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Search Result for Genre ELECTRONIC
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LP
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SYNC 005LP
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$17.50
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RELEASE DATE: 11/8/2019
Tonstich is a project based on the creation of a sonorous dress; an audio/video project which explores through sound and images the creative/industrial process of an imaginary dress. In Tonstich, basic sound parameters -- attack, decay, sustain, release -- are directly related to the dress construction parameters X and Y (length and width). The characteristics of the shape, fit and look of this imaginary dress are determined by the audio composition, following the strict manufacturing schedule of each production unit, the dress is initially modelled by the industrial production process yet continuously modified by the listener's individual sonorous experience The audio material used for the composition of Tonstich is based on the authentic sound recorded in industrial manufacturing facilities of garments and textiles. Single noise patterns from the Bartack machine mixed with the humming of the two needle machine weave in combination with electronic structures a fit sound fabric. Tonstich develops in eight tracks, which correspond to each construction and manufacturing step leading to the unusual dress proposed by Amelie Duchow.
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YNFND 016LP
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$18.00
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RELEASE DATE: 10/25/2019
Kusht surfaces with a playful release full of tottery synths, crisp percussions, and mind-bending samples. On this six-track LP released on almost occult YNFND from Germany's ever rainy Baltic coast, the Scottish producer easily blends bluesy guitar riffs with wailing electronic pads. Shuffled backbeats melt with ominous samples into a sticky glue, trapping every listener into a bouncy dance. Kusht can already look back on a vivid and versatile back-catalog but still manages to top it off with a many-sided and thought-out work of art in his signature style. Full of folkloristic beats, Together has what it needs to become one of 2019's secret weapons, with early support of some of Germany's acknowledged tastemakers.
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PAN 102LP
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$25.50
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RELEASE DATE: 10/25/2019
Movimiento Para Cambio, is the full-length and debut for Pan from Montreal based duo Pelada. Comprising of vocalist Chris Vargas and producer Tobias Rochman, they have gained international attention through the city's underground warehouse rave scene. An urgent, headstrong body of work, the LP uses the music as a mechanism for delivering ideas central to the group's moral and political ethos. Vargas explores themes of power, identity, surveillance, and environmental justice atop Rochman's raw mix of rave synths, acid basslines, breakbeats, and dembow rhythms. While at times unpredictable, the album is unified in its fast and loose approach. "A Mí Me Juzgan Por Ser Mujer" (I Am Judged Because I'm a Woman) is an anti-machista anthem, stylistically nodding to NY house. Though Vargas doesn't identify as a woman themselves, they understand their experience as a woman in an imbalanced patriarchal society that excludes women, femmes and non-binary people. "Habla Tu Verdad" (Speak Your Truth) emphasizes the need to overcome the stigma around discussing sexual harassment, offering courage and strength to those who may need it. "Asegura" (Secure) deals with the unprecedented power of Big Data, which monetizes a surveillance-based economy through its users' data and behaviors. These themes are set to fierce unrelenting bpms, nods to gabber, and samples of a reality show where young men compete in a prison fitness contest. "Caderona" (Big Hips), features a hardline perreo-tinged beat that carries Vargas's vocals with refreshing ferocity. Inspired by a cumbia song, "Caderona" offers a counterpoint to the male gaze, acting as an opportunity to demand space. "Aquí" describes the reality of a global corporate domination, where capitalist insatiability meets government inaction as we sit on the precipice of a mass extinction of our own making. Pelada hope to inspire critical self- reflexivity through engagement, building power, demanding space and action. Or as it is written in their liner notes: "ABRE TUS OJOS, LA BESTIA SE ALIMENTA DE LA EXPLOTACIÓN" which translates to "OPEN YOUR EYES, THE BEAST FEEDS ON EXPLOITATION". Mastered by Jeremy Cox. Features artwork by Johannes Schnatmann and Bill Kouligas.
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EMEGO 266LP
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$23.00
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RELEASE DATE: 10/11/2019
"Heaven is a work of contemporary church music. Centrally occupied with the subject of death, its conceptualization was catalyzed by Dino Spiluttini's discovering his mother's preparations both for her own death and for his. He arrived at her home in 2015 to be led into the local church and shown the two adjacent places she had reserved for their urns. The tracks on Heaven together consist of an analogously personal and anticipatory negotiation with death. Partly derived from organ recordings made in the same church, the album frequently enlists Arvo Pärt's compositional method of tintinnabuli. Aside from the thematic logic of its sacred associations, the method suits Spiluttini's tendency, in spite of heavy and dynamic passages, to minimize tonal complexity. His characteristic uses of gnashing bass, restlessly irregular pacing and serrated distortion return. This time, they combine with pads, harps, fluttering organs and swooping choirs. Track titles throughout Heaven conjure intense emotional conflicts, especially those arising from experiences of embodiment. Touch isolation is a term for the toxic masculine stigma against platonic touch between men. If such a reference on an album preoccupied with death and afterlife raises the question of whether Spiluttini considers any touch -- let alone platonic -- to be possible in Heaven, the title 'Flesh Angel' perhaps answers it. As with 'Body at War' and 'Weakened Centurion', such a title positions the agitation of its music among ongoing struggles with body acceptance. Meanwhile, 'Rainbow Bridge' recalls the 1980s prose poem promising an eternal reunion in death with one's beloved lost pets. In context, these various indices seem to capture the yearning speculation that, as the nexuses of experience, bodies are not discarded in death; on the contrary, they achieve a state of perfection. Heaven revolves within dramatic and ever-changing vignettes. As church music, it lacks real communal participation or fidelity to hymnal text. Instead, it must come to terms with negation and eternity as dependable threats to generational and spatial distance, to personal struggles with earthly embodiment and to the anxious, hyperactive navigation of identity in late modernity." --Edward Trethowan Front photos and layout by Dino Spiluttini. Recorded, produced and mixed by Dino Spiluttini. Mastered by Rashad Becker.
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WWSLP 026LP
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$31.00
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RELEASE DATE: 10/11/2019
LP version. Wewantsounds present a reissue of Yukihiro Takahashi's debut solo album Saravah!, originally released in 1978. One of the key Japanese albums of the '70s, it was released at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of disco funk, synth pop, ambient, French exotica, and bossa nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It's the missing link between the city pop scene of the late '70s and the synth sound of YMO which was about to revolutionize the world. The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record Saravah! together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records. Saravah! starts off with a couple of French and Italian exotica classics ("Volare" and "C'est Si Bon") with delicious touches of synth while "Saravah!" is a nod to Pierre Barouh, a languid bossa nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with "La Rosa", a superb mid-tempo ambient funk featuring Shigeru Suzuki's fluid guitar. Next is an amazing exotica-synth version of the standard "Mood Indigo", announcing the midi revolution that was to come before things get funkier shortly after with Ryuichi Sakamoto's superb up-tempo disco instrumental "Elastic Dummy" featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of "Sunset" before switching back to disco funk with "Back Street Midnight Queen" which, like "Elastic Dummy", has become a dancefloor cult classic. Saravah! ends on a perfect note with the beautiful "Present" a perfectly crafted pop song which Takahashi wanted to do in a city pop mode, featuring a superb melody and high-class arrangements.. Newly remastered by renowned engineer Mitsuo Koike. Features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes (1977)); includes four-page insert and a new Introduction by Benjamin Barouh (of Saravah Records).
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KALLISTA 001CD
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$12.50
PREORDER
RELEASE DATE: 10/11/2019
Carla dal Forno announces her second full-length album, Look Up Sharp, on her own Kallista records. Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It's Like (BLACKEST 015CD/LP, 2016) and The Garden EP (BLACKEST 068EP, 2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London's sprawling mess. The small-town dreams and inertia that preoccupied dal Forno's first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley, and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work, as on "Took A Long Time" and "No Trace". These are contrasted with songs like "I'm Conscious" and "So Much Better" that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like "Fast Moving Cars". The second half begins with the feverish bass and meandering melody of "Don't Follow Me", which takes The Cure's "A Forest" as its conceptual springboard. It's the clearest lyrical example since "The Garden" of dal Forno's unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with "Push On" -- dal Forno's most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. "Hype Sleep" and "Heart of Hearts" drink from the same stream as The Flying Lizard's dubbed-out madness and the vivid purple sunsets of Eno's Another Green World (1975). While "Creep Out of Bed" and "Leaving For Japan" funnel the fourth-world psychedelia of Cyclobe's industrial-folk into the vortex of Nico's The Marble Index (1968). A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate.
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KALLISTA 001LP
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$22.00
PREORDER
RELEASE DATE: 10/11/2019
LP version. Carla dal Forno announces her second full-length album, Look Up Sharp, on her own Kallista records. Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It's Like (BLACKEST 015CD/LP, 2016) and The Garden EP (BLACKEST 068EP, 2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London's sprawling mess. The small-town dreams and inertia that preoccupied dal Forno's first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley, and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work, as on "Took A Long Time" and "No Trace". These are contrasted with songs like "I'm Conscious" and "So Much Better" that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like "Fast Moving Cars". The second half begins with the feverish bass and meandering melody of "Don't Follow Me", which takes The Cure's "A Forest" as its conceptual springboard. It's the clearest lyrical example since "The Garden" of dal Forno's unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with "Push On" -- dal Forno's most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. "Hype Sleep" and "Heart of Hearts" drink from the same stream as The Flying Lizard's dubbed-out madness and the vivid purple sunsets of Eno's Another Green World (1975). While "Creep Out of Bed" and "Leaving For Japan" funnel the fourth-world psychedelia of Cyclobe's industrial-folk into the vortex of Nico's The Marble Index (1968). A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate.
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2LP
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BAL 025LP
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$23.50
PREORDER
RELEASE DATE: 10/11/2019
Balance presents Sunsetstrip is the next plateau of concept mixes. Featuring tracks by established, and new producers, such as DAVI, Khen, and more, plus a host of exclusive original collaborations, where you'll transverse multiple genres and tempos, all under the steady hands by one of the most highly regarded DJ in the industry today. Lovingly referred to as "El Maestro" by his legions of adoring fans, Hernan Cattaneo has, over the last 30 years, carved a career that eclipses all others. Fascinated by the synth-pop and post punk of the '80s, Hernan quickly discovered the futuristic sounds of dance music coming from Detroit and Chicago. Completely consumed by his new-found love, he progressed naturally to DJing. It was his life-changing residency at the epicenter of Argentinian club culture, Clubland in Buenos Aires, that he was catapulted into the global sphere by long-time friend, Paul Oakenfold. Over the years, his forays into the CD compilation market has enthralled, excited, and energized his fans. From those tentative first steps with Perfecto, through to the golden years of progressive with Renaissance, and then onto his groundbreaking Balance mixes, Hernan has always brought more than just a selection of upfront tracks, and his silky mixing skills. In his own words, Sunsetstrip represents a continuation of his legacy, by marrying his all-encompassing love of the music with his strong work ethic. Painting the perfect sonic tapestry, richly musical nuggets dovetail with consummate ease as El Maestro teases every last drop of emotion from each track. Soon, a malaise of joyous energy hypnotizes you, as you travel with the soulful journeyman into the deepest realms of his imaginations. Disc two sees Hernan in cruise control -- the more familiar side of his DJing. The opening double from Mike Griego setting the scene well, as rubbery bass, and lightly tribal percussions whisk you off to wonderland. Easily shifting through the gears, things really get going midway as the sun sets and the music takes on a different meaning. Also features Hernan Cattaneo, Soundexile, Juan Hansen, Bachir Salloum & Memory, Kevin Di Serna & Guhus, Paula Os, Mariano Mellino, Graziano Raffa, Sentre, Colle. Double-LP vinyl sampler includes download code with two full-length mixes.
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CD
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WWSCD 026CD
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$18.00
PREORDER
RELEASE DATE: 10/11/2019
Wewantsounds present a reissue of Yukihiro Takahashi's debut solo album Saravah!, originally released in 1978. One of the key Japanese albums of the '70s, it was released at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of disco funk, synth pop, ambient, French exotica, and bossa nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It's the missing link between the city pop scene of the late '70s and the synth sound of YMO which was about to revolutionize the world. The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record Saravah! together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records. Saravah! starts off with a couple of French and Italian exotica classics ("Volare" and "C'est Si Bon") with delicious touches of synth while "Saravah!" is a nod to Pierre Barouh, a languid bossa nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with "La Rosa", a superb mid-tempo ambient funk featuring Shigeru Suzuki's fluid guitar. Next is an amazing exotica-synth version of the standard "Mood Indigo", announcing the midi revolution that was to come before things get funkier shortly after with Ryuichi Sakamoto's superb up-tempo disco instrumental "Elastic Dummy" featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of "Sunset" before switching back to disco funk with "Back Street Midnight Queen" which, like "Elastic Dummy", has become a dancefloor cult classic. Saravah! ends on a perfect note with the beautiful "Present" a perfectly crafted pop song which Takahashi wanted to do in a city pop mode, featuring a superb melody and high-class arrangements.. Newly remastered by renowned engineer Mitsuo Koike. Features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes (1977)); includes four-page insert and a new Introduction by Benjamin Barouh (of Saravah Records).
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MPD 018GREEN-LP
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$25.00
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RELEASE DATE: 10/11/2019
Green vinyl; comes in green sleeve. Musique Pour La Danse present Coil's unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled The Gay Man's Guide To Safer Sex released in 1992. Members for this project were John Balance, Peter "Sleazy" Christopherson, and Danny Hyde. The OST, to quote John Balance's interview for Compulsion Online, "is [a] slightly new age-y, progressive house type thing". Another way to approach it is as a delightful collection of Balearic beats, smoking jazz not far removed from Badalamenti's work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style. Taken from the original masters provided by Danny Hyde, The Gay Man's Guide To Safer Sex features a new sexy edit of the main theme. Bonus tracks "Nasa-Arab" and "Omlagus Garfungiloops" are taken from the 1992 CD-only release Stolen And Contaminated Songs, both being original versions of the radically reworked (for the OST) "Nasa-Arab 2" and "Exploding Frogs" in order to balance the whole album and extend the listening pleasure.
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FAITICHE 019LP
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$20.00
PREORDER
RELEASE DATE: 10/11/2019
Faitiche welcomes two young artists from Canada; Jonathan Scherk and Daniel Majer hail from the post-rock and experimental scene in Vancouver, where they shared a studio for several years. In artistic terms, too, there is a surprising coherence: on It's Counterpart, their solo work naturally blends to create a joint album, making it hard to distinguish between their contributions. Majer describes his part as a shadow-like reflection to Scherk's brightly meandering collages. The album's title refers to this: It's Counterpart presents two solo artists who have met their match in one another. Scherk and Majer produce contemporary sound collages on samplers, laptops etc. using raw material drawn from YouTube videos, field recordings, cassettes, and LPs from the dollar bin -- the kind of rightly forgotten obscurities that have long since lost their audience, if they ever had one. In the hands of Scherk and Majer, they become abstract sound objects. The two artists don't concern themselves with the material's original context -- the sound's character is most important. This sets them apart from other collage artists. Their work might be called a contemporary upgrade of the classic tape collage: here, channeling a wealth of information is the main focus. Are these collages that trigger neither associations nor contexts? Au contraire! It's Counterpart is like an overheated centrifuge whose spinning extracts and joins together all of the harmonies ever pressed on vinyl. Melodies run amok. Includes download code.
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2LP
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TO 111LP
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$20.00
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RELEASE DATE: 10/11/2019
A double-LP vinyl version of Claire M Singer's previous two CDs: Solas excluding the piece "The Molendinar" (TO 101CD, 2016) and Fairge (TONE 059CD, 2017). Gatefold sleeve.
Sides 1, 2, and 3: Solas. Solas ("Light" in Gaelic) is Claire M Singer's debut album, spanning 14 years of her work in acoustic and electronic composition. In recent years she has focused on writing and performing a mix of organ, cello, and electronics with regular performances at Union Chapel, where, as Music Director, she runs a diverse program of concerts and educational workshops around the chapel's organ, which was built by Henry Willis in 1877. Solas comprises seven works for various combinations of organ, cello, and electronics, including "Eilean," which is an electronic work derived from recordings of cello, piano, and violin. "Solas" and "Wrangham" were recorded by Iain Berryman at Union Chapel, London, February 26-27th, 2016 on the organ built by Henry Willis in 1877 Mixed at Bennachie Studios, Aberdeen and EMS Goldsmiths, London. Violin extracts on "Eilean" from Land of the Standing Stones composed and performed by Paul Anderson. "Eilean" was commissioned by Aberdeenshire Council.
Side 4: Fairge. Fairge, meaning "the ocean" or "the sea" in Scottish Gaelic, is a single 21-minute piece for organ, cello, and electronics, composed, performed and produced by Singer. It is very much a companion work to the title track on her debut album Solas. Commissioned by Amsterdam's oldest building and parish church Oude Kerk, Fairge premiered at the church in February 2017. Claire M Singer's performance on the Ahrend and Bunzema organ, cello, and electronics is truly captivating. The work very much encapsulates her signature style of expansive soundscapes full of intricate textures, rich overtones, and powerful swells, emotionally resonating from beginning to end. Recorded by Clare Gallagher at Oude Kerk, Amsterdam, June 12th, 2017 on the transept organ built by Ahrend & Brunzema (1965).
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3CD
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AX 054CD
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$34.50
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RELEASE DATE: 10/11/2019
Sight, sound, and space are deeply rooted in the work of Jeff Mills. But what do these three quintessential elements mean? Is it possible to describe to someone what it is like to see for the first time, or to listen to music in a new way, or to travel throughout the galaxy without having to break through the earth's atmosphere? The man from the moon has deep-seated thoughts about these concepts and explains them through this massive compilation, Sight, Sound And Space. The project has Mills diving into his extensive catalog and selecting tracks which epitomize his feelings on each. Sight is a beautiful faculty bestowed upon the human race. Mills wants his music to draw the correlation between sight and sound. In this opening part, you see him select tracks which often soundtrack classical sci-fi films, in which what we experience is the embodiment of all three: sight, sound, and space. As in with opening track "Perfecture", composed for Fritz Lang's Metropolis (1927), where the track is to accentuate the perfection of the futuristic buildings John Coltrane used to deconstruct music when he listened to it, listening to each aspect individually to absorb and appreciate it completely. Repetition, or the lack of it, is often at the heart of listening to music: it helps us understand its structure. An understanding of sound aids in reaching into the realm of music which encapsulates things or experiences, and electronic music is the perfect tool for exploring these possibilities. Tracks like "Microbe" exude this point, with layered beats each with their own meaning and direction which make a tantalizing cut. Space is one of the pinnacles of Mills' interests. The similarities between it and techno are remarkable, the more that is discovered about each, the more possibilities they reveal. "One Man Spaceship" was constructed to give the listener the experience of navigating through the cosmos. Perpetuated here is electronic music as a guide. Space may frighten you as this gigantic continuum that is detached from you, but you must remember you are a part of it. Sight, Sound And Space is another installment in his The Director's Cut series. DVD package size, hard-cover book style package; Includes three CDs and a 50-page booklet.
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PGTUNE A003LP
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$21.00
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RELEASE DATE: 10/11/2019
Bell ringer by day, DJ by night, Philipp Gorbachev returns to his own PG Tune label for his fascinating third LP, Kolokol ("The Bell"). A singular blend of cutting-edge techno and industrial with the distinctive sound of Orthodox church bells, Philipp Gorbachev's unique vision, also extended to an accompanying experimental documentary and a radical live show, documents the life and spirit altering experience of becoming a bell ringer himself in the time since his last full-length, 2016's uncompromising Unlock The Box (PGTUNE 001LP, 2016). Now, on Kolokol, Gorbachev utilizes his masterful use of electronic music textures and his multi-instrumental to adapt and subvert some of the most inspiring sounds that have ever rung out. Originally conceived as an Eastern "gospel" inspired album in the vein of Robert Hood's pulpit trips as Floorplan, the resulting record is an earthier, more brooding journey, arguably echoing the soothing and powerful tones of the bells themselves, which match the Earth's frequency of 8hz, rather than classic and increasingly digital club sounds. Those anticipating claps, snare rolls, hi-hats, and melodies may find themselves surprised and moved in unexpected ways; in the sonic church of Gorbachev's creation, the ever-unpredictable Gorbachev mines tension, ecstasy, and catharsis in the sound of more than 40 belfries, played live by hand, sampled and then sequenced with compelling and inspiring results. In an accompanying and beguiling short film, we glimpse Philipp Gorbachev at the mercy of both the bell and a higher power at St. Nicholas Orthodox Church in Berlin, and wandering across the vast, snow-dusted plains of his native Russia. Abstract and provocative visual sequences combine the experimental, industrial sound design of the record with distinctive imagery from Christian Orthodox heritage, to subtle and even quietly psychedelic effect. Completing Philipp Gorbachev's holistic vision for the project is a new live show, already premiered at Moscow's legendary Mutabor club. An ambitious and highly personal statement, Kolokol is an independent and necessary call for new bridges between spirituality and rave culture, demonstrating how an unexpected blend of technology and faith can transform ancient dogmas into communicative code that can heal anger and separation in the modern age.
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MORNING 003LP
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$23.00
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RELEASE DATE: 10/4/2019
"'360 degrees of freedom is overwhelming in music, and you need not truly begin to find freedom until you put yourself under extremely narrow constraints.' It was with this quote that Don Slepian laid the groundwork for over 40 years of musical output. Slepian's work draws equally from the harmonic terrain he explored while performing with a Javanese gamelan ensemble, as well as his time spent building and modifying electronic audio equipment for studios and fellow musicians. Gravitating towards improvisation and experimentation, Slepian built a breathtaking sound-world that stretched the briefest of moments into an eternity of detail and depth. In 1980, Slepian self-released a series of cassette albums that built upon and perfected this practice, offering New Music for Digital Orchestra. New Dawn is one of those albums -- an enthralling example of New Age euphoria, and early-electronic experimentation. New Music For Digital Orchestra? An ironic subtitle for an album without any traces of digital technology found within. The instruments, tools, and recording techniques are entirely analog. A Korg PS3100, Mellotron voices, Mellotron flutes, analog tape echo and analog recorder were used to create both of the pieces found on New Dawn with both tracks being recorded live with no overdubs."
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2LP
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IMR 033LP
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$25.50
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RELEASE DATE: 9/27/2019
Double LP version. Gatefold sleeve; includes printed inner sleeves; ; Includes a black and a white color vinyl. Trentemøller returns with his fifth studio album, Obverse. Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he's most adept at is the studio itself. Obverse is the result of him expanding that skill even further. Obverse often feels like an instrumental album because it started life as one, the driving philosophy being "what if the pressure of having to perform these songs live is removed entirely?" Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It's a work method that yielded great results for the legendary German kosmiche/motorik experimentalists of the 1970s. Intentional or not, Obverse embodies more than a little of that spirit without even a hint of pastiche. So it only makes sense that Obverse would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While Obverse was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and Obverse absolutely picks up where Fixion (IMR 021LP/021LTD-CD/021LTD-LP, 2016) left off. For the past decade, Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, Obverse is the first time each song has felt like a collection of pocket soundtracks. By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately Obverse resides in a genre all its own.
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LP
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MIA 013RE-LP
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$26.50
PREORDER
RELEASE DATE: 9/27/2019
Miasmah present a 2019 repress of Marcus Fjellström's Schattenspieler, originally released in 2010. Swedish composer and multimedia artist Marcus Fjellström's debut Miasmah release followed two critically acclaimed, full-length albums on Lampse -- 2006's Gebrauchsmusik (LAMP 006CD) and 2005's Exercises In Estrangement (LAMP 002CD). In addition, Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers including Salad Fingers creator David Firth. Based in Berlin, Fjellström's compositions often combined aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic. Schattenspieler (which translates as "Shadowplayer") takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next -- the fleeting ghosts of Fjellström's melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you're listening to something more implied than obviously stated, as if Fjellström wanted only to expose us to the shadow of the music -- the implication being perhaps a more terrifying experience than to be confronted outright -- listen to Schattenspieler and you may find your mind starts to play tricks on you... The undeniably Angelo Badalamenti-esque descending synth strings of opening track "The Disjointed", lay the foundations for Fjellström's Schattenspieler album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label mates, Kreng and Jacaszek. Marcus's wide-ranging abilities in composition and his willingness to let go of accepted form and function makes Schattenspieler a perfect choice of release for the Miasmah label. The suspense laden "Antichrist Architechture Management", with its harrowing and tense undertones, weaving synth lines and a wash of static hiss and flicker, is a particular standout track. Despite it's a strangely oppressive sound, shafts of light grace Schattenspieler; pieces such as "Untitled 090616" find gorgeous melodies are boxed in by unsettling arrangements and sparse background ambience. There is a coldness to many of these compositions -- not without emotion, but somehow remorseless. Schattenspieler is, for the main part, a defiantly bleak journey. Includes 12-inch, eight-page booklet with drawings by Marcus Fjellström. Purple vinyl; edition of 300.
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12"
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ECHO 083EP
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
Following 2018's Babe Roots EP, Echocord revisits with reworks from Forest Drive West, Mike Schommer, Felix K, DB1, and Babe Roots themself. London's DB1 leads the package with his take on "Work Hard", a mostly beatless interpretation. Felix K then ups the energy levels with a high-octane take on "Sufferation Time". Forest Drive West steps up next to remix "Jah Nuh Dead". Former Deepchord member Mike Schommer's take on "Bless Me" follows, the pioneer of contemporary dub techno delivers a cinematic rework. Babe Roots revisits "Sufferation Time", delivers a more refined feel this time around.
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12"
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RRD 002EP
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
Leipzig-based bass music producer DRANQ releases Serpentine on Beijing record label Ran Music's bass sub-label Ran Rad. Five tracks made with his DIY modular synth. DRANQ has combined classic acid and electro sound elements with contemporary low frequency sound design; lively precise melody sequences are wrapped by the warm phat bass lines, delivering the most expected climax moment to the dancefloor, like the agile reptiles indicated by the EP title.
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CD
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EMEGO 268CD
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$17.00
PREORDER
RELEASE DATE: 9/27/2019
"Masochism is cruel because, in subverting the model, it imposes it with exaggerated severity..." --Amy Ireland
Florian Hecker's latest CD release continues his work with computational techniques for analysis and re-synthesis. In Inspection II, you hear the progressive reconstruction of original source material using algorithms based upon human hearing and designed to capture timbral characteristics of sound. As the source is iteratively extracted from featureless noise, a complex ongoing dialogue commences between formal model and empirical experience of sound. Like Charon, the boatman who ferries souls of the dead across the styx, Inspection II crosses perpetually from one bank to the other: from the formal anticipations of analysis to the unexpected artefacts of synthesis. In Robin Mackay's libretto, recited by a synthetic voice, this inspective dialogue is transferred to the introspective psychoanalytic situation, where the continual re-narration of the self creates further disturbances and transformations -- to attain a definitive image of oneself would be to face one's own death. As discussed in Amy Ireland's essay "Beside a Cold Statue" commissioned for the CD sleeve notes, this process, whose symptomatology is recognizably that of masochism, sees the coldness of the formal model subverted as Hecker's continual re-synthesis delivers up a series of harsh, tantalizing, and bewildering textures and timbres. 16-page booklet. Written and produced by Florian Hecker, 2016-17. Synthetic Voice: Christophe Veaux, CSTR, The University of Edinburgh. Liner notes: Amy Ireland. Mastering: Rashad Becker.
"Inspection II is a very particular composition which deserves a privileged position not only in relation to attempts to exhaust and remove the unknown borders of the sonic universe, but also among the various endeavors of Expanded Psychoanalysis. By transcending the unique authority of Freudian discourse, by alienating and synthesizing the dialogue of analyst and analysand, by penetrating the realm of that babble that is the obvious origin of human language and communication, designated by Jacques Lacan as lalangue, Inspection II discloses a space beyond representation, and hence beyond sense, intelligibility and significance. In order to imagine the inconceivable and unattainable unconscious of an apparently amorphous real that lies outside the structured network of reality with its mediating instances of the imaginary and symbolic orders, Florian Hecker's project suggests an all-pervading realm of sounds and noises considered as one of the purest utterances of existence. Closing the screen of the cerebral computer, psychoanalysis emerges as the hard disk's synaptic music, echoing the big bang of our psychic genesis." --August Ruhs (Psychiatrist, Psychoanalyst, University of Vienna)
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2LP
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DPC 073LP
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Thirteen years after Quarion released the instant classic Karasu on Drumpoet Community (2006), he returns to the label with yet another remarkable debut. His first album Shades takes you on an emotional journey to the deeper realms of house music encompassed by elements of Detroit techno, dub, and electronica. All of the nine tracks fully display Quarion's unmistakable musicality and state-of-the-art production skills and are, undoubtedly, the artist's most accomplished work to date. Ever since starting to produce as Quarion back in 2006, Yanneck Salvo has enjoyed an exciting career with stellar releases on Retreat, Innervisions, Tamed Musiq and certainly Drumpoet Community. 2016 proved to be a turning point artistically as well as personally, which eventually triggered an outburst of inspiration consolidating in the core of Shades. After two years spent on refining this music, Yanneck felt that the bond between the tracks was too strong to be split across various EPs and chose instead to elaborate his vision as a full-scale album. The nine pieces that make up Shades are quintessential Quarion, yet their scope is both broader and more precise than on previous releases by the Swiss producer. The beautiful melancholy of "Indigo (Aries)", the rich layers of "Periwinkle" or the panoramic journey of "Cobalt (Plains)" are testimonial to the new depth in the music of the Berlin-based artist. In addition, the album has highly benefitted from a more experimental writing process, showcased in the bass-heavy ambient piece "Teal" or the sliding pads of "Ultramarine". This passion for unrestrictive creativity is clearly at the heart of "Azure (Émotion)", a thrilling collaboration with Ripperton where both artists twist life out of a modular system. Finally there are tracks as intense as the Acid workout "Sapphire (Tessellate)" and the techno-influenced "Cerulean". Their electric tension easily creates a watershed moment on the dance floor that lingers long after the night is gone. An imperceptible thread lays within the album's tracks; it molds Shades into an outstanding album by an artist on top of his game, highlighting Quarion's ever-growing talent for producing music of the deeper kind.
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12"
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LM 012EP
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$12.00
PREORDER
RELEASE DATE: 9/27/2019
Making their debut on Labyrinth Music is the mysterious duo, Senses Of Mind. In original form, "Origins" is a classic slice of contemporary prog with Eastern promise. Belgian superstars and Labyrinth residents, Joyhauser toughen the groove keeping the main motifs for a solid techy reworking. Kevin de Vries's unique take on the trancey end of techno has taken the scene by storm. In keeping with the ideals of the '90s Belgian pioneers such as CJ Bolland and Yves Deruyter his remix builds into an enormous stadium-shaking behemoth.
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12"
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LENSKE 007EP
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$12.50
PREORDER
RELEASE DATE: 9/27/2019
Amelie Lens returns to drop her second solo release on Lenske. First in line, the hard-hitting "Helium" blurs the dancer's mind through a haze of understated sub-bass moves and sonar bleeps. Carried through by Amelie's signature vocals, "Man Over Machine" continues down the hypnotic path with unrelenting efficacy, before the stadium-sized steamroller "Little Robot" takes you to a raving climax. Last but not least, the aptly named "Storm" raises the BPMs to ensure maximal impact until the very final moments. Transparent vinyl.
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2x12"
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MINIMOOD 015EP
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$17.50
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RELEASE DATE: 9/27/2019
Repress of a modern dub-techno classic with remixes by Delano Smith, Tobias., and Steve O'Sullivan.
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CD
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POL 003-2019CD
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$15.00
PREORDER
RELEASE DATE: 9/27/2019
"Moving in the directions that originated with the Environments recordings and evolved to become extended pieces like Klaus Schulze's Gewitter, Robert Henke's Studies For Thunder, Brian Eno's On Land and Steve Peter's Here-ings, the music of From The Gray And The Green finds its origins in landscapes. This time, landscapes that Marc Barreca knows as his home -- the foothills of the Cascade Mountains. These eleven pieces and three digital-only bonus tracks are sculpted from layers of synthesized and sampled instruments, field recordings and processed vinyl. Barreca tells us that 'My goal was to create immersive, evolving landscapes shaped by a dynamic past and viewed as if through the translucence of passing clouds.' From The Gray And The Green offers a music of contrasts and change, departing from traditional ideas of ambient to arrive in shifting landscapes of the strange and the beautiful. Includes an eight-page booklet and download card for the complete album and three bonus tracks. Mastered by James Savage. Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, reissued on vinyl in 2016, was one of the earliest releases on Palace Of Lights. From The Gray And The Green is his ninth solo album for the label. Recent releases include Shadow Aesthetics (2018) and three collaborations with K. Leimer. Reissues include work on the acclaimed VOD box set American Cassette Culture, the Cherry Red compilation of seminal U.S. electronic music and the 1983 cassette, Music Works For Industry, now on vinyl. His work is also included in the collection of The British Library."
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