|
Search Result for Genre ELECTRONIC
viewing 1 To 25 of 30842 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
MENT 014LP
|
$25.50
PREORDER
RELEASE DATE: 12/31/2018
Delayed indefinitely....LP version. Mental Experience present a reissue of Galactic Explorers' Epitaph For Venus. Another album from the Pyramid label shrouded in mystery and produced by Toby Robinson in Cologne, circa 1974. Kosmische and head sounds with plenty of Minimoog, analog synths/keyboards, effects, loops, tape manipulation, treated percussions, etc., courtesy of Galactic Explorers, an electronic, minimal, ambient krautrock trio featuring Reinhard Karwatky (Dzyan). Take a trip to the inner regions of your mind, see ancient solar systems forming, and listen to cosmic winds and vibrations while sine waves of pure bliss will give you total peace of mind. RIYL: Terry Riley, Popol Vuh, Sand, Peter Michael Hamel, Tangerine Dream, Baba Yaga, Cluster, Cozmic Corridors, Brainticket. 24-bit domain remaster from the original tapes; Insert with liner notes by Alan Freeman, head boss at Ultima Thule and author of The Crack In The Cosmic Egg (1996).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ARCHIVE 043LP
|
$33.00
PREORDER
RELEASE DATE: 11/30/2018
Azzazin is a double standout Muslimgauze album, first LP originally issued in 1996, as a CD (Muslimgauze Subscription 003); the second disc originally as a 10" of remixes (Muslimgauze Subscription 007). This 2LP adds two unreleased tracks. Tightly focused on a singular palette of monotone drones and swarming electronic buzzes, which arguably sound like a parallel to early Editions Mego. They're probably the most minimalist Muslimgauze tracks you've heard, and even still he manages to express a fine range of abstracted emotions, from aggressive buzz to tender ambient pieces and spectral concrete prisms. Starting with an extremely minimal opening number -- it's no surprise Finnish experimental duo Pan Sonic were Muslimgauze fans, based on this track -- Azzazzin has a much more electronic feeling than most of Bryn Jones's other albums, eschewing the traditional elements used elsewhere for a rough, quietly aggressive, and disturbing feel. The fourth track, with its unpredictable keyboard snarls over a low, quiet pulse, and the sixth and seventh songs, with distorted, high-pitched noise tones mixed with a soft series of bass notes and a slight spoken-word interjection from time to time, are some of the strong points from this intriguing release. Surprisingly this album contains no trace of percussions whatsoever and instead presents a dry and claustrophobic minimal electronics that sounds more like a Warp band or a project by some S.E.T.I.-inspired laptop artist than a Middle Eastern-inspired band. Outer space sci-fi sounds meet with found sounds and human-made noises, isolationist experimental knob tweaking and mostly hi frequency material loops playing at random. Beats are used in an extremely limited way throughout Azzazzin, with rhythm, always a key component of Jones' work, more suggested at points by the nature of the keyboard lines than anything else. draws a picture of the artist that is different than the one we got to know. Closing with an equally minimal track, Azzazzin won't be everyone's cup of tea, but adventuresome listeners will find themselves rewarded. All tracks written, played by Muslimgauze. Edition of 700.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PERMVAC 180CD
|
$14.50
PREORDER
RELEASE DATE: 11/30/2018
Every other year the Permanent Vacation compilation nerve starts itching and if scratching doesn't do the trick anymore, they start collecting music from shores around the globe for a full screen bag of goodies. In this case the result is Permanent Vacation 5, the fifth installment of the Permanent Vacation compilation, the longest on-going series by the label. 12 exclusive tracks from old heroes and new stars that strike the full musical spectrum of Permanent Vacation, from blissful percussive Balearica, hypnotic house, fun loving disco to dubby affairs, emotion-rich electronica and glistening kosmiche, being aware of the past, living in the present, and rooted in the future. Features: Beesmunt Soundsystem, Sascha Funke, Julian Stetter, Perel, Musk, Davis, Chinaski, Chloé, Christian S, Personal Message, Cooper Saver, and Maajo. CD version in jewel case, with four-page booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3LP
|
|
EDLX 056LP
|
$32.00
PREORDER
RELEASE DATE: 11/30/2018
The records stop four hundred years in the future, after the lines shut, and the corporation withdrew. What you know of how you got here is pieced together by the fragments of the rail maps and corporate orders that survive. After numerous waves of social collapse, Glasgow, a once prosperous city thriving off an industry of trade and shipbuilding, had run to waste in lawless ruin. The land passed into the hands of new owners; a German-speaking conglomerate, who incorporated it into a new civic entity: Neurealm. There were grand promises of a new age; a rail network, culture facilities, new life for the city. Neurealm never came to be. The violent indifference of the citizens to the new order saw to that. In its place a rats' nest of horror and gloom, the damp ruins punctuated by strobe lights, and the desperate, ecstatic violence of the gangs that rule it. Welcome to Neurealm, After The Fall. Ravaged and warped breakbeats haunted by wailing euphoric noise, vivid and graphic reflections of fractured post-industrial hardcore, moments of poetry flashing within a thick impending fog. This is our soundtrack. A unique and visionary achievement; a wholly original future of beauty and despair: brutal, gritty, alive and urgent, blooming in the ruins, spiraling and raw, howling with life. Embossed gatefold cover with printed inner sleeves.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
PERMVAC 180LP
|
$23.00
PREORDER
RELEASE DATE: 11/30/2018
Double LP version in slipcase with 5mm spine, black inner sleeves, includes download.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HTH 106LP
|
$33.00
PREORDER
RELEASE DATE: 11/30/2018
Sometimes electronic track titles give away a lot, sometimes less so. In the case of Vester Koza's loader mither they are a set-up for what is to come. In their easy humor and northern slang, these tracks tell you this is something very human, very immediate, and rooted in rave/club culture too. But there's also a poetry to them, whether it's mysterious lyrical or directly emotive. As complex melodies unwind and develop throughout, one can hear that rare sense of being allowed into someone's inner life, following complex but very relatable emotional narratives, as they tangle around each other and emerge with fresh understanding and fresh ideas, drawing one back to this album again and again.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
SMLP 030LP
|
$26.50
PREORDER
RELEASE DATE: 11/16/2018
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SMCD 030CD
|
$12.50
PREORDER
RELEASE DATE: 11/16/2018
Celebrating 30 years since their first release, foundation-laying forefathers Smith & Mighty release Ashley Road Sessions. This one-off double label partnership between Pinch's Tectonic and Peverelist's Punch Drunk is an endeavor in homage to their Bristol neighbors, whom they hold in high regard. Says Pinch: "Smith & Mighty are true pioneers in music whom I've found deeply inspirational on many levels. Tracks like 'Closer', 'U Dub', and 'Same' are some of my all-time favorites. To be putting out these unreleased gems is such an exciting project for both me and Tom. We both took a great deal of influence from Smith & Mighty, especially from Bass Is Maternal (1995), the album and era from which most of this compilation's source material originates." Smith & Mighty are integral to the story of Bristol music, but the duo are accountable not only as key proponents of that local sound, but also for propagating a wider array of urban and electronic music to this day. Despite being inextricably linked to the South West England sound, Ashley Road Sessions proffers an array of styles, the breadth and spectrum of which might surprise. Breakbeat, hardcore, Balearica and acid house all feature as prominently as do the dub, reggae, hip-hop beats and soul with which they're most commonly associated. "Smith & Mighty's lack of genre tribalism and melting pot approach certainly influenced how I make music", comments Peverelist. Especially timely in light of the recent breakbeat and jungle revival, this document feels both historical and relevant, with classic hip-hop samples, crisp breakbeats and Gat Décor bass of opener "Always Be There (Step Up)" sounding remarkably current. Airborne dub fx float around heavy beats on the sparse pulse of "Stalagnate", which wouldn't seem out of place on Bokeh Versions, sounding both vintage and current. "Morning Light" surely soundtracked the end of long rave nights, straddling funky hardcore breaks, emotive melody, sub bass and heartening Balearic optimism. The deft break chopping of "Film Score" shows they could do deep jungle as well, contrasting with "Higher Than Tempo", a cerebral slow IDM trance dance. "Dub Song" seamlessly blends hardcore, jungle and steppers with a smooth liquidity, whilst frenetic sixteenths, hard snares and purring bass drive the skeletal head-snapper "Through A Dark Cloud". Percussion and drum machines meet melodic chords on "Leaving Pt 1 & 2", which exemplifies the plaintive, melancholy British bass, later made famous by Massive Attack.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WWSLP 016LP
|
$31.00
PREORDER
RELEASE DATE: 11/16/2018
LP version. Obi strip; Includes two-page insert. Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SRR 002CD
|
$15.50
PREORDER
RELEASE DATE: 11/16/2018
Moritz Simon Geist, media artist and robotic musician, publishes his first record, Robotic Electronic Music. It is the world's first techno record played entirely by self-made futuristic robots. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His Sonic Robots push the boundaries of the imaginable, as in 2012 with his well-known oversized 808 robot, an iconic drum machine filled with robotic parts which play the instruments live. Now, Geist goes further to discover the unknown and futuristic world of techno robotics. For this quest, he teamed up with Mouse On Mars and dug into the history of mechanical music and experiments of early electronic music. On Robotic Electronic Music, Geist extends the futuristic approach to music making he introduced in his first EP. The opener "Entropy" appeared on his EP, a bassy club-track, played by robotic kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. Geist: "When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. At the same time, the repetitive nature of the robots make them perfect for playing electronic music; it's industrial and organic at the same time." On "The DNA of Drumming", Geist took several tuned drums and let robotic actuators play rhythms, combining everything to a reduced slow stomper that slowly moves in a hypnotic manner. "In G# (Katze läuft über Klavier)" is a direct reference to Terry Riley's "In C"; the song starts with a robot hammering on prepared piano strings, being slowly filled with robotic marimbas, glasses, robotic shakers, Moritz's own inventions, and mechanic relay synthesizer, which plays notes and melodies with mechanic tongues. It's the warmest song on the album and the only one featuring stronger melodic movements. What Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keeps on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
LN 015LP
|
$28.50
PREORDER
RELEASE DATE: 11/16/2018
In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together; this first compilation of 13 brand new tracks expands the roster, expanding the label's eclectic vision. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her own musical taste, and, of course, the predominance of human relationships: "I followed my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette." With this unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with a deep chiaroscuro matching the label's ethos, followed by fellow mainstays Il Est Vilaine, with the band's usual electro-pop elegance. Sutja Gutierrez, who released his debut EP, The Legend of Time (LN 015EP, 2017) on Lumière Noire, pursues his electro- Shamanism, while Iñigo Vontier (whose Aluxes (LN 008EP, 2017) came out on the label) brings his C O N T R A project online, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie contributes a synthy, psych-pop debut that is as brilliant as it is surprising. Dutch producer Drvg Cvltvre brings uncompromising dark electro with the hypnotic and claustrophobic "Last Rites". Jonathan Fitoussi's airy, minimalism brings the respite of his Versatile Espaces Timbrés (2018). Benedikt Frey's deep techno track is on par with his Artificial (2017), while Bajram Bili, Théo Muller and Lumi, bring the compilation to a close. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, '80s-infused style and Franck Agrario, half of English duo Swayzak's David Brown's project, weaves an ethno mood into "Grace"'s techno. Bringing together different generations, genres, and styles may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: "I like to mix of-the-moment tracks and more timeless ones, but the rule is above all 'do I love this or not?'. That was my ethos when I started Lumière Noire". In that way, the label is definitely in keeping with its time.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
WWSCD 016CD
|
$18.00
PREORDER
RELEASE DATE: 11/16/2018
Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
KALITA 12007EP
|
$16.50
PREORDER
RELEASE DATE: 11/16/2018
Kalita Records present the first ever and official reissue of Kallaloo's sought-after 1982 disco single "Star Child", accompanied by interview-based liner notes. Originally released on Jeffrey Turpin's Trinidadian record label IDA. Kallaloo consisted of various Trinidadian musicians including Keith Alexander and Peter Wayne Barkley. Keith had been well-respected as a member of the Trinidadian group Impact, and was later to become an in-demand producer and composer under the name of Keith Diamond, responsible for various hits by Billy Ocean, Donna Summer, Starpoint and Melba Moore. In contrast, Peter was a well-known recording session drummer. An astonishing piece of Caribbean disco.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PAN 097CD
|
$16.50
PREORDER
RELEASE DATE: 11/16/2018
Objekt has continued to challenge conventions with his club output (Objekt #4 (2017) and Kern Vol. 3 (KERN 003CD, 2016)), while maintaining his reputation as a DJ who deploys impeccable technical finesse in crafting elaborate narratives from a diverse and challenging palette of electronic music. Written between 2014 and 2018 in Berlin and on the road, Cocoon Crush once again sees Objekt jettisoning the functional requirements of the dancefloor. Marking a further evolution from the youthful exuberance of Flatland (PAN 060CD/LP, 2014), Cocoon Crush explores a more introspective side, with themes of human interaction resonating throughout the record as it ruminates on a spectrum of complex moods rooted in four years of sometimes turbulent personal experience. Cocoon Crush represents an aesthetic departure from Flatland's largely synthetic tonality, drawing from organic source material and natural textures to illustrate perplexing and unfamiliar sceneries in photorealistic detail. On Cocoon Crush, Objekt diverges further still from his musical influences to craft the purest manifestation of his own musical personality to date: an intriguing and enigmatic album whose reference points are hard to pin down, in which ghostly synth passages weave through mind-bending, weighty drums, and ASMR-triggering Foley collages scrape and sparkle. Through meticulous sculpting, Objekt traces a rich and impressionistic journey through claustrophobia, hope, guilt, anxiety and joy, nested in layers of sonic detail which reward with every listen. Mastered by Rashad Becker, photography by Kasia Zacharko, and layout by Bill Kouligas.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
PAN 097LP
|
$27.50
PREORDER
RELEASE DATE: 11/16/2018
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MORR 163LP
|
$22.00
PREORDER
RELEASE DATE: 11/16/2018
Double LP version. Includes printed inner sleeve and download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MORR 163CD
|
$15.50
PREORDER
RELEASE DATE: 11/16/2018
Plus, the new album from Danish electronic trio System, is a collaborative effort with piano magician Nils Frahm. Frahm's purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer, and Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and to translate their distinctive electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically as they are touching. Ranging from the mellow bliss of the title track to echoes of '90s and 2000s electronica and ambient sequences with mesmerizing movements and sounds, the blending of piano and digital tones and noises into emotive pieces recalls the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results. Knak met Frahm at one of his concerts in Copenhagen; staying in touch, they exchanged thoughts and ideas. Two years later, Remmer was also introduced to Frahm; serious ideas for a collaboration formed. As Frahm was a fan of System's self-titled debut album (2002), their talks centered around dub and minimalism, elements that constitute most of System's music. This in mind, System began producing sketches and brought them to Frahm´s studio in Berlin, where they recorded ten hours of him playing to their drafts. Back in Copenhagen, they decided to change direction. "Nils had told us about his fascination with our debut album, so we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction." They started building new pieces from Frahm's recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) relied on steady beats or rhythmic material, so the productions of Plus, with their acoustic and melodic elements, ambient layers and cinematic moods, sees them move into new areas. The trio thus avoided copying what they had done years ago, having built a reputation as Denmark's originators within electronic music in the '90s. Plus is a triumphant example of collaborative experimentation and may be the dawn of a new era for System. CD version comes in digipak.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TONE 065CD
|
$14.50
PREORDER
RELEASE DATE: 11/16/2018
Touch issues Jana Winderen's Spring Bloom In The Marginal Ice Zone. The marginal ice zone is the dynamic border between the open sea and the sea ice, which is ecologically extremely vulnerable. The phytoplankton present in the sea produces half of the oxygen on the planet. During spring, this zone is the most important CO2 sink in our biosphere. On Spring Bloom In The Marginal Ice Zone the sounds of the living creatures become a voice in the current political debate concerning the official definition of the location of the ice edge. The listener experiences the bloom of plankton, the shifting and crackling sea ice in the Barents Sea around Spitsbergen, towards the North Pole, and the underwater sounds made by bearded seals, migrating species such as humpbacks and orcas, and the sound made by hunting saithe, crustaceans and spawning cod, all depending on the spring bloom. Spring Bloom In The Marginal Ice Zone is a Sonic Acts and Dark Ecology commission, first shown as a seven-channel installation at the Sonic Acts festival (Muziekgebouw, Amsterdam, 2017). Includes booklet.
Jana Winderen is an artist educated in Fine Art at Goldsmiths, University of London with a background in mathematics, chemistry and fish ecology from the University of Oslo. Jana focuses on audio environments and ecosystems which are hard for humans to access, both physically and aurally. Amongst her activities are immersive multi-channel sound installations and concerts which have been performed internationally in major institutions and public spaces in America, Europe and Asia. Winderen lives and works in Oslo.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 606LP
|
$27.50
PREORDER
RELEASE DATE: 11/16/2018
The Disappearer story is an abstract and conflicted one, loosely based around moral codes handed down through generations, reinterpreted, debated and enforced, followed and broken. What happens when a threat is posed? Is the answer diluted to the simple fact of survival by any and all means necessary? Does instinct take precedence over all? This cycle is full of contradiction, feeding back in its most primitive animalistic and oft brutal of levels, with many questions left unanswered. Who becomes the disappeared and who becomes the disappearer? Two years since his last releases for Hospital Productions -- A Gathering Together (HOS 477CD/LP, 2015) -- L.I.E.S. Records boss Ron Morelli returns with Disappearer, his third full-length. Disappearer claws and tears its way through 13 tracks at 54 minutes long, touching upon everything from cold, stripped-back electronics, to hints of 1990s Hague scum techno, to grim passages reminiscent of early tape minimalists, the amalgamation forming a nasty sonic narrative that reaches an explosive unsettling apex. This is a definitive return to tense, urgent punk roots; the minimal beat construction, unexpected acid burned vocals, and stark atmospheres touch upon Morelli's full spectrum of influences with his signature rusted razor production. Composed over the last two years in various foul states, the album is a fusion of base level hardware programming, open room mic recordings and extensive computer processing, all finalized in the Paris studio of Krikor Kouchian. Compositionally, Morelli has fused the brute immediacy of his then-controversial now-cult debut album Spit (HOS 407 CD/LP, 2012) with intricate compositional cut-ups of cassette culture, the updated crushing production the product of having circled and lived Europe's nightclub circuit for close to a decade. Presented here as a double LP with new artwork, re-sequenced and edited from its original cassette format.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SRR 002LP
|
$22.00
PREORDER
RELEASE DATE: 11/16/2018
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 309CD
|
$16.50
PREORDER
RELEASE DATE: 11/2/2018
ALU's inception as descendants of the psychedelic group Sand, founded by Ludwig Papenberg and Johannes Vester, comes in 1980. Their first single "Bitte Warten Sie!" appears on their own label Der Letzte Schrei! in 1981. Even on these early recordings, the project's sonic orientation is discernible: sequencer-driven, simplistic rhythmic structures layered over fragments of free text, a common thread tracing ALU's musical contours through various successive metamorphoses. Although the band emerged from Berlin's cassette underground, their brittle sound is closer to the likes of Nocturnal Emissions or Cabaret Voltaire in England than to their German counterparts. The first realignment came in 1981 when vocalist Nadja Molt joined the group. Her voice cuts deep furrows into the tracks, at times lurking ominously in the background, elsewhere virtually exploding out of certain tracks. Logged by the band as ALU II, this phase fails to produce any studio recordings, but two live LPs Störfaktor I - Alus Riskantes Experiment 31.7.81 im Risiko (1981) and Licht (1982) survive as audible witnesses. Ludwig Papenberg left before 1982 reached its conclusion; Vester and Molt continued as a duo, now called ALU III, resolutely pursuing the principles of concentrated improvisation and maximum creative autonomy. On the live cassette, Geistige Erneuerung (1983), the band outlined their philosophy, "We aim to store as many sounds, noise and rhythmic frameworks as possible in our synthesizers and drum machines as we allow them to unfold naturally when we play live. Words and vocals are snapshots, spontaneous phenomena." Two other cassettes were released the same year, Ungesunde Traumbilder and Attrition/Alu. These proved to be the final studio recordings before ALU exited the scene with a concert at Fabrik in Hamburg, entitled Performance und kein Ende in 1986. The ALU oeuvre thus covers seven years of divergent creativity, yet the group's inner compass never wavers. ALU represent understated understatement, their music touching on genres such as electro, techno or IDM which would only materialize years later. Repetitive sequences sound like taut loops, their frequencies tuned to allow the original sample to shine through in skeletal fashion. Die Vertreibung der Zeit is more than a mere historical document; in order to understand the bigger picture of contemporary club culture, this collection is an essential piece of the puzzle.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DA 007LP
|
$25.00
PREORDER
RELEASE DATE: 11/2/2018
Romantic Fiction, the debut LP from Curses, is an honest musical expression drawing influences from his youth growing up in NYC in the '80s. References to new wave, post-punk, synth music and early EBM are skillfully merged with the DIY approach of punk and rock n' roll angst. Brandishing an immersive sonic palette, all instruments throughout the album were played and recorded by the artist. Exhausted by the current state of competitive dance music monotony, Romantic Fiction is a collection of songs, not DJ tools; songs that work at home, but also in the club should the right crowd beckon. It's about escapism and finding comfort in the unknown, fulfilling the empty void by embracing the mysterious. Darkness is a light undiscovered, not something to be frightened of. Curses invites friends who share a mutual love for incorporating post punk and new wave into contemporary electronic music. Perel delivers mighty Nina Hagen-esque operatic punk vocals on the first single, "Gold & Silber", whilst Dischi Autunno label boss Jennifer Cardini and Curses share a duet on the cold wave silk of "Silence In The Dark". As an amalgamation of influences from multiple decades, Romantic Fiction is a deeply personal album, triggering a feeling that is unnerving at times, familiar and welcoming at others.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 310CD
|
$17.00
PREORDER
RELEASE DATE: 11/2/2018
"Sowas Von Egal, is the result of a collaboration between Bureau B and the Hamburg party series Damaged Goods. Record companies and DJs are aligned through a love and passion for seeking out rare music which simply needs to be heard. For the three of us as DJs, we created Damaged Goods as a party where we could play music beyond the electro clichés. Our focus would be seldom-heard post-punk and synth-wave from, or in the style of, the 1980s. We'd slip in these unknown or long-forgotten treasures between more familiar hits from the genre to inspire and excite our guests. Eighties culture is very much a reference point today in music, art and fashion, so why not play the originals, especially as there is still so much to be discovered from that period? Many of the old records we'd play in the club had only been pressed in small quantities, often sold exclusively at the respective bands' gigs. More than 30 years later, it is almost impossible to get hold of these tracks, unless you pay over the odds on certain websites or track them down as inferior MP3s on this or that blog. This is why it was so important to us that our collaboration with Bureau B would be dedicated to selecting tracks for Sowas Von Egalwhich are not readily available on vinyl and have not been rereleased (or the reissues themselves are genuine rarities). The groundwork for this project was interesting in itself: sorting through and listening to songs, making lists, setting priorities, then getting in touch with labels and trying to find the musicians of yesteryear. This wasn't always so easy: some had disappeared from view, others had died. When we did find who we were looking for, the reaction was generally positive, although some were surprised that anybody was interested in their music today. We would also like to express our deepest gratitude to Tom Morgenstern, who worked wonders with a jumble of disparate source material to achieve sonic consistency. Fans of our parties will recognize more than a few of the tracks on Sowas von egal; we are proud to have put together this collection." --Volker Kindt and Marco Flöß, June 2018. Features: Träneninvasion, Der Moderne Man, Silberstreif, El Deux, Nullzeit, Hoffnung and Psyche, Schwellköper, New Dimension, Berlin Express, Pension Stammheim, Alu, Matthias Schuster, Gorilla Aktiv, 08/15.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DIYNAMIC 102EP
|
$12.00
PREORDER
RELEASE DATE: 11/2/2018
Alex Metric & Ten Ven's Transmission 1 EP is their first release on Diynamic. Opening track "The Q", much like the closing track "Plates", are reminiscent of old UK garage raves with a hint of acid. Minuscule shifts in the pitch give that certain cassette-nostalgia, transporting the listener back to the early '90s. The centerpiece titled "Nebula" is a driving melodic deep house tune with a hefty break that brings things to a halt right at its center, only to return with the catchy riff that is its main feature.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TRANSVERS 007LP
|
$30.50
PREORDER
RELEASE DATE: 11/2/2018
Transversales Disques present Electrucs !, a new release of never-released music by Francois Bayle. On the occasion of the 60th anniversary of the GRM, composer Bayle introduces some of his unpublished archives; pieces include the title composition, "Electrucs !" (1974) composed on a 1970s Synthi AKS synthesizer like an imaginary soundtrack, "Foliphonie" (1974) inspired by La Grande Polyphonie (1978), and "Marpège" (1995), dedicated to Bernard Parmegiani. Also included is "Cinq Dessins En Rosace" (1973). Born in 1932 in Tamatave, Madagascar, where he lived for 14 years, Bayle is a major figure of electro-acoustic music and member of Pierre Schaeffer's historic Groupe de Recherches Musicales (GRM), formed in Paris in 1958. In 1975, the GRM was integrated with the new Institut National de l'Audiovisuel (INA) with Bayle as its head, a post he held until 1997, bringing invaluable contributions to the opening of musical research in these original innovative institutions. Ever since his first productions, L'expérience Acoustique (1971) Bayle has developed through a great variety of formats and designed the Acousmonium, a sound diffusion system used originally by the GRM. He also originated the record series Collection INA-GRM, and continues to organize concerts and support the development of technologically advanced musical instruments (Syter, GRM Tools, etc.).
|
viewing 1 To 25 of 30842 items
Next >>
|
|