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Sticker on cover.

Roger Van Lunteren is an artist of enviable experience. For more than two decades the dutchman has been developing and perfecting his sound. After his first steps on Heimelektro Ulm in 1999, Van Lunteren has shown his talents on labels like 030303, Diffuse Reality and Something Happening, Somewhere. It is this knowledge, and his musical craftsmanship, that Van Lunteren draws upon for his debut on FireScope: Future Wounds. The EP is a veritable universe of delights. At either ends of the galaxy you’ll find two takes of the same piece. The textured “Stop (Sync In)” opens. Satellite bleeps bob on a flotsam and jetsam of pads as strings soar above hedged claps. “Stop (Original) flows in a beatless ambience, heady yet light and ephemeral. Coquettish and playful, “Spätzünder” is an altogether different entity. Dancing between braindance and house, this jam has all the spontaneity of a live track with flourishes of the silken-funk of Chicago. Clouds gather for “IRF4.” Haunted modulations and reel scratches lurk before a slow rhythm lumbers forth. Stalking through a moonless sky, the track is chillingly atmospheric with an undeniable lo-fi groove. Drums stagger and swell in the sweetness of “Coinc.” Bright and dreamy, the track cherry-picks from a spread of influences and sounds and is emblematic of the EP. Future Wounds is a constellation of Roger Van Lunteren’s music. From cheerful and innocent to shadowy and subtle, this quintet is a cross-section of this artist’s abilities. Rich and infinitely varied, five tracks to explore and return to.

Part inspired by the prose of his favourite author James Baldwin, South Brooklyn's Korre 's experience of being a black man in America forms an integral part of his work, even if it's largely instrumental. "I always make sure my music has elements of pain, beauty, and darkness," says Korre in his bio. That vibe is certainly felt across his stunning debut EP for Utrecht's 030303 Records. 'End of Time' is a deep, dystopian piece of club music, as much suited for the floor as it is for the introverted mind. With virtually no intro, the listener gets sucked into the intenseness of the track right away. 'Crimson' is equally dark, filled with spooky vocal snippets and washed out acid sounds. 'Don't Wanna Wait' is a heartfelt ambient spacer, not unlike the eeriest work of Burial. 'Silver Exo' then is probably the best track on the record even if it's hard to pick a favourite. Korr? slowly brings the dancefloor back with this beautifully crafted builder, again filled with abstract vocal snippets. Closing this beast of a debut record is 'St Blues', consisting of a male monologue, captivating droney melodies and acid bubbles in the background. It's the conclusion of the first chapter by this artist we will no doubt hear more of in the future.

Vinyl is close to NM. Hand stamped white label. Reissue from 2018.

Promo copy

Label cover.

On behalf of re:discovery records, it is with great excitement that we announce the 1st of a 3EP set highlighting the music on 1990's Norwegian electronic act Neural Network. In 1993-1995 they released 2 full albums or Origo Sound that featured label mates Biosphere. In 1993 they opened up for Prodigy and shared the bill with other seminal acts like AFX, Autechre, Orbital and H.I.A among other heavyweights. However, their 2 full albums 'Brain-State-In-A-Box' & 'Modernité' did not get picked up by any other label or distributer and their popularity stayed regional. In fact a 3rd album was never released (Until part 3 comes from this series!) and sadly they went their separate ways to form other electronic acts in 1997. We hope to shine a bright light on their early music. Side A features the wonderful aquatic adventure in 'Aqueous' followed by a shift into the sci-fi realm with the mysterious 'Mechanical Heart'. Two great examples that show off the group's deep post rave sound for the future. A real melding of styles. All 3 EP's have inserts where the band shares their memories of the early days.

All these tracks in the series are placed on vinyl for the first time with fantastic artwork by UK's Grid Pattern. Dare to Dream! Its not only our credo at re:discovery records but it's also our goal in hearing music that was made for the stars.

New album from one of the big legendary Detroit producers. Aesthete is a warm journey into deep timeless electronix sounds, highly recommended!

Reissue of the 1994 debut from Phil Western and Dan Handrabur's 'Off & Gone' project. A hallucinating document of the pair's initial jam sessions and what would become the genesis of a fruitful collaboration between two key members of the West Coast electronic music scene of the 90s/00s. Four tracks of deep, psychedelic techno, including the now-classic 'Namlohssa'. Re-mastered from the original DAT tapes. From Dan Handrabur [Dreamdoktor, Shukar Collective & 1/2 of Off & Gone]: I met the late Phil Western in the fall of 1992 on a visit to his record store, Oddysey Imports. There was always good music playing there, so I ended up hanging out for many hours, almost every day. It was very clear we had similar taste in music, be it the new electronic wave at the time or older music like Eighties British guitar pop, and vintage rock, not to mention ambient and world beats. A mutual friend, Robert Shea [Map Music/ Discotext], suggested we get together and jam; there was a trend going on to bring one's favorite synth to a buddy's studio and tweak knobs. We ended up making a couple of tracks which we showed Robert, a man with many connections in the new music business, by that I mean independent, forward-thinking labels from around the globe. His reaction encouraged us to release them. At the time, I was working on making a CD of my own music and tracks I had made with other tech- heads. Somehow the two cuts fitted quite well into the vibe of Outersanctum's "Frequencies From The Edge Of The Tektonic Plate" which we released in April of 1993. Sensing the possibility of a collaboration, we decided to move my equipment to Phil's place [he lived in a more permissive part of Vancouver where it was ok to work at a louder level]. Armed with two Atari 1040st with midi and various synths, samplers, and drum machines, we started crafting what was to become our most important body of work of the mid-nineties, Off and Gone, Floatpoint and others. After a visit to Lopez island where Mike Kandel [1/2 of Exist Dance] had his studio, the three of us decided on the name [Off and Gone] and set a release date for our first EP. Needless to say, we were ecstatic about it since we were both very fond of the music Exist Dance was releasing. This was the incentive we needed and also a psychological push to work on more material. Our sessions were lengthy; there was not much talking and a lot of playing. Programming in Notator (now Logic Audio) was tedious but rewarding; mixes were tracked to DAT tape. Some gear without memory had to stay on for days until we were satisfied with the mixes. Occasional overheating and power outages were our biggest enemies and guests to the studio who carelessly pushed keys on synths, thus ruining arpeggios... We never used limiting or compression. We didn't own any of that gear, relying solely on the power of our sound generating devices. No audio editing was available back then, at least not to us. A few times, we snuck into Skinny Puppy's studio to play with their Pro Tools rig and track guitars and violin through the Eventide, which we resampled and used in tracks. At the time, we had the feeling of doing something important for the Vancouver electronic music scene, inspiring other musicians to build studios and strive to create new, interesting music, away from the industrial sound that defined the city for several years, for which we had the utmost respect. All the music we made together was purely for the joy of sound creation and a sincere love of dance and ambient music; without any desire for affirmation or commercial success. Throughout our relatively short but productive collaboration, there was a feeling of completing each other's ideas very easily, without arguments, in an almost telepathic way, something I personally have never experienced again with another musician.

Ships in stickered generic sleeve.

Record is close to NM.

Vinyl with a couple of light scuffs

few paper scuffs

Price tag. close to NM. Limited edition

Ships in a brand new plain sleeve.

Vinyl with a couple of light scuffs

Cover is close to NM. Original inner sleeve. with booklet. 2016 reissue.

CD included, side B is VG, rest VG+.