Search "dave+aju+heirlooms" 117 Items

Single sided vinyl.

No more words to say… Stone Edge delivers 4 fantastic cuts, all on the edge of techno, house, dub and melancholy.

We continue The Orb's Sin In Space remix EP series with a third volume focussing on the duo's latest full-length, the highly acclaimed COW / Chill Out, World! (KOMPAKT 354 CD 134). The spontaneous, organic vibe and sample artistry of the album is reflected in three distinct reworks from highly respected Kompakt mainstays The Field, Dave DK and Jörg Burger - all of them informed with surprising twists and displaying a clear lineage to the source material. The Field's remix of 9 Elms Over River Eno takes the original's percussive part and unfolds it to a swirling, tropical epic that alludes as much to The Orb's multifaceted sound collages as it does to the hypnotic, looping flow of The Field's own output. Meanwhile, DAVE DK turns in a club-friendly revamp of 4am Exhale with the fittingly titled Accellerator Mix, indulging in exquisitely lyrical glitches and the magic of the straight bassdrum. Jörg Burger takes a shot at the beatless 5th Dimensions with the excellent Dschungeloper Mix - its loose pop jam feeling and flirty shuffle rhythm recall Burger's lush lounge core efforts under his Triola monicker.

Tofu Resistance returns with his new ep “Thorídur”, marking his 3rd release on Ynfnd after his full length debut “1//23“ in 2019.

This EP sits comfortably between both the world of beats and a more relaxed environment. Returning to his roots, Tofu Resistance aka Tobias Kleine remembers his early influences of sample based music and classy hip hop grooves.

The result is a sonorous sketch of deceleration, answering with bouncy rhythms to nod your head to. You can hear him playing the drums, guitars and various other instruments on this record. A beautiful blend of organic and electronic production, adding his unique Tofu flavor.

DFA takes two artists who released different sorts of summer psychedelia in 2013 and pairs them with two fantastic new remixers / producers who have both done work for L.I.E.S.—Anthony Naples (whose personal obsession with Black Dice made him an obvious candidate for the job) and Bookworms (who Larry Gus watched play live at Output this year, mouth agape).

Naples takes “Bobby Strong” and ends up with what is essentially “Cone Toaster Pt. 2,” which is just what you wanted. Bookworms shreds “The Night Patrols” before building something dark and loud, sheets of sound layered on top of relentless sub sounds. A real surprise, this unique marriage of artists and remixers is limited to a hand-stamped and numbered edition of 500 blue-label copies with custom spine labels and download codes.

TXLAX is Dave Aju’s first album in five years, and we couldn’t be more pleased to present it. As always there is plenty of fresh genre-defying ideas in the music, but this time wrapped in a much more relaxed and focussed aesthetic - a fitting personal soundtrack for the homecom-ing theme of his move back to Los Angeles from Berlin, as the combined airport letters in the title suggest.

Known as the co-founder of Climax Golden Twins, Messenger Girl's Rrio and AFCGT, Robert Millis really delivers the goods here. The songwriting has depth, stinging clarity and vaporizing ambiguity. The LP features percussion by Dave Abramson (Diminished Men, Master Musicians Of Bukkake) and backing vocals by Alan Bishop (Alvarius B, Sun City Girls).

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

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

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

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

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

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

Jochem Peteri comes drifting back into earshot with some new Nwaq tackle in tow. Beyond the plentiful reissues of his timeless earlier works, Peteri is just as productive in the here and now. Now he’s minting a new label with three pieces that embellish the Nwaq soundworld with a fresh slant. ‘Above II’ is a crystal clear beam of light strapped to a kick that trips over itself with grace and poise. It’s forthright and yet wholly untethered, a pre-echo for the anchorless expanse of ‘Above I’, which buries some heavy bass ruminations very far down in the mix. That leaves it to ‘Dume’ to come staggering out all bleary-eyed, caked in last night’s distortion and yet still exuding a cracked beauty that stands up to the first light of dawn. The artwork which adorns this record is by environment sculpting internet artist Jan-Robert Leegte. Nwaq has always stood for a kind of environmental immersion, and this new emission compounds that idea in three distinct, refreshing ways.

Cassette of 6 remixes by Ricardo Dias Gomes and Domenico Lancellotti from their recent albums. Domenico Lancellotti remixes Ricardo Dias Gomes and vice versa.
Praise FOR Domenico's Album 'sramba'
"Another absolutely brilliant album from the drummer and singer" Gilles Peterson

"A synth-samba fusion you'll learn to love" ★★★★☆ The Times

"Very Tom Zé" ★★★★☆ Mojo

"Full of wonderful sonic surprises" ★★★★☆ Songlines
Praise FOR Ricardo Dias Gomes Album 'muito Sol'
"...beautiful experimental mûsica popular brasileira on a strikingly confident third album" Jon Dale, Uncut 9/10

"...This album is massively enchanting, and I'm pretty sure when it's all said and done, Muito Sol will be my favorite recording of 2023" Dave Sumner, Bandcamp

Baltimore's TV Hill Records transmit their first release made from the duo with the same name. OG AG (Andrew Grant) of original Circoloco fame and dimneonsum combine forces on a 4 track venture. The result is deep unapologetic House & Techno. Classic gear !

Serious Trouble label presents a mind bending record that brings together forward thinking jams from the early 80’s into present time with reworks of Tiffy L’Amours’ „Follow Me“ and „Film Musik“ from Die Gesunden. Both received an editorial treatment by Benedikt Frey, Menqui & Philipp Otterbach. With kind allowance by the original composers this 12“ marks the editorial spirit of Serious Trouble and waves tribute to moist cellar jams.

The A-Side „Follow Me“ Rework by Frey & Menqui is a wild extension of the original which gently adds a weird drummy cowbell intro before it introduces the chanting eccentric original. That got enhanced with an extra electronic bass recording and relooped cut & phrases emphasing you to hit the bell just one more time.

On the flip side „Film Musik“ Frey & Otterbach dived into the artists main motive and layerd it with a lyra, sh101 and external drums in an 8 hour session. It respectfully keeps the spirit of the playful original. In comparison to that though they managed to built a seamless endless „escheresque" staircase to mad mountain. An Immortal Acid exploration.

12“ 180 gr. heavy Vinyl, Limited to 300 copies. Artwork by Cid Hohner.

Weird Dust launches his own label Private Stress, kicking it off with 4 rabbitholes as deep as they go. Home made music, home made artwork.

Programmed by footie-mad graphic designer/DJ, Andrew Lyster, ’Sports 3’ casts a wide net over work by Youth label friends and extended family with results limning a dead cranky conception of club music and blooz/beatdown pressure. All sharing a taste for texture that sounds like the masters were left to decompose for winter, the 16 cuts map odd gooches and ginnels of the contemporary soundsphere from the washed-out jazz reminiscence of Zesknel next to harder-to- place works such as the metallic cyborgian slug of ‘Driesh’ by Craig Birrel, or the groggy breaks of ‘Cocaine’ from HR For Drug Dealers. Pigbaby plays the game with a highlight of midnight keys on ‘Far From Home’, and we spy a zinger from Sockethead on the feral yowl of ‘Coarse Ground’, while Dave Saved keeps it slanted on ‘Abisso 66’ and into a super glum one by the still enigmatic Yugen Disciple. That sense of entropy also infects the set’s more energetic bits, as with the PointilisticT arp flight of ’T’ by S, and the drowning struggle of ‘When It Rains (It Pours)’ from Significant Other complementing the worn out acid trample of Iueke’s ‘Videoslash’ and Jessic*nt’s murky stealth bomb ‘Manic/Panic’. Rat Heart, Michael J. Blood x Sockethead unsurprisingly steal the show on the slow cymbal-crash blooz of ‘True’, and the album ends with Lyster’s own VIP of NW / HR tripped & screwed hardcore submersion.

Tafaa - Random activity of the work of art, escalates an extension of accepted (unproductive) concepts of art, nature and society' is a sound editing project led by Chloé Delarue, a visual artist based in Geneva (ch) in collaboration with Adeena Mey, a curator, art critic, managing editor of the magazine Afterall (Central St Martins, London, UK) and researcher/teacher at Ecal (Lausanne, ch).

Together, they gathered sound artists Jaeho Hwang, Lafidki of the Chinabot label and the performer-composer Seth Ayyaz in a desire to bring together horizons of thoughts with a singular tonality in resonance with the Tafaa* cycle. The release is a continuation of the deployment of Chloé Delarue's solo show - Tafaa - THE Century OF THE Snitch, which took place at the Villa du Parc - Contemporary art center in Annemasse (fr).

The four compositions resulting from this meeting are materialized in a hybrid compilation. Each of the tracks, affected by the aesthetic spectrum of Tafaa - THE Century OF THE Snitch, results from unique paths that each sound artist builds in their own works. This compilation released in the exhibition space and in its vinyl form, was infused under this particular atmosphere with the aura of sodium, as an echo of the previous opus Tafaa - Acid Rave. The title evokes territories in wasteland and multitude of theaters of an urbanity that has become tropical for one night.

For Chloé Delarue, the environment produced under Tafaa - THE Century OF THE Snitch and its aesthetic feeling is linked with the dissemination of these four tracks. As she says, it becomes “like the deep trance of a noise invisible to oneself but that we perceive thanks to the questioning of its own imperception, the work no longer looks at itself, it injects itself.”

Moult and Dystopia by Jaeho Hwang, Pandæmonium Cctv by Lafidki in collaboration with Ayankoko and Pisitakun (from Chinabot) and Apophenic studies | stochastic iqaat by Seth Ayyaz thus bring out, through their sound characteristics, a powerful emotional expanse driven by their glimpse of the conceptual reconfigurations of a world increasingly accessible through its ersatz.

The vinyl title Tafaa - Random Activity (...) is borrowed from Gustav Metzger taken from an extract from his Manifesto On random activity in material / transforming works of art in July 30, 1964.

Chloé Delarue constitutes what she calls environments under the influence of the Tafaa perception system, an acronym for Toward A Fully Automated Appearance. Tafaa is a conceptual organ that she builds as a cognitive outgrowth allowing her access to the reasoning that feeds her work. It is under this name, indexed by a number or a subtitle, that each occurrence of her work has been presented since 2015. Thus, she probes the ambiguous relations that our society maintains with its multitudes of transfigurations, real or simulated, at the time of permanent interconnections and raises questions relating to changes in perceptions and cognitive transformations of our beings under the visible and invisible authority of cosmotechnics.

The first of two fabulous new Polytechnic Youth full lengths released this May, is a wonderful -and long overdue- vinyl compilation of key UK electronic pioneers Land OF YRX’s work between 1982 and 1984. Released almost exclusively across a series of DIY produced cassette only releases, the bands’ output is now revered in that golden period of groundbreaking, home recorded 4 track experimental / minimal electronics releases, all of which are highly sought after and hugely influential on the swell of electronic musicians that followed at that point in the UK. The duo consists of Shrewsbury based Rob Andrews and Dave Gate (extended for live shows) and with their core discography being so utterly wonderful, honing in on a fair representation of their work with 20 minute-a-side time caps here, was no mean feat. So much of their greatest work featured across epic 15 minute plus jams- ideal for the cassette format, but trickier for wax. But we’ve got there; 7 beauties which highlight the bands’ love for experimental electronica, kosmische / krautrock and prog perfectly- all underpinned with Rob’s superb often Gottsching-esque guitar work. A superb band, totally worthy of further investigation- massively recommended to anyone into any of the above, or that core of early UK electronic underground / cassette scene of Colin Potter, Paul Nagle, Neural Circus as well as heavyweights like Conrad Schnitzler etc… The duo are still very much busy and working today, as “Why stop just because you’re having fun?” A wonderful and long overdue vinyl collection, available as a pressing of 300 this May.

Taavi Suisalu is an Estonian media artist particularly interested into complex and adventurous sounds, field recordings and harsh audio emergencies, organized under the form of symphony or as a result of performative interactions. “Noisephony of Lawn Mowers" is a score for lawnmowers, whose making is given to a conductor and executed by a group of artists.

DFA is proud to present the long-awaited debut EP by London's Marcus Marr, Familiar Five. Influenced by
classic soul, rock, disco, and acid house, the multi-instrumentalist, DJ, and producer makes spacy dance
music, often including percolating synths, funky bass guitar, and vocals. A regular at Berlin's famed
nightclub Berghain/Panorama Bar since 2014, the lifelong music obsessive's first encounters with dance
music were acid house records, which grew his vinyl collection of rock and soul, and attending all night
parties under Brixton's St Matthews Church. At last, Marr returns to DFA with a collection of elastic
bassline stompers, reminiscent of early Daft Punk. The title track Familiar Five originally began with a rock
riff, which he later repurposed as the backbone of a piece of slow, dark, dance music. Inspired by Dr.
Jekyll and Mr. Hyde, Faust, and Kafka's Metamorphosis, Marr explains that he wanted to make something
spooky and simple - a song utilizing very few elem ents, with a throb and synth vomit. On the flip side,
lead single High Times channels the electric guitar stylings of Nile Rodgers circa 1979, and makes good
use of the producer's trademark whizzing synths as well as vocals from collaborator Nandi Bhebe. Love
Release and Rocketship are both equally effective tracks built for the dancefloor.

with new & unreleased stuff from DDay One, CYNE, Seven Star, Mathematik, Jahbitat, Lackluster, Epstein, Mr Cooper, Antti Szurawitzki, Manuvers, 40 Winks, Pablie, Glen Porter, Xndl, Rumpistol, Deviant and Dave Ghetto ... limited edition, only 500 copies made!!

with new & unreleased stuff from DDay One, CYNE, Seven Star, Mathematik, Jahbitat, Lackluster, Epstein, Mr Cooper, Antti Szurawitzki, Manuvers, 40 Winks, Pablie, Glen Porter, Xndl, Rumpistol, Deviant and Dave Ghetto ... limited edition, only 500 copies made!!

These recordings weren't intended for release, they aren't even demos, but rather exercises – process tracks in an attempt to mirror the influences of an aspiring artist as they oriented their emerging work. Most of the tracks were constructed in single sittings and recorded to cassette at home in Glasgow through a Philips Aw-7694 boombox. That they feel finished, even iconic amid the shortlived confluence between Detroit techno and intelligent dance music, is a testament to what was materialising, but also to our collective nostalgia, revisionism, and thirst to understand how we've arrived here and why. Übungen has that youthful and pre-internet utopian aura, without being tethered to the phony maxed-out optimism ricocheting across the Atlantic in a 4G pollution. That I first came to Dave Clark's earliest work in the anxiety-ripening stage of the pandemic while I was becoming chronically sick – a time when it was all too easy to glide through dystopian nightmares and realities alike – only speaks to the work's presence and its allowance to dream, ahistoricism or splice into the affect of histories, and to dismantle the contemporary, not in an arsy or nihilistic way, but to appreciate (questioningly) the passage of time.

Sitting somewhere between an EP and a full-length, these six pieces predate Dave's other archival release – Sparky's 94Archive2/8 [Rubadub, 2015], which also features cassette transfers originally recorded in stereo without overdubs. As a sound archivist myself, it was a welcome experience first listening to Dave's transfers on headphones while walking around the canals of Maryhill rather than handling the digital captures in a studio. I've been enamored with the music ever since and despite the original utilitarian intention, shifting contexts and the chance to listen afresh decades on allows for clearance (dare I say recuperation). It is, for this reason, and the sardonic re-opening of archival material perverted into something on the ground, that's not merely dog shit, that I am very pleased to finally share this collection.

Each of the titles provides the recording year and is initialed by the respective influence: Carl Craig, Aphex Twin (you'll recognise the shimmering hi-hats), Yellow Magic Orchestra, Black Dog, Polygon Window, and Drexycia.

All music was produced by Dave Clark, except "1993cc" produced by Dave Clark & Graeme Slater, and "1992pw" produced by Dave Clark & Roger Elliott.

Original inner sleeve. With insert. PVC packaging with hype sticker.

Dixon gave his personal touch to LCD Soundsystem's 'I Used To' on the A side. B side features a previously digital only version of 'Pulse'.

Herbert Bodzin’s “Revival II” is the next exciting vinyl highlight on this young label. It features completely unreleased electronic music which was recorded between 1979 and 1982. Check!
On the album you can hear the sounds of legendary machines like the ARP 2600, the Korg PS-3300, the Roland System-700 Modular synthesizer, the PPG Waveterm and the PPG Wave 2.2 as well as classic synths like the Roland Jupiter-8, the Polymoog and the Prophet-5 – the same equipment used by big names of the German and international avantgarde electronics scene at that time. For example, the ambient “Red Ocean” was recorded entirely with the polyphonic Korg PS 3300, one of the most desired and biggest synths of all time. The project features Bernd Hollendiek, as well as Bodzin’s two sons, Stephan and Oliver Bodzin on additional synthesizers and partly on drums. The songs are a mixture of mostly ambient, deep, psychedelic, yet experimental and futuristic sounds as well as two more vibrant synth rock recordings with drumming.
We hope that this album will find its way to the hearts and collections of electronic music lovers – somewhere in between the classic albums of Tangerine Dream, Klaus Schulze, Cluster or Eberhard Schoener. As a side note, the album may also show early musical influences of Stephan Bodzin, who became world famous in the 1990s as one of the leading techno producers. Without any doubt, “Revival II” should be an exciting lost masterpiece of German electronic music and a must have for synth music lovers – revived and finally alive!

Infinity Machine is a duo comprised of JuanMacLean - as in the Juan MacLean, longtimeDFA traveler - and Gee Dee, also known as GregDroggitis, a producer and DJ based in Brooklynand 1/3 of the Earth Beat DJ troupe.The project name stems from a series ofgatherings the two began hosting in variousprivate spaces around New York City shortlyafter lockdown, though that description is abit innocuous for the journeys traveled by itsattendees.These events, billed as "psychedelic danceceremonies" lasting 8 or 9 hours, began witha sound meditation to vibrational and acousticinstruments before eventually segueing into a"dance" soundtracked by a DJ set from Juan andGreg.Something clicked - that ceremonial tea! - andso Juan and Greg began playing and recordingin their studio using the same approach:improvisation with equal attention placed ontraditional acoustic (flute, guitar, gong) and morecontemporary electronic (Yamaha DX-7) sounds.After awhile, there was literally three albumsworth of material, each of them a voyage into thewarm, liminal space between new age, ambient,drone and psychedelia. None of those genresquite fully describe what's across 001, 002, and003 - available from DFA digitally and on a verylimited run of cassettes (150 each!) - but if you'veread this far then you're either the right kind ofcurious or just forgot what you were doing.

Infinity Machine is a duo comprised of JuanMacLean - as in the Juan MacLean, longtimeDFA traveler - and Gee Dee, also known as GregDroggitis, a producer and DJ based in Brooklynand 1/3 of the Earth Beat DJ troupe.The project name stems from a series ofgatherings the two began hosting in variousprivate spaces around New York City shortlyafter lockdown, though that description is abit innocuous for the journeys traveled by itsattendees.These events, billed as "psychedelic danceceremonies" lasting 8 or 9 hours, began witha sound meditation to vibrational and acousticinstruments before eventually segueing into a"dance" soundtracked by a DJ set from Juan andGreg.Something clicked - that ceremonial tea! - andso Juan and Greg began playing and recordingin their studio using the same approach:improvisation with equal attention placed ontraditional acoustic (flute, guitar, gong) and morecontemporary electronic (Yamaha DX-7) sounds.After awhile, there was literally three albumsworth of material, each of them a voyage into thewarm, liminal space between new age, ambient,drone and psychedelia. None of those genresquite fully describe what's across 001, 002, and003 - available from DFA digitally and on a verylimited run of cassettes (150 each!) - but if you'veread this far then you're either the right kind ofcurious or just forgot what you were doing.

Infinity Machine is a duo comprised of JuanMacLean - as in the Juan MacLean, longtimeDFA traveler - and Gee Dee, also known as GregDroggitis, a producer and DJ based in Brooklynand 1/3 of the Earth Beat DJ troupe.The project name stems from a series ofgatherings the two began hosting in variousprivate spaces around New York City shortlyafter lockdown, though that description is abit innocuous for the journeys traveled by itsattendees.These events, billed as "psychedelic danceceremonies" lasting 8 or 9 hours, began witha sound meditation to vibrational and acousticinstruments before eventually segueing into a"dance" soundtracked by a DJ set from Juan andGreg.Something clicked - that ceremonial tea! - andso Juan and Greg began playing and recordingin their studio using the same approach:improvisation with equal attention placed ontraditional acoustic (flute, guitar, gong) and morecontemporary electronic (Yamaha DX-7) sounds.After awhile, there was literally three albumsworth of material, each of them a voyage into thewarm, liminal space between new age, ambient,drone and psychedelia. None of those genresquite fully describe what's across 001, 002, and003 - available from DFA digitally and on a verylimited run of cassettes (150 each!) - but if you'veread this far then you're either the right kind ofcurious or just forgot what you were doing.

On its’ release in November 2022, Daniel Stenger’s debut mini-album as Flashbaxx, Take Care My Friend, won plenty of plaudits for its’ enticing blend of jazz-funk instrumentation, audible warmth, effortless musicality, and memorable, sun-soaked songs. Now the set returns in remixed and reworked form, with a sextet of artists taking it in turns to put a new spin on the German producer’s carefully crafted and immaculately executed tracks.

The six-cut vinyl version boasts two revisions that have already made waves on digital download: a genuinely life-affirming hip-hop-soul take on ‘Strangers’ courtesy of East Midlands’ maestro Atjazz, where Katherine Kempf’s smouldering lead vocals rise above head-nodding beats, woozy electric piano chords, yearning horn arrangements and smooth bass guitar, and a sublime Moods mix of ‘Love Boat’ that re-frames the track as a languid, groove-fired shuffle through Balearic jazz-funk territory.

The other four reworks, which are exclusive to this EP, are similarly inspired. Chris Pookah collaboration ‘City Lights’ is given the remix treatment not once, but twice. First NuNorthern Soul regulars Mike Salta and Mortale re-imagine the track as a gently breezy, dusk-ready blend of bouncy, samba-influenced grooves and colourful Balearic nu-disco, before BJ Smith – the first artist to release music on Phil Cooper’s imprint way back in 2012 – takes the track into semi-acoustic, blue-eyed-soul-meets-Balearic jazz-funk territory. Gentle, tactile, and vibrant, it’s a stunning, soul-stirring revision.

To round off the EP, two producers renowned for creating atmospheric, sunrise-ready soundscapes deliver their versions of Stenger’s kaleidoscopic, musically rich aural visions. Marshall Watson handles ‘Alright’, smothering a languid, slow-motion drum machine beat in jazzy double bass, delay-laden electric piano motifs, lazy jazz guitars, rising synth strings and the dreamiest of pads.

Then, to round things off in considerable style, Tambores En Benirras reworks title track ‘Take Care My Friend’, teasing out the track’s inherent musical colour and warmth whilst adding his own distinctive spin. Pleasingly hard to pigeonhole, his remix makes extensive use of deep, dubby bass, Latin-style percussion, leisurely beats, blossoming synth sounds and all manner of effects-laden instrumental flourishes – including guitar solos that recall some of Dave Gilmour’s most laidback, eyes-closed moments. It provides a genuinely brilliant conclusion to an effortlessly impressive set of remixes.

The last Polytechnic Youth release for the foreseeable future (not a final closure point, more a case of let’s see…) is an absolute beauty. A 6 trk 10” mini-LP from Shibuya Station, an all-analogue synth project founded by Marc Schaffer (aka solitude fx, Endphase, Twins Natalia, as well as being the founder of the Anna Logue Records and Nadanna labels). Finding his inspiration in the late ‘70s/early ‘80s synth music and the machines of that period, Marc recorded a few tracks back in 2013 which were further developed by fellow musicians Stefan Bornhorst (The Silicon Scientist), Dave Hewson (Poeme Electronique), Orpheo Weidelt (solitude fx), Kriistal Ann (Paradox Obscur) and Erik Söderberg (Kinder Aus Asbest) over the following years. As Marc says: “Six tracks made it eventually onto international compilations “Tunes That R Attractive!”, “Sie Hat Schenkel Wie Godzilla”, “Jubilee Jamboree: 10 Years Of TuT/RuR” and “Synthesizer Music On Tape” vol.3, which are now presented on a 10” vinyl via the renowned Polytechnic Youth label, who say it’s their last release for awhile, as they concentrate on their new label, Feral Child. Instruments used were Amdek Percussion Synthesizer Pck-100, Boss Voice Transformer Vt-1, Casio Vl-1, Crumar Performer, DSI Mopho, Korg Kr-55b, Korg Ms-20, Moog Little Phatty, Moog Voyager, Novation Bass Station II, Oberheim Dpx-1, Roland Cr-78, Roland Sh-2, Yamaha Cs01, and VST synthesisers ARP Odyssey, EKSSperimental Sounds Es101, Korg Ms-20. The project name is reference to Hachikō, the dog who continued to wait for over nine years following his owner’s death at … Shibuya Station”.

This 7” attempts to represent a time when Ruth Goller, Dario Rossetti-Bonell and Dave De Rose would gather with the intention to create fresh music together, free of stylistic boundaries. Each one of us would bring our own compositions to Ruth's house in Walthamstow where we'd experiment and elaborate them together. You'll be sad to know many other recordings of this era were lost and now only exist in miserable mp3 format... sometimes things like these happen... what to do? Celebrate the surviving tracks with a lathe cut! In the later version of this group we invited our fantastic friend and collaborator Ed Begley to sing with us. We hope you enjoy!

Exploring rhythms and instruments from all over the world has always been a motive in the music of German producer Tobias Kleine aka Tofu Resistance. His full length debut following a 7“ release on the label YNFND shows him expanding, deepening and developing his passion and techniques in a fusion of various influences. Although sampling still plays a key role in his productions, kleine plays most of the instruments featured in the album, from Fender Rhodes inspired synthesisers to his Brasilian berimbau or the asian jaw drum. Originally a trained drummer, you can hear his focus on rhythm and percussion without losing sight of harmonies or intrumentation. 1//23 is a stunning debut with depths and edges that dive into colorful downbeats and shapes, often creating mystery yet solidity, as the album title promises.

Electronic producer Intriguant with his 3rd album Spirits on vinyl as a limited release under record label from Singapore, TAV Records. When it comes to the relationship between electronic music and its interaction with Singapore, we always find the theme of longing connectivity through its panorama even within the many concrete walls and high-rises we have grown accustomed to living in. With Spirits, Intriguant takes the role of an observer and explores the landscapes of many different cultures and sounds that have taken habitat past and present. Driven by hauntingly futuristic break-beats of the 90s, shaped 808s, imagined club sounds of dancing folks, bass-heavy textures reminiscent of Burial, Spirits is both for the late-night vanguards and personal home listening rooms. Intriguant's third album encompasses his experiences as an artist most vividly, highlighting his ability to use the flexibility of electronic music to link floating ideas to the physical world. The Analog Vault is honoured to be working with Intriguant for our third release as TAV Records.

In line with his recent body of work, Uwe Zahn bundled minimal compositions telling narratives situating in the melodic realm of ambient music. On first sight, it seems common that one can enter or construct such stories through the melodies these compositions offer. However, melodies never stand on their own – maybe only theoretically – but in fact truly reveal their magic through the sonical context they’re embedded in. To Zahn, a crucial part of his practice is all about this latter notion. Finding the sweet – and sometimes hidden – spots in sound-design that allow him to express the narratives he wants to share. »Seismograf« could be seen as an ode to this exploration and devoted to the practice of listening - to hear sounds that are otherwise inaudible.

Rave At Your Fictional Borders emerges as the fervent brainchild of multi-instrumentalist producer Dave De Rose (Moloko / Rokia Traore / Electric Jalaba / Agile Experiments). Building upon the avant-garde-step traditions established by the Agile Experiments international collective (led by Dave since 2015 between London and Athens), Rayfb aspires to forge ahead in its era, encompassing the diverse soundscape of 2023. It exerts pressure on the confines of genres while infusing the soulful essence and improvisational spirit of jazz into its sonic journeys. Embracing repetition and unconventional groove concepts with a confident stride, it delves deeper, incorporating elements drawn from ambient, noise, and techno influences.

Collaboratively improvising on the particularly inspired evening of November 24th, 2022, four musicians converged at Electricity Sound Studios in Exarchia – the historical heart of radical political and intellectual activism in the Greek capital. It was in this vibrant setting that they intricately crafted the instant-compositions showcased on this EP.

The title 'Potion Trigger' whispers of the world's awakening, as our global tapestry unfurls, revealing society's festering flaws. It hints at the slow dawning, where it becomes clear that those in power have forgotten their pledge to the people. In this newfound clarity, the cloak of corruption within states and the intertwining of corporations with governance is lifted. The potion becomes the elixir of collective revelation, a taste of the genuine reality we must confront. This trigger, a ripple in the waters of our awakening, is the surge of momentum as we ascend into this heightened state of awareness.

At the beginning of 2015 I approached Victor Greetham at The Agile Rabbit Pizzeria about programming a series of concerts at his spot in Brixton Village, an open air marketplace in the heart of Brixton (London, UK).

The premise being that I would bring a selection of great, strictly one hour long concerts every Thursday night, some of which would be completely improvised free form music. These performances came to be named “Agile Experiments”, paying homage to Victor & his venue for allowing us to expose the market's passing trade audiences to something they may well have never had an opportunity to hear before or ever again for that matter.

We implemented two simple rules for the performances:
1. We wouldn't discuss or plan anything around what we were going to play.
2. We would play for an hour straight with no breaks.

After a year of concerts in the market place, I organised 8 one hour long recording sessions in a studio with 8 different combinations of musicians I had had the honor of performing with over this period and we applied the same rules as we did for the live performances in order to document these happenings.

Two further years down the line, after sitting on these recordings trying to find a way for them to be heard, I am extremely pleased to announce a sequential release of two limited edition vinyls featuring 12 extracts from these raw & unpredictable performances.

I hope that you will truly enjoy these minutes of off-the-cuff cooperative creativity.

In good faith and love for people and music,

Dave De Rose

Close to VG+

Kübler-Ross is a minimal synth/wave/industrial three-piece from Glasgow, Scotland, featuring Craig Clark, Katie Shannon, and veteran electronic producer and remixer Dave Clark, best-known for his Sparky moniker, and as one-half of the production/remix team Optimo (Espacio). First emerging in 2015 with a couple of compilation appearances, Kübler-Ross released their debut, self-titled album in 2020. Originally released as a limited-edition cassette on the Glasgow label Akashic Records, the album — now resequenced and released on vinyl via Suction Records’ minimal synth sublabel Ice Machine — is a collection of tracks recorded over a three year period in a variety of studios, rehearsal rooms, and gigs, documenting the musical variety and ferocity of their incendiary live performances. The Akashic tape, despite being low-key, under-the-radar, and released in limited quantity, managed to earn them a Long List nomination for SAY (Scottish Album of the Year) for 2020. Standout cut “Bridges”, first released in 2015, is synthpop perfection — sitting comfortably alongside classics from the first wave of UK electronic classics by Thomas Leer and Robert Rental, John Foxx, and even early Depeche Mode. It’s not the only synthpop track on the record, but the album is dominated by a more tough, raw, and punk spirit, featuring aggressive female vocals, live drums + bass guitar, and judicious use of crude analog synthesizers and tape delay fx. Think Liaisons Dangereuses meets Suicide, and you’re beginning to get close

On its 14th album RAMZi addresses the Gremlin’s Paradox. Feeding the ‘World Fuzion Music’ frequencies, above every category and for all hearing ears, the beat-wielding imp meets each new quest with a sharp-toothed smile and a moon tan glow.

This new multi-quest pathfinder on FATi imprint was aided by Dave Biddle on sax, Loic Reeves-Blizzard on guitar and Zach Frempton on keyboard.

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

Tiatoma' is a compound latinised spelling of 'τι άτομα' [ti = what? • atoma = atoms/people], a Greek expression which is colloquially used for multiple purposes to show one is impressed, unimpressed or even surprised by people's behaviour. Its interpretation is dependent on the tone with which it's delivered.

The sounds on this record were unravelled by three individual groups of conglomerate atom particles currently experiencing 'life' as a correlational passage of time and space in human format. All this within the limited boundaries of our understanding. These beings came together to experience, express and document sentiments and reactive happenings within real moments spent in the same space interacting through sound.

Saber Rider and Dimitris Foken first met Dave De Rose during Fengaros Music Village (Cyprus, 2014) where he was tutoring a workshop. Unpredictably these grown up youngsters would be there for him to share both friendship and musical exhilaration as Agile Experiments embarked on the making of 'Athens' (Jan/Feb 2019). Together this trio amassed enough outstanding material to feature not only on the Ddr012 release but also to present here another whole batch of extremely lit and unique sounds from the sessions in the Greek capital.

Rider and Foken, who'd already been making fantastic music of their own, were particularly impressive with their use of on-the-fly sampling into lo-fi vintage synths, loop mangling, drone ambience, space, tone, lyrical melodies and precious noise. We are extremely lucky to be able to feature their uncompromising original sound on this release.

We hope that you will truly enjoy these minutes of off-the-cuff cooperative creativity. In good faith and love for people and music, Agile Experiments

Suzanne Doucet was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.

In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’, which was inspired by a visit to Findhorn, Scottland. Suzanne and Christian recorded acoustic sounds such as waterdrops and vocals using sophisticated sound manipulation devices and muli-track recording techniques. The only electronic instruments used were the Jupiter 8 and the Roland TR-808 drum machine. The next year the duo began work on the follow-up ‘Transmission’, which released on cassette in 1983. All songs have been remastered by George Horn at Fantasy Studios and each album is housed in jackets using the original cassette artwork.

Limited edition

Limited Edition.
Record is close to VG+.

Cover is dogeared.

Limited Edition. Clear Vinyl.
Cover is dogeared.

Clock DVA is one of the pivotal groups of industrial music. Founded more than forty years ago, the instrumental outfit has seen a contemporary partnership of electronic experimentation forged between Adi Newton and Maurizio Martinucci since 2010. It is their source material that proves fertile ground for two remixes, remixes by two heavyweights of electronic music. Atom™ delivers his re-imagining of “De-Konstructor.” A lone string is met by snapping snares as an alluring, yet cold, melody unfolds. Newton’s raspy throaty words rise, a stark prescient poetry countered by angular acid-twisted keys before samples buckle and loop. The second stalwart of electronics drafted in is Scanner for his reframing of “Rayonist Refraction #1.” A ghostly female voice haunts a backdrop of electrical fizz and voluminous cracks of shuddering thunder. Guitar strings tremble in this eerie landscape with a smattering of spoken text bringing solace to this hostile environment. Music for an all to immediate reality.



Format: LP, 12” 180g Heavy Black vinyl - Etched side with DVA’s logo, Numbered copies, Black inners - Printed sleeve on 350g cardboard.

While previous albums, most notably Leland and Minutes of Sleep (2014) as well as two albums released as one half of the duo Aris Kindt (most notably the stellar Swann and Odette from 2017) have relied on singular thematic and narrative drives that were often of a personal, collaborative, or hermetic in nature, Thresholds is an album that aspires to sonic universality and the presentation of a fully formed psychoacoustical world. That being said it is not an “album of ideas”. Inspired by the ecological and political upheavals of the present and the role of speculative thought as an avenue of global transformation Thresholds is the work of a mature artist fully in control of his powers. Both expansive and nuanced the album widens the aperture of the affective possibilities of the electronic assemblage; themes skip from one track to the next, elevating and informing each other in tangible fields of abstract figuration. The titles, while often heady, concisely allude to strategies implicit in the construction and arrangement of the works: Cut Up, within the context of the album, is exactly that. Luck Takes a Step juxtaposes stately synths with just the right touch of playful fluctuation and latent atonality. The title track itself is a knotted mass of uncertainty and propulsive beats the breakdown of which is a nervous series of fits and starts that resonate not just within the track but as the fulcrum of the entire album: the threshold of our Threshold.

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

Neon City is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Listening to Neon City in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20ies after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic Pale Ravine.

Although Erik and Otto both had been making music solo before, Neon City was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original.

Montreal duo Essaie pas return to DFA with a 12-inch that picks up where their 2018 album New Path left off. "Earth" is a blistering ride through the rave, an amalgamation of techno and trance. The galloping bassline is the backbone of the song, and Marie Davidson's vocals climb to new heights against synth stabs. "Corps Étranger," with its stuttering percussion, is a slow burner in comparison. For the remix of "Earth," Marco Passarani of Tiger & Woods (Running Back, Numbers) doubles down on the Italo disco angle and doesn't shy away from the more anthemic moments of the original, managing to rework it into something akin to a celebration of this "shithole" we call Earth.

You must surrender. Because if you’ve followed Naum Gabo over the past 15 years – across various 12-inches, styles, and notable labels - and you’re listening to “F. Lux,” their first proper album, then you’re probably wondering how you wound up here, all the way down, barely able to see through the brain-clogging atmosphere and towering low-end. “F. Lux” is a deep, enthralling listen, alternating between moments of pounding, world-ending techno (“Schinokapsala” and “This 1”) and sharply imagined, surrealist scenes painted with metallic machines (“Aora” and “Haerstag”). There is light to be found in the darkness, but the only way out is through. Naum Gabo are Glasgow’s Jonnie Wilkes (also known as one-half of DJ duo Optimo) and James Savage (prolific mastering engineer). F. Lux was written and produced entirely by them at their Glasgow Hottrax Studios and mastered by James Savage. The album’s front cover artwork is a painting by cherished Scottish painter, Andrew Cranston. The vinyl was pressed at MPO in France using lacquers cut by Bob Weston in Chicago.

Gal (Juju) and Jordan (Jordash) return home to the Dekmantel stable for their fourth LP. It’s their most complete record to date. A series of purpose-written compositions, that highlight their maturity as musicians, and adept dexterity in the studio.

Without the pairing of Juju & Jordash, there would be no Dekmantel. The duo are an integral part of the label’s history, dating back to 2009 when they where they were the first act to release on the imprint. The two vagabonds can often be found performing live at various outdoor festivals and renowned clubs around the globe, jamming away behind a tabletop of buttons, knobs, synths, and drum machines - like a retro, control-station from Star Trek - albeit one that hums along with the jazz-centric, discordant house, and techno whirrings played by the musicians.

Nowadays Juju & Jordash have evolved far beyond their ’oddball house’ moniker. Their freestyle approach to performance, and immaculate refined sounds have became somewhat more defined, in a style that’s unique, yet elaborate, with a sense of otherworldliness, not only befit for the dancefloor, but otherwise transcendental moments. Following on from their previous LP, 2014’s Clean-Cut, a record of primal, forward thinking, variations from the studio, Sis-boom-bah is an album steeped in studio traditionalism, with a direction towards composition. “We wanted the focus of this album to be the music and not necessarily the process, so we made sure to perfect the performances before shifting the focus on to the production,” states Jordash about the record. Recorded over the space of a few, intense weeks, and built upon years of improvised live shows in front of thousands of listeners, Sis-boom-bah was written around grooves written by Juju on the guitar, and Jordash on the Rhodes. It was the first album the duo have written using such an approach, and solely produced and mixed by Jordash in Amsterdam over the course of a year, making it their most authentic record to date.

Sis-boom-bah’s diverse, spiritual nature is built around Juju & Jordash's use of polyrhythms. The percussive sequenced grooves, and rhythmic backbone was generated using the Yamaha DX7, along with the Roland TR606 drum machine. This approach to rhythm can be heard from the outset within the very first track ‘Herkie’, an ephemeral, yet tribal approach to minimalist funk. The spirituality flows throughout the record, where it sounds like the duo have brought along the nature with them from the foresty raves. In actually fact, the background noise comes courtesy of “noise generators from two separate synthesizers, each with its own filter slowly opening and closing so it kinda sounds like waves or wind.” There are also nods towards their acid influences, with some surefire slices of house music too. Sis-boom-bah is still very much a Juju & Jordash record, yet it's one with a greater depth, musically and stylistically. As electronic music albums go, you'll be hard pushed to find one more complete. "People should listen to this on a loud and clear sound-system," explains Jordash, "high on life, in their own special safe place."

El Hal / The Feeling by Electric Jalaba

Share / Embed Wishlist supported by Thom D thumbnail David Wagstaff thumbnail dickbonham thumbnail kosmicanimal thumbnail Michael Anthony thumbnail Samuel Vonäsch thumbnail Sarapuaj thumbnail eddystone thumbnail albondiga thumbnail wfryco thumbnail Jason Boon thumbnail Dietmar Petschl thumbnail zrankfappa thumbnail npmarsden thumbnail calico jack thumbnail duncanamhp thumbnail Pedb thumbnail Daniel Patrick thumbnail mongeese thumbnail almo182 thumbnail silentlistener thumbnail Fulan 00:00 / 04:50 Digital Album Streaming + Download Pre-order of El Hal / The Feeling. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. releases March 19, 2021 Pre-order Digital Album €11 EUR or more Send as Gift El Hal / The Feeling (lp) Record/Vinyl + Digital Album package image Includes digital pre-order of El Hal / The Feeling. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. digital album releases March 19, 2021 item ships out within 3 days Pre-order Record/Vinyl €18 EUR Send as Gift El Hal / The Feeling (cd) Compact Disc (cd) + Digital Album package image Includes digital pre-order of El Hal / The Feeling. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. digital album releases March 19, 2021 item ships out within 3 days Pre-order Compact Disc €12 EUR or more Send as Gift 1. Tora Tora 2. Cubaili Ba 03:50 3. Agia Hausa 4. Daimla 03:56 video 5. Fulan 04:50 6. Shabakru 7. Briando 8. Tugra 9. Hindewu 10. Lagmami about Electric Jalaba comprises six accomplished musicians with an empathy that feels telepathic and a groove that immerses. In Arabic, the mother tongue of Moroccan-born singer and guimbri player Simo Lagnawi, a leading practitioner of Gnawa music in Britain, they call this indefinable quality, “El Hal” – “The feeling”. “It’s the feeling that comes when we’re playing and totally forgetting where we are,” says producer and bassist Olly Keen. “The feeling of being grabbed by the music and lost in the groove.”

El Hal is the new third album from Electric Jalaba and their first release in five years. It’s a multi-faceted work that finds the band tighter than ever, deploying a vast cache of influences across nine tracks improvised and developed in their south London studio then deftly produced by Keen. Some tracks pay homage to the origins of Gnawa music, whose repertoire of Arabic-language praise songs contains remnants of West African dialects – Bambara from Mali, Fulani and Hausa from the Sahel region – that point to a centuries-old migration.

“The trance-inducing effect of Gnawa was what hit us first. It was visceral, heart stopping,” continues Olly, whose siblings – producer/keys player Henry Keen, guitarist/ multi-instrumentalist Nathaniel Keen and singer/multi-instrumentalist Barnaby Keen – make up Electric Jalaba alongside revered Anglo-Italian kit drummer Dave De Rose and Simo on vocals, krakeb and guimbri. “Simo selected the chant from the traditional song suites and, as a band, we extended these short pieces of ceremonial music and experimented with sound and structure,” explains Olly.

Tracks include the funky single ‘Cubaili Ba’ featuring the disco-fied patterns of a Juno synth and the drumming of De Rose; ‘Agia Hausa’ is a multi-layered wig-out that partly takes its inspiration from Senegal’s fiercely percussive mbalax rhythms and ‘Daimla’ is a gloriously dubby ode to Allah and iconic maalems including the late Mahmoud Guinea. “There’s a very strong rhythmic element within the band but because of our different perspectives but the melodic components are really unique as well,” says Henry. That feeling of being outside of yourself but totally within yourself at the same time… That’s what all of us, collectively, are striving for.”

On his debut album producer and Squama co-founder Martin Brugger hovers through Ambient, (upbeat) Downbeat and unfulfilled build-ups. Conceptualized as a blank soundtrack, the music was sent to fellow artists who shared their visual and verbal associations which became the source for the artwork and tracktitles, effectively making the album a collective effort. Evident in all of his recent projects is Brugger's passion for working and thriving within closely set limits. The only audio sources in the process of making the album were his record player and a Dave Smith Prophet 08 synthesizer. In an antithesis to most sample-based music, Brugger takes the more ephemeral moments of recorded music and uses pitching tools as a magnifying glass to dive deeper into the sound and bare layers that normally remain unheard.

Ecological Plantron was a CD released in 1994, the audio document of an installation held that year at a gallery in Tokyo. The Plantron is a bioelectric interface developed by botanist Yuji Dogane; it was designed to give voice to plants, using electronic means to make audible the energy of the natural world, prioritising the non-human aspects of nature. Dogane was assisted in the project by composer Mamoru Fujieda, who helped to convert the vegetal energies into audible sounds. Though they stress that this is not music, the recordings that Dogane and Fujieda released are actually quite musical and not at all unpleasant in the way that some other non-musical sounds might seem. There is an attractive gentleness and an intelligent flow here, a vibrant energy, and one can sense that the plants are communicating, waiting for us to understand. This re-release features original and new notes in Japanese and English. The CD includes a bonus disc featuring unreleased recordings from two related installations from 1995 and 1997, a fascinating glimpse into the world of our leafy friends.

Three years after his debut album, »Loops & Pieces«, a documentation of sounds he has been working on in the period 2017-2020. According to Kolàr, this tape, also his first release for Dauw, was full of vaporous drafts transforming into solid forms with the help of time and distance. Compared to his previous work, the music on »Loops & Pieces« is much more stripped down and minimal, yet the dreamy character remained. On »Liquid Rhythm«, we see Kolàr combining approaches of both albums. Using synths and acoustic instruments, he created 10 songs reflecting his typical playful yet melancholic aesthetics.

Ambient folk musician and experimental composer from Portland, Oregon David Allred returns to Belgium-based Dauw Label with a full length record, Driving Through the Aftermath of a Storm on a Clear Day. The underlying theme of this music is about exercising calm and learning to find it in the aftermath of all situations. These modern classical compositions are primarily centered around felt piano, strings, brass, tape, voices, synthesizers, guitars, percussion, etc. with methodical dynamic dub-inspired experimental arrangements throughout.

David Allred is a musician, multi-instrumentalist, composer, songwriter and sound engineer based in Portland, Oregon. While primarily working and touring internationally as a solo artist, David has also released music under various collaborative projects such as Allred & Broderick (with Peter Broderick) and Good Enough for Grandpa (with Greg Eldridge). David has additionally appeared on works by Heather Woods Broderick, Lubomyr Melnyk, Masayoshi Fujita, Chantal Acda, Brigid Mae Power, Birger Olsen, Jung Body, St. Tsunami, The Beacon Sound Choir, etc.

Dauw welcomes Taylor Deupree to the label with his new record 'Mur'. With this release Dauw also introduces Jelle Martens, a Belgian graphic designer and painter, for the artwork of this release.

Deupree describes the album title “as if there’s always something about my music that’s like a murmur”, resulting in a murmuring effect when pronouncing the names of each track. Mur is a personal journey through the challenging year that 2020 has been. The fifth and last track on the album, Mar, contributes as a catharsis to this turbulent period in Deupree’s personal life, which is defined by the interaction between the loud sounds and the soft keys of the piano. As if the storm has died down and the waters have found their peace.

Taylor Deupree is an American musician and mastering engineer based just outside of New York. As a former member of the American electronic band Prototype 909, Deupree has had numerous collaborations with artists such as Ryuichi Sakamoto, Stephen Vitiello, Alva Noto and Marcus Fischer. Curating 12k, a New-York based music label, is another aspect of Deupree’s career and brought together over one hundred releases since its beginnings in 1997. Having some similar artists in our catalog (Federico Durand, Will Samson and Steinbüchel for example), it’s safe to say that Deupree’s new release through Dauw will be in good company.

Key Sales Notes:

12-track compilation of two David Toop albums originally released via Virgin, Pink Noir (1996) and Spirit World (1997). The music is remastered and now released on vinyl for the first time.
Features many guest musicians: Max Eastley, Toshinori Kondo, Musa Kalamula, Jon Hassell and more.
Double LP housed in a gatefold sleeve, containing a reflective piece written by David Toop.

'My intention with this music was to create an alchemy of the studio, to bring together impossible sounds, global voices and stories, obscure ethnographic narratives, new and ancient technologies, human and non-human species...' - David Toop

We are proud to launch our new library series with an incredible 12-track selection of music from David Toop. By compiling our favourite pieces from the albums originally released on Virgin, Pink Noir (1996) and Spirit World (1997), we have distilled the essence of this fruitful period into a new form: Pink Spirit, Noir World.

Following the release of his debut solo album Screen Ceremonies (1995), David turned to a more expansive palate to record his next two LPs. Enlisting the help of a whole host of friends and collaborators who joined him in the Mark Angelo Studios, including the likes of Max Eastley, Toshinori Kondo, Musa Kalamula and Jon Hassell, the two albums share an unabashed openness to new sonic possibilities.

Few recordings convey such a spirit of optimism; from a time when creation could be as free, unconstrained and ambitious. These albums are remarkable in both their harnessing of new recording technologies, and their weaving together a melting-pot of genres and influences that traverse the globe across centuries of musical tradition into something distinctly novel. They also document an almost visual memory, conjuring images both vivid and dream-like. Phantoms flit in and out of focus throughout their musical dialogues - perhaps the very same ones which were haunting Toop throughout the 'wildly contradictory mixture of emotional harshness and ecstatic inspiration' he found his life to be at the time.

It's the first time this music has been available on vinyl and to it's new lease of life, all the tracks on this compilation have been remastered by sound designer/engineer Dave Hunt. This stunning compilation is housed in a gatefold sleeve and contains an exclusive piece written by David, reflecting on how he came to record these incredible songs.

On ‘Upon This Fleeting Dream’ Clive Bell’s Twinkle3 embraces medieval and 16th century Japanese poems and haiku about death and saying farewell. Twinkle3, consisting of Dave Ross and Richard Scott besides Clive Bell, expand their sonic borders to unknown territory: bringing these pithy epigrams to a new Fourth World where electro-acoustic sounds glitches into an hypnagogic, if not unconscious level of fragile beauty.

The distinctive voice of David Sylvian, who reads the English version of the poems and created field recordings and the artwork for this album, blends in the most organic way with the shakuhachi,Thai reed flutes and mouth organs played by Clive Bell.

The narrative voices of David Sylvian and Kazuko Hohki’s (Frank Chickens, Kahondo Style…) velvet timbre are the cornerstones of this compelling journey while the tangling and abstract rhythms transcending from Dave Ross’ modular synths and Richard Scott’s sampler and analogue electronics, unravel and unfold a mesmerizing universe with unknown dimensions and frequencies of a fleeting dream.

Vinyl edition with printed inlay and extra insert

File under:
electronica, spoken word, fourth world, sound art,shakuhachi, dub,minimal,ambient, abstract and good music

Recommended if you like:
David Sylvian, Japanese poems, Jon Hassell, Pan Sonic, Laraaji, Brian Eno, electronic, organic and excellent music

Brittle tape-fluxed music box lullabies from art mystics Matt Krefting and Rick Myers, assembled and released via Andy Votel & Sean Canty’s Pre-Cert Home Entertainment label and sounding something like Colleen’s array of music boxes let loose at the GRM basement. Myers (former member of MancRap unit Violators of the English Language with Andy Votel, and whose artwork adorned classic ‘90s release by everyone from Lamb to Doves and Badly Drawn Boy), and Krefting (veteran of idiosyncratic tape miniatures and improv oddness for labels like Penultimate Press, Graham Lambkin’s Kye, Thurston Moore’s Ecstatic Peace! and cult Vancouver imprint Ascetic House) produce something much greater than the sum of its parts here, using a antique hand cranked Reginaphone - an archaic machine that plays both music box discs and 78s - to transport us into a crumbling, cassette dubbed wonderland. The pair explore the various anachronisms of the 100 year old family heirloom with results that are part sound art/sound poetry and part mechanical musical curio, delving into its cogs and wires with wonderfully time-out-of-joint effect springing fractured melodies and a drowsy oneiric ambience that gets under the skin.