and even the almost indecipherable texts are freestyles. There's no place for real riddims in Russian dub: sometimes this record sounds like something akin to dub variations on underground Russian hip hop (and we mean that in the best possible way).

The music of Dubovaya Kolesnitsa is genuinely fun, free and mesmerising, but we could also approach it more conceptually. Theoretician Michael E. Veal describes dub as a 'postsong', taking the form of "linguistic, formal and symbolic indeterminacy". The duo's faintly eerie compositions call back to the notion of musical hauntology. There is an attempt, without any direct references, to reconstruct the feeling of something that was never there at all. A little nostalgic and very forwardthinking at the same time, the music of Dubovaya Kolesnitsa is best described in their own words. In the opening track, a voice can be heard saying "eto delo v lob", which means something like "it's a straight on thing". This is very direct, almost in the vein of folk music. This a great - and, it must be said, successful - experiment in searching for the soul of Russian dub. Simple as that.

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Blomfelt & Narby

LP | 2022 | EU | Original (Atomnation)

10" | 2022 | EU | Original (Kinetik)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Atomnation marks its 100th release with Peter, Barbara, Beth & Friends, the stunning debut album from Blomfelt & Narby. The immersive nine-track record arrives on August 26th and is a widescreen listen that fuses acoustic and electronic sounds with loose field recordings and tightly programmed drums.

Finnish-born Henrik Blomfelt grew up in Gaspar Narby's homeland of Switzerland, but the pair met on the dance floor of a pool club in Peckham while studying in London. Gaspar’s indie pop solo project was rewarded with a broad sweep of tastemaker tips from new music and electronica media alike, while Henrik had co-founded Resolution, an audio-visual collective and event series. The two eventually moved in together, but it's only a couple of years later, when Gaspar visited Henrik’s homeland of Finland, that they began making music together. They wrote half of the tracks that appear on the LP there, using an old piano, a cassette recorder found on location and their laptops. The second half was finished back in London.

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Hannibal Peck

Out There

LP | 2022 | EU | Original (Born Bad)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Zombie Zombie

Vae Vobis

Why Is It They Say A City Like Any City

Release: 2022 / EU – Original

Genre: Electronic & Dance

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w on Born Bad Records! French elektronica outfit Zombie Zombie is fifteen years old now, or 90 years in group-years (multiply by six: more than a cat, less than a dog). That would have been enough to rest on their laurels, with an Old Fashioned in each hand. But no: they went for full-on fat and a reverberated doomy elektro orgy. This time some choirwork hints at the arrangements of David Axelrod or Ennio Morricone, but still here's everything we love about Zombie Zombie, starting with their musical know-how, and the trio's musical tastes, which covers 95% of the styles listed by Discogs. Decidedly, Vae Vobis is not your average 122 bpm banger party soundtrack, although we are looking forward to seeing what DJs can do with Nusquam and Ubique" on a drunk crowd in tie-and-dye gowns. It's a well-balanced alum, worth listening to in one go, to let each trap-of-a-track work its magic. E.g. Ring Modulus, which, under its strong structure, houses extended-vocal-technique ornaments. Or Aurora, a megalomaniac jewel cut to open the circus games, the brass section of Dr Schönberg and Etienne Jaumet plays it peplum style. But let your ears marvel at Dissolutum, Consortium and the remainig tracks as well. Also digging backwards in the italo-disco crates, Zombie Zombie ended up in antiquity. As a result, they sing in Latin. Not the godforsaken mumbo-jumbo of the new age band era. Proper Latin, borrowed at Erasmus, by hiring a neo-Latinist to sequence the adages neatly. Until now, Zombie Zombie mostly pushed the song for covers (Iggy Pop, Sun Ra or New Order). For this new album, they built long harmonic progressions, along which sing Angele Chemin, a soprano familiar with contemporary music, and Laura Etchegoyhen, Swiss army knife of Basque origin. You know it, even if you haven't worn out your bottoms on the pews of a church: Latin sings well. "We wanted to remain mysterious, to send cryptic messages, to dive back into a language from another time, like the copyist monks of the Middle Ages". And like their hooded ancestors, they do whatever they want with the text, and add porn illuminations in the corners, for those who know how to listen closely. Riyl: John Carpenter, Cliff Martinez, Trentemoller, Darkside, Zombi, Goblin, Trent Reznor & Atticus Ross, 80s Synthwave, Soundtracks, Elektro Including forthcoming singles "Nusquam et Unique", "Consortium" & "War is coming"

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Ale Hop

LP | 2022 | EU | Original (Karl)

Myxomy (James Ginzburg & Ziur)

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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A download code is included.

The new album by the Peruvian-born / Berlin-based experimental artist Ale Hop was conceived in a context of immobility and provides six sonic vignettes that wonder about location, circularity, rootedness and experience. In collaboration with Ana Quiroga, Concepcion Huerta, Daniela Huerta, Elsa M’balla, Felicity Magan, Fil Uno, Ignacio Briceño, KMRU, Manongo Mujica, Moises Horta, Nicole L’huillier, Raul Jardín, Sukitoa Onamau, Tomas Tello.

Following her explorations on music's inherent fixation to geographic space and time, be it through the longing of home ("Apophenia" 2019) or scientific magnification of invisible worlds ("The Life of Insects" 2020), Berlin-based Peruvian-born experimental composer Ale Hop's fourth album, "Why Is It They Say a City Like Any City?", was conceived in a context of immobility. During the lockdown months, she started a process of remote collaboration, by sending messages, posted from various cities along a South American trip, to thirteen musicians from around the world. She journaled her impressions upon these places to an intimate fictional character while reflecting on matters of time, sound, space, cosmology and colonial memory. The thirteen musicians dialogued with this voice by
taking upon the challenge of responding to the messages with sound collaborations.

Field recordings, mouth drumming, drone cellos, electronic loops, arrhythmic rhythms and voices came back from this experiment. Ale assembled them, by layering, twisting and turning, into sonic vignettes that wonder about location, circularity, rootedness and experience, making it the first time she's set her guitar aside. Expect no answers to the album's title question, but an innermost psychedelic rumination.

"Despite the technological resources that appear to dilute distances, the simulation of closeness mirrored on the digital space is an emptied body, a state of precarity, a flat surface; unable to withhold an experience of exchange," Ale states. "So, I began this project by asking myself, how can we escape from the reduced experience of the virtual? The idea behind this experiment was that my messages and the places they describe could drive the composition, be a catalyzer, a score. Thus, to use geography as a tool to remember and imagine, to allow new soundscapes to emerge."

"Memory, diffuse and divergent, sometimes reaches out to the future in its search for form, taking shape from the reflections and echoes that come back … like throwing a rock in a pond and having a rock thrown back at you." The release of "Why Is It They Say a City Like Any City?" is accompanied by a 50-min audiovisual installation that will premiere at CTM 2022 Exhibition in January, which was created in collaboration with the Mexican technologist and artist Moises Horta. For this piece, an Artificial Intelligence multi-modal neural network was fed with readings of the messages written by Ale, synthesizing them into free-flowing images. The visual imagery resembles the way memory works
when triggered by words, by traveling freely through mental images unfolding them into openended assemblages of spaces and temporalities.

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Myxomy

LP | 2021 | UK | Original (Subtext)

LP | 2021 | EU | Original (Blank Mind)

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Artistic collaborations don't have to be exhaustive, competitive or combative. And for Berlin-based producers James Ginzburg and Ziúr, their work together as myxomy has been almost effortless. Both artists bring with them a deep history of recording in vastly different circumstances: Ginzburg has worked on bass music, folk, experimental techno (as half of Emptyset) and experimental drone, while Ziúr played in a number of bands before settling into her current explorative electronic mode. So when they started working together in 2020, it was their respective backgrounds that provided the touch-paper for an explosive artistic head-to-head.

Ginzburg instigated the process by sending Ziúr beats he'd made in Bristol in a former life, and Ziúr, fresh from finishing her PAN-released third solo album "Antifate", set about sculpting them into completely new forms. In response, Ziúr dispatched vignettes to Ginzburg and he did the same. As they exchanged ideas back and forth and lapsed into absurdity, the songs followed suit, evolving from raw concepts and loops into proper songs as both Ziúr and Ginzburg traded melodies, lyrics and production tricks. The duo's fragmented sketches and scribbles took on new life, channeled, refined and re-invigorated as they developed into anxious, hybridized pop jewels.

Their surprising stylistic choice is revealed immediately on opening track 'Sloppy Attempt', a fractured mood stabilizer that dissociates from Bristolian trip-hop into glossy android pop. Ziúr's singing voice carries the track into a sonic black hole, mutated into an alien gurgle as she gently coos the prophetic words, "a sloppy attempt won't cut it, no no." And as Ginzburg takes the reins on 'A little opaque', singing over Ziúr's twisted neon electronics, it's clear that both artists have pushed each other outside of their comfort zones, providing the reassurance and comfort necessary to evolve.

On 'In and Until', they find an exact median between their two most recent albums. Twanging hurdy-gurdy sounds remind of Ginzburg's 'crystallise, a frozen eye', compelled forward by brittle foley percussion we last heard on "Antifate". A scalding industrial boil of deranged synthesizer squeals and rolling drums parts like the Red Sea on 'Toxin Out', cooling to a crust for Ziúr's half-sung words to echo overhead. "Burn the bridges it's a choice, eat the rich, and throw up on the fuckbois."

"Myxomy" isn't an overtly political album, but driven by a desire to create and a shared philosophical space, Ziúr and Ginzburg are naturally outspoken. Their vision of pop is twisted through history and floated on frustration, growth and constant reinvention. It's a unique mix of polar elements - light and dark, noise and silence, joy and melancholy - that centers itself on one important theme: together, we're far more powerful than we ever could be alone.

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V.A.

Comme De Loin

LP | 2021 | EU | Original (Discrepant)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Put together during the first lockdown of 2020, this record explores the eerie and the dreamlike - a moment in time when reality felt like fiction; a figurative void in real life. Translating as ‘from afar’ or ‘from a distance’, ‘Comme de Loin’ is derived from Clara de Asís’ recording; exploring the ambiguity between ‘the concrete space and the imaginary space’. This collection of music unites a diverse range of artists interconnected through an aesthetic quality, a freedom in exploring the void. It’s 4am and I’m standing on some grass. There’s a small stone at my feet - a perfect circle on all sides - so I pick it up and walk over to the canal. He steps out from the bushes and I throw the stone into the air with as much height and backspin as I can. His shiny eyeballs roll up to watch it spinning in the black. It slows, stops, then falls to earth. When the stone hits the water there is no splash, just a short, dull thud. He doesn’t reply and skulks back into the bushes on his toes. - Jacob Dwyer Mastered by Marco Pellegrino @ Analog Cut First run of 200

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Kink Gong

Zomia Volume 1

LP | 2021 | EU | Original (Affine / HHV Records)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands. Zomia Vol.1 takes the conceptual idea of Zomia, proposed by James C Scott in The Art of Not Being Governed, an Anarchist History of Upland South East Asia, to construct its very own mythological soundscape inspired by a semi-utopic region where state rules don’t apply. Zomia might be (almost) gone but Kink Gong is keen keep its spirit alive by releasing a series of albums celebrating the region’s quasi mythological features.

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Wandl

Womb

LP | 2020 | EU | Original (A Colourful Storm)

Release: 2021 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Limited edition of 300 copies on black vinyl.

Wandl, the progressive 25-year-old producer, musician and vocalist from Vienna, is back with his second solo album, "Womb". Following the success of his debut release "It's All Good Tho" (2017), an extensive tour with Bilderbuch in Germany, a performance at Primavera Sound in Barcelona (2018) and several artistic projects (2019), "the master of delayed loops" now delivers a self-produced and highly condensed work of about 25 minutes that focuses on the dark chords of the emotional keyboard.

With "Womb", Wandl engages in musical interspaces where potential clarity gradually dissolve into the nebulous blanket of the night. In the midst, Wandl's distinct voice unites with his characteristic soundscapes and the warm euphony of the piano. His songs deal with self-doubt, emotional inhibition, freedom found in loneliness, undesired social acknowledgement, transcendence and the arrival in the womb of an unexpected maternal reconnection. In the end there is even yodeling.

The usual platitudes of the new economy as crude maximization strategies are thus safely ignored: Wandl is a genre unto itself. Something for your mind, body and soul – in the best sense of the word.

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Beequeen

Winter

21 Metres To Hebden Bridge Record Store Day 2020 Edition

Release: 2020 / EU – Original

Genre: Electronic & Dance

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A Colourful Storm presents a new album by Beequeen, the duo of Frans de Waard (Kapotte Muziek) and Freek Kinkelaar (Brunnen). Over two long-form pieces, new material from 2020 and almost-discarded fragments dating back to 1988 are collaged to form a brand new composition. Think woodblock, guitar, static radio signals, ethereal ambience. An honourable addition to Beequeen’s discography and a beautiful piece of the Dutch avantgarde with historic ties to Edward Ka-Spel, De Fabriek, Merzbow and Nurse With Wound. Mastered by Peter Johan Nyland with full-colour sleeve photography by Alfred Borland.

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Snapped Ankles

LP | 2020 | UK | Original (The Leaf Label)

Multiquest Niveau 1: Camoufle

Release: 2020 / UK – Original

Genre: Electronic & Dance

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Record Store Day 2020 Release.
Limitation: 1500 copies.

21 Metres To Hebden Bridge is a ragged-edged document of Snapped Ankles’ 2019 live show, during which they sold out and sold up venues the length and breadth of the country. The woodwose donned their sharpest suits, and took their estate agent guise on the road. The infamous log synths became For Sale signs. The venues were measured up - 21 metres from the Hebden Bridge Trades Club stage to the pool table (accurate as of 12th October 2019). A survey completed via primal, driving rock and roll. A sales pitch, a handshake. Another deal sealed, before driving to the next town and doing it all over again.

The hits are racking up: I Want Minutes Back, Rechargeable, Drink and Glide and Letter from Hampi Mountain all present and incorrect. A dancefloor that flexed so hard the room shook. While one woodwose goes to work with a tape measure, the others beat hell out of their instruments like their life depends on it. Foliage, sweat, dancing and the art of the deal. Stunning Luxury. 21 Metres to Hebden Bridge

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Ramzi

LP | 2019 | EU | Original (Fati)

LP | 2019 | EU | Original (Collapsing Market)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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The Grey world seems still. To the untrained eye the very briefest shimmers of light do nothing to break this mirage, they pose little threat to the zombi's sense of reality. RAMZi is moving, unseen. At this stage the workings of it’s plan is cloaked in camouflé.
This time, under the guise of a poodle moth hidden by nimbi, RAMZi continues to shake out sonic spores across the planet, coming to material form for the 4rd release on it’s own FATi records. A battle-talisman for it’s cosmic and spiritual guerrilla war against the zombification of the world, the first in the Multiquest series collects 11 quests, each one taking place on a different landscape, always championing interspecies harmony. Multiquest Niveau 1: Camouflé is the weaponisation of our unconscious creativity, to be used with deadly accuracy before slinking back into invisibility.

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Ron Morelli

Man Walks The Earth

LP | 2019 | EU | Original (Into The Light)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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L.I.E.S. Records founder Ron Morelli departs the club to investigate atavistic ambient themes in his 4th solo LP and debut for the Paris-based Collapsing Market. For the first time on record, Morelli mostly mutes his drum track channels and allows his sounds to freely float in imagined air. In the process he crisply reveals a latent, introspective side to his music that’s been missing or occluded by noise in his clutch of grubby sores issued by Hospital Productions since 2013 - back when he changed his address from Brooklyn, NYC to the heart of the Parisian electronic music scene. As such the 8 bony diffusions of ‘Man Walks The Earth’ mark distance travelled from the gobs of 2013’s ‘Spit’, documenting a change of mindset from grizzled and paranoid to a more soberly contemplative and drily poetic expression of self.

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Jason Letkiewicz

The Reflecting Pool

LP | 2019 | EU | Original (Running Back)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.
The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.
The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.
Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.
With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

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Tiger & Woods

Aod

2LP | 2018 | EU | Original (Dirt Crew)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Dub Taylor

Caves & Cages

2LP | 2018 | EU | Original (Running Back Incantations)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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An artist as versatile as Alex Krüger is a rare find these days, not only did he release numerous EP’s and albums as Tigerskin or Korsakow since the mid 90s, he’s also been on the forefront of the “Dub Techno” movement since 1999. Now ten years after his last album on “Opossum Recordings” Alex is back with this well crafted genre bending full length “Caves & Cages". From deep techno cuts through rippling ambient excursions to funky reggae infused live jams with Haushausen this work is yet another milestone in the creative bubble Alex lives in (i.e. his studio).

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Andreas Grosser

Venite Visum

LP | 2016 | UK | Original (Discrepant)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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2LP Gatefold, Running Back welcomes Andreas Grosser for the start of it’s non-dancefloor series “Running Back Incantations". Released in 1981 on UK’s York House Recordings as a cassette tape only. Now carefully transferred from an archived tape, remastered and compiled on a double album for the first time, it features the previously unreleased and not less mesmerizing “The Quantum Leap".

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Gonzo

Dies Irae

LP | 1980 | US | Reissue (Palace Of Lights)

Release: 2016 / UK – Original

Genre: Electronic & Dance

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Gonzo is the ''why so serious?'' moniker of musician, DJ and discrepant head honcho, Goncalo F. Cardoso. Since starting the label back in 2010 gonzo has released a series of limited collage tapes on the label, “Dies Irae” being the very first one back in 2012. He now decides to give it the vinyl treatment with specially commissioned artwork from Belgium artist, Elzo Durt. “Dies Irae” (aka Latin hymn sung in a mass for the dead) explores the themes of religion, sects, cults and judgement day. It unapologetically stitches together field recordings, sound generators, random loops and 'unfinished' compositions to accompany weird spoken word moments or uncorrectable views and opinions. It kick started the self-penned Gonzo collage style and whether you like or not he's been at it ever since. Featuring spiritual leaders, enlightened gurus, cult leaders and good old fashion lunatics. Guest appearances by Jim Jones, David Koresh and Harold Camping among others. Iain Chambers plays guitars when you hear one.

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K. Leimer

Closed System Potentials

The Future Sound Of London

Release: 1980 / US – Reissue

Genre: Electronic & Dance

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Following the RVNG reissues of A Period of Review (ranked the No. 7 reissue of 2014 by WIRE) and Artificial Dance (ranked the No. 2 reissue of 2015 by WIRE) Closed System Potentials, recorded in 1979 and originally released in 1980, finds its way back to vinyl in a completely remastered + expanded edition. The LP includes two previously unreleased tracks plus the included digital version includes an additional two unreleased tracks, all taken from the original CSP sessions. Also included is a four-page insert featuring an essay by Paul Dickow. Remastered by Taylor Deupree at 12K.

K. Leimer founded Palace of Lights in 1979. In addition to his own work, PoL has released albums by Ang Mo Faux, Marc Barreca, Roy Finch, Michael William Gilbert, Steve Peters, Savant and Gregory Taylor. Leimer’s early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s – his current catalog includes 16 still in print albums plus 2 collaborative albums with Marc Barreca.

Leimer’s work is included in the collection of The British Library.

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Archived 8

LP | 2015 | UK | Original (Jumpin & Pumpin)

LP | 2014 | UK | Original (Soundway)

Release: 2015 / UK – Original

Genre: Electronic & Dance

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The Future Sound of London's long and varied history stretches back almost 25 years and as such a vast amount of unrealised material exists in the FSOL Archives.

Archived 8 brings together another 12 such tracks; in some cases these are completed but unreleased songs from that time, in others the songs have been reconstructed or enhanced and then further mixed to form the journey. This album is not just a collection of random off-cuts. It is a fully realised album, worthy of sitting alongside the rest of the band's critically acclaimed work.

Did you know - The Future Sound of London were the first band to distribute their music via the internet, in 1994.

Did you know - The Future Sound of London were the first band to use ISDN technology to transmit their music via the internet and also to radio stations across the world - a system that has now been adopted by the radio industry worldwide.

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My Panda Shall Fly

Tropical

LP | 2024 | UK | Original (Hell Yeah)

Release: 2014 / UK – Original

Genre: Electronic & Dance

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A kaleidoscope of rainbow textures and rhythms disperse into the exotic soundscape of ‘Tropical’. Electronics, real folk instruments and noise-making objects feature here generously on this six-track concept album, blending together a sonic palette influenced by a rich variety of music and people and places.

The material was initially written over the course of a few months during what Seneviratne called "a beautiful burst of inspiration". Working with veteran producer Asier Leatxe Ibanez d'Opakoa (Electric Lady Studios, NYC), Seneviratne then set about disassembling all the songs and re-working them meticulously, enriching the sounds by adding a huge range of live instrumentation, before processing the audio through vintage analogue studio gear.

Suren Seneviratne, born in Sri Lanka before settling in London in 1996, first caught the attention of the music world with a remix that featured on Pitchfork back in 2010. Since then he has released a plethora of diverse records, gaining support from the likes of Clash Magazine, The Fader, Mixmag and Dazed Digital, as well as regularly touring internationally. He has also remixed the likes of The Weeknd, Stay Positive & Little Boots as well as appearing at festivals like BBC Hackney Weekender, Outlook Croatia & Glade as well as performing at prestigious venues such as The Design Museum, Tate Modern & Barbican.

My Panda Shall Fly has gone through many an incarnation but it was around seven years ago that music from other continents first began piquing his interest, filling his head with new sounds that eventually seeded the ideas for this project. On ‘Rainfall’ he works with the sound of tongue mallets, cymbals and synthesized bass while on ‘'Yapeyú' he manipulates the sound of pan pipes with poly-rhythmic Rhumba percussion.

With the release of ‘Tropical’, My Panda Shall Fly has yet again set himself apart as one of the most unique contemporary electronic musicians around today.

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Dawn Again

Every Dog's Hotel

LP | 2023 | UK | Original (Fascination Street)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Hell Yeah kicks off 2024 in fine style with a new album from Australian producer Dawn Again. Every Dog's Hotel is a dreamy and breaks-driven downtempo excursion the artist has dubbed "pubwave."

Melbourne-based Nick Verwey has been crafting solo and collaborative cuts for the best part of a decade on labels like Houseworx and Enjoyment Division. He operates in a world where danceable grooves are paired with laid-back moods. His lo-fi sound is both sunlit and sunset-ready and is for grown-up crowds who like to get down on rooftops, sandy enclaves, or laidback living rooms. This new album, however, he describes as "pubwave" and was conveyed during lockdown when Nick and his friends were missing their favourite communal drinking spots.

"My friends and I were missing the pub, missing dance floors, missing being able to hang out and have fun," he says before explaining that, at the time, he was listening to a lot of 90s and 00s downtempo chill out by the likes of Heights of Abraham, Pork Recordings, Baby Mammoth and Bullitnuts. He came up with the idea of creating something similar but in his own way, initially with spoken word poetry from his friend over the top, though when it came to recording that never quite worked so it was shelved until later when Nick?tried again without the vocals. "The whole project has been more than years in the making. I'm super proud of the end result. I think it still nails the dreamy, Balearic "pubwave" vibe and comes with a gorgeous cover painting by my mate Holly Hunt. It's an old English haunt called the Old Neptune, and what nails the brief more than a pub that is literally on the beach?"

The title track is a welcome opening with leggy breaks and soft shakers encouraging you to sway while gazing up at the melodic stars before 'Foam Party' gets more zoned out with its vaporous chords and gentle drum tumbles. 'Journey Through The Schoonerverse' is a suspensory trip to the clouds with effortlessly loose breaks and painterly synth smears, 'Wonky Friends' has a more weighty but still dubbed out and slow motion house kick and 'Kneverending Knockoffs' keeps the energy rising with raw percussion and acidic twitches that journey through a heat haze on a warm afternoon. Closer 'Backyard Paradiso' is the horizontal finish that washes over you like rays of sun and gently breaking waves to leave you relaxed from head to toe and digital bonus 'Hard Earned Thirst' is an extra chance to luxuriate in Dawn Again's richly layered synths and leisurely breaks.

The superbly welcoming Every Dog's Hotel is a place to pull up, sink a drink, and soak into some lavish and escapist downtempo sounds.

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Oslo Twins

Back To Nothing

12" | 2023 | UK | Original (Invisible, Inc)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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The band's debut EP 'Back To Nothing' is subtly influenced by dance, industrial and lo-fi music of the 80s and 90s, adorned with distinctive, hooky pop melodies. The new EP includes previously released singles “Breath”, “Miss Yesterday” and title track “Back to Nothing”, all receiving notable support from BBC 6 Music, So Young Magazine, The Independent, DIY Magazine, Rough Trade, The Line Of Best Fit, amongst others.

The songs on Oslo Twins' debut EP vary in mood from the danceable anthem “Miss Yesterday” to the rhythmic and otherworldly “Basilica”, all connected by a sense of distant places and the tension between unity and isolation.

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V.A.

Mondo Organico

CD | 2023 | US | Original (Important)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Invisible Inc is back with another remarkable release, this time diving even further into ambient, spiritual and folk-infused psychedelia.

“Mondo Organico”, as the name suggests, is a concept compilation that captures the “organic” side of Invisible Inc. The use of non-electronic instrumentation is a familiar theme explored by the label previously with the likes of Komodo Kolektif, Immaculate Rivombo and Peter Power...but this time the instruments and voices, tranquil and meditatively hypnotic in places, display an even deeper spirituality. Featuring the talents of Andi Otto and his fello (electronic cello), Anna vs June's ethereal vocals, Tyler Ov Gaia's zoned-out mantra rhythms, Pieter Kock's 8-minute bass and guitar psych odyssey, as well as label favourites Sordid Sound System and Puma & The Dolphin, the record is enthralling and mesmerizing from start to finish - and yet another notch in Invisible Inc's rather idiosyncratic belt.

This record was pressed on eco vinyl. Everything from the sleeve to the inks are recycled too, in an attempt to address some the environmental issues we face today, albeit fractionally. “Mondo Organico” is the future.

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Alvin Lucier

One Arm Bandits

LP | 2023 | EU | Original (Macadam Mambo)

Release: 2023 / US – Original

Genre: Electronic & Dance

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One Arm Bandits is an hour-long piece in four parts, scored for four cellists. The cellists play only open strings, thus using only their right arms, never fingering the strings with the left hand. Recorded in Alvin Lucier's dining room, this work features cellists Tyler J. Borden, Laura Cetilia, Charles Curtis and Judith Hamann. Lucier oversaw and produced the recording, and approved the final takes.

One Arm Bandits was an important project for Alvin Lucier. The idea for the piece goes back to conversations we first had in 2007 about the relationship between bow direction changes and shifts in phase. In the summer of 2015 we worked these ideas out in long sessions with Judith Hamann and T. J. Borden in New York, and the resulting piece received its first performances in Graz and Zürich in 2016. Alvin thought of One Arm Bandits as a radical statement, I think primarily in view of the severe reduction in material – even in the context of his music – and the physical restraint required in performance. The unusually long duration attests to Alvin's recognition that an expansion of scale was required in order to magnify acoustical details of such subtlety.

In November 2021 Alvin saw proofs for the CD artwork. He passed away at the age of 90 on December 1, before he could see the album in its final form. Work with Alvin was always joyful, stimulating, and surprising. We dedicate this recording to the continuing spirit of this remarkable musician and friend.

[Charles Curtis]

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Twoonky

Ottico

LP | 2023 | EU | Original (Alien Transistor)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Twoonky, the brothers duo from Brescia (Italy) formed by Michele and Simone Bornati, is back on Macadam Mambo for a second album. After their brillantissimo ‘Dezzo’ from 2019, which was well noticed by the underground scene, the new opus ‘Ottico’ won’t leave you static. This is the kind of masterpiece that the more you listen, the more you love. At the opposite of grandiloquent music that would have immediate effect, ‘Ottico’ is much more subtile, surfing on a cool wave of styles, a collage of vibes going from 70’s Kraut to 90’s Trip-Hop, where the analog sounds of guitars, synths, distorded voices, saxo, samples and electronics FX match so well, creating an ensemble in the unique mutant flow of the Twoonky’s that makes it so intemporal and so modern in the meanwile. It’s not about being curious, it’s about being open on crossing boundaries, like they are used to do with their unique place called Spettro in Brescia, where all the avant-garde of the electronic scene is coming to perform. ‘Ottico’ could be a kind of representation of the spirit of Spettro, and possibly one of the most interesting release of 2023. We don’t know why, but it’s true, Italians do it better 

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Saroos

Turtle Roll

A Wave From A Shore Bleeding Glacier Colored Vinyl Edition

Release: 2023 / EU – Original

Genre: Electronic & Dance

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How about you forget for a moment all the things you thought you knew about Saroos, okay? First of all, let’s forget about all the other projects these guys are part of. Why? Because thinking of The Notwist, Driftmachine, Lali Puna, Tvii Son, to name “only” half a dozen things, might be misleading in this case. What’s more, please make sure to forget the fact that they’re mostly filed under “instrumental,” “post-rock dub,” or “kraut-flavored indie-tronica,” you know, all that. And most importantly, let’s forget that they’re a closed, three-minded system: a fixed and fully committed entity of three. No more! Known to reinvent themselves in less drastic ways, Christoph Brandner, Max Punktezahl and Florian Zimmer, have opened the floodgates to Collaboration – making things open, porous, different, new, in many ways, on their quietly explosive latest album “Turtle Roll”. Announced by 2021 singles “Tin & Glass” feat. Ronald Lippok and aptly titled “Frequency Change” feat. Leila Gharib aka Sequoyah Tiger, the sixth full-length sees the Berlin threesome add another handful of vocal guests along the way – thus turning into shape-shifting full bands and/or temp quartets, perfectly at home in about as many genres as there are tracks on the LP. Kicked off by the motoric B-funk (Berlin represent) of the Lippok-assisted “Tin & Glass,” complete with retro-futuristic effects, spoken declarations, and non-terrestrial vibes, it might not be Daft Punk playing at their house, but a byobv (vibe) house party of musical minds isn’t too far off, actually! Once again as much a mixtape as an album, the mood, vibe, and color changes with every new collaborative tune: From ethereally soothing and dreamy (“The Mind Knows” feat. Solent from Canada) to clap-driven and wildly hypnotic (that pounding “Mutazione,” featuring vocals and rhymes courtesy of Eva Geist from Italy) and almost radio-ready (“current, bass-heavy alternative indie hits only!”), when that stadium-sized oomph of “Frequency Change” feat. Sequoyah Tiger arrives around halfway in. Elsewhere, Japanese guest Kiki Hitomi (WaqWaq Kingdom) adds exotic ecstasy to the hypothermic beatscapes of “The Sign,” while Ukrainian vocalist Lucy Zoria pushes poetic layers over “Southern Blue”’s wonky foundation that hardens and finds more direction with each round the beat clock takes – until it’s impossible to escape that undertow. “My baby makes it better,” sings Caleb Dailey on the faithful and still-loving “Being with You,” a sepia, softly churning look back by the US songsmith, a sweetly shimmering ode to a relationship. Speaking of foursomes, there’s four instrumental tracks scattered throughout the new LP – ranging from a painting in crystal clear colors of night (“Organ of Recall”) to the highly dramatic sonic tapestry of “Thicket” (actually feat. vocals as well). Before the perfect goodbye of slow-moving album closer “Here Before,” “Passed Out” sounds like Odd Nosdam finding his feet after blacking out on a German carnival. Titled after a surf maneuver that allows you to break through the crests on the way out, Saroos have skipped the obvious waves with “Turtle Roll” – creating their own kind of sonic “Hang Ten” by adding 7 new voices to the mix.

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Disassembler

LP | 2022 | US | Original (Western Vinyl)

20,24 €* 26,99 € -25%

LP | 2017 | US | Original (Now-Again)

Release: 2022 / US – Original

Genre: Electronic & Dance, Classical Music

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Via tape loops and synth motifs sent from LA to NY, sound artist Christopher Royal King has teamed with violinist and composer Christopher Tignor toward richly timbral, emotionally gripping works of spontaneity that unfurl immense details with each replay while marrying west coast outboard-ambient to studied east coast modern classical. The resulting debut album, A Wave From A Shore, exhibits both artists' sonic identifiers falling in and out of cooperation before binding into a new entity distinct from either's solitary palettes. A visual artist whose work includes album covers for Thrice and Deftones in addition to video bumps for Adult Swim, Christopher Royal King spent his teenage years cutting his teeth on heavy metal and punk before gravitating, quickly and perhaps unexpectedly, toward experimental composers like Philip Glass and Terry Riley. This unlikely seesaw of influences led directly to King forming the post-rock pillar This Will Destroy You with fellow San Antonio native Jeremy Galindo. Similar to his former band's output, King's solo meanderings impart a mood of buoyancy and contemplation while hinting at darker, more shadowy hues beneath the glimmer, making his music stand apart from the glut of New Age droners and modular-synth influencers. Where the genre at large is sometimes guilty of being the spiritual equivalent of a topical balm, King's aesthetic is more like a rigorous therapy session that's as healing as it is confronting. Christopher Tignor first crossed paths with King in the mid 2000s, lending string arrangements to This Will Destroy You releases, and sometimes touring as a live member of the group. Over the years, Tignor has mounted an impressive discography under his own name and with his groups Slow Six, and Wires Under Tension, all while completing Princeton's PhD program for music composition, and NYU's Masters of computer science program. He put the full power of his dual studies to use, arriving at the illusionist-like meld of sound design and physical performance that his current-day solo efforts portray. In his own words "I banned backing tracks, click tracks, and even live looping - anything that would enforce a strict grid. All sounds originate from me kicking a drum, playing the violin, or various natural percussion sources. I built software that lets me do all this. This offers an unprecedented amount of control over this music's elastic sense of time." King's own music follows parallel rivulets of happenstance, but in desktop form, his array of analog gadgets in perpetual dialogue with one another as he omnipotently guides and documents the chatter. Tignor's lucid string work frames King's impressionism, sharpening the focus while being softened by the textural overgrowth. Their debut A Wave From A Shore does its part to rescue ambient music from its purely anesthetic functionality, offering instead a profound, often ravaging emotional experience for listeners who wish to be moved and not just lulled.

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Rodinia

Ex Anima

20,69 €* 22,99 € -10%

LP | 2023 | EU | Original (Sleepers)

Release: 2017 / US – Original

Genre: Electronic & Dance

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Now-Again Records has enjoyed a long and creative partnership with Munich-based multi-instrumentalist JJ Whitefield, creative force behind the Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns.

Rodinia, his latest project, is quite different than anything that’s come from his oeuvre to date, but follows in the line of the Poets of Rhythm’s great “Discern/Define”, as it reaches back to Krautrock’s experimental heyday but pushes its boundaries with a post-hip-hop approach.

Rodinia’s first album, “Drumside/Dreamside”, featured two, side-long suites, with synthesizers taking the fore on an overarching ambient approach (featuring over-dubbed reeds, drums and guitar, and self-made Moroccan field recordings introducing the project on its Drumside.)

“For Ex Anima”, Rodinia has incorporated more of the mid-70s approach of Krautrock forebears Neu!, Cluster and Harmonia, with shorter, self-contained songs. The result is winsome and exploratory, respectfully distanced from the past’s trappings while celebrating a musical spirit still very much alive and influential. With original artwork by Jason Jagel (DOOM’s Mm Food, Operation DOOMsday).

Electronic Krautrock in line with Cluster, Harmonia, Neu!, Popul Vuh from Jay Whitefield (Poets of Rhythm/Whitefield Brothers/Karl Hector & The Malcouns). The album includes a download card.

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Bobby Beausoleil

Ghost Highway

20,89 €* 21,99 € -5%

LP | 2024 | EU | Original (Nous Klaer Audio)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Ghost highway is a compilation album featuring some of the greatest recordings made by Bobby Beausoleil dating back from the mid 70s to his most recent works

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Nicola Cruz

Kinesia

LP | 2022 | US | Original (Gilgongo)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Nous'klaer Audio proudly presents Nicola Cruz's latest full-length album, Kinesia. On his third studio album, the Ecuadorian producer masterfully blends rich studio sessions with deep analog synthesis. Kinesia invites the listener to channel an inner voice - to pick up thoughts, words, and messages as if ancient information traveling through time has been received. This album functions as a form of 'antenna,' translating these ideas into compositions and movement. The album begins with a 5/4 rhythm structure, summoning the voice of machina into a textural atmosphere, led by Perma, Nicola's vision of an infinite breaks vortex, and sustains the tension with the meditative Telepathine, a substance fictionally associated with telepathy. Regardless of the tempo, each track is intricately laced with chants, subtle percussion, textures, and spacious details that draw you back for more. With Kinesia, Nicola Cruz continues to evolve his signature sound and takes you along for the ride. While the album is crafted for a deep, introspective journey, the kinetic influence remains ever-present on dance floors.

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Sissy Spacek

Blear

Space Time Continuumfluresence Ep 2022 Remaster

Release: 2022 / US – Original

Genre: Electronic & Dance

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An entropic vortex of full-room tear-up texture. Duo lineup of Charlie Mumma and John Wiese. Originally released in 2018 on Lp/cs, this crucial CD reissue brings back into a print a pinnacle of modern, harsh musique concrète - with nearly 15 minutes of bonus material!

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Space Time Continuum

LP | 2022 | UK | Original (Musique Pour La Danse)

LP | 2021 | EU | Original (We Jazz)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Musique Pour La Danse presents another collaboration with SF-based Jonah Sharp following the first ever vinyl release of his Reagenz LP with Move D in 2021.

This time, the iconic Flurescence EP by his Spacetime Continuum solo project gets the reissue treatment, after being released on the Scotsman's own Reflective Records back in 1993 with an unforgettable holographic center label.

There is a good reason why this EP, actually Sharp's debut release, was so hard to find at reasonable prices and why it has appeared in countless compilations and top lists in the last 3 decades with no sign of slowing down.

Truly timeless, this masterclass in forward thinking electronic music focuses on deeply textured, masterfully arranged, and skillfully morphing tracks with a cosmic tinge that feels warm instead of cold, and rewards repeat listens.

Prepare to bend the very fabric of spacetime during the 28 minutes of heavenly chill out and celestial techno/trance contained in this 12" black hole, remastered and repackaged for the 21st century. Title track Flurescence is one of the very few that actually captures the ambience of those magical floating years and a trip to the edges of outer space that never ceases to amaze, while Transmitter is a deep dive to the bottom of an ethereal ocean of fur suspended in time, with mysterious samples from the producer's answering machine to boot. Drift is a bona fide gem of rhythmic psychedelic electronic music, breaking down and projecting early trance, IDM and electronica ideas like a prism turning revealing a colorful spectrum of colours after being hit by light. Finally, the fast-paced dancefloor weapon Drug#6 is up there with Choice's Acid Eiffel, Resistance D's Cosmic Love, and Red Planet's Cosmic Movement in the intergalactic pantheon of narcotic, acid techno cuts.

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Kaukolampi

We Jazz Reworks Volume 1

Hidden Cymbals (Bass & Drum Library)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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We Jazz Records is delighted to share the first edition of our new series of reworks with you . Our aim is to invite some of our favourite artists to take a fresh look at our album releases with the interval of 10 full length album releases. In other words, the invited artist has complete freedom to choose (or not to choose) any sample material from their allocated range of ten We Jazz Records albums, and there are no artistic boundaries of what they should do with the material. Each artist will then create a new musical piece based on the sample material and whatever instrumentation they wish to add to it.

As our first guest, we have the great Finnish producer Timo Kaukolampi who goes by his last name only when creating deep and mobile soundscapes, that never fail to evoke emotions and thoughts in the listener. We have long been fans of his work, released under Kaukolampi, Kaukolampi & Puranen (a duo with Tuomo Puranen), and on the vast discography of kraut-informed space rockers K-X-P.

As this is the first of our new series, Kaukolampi's task at hand is to dive deep into the first 10 We Jazz LPs, ranging from WJLP01 Bowman Trio released in 2016 to the 2018 release WJLP10 Alder Ego "II".

With the initial edition of any series comes the freedom and necessity of defining a new direction. We trusted Kaukolampi would be the right person to show us what the idea will be, and we were right. He premiered this piece at the We Jazz Festival back in 2018 and developed his ideas further during several studio sessions later on. The finished product opens things up with a bang and shows the value in going deep. Kaukolampi manages to distill new music from the source material, twisted and strecthed into dimensions beyond what is usually there. "Ambient Dub"? Perhaps at times. "Drone"? Maybe also. And then some.

To complete the idea, we invited the visionary graphic designer (and K-X-P drummer) Tomi Leppänen to "rework" the graphics of the source albums to construct the base of the design, which you see envelop the LP sleeve.

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Karl Morgan

LP | 2020 | EU | Original (KingUnderground)

LP | 2019 | EU | Original (Don't Be Afraid)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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"Hidden Cymbals" is a bass and drum sample library by Karl Morgan. 44 tracks on vinyl. * 7 original compositions * Bass and drums stems * 15 original drum breaks * Open drum hits and percussion * Recorded and mixed by Lewis Parke Back with another Library style LP, KingUnderground are building on their collection and branching out into a new market with their third music Library release. This time Karl Morgan, shares his skills on the drums, with Daverage on bass. The guys worked with Lewis Parker to record and engineer the project, with Pete Norman behind the mastering and Bee Graphics continuing with the artwork cover series. Karl has been a passionate musician for 20 years and played in bands of almost every genre. He’s also a drum teacher and session musician in London, UK. The KU Recorded Music Library series blends influences from new school sample libraries like the Kingsway Music Library, as well as iconic labels of the 70s, such as De Wolfe and KPM. With Hidden Cymbals, they’re sticking to those high standards, using high end gear, recording equipment, and top of the range studios. You get quality and bang for your buck with 7 compositions, instrument stems, fills, one shot hits, and 15 bonus breaks perfect for the producers and DJ’s, or musicians that would like to play along, or use in their own productions. The drums are crispy, and the bass is thick; two important factors with this release. With attention to detail and technique, KU and Karl bring a quality project and a welcomed addition to the world of Library Music and Sample Libraries.

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rRoxymore

Face To Phase

LP | 1970 | EU | Reissue (Wah Wah)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.
The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.
Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.
Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

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107-34-8933

Numbers

Demdike Stare X Dolo Percussion

Release: 1970 / EU – Reissue

Genre: Electronic & Dance

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If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Numbers was the first reference in the Narco catalogue (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 - in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition.

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Dolo Ds

12" | 2024 | UK | Original (DDS)

LP | 2023 | EU | Original (Rush Hour)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Since 2019 Demdike Stare had been playing edits of Dolo Percussion’s bare-boned breaks in their DJ sets, eventually sharing them with Dolo’s Andrew Field-Pickering (Beautiful Swimmers, boss of Future Times) and fomenting a creative fusion that hits at the square root of their shared tastes for unruly, deadly rhythms. In a transatlantic back ’n forth - or what Kodwo Eshun termed a double refraction - they juggle the rudest aspects of UK hardcore, as derived from electro, breaks and garage-house - that would feed into Dolo’s pool of sound, and return to the UK via the likes of breakbeat wizard Karizma, who was a key touchstone for the whole late ‘90s broken beat movement key to Demdike’s tastes. Still following the thread? It’s not that tricky - both US and UK operators favour breakbeat music more than anywhere else, and this devilish hook-up is the epitome of a conversation ongoing for generations now. At each parry, the three cuts here are exemplary of the way DJs, producers and dancers on both sides of the pond have pushed each other to new heights in a feedback loop designed to make the dance throw the maddest shapes. ‘dolo DS 1’ racks up a full clip of flintiest breakbeat hardcore, pivoting gasping samples inna dervish of ruffneck syncopation, ruggedly distinguished from the pitching, gritty drum machine chicanery of ‘DS Dolo Edit 1’, and their super crafty sidestep into the offbeats, hingeing around ghost snares and practically spectral levels of percussive suss in ’Dolo DS 2’ which basically sounds like a prime Autechre tumbling thru dub.

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Tom Trago

Deco

12" | 2024 | JP | Original (Rawmen / Reach The Beach)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Tom Trago returns to Rush Hour after 10 years with a wonderfully accomplished mini-album, tip!

During the years he spent living in Amsterdam, when his DJ career seemed to become an unstoppable juggernaut, Tom Trago was a regular visitor to Deco Sauna, a local institution that helped him “decompress” and de-toxify his body. Eventually, a more extended period of “decompression” was needed, with Trago moving to the coast to reassess his priorities and spend more time with his young family.

‘Deco’, his sixth album and first for Rush Hour in a decade, was recorded following an extended absence from club dancefloors, as Trago cut back on DJ commitments to prioritise family life. When he returned to the studio, often with his daughter by his side, Trago initially struggled to get back into the groove. The desire to make dancefloor-focused music had – temporarily, at least – deserted him; instead, he found himself drawn towards a desire to create “electronic lullabies” and music that reflected his more pastoral environment (his home backs on to a patch of woodland in which he would walk every day).

Returning to his most familiar synthesisers – and specifically the first synthesiser he bought, on credit, as a young DJ and wannabe producer – Trago set about navigating different musical routes without the straight-jacket of club-focused dancefloors. Occasionally, old friends from Amsterdam would join him in the studio – Tracey and Maxi Mill, both of whom are part of his Voyage Direct label roster, contributed to tracks on the album – but for the most part the production process was a solo endeavour: musical therapy for an artist determined to do things differently after years spent making club hits and sweat-soaked peak-time workouts.

The results are rarely less than spellbinding. Trago sets his stall out with opener ‘Dark Oak’, a gorgeous, colourful, sun-bright scene-setter co-produced by Tracey that layers tumbling lead lines, chiming melodic motifs and kaleidoscopic chords atop the gentlest of bubbly beat patterns. Maxi Mill lends a hand on ‘Central Park’, a deep and hypnotic excursion marked out by rhythmic bleeps, minimalistic beats and layered melodies, and the summer sun-down rush of ‘Never Peace a Puzzle’, where kaleidoscopic synth sounds, meandering solos and looped electronic stabs rush towards a dancefloor of the mind.

Trago’s desire to create “electronic lullabies” for his young daughter comes to the fore on ‘To Be Left Unlocked’, a hypnotising fusion of spacey electronic motifs, Steve Reich style (synth) marimba melodies and slowly building musical intensity, while the echoing Fender Rhodes riffs, squelchy synth-bass, glistening guitar notes and sparse, snappy post hip-hop beats of ‘When The Sky Is Watching Us’ doff a cap to the producer’s roots as a bedroom beat-maker.

Given the project’s genesis, it’s perhaps fitting that Trago chose to conclude proceedings with ‘It Might Be Forever’ and the digital only ‘Blue Dope’, the album’s most rejuvenating, immersive, and vibrant moments. Both feature sustained chords painted with vivid aural brush strokes and come blessed with the merest hint of a rhythmic pulse – a thread that subtly runs throughout Trago’s most mature and musically rich album to date.

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Yuima Enya

Malaka Remixes

12" | 2022 | UK | Original (Blackford Hill)

Release: 2024 / JP – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-22

First 12" remix EP by Yuima Enya, lead singer of Super Cats, with remixes by Altz, Ramza, Calpiss & DJ Moras, and DJ snuc. The first 12-inch remix work "malaka Remixes" by Yuima, who creates jazz and world music into modern beats, will be released on September 12. Four of Japan's best beatmakers/DJs, Altz, Ramza, Calpiss & DJ Moras, and DJ snuc, boldly reworked the title track "malaka" from Yuima Enya's first album to create an extremely rare record that lets you enjoy the cutting edge of the club music scene!

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Holmes + Atten Ash

Saturnian

The Only Way We Know How To Have Fun

Release: 2022 / UK – Original

Genre: Electronic & Dance

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The moons of Saturn are the inspiration for this brooding, often soaring and searching odyssey of dark electronica.
The second largest planet in the solar system after Jupiter, and the sixth planet from the sun, Saturn is orbited by 53 confirmed moons, with another 29 that are unnamed and still being studied.
Saturnian is a suite of thirteen choral tracks taking their names from some of Saturn's known moons; Dione, Daphnis, Phoebe, Prometheus, Rhea, Janus, Titan, Enceladus, Tethys, Telesto, Mimas, Hyperion and Iapetus, all named after figures from Greek and Roman mythology, each loaded with their own turbulent back stories. It is the debut release by Holmes + atten Ash, written, recorded and produced remotely in Edinburgh and Bristol by the duo Simon Holmes and Paul Nash.
Their project began during the 2020 lockdown. For Simon, time was spent exploring the Pentland Hills south of Edinburgh. For Paul, the Mendip Hills, south of Bristol. Both would experience the darker side of our human impact on the environment. Simon observed the wilderness as a wasteland, finding discarded, rusting metal littering the Pentland Hills while Paul witnessed the decimation of the ancient woodland of the Mendips' King's Wood due to the destructive tree fungus ash dieback.
These field trips fuelled a desire to navigate not just the landscape, but the duo's emotional place within it. Their collaboration led to a concept album that explores the outer reaches of the solar system, while simultaneously grounding them in a specific place. Looking inwards as much as outwards, theycreated soundscapes based on deeply imagined and felt connections to their surroundings.
After Simon had created a choral piece to accompany Luke Jerram's enormous, world touring artwork Museum of the Moon, Saturnian was a natural progression. When Simon was sent an initial score for the ethereal track Enceladus, composed by Paul in Bristol, he added choral arrangements recorded in Edinburgh. Their shimmering, tense opus continued to evolve from there. Just as the discarded bed springs and abandoned car parts that Simon stumbled upon in the Pentland Hills seemed to him at once "horrible but also oddly beautiful", Saturnian melds together melancholy and levity, fusing moments of dark angst with a celestial calm.
Opening with the glistening, hopeful brightness of Dione, increasingly urgent rhythms give way to digital, otherworldly calls from what might be rainforest creatures chirping into life with robotic squawks and delicate keyboard lines on Phoebe, followed by slowed down, monastic song on Rhea. Tethys is a hypnotic blur of synthesiser and soft chanting, while Rhea is a mysterious, echoing chasm, lifted by melodic, gentle male vocals. Janus has a glowing, effervescent energy, swiftly followed by a sense of tension on Titan, which throbs with driving percussive unease.
The album artwork is a pencil drawing created by Edinburgh artist Simon Kirby. It was made by a robot drawing machine, using custom algorithms that bring to life recordings of the sound of magnetic waves near Saturn's icy moon, Enceladus. The lines in the centre of the drawing are distorted by sound captured by the Cassini spacecraft which studied Saturn for over a decade.
Much like Saturn and its frozen, rocky moons, this debut album from Holmes + atten Ash is mysterious and beguiling, with a hint of foreboding in the depths of its powerful beauty and epic scale.

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C/A

LP | 2022 | UK | Original (C/A)

LP | 2000 | EU | Reissue (Keplar)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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"The new album by c / a is a wild conceptronic ride but one that pays off in giddy acid squiggles and a healthy dose of 'horse riding ambient'

The debut full length from London AV duo c / a is an entertaining head melter. Mixing up artificial intelligence with Arcadian fantasy and the occult with deconstructed club sounds, The Only Way We Know To Have Fun does not bring the unity of sweaty dancefloor jams but the atomised connectivity of the terminally online. Putting the fun back into digital dysfunction"

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Arovane

Tides

Impressoes De Outra Ilha (Borneo)

Release: 2000 / EU – Reissue

Genre: Electronic & Dance

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»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once.

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

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Goncalo F. Cardoso

LP | 2022 | EU | Original (Discrepant)

LP | 2021 | EU | Original (Avian)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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A globetrotter in the most pure and respectful sense, away from the trappings of neo-colonialist ventures and predatory tourism, Discrepant head honcho Gonçalo F. Cardoso returns to his Island impression series to offers us another glimpse of his deep, abstract impressions of (an)other island. After passionately collecting the sounds and lives inhabiting the main Island of Zanzibar, Unguja, released through Edições CN back in 2018, Cardoso now dwells into the Malaysian heartbeat of the Borneo forest through Island recordings made during a trip in 2016. Assembled in situ with meticulous craft from portable recorders, samplers and battery powered synths, these nice recollections conjure the spirits that lurk behind the inhabitable and the communal that are as much part of a personal memoir as an impressionistic portrait open to new meanings. Focused compositions that flow organically, bending the environment in & out of shape into a new dreamlike exotica with plenty of breathing room for every detail, silence and movement to surface. A particular moment suspended in time, haunted perpetually by its bygone existence. Something no postcard or photograph could ever, ever come even close to.

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Zvrra

Bizzaroland

Atsuko Hatano & Midori Hirano

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Zvrra debuts on Avian. The multifaceted artist and video game developer arrives on the label with a brace of glistening ambient Techno and Noise derivatives. The versatile producer, whose auteur approach to recorded output has yielded a wealth of dense and considered material over the years, marries melodic synthesis with glassy, effervescent sound design and considered polyrhythms to arrive at a cohesive but undeniably idiosyncratic nine track offering. Cinematic opener Bizzaroland combines vocal manipulations with phasing, noisy drones that stand in pleasing contrast to a mournful lead that delicately emerges at the midpoint. Follow up Society, offers a meditative take on stepping ambient Techno before Bizzaroland II treats the listener to a heady, stripped back slice of tripping beatless machine music. Tribal cut Figurine closes the A side and sees the material segue into more ominous territory with pulsing low end, percussive flourishes and harsh bursts of white noise. On the flip, B1 Inside sees the artist roll out another stripped back Techno experiment - this time dry and saturated and propelled by a single lead sequence that shifts about the high mids. Oracle returns to a more esoteric, undefined sonic palette - a cacophonous blend of heavily panning drones in line with the artist’s more experimental work. In the same vein Prohibited is a powerful noise cut that finds its contrast in subdued moments towards the end of its run time. As the record approaches its close, Tired Beetle settles the mood somewhat - an introspective, atmospheric ambient recording tethered with admirable low end, before off kilter invocation Untitled draws the collection to its logical end point.

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Water Ladder

LP | 2021 | EU | Original (Alien Transistor)

LP | 2020 | EU | Original (Osàre! Editions)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Following their recent solo releases Soniscope (Dauw) and Cells #5 (Important Records), Berlin-based multi-instrumentalist Midori Hirano and Tokyo based string experimentalist Atsuko Hatano have teamed up for their first collaborative full-length: Water Ladder. An intense, multilayered continuation of earlier collaborations (Atsuko was featured on Midori’s debut LP back in 2006), the foundation for this new collaborative album was laid when they shared stages in Berlin (Ausland) and Japan in 2019. Working remotely at first, they later recorded parts of the album in Nara’s snoihouse (using omnidirectional polyhedral speakers).

“As we rallied back and forth with our recordings in the process of creating this album, unanticipated fluctuations and irregularities emerged, coming together into a kind of music with a unique resilience and buoyancy that cannot be confined to existing molds. It was as though we had built a Water Ladder to bridge the gap between us,” explains prolific composer and viola player Atsuko Hatano, who’s been busy recording solo and with colleagues such as Jim O’Rourke, Eiko Ishibashi, Mocky, Tatsuhisa Yamamoto, Takeo Toyama, and Anzu Suhara (Asa-chang & Junrei).

Kyoto-born, Berlin-based Midori Hirano, who’s also been releasing music under her MimiCof moniker, adds multiple instruments to the ever-changing sonic landscapes of Water Ladder – an album defined by suspenseful and seemingly suspended compositions that often feel like floating in midair, a sensation the musicians compare to “that distinctive feeling you get from riding a high-speed elevator, where you can no longer tell whether you’re going up or down.”

Devoid of birdsong, the late summer air is nevertheless full of buzzing, whirring, hissing sounds on foreboding album opener “Summer Noise,” a cinematic intro with slow-moving piano chords and an ominous build-up over the course of its sprawling eight minutes. Elsewhere, sudden bursts of viola cut through nighttime peace (“Nocturnal Awakening”), followed by “Cotton Sphere” – which makes the sensation of floating in midair complete: harmonies and melodies rise and form to fall apart again, leaving only trails of previously defined space shimmering in their wake…

Whereas the title track truly explodes half-way in, the final “Cascade” brings closure to the electro-acoustic six-track collection: the floating continues, but the interlocking musical planes are no longer ruffled or rippling, no longer torn in many directions at once. Instead, the sonic streams merge and eventually disappear like ephemeral water falls after heavy rain or sudden snowmelt.

“Water cannot retain its form on its own, and can take any shape as effected by external forces. Its movements cannot be captured by eyesight alone: A body of water that appears to be crashing down into a deep, bottomless waterfall could actually be rising up very slowly into midair,” says Atsuko. “This is an invitation for you to cross the ever-transforming Water Ladder built between Midori and myself.”

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Free Range

Camry Horses

LP | 2020 | EU | Original (Raster)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Free Range are back with their second outing for Osàre editions. ‘Camry Horses’ is a mesmerising dive into the brutal pop-tinged electronics of the duo, taking the mutant surrealism of their first release on the label a step further. Deliciously droning, Matt Weiner and Ernestas Sadau warp melancholic synth over a stomping-techno pulse in ‘Jet Lag is Calling.’ ‘Thunder God’ predicts transmogrifying weather patterns, while ‘Liquid Latex’ casts a touch of dominatrix energy, all powered by hypnotic dancefloor occultism.

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Franck Vigroux

Ballades Sur Lac Gele

12" | 2020 | EU | Original (Patience)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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We met Franck Vigroux for the first time years ago at Berlin’s Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together. The first track on “Ballades sur lac gelé” dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him. Vainio’s oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux. With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album “Ballades sur lac gelé”. The title already defines the theme of the ballad, a “song/poem with very minimal structures” (quote Vigroux). “Ballade” is also a play on words with the French word “balade”, in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the often distorted sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like. Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible. The official worldwide release date for the CD and vinyl of “Ballades sur lac gelé” will be the 30th of October 2020.

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Promoter

Cogitate

LP | 2020 | EU | Original (Morphine)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Cogitate is the first release from NYC local Promoter and an invitation to gaze inward and sit with sound. Borne of hours lost in loops, Promoter calls forth deep, dubby bass rumble, off-kilter rhythms and murky atmospherics, relishing in repetition and evolving subliminally but surely. Disorienting, engaging and engulfing, Cogitate is the 4th release on NYC-based Patience, catching you off guard then inviting you in. Cogitate offers two cuts from the same cloth - one locked into the grid, the other drifting far above it. Both begin with shards of static cascading over submerged synth stabs - on Cogitate 1.1 a bassline bubbles up from below before a kick drum sneaks in and drops anchor, driving forward a slice of sparse zero gravity dub techno for a zonked out dancefloor in a dream. Cogitate 2.0 offers a pared back version of 1.1, slowed down and stripped of the rhythm section. A gentle brain scrub or a cascade of mind tricks depending on your headspace. Is the sequence evolving or is your perspective on it shifting? Does this sound like something I know or nothing at all? Has this been going for 3 minutes or 3 hours? Is this climax sublime or simply creepy? Whatever it is, Promoter presents an opportunity to let the mind wander, and offers proof that repetition invites participation. Both cuts simmer in ambiguous emotion, never spelling out what to feel but allowing the listener to be their own trip commander. Promoter is a new project from a life-long NYC resident, most recently releasing a couple of 12”s under the Image Man moniker, who for the most part would prefer that the music is received on it’s own terms, with a mind wide open. Cogitate 1.1 was mixed by Mood Hut mixologist CZ Wang. Both tracks were mastered by M. Geddes Gengras. Following this release will be an extremely limited cassette of material recorded in the same time and (head)space. Keep an ear to the ground for that one. Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-e4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

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Marta De Pascalis

Sonus Ruinae

CP/BW (Corporate Park & Beau Wanzer)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Absorbing new album from this very special artist. Hand printed sleeves. Very limited edition. Tape loops are a closed path, a cyclic river, a ring around a far planet. They’re like our memory continuously reenacting an artefact that belongs to a precise point in time, brought back in a process of recall where that artifact slightly and slowly becomes imprecise and shifted. An unrested repetition carved into an old pavement, in a city where every generation leaves a new mark, a new incision and maintains an endless process of birth and deterioration. Marta De Pascalis’ Sonus Ruinae's synthesizers sounds are gently laid on that closed path, put in a locked repetition and engaged in that eternal dance. Her album is a canvas of harmonics and a sublime place where things are whole, where your first listen is engraved just like that ancient city’s pavement, and Marta endlessly writes beauty on top of it, layer after layer.

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Untitled LP

LP | 2020 | US | Original (B.W.)

LP | 1989 | EU | Reissue (Born)

Release: 2020 / US – Original

Genre: Electronic & Dance

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THE GOOPY GOONS ARE BACK with another collection of twisted American electronics. For those not familiar, CP/BW is a collaboration between Corporate Park (aka Shane English/Jonah Lange) and Beau Wanzer. This second LP collects tracks from various recording sessions done in Texas over the past 5 years. Humid ditties, bumpkin beats, toothless treats, and only for the freaks.

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Joan Bibiloni

Born

LP | 2018 | EU | Original (Drama)

Release: 1989 / EU – Reissue

Genre: Electronic & Dance

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Joan Bibiloni's Born is widely considered as one of the highlights of modern ambient music. Ever since it was first released in 1989 on Bibiloni's 'Blau' imprint, Born has been a sought after record by collectors of different backgrounds.The eight compositions that Bibiloni wrote, and then recorded with several gifted musicians, share the same vivid ethereal quality. From the emotive latin of El Sur, to the heart wrenching tones of 'Ballad for an Empty Street', Born is one of the pinnacles of the balearic guitarists' discography. This is the first time since the original release back in 1989 that the full album gets a re-release. This edition comes as a slice of heavyweight vinyl (180Gr) and the tracks are remastered with the greatest care to meet today's listening standards.

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Celine Gillain

Bad Woman

2LP | 2017 | EU | Original (Gost Zvuk)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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Though highly contemporary Bad Woman is an album that takes Pop music back to a time when lyrics where more than esthetic gimmicks. With Céline’s music, one cannot avoid to listen to what she has to say. To be honest we’ve not been struck by lyrics as much as with this record for quite a long time, and it keeps on growing. Bad Woman can be seen as a mutant blend of everything that’s been produced by the music industry these last 30 years, from Cher’s delirious come-back in the 1990’s to the most embarrassing moments in Dance music (think Gabber and Happy Hardcore), blurring the frontier between “good” and “bad” taste, between commercial and alternative. Just like Cher’s Believe, Céline Gillain’s Bad Woman sometimes sounds like the music of a former diva who’s been through tough times, saw her expectations torn apart and came back to music with a bizarre testimony of her state of mind.

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Kuzma Palkin

Audiosapr

Tape | 2024 | JP | Original (Saturday Lab)

Release: 2017 / EU – Original

Genre: Electronic & Dance

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Audiosapr is one of the most consistent albums you re likely to come across in Russia s GOST ZVUK entire back catalogue. Surprisingly, the full-length by Saint Petersburg s scene veteran Kuzma Palkin is a compilation of random jams and studio recordings he made in the period of 2014-2015, carefully pieced together by label s masterminds. SAPR stands for the System of Automatic Projection (a Russian term for Computer-Aided Design, CAD) which defines the album s experimental yet complex and interlocking heart. Based around a central theme of immediacy and spontaneity, Audiosapr builds upon the foundations of early, pre-Detroit era of electro and techno, and then progresses the wispy entrails of analogue gear in a contemporary dancefloor direction. It s clearly music that can be attributed as hybrid, however it s not you re going to think about while listening to Audiosapr , Palkin s definitely most inspiring work to date.

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Yoonkee Kim

Communication

12" | 2024 | UK | Original (Rave4evar)

Release: 2024 / JP – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-27

A new 2024 release from the eccentric Korean skater/artist! Yoonkee continues to evolve and explore with boundless curiosity and humor. The album features abstract electronic sounds, analog synths, tight and savage rhythms from a real Tr-707, and occasional flute sounds! The laid-back, good vibes that Yoonkee is known for will bring a smile to your face! His sense of mixing, deeply rooted in dub music, shines through, giving the album a strength that goes beyond mere electronic music. Yoonkee's music invites you to start a subconscious communication with your inner self!

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Laskfar Vortok

Erbsat Esrhosc

Orbital (The Green Album)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Los Angeles-based video artist and producer Laskfar Vortok makes his first appearance in the Evar catalogue with "Erbsat Esrhosc." An unusual title that reflects the artist's interest in the bizarre, whether he's making music or producing videos and visuals, "Erbsat Esrhosc" bristles with erratic patterns, anarchic atmospheres and glitchy soundscapes. The Mexican-born talent explores ideas based on the hypothetical concept of a planetwide city, otherwise known as an ecumenopolis, weaving such ideas against a cinematic backdrop, nodding to his long-running love for cinema. Across the five-track EP, he also draws inspiration from the heated and hectic energy of L.A, where he's resided most of his life.

Produced in memoriam of Michael Gregory Harrison, aka Bad Timing, and following a period of introspection and creative and personal challenges, Laskfar Vortok began work on "Erbsat Esrhosc" in 2018. The EP honours Michael's brilliance as an artist and a friend;the title being an anagram of a phrase that they shared between them.

"Eclipse" opens the EP on a haunting note. A spidery melody and chilling pads punctuate the witchy soundscape before syncopated sequences collide with snafued textures, signifying a sharp left turn into breakcore. With its nebulous atmosphere, this track offers the first glimpse into the concept of an ecumenopolis. On "Hyperdrive", frenetic percussion dominates while zappy noises and a doomsday melody slink in and out of earshot. Bursts of broken wub exacerbate the uneasy mood while cinematic, almost ethereal chords twinkle in the background.

"Base" offers a moment to recover one's brain cells after the nosedive into the near future. A lugging kickdrum and broken, woody percussions swirl around the troposphere while creepy pads convey a sinister aura. "Mutation" catapults us back into chaos with claustrophobic polyrhythmic structures, smatterings of kickdrums, and a sporadic mad-scientist-type synthline, adding a jittery layer. An unexpectedly orchestral outro completes the bizarre nature of the track.

Closing out on "Send Off", Laskfar Vortok blends freezing-cold chords with snaggy synth notes and a tangle of drum constellations tied up with a gossamer melody and splattered across an eerie terrain.

Using Bitwig Studio, orcλ, TidalCycles and Renoise as his modus operandi, Laskfar Vortok produces a trip that intrigues but disturbs, serving a shimmering yet terrifying squint into a technoid-led utopia. And we're only just getting started.

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Orbital

2CD | 1991 | Reissue (London)

LP | 2023 | EU | Original (Holuzam)

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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Hidden Horse

Incorporeal

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

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Burnt down utopias and urban paranoia, Hidden Horse are back with their second album. “Incorporeal” is the follow-up to 2022’s “Opala” and the band’s first release on vinyl. Composed by João Kyron (keyboards/electronics) and Tony Watts (drums), long-time friends and collaborators on different projects, the most prominent one being the exotic and dreamy Beautify Junkyards (Ghost Box). As a duo they’re a totally different game.

Playing live regularly after the release of “Opala” offered them the possibility to explore a more freeform approach to their sound. Their live sets were often unpredictable, focused on the communication dynamic between the trio (Ana Farinha joins them on their performances) and where they could be led to, instead of reinterpreting the songs. “Incorporeal” embodies that attitude, it is a less confined album and it is not worried about being referential or even self-referential. They finally discovered how to expand the hauntology dynamics and free themselves from design restraints.

The album feels lighter, fluent, more optimistic. It remains thematically close to the eternal sci-fi discomfort, imagine Burial living in Lisbon, Portugal. João and Tony feel free from any doubts they might have had in the beginning of this project and are now more confident about how Hidden Horse sounds and unpreoccupied about the narrative: it is rock oriented but dressed as the electronic / dance music they would like to listen and dance to. Guest slots from Arianne Churchman (“The Tape Spool Within The Horse’s Mouth”) and Clothilde (“Espectros no Cctv”) offer a new range of feelings and confirms how Hidden Horse’s music evolves into new grounds when accepting new ideas and voices. “Opala” was a trojan horse to come out – of the pandemic? – and play. “Incorporeal” feels like the real deal.

“A startling step sideways from Beautify Junkyards’s sweetly spooky psychedelia, this parallel project brings the New Sonic Architecture of Eighties electronica into the 21st Century. Spacious and eerie, these glistening vistas bear comparison with Cabaret Voltaire, Chris & Cosey, and The Tear Garden, as well as the desolate moodscapes of Burial and Actress. Unmissable.”

- Simon Reynolds

"A journey through odd spaces and echoing caverns, powered along by angular rhythms and hypnotic sequencers. An electronic, motorik tapestry that feels both industrial and organic - like a dystopian Harmonia. Utterly beguiling!" - Jim Jupp (Ghost Box Records)

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V.A.

Accidental Journey

LP | 2023 | UK | Original (Discrepant)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Accidental Journey 10 years drifting thru Genres and combining Materials.

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

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

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Mark Vernon

Call Back Carousel

Marina Rosenfeld, Greg Fox, Eli Keszler

Release: 2023 / UK – Original

Genre: Electronic & Dance

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“This device isn’t a spaceship, it’s a time machine. It goes backwards, and forwards… it takes us to a place where we ache to go again. It’s not called the wheel, it’s called the carousel. It lets us travel the way a child travels - around and around, and back home again, to a place where we know we are loved.”

(Don Draper)

Call Back Carousel is an audio time-travelogue, a slideshow of the mind’s eye - projecting Kodachrome memories directly into the listener’s mind by means of sound alone. It is a way of travelling without ever having to leave the home. A vicarious vacation for the imagination. Pure audio escapism.

Each episode is based on a found tape of a pre-recorded slideshow commentary. Most of these tapes were made by amateur tape recording enthusiasts and hobbyist photographers of the 60s and 70s. Their recorded commentaries would at one time have been used in conjunction with a sequence of 35mm slides but only the taped voices now remain. The recordings themselves come from Vernon's own archive of found reel-to-reel tapes that he has collected over the past twenty years.

Using these found slideshow commentaries as a framework, a series of musical soundscapes have been created to bring the absent images to life, activating the listeners’ imagination in the classic tradition of ‘cinema for the ears’. It’s a little like looking through a family photo album where only the hand written captions and mounting corners remain; the photographs themselves have all been removed. The evocative rattle and clack of the projector shuffles through different slides as the fragile voices of our tour guides accompany us on a sonic journey that fractures time - and through the cracks, the past bleeds through into our present.

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Greatest Hits

LP | 2024 | UK | Original (Info)

21,24 €* 24,99 € -15%

LP | 2021 | EU | Original (Tape Loop Orchestra)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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A decade on from that stunning ‘P.A./Hard Love’ album that firmly placed Rosenfeld’s avant-dub fascinations on our map, the NYC-based sound artist releases these immersive recordings of her and two revered drummers interpreting scores generated by SuperCollider, which were then reworked by Rosenfeld, cut to dubplate, and played back in the hallowed arts space of MoMA P.S.1. With her last few releases, Rosenfeld has averted her gaze towards the fuzzy boundary between the avant garde and popular music, most notably covering Christina Aguilera and György Ligeti on 2021’s genius ‘Teenage Lontano’. Here, she takes a step further into febrile abstraction, using dubplates fed through a SuperCollider algorithm to reduce the data into a “proper” composition, with Eli Keszler joining Greg Fox on percussion and Rosenfeld further editing the material for release. Over 5 pieces the trio smartly short-circuit distinctions between free jazz, musique concrète, and dub- as-method, manifesting a masterful grasp of music’s spatio-temporal metaphysics on a remarkably wide and awning sound stage that benefits from detailed stereo dynamics. It starts tentatively with insectoid percussion appearing to scuttle the walls while phantasmic creatures growl and click from the rafters, and really comes into its own with bat-like zaps that feel out the room’s architecture on ‘Carys’. At its mid-way point, the percussion recedes to leave the artist’s voice swept in bleeps and crackle that slosh into the gyre of the sub-heavy, Gamelan-like ‘Solace’, before concluding with the seat-edge tension of Fox & Keszler’s gripping drums, spun out with Rosenfeld’s electronics like a real-time diffusion of a Parmegiani piece.

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Narayan

21,59 €* 23,99 € -10%

When I Hit You You'll Feel It

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Wildly unexpected and crushingly good turn of drone metal from Tape Loop Orchestra’s Andrew Hargreaves and collaborator ‘Metal’ Dave Rothary, with artwork by illustrator of the grim, John Powell-Jones. Narayan commit a pair of monstrous tracks years in the making and left to marinate in the vault until the stars aligned. With lockdown finally bringing the world to its knees and their pace, the time has finally come for ‘Narayan’ to seep out; presenting one side of claw-handed, shuddering riffs, backed with an extreme take on Schoenberg’s 12-tone system applied to drone metal, with results clearly worthy of comparison to Sunn 0))), Earth, and Phill Niblock. Ostensibly not what one might be lead to expect from TLO when judging from previous outings, the two projects do share a core interest in the enduring mystery and metaphysics of drone overtones, which is here explored to more radical, tangibly physical lengths. Fusing pure sine tones, tape loops and charred guitar, they really revel in the earth shuddering downstrokes and decaying roil of their phantom overtones on ‘Bildung’ with uncompromising might, while the introduction of each tone at minute intervals in ’12 Tone Drone’ is stealthier in effect, appearing to circle rather than climb a craggy mountain of staggering black metal riffage.

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Leslie Winer

CD | 2021 | US | Original (Light In The Attic)

21,59 €* 26,99 € -20%

LP | 2024 | UK | Original (Editions Gravats)

Release: 2021 / US – Original

Genre: Electronic & Dance

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Definitive career-spanning anthology
Includes previously unreleased tracks, inspired collaborations, and material from Leslie’s groundbreaking 1990 solo debut, Witch
Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, Christophe Van Huffel, Jay Glass Dubs, Mari G. Mooney, and Diamond Version, amongst others
Newly remastered by the GRAMMY®-nominated engineer John Baldwin
24-page booklet featuring a new, extensive interview with Leslie and liner notes by acclaimed author, critic and compilation co-producer Wyndham Wallace, along with an essay by award-winning writer and scholar Louis Chude-Sokei
Cover collage by renowned British artist Linder, featuring photography by Mondino, and design by designer Christopher Shannon

“The definition of a hidden gem” – John Peel

“The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life.” – Max Richter

“She might just be the coolest woman on the planet!” – Boy George

Light in the Attic is ecstatic to announce When I Hit You—You’ll Feel It: a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. When I Hit You—You’ll Feel It spans Winer’s three-decade-long musical career: from her groundbreaking solo work in the early ‘90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, and others, the collection also spotlights Winer’s diverse collaborations, and unearths previously-unreleased recordings.

Newly remastered by the GRAMMY®-nominated engineer John Baldwin, When I Hit You—You’ll Feel It will be available in multiple special 2xLP editions, on CD, and across digital platforms. The album includes a new interview with Winer, captured by the compilation’s co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon.

MORE ABOUT LESLIE WINER….

Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things.

Born to a teenage mother and sold for $10,000 in a black market adoption when she was just hours old, Winer has always lived an uncommon life. She grew up in Boston with a voracious appetite for music and the written word and embraced the city’s lively jazz and folk scene in the ‘70s. Moving to New York for art school, she gravitated towards a vibrant crowd of intellectuals, artists, and radical thinkers—or perhaps they gravitated towards her.

There, Winer formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery’s underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George, who once declared that Winer “might just be the coolest woman on the planet!”

Winer’s striking looks also attracted fashion designers and photographers. Throughout the early ‘80s, she was an in-demand model—appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer “the first androgynous model.” She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle.

But music was Winer’s true passion and, at the turn of the ‘90s, she would unknowingly help invent the massively popular genre known today as trip-hop.

On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing—and coolly-detached—spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways.

The album was a bold experiment by the self-taught artist, who enlisted a number of talented musicians in the sessions, including Culture Club’s Helen Terry, Karl Bonnie of Renegade Soundwave, former Public Image Ltd. bassist Jah Wobble, and Kevin Mooney, as well as Marco Pirroni and Matthew Ashman (both of Adam and the Ants, among other acts).

While Witch was finished in 1990, it wouldn’t be released for three years, due to the whims of Winer’s label. In the meantime, several tracks made their way out into the world as early as June 1990, thanks to BBC Radio 1 DJ John Peel, who later referred to Witch as “the definition of a hidden gem.”

Opening with the laid-back dub beats and soft, sing-songy chorus of “He Was,” Witch features such highlights as the up-tempo “Skin,” the hypnotic, bass-heavy “The Boy Who Used 2 Whistle,” and the album’s closer, “Dream 1,” in which waves of reverb-soaked vocals bounce from one ear the other.

While sonically, Winer was breaking new ground, she was also bringing a fresh, incendiary take on what it means to be a woman in the music business, as embodied by her composition “N1 Ear,” in which she delivers a scorching, feminist manifesto, borrowed from the Women’s Liberation Broadsheet: “If I get raped it must be my fault / And if get bashed I must’ve provoked it / And if I raise my voice I’m a nagging bitch / And if I like fucking I’m a whore…And if I ask my doctor too many questions I’m neurotic and need pills / Because I still can’t get a safe birth control while some fucker’s roaming the moon.”

Winer had every right to vent her frustrations as a woman in music. Despite her fierce demeanor and steadfast focus, she was consistently disregarded and typecast by the industry. Many of her early collaborators failed to credit her work, while others simply overlooked her influence. Witch, for example, was so delayed that by the time the album saw the light of day (released under the pseudonym “©”), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of “The Grandmother of Trip-Hop”), Witch initially went sorely unnoticed.

Following the disappearance of Witch, Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O’Connor, who would cover her songs.

Today, Winer stays busy on new musical projects in the French countryside, where she has spent the past two decades raising her five daughters. A prolific writer, she has also published two collections of poetry and oversees the literary estate of Herbert Huncke, a defining member of the Beat Generation.

In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

Winer’s influence might best be summed by the award-winning composer Max Richter, who offered the following thoughts to Wyndham Wallace for his extensive liner notes: “The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life. A visionary commentator on the relationship between individuals and society in the mould of Blake or Woolf, Leslie Winer knows things that the culture at large just doesn’t understand yet, and she has never been afraid to let us know that.”

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Opera Mort

Le Présent

21,59 €* 26,99 € -20%

LP | 2023 | EU | Original (Fördämning Arkiv)

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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Fysisk Fostran

Räkenskapens Dag

21,59 €* 23,99 € -10%

2LP | 2023 | EU | Original (Axis)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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A small chunk of early 80's Swedish DIY underground history from the legendary but rarely heard Fysisk Fostran. Based in the small town of Stenungsund north of Gothenburg and roughly active between 1980 and 1984, the group released a few cassettes as well as a fabled 7" that due to mysterious complications only exist as a testpressing in 4 copies. Fysisk Fostran were inspired by the early UK industrial sound as well as post-punk and synth music, this combined with the young age of the bandmembers and general small town boredom resulted in a rather unhinged and wild sound. While comparisons at times could be made with other early Swedish industrial/cassette culture freaks like Enhänta Bödlar, Engürdetz or En Halvkokt I Folie, one could argue that Fysisk Fostran stood out thanks to their obstinate will to rock out in the midst of all the rudimentary, electronic experimentations. The crude fidelity of their recordings only adds to the utterly bizarre atmosphere.

The LP compiles the tracks from the 7" as well as choice cuts from the cassette releases, stuff so scarce that it barely existed even back then. Original sources transfered and mastered for vinyl by Linus at Elementstudion during 2023. The LP comes with an insert featuring liner notes by Marko Gillingsmark of Levande Begravd. Cover jackets stamped with the same stamp used for the 7" sleeve back in 1984. Edition of 500 copies.

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Blake Reyes

Vernacular

21,74 €* 28,99 € -25%

Beyond Splatter Vinyl Edition

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Titled “Vernacular", the debut album by Blake Reyes is set to release on Axis Records on Friday, October 27, 2023, in vinyl and digital formats. The album is personally overseen by Jeff Mills, and is part of the "Axis Jazz" collection.

This confirms the eclecticism and versatility of both Axis and Blake Reyes, through harmony and rhythm, cultural influences, and the right touch of fusion: characteristics that have always defined jazz.

The album was recorded in three different cities (Bologna, Milan, and Rome), with Jeff Mills present during all recording and mixing sessions. Particularly in Milan, work was done at the Officine Meccaniche studios, where Duke Ellington, Quincy Jones, and many others have recorded.

?Vernacular" is an album that draws from jazz, Detroit techno and funk. It evokes operatic work due to its aspiration to create strong emotional intensity. The album features a blend of acoustic instruments such as acoustic bass, acoustic and electronic guitars, and the Steinway & Sons Grand Piano - the same Duke Ellington played in 1963 when he recorded ?The Symphonic Ellington" album - alongside electronic instruments including drum machines and Roland synths.

?I titled the album ?Vernacular' because I focused solely on production and sound quality, drawing inspiration from vernacular art, as a self-taught and artisanal approach in the noblest sense of the term", Blake Reyes explains. ?The musical references can primarily be found in Jeff Mills and his Millsart project, and more broadly in the works of composers like Bruno Nicolai, Piero Umiliani, Piero Piccioni, Brian Bennett, John Cameron, and even Raymond Scott. For the lyrics of the track ?At Night,' the visual reference that inspired the lyrics can be traced back to certain paintings by Henri Rousseau, particularly ?The Dream,' ?The Snake Charmer,' and ?Sleeping Gypsy.' All of this was done in post-production, working alongside Jeff Mills: a wonderful experience, a continuous flow and exchange of ideas."

Producer, DJ, and sound designer Blake Reyes (born Luca Vertulli) divides his time between Milan and Ibiza. His productions consistently focus on the sounds and emotions derived from tapes, samplers, drum machines, and analog synthesizers. His mixes are broadcasted on stations such as Ibiza Global Radio, Ibiza Sonica, Radio Raheem, and Olà Radio. His DJ sets are distinguished by their elegance and quality, always bringing the dancefloor to the right temperature. He boasts releases on Trax Records and Rebirth Records, and in 2019, he founded Triton Records, his own record label.

Musicians: Dario Lutrino: piano, Stefano Brandoni: guitar, Niccolò "Bolla" Bonavita: bass, Anna Bassy: singer, Blake Reyes: drum machines and synthesizers.

Music composed, produced and directed by Blake Reyes. Lyrics written by Blake Reyes. Studio Engineer: Taketo Gohara, Mastering Engineer: Giovanni Versari, Producer: Jeff Mills.

Studios: Officine Meccaniche, Milan / Fonoprint, Bologna / Forum Studios, Rome

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Kick Puncher

LP | 2023 | US | Original (New Retro Wave)

21,74 €* 28,99 € -25%

LP | 2024 | UK | Original (Kit)

Release: 2023 / US – Original

Genre: Electronic & Dance

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Unrelenting rugged synths with dark robust beats, deep within the core. Kick Puncher is back and with more RAW synths!! not for the faint-hearted. A must for all Cyberpunk and Darksynth audiophiles.

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Kelpe

Lp10

21,84 €* 22,99 € -5%

No Mans Land HHV Exclusive Red Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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London producer Kel McKeown celebrates the release of his tenth album as Kelpe, with a vinyl edition of uncategorisable dance music on Kit Records.

Kelpe's work combines live drumming with synthesis and guitars. Like the nine records that came before it, Lp10 treads the line between gauzy melancholia and bustling, dancefloor-ready energy.

Listening to Kelpe's music can feel like fluttering through a photo album at speed. Familiar faces and locations are revealed, nostalgic scenes assembled then scattered by unruly rhythms and samples.

Analogue percussion takes centre stage on Lp10. This restless drumming - gear-shifting from hip-hop through to jungle - showcases McKeown's chops as an instrumentalist, while harking back to the scrambled beats that were a hallmark of his early releases.

Kelpe has worked closely with the visual artist Nikita Iziev on this record. Inspired by pioneering film director John Schlesinger, the serendipitous geometry of new wave cinema is mapped out in fractured moments across the music and artwork.

While the track 'Schlesinger' echoes the bouncing unpredictability of the sleeve, 'The Palace Guard Loop' pours neon fertiliser over fender rhodes jazz keys. Adrenalin reaches a zenith on 'Events Proved Me Wrong', as Kelpe hits his stride for a homespun drum and bass workout.

Lp10 will be the final full length Kelpe album.

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Tommy Guerrero

LP | 2014 | EU | Reissue (Too Good)

LP | 2024 | EU | Original (AvantRoots)

Release: 2014 / EU – Reissue

Genre: Organic Grooves, Rock & Indie, Electronic & Dance

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HHV and Too Good are happy to present this exclusive color run of 1000 red copies of Tommy Guerreros 2014 album "No Mans Land". Back in print for the first time. Only at HHV. As a special treat you can pick up the poster with the artwork of this album in our bonus section.

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Charles A.D

Deep Diver

LP | 2024 | EU | Original (Efficient Space)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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The sea has long been central to Japanese culture, symbolizing both sustenance and spiritual
depth. Charles A.D.'s Deep Diver draws inspiration from this, channeling the ancient traditions
of diving and fishing into his music. Historically, the sea has influenced everything from Shinto
rituals to the livelihoods of coastal communities. In Deep Diver, this reverence flows through
aquatic soundscapes, where rhythmic waves of 90s house and Detroit techno meet Japanese
minimal production techniques, New Age and Pacific Jazz. Like the tides, the album ebbs and
flows, creating a serene yet dynamic homage to the timeless connection between Japan and
the sea.
The opening track 'Deep Diver' plunges into the depths, its abstract sound design capturing the
sensation of deep-sea propulsion. Rhythmic bubbles pulse gently alongside slow-moving
chords, creating an otherworldly atmosphere. The textures are lush yet restrained, setting a
tranquil stage that pulls the listener into a submerged world. 'Underwater Ruins' builds on this
aquatic theme, introducing rhythmic layers and bass-heavy notes reminiscent of mid-90s
Japanese ambient techno. The smooth, melodic flow nods to pioneers like Mr.YT and Susumu
Yokota, while subtly incorporating the Detroit techno influence through soulful, deep basslines.
The track feels like a fusion of ambient and techno, balancing serene tones with a rolling
groove, emblematic of Japanese techno soul. As the album progresses into 'Bubble Ring', it
becomes clear that Charles A.D. is a master of minimalism. The production is timeless, leaning
on analog techniques where echo-drenched chords and carefully layered soundscapes take on
an addictive, hypnotic quality. The simplicity of the composition is deceptive, as each element
carries weight, drawing the listener deeper into the rhythm and space between the notes.
'Merperson' is where organic rhythms truly come into play. Charles A.D. gently evolves the
patterns, allowing each percussive hit to flow naturally into the next. Soothing melodies emerge
from within the track’s structure, eventually reaching an emotional peak without ever feeling
forced. The organic nature of the arrangement creates an effortless progression that feels
deeply connected to the natural movement of water.Starting the second half with 'Deep Exploration', the theme of underwater excursions becomes
even more pronounced. Light, steady drumming anchors the track, allowing the melodic layers
to develop gradually. It unfolds with a calm, measured pace, before ending softly, almost as if
the sounds are drifting off into the oceanic depths. 'Diffuse Reflection' stands out as the most
dub house-influenced on the album, with rolling rhythms and hypnotic elements reminiscent of
Maurizio's deep, pulsing sound. Yet here, the production feels submerged, with aquatic effects
swirling around the rhythmic core, blending dub house with a fluid, oceanic touch. 'Traitors'
delves even deeper into dub-inspired territory. Deep, resonant bass hits combine with wooden
drums, while static-like sounds evoke the image of a radio tuning through static to find clarity.
Chords shimmer briefly before fading back into the liquid depths, evoking the ebb and flow of
the tide. The final track on Deep Diver 'Levitation', is a fitting conclusion, as the rhythms merge
and overlap like waves gently lapping the shore. The minimalistic arrangement allows each
element to blend effortlessly into the next, creating a sense of unity and closure. The sounds
move with the gentle grace of water, ending the album in a way that feels both complete and
open-ended, like the infinite motion of the sea.

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Th Blisks

Elixa

Birds (In My Mind Anyway)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Efficient Space welcomes Th Blisks to the fold with their mutant strain of melodica dub, torched hip hop breaks, post-punk and procession song.

Th Blisks' members have many notches on their collective belt. Amelia Besseny and Altered States Tapes’ founder Cooper Bowman are prolific in their ritualistic ambient-pop duo Troth, while Yuta Matsumura holds a formidable Sydney punk band pedigree on top of his Low Company-backed solo work. A reward for those who took the time to dig it out, Th Blisks’ 2022 debut How So? was a DIY creation that fully embraced its outsider roots, revelling in opportunities for connection through pop flourishes. Feeling like it might have been a one-off, we proclaim their return with Elixa.

With an unseen clarity of vision, Elixa conjures its meticulously fleshed out world. Those familiar pieces are all there - the mystery, the patience, a cheeky pop hook - however this time there's an intentionality to it all. A blurred dialogue stretching across Australia, it was largely recorded remotely with tracks bouncing between Bowman and Besseny in Muloobinba (Newcastle) and Nipaluna (Hobart), and Matsumura stationed in Warumpi (Papunya). Every element is carefully considered, stemming from their individual time spent as lifers in the local DIY scenes. Through these tracks you can feel that history; echoes of Castings and Vincent Over The Sink in ‘Do You Bless It?’, Bowman's distinctive submerged tape loops gurgling away under boom bap and *that* Sydney guitar tone in ‘Esk’.

Elixa attempts to bottle some pinged-eye wonder at the magic surrounding, whether in the city or the bush. Informed by the old but drug into The New, it is a begrudgingly current Australien record that respectively nods at the UK’s sound history.

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Doc Sleep

LP | 2023 | UK | Original (Tartelet)

LP | 2019 | US | Original (Dark Entries)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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

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

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

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

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Dark Day

Darkest Before Dawn

LP | 2019 | US | Original (Soft Abuse)

Release: 2019 / US – Original

Genre: Electronic & Dance

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

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Steven R. Smith

A Sketchbook Of Endings

LP | 1983 | EU | Reissue (Mental Experience)

Release: 2019 / US – Original

Genre: Electronic & Dance

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With nearly 25 years of solo recordings and releases to his credit, hermetic Californian Steven R. Smith goes back to the start with A Sketchbook Of Endings, the first solo release under his own name in eight years. This album continues Smith’s exploration of the intersection of moody post-punk and cinematic psychedelia, delivered in lysergic pop song-length spurts.

Brevity does nothing to sacrifice density or dynamics—Smith offers both in abundance across the album’s fifteen instrumentals. These songs are packed with all of the depth, intensity and nuance that have been trademarks of his music for so long. Despite appearing under his given name, A Sketchbook Of Endings includes traces of recent work, under guises such as Ulaan Khol, Ulaan Markhor and Ulaan Passerine, as well echoes of his forebearers Mick Harvey and Rowland S. Howard. This release is a highlight of Smith’s first quarter century of activities, a beacon of his rich and varied anti-career.

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Care Of The Cow

Dogs' Ears Are Stupid

12" | 2024 | EU | Original (Subject To Restrictions Discs)

Release: 1983 / EU – Reissue

Genre: Electronic & Dance

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Originally released only on cassette in 1983, “Dogs’ Ears Are Stupid” by Chicago trio Care of the Cow is a fascinating blend of psychedelic folk, minimal electronics and post-punk weirdness. Acid fuzz guitar, incredible vocal harmonies, drum machines, analogue synths…
One of Chicago’s best kept secrets, Care of the Cow’s history goes back to 1974. A trio formed by Victor Sanders, X Baczewska and Sher Doruff, they had a very unique and eclectic sound, experimental yet very melodic, mixing psychedelic folk-rock with art-rock and DIY / post-punk. Their influences were very diverse: Beatles, Fripp, Eno, Joni Mitchell, Carla Bley, Pauline Oliveros, Eric Dolphy…
Care of the Cow debuted in 1975 with a 10” followed by their first LP album in 1981. By 1983, the band was adding drum machines and synths to their sound, highlighted by Victor’s amazing guitar playing and X & Sher’s perfectly blended vocal harmonies, resulting in “Dogs’ Ears Are Stupid”, the second Care of the Cow album, released only as a tiny cassette edition in 1983.
For us, this is a lost gem from the ‘80s underground which really deserved a LP/CD reissue. Here it is, done in collaboration with Steve Krakow of Plastic Crimewave / Galactic Zoo fame.

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Anatolian Weapons

Beyond EP

12" | 2024 | UK | Original (Felt)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Anatolian Weapons, the alias of Aggelos Baltas, stands at the forefront of Greek electronic music. The release ‘Beyond’ is intentionally crafted for the dancefloor, featuring a collection of obscure techno tracks with a few unexpected twists.

Following the release of Aggelos Baltas’ long-awaited second album under the alias Anatolian Weapons last autumn, he is now back with a collection of obscure dancefloor cuts. In his characteristic manner, Baltas weaves hypnotic melodies with driving beats, transporting dancers beyond thought and rationality into a liminal space outside themselves.

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Firnis Dc

Firnis Der Civilisation

LP | 1997 | UK | Reissue (Swim ~)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Firnis DC lands on Perko’s Felt imprint with Firnis der Civilisation, an eponymous collection of 9 tracks that transmit the enigmatic meditations of its author; discordant trudges of twilight romanticism from pastures far beyond. The uncommon threads that bind Felt intersect neatly at Firnis DC. Their previous outings as тпсб, for Blackest Ever Black, Climate of Fear and Ad93, and a pair of The News Cycle releases, were cult hits of uncanny ambient techno and jungle volleys interpreted through lenses of outsider electronics. A snug fit, in other words, for Perko’s unpredictable stable. On Firnis der Civilisation, we find things paired back further than before. Its 9 tracks play out like beatless symphonies of wayward folk music who’s basement transmissions have been intercepted from the ether; a stirring limbo of grotty emotions that inspire and conflict in equal measure. Tracks offer brief portals into zones of sampladelic oddities, haunted vocals and scatty euphoria that is collectively driven by an (un)willingness to straddle familiar pastures. By the time you reach its finale gut-punch of Dreifach Fiktierung’s twitching breakcore and Innozenz Jahr funk rollage, you are offered a light at the end of a rather odd tunnel that you never quite understood how you got there in the first place.

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Colin Newman

Bastard

LP | 2023 | EU | Original (Something Happening Somewhere)

Release: 1997 / UK – Reissue

Genre: Electronic & Dance

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It was four years into the swim ~ label’s history before Bastard arrived. Like my previous albums, it was another collaboration – although this time only with my partner in life and crime, Malka Spigel.

There was a point in the ’90s when British music journalists basically didn’t get dance music and would refer to it as “facelesstechno bollocks”. It was that very attribute that Malka and I felt most attracted to. In instrumental music, you could be anyone fromanywhere. The only thing that mattered was how good your tunes were. In fact, for the first Immersion album, we pretended to befrom Germany and were photographed in wigs and masks. This had the unexpected result of the album selling more copies in Germany than anywhere else!

With Bastard, it took a while to get to the concept, which was essentially this: What if we subverted the whole ‘bloke from Wire’thing and had a Colin Newman album without any actual songs on it? These days, this is not such a big thing, but it was hugelytransgressive at the time. The language of Bastard is house, techno, breakbeat, drum and bass, and doubtless post-rock. The onlysinging is a one-line Malka sample on ‘Turn’. Not only did the album not play by the rules of what would these days be called musicby a ‘heritage’ artist, but it didn’t play by the rules of dance music either. Back then, dance music artists didn’t mix up styles as theydo today. This is one of the reasons the album’s called Bastard.

Upon release, Bastard was modestly successful in comparison to the label’s other releases, although widely misunderstood. Thetitle is intentionally multifaceted, referring to several ways in which the album is a misfit – a cuckoo in the nest. But it never meant‘Colin Newman is a bastard’ – even if Malka’s toy finger gesture on the cover tempted fate on that!

Malka and I have done more work together on swim ~ – and, of course, there has been plenty of Wire activity after its second hiatus during the 1990s – but I never felt the need to do another solo album. I don’t crave attention and certainly don’t feel I lackways to express myself. In many ways, it’s more creative to collaborate with others.

There is joy and beauty in collaboration. And collaborating with Malka has become so effortless that we almost don’t know whodoes what in the work we create. This has led us to throwing open our partnership via Nanocluster events and albums where webuild musical bridges and make partnerships that transcend the art. Maybe that’s the point? Surely, art should be about human connection and diversity of expression?

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Swills & Phil//Mills

Before New Angels

LP | 2022 | EU | Original (Soda Gong)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Before New Angels is the debut album by Swills & Phil Mills, a Dutch mixed electronic duo in which vibrant talent and solid experience swirl together in a hazy cloud. Ten cinematic ambient tracks that combine the imaginative power of Biosphere and the hallucinatory club DNA of Huerco S and GAS.? Take for instance a track like Common Parlance. It's a centerpiece and forms the beating heart of Before New Angels. With its elongated, shuffling chords and deadpan kicks it seems to come from an early Wolfgang Voigt recording.?? Utrecht-based Sabine Willems is the newcomer of the two. Her work is experimental and does not conform to any genre. She likes to challenge herself by keeping her instrumentation to a bare minimum. Phone recorded samples of the world around her sometimes serve as a building block. But where her earlier tracks still contain rhythm, Before New Angels is virtually beatless.? Phil Mills is the experienced side of the duo. He's from the North of The Netherlands. Anyone who dives into his musical past will come across dance productions that date as far? back as the early nineties. Mills' experience pays out on Before New Angels, where its layered melodies and slow evolving arrangements never smother the minimalist compositions.?Is this one of the better ambient albums of 2023? We tend to think so.?You better lie down and feel for yourself.?

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Mister Water Wet

Top Natural Drum

LP | 2005 | EU | Reissue (Keplar)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Following releases on West Mineral and Lillerne Tapes, Iggy Romeu’s inimitable Mister Water Wet project makes its Soda Gong debut. “Top Natural Drum” feels like a double entendre ode to digging culture, drawing equally from the plantlife in the dirt and the grooves in the stacks. Tracks like opener “Soak” concoct a haze of resonant ceramic/wooden percs, skittering drum programming, and addictive yet diffuse melodic and harmonic textures. Dusty-fingered nodders like “Caged at Last”, “Classicfit,” and “Gossamer Hits Softly Spun” harken back to the glory days of instrumental hiphop and downtempo, sounding a bit like transmissions from some lost Landspeed Records or Mo’ Wax comp, or like field recordings from the courtyard at Scribble Jam that have been infused with the slippery sonic signatures and sleights of hand that define MWW productions. What links these two distinctive tonal registers is a sort of lingering warmth – warmth like the saturation of natural dye or sunlight on a brisk, clear Midwestern autumn day.

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Marsen Jules

Herbstlaub

LP | 2022 | UK | Original (Ghost Box)

Release: 2005 / EU – Reissue

Genre: Electronic & Dance

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»Herbstlaub,« the third album by Marsen Jules, was both introspective and visionary, modest and ground-breaking. Blending elements of classical music with electronic textures, the German artist created six pieces that draw on the power of repetition, yet are full of internal tensions and sweeping dynamics. Now, Keplar makes it available again on vinyl for the first time since its original release in 2005. This version, remastered by Stephan Mathieu and with a new artwork by Umor Rex’s Daniel Castrejón, shines a new light on a record that paved the way not only for the artist’s later work, but also further developments in electronic and ambient music more broadly.

»The noughties were a special time,« says Marsen Jules today. »It felt like there was a new tool made available practically every day that allowed you to create new musical worlds on your computer.« Hence, this prolific phase saw the emergence of a plentitude of genres and styles that can be traced back to individual records—»precious gems that opened up new possibilities and anticipated a lot of what later would be picked up on,« as he describes them. »Herbstlaub« surely falls into this category, having paved the way for a distinct approach to combining elements from classical and electronic music.

While Wolfgang Voigt was focusing on the marriage of romanticism and techno with his Gas project at the same time, the six pieces on »Herbstlaub« follow a very different concept. Through repetition and reduction, Marsen Jules threw any sense of time out of joint while also inserting an emotional component into the music. »What would remain if you abstract musical contents to this degree, how much of your personality would still resonate in it,« he sums up the questions that shaped his approach. »When will reduction result in monotony, and how could unique, magical moments created through repetition?«

More than one and a half decades later, »Herbstlaub« seems both melancholic and brimming with excitement. This is the sound of an artist experimenting freely with the sounds and structures of two supposedly irreconcilable musical traditions with new and exciting tools, creating something previously unheard of in the process.

All tracks composed and recorded by Martin Juhls. Originally released on CCO in 2005. Remaster by Stephan Mathieu. Vinyl cut by Lupo. Cover art by Daniel Castrejón based on the original by Alphazebra. Text by Kristoffer Cornils.

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Pneumatic Tubes

A Letter From Treetops

LP | 2022 | EU | Original (Cejero)

Release: 2022 / UK – Original

Genre: Rock & Indie, Electronic & Dance

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A Letter from TreeTops is the debut album from Pneumatic Tubes, the solo project of multi-instrumentalist Jesse Chandler. Grounded here in his own bucolic makings, Chandler opens his imagination to the world with this very personal and contemplative album. It’s a kind of American Kosmiche Music, a paean to the wild landscapes of the Adirondacks and Catskills of Upstate New York where he grew up. (TreeTops is the name of a summer camp, fondly remembered by several generations of the Chandler family.)

The album came to Chandler almost as an automatic transmission. Shortly after the death of his father, he holed up alone in the old family home with a few synths, a couple of vintage keyboards, percussion instruments and of course his beloved flutes and clarinets - the “pneumatic tubes” of his nom de plume. Channelling raw memory and landscape, Chandler laid down most of the material for this mystical and elegiac suite of music in just a few days. He later called on some talented friends to flesh out the final recordings; Paul Alexander on bass, Bill Campbell on drums, Marissa Nadler backing vocals and Robert Gomez on electric guitar.

The result is a series of beautifully faded musical photographs. Gentle melodies are propelled along by synth arpeggiators or laidback sidestick and felt beater drums. Chandler’s wind instruments are woven throughout like wild vines binding the elements together. Towards the end of the album an underlying note of melancholy swells into grief during the very moving Witch Water, which is subtly underpinned with Marissa Nadler’s haunting voice. The clouds soon clear, the mountains reappear, and the wheel of the year and of the generations turns again as A Letter from TreeTops signs off with the same lilting melody on which it began.

Originally hailing from Woodstock, New York and now living in Denton, Texas, Jesse Chandler is the keyboard and woodwinds player for the bands Midlake and Mercury Rev. His particular warmth as a composer and improviser is informed by a childhood ensconced in the mystical Catskill mountains, where he absorbed the area’s rich musical history and developed a fascination with keyboard and woodwind instruments.

A Letter from TreeTops is not his first appearance on Ghost Box, he also contributed organ and flute on the Soundcarriers’ incredible Entropicalia album.

Evocative liner notes are provided by Justin Hopper, author of Old Weird Albion and writer of the Ghost Box spoken word album Chanctonbury Rings. By happy coincidence Hopper also grew up in New York State and has his own deep connection to the landscapes there.

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Rick Myers

Obstacle #80: Indices

LP | 2021 | EU | Original (Hyperjazz)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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This LP forms an index to a body of artwork called Obstacle Corpus, encompassing drawing, writing, photographic and book works, video and sound. For the recording, Rick alternated between the same note on two pianos, played at once, with a spoken text. The text was written in two parts, using the titles of 75 artworks made during 2019, interspersed with a Field text, written as a form of drawing. Tape recordings of the performance were exposed to magnetic fields and amplified back through a piano using electromagnetic and physical contact with its strings, making a circuit that occasionally emited sparks during the recording.

For those of us that require categories such as non-music, anti-music and broken-music to predetermine how we listen to a record Obstacle #80: Indices is maybe a genuine non-music record for people who also actually like music a bit. Let’s say the noises engraved on this piece of plastic are a handy by-product of Rick Myers’ artistic disciplines that will also appeal to people who appreciate Popol Vuh, François Tusques, Karel Goeyvaerts, Gruppo di Improvvisazione Nuova Consonanza, AR Luciani, Katalin Ladik, Jean Guérin, Igor Whakevitch, Milan Grygar, Jean Dubuffet and even the prepared piano film soundtracks of Andrzej Korzynski and Jean-Claude Vannier. Does that sound good? The nuts and bolts behind the making of this album is the business of Rick’s art practice (which you can look forward to reading about elsewhere) but let’s just say: You had me at two open pianos, magnetic fields and transducer mic.

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Go Dugong

Meridies

LP | 2021 | EU | Original (Editions Mego)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Go Dugong is back on Hyperjazz Records! The new album "Meridies" is the result of his ongoing investigative work into traditional Apulian music from the south of Italy, inspired by his hometown, Taranto, and the phenomenon of the Tarantella - started with Trnt (2019, Hyperjazz). On a quest to push the boundaries of traditional Apulian music, Go Dugong’s research has allowed him to rethink and rework these musical traditions of his homeland, leading to the creation of a soundtrack for an imaginative and futuristic ensemble of peasants and farmers. In "Meridies" Go Dugong has collaborated with several musicians in order to combine traditional Apulian music with sounds and influences belonging to other Italian and Mediterranean regions, reinterpreting a genre that for many years has lived trapped in its canons.

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Powell

Piano Music 1-7

Aestum Purple Vinyl Edition

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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Aestum

LP | 2021 | EU | Original (AMMXX)