Search "backck" 1037 Items

5LP | 2015 | EU | Original (!K7)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Kruder & Dorfmeister

K & D Sessions

61,99 €*

A Soft And Gatherable Star

Release: 2015 / EU – Original

Genre: Electronic & Dance

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Originally released on Studio !K7 Records in 1998, Peter Kruder and
Richard Dorfmeister's groundbreaking release, 'The K&D Sessions'
reset the bar for what could be achieved in a compilation. Across an
array of original tracks, dubs and infamous K&D Session remixes, the
DJ and producer duo took the listener on a smoke-filled blunted journey
that flowed flawlessly. Often compared to DJ Shadow's 'Endtroducing'
for it's similarly deft craft of rhythm and quoted by Allmusic as "the
most blissfully blunted music the world has ever heard", the album has
sold over 1,000,000 copies to date and was included in Spin s Top 20
albums of 1999 .
The album has long since been deleted on Vinyl
with original 4LP sets changing hands for 300+ on the collectors market
and even a bootleg vinyl copy will set a buyer back over 100. Sixteen
years later, this legendary album will be available as a long overdue
5LP reissue remastered by Bernie Grundman Mastering in Hollywood.
Finally back in print in 180g vinyl.

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Jabu

LP | 2024 | UK | Original (do you have peace?)

Digeridoo (Expanded Edition)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Jabu return with ‘A Soft and
Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on hip hop to proffer a singular vision
between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is
aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to
the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era
Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos
Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently
melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian
music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’
mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed
instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep
deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst
carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes
Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian
Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo
Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influencewise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying
dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious.
Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes
from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines
from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s
clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with
several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree
at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy
booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep
out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager,
‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back.
‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her,
which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda:
Majora’s Mask, where someone seeks shelter from the falling moon.

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Aphex Twin

2x12" | 1992 | UK | Reissue (R&S)

Soul Jazz Records presents

Release: 1992 / UK – Reissue

Genre: Electronic & Dance

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“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.”

‘Digeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire.

“I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.”

Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.”

‘Didgeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

‘Didgeridoo’ (Expanded Edition) by Aphex Twin is available on R&S Records from 31st May 2024.

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Electro Throwdown (1982-1989)

2LP | 2024 | UK | Original (Soul Jazz)

2LP | 2024 | Original (Relapse)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Soul Jazz Records" new collection, "Electro Throwdown - Sci-Fi Inter-Planetary Electro Attack on Planet Earth 1982-89", is a journey into the outer reaches of electro, a galactic roller-coaster ride of turbo-charged sci-fi grooveology.The album is comprised of mainly private-press and independent label electro jams of the highest calibre (with some as rare as space ships landing on Mars) all created in the 1980s, at a time when a vocoder, a Roland TR-808 drum machine and a groove was all that was needed to get the party started.With a few notable exceptions (Michael Jonzun"s Jonzun Crew and The Packman) the album features mainly under-the-radar killer tracks from a host of one-off artists and back-room electronic pioneers - including Pretty Tony, Planet Detroit (James McCauley, aka Maggotron) and Rich Cason - who together helped shape the sound of electro across the USA from Miami to New York, Los Angeles and beyond during the 1980s.

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The Bug

Machine

Quixotism 10th Anniversary Remastered Edition

Release: 2024 / Original

Genre: Electronic & Dance

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Oren Ambarchi

LP | 2024 | EU | Original (Black Truffle)

Mother Earth's Plantasia Green Vinyl Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.

The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

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Mort Garson

LP | 1976 | US | Reissue (Sacred Bones)

La Clarte Dans La Confusion

Release: 1976 / US – Reissue

Genre: Electronic & Dance

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If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for plants. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back to the dawn of time, but apparently, they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.
Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”
But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed.
“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.
Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia's new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

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L'Entourloop

2LP | 2022 | EU | Original (X-Ray Production)

Olafur Arnalds & Nils Frahm

Release: 2022 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Unstoppable elders of the L'Entourloop collective, King James and Sir Johnny, are proud to present on June 10, 2022 their long-awaited third and new album entitled "Clarity in Confusion". Featuring Alborosie, Promoe, Degiheugi, General Levy, The Architect ...

It is now official, 2022 will mark the return of the tireless seniors of the collective L'ENTOURLOOP! After a break to devote themselves to the creation of a new album and a new live show that promises to be exceptional, they are back on the road, more determined than ever!
The success of their last albums "Chickens in Your Town" (2015) and "Le Savoir-Faire" (2017), with their unique "Banging hip-hop inna Yardie Style" never cease to seduce sound-system, vinyl and French classics fans, all over the world.

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Trance Frendz

LP | 2016 | EU | Original (Erased Tapes)

LP | 2014 | EU | Original (City Slang)

Release: 2016 / EU – Original

Genre: Electronic & Dance

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Since 2012 Erased Tapes peers Ólafur Arnalds and Nils Frahm have spent many hours together in their studios across Berlin and Reykjavik, freely improvising and occasionally capturing the music for their fans. The duo's sound is an astoundingly rich, tonally pure example of synth-driven experimentation, conceived and performed by two prolific collaborators.

During a session at Nils's Durton Studio in Berlin last summer the two specially invited photographer Alexander Schneider to capture one of their unique improvised sessions. Lasting long into the night, the pair gradually and organically formed several individual songs – each contributing to the narrative of a larger, transformative piece of music. Recorded in eight hours with no overdubs or edits, 'Trance Frendz' is a captivating journey through grand soundscapes and droning crescendos which crash and recede back, making way for delicate piano notes and swirling synthesizers.

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Caribou

Our Love

3LP | 1996 | EU | Reissue (Kompakt)

Release: 2014 / EU – Original

Genre: Electronic & Dance

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Our Love is formed around a mixture of digital pop production, hip hop inspired beats, muted house basslines and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart which are, of course, all filtered through Dan's own unique perspective. The warm analogue sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the records DNA. In fact, Our Love is probably Caribou's most soulful record to date, chock-full of heartfelt lyrics and organic nature which cuts through bubbling synths and blissful euphoria of their synthetic constructions. It's not all downbeat of course, whilst some thoughts linger on mortality, loss and letting go, there is always an element of celebration.

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GAS

43,99 €*

LP | 2024 | UK | Original (Hell Yeah)

Release: 1996 / EU – Reissue

Genre: Electronic & Dance

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Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project.

There had, of course, been signs of what was to come. Back in 1995, Voigt essayed the first GAS release, a slender, yet remarkable four-track EP, Modern. Its centre label featured a reduced symbol – an overhead or lamp light, switched on, its glow radiating outwards in four bold black lines – a perfect representation of the tight, stylised ambient electronic pop contained on that 12”. A few curious compilation tracks were floating around, too, for Mille Plateaux’s Modulation & Transformation and Electric Ladyland series. If you were attentive enough, you could tell something was up.

But nothing quite prepared us for the languorous, effervescing loops and regular-like-clockwork beats that Voigt folded together on GAS. Its six long tracks, all untitled, neither begin nor end but hazily fade into earshot, vibrate majestically in your cochlea for fifteen-or-so minutes – some a bit shorter, some longer – and then meander away, reading the mise-en-scène for the next example of Voigt’s drift and dream logic to unfold. The material is referential in the most distant way, and you can sense only the most evanescent of ghostly presences, haunting these six compositions.

GAS feels, also, like a more pliable hint at what’s to come, as the GAS concept really solidified on its successor, 1997’s Zauberberg, and reach its apotheosis on Königsforst and Pop. Those three albums share a very similar palette – blurred, hazy samples, often of classical music, stacked and cross-thatched across a muted 4/4 thud. GAS, then, is an outlier of sorts: it’s more expansive in its remit, lighter in its mood, perhaps more fleet of foot. This, of course, is part of its charm.

In clearing space for Voigt, by preparing the terrain, GAS sits both at the edge of the forest, and at the verge of an expansive, wide-eyed future; one where GAS would become truly eternal.

Text by Jonathan Dale

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My Friend Dario

Senza Estate

19,99 €*

2LP | 2006 | UK | Reissue (Warp)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Stop what you're doing and give us your full attention because Hell Yeah mainstay My Friend Dario's new album Senza Estate is going to define the sound of summer 2024. It's an eclectic eight-track collection that has something for everyone and is inspired by dreamy Italian soundtrack composers Piero Piccioni and Umiliani.

Curveball Italian talent Dario is a real dance floor don who collides acid, nu-disco, breakbeat and electro. His take on Balearic is unique and always sends dance floors wild, as proven with his last outing Food For Woofers Vol 2 earlier in the year. His new album is the sound of life by the Mediterranean, Balearic audio pleasure for daytime dreaming and nighttime dancing with vocal tracks written and performed by the UK's Space Echo Records associate Darene Obika.

Dario hails from Catania on the island of Sicily and his inspiration for Senza Estate, which translates as 'without summer,' was an imaginary holiday, weekends at the seaside, car journeys in the sun, relaxing sunsets and late-night dancing. 'For five years, I worked in a shop six days a week so despite living on a Mediterranean island I could never enjoy these things. Instead, I locked myself in the studio and jotted down the ideas, sensations, melodies and rhythms I had about another lost summer.'

'Keep On Cruising' is a downtempo opener with innocent synths that are filled with hope and promise for the warm months ahead. 'Zingarella' is a wide open sea view with wispy pads, seductive flutes and jazzy melodies that bristle with life and the tropical title cut gets more dancey on shuffling broken beats and radiant synth glows. There's a seductive laid-back cool to the tumbling keys of 'Marittimo' and 'What You Need' is a horizontal groove with loved-up vocals, 'Falò' pairs sensual acoustic guitar with work with pillowy drums and 'Il Pianeta Proibito' layers up sci-fi synths and stuttering bass into a bubbly sound that leads to cosmic take-off. 'Acid Panorama' is the melancholic closer which hints that the summer sun is setting one final time after weeks of carefree fun.

But the good news is, you can repeat the joys of My Friend Dario's masterful Senza Estate over and over again.

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Nightmares On Wax

In A Space Outta Sound

36,99 €*

2LP | 2003 | UK | Reissue (Late Night Tales)

Release: 2006 / UK – Reissue

Genre: Electronic & Dance

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Another reissue slammer form Warp's Nightmares On Wax back cataloque!

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Nightmares On Wax

Late Night Tales

2LP | 2024 | EU | Original (15 Love)

Release: 2003 / UK – Reissue

Genre: Electronic & Dance

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The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released.

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Ml Buch

Suntub

Terrestrial Ultra-Doula EP

Release: 2024 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions.

With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.

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Rolando Simmons

12" | 2024 | EU | Original (Analogical Force)

14,99 €*

1995 Snow White Vinyl Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Not much to say on this one, Mattias Ostling aka Rolando Simmons is back on AF. You should know what you're in for: undeniably beautiful acid stuff, somewhere between propulsive and melancholy, lush but fidgety 4/4 beats...'Terrestrial Ultra-Doula EP' is a 4-track adventure that deftly dabbles in rave, IDM, techno and beyond in classic RS style. In his own words "Every completed project is the failure of an original idea and the triumph of a successful adaptation. These tracks were inspired by a dream and my subsequent reflections on it. Playing music for others is an act of alchemy that can alter thought patterns and life paths to varying degrees. It is a formidable power to wield." Ostling is one of those artists who works in a specific continuum but adds his own touch here and there--and when it comes to reverb-drenched, acid-lashed, wound-up IDM pitter-patter, not many can do it as well, or as elegantly, as this. Word, you're gonna need this one.

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Kruder & Dorfmeister

2LP | 2020 | EU | Original (G-Stone)

38,99 €*

Isles Black Vinyl Edition

Release: 2020 / EU – Original

Genre: Electronic & Dance

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One per customer only!

An album had been finished by the spring of ’95 and all recorded onto DAT and placed in a box. K&D pressed up 10 copies and gave 4 away to some suitably eccentric individuals.
Then the room’s doors opened and in a tremendously big cloud of smoke time rushed in, K&D rushed out, and the years went rolling by. The days got filled with remixes, touring and life.

Then in early 2020 that chance moving of a box at the back of a room exposed the DATs and their time transporting properties. As K&D went through them they ended up comfortable and back in the room and that wonderful haze of 1995.

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Bicep

2LP | 2021 | UK | Original (Ninja Tune)

2LP | 2008 | EU | Reissue (Island)

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Bicep have become synonymous with a particularly emotive brand of electronic dance music down the years, and on the Belfast-born, London-based duo’s new LP Isles we find that sound in good nick once more. The album’s shimmering synths and buoyant beats transport you to the last dance of the night, or perhaps to the sun setting over a festival skyline, even as you enjoy them through headphones or hi-fi speakers.

Isles finds Bicep incorporating influences which range from old-school rave tunes to the tender, R&B-indebted sounds of post-dubstep. A single like ‘Apricots’ is an expert demonstration of how Bicep’s style is in dialogue with so many important eras of dance music’s history yet also remains distinctly their own. ‘Apricots’ features shuffling broken-beat drums which push the tune forward, the gently insistent groove providing a base from which the synths and vocal loops can build. It makes for hugely stirring listening, particularly when the ever-climbing synths reach their apex at the track’s climax. Other entries here may deliver some harder timbres - there are electro and trance influences lurking towards the back-end of Isles - but Bicep still find the emotional sweet-spot time and again across the course of the album.

With the Isles LP, Bicep have delivered some of their most moving electronic dance music productions to date.

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Portishead

Third

38,99 €*

Lifestyles Of The Laptop Cafe

Release: 2008 / EU – Reissue

Genre: Electronic & Dance

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Finally, this Portishead classic is back in print!!

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The Other People Place

2LP | 2001 | UK | Reissue (Warp)

36,99 €*

LP | 1995 | UK | Reissue (Warp)

Release: 2001 / UK – Reissue

Genre: Electronic & Dance

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Only 1 per customer!

Fifteen years since its original release, The Other People Place's Lifestyles Of The Laptop Café is finally made available again on vinyl. A long-standing favourite among the many legions of Warp fans and rightly considered to be one of the very best electronic albums of all time.

It's hard to sum up in words just how important Lifestyles Of The Laptop Café truly is. Originally released back in 2001 as part of the Drexciyan off-shoot Storm Series, Lifestyles was one of the various projects of one-half of deep sea electro pioneers Drexciya, James Stinson. Shrouded in mystery, the two members of Drexciya took the blueprint laid out by the pioneers of the hypnotic groove, Kraftwerk and gave it a truly electro feel - cold, yet funky. Where Drexciya's sound was focused in the deepest corners of the ocean, James's work as The Other People Place was a solo project that turned its gaze elsewhere, most notably in the direction of love.

Playing out like the first meeting through the early days of a relationship, the themes of closeness and affection carry a strong theme throughout with tracks like 'Eye Contact' describing those very first seconds of connection, before the story unfolds with the twilight romance of 'Moonlight Rendezvous', and the almost doubt creeps in on the bittersweet 'You Said You Want Me' and the anthemic 'Let Me Be Me'. A track of legendary status amongst the wide-ranging spectrum of electronic music lovers, producers and DJs the world over.

With the original vinyl being incredibly hard to find (for a second-hand copy, you are looking upwards of one hundred and fifty quid easily!) this freshly repressed edition is something many of us have been dreaming of, and for those looking to take their first trip to the Place, you are in for a life-affirming experience.

Like all of the very best techno and electro, The Other People Place yields some of the most beautiful sounds to emerge from the D with a limited sound pallette, stripping everything back to the essentials to compose an incredibly important yet delicate album that still to this day continues to fascinate and seduce with its strikingly subtle flow and elegant mystery.

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Aphex Twin

Richard D. James Album

LP | 2024 | UK | Original (Gondwana)

Release: 1995 / UK – Reissue

Genre: Electronic & Dance

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Another Aphex Twinclassic back in print! Pressed 180 gram wax, download code included!

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Hania Rani

Live From Studio S2

22,79 €* 23,99 € -5%

Loop Finding Jazz 2024 Repress

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Limited to 500 copies on black bio vinyl.

The now iconic ‘Live from Studio S2’ memorizing performance gets a sought after limited BioVinyl Edition and features all four tracks from the session. First premiered on the Gondwana Records YouTube channel on Sunday March 28th 2021, it has since become a global success reaching a near 7 million views and counting and has earned Rani many more devoted fans. "At the beginning of February 2021, I was invited by the Berlinale Film Festival to record a live set as a part of the EFM sessions which became the motivation to document this live performance. I thought that bringing back my piano and equipment to the hall where I first recorded my live session videos for my debut album 'Esja' would be a nice idea and the right cinematic choice. This time, I wanted to use not only an upright piano, but also a grand piano and some other keyboards including a Prophet 08 synthesizer and a Roland stage piano. Studio S2 is one of the recording studios inside the Polish Radio building in Warsaw and used primarily for recording classical and film music. The hall is fully covered with light wood, which reminds me of other Radio Studios all around the world – like Funkhaus in Berlin. It felt very special to be in the hall again where we recorded the music video for "Glass", one of my most liked videos. There is a kind of intimacy when playing the little piano in this huge and also very high venue. I decided to rearrange some of my favourite songs, which I have been performing live for years. The set starts with 'Hawaii Oslo', which is built on a piano loop, followed by 'Glass' with a new intro and outro and closing with 'Leaving' and 'Buka' – this time accompanied with new layers which change the mood and rhythmic pattern of both songs".

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Jan Jelinek

2LP | 2001 | EU | Reissue (Faitiche)

Dive 10th Anniversary Orange & Red Marbled Vinyl Edition

Release: 2001 / EU – Reissue

Genre: Electronic & Dance

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In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.

What the press said about Loop-Finding-Jazz-Records:

“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)

“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (atm)

“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (rpm)

“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)

“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)

“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (nme)

“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)

“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (dj)

“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)

PS:

“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

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Tycho

2LP | 2011 | CZ | Reissue (Ghostly International)

35,99 €*

2LP | 2010 | EU | Reissue (Parlophone)

Release: 2011 / CZ – Reissue

Genre: Electronic & Dance

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10 year anniversary edition on orange & red marble vinyl. While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist Iso50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since."As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future.That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at the very least, a restless vision of prog-rock - one that's been coated in neon colors and filtered through a thick piece of blotter paper. And then there's "Elegy," a spare curtain closer that pairs a vulnerable crescendo with a fitting bridge to future works.And with that, Dive establishes its position as the most diverse musical statement of Hansen's multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn't belong to any particular time or place."Nostalgia is a common thread in my work," says Hansen, "but this album wasn't driven by that idea. I see these songs as artifacts from a future which might have more in common with our past than our present."

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Gorillaz

Plastic Beach

Awake Clear Vinyl Edition

Release: 2010 / EU – Reissue

Genre: Hip Hop, Electronic & Dance, Pop

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Gorillaz strike back, this time feat. Snoop Dogg, Kano, Mos Def, Lou Reed, De La Soul & Bobby Womack!

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Tycho

LP | 2014 | US | Reissue (Ghostly International)

12" | 2018 | UK | Original (Ninja Tune)

Release: 2014 / US – Reissue

Genre: Electronic & Dance

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For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake - his second LP for Ghostly International - the solo project has evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his in?uences. "This is, in many ways, the first true Tycho record." Following 2011's "Dive" LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began ?eshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like "Montana" and "Awake" are a departure from Tycho's previous material - unique to the group e!ort poured into the songs on the new record - while "See" and "Dye" echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could ?xate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as Iso50, Hansen's visual and sonic e!orts have dovetailed throughout the course of his career. "This is the ?rst time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but "Awake" is where music becomes the focus and true expression becomes the result.

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Peggy Gou

Once

16,99 €*

LP | 1997 | EU | Reissue (Island)

Release: 2018 / UK – Original

Genre: Electronic & Dance

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It's Gou's second Ninja Tune release, following 2016's Seek For Maktoop, which landed on their club-focused Technicolour sublabel. The Berlin-based artist also sings on the new EP, which includes three tracks that each cater to a specific context—open air, warm-up and "proper party," she says.

"I tried to draw on all my influences of the last few years," she explains, "from electro, African music, early '90s house music and also techno, especially Maurice Fulton and DMX Krew." She closed out her RA podcast this week with the EP cut "It Makes You Forget (Itgehane)."

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Portishead

2LP | 2024 | EU | Original (Ofnot)

Release: 1997 / EU – Reissue

Genre: Electronic & Dance

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Finally, this Portishead classic is back in print!!

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KMRU

Temporary Stored II

LP | 2024 | UK | Original (Unsound)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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When Kmru accessed the sound archive of the Royal Museum of Central Africa in Tervuren, Belgium, it catalysed an auditory response in the form of the album Temporary Stored. The album listened back to listen forward – to reckon with the collective inheritance of colonial (sound) archives. Temporary Stored II serves as an artistic and curatorial extension of the original album, inviting other artists to lend their critical ear to museum archives holding recordings of African songs, traditions and practices. With Kmru, Aho Ssan, Lamin Fofana, Nyokabi Kariuki and Jessica Ekomane draw upon their listening experiences as global contemporaries navigating a world in flux – ecologically, economically, and politically. Each artist brings a selection of sonic fragments out of dormancy, channelling (in)audible traces into a contemporary cultural and political paradigm. Temporary Stored II sensitively responds to historical archives whose sounds have been restored and made more accessible through digitalisation, despite still being the copyrighted property of European institutions. It develops an emergent language to engage with the vocal, rhythmic and syllabic intelligence rooted in these sonic repertoires, grounded in reimagination of sonic records as seeds for a sounding future. Listening back to these recordings is one way to recover the loss of listening traditions, orality and modes of transmission. In these sonic mediations, Lamin Fofana, Kmru, Jessica Ekomane, Nyokabi Kariuki and Aho Ssan account for the archives with care and criticality. Inscribed in this album are “black waveforms as rebellious enthusiasms”, which in the words of Katherine McKittrick “affirm, through cognitive schemas, modes of being human that refuse antiblackness while restructuring our existing system of knowledge.” The album asks us to listen to colonial pasts and imagine the sound of our epistemological futures. It is a sonic retort; a playback to history and its colonial processes of extraction and accumulation. Temporary Stored II is a reminder that the labour of listening back is a continuous process of reassessing what has been lost, captured and refused. - Bhavisha Panchia

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Raphael Roginski

Zaltys

Vooll White / Green Swirl Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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The new album by Polish guitarist Raphael Rogiński is named after the grass snake Žaltys, a revered household spirit in Lithuanian folklore, and explores themes of Eastern European mythology and nature. As a conduit of cultural exchange, "Žaltys" connects with Rogińsk’s previous work, most recently his critically acclaimed 2023 album "Talàn".

"Žaltys" is deeply rooted in the rolling hills of the Suwałki region, in the northeast of Poland, where Rogiński spent childhood vacations and became intrigued by the music he heard from nearby Lithuania. Later, it was on the border with Dzūkija in Lithuania that he bought his first electric guitar, recording soundscapes on a four-track recorder in the forests; he returns to those techniques on this album.

Yet while Eastern European folk music is a constant, enigmatic inspiration here—the track titles derive from various Lithuanian plant names—"Žaltys" is (like all of Rogiński’s work) impossible to pin down, drawing on jazz, American primitivism, and a pervasive mysticism. Infused with a specific culture and place, the album contains a sense of memory, time passing, wonder, and loss. The music, Rogiński says, “is a return to the moment when my brother and I laid down in a boat near the Lithuanian border, floating on a lake at night and looking at the stars in the sky, which always seemed closer to us there.”

Working with Warsaw musician and producer Piotr Zabrodzki, Rogiński created what he describes as “guitar piano”. Rogiński and Zabrodzki made the whole studio resonate while recording, to achieve a sound “as if the wind was playing the strings”. He continues, “We connected some low-voltage effects to powerful old amps and a Leslie speaker, and put unusual sets of strings on the guitars.” For the first time on a solo album, Rogiński employs overdubs to create layers on several tracks, while other compositions are pared back, variously stark, harsh or simply beautiful, exploring his deep relationship with his instrument.

Making a guest appearance—including on the first single “Šilinis Viržis”— is musician and singer Indrė Jurgelevičiūtė, a member of Merope, a band which draws more directly on Lithuanian folk forms. The two artists have been friends for years, but had never managed to record together, even though they share similar inspirations (and recently performed live at Unsound and Ephemera). Now Jurgelevičiūtė sings and plays the kanklės—a Lithuanian plucked string instrument or chordophone closely related to the zither—on two songs on the album. Zabrodski also plays piano on “Šilinis Viržis".

Rogiński has turned the mastering over to Joe Talia, a frequent collaborator of Oren Ambarchi who is known for his skills with guitar recordings. The cover is by Marcin Janusz, a Krakow painter who, like Rogiński, finds inspiration in nature and the human body’s relationship with the world.

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Woob

LP | 2024 | US | Original (Newretrowave)

LP | 2024 | US | Original (Kranky)

Release: 2024 / US – Original

Genre: Electronic & Dance

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NRW welcomes woob to its roster as we begin our summer release campaign. vooll is an exceptional exploration into uncharted synth territory. Your ears will be taken on a ride of a lifetime. A must listen for all Cyberpunk and Darksynth enthusiasts.

Album Synopsis: A Korean Ghost Story, Seoul 2021. To help relaunch her career, aging K-Pop star ‘Yu-sa’ travels back in time to 1991 using an experimental time displacement program called “vooll”…where she dies tragically in a freak accident. After unsuccessfully trying to reverse the incident she creates a time disturbance causing herself to glitch between 1991 and 2991. 30th century Seoul has been infested by a sentient, alien fungus that communicates with the apparition telepathically. The constant stream of information drip feeding into her consciousness begins to slowly unravel her mind.

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Belong

Realistic IX

Move With Intention HHV Exclusive Blue Vinyl Edition

Release: 2024 / US – Original

Genre: Electronic & Dance

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Realistic IX, the third full-length by the duo of Michael Jones and Turk Dietrich aka Belong, is both an expansion and excavation of their signature acid-washed songcraft.

Bleached guitars, metronomic drums, and buried voices rev, swirl, and seethe across shifting gradients of haze and hypnosis, alternately driving and diffuse. Melodies surge closer to the surface, flexing their form before resubmerging into quickening currents of feedback. Elsewhere the elements dissipate into a dusk of murk and microtonalities, electricity liberated back into infinite night.

Although it’s been thirteen years since Belong’s prior Kranky offering, Common Era, none of the duo’s rare synergy has decayed in the interim. Jones and Dietrich’s commitment to oblique states of motorik drone and liminal emotion continues to evolve and unfold, increasingly tactile and unreal, an alluring glow glimpsed through fogged windows at witching hours.

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Dumbo Tracks

LP | 2024 | EU | Original (Bureau B)

LP | 2023 | EU | Original (Tiella Sound)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Limited to 100 copies.

Dumbo Tracks returns with a second album Move With Intention – the anticipated follow up to 2022's eponymous debut. Philipp Janzen and collaborators deliver a varied collection of nine zoned-out grooves direct from Dumbo Studio in Cologne, with vocal contributions from Portable, Ada, Marker Starling, Rubee Fegan and nothhingspecial.

Looking back to his musical upbringing, Philipp Janzen switched up the recording process from the first record to incorporate more of a live band element. The result is a more eclectic sound which allowed more freedom to experiment, while keeping the collaborative spirit that is a vital Dumbo Tracks trademark.

The genesis of the record began in Italy, where Philipp and co-producer Julian Stetter traveled to jam out ideas on modular synths over the course of a few days. These ideas served as the basis for more instrumental tracks back at Dumbo Studio, where Philipp invited friends to develop the tracks further within a live dynamic. For the final phase of the record, Philipp enlisted the artistry of five vocalists: spoken word frontwoman Rubee Fegan, Canadian singer songwriter Marker Starling, house romantic Portable, Bonn-based haunted pop artist nothhingspecial and Hamburg's techno visionary Ada.

Rubee Fegan contributes her anecdotal observations to four songs, not least on the opening track "Daughter Of Flood" with her poetic remark "sip on the wave of her." It's a vocal style that Philipp had been looking for for ages, and finally found after hearing Rubee's band Smile. Long-time collaborator Christopher Cummings aka Marker Starling lends his lilting tenor to "Slow Despair", an uplifting drum machine and organ workout. Track three "What If" shifts the goal posts, as an acid bassline rises over a swung groove that wouldn't sound out of place in a Manchester warehouse, before we emerge into a clearing of heartbreak and expectation, courtesy of singer producer nothhingspecial.

The title track sees Philipp and crew slow the tempo down to a molasses dreamscape, a beatdown groove that's joined by Paris-residing artist Portable. Portable's emotive voice is the perfect foil for the tracks' invocation to mindfulness, aided by filtered hi-hats and widescreen sequencers. "Mica" takes the synths and drum machines out to the countryside, and finds producer and singer Ada supplying the most sensitive of vocals and flutes to a song that carries the kosmisch torch. Organs spill over rolling drums and dub reverb, underneath Rubee's cosmic voiceover on "A Naked Star", and the album concludes with "My Eyes Won't Close" a chromatic modular descent into despair, vividly described by nothhingspecial.

It all makes for a gloriously eclectic album, an anarchic pop record that follows its own rules. Move With Intention is both electronic yet alive, motorik and pastoral, filled with dancefloor grooves and a krautrock swagger. In this sense the intention is clear: to respectfully rip up the rule book and keep moving forward.

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Livio Improta

Fondamentalismi

13,59 €* 16,99 € -20%

LP | 2023 | UK | Original (Les Disques Magnétiques)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Off the back of their long-standing radio show and guest mix series, Tiella Sound launched in 2023 with a self-titled LP from Perugian artist Vaisa, setting the scene perfectly with its lo-fi maelstrom of field recordings, obscure rhythms and tribal textures. Livio Improta follows suit with ‘Fondamentalismi’, a 10-track exploration of broken, slow-motion rhythms coated in vinyl crackle and layers of atmospheric dust. Livio Improta has landed on Bosconi Records and Rawax, had his tunes included on Fabric 71 mixed by Cassy, and explored ethnomusicology and experimentation under the name Baldovino. From Neapolitan wave to world music, Italo-disco to house, disco and funk, his sound is rich, unpredictable and varied, as he proves here with ‘Fondamentalismi’.

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Pekodjinn

Dharba

17,99 €*

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

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Founder of Ozadya collective, Pekodjinn has made himself one of the most influential producers in the Geneva subculture scene. Injecting his Tunisian heritage into the rap culture he grew in being a graffiti artist, he’s delivering a futuristic mix where darbukas meet trap influences, traditional chants melt in batida and percussions are distorted by dub effects.

Dharba, the first solo album of the beat maker, is built in two parts. First one is an ode to Tunisian youths who fight a revolution against oligarchic power in 2011 and are still struggling to achieve what they started. Chokri is for example dedicated to Chokri Bellaid a syndicalist assassinated in 2013. Second part is about imagining the future of Maghrebi, African, and Arab music. A unique sound where the youth of the continent and the youth of diaspora liberate themselves of colonialism, imperialism, and exoticism to build up a conscious sound to fight back the Western influences.

If you want to know how’s the guy sounds live, just check his latest DJ Set for Boiler Room, heavy tunes, heavy vibe... a newcomer to keep an eye on !

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Nicola Cruz

Kinesia

20,99 €*

12" | 2024 | US | Original (False Aralia)

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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False Aralia

Selfsame

Highway Of Love Pink W/ Purple Smoke Vinyl Edition

Release: 2024 / US – Original

Genre: Electronic & Dance

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False Aralia the new label from from Brian Foote (Peak Oil, Kranky, etc.) returns with a second release on the self-titled label and once again explores an experimental and hugely original approach to minimal house, dub and techno. It is unconventional to say the least but always inviting with warm, dubby pads, fragments of melody and undulating rhythms all bubbling away in loose, freeform fashion. These late-night sounds tracks are inescapably immersive and cavernous and they cocoon you in sound as if you're back in the womb. It's a magnificent place to get lost and sink in.

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The G

LP | 2025 | US | Original (Newretrowave)

Vooll Black / Green Swirl Vinyl Edition

Release: 2025 / US – Original

Genre: Electronic & Dance

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A massive "Welcome Back" to The G!!! After a span of 3 years plus, the master is finally back with another stellar synth packed album! A must listen for all synth lovers.

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Woob

LP | 2024 | US | Original (Newretrowave)

Systeme Black Vinyl Edition

Release: 2024 / US – Original

Genre: Electronic & Dance

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Bersarin Quartett

2LP | 2023 | EU | Original (Denovali)

Sorry! We Did Something Wrong

Release: 2023 / EU – Original

Genre: Electronic & Dance

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New album by the imaginary German quartet via Denovali. Although the title "Systeme" suggests a perhaps rather distant-cool album, it is the most personal and concentrated soundtrack so far created by Thomas Bücker from Münster in his "E-Smog-Playground" studio. In 2008, the quartet still flirted with cyrillic-mysterious melancholy and red wine-swilling trakl melancholy. 15 years and four albums later, it seems almost cynical to simply continue at this point. Because: late modernity delivers its very own complex tragedies - in real time.

This feeling of "Something's not right here" runs like a thread through the entire new album. While it still sounds popularly symphonic here and there, there are also many soundscapes that have an observing, almost unmasking effect. Microtonal shifts, polyrhythmic structures, tempo fluctuations and sound aesthetics torn out of context create a fragile, unpredictable foundation - as if Talk Talk, TIM Hecker and Skrillex were making music together and challenging our tolerance for ambiguity.

Typical of the Bersarin Quartet: sparks of optimism shimmer through everything. However, sitting back and enjoying doesn't really want to work - necessarily. Because that makes it exciting without freezing in escapism - fortunately.

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Simple Symmetry

LP | 2022 | EU | Original (New Ears / DIG)

18,99 €*

No Mans Land HHV Exclusive Red Vinyl Edition

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Normally records that take a long time to make can sound fractious, convoluted self-absorbed. This is not the case with Sorry! WE DID Something Wrong, the debut from Moscow’s Simple Symmetry, which despite taking three years to create, is a total gas to listen to. Simple Symmetry — aka the Lipsky brothers (Sasha and Sergey) — haven’t really looked to reinvent any wheel, rather they have managed to collate a vast amount of good vibes and well-loved sonic conceits and breathe new life and colour into them. Temporarily ditching the electrifying dance music they are famous for in favour of a universal pop sound — replete with flutes, cello, “all kinds of percussion” and synths, sitar and guitars — the brothers have made an upbeat and incredibly accessible record; a tonic for these uncertain times. At first glance, some of the titles: ‘End of Days’, ‘I Must Not Fear’, ‘Oh Lord’, and ‘Out Of Body Experience’ don’t suggest the expansive and very danceable soundtracks we get to hear. But with the aforementioned tracks and rug cutters like ‘Che Che’, Simple Symmetry re explore those moments in the early-to-mid 1990s when artists like David Holmes, St Etienne, Andrew Weatherall and Death in Vegas looked to plunder the grooves and licks of the 1960s and early 1970s. The bell rings, flutes, harpsichord and vocal harmonies in ‘End of Days’, for instance, suggest the Beach Boys at their most laid back and sunkissed. Or The Monkees when they chowed down with Zappa and made Head. Even the countdown makes direct reference to the 60’s Space Race. Sometimes, the Lipsky’s reappropriations of these kinds of moments in popular music’s history are so brazen it’s best just to laugh at the sheer cheek of it all. Whilst shaking your hips, of course. Life-affirming, comforting even, Sorry! WE DID Something Wrong shows that old tricks can still be magical if used with the right spirit. This record is also the sound of coming together. Literally, as well as metaphorically. Simple Symmetry confirms that “there were many collaborations with artists we love and admire from all over the world, from Russia, Israel, Germany, UK, Brazil and the USA.” Including a guest vocal by their good friend Petr Chinavat on the beautiful, hippy-dippy technicolour paean to one of the ocean’s most mysterious creatures, ‘Octopus’. After a while it’s impossible to think too critically about the whys and hows, especially when confronted by floorfillers like ‘I Must Not Fear’ or the marvellous, gonzoid ‘Koko the Gorilla’ which stomps its way through the simplest, sugariest of melody lines and throwing out kooky vocal samples and comic roars for good measure… Koko turns up on the album cover, courtesy of Athens artist Dimitris Rocos. In a way the beast is a spirit animal for this release: in your face and brazen but (to steal a lyric from Julian Cope) kinda cute. For those needing some respite from all the high jinks, there is plenty of space to sink into a pleasant reverie, courtesy of the Gong-like comedown that goes by the name of ‘What A Relief’ and the Glide-tastic ‘Rounded with a Sleep’; both of which allow the gentlest of comedowns in your favourite seat at the Korova Milk Bar.

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Tommy Guerrero

LP | 2014 | EU | Reissue (Too Good)

21,99 €*

2LP | 1995 | UK | Reissue (Warp)

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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Aphex Twin

I Care Because You Do

36,99 €*

12" | 2024 | DE | Original (ZYX Music)

Release: 1995 / UK – Reissue

Genre: Electronic & Dance

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Another Aphex Twinclassic back in print! Pressed 180 gram wax, download code included!

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Jimmy & Suzy

Come Back

16,99 €*

LP | 2024 | UK | Original (Sferic)

Release: 2024 / DE – Original

Genre: Electronic & Dance

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Bianca Scout

Pattern Damage

Tales Of The Forgotten Melodies - 20 Years Collector Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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The Newcastle-born, south London-based dancer, musician and performer Bianca Scout follows solo releases, and collaborations with Space Afrika, Klein, Coby Sey, Mica Levi, Ben Vince and Elena Isolini, with a spellbinding new album. Heralding an age of gothic, technocratic dystopia, in ‘Pattern Damage’ Scout weaves a patchwork of narcotic vocals, blunted after-hours ambience, and chopped-n-screwed sacred music. “The name Pattern Damage flipped in my brain when I was thinking about people’s trauma and patterns of behaviour,” Scout explains. “It has a double meaning. It’s not just the pattern of damage that’s happened to you, the cycle of abuse; pattern damage can also mean the damage that you do to a cycle, to break the pattern.” We hear this pattern break throughout the record, in the cacophonous noise collage of ‘Intro,’ and the labyrinthine chops of strings and voice in ‘Lead Us’. It’s also present in the unadorned yearning and exquisite anger of the heart-rending vocals of ‘Forest Spirit’ and ‘Almost Nothing’, courtesy of Darkmarik, the musical alias of movement artist Malik Nashad Sharpe. Recorded as one-take voice notes sent to Scout while Sharpe took part in an artist residency deep in the forest, here, their voice pierces through melancholy gloam, another sad cycle broken. “As an album it does feel like a dance,” reflects Scout. “It feels like movement.” Calling back to her roots in dance, there is haunted choreography in ‘Chances’, a sultry instrumental elevated into an autotune prayer, punctuated by fits of dusty breaks and smothered percussion. In ‘Desert’ too, recorded by Scout and power electronics mainstay Martyn Reid under their Marina Zispin moniker, demure cold-wave pulse is picked out in Korg licks and Reid’s doom-laden voice, as he reads out an account of one of Scout’s dreams. Yet it’s ‘Passage / Reversal / Fortune’, a collaboration with another movement artist, Kendra Chiagoro-Noel, who appears here as Nwakke, that unfurls most like contemporary dance, with Scout flipping Allegri’s ‘Miserere Mei Deus’ into a whirl of vocal harmony that Chiagoro-Noel then remixes again, producing and writing the latter half of the song, casting both of their voices adrift on a shared ocean of sound. “There are spirits,” Scout asserts. “Nwakke and I have talked so much about what the difference is between a soul and a spirit.” Bianca has performed at Royal Academy of Arts, the Serpentine Gallery and Turner Contemporary for Mark Leckey’s ‘In The Offing’. She choreographed ‘The Heart Of The Anchoress’ at Southbank Centre, alongside music by Peter Broderick and Specimens. She recorded a BBC 6 Music Live session as part of Marina Zispin, whilst further radio action has come from BBC 6 Music, NTS, Resonance Extra, Noods, and Balamii. Press support for Bianca has included Fact, Crack, The Ransom Note, DJ Mag, Resident Advisor, Loud and Quiet and Inverted Audio.

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Wax Tailor

2LP+7" | 2004 | EU | Reissue (Lab'Oratoire)

35,99 €*

LP | 2024 | UK | Original (Nashazphone)

Release: 2004 / EU – Reissue

Genre: Electronic & Dance

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Marbled (white & black) vinyls + 7"

20 years after its release, Wax Tailor's cult album, which made him a household name the world over, is back in a marbled 2LP collector's edition with the bonus single ‘Seize the Day’ (previously unreleased on vinyl). Long unavailable due to its success, this eagerly-awaited repress offers the chance to discover once again this essential work of the trip-hop scene.

This exceptional box set includes two marbled vinyl records along with an exclusive 7-inch single of Seize The Day.

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Don King

On The Mediterranean

CD | 2025 | US | Original (Newretrowave)

Release: 2024 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Preorder shipping from 2024-11-08

First time vinyl issue of a killer, impossibly rare document from NYC no wave pioneers Don King, the short-lived mid-'80s post-Mars band from Mark Cunningham, featuring Arto and Duncan Lindsay, Lucy Hamilton and John Erskine in their all-star lineup, on a hyper-sensual and humid, screwed Jazz tip.

Centred around two members of Mars - Lucy Hamilton and Mark Cunningham - renowned for featuring on Brian Eno’s legendary ‘No New York’ (1978) survey, as well as affiliates of Sonic Youth and Swans; Don King were a lesser known vehicle for the no wave rogues to follow their nose into the weirdo recesses of art-rock/free jazz that followed the rudimentary, DIY tenets of the original no wavers. The skronk quota is high on this one, but their performances are so much more sensual, humid and slower than the no wave bracket would suggest, revealing the band like some loose echo of Sun Ra or a spangled Arthur Russell jam with Peter Zummo in their performances surrendered from shows in Geneva, Lausanne, Toulouse, Barcelona, Padova and Parma, and first issued by Barcelona’s 4 Sellos label in 1987, in the years after their s/t debut and a 1985 single for Cabaret Voltaire’s Double Vision label.

The 10 pieces, room recorded in all locations, are replete with audience chatter in the air hovering through a brassy rabble in operation. Led by the twin trumpet and bass clarinet bleat of Mars’ Mark Cunningham and Lucy Hamilton, Sonic Youth producer John Erskine provides taped percussion tracks with backing from the Lindsays, and Toni Nogueira, as they roll out from the minimalist reps of ‘Fern Gully’ to a sonorous industrial tango, and Hamilton’s operatic wail on ‘Obsolescence’, taking in a skew of jazz standard ’Summertime’, fraying into proper no wave shred and racket on ‘Mediterrain’, and like a punk Sun Ra in ‘Don Rey’, reminding us of Alex Zhang Hungtai’s recent foray into voice-note recorded spiritual, concrète jazz.

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The G

Highway Of Love

12,99 €*

LP | 1992 | UK | Reissue (Warp)

Release: 2025 / US – Original

Genre: Electronic & Dance

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A massive "Welcome Back" to The G!!! After a span of 3 years plus, the master is finally back with another stellar synth packed album! A must listen for all synth lovers.

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V.A.

Artificial Intelligence

LP | 2022 | EU | Original (Music From Memory)

Release: 1992 / UK – Reissue

Genre: Electronic & Dance

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Are you sitting comfortably? Artificial Intelligence is for long journeys, quiet nights and club drowsy dawns. Listen with an open mind.

Back in 1992 when Warp released the Artificial Intelligence compilation it almost instantly changed both the course of Warp as a label and arguably what many would consider club music as an entity to be. Artificial Intelligence came housed inside a prog rock styled gatefold sleeve depicting a cover image of a robot blowing smoke rings whilst reclining on an armchair. Its extra long rolling papers and tin of tobacco just out of reach, whilst a high-end stereo plays out the sounds of Kraftwerk's Autobahn and Pink Floyd's Dark Side Of The Moon, their LP sleeves lay strewn across the floor. This image along with the above text that as printed on the sleeve acted as a guide for the listener on how to best experience this new mode of techno music, one that was designed for those nights when your body stays in but your mind steps out.

Having been in operation for three years by the time they compiled and released the Artificial Intelligence compilation, Warp had already proved itself as a worthy force within the world of quickfire 12 singles of acid house and the emerging hardcore scene. Starting as a predominant pusher of the new bleep 'n' bass sounds of their hometown Sheffield, Warp had enjoyed success with early anthemic singles from artists such as Nightmares on Wax, LFO & Richard H. Kirk's Sweet Exorcist project. These building blocks laid the foundations for what many would go on to define as the Warp sound but it was 1992's Artificial Intelligence compilation that cemented their place in music history.

Artificial Intelligence was notable for early appearances by people who went on to become pioneers of the hypnotic groove for both Warp and electronic music in its entirety. Artists such as The Black Dog/Plaid whose melancholic contribution The Clan (produced under the alias I.A.O.) bears long drawn out strings combine perfectly with the tear-drenched techno of Carl Craig with the trend for looped breakbeats to create a track that still resonates deeply every time it is played. Looking further out than most, B12's Telefone 529 with its recording of an automated incorrect phone number message carries an air of nostalgic puzzlement, while Preminition transports a diva vocal and hardcore piano roll into a zero-gravity soundtrack of space. Autechre's Crystel and The Egg offers the first steps towards the path of abstract oblivion that they would go on to travel throughout the post-AI years. Both pieces focus an acidic gurgle around some cut up vocals, its timeframe existing perfectly within a distinct hip-hop cylinder that brilliantly displays their roots within b-boy culture.

Aphex Twin appears under his alias The Dice Man, opening up the operation with a track that would become an alias in itself, Polygon Window in many ways formed the core sound of the Artificial Intelligence compilation and subsequent album series that followed it. Rolling post-acid dynamics, a strong knowledge of breakbeat techno and some serious subs keep the track in a full forward motion, Polygon Window still stands out as one of the most unbeatable techno tracks within Warp's discography. Elsewhere, chief ambient technologist Dr Alex Paterson put forward a four-minute cosmic ambient piece akin to his work as the central figure of which The Orb revolves around. Whilst Richie Hawtin made an appearance with his euphoric almost gabba track Spiritual High, produced under the name Up! his fellow Plus 8 producer Speedy J stepped in with De-Orbit, a track that you could say on reflection, almost helped shape the early steps towards what would turn into the deeper recesses of liquid drum & bass.

Warp co-founder Steve Beckett was quoted around the time of the Artificial Intelligence compilations release in 1992 as saying you started to hear tracks by B12 and Plaid and Speedy J that just didn't fit into any category, B-sides and last tracks on EPs. We just realised that they weren't meant for 12-inches, it was just that this was the only outlet for that kind of music. We realised you could make a really good album out of it. You could sit down and listen to it like you would a Kraftwerk or Pink Floyd album. That's why we put those sleeves on the cover of Artificial Intelligence - to get it into people's heads that you weren't supposed to dance to it!. This train of thought led to Warp putting together one of the most forward-thinking compilations to appear within the early 90s post-acid explosion, and many others tried to copy the formula but arguably no imprint ever came close to topping or even releasing anything that stands tall alongside Artificial Intelligence for its undeniably experimental, yet sheer futuristic scope and vision.

Listening back now, 30 years since its original release, it's striking how contemporary and fresh the music of Artificial Intelligence still sounds. While many tracks from those days still and will forever sound brilliant, many AI contemporary compilations have taken on the sheen of a more retro and throwback feel. When digested with a knowledge of what has been made within the last quarter of a century, the tracks that form Artificial Intelligence still carry a strong, almost outside of time feeling that's influence shines as strongly today as it did 30 years ago. A timeless record that will continue to point the way forward for electronic music for many years yet to come.

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Ramzi

Hyphea

2x10" | 2022 | UK | Original (Ghost Box)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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New album by Montreal based artist Phoebé Guillemot aka RAMZi. Featuring ten mind-melting tracks 'hyphae' is RAMZi's latest sonic quest and is based around sketches she originally made as a score for a documentary about mushrooms called 'Fun Fungi' (directed by Frederic Lavoie).

Recorded between November 2021 and May 2022, writing 'hyphea' began as an attempt to transcend boredom and frustrations imposed by severe restrictions during the pandemic. For Phoebé the album was a way to reconnect with her alter ego RAMZi; who's energy brought her back to uniquely mystical feelings and hope for future magical adventures.

RAMZi is a uniquely wild spirit from the forest and refers to a parallel autonomous world that keeps evolving. In Phoebé's own words: "The music remains as a doorway to that world. It has never been about me, I always see that entity bigger than myself. The process of writing 'hyphea' was rather intuitive. I don't think about styles of music before producing tracks. Those are more like an adventure in itself, each one set in a different ecosystem."

Artwork by Marinka Grondel.

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The Advisory Circle

Full Circle

Open Space Motion (Underscores)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Full Circle is the sixth album by long time Ghost Box roster member, The Advisory Circle. Self-avowed synaesthesiac, Cate Brooks conjures a very visual fantasy in four acts (the vinyl version across four sides of a luxurious gatefold double 10”). Her tracks evoke human dramas played out against the timeless backdrop of a utopian built environment, where leisure, luxury, elegance and romance are always in fashion.

Brooks' music is by turns ambient, dramatic, upbeat and melancholic. It's instrumental electronica of the very highest calibre, an expert and masterly manipulation of electronic equipment both old and new. Light touches of acoustic and electric instrumentation and flourishes of both tape and digital sound manipulation add colour throughout.

This long running solo project is saturated in 70s and 80s TV and library music influences, and in some ways Full Circle is a call back to the 2005 debut EP Mind How You Go. However, the music and production have evolved over the yers, into a distinctively rich and three dimensional soundworld. The album wears its influences and sonic components proudly, but feels contemporary, cool, and fresh. Brooks' music career predates and now transcends the world of hauntological electronica that it inspired.

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Klaus Weiss

LP | 1981 | EU | Reissue (Be With)

2LP | 2022 | US | Original (New Retro Wave)

Release: 1981 / EU – Reissue

Genre: Electronic & Dance

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They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research." We say: Panoramic proto-techno underwater-electro library dynamite. One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever. As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere. The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*. The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb. As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

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Deadlife

Tortured Waters

2LP | 2022 | EU | Original (!K7)

Release: 2022 / US – Original

Genre: Electronic & Dance

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Deadlife is back. Welcome home. A new album full of dark and emotional synth awaits you.

" Somewhere North West lies a body with zealous veins. On TV, “Afterlight Special”, a band of 5 friends venturing into the unknown of their rundown town. Because what else is there to do when you feel lost in the pipes, the gloom swallowing you as you attempt to illuminate the dark. You tell those close to you that you are a call away, whilst asking, “Who am I?”. Battling emotional barriers as you drive through bitter streets of hubris day after day. But the creature in me lives on, despite a series of dead ends week in, week out, missing those halcyon days in the home we know. Hallucinating fantastical lands with a needle in my neck. "

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Cinthie

DJ-Kicks

LP | 2008 | EU | Reissue (Unseen)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Following her debut album on Aus in 2020, Berlin's Cinthie marks another milestone in her career delivering the latest installment of the esteemed DJ-Kicks compilation series for !K7 Records. Berlin-based producer, DJ, record store owner and head honcho of numerous labels, Cinthie, has long been a key figure in the House scene. Her career in the industry dates back decades, working behind the desk of a record store in Saarbrücken near Frankfurt and as a resident DJ at several clubs in the city. Now in 2022 the highly acclaimed artist has well and truly cemented herself as a driving force for the contemporary house scene, releasing material on the likes of her own 803 Crystal Grooves, Aus, Shall Not Fade, Key Vinyl and taking crates from Tokyo to Paris, London, Amsterdam and beyond with her DJ sets as well as regular appearances on her home turf and clubbing mecca, Berlin.

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Goldmund

The Malady Of Elegance

22,99 €*

LP | 2022 | EU | Reissue (Black Truffle)

Release: 2008 / EU – Reissue

Genre: Electronic & Dance

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Originally released in 2008 on CD and in a very limited vinyl edition, "The Malady Of Elegance" by Goldmund aka Keith Kenniff finally gets its long-deserved vinyl re-release, featuring a new artwork and remastered audio by Taylor Deupree.

Taking cues from 'Corduroy Road' Keith Kenniff (aka Helios) again restricts himself to the piano in conjuring up his humble soundscapes and again we are pulled into a deep, meditative and filmic world as the notes glide to a slow, pensive meter. Keith's precedent release was the challenging 'Two Point Discrimination' EP, released on the Western Vinyl label as part of their portrait series, but where that record was a collection of haunting experiments in form and sound, 'The Malady of Elegance' sees us back into the warming, homespun territory of 'Corduroy Road'. That's not to say these compositions are upbeat, far from it in fact, but there are lines to be drawn to folk music, and while Keith no longer draws on the American Civil War as a primary influence there is still the sense that the ghosts of old America haunt the keys.

On top of these references we see Keith tripping somewhat fittingly into a flickering filmic world somewhat in line with his taste in European film. There is a delicate narrative on show throughout the record from the opening hopefulness of Image-Autumn-Womb through the melancholy of Now to the sensitive romance of the album's closer Evelyn. Listening to the record almost creates its own cinematic accompaniment in the minds eye, and this is simply a testament to Keith's incredible talents as a composer.

Fans of Erik Satie, Sylvain Chauveau and Hauschka need look no further, 'The Malady of Elegance' is a deeply personal meditation which you cannot help but get lost inside.

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Eiko Ishibashi

For Mccoy

LP | 2006 | EU | Reissue (Unseen)

Release: 2022 / EU – Reissue

Genre: Electronic & Dance

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Black Truffle is pleased to announce For McCoy, a new work by Eiko Ishibashi dedicated to the widely loved character of Jack McCoy, portrayed by Sam Waterston in Law & Order. Following on from Hyakki Yagyō (bt064), For McCoy finds Ishibashi further exploring the unique space she has carved out in recent years, bringing together musique concrète techniques, ECM-inspired jazz, lush layers of synths and hints of pop into immersive and affecting structures crafted in her home studio, aided by a group of close collaborators.

Beginning with overlapping layers of descending flute lines, the expansive ‘I Can Feel Guilty About Anything’ (whose two parts stretch out over more than thirty minutes) unfolds with a free-associative logic, embracing dreamlike transitions and unexpected cinematic cuts. As a hovering cloud of synthetic tones and multi-tracked voices fans out from the spare opening moments, Joe Talia’s skittering cymbals settle into a gently propulsive groove, soon joined by melodic fragments performed by Daisuke Fujiwara on multi-tracked saxophone. As the drums cede to field recordings and ominous synth figures, the uncommon meeting of saxophone and electroacoustic techniques call to mind the more spacious moments of Michel Redolfi and André Jaume’s Synclavier-propelled oddity Hardscore or the early work of Gilbert Artman’s Urban Sax. As the piece continues on the LP’s second side, distant dialogue rumbles beneath a surface of processed flutes, blurring into a cavernously reverberant backdrop for stark ascending lines performed by MIO.O on violin. Eventually, the piece settles into a gorgeous passage of abstracted dream pop, where Ishibashi’s multitracked vocal harmonies glide atop synth chords, errant pings and snatches of outdoor sound.

Fragments of melodic material reappear throughout the spacious opening piece, finally stepping to the forefront on the closing track, ‘Ask Me How I Sleep at Night’. Here, over a shuffling groove supplied by Jim O’Rourke on double bass and Tatsuhisa Yamamoto on drums, layers of flutes, saxophones and guitars sound out melodies whose combination of twisting irregularity and soulful immediacy calls up prime Keith Jarrett, while their closely voiced harmonies suggest Kenny Wheeler or even Wayne Shorter’s Atlantis. In a classical gesture of closure, the web of melodic lines eventually leads back to the descending flute figures with which the record began. Presented in an immersive, impeccably detailed mix by Jim O’Rourke and arriving in a sleeve featuring Ishibashi’s beautiful drawings of Jack McCoy, For McCoy is an essential release for anyone following the enchanted and unique path being forged by Eiko Ishibashi.

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Helios

Eingya

18,99 €*

LP | 2019 | US | Original (YNFND)

Release: 2006 / EU – Reissue

Genre: Electronic & Dance

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Originally released in 2006, Eingya by Helios aka Keith Kenniff returns in a new 2021 edition vinyl re-release, remastered by Taylor Deupree.

Beginning the album on a high with the pastoral beauty of "Bless This Morning Year," Kenniff showcases of what he does best: heartbreaking guitar and piano melodies punctuated by crumbling beats and backed by the most atmospheric synthesizer sounds this side of Eno's Apollo. The appetizing "Halving the Compass" blends subtle field recording with the kind of piano melodies so beautiful they could be compared to Virginia Astley or Harold Budd. This is followed by the album's clear highlight, "Dragonfly Across an Ancient Sky." It's an unsurpassable folk guitar piece with a decomposing percussive background and the sort of melodies that would turn evil tyrants into weeping babies. An album that could appeal as easily to fans of Nick Drake as to fans of Boards of Canada or even early AIR, this truly has something for everyone.

Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album, Unomia, while studying percussion at Boston's Berklee College of Music. Since then, he's released six more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for films and archival use.

"A protracted sunset of an album guaranteed to see you through the longest days of summer and into the twilight of the autumn." - The Wire "A soundtrack of molasses-sweet, midsummer sunset melancholy and pastoral mellifluence." - Tinymixtapes

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Kusht

Together

14,99 €*

Kingdoms In Colour Black Vinyl Edition

Release: 2019 / US – Original

Genre: Electronic & Dance

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Kusht surfaces with a playful release full of tottery synths, crisp percussions and mind-bending samples. On this 6-track LP released on almost occult YNFND from Germany's ever rainy baltic coast, the Scottish producer easily blends bluesy guitar riffs
with wailing electronic pads. Shuffled backbeats melt with ominous samples into a sticky glue, trapping every listener into a bouncy dance. Kusht can already look back on a vivid and versatile back-catalogue but still manages to top it off with a many-sided and thought-out work of art in his signature style. This 12" full of folkloristic beats has what it needs to become one of this year's secret weapons, with early support of some of Germany's acknowledged tastemakers.

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Maribou State

LP | 2018 | UK | Original (Counter)

2LP | 2004 | EU | Reissue (Black Truffle)

Release: 2018 / UK – Original

Genre: Electronic & Dance

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Maribou State announce their new album “Kingdoms In Colour”, via Ninja Tune’s Counter Records imprint, their first full-length since 2015’s breakthrough debut album “Portraits”. The record features new single ‘Feel Good’ - a collaboration born of their friendship with Houston-based trio Khruangbin and a shared love of breakbeats, vintage surf riffs and a common desire to explore worldwide music cultures. "Sometimes a chance meeting plants the seed for something bigger,” say Khruangbin. “Such was the case when we met Maribou State at KOKO a couple of years ago. We are very happy to be involved in this project. And we ‘feel good’ already.”

The band continue their long standing relationship with Holly Walker who has previously vocalled fan favourites such as ‘Midas’, ‘Steal’ and ‘Tongue’. Also featured on the record is recent single ‘Turnmills’ - named after the legendary London club which closed its doors in 2008 - the release was accompanied by a sold-out ‘all-night’ DJ set at Corsica Studios raising money and awareness for the The Night Time Industries Association's #SaveNightlife campaign to protect the UK’s most vulnerable music venues from closure.

Today they also announce a new headline UK tour this Autumn. Returning with a 5-piece band, they play at London’s iconic Roundhouse on the 18th October. Ahead of this they will also embark on a string of European festival dates which include a headline show at Sonar By Day, Parklife Festival, Roskilde, Pukkelpop Festival, Nova Batida and recently DJ’d after Flying Lotus at All Points East festival in London.

Beginning life in 2011 as a project between Chris Davids and Liam Ivory, Maribou State had released a string of EP’s and singles before the arrival of debut album “Portraits” propelled them to the world stage. Spawning a live show that took them around the globe and included standout festival performances at Glastonbury, Bestival, a headline slot at Secret Garden party; a 32-date European tour with two sold-out London shows including the legendary KOKO; plus dates throughout Asia, Australia and America. They received radio support from the likes of Annie Mac, Zane Lowe and Gilles Peterson, addition to the BBC 6 Music A-list, a 5-show BBC Radio 1 Residency, a slot on the legendary BBC Radio 1 Essential Mix and performed a session Live from Maida Vale. Critical support came from the likes of The Guardian, I-D magazine and Vogue, with the album amassing over 80 million streams to date and drawing comparisons to acts such as The XX, James Blake & Mount Kimbie, as well earning them plaudits from the likes of DJ Koze and Bonobo.

This incredible success that followed the release of “Portraits” took Chris and Liam quite by surprise, “It was like Christmas every day” laughs Liam, “stuff like doing a show in Bangalore and having a crowd come and see us who knew the music and would sing all the words. It was an incredible experience”.

After more than a year of touring they returned to the UK to begin work on new material, but relocating their studio from The Shack - their home-built studio at the back of Liam’s garden in Hertfordshire - to a new base in London found them struggling to find their creative flow. The solution was to start looking outward and back over their journey of the past two years. They began making regular excursions out of the city, setting up a temporary studio space for weeks at a time, they started to piece together a “sonic collage” - drawing on ideas that were written while touring in places like India, and on field recordings from Asia, Australia, Morocco, America and beyond - the result of which is the stunning "Kingdoms In Colour”.

“The first album felt quite insular for us” says Chris, "not just in sound, but literally that it was all written in The Shack. We always had a bigger idea of what we wanted it to be, we wanted to create something that was palpable, that could in some way transport you to another country or another place entirely in your mind”. “The idea with Maribou State was always to draw on influences from different parts of the world” continues Liam "by traveling, sampling, recording, we wanted to create this all encompassing thing. Which is what this second record has ended up being for us”.

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Oren Ambarchi

Grapes From The Estate

2LP | 2003 | UK | Reissue (Ninja Tune)

Release: 2004 / EU – Reissue

Genre: Electronic & Dance

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Black Truffle is pleased to make Oren Ambarchi’s Grapes from The Estate available once more on vinyl. Originally released on CD on Touch in 2004 and reissued on Southern Lord as a limited double LP in 2006 during Ambarchi’s tenure as a member of Sunn O))), Grapes from the Estate was a landmark release for Ambarchi, seeing him expand his sonic palette beyond the clipped, bass-heavy electric guitar tones he was known for at that point. Incorporating subtle layers of strings, keyboards, percussion over a bedrock of his signature guitar tones, in retrospect this album can be seen as the beginning of a broadening and evolution in Ambarchi’s work that would lead to his acclaimed, densely layered epics for Editions Mego, Quixotism (2014) and Hubris (2016). Beginning with the shuddering pure tones of opener ‘Corkscrew’, which looks back to previous guitar-only releases such as Suspension (2001), the album’s next two pieces show a progressive broadening of the instrumental palette and a corresponding move away from textural abstraction and sustained tones towards more traditional notions of musicality. This reached its high point on the album’s third piece, the fifteen-minute long ‘Remedios The Beauty’, where guitars, both acoustic and electric, strings, piano, and bells build from a murmur to an interlockinging web of repeating melodic patterns over gently swinging brushed snare and cymbals. The epic closer, ‘Stars Aligned, Webs Spun’, returns us to a space populated only by the electric guitar, but unlike everything Ambarchi had produced up until this point in his career, the piece has a liquid, psychedelic edge that looks forward to the shimmering harmonics of his more recent work. As Brendan Walls wrote at the time of the original release, this is ‘another outpouring of personal, intimate and enduring music from Oren Ambarchi’. Presented in a stunning gatefold sleeve featuring the original artwork and design by Jon Wozencroft. Redesigned by Stephen O’Malley Remastered and cut by Rashad Becker at D&M, Berlin.

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Skalpel

LP | 2024 | UK | Original (Peak Oil)

Release: 2003 / UK – Reissue

Genre: Electronic & Dance

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Back in print after 10 years! Repressed on 180 gram vinyl incl. Download code!

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Lifted

Trellis

2LP | 2024 | UK | Original (No! Label)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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The core duo of Max D and Matt Papich debut on Peak Oil following full-lengths for Future Times and PAN with a fresh suite of tactile, diffuse fusion. Half the collection emerged from a 2021 session at Tempo House rounded out by Dustin Wong, Mezey, and Jeremy Hyman, while the rest took shape in moments both collaborative and isolated, collaged together with CDJs into something more liquid and liminal than the sum of its parts.

Across fractured jazz, pitch-shifted downtempo, revelatory guitar, and interstitial interplay, Lifted’s sound is one of flux, fragments, and filigree. Oblique harmonic synergies dusted in chance encounters and rogue acoustics. Diverse moods mapped with split strings and the space between notes. Music untethered by form or expectation, snaking like an ungrounded cable through a geodesic dome of deep-listening.

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Whitey

Mental Radio

LP | 2024 | EU | Original (AvantRoots)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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NJ White - aka Whitey - explodes out of the shadows with the announcement of his highly anticipated double LP Mental Radio, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, Mental Radio is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage.

As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot’. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto.

Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week.

Whitey’s back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP and CD through NO! Label, published globally by Mute Song and repped for live by William Morris Entertainment - this is set to be a benchmark album of 2024.

Mental Radio is out on digital platforms on 3rd October 2024 with a physical release date of 8th November 2024.

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Charles A.D

Deep Diver

21,99 €*

2LP | 2024 | EU | Original (Vint)

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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V.A.

Vint

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

Release: 2024 / EU – Original

Genre: Electronic & Dance, Classical Music

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A gas generator, a hi-fi system, a semi-abandoned house, and 20 hastily printed flyers. That's how, almost without realizing it, Lapsus was born in 2004.

Over the course of two decades, we've ridden a rollercoaster of emotions: from soaring epiphanies, convinced that nothing could stop us, to moments of near defeat when we almost threw in the towel. Let's be honest:

Making a career out of music is not exactly choosing the easy path. But epic tales aside, today we look back with pride at having created something that, in our humble view, is genuine. To celebrate Lapsus' journey and what lies ahead—and also keeping an eye on what is yet to come—we've gathered some of the artists who have joined us along the way, musicians we consider friends and for whom we have the deepest admiration. In a way, Vint (Catalan for “twenty”) is like a sonic photo album, a tracklist that tells our story better than we could ourselves, a collection of unreleased music that celebrates the fact that we've made it this far. Leading this outstanding compilation are forward-thinking producers, with contributions from some of the most respected names in cutting-edge electronic music (a-z): Claraguilar, Gazzi, Kettel, Kode9, Le Motel, Lord Of The Isles, Marina Herlop, naemi, Nueen, Pépe, Plaid, Seph, Simo Cell, Suzanne Ciani, Wordcolour, and μ-Ziq.

Vint is our way of thanking you for your unwavering support over these 20 years. We hope you enjoy it!

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Able Noise

High Tide

LP | 2024 | EU | Original (Balmat)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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

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

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

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

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

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Luke Sanger

Dew Point Harmonics

LP | 2024 | EU | Original (Discrepant)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Balmat began our journey in 2021 with the release of Luke Sanger's Languid Gongue. Now, three years later, weturn an important corner as the Norfolk musician rejoins us with Dew Point Harmonics, the first repeatappearance on the label. Sanger's new album feels like a natural extension of his inaugural record for Balmat: It's a bewitching collection of esoteric synth sketches that slips unpredictably between consonant repetition, poignant melodies, and gnarled bursts of noise that catch in the ear like burrs in hiking socks. That natural metaphor is perhaps not accidental. Despite having been composed on Sanger's diverse array of hardware and self-written software, many of the tracks were first conceived while Sanger was hiking in a particularly wild and isolated section of the Norfolk coast. The field recording that opens the album, on "6am Beach Walk," was taken on one of his many early-morning walks there, in which he and his dog might go for miles without seeing another soul. The album's title was inspired by the overnight condensation covering the long marram grass in the dunes, glistening in the early light (and drenching everything coming in contact with it) before evaporating in the morning sun. Indeed, the concept of dew point--the temperature at which water vapor condenses into a liquid--feels like the perfect metaphor for Sanger's music, in which foggy ambience is distilled into glistening quicksilver orbs, transient spheres of perfection eventually absorbed back into the atmosphere. A shapeshifting collection of richly detailed and deeply expressive electronic miniatures, Dew Point Harmonics is both a testament to the mysteries of transformation and an invitation to get lost in the wilderness of your own imagination.

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Tiago Sousa

A Thousand Strings

LP | 2024 | Original (Be With)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Continuing his fruitful relationship with Discrepant after the third volume of his ongoing Organic Music Tape Series on Sucata Tapes, Tiago Sousa returns with two longform pieces for organ with 'A Thousand Strings'. A self-explanatory title in itself, 'A Thousand Strings' drifts fluidly into a celestial realm of cascading melodies and cycling patterns that never feel forced or strict throughout its two hypnotic tracks. Pulsating with life and ecstatic abandon.

Taking cues from the tradition of American minimalists like Steve Reich and, particularly, Terry Riley, the Portuguese composer's work flows with a life of his own, that, while acknowledging those influences, transcends them into his own signature. On the A side, 'A Thousand Strings' goes seamlessly from intertwining crepuscular harmonies to ascending keyboard runs in the manner of 'Persian Surgery Dervishes' finishing with a coda of rhythmic marimba-like pulses. On the flipside, 'The Things Passed' creates this maze-like tapestry of melodies that seem to drift apart only to converge back again into its internal process before setting on sustained tones infused with a sense of longing. For all things passed. For what is yet to come.

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Steve Moore

Cursed Objects

LP | 2024 | EU | Original (Efficient Space)

Release: 2024 / Original

Genre: Electronic & Dance

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

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

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

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

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

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

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

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Th Blisks

Elixa

21,99 €*

LP | 2024 | UK | Original (Subtext)

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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Zuli

Lambda

12" | 1992 | EU | Reissue (Glossy Mistakes)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Zuli's widest-reaching and most ambitious album to date, 'Lambda' is a conspicuous left turn for the Berlinbased Egyptian producer. Draped in gauzy, granulated textures and woven with enigmatic vocal flourishes from collaborators Michaelbrailey, Coby Sey and Abdullah Miniawy, it's a vivid, soul-searching set of polychromatic reflections that sets fire to the boundaries between ambient, trip-hop, industrial music, chamber pop and symphonic noise.

In some aspects, 'Lambda' reveals Zuli's softer side; gone are the earth-shaking chopped rhythms and stopstart outbursts of corroded static that characterised his last full length, 'Digla Dive - Live'. But peer beneath the brain burrowing vocal melodies, mangled instrumental loops, anxious poems and subtle, harmonic synth washes and a new kind of intensity lurks in the shadows.

Since his early releases on Lee Gamble's UIQ label and his 2018 breakout 'Trigger Finger', Zuli has notched up major global acclaim for his futuristic, kinetic musical diversions. He cut his teeth supplying beats to local rappers back home in Cairo, soon shifting his attention to the city's burgeoning dance underground, promoting events, DJing prolifically and tirelessly supporting the scene's most experimental fringe. In 2019, Zuli teamed up with Rama to curate the irsh series of video transmissions, evolving the project into a label shortly afterwards. And now situated in Berlin, the duo have extended the concept to encompass an ongoing sequence of genre-averse club nights. All this experience and constant creative motion is etched into the foundations of 'Lambda'. It's an album that plays liberally with euphoria, but feels constantly precarious, intrepidly peering out from its tense internal world.

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FSOM

Melodia

16,19 €* 17,99 € -10%

LP | 2016 | UK | Reissue (Finders Keepers)

Release: 1992 / EU – Reissue

Genre: Electronic & Dance

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Reissue of Future Sound of Melbourne's iconic "Melodia" EP. Originally released in 1992 as a maxi two song record, and now added two extra bonus tracks, this timeless collection of tracks, meticulously remastered by Damian Schwartz, promises to ignite dancefloors festivities with its infectious blend of techno, rave house, and breakbeat piano anthems. Bursting with retro-futuristic energy, each track transports listeners to the golden era of electronic music while retaining an undeniable contemporary allure.

Formed in 1990 by bass and drum producer Davide Carbone, bass guitarist and vocalist Josh Abrahams, and acid house DJ Steve Robbins, Future Sound of Melbourne crafted a sonic legacy that continues to resonate with audiences worldwide.

The EP kicks off with "Alien," a high-octane journey through techno's upbeat 90s soundscapes, setting the stage for an exhilarating sonic adventure. "Heaven" follows suit, delivering a euphoric rave house anthem guaranteed to lift spirits with its infectious energy. Next up is "Melodia," a breakbeat piano banger that harkens back to the glory days of underground raves, its infectious rhythms and haunting melodies captivating listeners from start to finish. Rounding out the EP is "Melodia 95," a reimagined version that offers a fresh perspective on the timeless classic, showcasing FSOM's versatility and innovative spirit.

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Suzanne Ciani

Buchhla Concerts 1975

Danny Daze & Jonny From Space

Release: 2016 / UK – Reissue

Genre: Electronic & Dance

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Finders Keepers invite you to witness these incredible earl Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking. This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance. In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith. These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then. The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne’s gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne’s work, a vast vault of previously unpublished “nonrecords”, will already know how the creative politics in her art of “being” simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last “first” with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines. You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani’s initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these “non-records” that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again. You, are invited!

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Tumbadora EP

12" | 2024 | EU | Original (Craigie Knowes)

14,99 €*

LP | 2024 | UK | Original (Rocket)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Comprehensive, full-spectrum, sonic experiments build for clubs. Uncategorisable in all the right ways. Danny Daze and Jonny From Space team up for their joint Craigie Knowes debut. The ‘Tumbadora’ EP is a masterclass in technical production whilst retaining all the rhythm and power required to destroy dancefloors. It’s one of the listeners and the clubbers. Nick León steps in with a stripped back version of ‘Sweet Spot Radio’ that’s every bit as mind-melting as the 3 original tracks. Prepare for the freefall!

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Ex-Easter Island Head

Norther

Prince Istari Meets Erik Satie

Release: 2024 / UK – Original

Genre: Electronic & Dance

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In meteorology, the word Norther refers to a cold wind that blows down from the north. For Liverpool’s Ex-Easter Island Head, it’s also an apt title for the strange and multi-faceted sound of their new album that now descends upon the world at large: ever shifting, a multiplicity of sounds both acoustic and manipulated, and yet one that still moves as part of a single mighty breeze. At times it might recall the experiments of Rhys Chatham and Glenn Branca, the widescreen beauty of The Necks, the relentless experimentation of Arnold Dreyblatt or the boundary-pushing roster of Kompakt Records, yet ultimately this is music that has no direct compare. Each of its six pieces demonstrates a different creative process. On blossoming opener ‘Weather’, whirring motors dance fairy-like atop strings and drums; on the dizzying ‘Magnetic Language’ voices are played back through phones and amplified through pickups made of magnets wrapped in copper wire; the title of ‘Golden Bridges’ refers to the brass rods the band shift beneath the strings of their guitar. All, however, tap to one degree or another into that abiding theme of the weather. Norther is Ex-Easter Island Head’s first studio album since 2016, a time spent on collaborations and one-off performances with everyone from classical musicians and fellow experimentalists to schoolchildren. “All of the projects we were involved in between 2016 and 2024 have expanded the boundaries of what we do by exposing us to a huge variety of instruments, personalities and ways of working. It's really allowed us to see the purity of making music with a four-piece group,” says the band’s Benjamin D. Duvall. That status as a quartet is a new one, with the addition of longstanding friend and collaborator Andrew PM Hunt. Having a member of the band handling recording and mixing helped them push further and further into sonic territory that until Norther remained entirely unexplored – not just by Ex-Easter Island Head, but by any other band on earth.

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Inna Heavy Dub Encounter

LP | 2024 | UK | Original (Sozialistischer Plattenbau)

19,94 €* 20,99 € -5%

2LP | 2024 | UK | Original (Pacific City Discs / Discrepant)

Release: 2024 / UK – Original

Genre: Electronic & Dance, Reggae & Dancehall

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The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning. In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence.

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H.R. Giger's Studiolo

Volume 1 & Volume 2

26,99 €* 35,99 € -25%

12" | 2024 | EU | Original (Eine Welt)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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An edit-reissue of this gargantuan double cassette released back in 2014 under the Typhonian Highlife moniker, 'H.R. Giger's Studiolo' finds netherworld voyagerSpencer Clark at a particularlybeguiling conjunction of his labyrinthine-esque soundworld. With complete disregard for linear timelines and trajectories, 'H.R. Giger's Studiolo' finds both inspiration in the swiss master's vision and the Cenobite iconographypreviously exploredby Clark on Fourth World Magazine's 'Pinhead in Fantasia'. The CD Head Cenobite picture adorning the cover makes the connection more than apparent.

A sprawling, two and half hour excursion on the tape version, here properly edited down to the wax container, the first two volumes of 'H.R. Giger's Studiolo' are some of Clark's most mystifying recordings. A baroque odyssey through an hermetic maze of alien voices, warping sound effects, oneiric keyboards and a quasi-orchestral sense of space and dynamics, 'H.R. Giger's Studiolo' feels like an hallucinatory fever dream still unlike everything else, either from before or after. Time doesn't apply here, anyway.

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OTTO

Wir Kommen

19,99 €*

Joy In Fear Clear Vinyl Edition

Release: 2024 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Otto is back with a Maximal Super Sound Maxi 12″ on Eine Welt. The label, run by Alexander Arpeggio concludes this 12″ series with an obscure banger by the Berlin-based Organ Band Otto. On the A-side: Obscure uptempo Italo Madness, bassline-heavy, and featuring dirty vocoder Ansagen.

On the other A-side: a driving and full of surprises midtempo groover with mysterious german voodoo ritual chants. Get a copy of this limited 12″ and get your fun fair ceremony started. Limited 300 Copies only – special cover finish with metallic look.

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Goat (Jp)

LP | 2023 | UK | Original (Nakid)

Init Ding + _snd Colored Vinyl Edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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goat (jp) are renowned for two albums released in 2013 and 2015 that took Kraftwerk’s man-machine concept back to its roots with swingeing, inch-tight drums, bass and guitar patterns that needed to be heard to be believed. For their long-in-the-making new album ‘Joy In Fear’, band leader Koshiro Hino (ypy, Kakuhan) describes the process as “90 percent pain” - and we can well believe it - few other records we can think of transmute DAW-composed rhythmic precision into such an expressive instrumental performance. It really is a feat of determination, skill and execution that seems to defy human dexterity. Make no mistake - an academic exercise it ain’t - in the most visceral sense, goat (jp) make Body music, for dancing, flailing, for losing yourself in completely. As usual, Hino plays guitar, backed by bassist Atsumi Tagami, while Akihiko Ando joins on saxophone, while Takafumi Okada and Rai Tateishi step in to handle percussion, with the latter moonlighting on flute. Every sound is sculpted into a fragment of cadence: guitar and bass prangs alternately echo and dance between the drums, and Ando’s sax is mutated into a respiratory slobber of guttural smacks and phantom breaths. In some respects, it’s tempting to label it jazz, but the kind of jazz that Miles Davis spearheaded on the game-changing ‘On The Corner’, the blueprint for so much post-punk, electronic music and avant rock. goat (jp) take that raw alloy and sharpen it like a blade, mangling the template with the knotty metrics of Autechre or Ryoji Ikeda. The accuracy is galvanic; it’s almost impossible to comprehend each player keeping a mental note of the mathematical time signatures, and yet they floss them out with trills and icy stutters that seem to evaporate around the thick, taiko-like thuds. They practically get our teeth gnashing with the bruxist rictus chatter of ‘iii I Iiii Iii’ , before ‘Cold Heat’ introduces subtly harmonised, new aspects to their sound with slivers of Hassellian flute and ringing overtones of their percussion, while the winding sensuality of ‘Warped’ slips down very nicely. Their links to OG no-wavers like Glenn Branca & Wharton Tiers’ Theoretical Girls - is manifest in the 8 mins of chipping stop/start pulse and parry to ‘Modal Flower’, while a total left turn into Mark Fell-meets-Ligeti-esque messed up metronomics in ‘gmf’ ties it off with a properly beguiling flourish.

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Microstoria

2LP | 2024 | US | Original (Thrill Jockey)

35,99 €*

2LP | 2024 | EU | Original (Ideologic Organ)

Release: 2024 / US – Original

Genre: Electronic & Dance

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Few records have weathered the fast-moving, fickle trends in electronic music like those of Microstoria. The duo brings together two of the most prescient, playful minds in the German electronic underground - Jan St. Werner (Mouse on Mars) and Markus Popp (Oval). Their albums as Microstoria are considered foundational texts in ambient music while equally sounding just as cutting-edge now as on their initial release. Continually cropping up in "best of" lists from the likes of Pitchfork and Fact while finding new fans through remixes by Jim O"Rouke and Stereolab. After being long out of print and coveted by collectors, the duo"s cult classic albums init ding and _snd now receive the expanded reissue treatment as a double LP, featuring remixed sleeve artwork based on the original designs and a full remaster of each by engineer Rashad Becker. Microstoria"s creative process was as much about careful listening as composing, the duo working in a dialogue with their machines. Their first outing init ding (1995) captures the thrilling, anarchic energy of Germany"s experimental underground in the 90s, rendered in beautifully understated atmospheres. In those early studio sessions, Popp and Werner would cycle through synthesizer patches and effects settings while playing, sounds glitching and taking on new shapes with each turn to create moments of genuine surprise. Throughout the album the duo wrest paradoxically organic sounds from digital instruments, with everything from bird-like calls to aqueous washes of bass or fizzing strings that crest like rolling waves of warm analog thrum. The duo"s sophomore album _snd (1996) provided a subtle refinement of those earlier recordings, stripping back the dense layers of texture to play with space and tension, with an even greater contrast between light and dark. The album finds comfort in colder, deliberately digital soundscapes - the sound of neon lights illuminating the empty concrete of the city at night, or dial-up router glitch bathed in the warming glow of monitor screens. This is no mere wallpaper music, but living, breathing ecosystems of sound teeming with detail and tangible feeling. Nearly 30 years on from their original release, both init ding and _snd still offer thrilling new revelations with every listen. Much like the nature of their creation, these are records that reward deep listening. The expanded reissue of these two classic albums highlights their enduring influence and uncanny genius, standing essential titles from two artists still shaping the landscape of contemporary music today.

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Kali Malone

All Life Long

Cold Clay From The Middle West

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O'Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone's music is the intimacy stirred by the close listening it encourages. Malone's new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019's breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone's compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O'Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition's internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. The titular composition "All Life Long" appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice In the latter, Malone pairs the music with "The Crying Water" by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, "All Life Long" moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator's relationship to the timeless tears of the sea. "Passage Through The Spheres," the album's opening piece, contains lyrics in Italian pulled from Giorgio Agamban's essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

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Mister Water Wet

LP | 2023 | EU | Original (Soda Gong)

Agitas Al Sol Clear Vinyl Edition

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Iggy goes West! Soda Gong welcomes back Kansas City-based musician Iggy Romeu with his latest collection as Mister Water Wet. "Cold Clay from the Middle West" is a (characteristically) sharp left turn from his last two records, with Romeu offering up a surprising and addictive melange of crackpot Americana and smoky noir beat science. “Cold Clay Suite” opens the record, a five-part ride into the sunset that features Cooder-esque guitars, cat-gut fiddle, horse-hoof percussion, stadium organs, penny whistle, and bleary-eyed polysynth ruminations, among sundry other ephemera. Multi-instrumentalist Will Yates, known to most as Memotone, shows up three times on the album, lending clarinet, keys, guitars, banjo, sarangi, and vibraphone to these kaleidoscopic productions. It’s a wild ride of a record akin to following a dotted bridleway on a crumpled old map, marvelously variegated and stitched together as only MWW knows how. Get along, now.

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Rafael Anton Irisarri

LP | 2023 | UK | Original (Room 40)

Soundscape 1: Surround Blue Vinyl Edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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From Rafael Anton irisarri: It’s sometimes hard to go back and speak to work that was made in the past. Things change, but they also stay the same in some ways. I feel this strongly coming back to these pieces.

Agitas Al So was a companion suite of materials that was composed alongside my album Solastalgia. For those with a keen eye for wordplay, they might notice each title is an anagram of the other. In some respects this is actually a very fitting sonic analogy too for the pieces from the two records. They mirror each other in various ways, harmonically in the very least, but they also share the same deep sense of pressure that forged them so acutely.

To come back to these pieces I was struck by how much they expand on the ideas contained in Solastalgia. Where as Solastalgia might have been me breathing in, this set of pieces is a deep, deep exhale.

Remember to breath.

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Hiroshi Yoshimura

LP | 1986 | US | Reissue (Temporal Drift)

51,99 €*

LP | 2023 | EU | Original (Knekelhuis)

Release: 1986 / US – Reissue

Genre: Electronic & Dance

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* First-ever official reissue of the pioneering 1986 ambient work * Produced in full cooperation with Hiroshi Yoshimura’s estate * New liner notes by original album producer Hiroyoshi Shiokawa * Includes Yoshimura’s original notes in Japanese & English * Remastering and lacquer cutting by John Baldwin * Vinyl pressed at Gotta Groove Records "If Surround can be listened to as music that’s asclose to air itself, allowing us to enter each listener’s sound scenery, or assomething that exists within a new perspective, expanding the middle groundbetween sound and music, and transforming it into a comfortable space, it wouldbe much appreciated.— Hiroshi YoshimuraTemporal Drift proudly presents the long-awaited, first-everreissue of Surround, Hiroshi Yoshimura’s sought-after ambient classic. Originally released as an album in January 1986, Surroundwas recorded by Yoshimura as a commission from home builder Misawa Homes,intended to function as an “amenity” designed to enhance the company’s newlybuilt living spaces. A pioneer in the field of environmental music, Yoshimura’sprevious works included Music For Nine Post Cards (1982), originally producedto be played back inside a museum space, and designing sound environments forpublic spaces and subway systems. Surround was recorded almost concurrentlywith the acclaimed and popular Green (1986); the two albums are described byHiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang. In his original notes for the album, Yoshimura recommendsthat Surround be placed in the same family of sounds “as the vibration offootsteps, the hum of an air conditioner, or the clanging of a spoon inside acoffee cup.” And, as he suggests, “with the addition of city noise from outsidethe window,” you may hear Surround in a completely new way."

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Eye

Honolulu / Saigon

7" | 2023 | EU | Original (Lexi Disques)

Release: 2023 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Laurène Exposito releases her 3rd album on Knekelhuis. Honolulu / Saigon is a collage of unreleased material, and previously on cassette released work. Some songs go even back to the era of Sabine and ties in wonderfully with Laurène’s previous work. She’s been performing some of these tracks back in the days. For sure a pleasant recognition.

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Accou

French Fried

9,09 €* 12,99 € -30%

Kyoko Takenaka + Tomoki Sanders

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Born a french, fried in Belgium, Accou recently delivered on stage ecstatic dancefloor sets for the techno enthusiast.

Back to he intimacy of his studio, Antoine lets himself go to layered dreamy electronics with a warm loving feeling covered under six feet of snow. On the other side of the record, that noisy guitar sound coming straight out of the early nineties instantly catches the ear to an intense and joyful travel in time.

Lexi Disques is a maverick label based in Brussels since 2008 that explores the rich possibilities of the 7-inch record single. A welcoming home for experimental and adventurous musicians of diverse backgrounds, from fresh and vibrant faces to underground heroes, dwelling between the misty fields of psych-pop to the straight (and not so straight) roads of electronics.

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Planet Q

LP | 2023 | US | Original (Isc Hi-Fi Selects)

29,99 €* 39,99 € -25%

Ash Ra Tempel Transparent vinyl Edition

Release: 2023 / US – Original

Genre: Organic Grooves, Electronic & Dance

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

Gatefold Single LP w/ OBI & Insert

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

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

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

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

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

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

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

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

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

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

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

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

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

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Ash Ra Tempel

LP | 2023 | Original (MG.Art)

39,99 €*

LP | 1976 | Reissue (Be With)

Release: 2023 / Original

Genre: Electronic & Dance

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

TRACKLIST:

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

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

Much has been written about the record and band.

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

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

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

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

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

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

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

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

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

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Michel Gonet

Phasing News Volume 1

Lucid Dreams Pink Vinyl Edition

Release: 1976 / Reissue

Genre: Electronic & Dance

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European funk fusion of the highest order, Michel Gonet's Phasing News Volume 1 is the essential companion piece to the venerated Volume 2. It's truly a library treasure that every home must own. As Tele Music themselves said, it contains "tense and mysterious underscores in a range of styles"; whilst we don't disagree, we'd add swaggering, orchestral drama-funk-jazz-breaks. Vital.

Opener "Moon To Light (Number II) - A" is a total wonder. It's incredible, and what a way to begin a record. The percussion is electrifying, complimenting the dark, heavy piano, eerie organ work, electric guitar soling and rhythm section brilliance. Part B is virtually identical but without the electric guitar. The slow "Soul Cathedral (Number II) - A" is an ambient spacey synth gem which is both beatless and drenched in phased organ. Pretty captivating. Part B plays it rather straighter, a church organ continuing the same melody and tempo but with less of the swirling synthy effects.

"Light In The Rains (Number II) - A" sounds like something Diamond D would've sampled in the mid-to-late 90s, conjuring as it does that peculiar, creeping Axelrod-funk, all eerie electric guitar and organ, bass and spacey effects. Part B loses the electric guitar and adds brass.

The swirling, dramatic "Mondial Scoop (Number II)" has that urgent News At Ten feel with its prominent timpani drums whilst "Mecanic Bird Song" is a frenetic, abstract track with disorientating keyboard interplay.

*Total highlight* "Mephisto Jet (Number II) - A" rides a slick, proto-hip-hop beat with melodic, warm Rhodes yet, thrillingly, casually ups the drama with strings and timpanis. It then returns to its more mellow state. Ace. Part B adds acidy, phased percussion to create a more hypnotic, tripped out feel to proceedings. Part C is half as long but, pared back to just drums and Rhodes, it's arguably twice-as-nice.

To close, the shuffling, bell-laced urgent jazz of "Phasing News - A" is another highlight, riding a great bassline and augmented by ace drums, organ and electric guitar. Part B is also great, removing the guitar and doubling down on the head-nod funk.

The audio for Phasing News Volume 1 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Yota

LP | 2021 | US | Reissue (New Retro Wave)

Lucid Dreams Purple Vinyl Edition

Release: 2021 / US – Reissue

Genre: Electronic & Dance

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Yota is back, with the continuation from Hazy Paradise! Lucid Dreams is an album packed full of luscious synth and ethereal sonics. A must listen for all Retrowave and Retro Electro lovers!!

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Yota

LP | 2021 | US | Reissue (New Retro Wave)

LP | 2023 | UK | Original (Soundway)

Release: 2021 / US – Reissue

Genre: Electronic & Dance

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Yota is back, with the continuation from Hazy Paradise! Lucid Dreams is an album packed full of luscious synth and ethereal sonics. A must listen for all Retrowave and Retro Electro lovers!!

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Felbm

Cycli Infini

Spring Break 2023 Repress

Release: 2023 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Dutch multi-instrumentalist Felbm returns with the conceptual album ‘cycli infini’ : a 38-minute composition of metamorphosing tape loops, musical patterns and instrumental sketches. Further exploring the concept is the vinyl release which features the track spread over both sides and cut to the end of each locked groove - creating an essentially never-ending piece that challenges the idea of the traditional listening process. The idea came to fruition by way of a lifelong interest and growing awareness of the cyclical nature of the world around him - be it through observing nature, or the mathematical and mind-bending works of Dutch artist MC Escher, or minimalist composers such as Erik Satie, Laraaji and Melaine Dalibert. “The openness of Laraaji’s and Satie’s music have also been an influence to create a certain softness and feeling of comfort, as I like this piece to be a place you want to revisit”, says Felbm, real name Eelco Topper. While Topper’s previous releases on Soundway Records comprised series of short, individual sketches, on cycli infini the tapestry is sewn seamlessly together using a step-like progression through the circle of fifths, which as the name suggests, brings the listener back to the musical key and soundscape at which they started. Should the full track be on repeat, it begins anew without being noticed. The piece began life with a layer of drone loops using tapes and delay pedals, over which acoustic instruments such as flute, saxophone and bass trumpet would playfully but gently interpret a melody - toying with jazz, ambient, fourth world and percussive sounds. As the music evolves through the key progression, organic elements such as birdsong and wind chimes ground the piece in nature. Says Topper: “the never-ending metamorphosis of matter has always fascinated me, the idea that nothing ever really disappears and everything has already been here… just in different shapes.”

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Pablo's Eye

LP | 2018 | EU | Reissue (Stroom)

22,99 €*

The Last Sunset of the Year

Release: 2018 / EU – Reissue

Genre: Electronic & Dance

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"Pablo’s Eye is the science of studio pressure, when engineer becomes artist. Appropriating left and right as well as front and back, Pablo’s Eye uses the mixing desk to examine and exhaust the possibilities of moments. Pablo’s Eye is a record of that examination and exhaustion, but it is also a record of its own inner space. By means of depth placement, psychoacoustics and spatial fug, Pablo’s Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely.
Pablo’s Eye is the turning of recorded music inside out to show its seams. It interrogates a song, stripping down the body of the song to reveal its bones. Pablo’s Eye is in the interstices of music, it plugs the gaps, fills the holes. Pablo’s Eye seeks out the concealed mechanisms, it is a song’s hidden agenda.
For this compilation, it was decided to present the softer air-beatings of Pablo’s Eye. More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream..."

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Marcus Fjellström

2LP | 2024 | UK | Original (Miasmah)

49,99 €*

LP | 2024 | EU | Original (Blume Editions)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Miasmah Recordings presents the posthumous release of this double album of the final work by experimental composer Marcus Fjellström, titled The Last Sunset of the Year. Collected by Marcus' friends and colleagues Erik K. Skodvin and Dave Kajganich, this release brings together music written and produced during Marcus' tenure as composer for the first season of the AMC anthology series The Terror, which told the story of the doomed 1845 Franklin Expedition to find the Northwest Passage.

That said, The Last Sunset of the Year is, by design, not a soundtrack to the show. Dave Kajganich writes in the album’s liner notes: “Some of the pieces will be familiar to those who know The Terror (though in some cases in different forms), but many other pieces are being made available here for the first time. The selected pieces have a unity unto themselves, and we feel strongly that this release should be taken not as a companion to the show, but as Marcus Fjellström's final album, on its own terms. We’ve presented these pieces without titles, except for titling the four movements of the journey they suggest. It is a journey that evokes the mystery, grandeur, and desolation of the Arctic, and articulates the spiritual and existential implications of traveling there. In many ways, The Last Sunset of the Year goes further, and deeper, than the show ever could, presenting a remarkable sonic line from contented exploration, to staggering decline, to death—and even to a final vista beyond death.”

Kajganich reached out to begin discussing the idea of this release with Skodvin, back in 2017, after Marcus’ death, but before the series had premiered. In the years since, Dave and Erik have Zoomed and emailed back and forth hundreds of times, studying all seventy-five of the pieces Marcus wrote for the show in all their forms (as many as six or seven versions to a piece), to winnow down a final list of pieces to include. The most difficult phase of the process, Kajganich reveals in the notes, was understanding the best way to sequence the tracks. It required listening to many different track orders and paying close attention to how each order created a slightly different identity for the album through their specific juxtapositions and dynamics. “In a way I can’t fully articulate, it was very much as though Erik and I were having a final, deeply felt and joyous conversation with Marcus himself about the interior lives of these pieces,” Kajganich says.

The album’s title comes from a moment in the show when a group of Victorian sailors who are trapped in winter pack ice, suffering dwindling psychological resources and supplies, stand on the deck of one of the doomed ships to watch the sun rise above the horizon for a moment, and then immediately set in the last sunset of the year before six weeks of darkness, an event which, even through the lens of their inevitable coming losses, could still be viewed as something astonishing and beautiful. None of those men could know, nor can we, what waits for us across the line of death, but in The Last Sunset of the Year, Marcus seems to have had a notion.

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James Tenney

Postal Pieces