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Search Result for Genre ELECTRONIC
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LP
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LPDR 010LP
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$17.50
PREORDER
RELEASE DATE: 11/27/2020
This mini LP is an explicit message from Lustpoderosa's sonic continuum. These seven tracks show the deep connection of Marlene Starks's work as a writer and an artist to her role as mother and DJ in times when there is an urgent need to dismantle the patriarchy in our society and rave culture. Marlene Stark is telling us much more than a great musical story with the symbolic title Hyäne. Marlene wants to direct our attention to a reviled creature while she reflects on its literary and symbolic meanings. Although hyenas live in a matriarchal society, its transmutation can be perceived as the ongoing struggle of the non-male body in an androcentric world view. Marlene Starks reinterprets the figure of the hyena in a very poetic, self-ironical, and honest way, as shown in the tracks "Hungry As a Hunter", "Hyäne" and "Language Of Old Woman". It's a neo-ceremonial call to rethink established structures without missing out the turbulent landscape of today's politics. From early trip-hop to post-rave elements, Stark combines her sonic adventures with an impressively nonchalant and colloquial vocabulary. Her voice, as well as the voice of guest singer Stefanie Mader, achieves a remarkable vocal structure that goes beyond the mainstream. This is the contemporary body music for the next generation.
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12"
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RUMP 006EP
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$12.00
PREORDER
RELEASE DATE: 11/27/2020
Kayyak is part of the Hekaya Collective, based in Zurich. They started organizing parties at Club Zukunft, the Homebase of Kalabrese. Kalabrese became friend and mentor and started supporting the young talent Kayyak. And when he came up with two funky song-sketches Kalabrese was thrilled and the collaboration started. The A-side "Make No Time" has a strong Afro-like guitar theme and a driven melodic bassline on top the famous rumpel-groove. A positive happy ride. On the B-side the duo gets deeper and create a fantastic late-night jam. The duo sings "Loose your fear and find your partner, make your way to relaxation" while the groove gets more and more hypnotic, Kalabrese sits on the drums and finds a way of relaxation without losing the focus on the steady beat.
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LP
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PCD 004LP
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$21.00
PREORDER
RELEASE DATE: 11/27/2020
Spencer Clark is back with the second volume of his futuristic eco-friendly record, Avatar Blue -- It's life on earth as you never heard it. The story goes like this: Spencer wanted to do a soundtrack for the yet to be made Avatar 2. And if you know Spencer's work, you'll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of Avatar. If you think about it a little bit, something like Avatar could have really come out from the mind of Spencer Clark. But it didn't. So, he dwelled around the idea of that soundtrack, working on what is now known as Avatar Blue. The record Pacific City Discs now release is a selection he made from the double-CD released in 2019. Like many of Spencer's other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It's never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That's why they're so rich and consequential in the realization of music as a medium. Avatar Blue is music but also literature. And cinema. Star Searchers' sound creates an absorbent sound about what's happening in aquatic life. It goes beyond the perception of what we've seen or what we've known, it's a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it. All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come. Vinyl cut at Dubplates & Mastering Berlin.
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LP
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KR 082LP
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$20.00
PREORDER
RELEASE DATE: 11/20/2020
Re-release of the album which Marc Weiser (Rechenzentrum, zeitkratzer) and Jürgen Hendlmeier (producer for The Flaming Sideburns, Thee Ultra Bimboos) created as Arurmukha. With the use of soundbites, field recordings, and stylistically diverse tracks, they reprocess the eviction of 13 squats on Mainzer Straße in Berlin-Friedrichshain in November 1990, forming it into an acoustic scenography in the style of the "Maifestspiele" by Einstürzende Neubauten. 14.11.2020 marks the 30th anniversary of the clearing of 13 squats on Mainzer Straße in Berlin-Friedrichshain. The violent confrontation between the police and about 500 squatters, involving armored vehicles, helicopters, and ten water cannons, was the biggest police operation in Berlin's post-war history, with 4000 officers deployed, and is deemed to be the last big "battle" of left-wing squatters in Germany. On the occasion of the anniversary, the Berlin label Karlrecords is making a contemporary document that has been out of print for more than 25 years available to the public again. The album 14.11.90 by Marc Weiser and Jürgen Hendlmeier was originally released in 1993 as a vehicle for them to work through their personal experiences as contemporary witnesses of the eviction, on the label Goldrausch-Tonträger, which was founded for the release. The project's name, Arurmukha -- "avaricious demons", is a term from Vedic mythology, here alluding to the capitalist logic of exploitation guiding the West German corporations that bought out the former GDR after reunification. Shunning the popular clichés of squatters, the duo processes original recordings of the clearing action, as well as material from radio and TV as their musical-textural starting points, composing them into a densely packed acoustic psychogram, recounting the events of the time with dramaturgic skill, in chronological sequence over the course of the two sides of the vinyl. Armed with a sampler as their main instrument they create an acoustic scenography which, as a sonification of memory, pits itself against oblivion. While constructed as a soundtrack, the heterogeneity of its styles gives the album the character of a compilation, aggregating drones, industrial, electronics, post punk, outsider music, and political texts into an imaginary meta music film of resistance. The subject matter and music may suggest comparisons with Einstürzende Neubauten's piece "Maifestspiele". Selected for the re-edition of the LP: a picture by the Berlin photographer Harald Hauswald. Despite its age, the album is an alarmingly relevant one, with its contents not having lost any of their urgency. 180 gram vinyl; includes insert and download code (numbered).
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2CD
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CSR 288CD
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$20.00
PREORDER
RELEASE DATE: 11/20/2020
Out-of-print on CD for almost two decades, Cold Spring announce the official reissue of a much sought after Best Of set by the acclaimed esoteric experimental pioneers Coil, with A Guide For Beginners - The Voice Of Silver and A Guide For Finishers - A Hair Of Gold being made available together in one deluxe set. Officially licensed from FEELEE, this edition spans Coil's entire career, featuring tracks from all their major albums. They were hand-picked by Coil to represent their best work and originally released to mark their first performance in Moscow in 2001. The artwork (text in English and Russian Cyrillic) sympathetically features the rarest of the images previously used in the original Russian and English editions and is packaged in a deluxe, glossy eight-panel digipak with spot matt-laminate varnish.
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LP
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PFM 108LP
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$20.00
PREORDER
RELEASE DATE: 11/20/2020
Pleasure For Music present a reissue of Mike Melvoin's The Plastic Cow Goes Moooooog, originally released in 1969. With sound engineer and synth wizard Bernie Krause and Paul Beaver on board, this record falls easily in the realm of space-age pop. Originally released in 1970 on Dot Records and distributed by Paramount Pictures, the album would have been a DJ tool favorite for quite a while thanks to some heavy breaks and proto-electro loops. Featuring amazing rendition of pop-rock classics such as "Born To Be Wild", "Sunshine Of Your Love", "Lay Lady Lay", and "The Ballad Of John And Yoko" this is a truly welcomed reissue!
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4x12"
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COR 048LP
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$63.50
PREORDER
RELEASE DATE: 11/20/2020
To coincide with their 15-year anniversary, Extrawelt are quietly proud to release Extra Welt Hits. A collector's box, which covers every album and period from their dominant yet enigmatic history as one of Germany's most highly regarded electronic acts. Etched into the four-piece vinyl box-set is a 15-track playlist which takes you back to the dawn of their beautiful Extra World. Extra Welt Hits is a time capsule drenched in the essence of the act's DNA. Accentuated by newly remastered tracks that serve their ever-evolving, clever and out-of-the-box sound, each recording spills into the next with sonic precision. From the monumental masterpiece of the album's opening track "Ferneh", through to the "One-way ticket to oblivion, please" hits of "Soopertrack" and "Titelheld", the listener is left captivated. And, because it's what they do best, the destruction and artful reconstruction echoed through their shows are also present. These are beamed out in the exclusive live versions of "Zu Fuss", "Dark Side Of My Room", and "Herzstück". Recorded in Tokyo, Paris and at the Fusion Festival, these bent, broken and rebuilt icons prove once again why they are one of the most influential live-acts of the semi- underground. That live-act -- a futuristic symphony of dance music -- is both undefinable and strays well past the norm. Their chance to manipulate their creations in a flow of measured spontaneity, it continues to leave permanent impressions on audiences everywhere. The result is an experience focused on purism with great care in presenting the deepest core of their craft, in essence; exactly what sums up their musical galaxy. It was never the acts plan to release a best-of album, especially at the unusual 15-year mark, rather, it rolled into motion naturally as a way to immortalize the victory of being around so long (in a scene where the shelf life for most artists doesn't last much longer than an album or two, fifteen years is something of a triumph). With that, Extrawelt invite those that were there from the start to join them in getting a kick out of being "officially mature". And for those that were not, to have the chance to hear their story up until now, like it's never been told before. And yes, while the listener may have outlived many of the clubs which first introduced them, it is unlikely that anyone has outgrown this brave, intangible and absorbing music.
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12"
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TEC 112EP
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$14.00
PREORDER
RELEASE DATE: 11/13/2020
René Pawlowitz presents himself in many different forms; whether it's as Head High, EQD, Wax, WK7, The Traveller, or more recently as Hoover -- he consistently, and without any fuss or hype -- produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work. With this in mind, Tectonic announce the amazing EP from Shed, showcasing three distinctive and highly effective techno cuts. "Try" takes a broken-beat techno rhythm for its spine -- reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave. "Box" is a darker, more percussive affair -- claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb'ed ghostly samples. Lastly, you come to "Sweep", a hypnotic bleep-y roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi-hats flair about overhead. Great finish to a great EP.
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2CD
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WWSCD 033CD
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$20.00
PREORDER
RELEASE DATE: 11/13/2020
Wewantsounds present the reissue of Ryuichi Sakamoto's third solo album Hidari Ude No Yume (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Hidari Ude No Yume was recorded at the legendary Alfa Studio "A" in Tokyo during the Summer of 1981. it came after B-2 Unit in 1980 and his debut album Thousand Knives Of... in 1978 (WWSCD 024CD/WWSLP 024LP), the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In 1981, Sakamoto decided to record an album rooted in pop and he invited British producer Robin Scott to co-produce. They entered the Alfa studio in July 1981 with his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura, and American guitarist Adrian Belew (David Bowie, The Talking Heads, Tom Tom Club). Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant-garde and traditional Japanese music, the whole firmly rooted in a solid groove. From the funk of "Relâché" to the new wave feel of "Venezia" and the ambient minimalism of "Slat Dance," the album is remarkably consistent while displaying a wealth of global influences. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, "Saru No Ie" and "Living In The Dark" were completely dropped while three others, "Relâché", "Tell 'em To Me", "Venezia" were heavily remodeled with English lyrics and different names. Last but not least, a new English-sung track, "The Arrangement," was added, making the album nine tracks instead of ten for the Japanese edition. Newly remastered from the original tapes by renowned engineer Bernie Grundman. Four-page insert with new introduction by journalist Anton Spice.
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2LP
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WWSLP 033LP
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$40.50
PREORDER
RELEASE DATE: 11/13/2020
Double LP version. Gatefold sleeve. Includes the album's full instrumental version. Wewantsounds present the reissue of Ryuichi Sakamoto's third solo album Hidari Ude No Yume (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Hidari Ude No Yume was recorded at the legendary Alfa Studio "A" in Tokyo during the Summer of 1981. it came after B-2 Unit in 1980 and his debut album Thousand Knives Of... in 1978 (WWSCD 024CD/WWSLP 024LP), the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In 1981, Sakamoto decided to record an album rooted in pop, following the more experimental B-2 Unit and his landmark electro debut. Sakamoto invited British producer Robin Scott to co-produce. They entered the Alfa studio in July 1981 with his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura, and American guitarist Adrian Belew (David Bowie, The Talking Heads, Tom Tom Club). Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant-garde and traditional Japanese music, the whole firmly rooted in a solid groove. From the funk of "Relâché" to the new wave feel of "Venezia" and the ambient minimalism of "Slat Dance," the album is remarkably consistent while displaying a wealth of global influences. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, "Saru No Ie" and "Living In The Dark" were completely dropped while three others, "Relâché", "Tell 'em To Me", "Venezia" were heavily remodeled with English lyrics and different names. Last but not least, a new English-sung track, "The Arrangement," was added, making the album nine tracks instead of ten for the Japanese edition. Newly remastered from the original tapes by renowned engineer Bernie Grundman. Comes with original artwork featuring cover shot by famous photographer Masayoshi Sukita. Four-page insert with new introduction by journalist Anton Spice.
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12"
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LIVITY 042EP
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$14.00
PREORDER
RELEASE DATE: 11/13/2020
DJ Plead hits top gear for Livity Sound Recordings delivering four tracks of his inimitable rhythm workouts for the aptly titled Going For It EP. Filtering influences from both UK funky and jungle alongside Dabke and Mahraganat, these irresistible percussion tracks fizz with energy and invention.
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2LP
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MR 409LP
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$38.50
PREORDER
RELEASE DATE: 11/13/2020
Munster Records present an extended reissue of Tim Blake's Crystal Machine, originally released in 1977. This serious art piece contains all the strangeness, audacity, and the beauty of a distinctive cosmic excursion. It is an oddity, and it doesn't belong to any of the generations of the rock or pop fabrics because of its character of being strangely ethereal and eternal. In the context of cosmic rock, alongside all German pioneers such as Kluster, Tangerine Dream, Organisation, Kraftwerk, and Ash Ra Temple, the English born, French based, Tim Blake occupies a highlighted seat. However, Blake is also a mastermind-pilot of the so-called electronic prog, where other stellar names like Klaus Schulze, Michael Garrison, Edgar Froese, and Vangelis, figure as exponents. Timothy Blake (London, 1952) is a composer, keyboardist, synthesizer player, tape operator, vocalist, and arranger who gained attention when working with cult acts like Gong and Hawkwind, as well as a freelancing member of the French cosmic-proggers Clearlight Symphony and for Steve Hillage. His knowledge of propelling the expansion of his musical-psychological plus the phenomena-antenna hit your brain like no other sound-visions dare to do. It is an early kind of what became to be known worldwide as new age and, at the same time, the cement for the foundations of ambient music. Crystal Machine was released in 1977, followed by many others till the present as well as his participation as a player in Hawkwind in the late '70s to early '80s. The timeless sounds of his Crystal Machine, released on the French Barclay's imprint Egg were largely recorded live. The organic textures lead us to the unknown particles of our imagination, and its body of bravery and simultaneous colored lightness provoke sensations of how anyone's can lose themselves in the interiors of this thing called perception. There are five tracks, four of them recorded live at Seasalter Free Festival (1976) and Le Palace Théâtre Paris (1977). Only the short and charming "Crystal Presence" is a studio recording. Included in this reissue is a second vinyl of rare recordings. "Synthese Intemporelle I" and "Synthese Intemporelle II" are taken from a rare 7" issued only in Spain under the title "Síntesis Intemporal" and "Surf", another 7" A-side issued under the pseudonym Saratoga Space Messengers, a spacey new wave pop slab, with the designer and singer Brigitte Perron whispering tripping digits. The trio of the remaining tracks form part of The Birth of Crystal Machine.
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12"
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DTW 061EP
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$14.50
PREORDER
RELEASE DATE: 11/13/2020
No stranger to the label, Munir (AKA Midnight Runners) is one of Southeast Asia's most unique talents. A deep record collector, he has put his hometown of Bandung, Indonesia on the map with a relentless output of self-released edits drawing on Indonesian funk, Chinese pop, and Middle Eastern psych as source material over the last several years. Equally skilled as a producer, Munir's signature boogie-funk sounds have graced labels such as Neon Finger, Shaken Palms, and No Bad Days. Darker Than Wax unleash Munir's sounds on the label once again, with a strong sonic step forward from the artist and perhaps his most polished work yet: Circuit Line EP. Blending his signature boogie sound with Italo-disco influences, the record brings forth four stylishly crafted modern dancefloor cuts. "Circuit Line" is built on a foundation of reverence to the arpeggiator, driven by neon synth tones racing each other to the finish line. This racing theme defines the record throughout, painting images of classic '80s racing games on standout tracks "Finish Line" and "Race Car". "Interlinked" takes on a more subdued approach, building in intensity and weirdness with each synth line layered on. Showcasing Munir's prowess with percussion, "Pit Stop" is a feverish club workout rounding out the record as a complete package for the discerning DJ's arsenal. Crafted in his Bandung studio with love for classic hardware and respect for its musical influences, Circuit Line EP represents a turning point for Munir's sonic evolution.
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12"
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SNDST 081EP
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$12.00
PREORDER
RELEASE DATE: 11/13/2020
Young Italian duo Reform return to Second State Audio with their latest release, four tracks of innovative, hard-hitting, and unusually sophisticated techno. The throbbing kick and trippy synths of "Close Encounters" opens the EP, with a foreign, clipped vocal and breaks-y jungle elements adding further interest and mystique. "Stance", meanwhile, is a straight-up stomper packed with ricocheting percussion, rubbery synth blasts, and disorienting pads, all crying to be heard in a club. "Mind Control" demands to rain down on a crowd at a festival, too. A lean, nimble build steadily escalates into an irresistible, shuffling beat boosted by shifting, bouncy synth patterns and an unrelenting forward momentum. The pair's unusual knack for blending disparate elements into something atypical but completely danceable is perhaps best demonstrated on "Horse Riding". The drums are tribal, the stabs are acid-like, there's a gauzy filter laid over the top, and tickling hi-hats, but also an undeniable thump commanding bodies to move. Put simply, this dream team from Tuscany are making music well beyond their years that stands up beside the work of veterans (and is often more interesting).
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LP
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WWSLP 034LP
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$31.00
PREORDER
RELEASE DATE: 11/13/2020
Single LP version. Obi strip; four-page insert. Wewantsounds present the reissue of Ryuichi Sakamoto's third solo album Hidari Ude No Yume (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Hidari Ude No Yume was recorded at the legendary Alfa Studio "A" in Tokyo during the Summer of 1981. it came after B-2 Unit in 1980 and his debut album Thousand Knives Of... in 1978 (WWSCD 024CD/WWSLP 024LP), the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In 1981, Sakamoto decided to record an album rooted in pop, following the more experimental B-2 Unit and his landmark electro debut. Sakamoto invited British producer Robin Scott to co-produce. They entered the Alfa studio in July 1981 with his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura, and American guitarist Adrian Belew (David Bowie, The Talking Heads, Tom Tom Club). Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant-garde and traditional Japanese music, the whole firmly rooted in a solid groove. From the funk of "Relâché" to the new wave feel of "Venezia" and the ambient minimalism of "Slat Dance," the album is remarkably consistent while displaying a wealth of global influences. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, "Saru No Ie" and "Living In The Dark" were completely dropped while three others, "Relâché", "Tell 'em To Me", "Venezia" were heavily remodeled with English lyrics and different names. Last but not least, a new English-sung track, "The Arrangement," was added, making the album nine tracks instead of ten for the Japanese edition. Newly remastered from the original tapes by renowned engineer Bernie Grundman. Comes with original artwork featuring cover shot by famous photographer Masayoshi Sukita. Four-page insert with new introduction by journalist Anton Spice.
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LP
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FAITICHE 022LP
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$20.00
PREORDER
RELEASE DATE: 11/6/2020
Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original. GES (Gesellschaft zur Emanzipation des Samples) active members: Helmut Schmidt, Jan Jelinek. Founded: 2009. Headquarters: Federal Court of Justice, Karlsruhe, Germany. Concepts and people of interest and influence: Bundesgerichtshof (German Federal Court of Justice), Karlsruhe, Circulations, emancipation of sampling, field recording, gambling, Kraftwerk, Marcel Duchamp, Orecchio di Dionisio, sampling, uguisubari, wind, Zwischen (Between). Includes download code.
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LP
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CELL 003LP
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$22.00
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RELEASE DATE: 11/6/2020
"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat -- do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road. When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells. I am hallucinating again. Someone's humming in the kitchen? Singing? A radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again? Again and again. The hairspray finally intoxicates them. An amphoric Japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red. Fleur calls and says mum died. The funeral will be televised on Tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house. I go back inside."
Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche. Combining real and fake acoustic instrumentation, sampling, field recordings, and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) classical and opera to the anecdotical compositions of Luc Ferrari, Chinese opera, chanson, sacred music/church music, JG Ballard, and surrealism. Marc Richter records as Black To Comm for Thrill Jockey, Type, and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe, and Kunstverein Hamburg. Mouchoir Étanche is a new project by Marc Richter, aka Black To Comm (Thrill Jockey, Type Rec). Includes download code; edition of 300.
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CD
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DUST 087CD
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$15.50
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RELEASE DATE: 11/6/2020
The Black Dog on Fragments: "Fragments was a completely new way of working for us. We've always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined. It's a formula we've used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our supporters rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we'd try a few things and ask for feedback. Fragments was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting. And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realized we could re-organize and remaster the individual tracks into a coherent album, capturing a specific moment in time and drawing a line under the first phase of the project. Like our Allegory EPs, we've tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time. Fragments is our journey through many changes, both self-imposed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it."
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LP
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RBINC 007LP
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$25.50
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RELEASE DATE: 10/30/2020
Three's a charm, as they say. After Waste The Time (IML 004LP, 2016) and Socialo Blanco (RBINC 002LP, 2019), Money completes Daniel Meuzard's Feater triptych. Again joined by the likes of Eric Owusu and Sam Irl and their musical as well as technical skills, as well as by the lovely voice of Vilja Larjosto, the ageless beauty and intellectual brilliance of Money is impossible to resist. It could have been imagined, written and recorded almost any time in the last 50 years. Inspired or -- better put -- troubled by the rise and transformation of capitalist systems, fatalism, extravism, climate change and -- surprise -- the power, corruption, and lies revolving around money, its topic is anything, but bubblegum. The music though, is ranging from powerful songs to clever synth experiments. Incredibly executed with a perfectly wonderful result. And even if Daniel writes that there is "no need to worry, I want you to panic," you should listen to this album, while you do so!
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LP
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KOM 424LP
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$27.50
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RELEASE DATE: 10/30/2020
Videosphere, the debut album by the London-based artist Lake Turner (aka Andrew Halford), swoons into focus with "The Sunbird", a teasing drift of lilting, ambient tones, riding out a submerged piston-pulse rhythm. Across its brief 109 seconds, it manages to traverse evocative terrain --something mythopoetic, something both humble and grandiose, a glimpse of the other behind the sky's curtain. It's both sky-bound and earthen, a ritual incantation to call in the music of the spheres. Turner was introduced to the Kompakt family by his sometime collaborator Yannis Philippakis of Foals. He'd previously made music in post-punk and indie groups Great Eskimo Hoax and Trophy Wife, but Videosphere is the first time he's fully articulated his own vision of electronic music, aside from one limited lathe-cut 12", 2018's Prime Mover EP, on Algebra. The lush ambient-disco-techno dreams of Videosphere were constructed and completed in his London studio and at his parents' arable and sheep farm in Worcestershire, which might help explain the hazy, unhurried pastoralism of the album. A student of archaeology and ancient history, Turner is no doubt carefully attuned to the twisting cogs of history and memory, and it's no surprise that Videosphere has a nostalgic, melancholic cast; much of its beauty rests in the way it tugs, gently, at the heart strings. It's not all drift-dream hypnosis, though -- Videosphere is very much grounded in the now. "'No Way Back Forever' is a nod to the linear nature of time," Turner explains by way of example, "and the tipping point of the world climate crisis that scientists have now declared." Jayne Powell's vocals are sent spinning through the song, wound like candyfloss; she takes center stage on the techno hymnal title track, too. Throughout, there's a sense of forward movement, despite the life stasis we find ourselves collectively bound by in mid-2020; there's also a yearning for the communal, for community, that's captured in the album title, a nod to an object Turner encountered at London's Geoffrey Museum, "a television set in the shape of a spaceman's helmet from the 1970s." "The vision I loosely had was to make an electronic record that had a communal warmth and almost ceremonial or ritual feel. I wanted to examine the relationship of our archaic minds in the trappings of the modern world," Turner concludes. "What the Videosphere also symbolizes for me is the oneness of humanity and community, prevailing."
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2LP
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ECHO 086LP
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$34.50
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RELEASE DATE: 10/30/2020
Copenhagen's Echocord returns with a long player from Mathimidori, titled Akebono and comprised of ten original compositions. Mathimidori, better known by most as Mathias Kaden, has been using this alias as a way to showcase his take on dub-leaning, minimalistic, and refined techno via labels such as Dorian Paic's Raum Musik, Tokyo's Mule Musiq, and Berlin's Ornaments. Here though he delivers his debut long player under the guise and fittingly the LP will be released via esteemed dub techno imprint Echocord, home to releases from the likes of STL, Deepchord, Fluxion, XDB, and Forest Drive West. Across Akebono, Mathimidori delivers hazy, spaced-out instrumentals like "Maiia", "Ork", and "Soso" while tracks like "Asaka" and "Shao" offer a darker approach. The project also welcomes an assortment of collaborations such as opening track "Java" alongside Spain's Pulshar, "Kiok" featuring Japanese artist Tomomi Ukumori and "Kobe" with Germany's Rhauder which all lean towards downtempo dub territories. Also featured are Sakura who provides spoken word vocals for "Akebono" and Shoco who joins Mathimidori for the ambient leaning album conclusion "Akari". Transparent red vinyl.
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LP
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IMR 038LP
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$22.00
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RELEASE DATE: 10/30/2020
Two years in the making, Future Ruins, Tom And His Computer's debut album, will be released on Trentemøller's In My Room. As a 20-year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of Tom And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that's not only obsolete, sometimes it's barely functioning at all. "I switch back and forth between the digital and the analog worlds. I'll utilize old guitar pedals as well as the newest software," says Thomas Bertelsen, producer behind Tom And His Computer. "It's never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track." Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered "electronic music," including nods to dark wave, dream pop, krautrock, and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer. The result is a genre-less collection of songs showcasing Tom's obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his "commitment to fresh ideas with a clear sense of melodies," according to Clash Magazine. "My tastes are eclectic and I like to flirt with many different sub genres," says Tom. "The aim was to combine various styles while trying to maintain a common denominator," which committing to a full-length offered as an opportunity. Features Roxy Jules. Includes download.
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2LP
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DIAL 044LP
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$29.00
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RELEASE DATE: 10/30/2020
The 20th anniversary year of Dial Records couldn't have been more exciting for the label! They announce the second album release of 2020: XDB's Inspiron. As a longtime companion and true inspiration throughout the label's twenty-year history, Kosta Athanassiadis, aka XDB, releases his long-overdue full-length debut albumInspiron. For almost three decades now Kosta Athanassiadis aka XDB has been involved in the constantly changing world of dance music. His curiosity and dedication to electronic music spiral deep into the depth of house music and techno and wherever he appears he generously shares his unique knowledge in this field with equally dedicated crowds. Whether you follow his bloggish Tracks I do really LOVE, a collection of club essentials and a library of taste, or you witness one of his remarkable DJ sets from Panorama Bar to Freerotation Festival -- XDB will elevate you to one of those unforgettably magical music moments. In 1993, Kosta Athanassiadis started his DJ career in the medieval hometown of Goettingen. To find what he was really looking for, namely, the newest and most exciting new records he frequently had to leave this picturesque city, that is most popular for inventing the traditional Baumkuchen pastry, but has not been on the maps of music connoisseurs necessarily. Frequent trips to visit records stores and clubs around Germany built a network of likely minded people. By the turn of the century, XDB hosted a series of nights at Goettingen's Eletroosho, where he invited Dial's own Lawrence and Carsten Jost in 2002, the beginning of a still ongoing friendship. He had established himself as a sought after and internationally active DJ and started his fist endeavors into music production as well. Later on, XDB founded his own Label Metrolux and released on iconic labels like Sistrum and Wave to be followed by countless remixes for legends like Aaron Carl, Norm Talley, and Patrice Scott. There are rarely DJs and producers who keep searching for this hidden formula in such a microscopically detailed way to pass a lifetime in house music and techno on to the world. XDB's Inspiron embraces this unique approach, filters and develops inspirations in an entirely delicate way, and magically emphasizes the desires of the most dedicated listeners and dancers.
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2LP
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PGTUNE AR003LP
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$27.50
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RELEASE DATE: 10/30/2020
Everybody knows the sound of church bells -- the familiar midday clang. Strongly associating this sound with religion, we hardly ever think of it as a long musical tradition. In Philipp Gorbachev's search for new heights, it turned out that the East European Orthodox tradition of bell ringing goes far beyond religious dogma. It's ancient, it's sacred, and it's unchained. It's about liberation, unity of body and soul, and free artistic expression. Church bell ringing has become the core musical practice for the electronic producer and performer in the last few years after a period of excessive club touring around the world. Searching for new ways to challenge and alter his physical and spiritual self, Philipp found his calling ringing bells in Moscow at St. Nicholas Church and Berlin at the Christ Resurrection Cathedral. An experienced raver and drummer himself, Gorbachev couldn't help but build the connection between electronic synthesizers, entrancing techno loops, and the unique sonority and resonance of heavy-weight bronze bells. The result of Philipp's new passion is Kolokol (PGTUNE A003LP). It was first released as an LP on his PG TUNE imprint in 2019 and later evolved into live stage performances, an experimental film, and a full-length documentary exploring the bell ringing tradition in godforsaken monasteries and churches across Russia. With Kolokol, Gorbachev proves that this practice is bound to notions of temple, solitude, spirituality, healing, and awakening which are much stronger than the church itself. "Hope" and "salvation" are the main words for Philipp to describe his path with bell ringing. These are also the words many ravers use when speaking of their life-changing experiences on the dance floor in the temples of powerful sound, hypnotic body movement, and endless purifying vibration. Together with his fellow bell ringers in Russia, Gorbachev took the powerful instrument outside the church to introduce this mind-altering experience in a club and concert setting. The series of remixes by Gorbachev's fellow musicians is another extension of the Kolokol mindset toward the club environment; a call for his friends from the techno world to accept and interpret Philipp's journey of affirmation, focus, and fulfillment. When the time is right again, the remixes of main tracks from Gorbachev's most recent album will fill the sweaty vibrating dance floors where everybody is searching for their own temple, hoping for a purifying catharsis of body and soul. Remixes by Marcel Dettmann, Decka, Barnt, Amanda Mussi, Jens-Uwe Beyer, Bejenec, Inga Mauer, Mashkov, and Ushi333.
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3LP
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SMLP 001LP
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$34.00
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RELEASE DATE: 10/30/2020
Roman Flügel presents: Sister Midnight! What started as a party series that saw Roman inviting friends and favorites is turning into a full-fledged label adventure now. Shaped to be the vehicle for old and new Roman Flügel music alike, unreleased surprises and previously released sure shots from the archives, it's the first time after his involvement in the seminal Playhouse and Klang label universe, that he tends to such an enterprise himself -- with the help and support of Running Back records. Now, the journey of Roman Flügel's own Sister Midnight label starts with the valuable Tracks On Delivery series. Originally released on the third jewel in the Playhouse crown (Ongaku Musik) from 2000 to 2002, it's a meditation on and contemplation of techno. Remastered, recut, and repackaged as a triple vinyl edition with the addition of two previously unreleased "Pattern". Pristine sound design, hypnotic wizardry and dry then architecture let all of them appear as if they haven't aged a day. Or as Roman says himself: "I've always tried to push myself into new territories since I started music production. Those new territories can surely be achieved by the endless possibilities of inspiration, chaos and will power. At the time of the production of my Pattern series as under the name Tracks On Delivery I was highly inspired by some of Andrew Weatherall's techno sets while visiting London for some of his Blood Sugar Parties. Tracks On Delivery is unthinkable without the crude 'Germanic' mixture of Detroit labels like Jay Denham's Black Nation and Weatherall's own UK Techno imprints like Emissions Output. The Pattern Series, back then created for the Frankfurt based Ongaku Musik label, and now I am very happy to be able to release 15 original Patterns along two unreleased Patterns on my own Sister Midnight label."
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