|
Search Result for Genre ELECTRONIC
viewing 1 To 25 of 32444 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
WG 027CD
|
$14.00
PREORDER
RELEASE DATE: 10/2/2020
Shrouded in mystery and a long-standing affiliate of the Berlin institute Watergate, Afro house champion Hyenah is welcomed to the revered Watergate compilation series. On a mission to unite people through music, the mix is abundant in groove-filled, percussion-heavy sounds that Hyenah is famed for. Following select releases on Freerange, Objektivity, Rise, and a 12" for Watergate Records, Hyenah delivers this transcendent edition of the Watergate mix series. "When creating this mix I wanted to take people on a journey that represents what I do and what I stand for. I am building bridges . . . For me the beauty in music is when different styles and cultures meet and become something new." Watergate 27 commences with "Warm Drum", Hyenah introducing the mix with an epic opener, burning synths signal the intensity of the journey ahead. Lemon & Herb's "iFuh" sees tribal calls and driving hi-hats build the tension. A mystical atmosphere is formed on "Reincarnation" by Pablo Fierro as chants call out. Huge waves of colorful melodic house are featured from Fka Mash, Sascha Braemer, Sabb & Black Circle, and AMEME, offering different shades of light and dark. Not just a mix alone, deep thought is provoked throughout the listen. This is displayed on the vocals during the Kollektiv Turmstrasse remix of Adana Twins' "Jupiter" before being taken into Da Capo's melancholic strings. Hyenah's "Not Enough" carries a powerful message from the unmistakable and authentic Lazarusman, who stresses the importance on the listener of becoming "anti-racist", to be an activist and to look from within to fight racism on a global scale. Transitioning into the second half of the mix, a cinematic soundscape comes from JAMIIE & Niko Schwind. The Floyd Lavine remix of "Think Of Something" sees a rhythmic stamp on Kerri Chandler's original deep house Watergate production. Infectious groove is created by Hyenah & Floyd Lavine and FMX Omar, before more superior dancefloor energy from Super Flu. Closing with emotion and tenderness, the productions of Manoo and Emanuel Satie & Nanghiti will find a place in both hearts and minds. The eclectic Henrik Schwarz brings the curtain down with his remix of Hyenah's "The Message", a rousing finale featuring the vocals of Bajka typifies the sense of unity that is the golden thread running through this mix. Also features FNX Omar.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DRUG 019LP
|
$26.00
PREORDER
RELEASE DATE: 9/25/2020
"These rare recordings were recorded as part of the legendary Prescription label subscription-only album series in the late 1990s that resulted in the Astral Disaster album. Halloween 1998: Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange -- a studio first known as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times had been a debtors prison, with three underground levels -- and the original chains, manacles and wrought iron prison doors. This caught the attention of John Balance, who was very keen to record there. With Gary Ramon's help, Coil developed a number of tracks, some of which resulted in the Astral Disaster album. But there were other tracks recorded during those Halloween sessions, including the recordings on this very limited LP release, Astral Disaster Sessions Un/finished Music Vol. 2. The album includes all previously unissued mixes and alternative versions, and includes 'The Mothership,' which was the first version of a track which was later remade and re-named during the sessions as'The Mothership and the Fatherland.'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
COLOR 010LP
|
$23.00
PREORDER
RELEASE DATE: 9/25/2020
"The highly anticipated sixth volume of the well-received electronic compilation series of tracks drawn from the vaults of the Color Tapes label. As with the other volumes you can find great examples of cold wave, minimal wave, and synth electronics made by obscure British bands in the 1980s such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord, and Mystery Plane. As with all of the other volumes, this is a co-production between Lion Productions and Color Tapes."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NEMU 001LP
|
$21.00
PREORDER
RELEASE DATE: 8/28/2020
Evolve is the first full-length album from composer, music producer, and violinist Vito Gatto, a concept album that guides the listener on a one-way journey through the various phases of an imaginary evolutionary process. Gatto graduated in Violin from the Milan Conservatory of Music, his research starts from the unconventional application of a classical background into both making music in the studio, and live performances. For this work, Vito decided to put himself in a restricted composing and technical environment; all the arpeggiated sounds on the album are made from one single violin note that Vito sampled. He transforms the same note throughout the entire album, using the different treatment of this micro sample and the arpeggiator programming as the construction of a mutating and evolving structure. The album is Instinctively executed, almost improvised, and elements like distorted bass lines, hardcore inspired percussions, whistles, and alienating string melodies represent unexpected alterations. Vito decided to keep these instinctive additions clean from excessive control as a representation of the beauty of the unpredictable. The album track list is an expression of evolutionary phases. From the minimalistic piano piece "Decomposition" to "Quiete" which expresses the state of calm after a shift has occurred, "Nostalgia" and "Stasi" represent a hazy trance like state. Vito challenges the listener to ask questions like "am I in the right place? Is this who I set out to become? Do I have to keep evolving, or should I try to regress?" Evolve creates continuous connections between traditional and experimental music, creating dialogue between classical instruments and industrial techno, ambient, noise, and de-constructed sounds. NeMu is a new label founded by Vito Gatto himself. The label will focus on experimental projects based on the exchange between acoustic, concrete, and electronic sources. The artwork is part of Jewels, a series of ceramic sculptures by Benni Bosetto, courtesy of the artist and ADA Project, Rome.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 356LP
|
$22.00
PREORDER
RELEASE DATE: 8/14/2020
LP version. Two years have passed since Bureau B released the first Sowas Von Egal compilation (BB 310CD/LP, 2018). With the musical movement or genre known as NDW celebrating its 40th anniversary, what better time than now to launch an ambitious successor to the first sampler. The beating heart of this endeavor is once again invigorated by the synchronous passions of bespoke Hamburg label Bureau B and the label's Damaged Goods nights where they present rare, obscure synth and wave discs from the early 1980s. It was clear from the outset that Sowas Von Egal 2 would need to scale similar heights of excellence as its predecessor, featuring carefully selected, sought-after, danceable tunes. Bureau B began by compiling a pool of potential tracks, a creative process of lively discussion in the spirit of "open-mindedness" which culminated in a list of priority targets. After research and rich encounters with input from musicians, friends, and acquaintances, Bureau B revised their target list several times over -- some artists simply could not be found, a few had actually passed away. There were also some who were determined not to revisit their own musical history and asked the label to leave out their songs. Some tracks are so rare that they do not even appear on YouTube. Bureau B have picked up the rights to release them. In contrast to the first volume, most of the acts on Sowas Von Egal 2 were only active in the early 1980s and have not released any records since then. The tape artists were particularly invested in the DIY ethic -- as is often apparent in their sound aesthetics and the unbridled energy which has lost none of its intensity today. Their art was seldom -- if ever -- tempered by commercial considerations or sales strategies. The photograph on the cover beautifully captures the paradoxical tensions which pervaded the atmosphere of the early Eighties: new beginnings, renewal, protest and self-empowerment on one side, frustration, hedonism, future anxiety, and destructive rage on the other. The DIY spirit ingrained in the music and attitude of the bands and artists gathered here is also brought into focus, whilst simultaneously establishing a connection to Hamburg. Mastering by Tom Morgenstern. Artwork by Biljana Tomic. Features Die Neue Weltmacht, Christian Kneisel, Silberstreif, Lieferschein, 4712, Plastiktanz, Rolf Jungklaus, Vono, Kleenex Aktiv, Conrad + Gregor Schnitzler, Partner Eins, Mark Montan, "In" Seit, Mittageisen, Die Synthetische Republik, and Casino Mariteam.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 356CD
|
$17.00
PREORDER
RELEASE DATE: 8/14/2020
Two years have passed since Bureau B released the first Sowas Von Egal compilation (BB 310CD/LP, 2018). With the musical movement or genre known as NDW celebrating its 40th anniversary, what better time than now to launch an ambitious successor to the first sampler. The beating heart of this endeavor is once again invigorated by the synchronous passions of bespoke Hamburg label Bureau B and the label's Damaged Goods nights where they present rare, obscure synth and wave discs from the early 1980s. It was clear from the outset that Sowas Von Egal 2 would need to scale similar heights of excellence as its predecessor, featuring carefully selected, sought-after, danceable tunes. Bureau B began by compiling a pool of potential tracks, a creative process of lively discussion in the spirit of "open-mindedness" which culminated in a list of priority targets. After research and rich encounters with input from musicians, friends, and acquaintances, Bureau B revised their target list several times over -- some artists simply could not be found, a few had actually passed away. There were also some who were determined not to revisit their own musical history and asked the label to leave out their songs. Some tracks are so rare that they do not even appear on YouTube. Bureau B have picked up the rights to release them. In contrast to the first volume, most of the acts on Sowas Von Egal 2 were only active in the early 1980s and have not released any records since then. The tape artists were particularly invested in the DIY ethic -- as is often apparent in their sound aesthetics and the unbridled energy which has lost none of its intensity today. Their art was seldom -- if ever -- tempered by commercial considerations or sales strategies. The photograph on the cover beautifully captures the paradoxical tensions which pervaded the atmosphere of the early Eighties: new beginnings, renewal, protest and self-empowerment on one side, frustration, hedonism, future anxiety, and destructive rage on the other. The DIY spirit ingrained in the music and attitude of the bands and artists gathered here is also brought into focus, whilst simultaneously establishing a connection to Hamburg. Mastering by Tom Morgenstern. Artwork by Biljana Tomic. Features Die Neue Weltmacht, Christian Kneisel, Silberstreif, Lieferschein, 4712, Plastiktanz, Rolf Jungklaus, Vono, Kleenex Aktiv, Conrad + Gregor Schnitzler, Partner Eins, Mark Montan, "In" Seit, Mittageisen, Die Synthetische Republik, and Casino Mariteam.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
EMEGO 282LP
|
$31.00
PREORDER
RELEASE DATE: 8/7/2020
Double LP version. Not approved by the FDA "Like La Monte Young and The Incredible String Band stuck in an elevator." In the process of relocating to Den Bosch's Willem Twee Studios, The Transcendence Orchestra let love slip deftly out of its gate and reverberate around the walls of the studio's main hall, a high ceilinged former synagogue in the city's old town. Working intensively to capture its echoes, they coaxed it to appear in pipes and strings, directed it through resonant circuits and shepherded it round the room with beaters, horns, and rattles. Having returned home with the recordings, a purpose began to emerge. Through a process of extensive reconfiguration and testing it became clear that the love contained within could transform perception. Under the right circumstances, and accompanied by appropriate technology, it could serve as a map for navigating beginnings and endings. Like some distant mesmerizing chant or a psychedelic folk song, it could connect us and reassure us that we can pass through the boundaries and survive. Perhaps not intact but at least whole. Here is that map, love soaked diligently into its lines, ready to guide those at a loss or reassure those willing to explore.
Written and produced by Anthony Child and Daniel Bean. Mastered by Stephan Mathieu at Schwebung Mastering, January 2020. Cut by Andreas Kauffelt at Schnitstelle, Berlin, February 2020. Cover art: Vidya Gastaldon L'ange de l'apocalypse (d'après Danby), 2012 Acrylic and oil on canvas; Courtesy the artist and art: Concept, Paris, from the collection of Musée de L'abbaye Sainte-Croix.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 348CD
|
$17.00
PREORDER
RELEASE DATE: 8/7/2020
Having completed his military service as a naval radio operator, Gunther Wüsthoff was in the midst of his German and fine art studies when he encountered Rudolf Sosna and Jean-Hervé Peron. It was May 1969 and each of them had a guitar so they decided to make music together. Polydor International headhunter Uwe Nettelbeck tracked them down on February 23 1971, prompting them to form the legendary krautrock band Faust with three other Hamburg musicians a few days later. Wüsthoff stayed with the band for five album and three tours through France and Great Britain before leaving in 1974. In subsequent decades, Wüsthoff had various technical jobs at Studio Hamburg and Filmhaus Hamburg and also studied technical editing so he could work as a freelancer. He continued to play music, introducing electronic instruments and computers into his work at an early stage. [to|digi]tal (pronounced "total digital"), a collection spanning the years 1979-2007, offers a clear insight into how he consciously integrated these means of production into the recording process.
"Motto: Due to previous but also temporary excesses of mainstream consumption and the omnipresent, repetitive emissions of the western world's music industry, devoid of contours and as slick as possible, we are faced with an indissoluble weariness. A criterion for music one can listen to today is, for me, that an element of friction is present: temporally, metrically, rhythmically, tonally or harmonically. Or that somewhere, something is somehow imperfect. Only then can music be truly alive." --Gunther Wüsthoff, 2005
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
EMEGO 282CD
|
$17.00
PREORDER
RELEASE DATE: 8/7/2020
Not approved by the FDA "Like La Monte Young and The Incredible String Band stuck in an elevator." In the process of relocating to Den Bosch's Willem Twee Studios, The Transcendence Orchestra let love slip deftly out of its gate and reverberate around the walls of the studio's main hall, a high ceilinged former synagogue in the city's old town. Working intensively to capture its echoes, they coaxed it to appear in pipes and strings, directed it through resonant circuits and shepherded it round the room with beaters, horns, and rattles. Having returned home with the recordings, a purpose began to emerge. Through a process of extensive reconfiguration and testing it became clear that the love contained within could transform perception. Under the right circumstances, and accompanied by appropriate technology, it could serve as a map for navigating beginnings and endings. Like some distant mesmerizing chant or a psychedelic folk song, it could connect us and reassure us that we can pass through the boundaries and survive. Perhaps not intact but at least whole. Here is that map, love soaked diligently into its lines, ready to guide those at a loss or reassure those willing to explore.
Written and produced by Anthony Child and Daniel Bean. Mastered by Stephan Mathieu at Schwebung Mastering, January 2020. Cut by Andreas Kauffelt at Schnitstelle, Berlin, February 2020. Cover art: Vidya Gastaldon L'ange de l'apocalypse (d'après Danby), 2012 Acrylic and oil on canvas; Courtesy the artist and art: Concept, Paris, from the collection of Musée de L'abbaye Sainte-Croix.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 348LP
|
$22.00
PREORDER
RELEASE DATE: 8/7/2020
LP version. Having completed his military service as a naval radio operator, Gunther Wüsthoff was in the midst of his German and fine art studies when he encountered Rudolf Sosna and Jean-Hervé Peron. It was May 1969 and each of them had a guitar so they decided to make music together. Polydor International headhunter Uwe Nettelbeck tracked them down on February 23 1971, prompting them to form the legendary krautrock band Faust with three other Hamburg musicians a few days later. Wüsthoff stayed with the band for five album and three tours through France and Great Britain before leaving in 1974. In subsequent decades, Wüsthoff had various technical jobs at Studio Hamburg and Filmhaus Hamburg and also studied technical editing so he could work as a freelancer. He continued to play music, introducing electronic instruments and computers into his work at an early stage. [to|digi]tal (pronounced "total digital"), a collection spanning the years 1979-2007, offers a clear insight into how he consciously integrated these means of production into the recording process.
"Motto: Due to previous but also temporary excesses of mainstream consumption and the omnipresent, repetitive emissions of the western world's music industry, devoid of contours and as slick as possible, we are faced with an indissoluble weariness. A criterion for music one can listen to today is, for me, that an element of friction is present: temporally, metrically, rhythmically, tonally or harmonically. Or that somewhere, something is somehow imperfect. Only then can music be truly alive." --Gunther Wüsthoff, 2005
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
EMEGO 284LP
|
$23.00
PREORDER
RELEASE DATE: 7/31/2020
The Oystercatcher is the first collaborative LP from Cucina Povera (Maria Rossi) and ELS (Edward Simpson). Recorded in London over two days during the summer of 2019, hours' worth of improvisations has been edited down to form these six tracks. A fragile interplay is at work between Maria's drifting vocals and the ominous churn of Edward's modular synth. Each sonic element takes a turn at leading the way. The opening track "Mantle" is formed from sparse, monolithic electronics, woven gently with a thread of vocals. In the closing track "Eon" Maria's voice shepherds spontaneous bursts of sounds, almost rave-like if order were imposed, through 15 minutes of turmoil and resplendent until the end. Maria's vocals make their own trails amongst the noise, bringing to mind the exploratory language from Ursula K. Le Guin's album Music and Poetry from the Kesh (1985), recalling the same understated mystery. The overall effect of this collaboration is a completely unique creation albeit within a recognizable lineage of predecessors. The artwork reflects the vision of these two artists, collaged together. Both images are from a trip to Helsinki. Edward's photograph of tulips caught after dark are reviled by a flash. Maria's seemingly abstract drawing is a graphite rubbing taken from a granite slab of a pavement somewhere in Kallio. Together the two images represent two different methods for capturing a city's haptic landscape. The album moves with a feeling of transience, which is no surprise given that the idea to collaborate was formed in Helsinki, realized in London and edited together in Rotterdam. The Oystercatcher tells a fragile tale, one that spins out into the unknown. A cold union of voice and machine, still tentative and probing, learning to co-exist. A kind of fundamental shift whereby shared moments have been turned to sound. The Oystercatcher is a bird that can freely travel between the earth, sea and sky. The motif is taken from a Tove Jansson short story. A dead bird washes ashore, two different versions of events are presented to how the bird came to die. The album feels like two different stories being presented on top of one another but ultimately coming to the same tragic conclusion. Cucina Povera is Maria Rossi - vocals; ELS is Edward Simpson - synthesizers. Mastered by Russell Haswell.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
CPT 570LP
|
$22.00
PREORDER
RELEASE DATE: 7/31/2020
Space music of an outstanding and extraordinary kind: just as you would expect when two mannequins leave their boutique in Karlsruhe/Germany in their mind's eye to go and see places where they haven't been before. Im Weltenraum, how they call their new album, is Fred Und Luna's next step in their ever-changing series of "elektrokraut/krautelektro" music. A charming and fascinating voyage through an endless universe of phantasmagorical soundscapes, repetitive rhythms, catchy melodies, and even a side trip to Acid House Land. After their Gluck Auf on Optimo Music (OM 034EP), where they started with a journey through motorik krautland, followed by a trip to a both atmospheric and boppy soundgarden on their album Im Klanggarten" (Bigamo, 2017), an intoxicating journey into deep blue areas on Im Tiefenrausch (COMP 537CD/LP, 2019) and tribal dancefloor spots on Im Tanzrausch" (COMP 538EP, 2019), Fred Und Luna are now on the traces of spaces, unknown worlds and unknown time zones, accompanied by Patrick Pulsinger, both a mix master and a master of mastering. Who are Fred Und Luna? Fred Und Luna are two mannequins living in a fashion boutique in Karlsruhe, Germany. They serve as muse for musician, lector, poet, and photo/video maker Rainer Buchmüller. Inspired by his doll friends and his love for German electronic music of the past decades, Rainer Buchmüller under the alias Fred Und Luna produces his self-created genres elektrokraut and Krautelektro: both a modern combination of repetitive rhythms, beautiful melodies, electronic soundscapes, and elements from the krautrock era. Under the name of Ariston Baton, Rainer Buchmüller also writes and performs sound poems and concrete poetry.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
AES 002EP
|
$14.50
PREORDER
RELEASE DATE: 7/31/2020
New release by one of Berlin's most unique and longstanding producers. Patrick Stottrop's activities are at the heart and foundation of Berlin's techno sound, active since 1996 and founder of Zhark Recordings, he's been pushing and challenging the definition of dance music since its inception. On this release the title track "Legeia" as well as the tracks "Die Erwartung" and "Richmond" were taken from The Garden of Time LP recording session from 2019. These three tracks set the prevailing mood for two subsequent cuts, "Horus" and "Sorcerer". While Richmond follows a more andante direction "Legeia" presents a unique combination of drones engulfed in a wild and hectic technoid percussive inferno. "Die Erwartung" on the other hand might resemble in its overall mood the Rheingold Prelude (in a higher register) with its drone like strings layer build up. While "Horus" and "Sorcere" are recent tracks form Kareem's current live set and were recently arranged to fit into the EP format. Both tracks build on static percussive hostility and climax towards their middle parts to an overall acoustic orgy of reverberating string strikes and high-pitched drone oscillations. An overall grand addition to his continuously growing and ecstatic catalog.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BPX 009LP
|
$22.00
PREORDER
RELEASE DATE: 7/31/2020
Double LP version. Ellen Allien emits a powerful Auraa on a new longplayer. Ellen Allien -- one of Berlin's most ardent techno ambassadors -- proudly unveils her latest full-length expedition into the realms of underground electronica. Brimming with creative energy, Ellen's new album Auraa follows her 2019 release Alientronic (BPX 001CD/LP), and is her third album in three years. Raw, emotive, and capable of transporting you from reality to an electro-fied fantasy, Aurra explores the notion of unseen energies controlling our planet. Beginning with the faintest hint of trance euphoria on the downtempo "Hello Planet Earth (Breath Mix)", the album soon moves into more bumpin' territory with "In Music I Trust" -- Ellen's signature use of vocals-as-melody entrancing the listener. "Walking In The Dark" takes things up a notch further with jabbing percussion and mesmerizing atmospherics, followed by "Confusion", a masterclass in heady hypnotic composition. "Human" is a deeply affecting beatless segue with its drone-esque soundscape. "True Romantics" taps into your emotional center utilizing hard beats and wistful synth lines. Lastly, "Traum" ("Dream" in English) takes you out of your body and into the infinite realm of vibration, as waves of beautifully composed pads and bubbling analog bass encourages you to transcend into the next astral plane.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RSTM 002LP
|
$23.50
PREORDER
RELEASE DATE: 7/31/2020
Almost ten years after his last solo album (2009), Matthew Puffett aka Future Beat Alliance makes a long-overdue return with new album Beginner's Mind. The deeply immersive nine-track album is an invitation to "slow down, think mindfully, and see more clearly." Over the course of a career that started in 1996, Matthew Puffett has taken great inspiration from Detroit futurism, mixed it up with his own UK perspective and become synonymous with soulful techno and electro that gazes off into the cosmos. His always emotive, melodic sounds have made for electrifying EPs and absorbing long players on esteemed labels like Tresor, Delsin, Versatile, and Rush Hour, as well as self-releasing on his own Reward System imprint. The last ten years have seen Puffett working closely and collaborating on James Lavelle's UNKLE project. The resulting body of work includes co-writing and programming UNKLE`s fifth studio album, The Road: Part 1 (2017), various film projects and advertising campaigns, and remixing a list of high-profile artists. During this period, UNKLE were winners of the "MPG Remixer Of The Year" award in 2016, 2018, and 2020. In the background, Matthew continued to make his own music and always looked to grow, evolve, and infuse his sounds with new techniques and understanding. It was a collection of this music that eventually got crafted and shaped into new album Beginner's Mind. Puffett's most cohesive record to date is a soothing, escapist listen in these uncertain times and will slow the minds and swell the hearts of all who hear it.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MIA 046LP
|
$27.50
PREORDER
RELEASE DATE: 7/31/2020
The Log and the Leeway follows a six-year journey of personal exploration and drastic change for Bram Bosteels and his singular Kaboom Karavan universe. What entails is a sound-curiosity of rare format, following a metamorphosis that goes beyond the musical. Early in the process, Bram was struck by the word/concept of a "Leeway": the gradual departure from an intended course due to external influences. Following a boyish fascination for explorers' travel journals, logbooks, and the farfetched corners of the world, he could not have foreseen how fitting of a title he had chosen. Drastically all of a sudden one day, completely unexpectedly, Bram experienced his own father dying in front of him from a rare disease. Shocked and confused by this intense encounter, his perspectives and musical course departed from its original path. But at the same time, it was an enlightenment and a necessary influence for him to realize the initial idea and finish this album, started over half a decade before. The ones familiar with Kaboom Karavan already know that nothing really sounds quite like it. Bram's musical (and non-musical) universe is of the rare breed that seems to be entirely his own. Self-contained, but never opaque. Quite the opposite actually. Bram never pushes us away, instead, by listening to his music we are given view to a synesthetic wunderkammer of images, places, objects, and possibilities. Distant but magnetic, alien but intimately familiar, Kaboom is folk music from another dimension. Listening to The Log and the Leeway is like waking up next to a bonfire in the middle of a swamp wearing somebody else's clothes: you may not know how you got here, but whatever is happening seems to very directly involve you. Note from Erik K Skodvin (Miasmah): "All the sounds, fabrics, instrumentation, and stories that binds The Log and the Leeway together go far beyond what can be touched up in this simple writeup. As someone who have followed this journey since the beginning, and seen it shift from lighthearted fun to the most crepuscular personal experience, heard the stories behind (almost) every field recording and gone through boundless amounts of clips, visual details, notes, and inspirations..." Cover painting by John Lurie. 16-page booklet of illustrations/collagés by Walter Dhoogh and Erik K Skodvin that more or less connects (or confuses) the dots between the music and stories behind. Mastered by Lupo at Loop-O. Edition of 200; includes download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
WWSCD 035CD
|
$18.00
PREORDER
RELEASE DATE: 7/31/2020
Wewantsounds reissue Logic System's Venus, originally released in 1981. Reissued outside of Japan for the first time in 40 years. Hideki Matsutake started his career as the assistant of Japanese electronic music master Isao Tomita in the early '70s, he went on to work with Ryuichi Sakamoto and then Yellow Magic Orchestra as their keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording Venus that year in Los Angeles with Don Grusin, Nathan East, and Michael Boddicker, brilliantly mixing synth funk, ambient, and boogie with a touch of fusion jazz predating vaporwave by a mere 30 years. While the first album, Logic had a harder techno feel, the second one, Venus, was different affair. Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album, Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808, and the Yamaha GS-1, a forerunner of the DX7. The result is an amazing futuristic mix of electronic music and early '80s funk, announcing many genres to come, from techno and house to French electro and vaporwave. From the breezy ambient synth of "I Love You" to the city pop edge of "Be Yourself" (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish "Take A Chance", Venus is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful. The other key elements of Venus is the artwork designed by legendary Japanese illustrator Pater Sato. Sato had started in Japan in the early '70s doing many album covers for Japanese artists, including Tatsuro Yamashita's cult Spacy LP (1977) before moving to New York in 1979 to pursue a career in fashion and advertising. His airbrush style became hugely influential over the years. The original album came with a beautiful eight-panel insert illustrated by Sato which Wewantsounds has reproduced. Also includes obi strip and a second insert featuring credits and line-up, plus liner notes by Hashim Kotaro Bharoocha with an exclusive interview of Hideki Matsutake. Remastered from the original tapes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TEC 025CD
|
$12.50
PREORDER
RELEASE DATE: 7/31/2020
Influential Bristol figurehead Rob Ellis, AKA Pinch, releases his first solo album in 13 years, via his own label, Tectonic. Reality Tunnels is a concept that was originally introduced by Robert Anton Wilson in his 1983 book Prometheus Rising. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective -- the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not. At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi-fi on this boldly distinct sonic statement. It sees him flexing years of production skills -- but unconventionally so -- knowing well that safe predictability and rounded polish don't get the most interesting results. Dark trip hop Bristolia segues into blistering jungle on album opener "Entangled Particles", before planet-hopping onto the spiky insidious grime-step of "All Man Got", featuring the rugged rasp of OG warhorse Trim. Beginning a triptych of future techno, "Accelerated Culture" offers the album's most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler "Returnity", before "Finding Space" reaches to the cosmos' far-flung, glowing outlands. Back to an urban reality is "Party", where a subtly menacing sense of dread is ignited by Killa P's incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, "Back To Beyond" is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre's masters. Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual "Change Is A Must", and on "Non-Terrestrial Forms" an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fueled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up. Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack's Mezzanine (1998) and Tricky's Maxinquaye (1995) -- found here in the scorched, smoky rocker "The Last One". Also features Emika and Nive Nielsen.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TEC 025LP
|
$25.00
PREORDER
RELEASE DATE: 7/31/2020
Double LP version. Include one vinyl-only track. Influential Bristol figurehead Rob Ellis, AKA Pinch, releases his first solo album in 13 years, via his own label, Tectonic. Reality Tunnels is a concept that was originally introduced by Robert Anton Wilson in his 1983 book Prometheus Rising. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective -- the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not. At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi-fi on this boldly distinct sonic statement. It sees him flexing years of production skills -- but unconventionally so -- knowing well that safe predictability and rounded polish don't get the most interesting results. Dark trip hop Bristolia segues into blistering jungle on album opener "Entangled Particles", before planet-hopping onto the spiky insidious grime-step of "All Man Got", featuring the rugged rasp of OG warhorse Trim. Beginning a triptych of future techno, "Accelerated Culture" offers the album's most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler "Returnity", before "Finding Space" reaches to the cosmos' far-flung, glowing outlands. Back to an urban reality is "Party", where a subtly menacing sense of dread is ignited by Killa P's incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, "Back To Beyond" is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre's masters. Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual "Change Is A Must", and on "Non-Terrestrial Forms" an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fueled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up. Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack's Mezzanine (1998) and Tricky's Maxinquaye (1995) -- found here in the scorched, smoky rocker "The Last One". Also features Emika and Nive Nielsen.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MNQ 142LP
|
$21.00
PREORDER
RELEASE DATE: 7/31/2020
Prequel Tapes is Marco Freivogel, a producer, DJ. and live performer who's been making electronic music since he was a teenager. What began with an accident and the rediscovery of some lost DAT tapes, has become the driving force for all his creative expression in the last years. Prequel Tapes' previous albums, Inner Systems (2015) and Everything Is Quite Now (GAFFA 002LP, 2018), received widespread critical praise for their originality, depth, and composition. He has released two tape projects The Pandora Star Sessions and Dinge, a collaboration with the artists Mare Nero. Prequel Tapes live performances range from solo all hardware jams to a large-scale collaboration with Butoh dancer Valentin Tzin and motion artist Ksenia Mozhayskaya, aka nomoreless. To many people, the concept of Ruin is fearful, depressing, dark -- conjuring notions of decay, fallen morality, or tragedy. But to others, the idea of Ruin is of hope for what may come after -- opportunities to rebuild, rethink, and challenge. Ruin may be the only chance to stop the passive march towards the destruction of the feral human spirit, the failure of our imagination to the homogenizing power of capital. Both the music and the artwork reflect the artist's long-held view that art should challenge, jar, and provoke. Offering the balance of what's dark and disturbing to appreciate beauty and the light. Rejecting a world where the uncomfortable is covered up with plastic veneer and platitudes as a vital artistic expression. Using a highly personalized setup of hardware collected over many years, Prequel Tapes wanders through concrete mazes and dark forests with infinite curiosity. In these cold empty spaces, Ruin oscillates freely between sunshine and shadows, where grit and gravel pay homage to the industrial anti-melodies of the '80s, appearing as earworms after the rain. The sonic DNA of teenage dreams are central to the aesthetic aspirations of Ruin, as are the sparse minimalist frameworks of composers like Arvo Pärt. Drawing upon the stains of his musical history, Prequel Tapes merges each drop into an honest, singular sound, honing in on decades of love for abstract electronics with a profound emotional sensitivity. References may reveal themselves on close listen, but never command space, serving instead as subtle threads woven carefully into a tapestry of synthesis; aware of its past but firmly grounded in the present. Mastered by Rude 66. Solid orange vinyl; edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RB 074LP
|
$25.00
PREORDER
RELEASE DATE: 7/31/2020
It's no big secret: The elements of trance music have always played a vital part in the music of Prins Thomas. In fact, there are scholars who argue that these stylistic attributes were the ramp that shot his disco into space. But let's not pour hot coffee onto the cold one. When the king they call Prins sent a loose bunch of tracks to Gerd Janson to get some sort of feedback, it was like an epiphany: the calling for the missing link between Logic Trance compilations of yesteryear and the honey for the strobe light bees of today has finally been answered. Naturally, it's not all ice cannons and glow sticks, endorphins and euphoria. The private and poetic Prins stands just one step behind the sweaty one -- in alphanumeric track list order. If there has ever been something like thinking-(wo)mans-trance, this is the album for it. Gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BPX 009CD
|
$15.50
PREORDER
RELEASE DATE: 7/31/2020
Ellen Allien emits a powerful Auraa on a new longplayer. Ellen Allien -- one of Berlin's most ardent techno ambassadors -- proudly unveils her latest full-length expedition into the realms of underground electronica. Brimming with creative energy, Ellen's new album Auraa follows her 2019 release Alientronic (BPX 001CD/LP), and is her third album in three years. Raw, emotive, and capable of transporting you from reality to an electro-fied fantasy, Aurra explores the notion of unseen energies controlling our planet. Beginning with the faintest hint of trance euphoria on the downtempo "Hello Planet Earth (Breath Mix)", the album soon moves into more bumpin' territory with "In Music I Trust" -- Ellen's signature use of vocals-as-melody entrancing the listener. "Walking In The Dark" takes things up a notch further with jabbing percussion and mesmerizing atmospherics, followed by "Confusion", a masterclass in heady hypnotic composition. "Human" is a deeply affecting beatless segue with its drone-esque soundscape. "True Romantics" taps into your emotional center utilizing hard beats and wistful synth lines. Lastly, "Traum" ("Dream" in English) takes you out of your body and into the infinite realm of vibration, as waves of beautifully composed pads and bubbling analog bass encourages you to transcend into the next astral plane.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
OTCR 12016EP
|
$12.50
PREORDER
RELEASE DATE: 7/24/2020
DNGDNGDNG is Dengue Dengue Dengue's new alias for this release of extra sensory perception. The duo has projected rhythmic visions of lost continents, unknown worlds and the unsee-able past and future that is present all around us. By channeling rhythmic patterns from the matrix they're able to translate the waves of radiation around us which originated at the cosmic event which created the universe. DNGDNGDNG reach deep into their sonic imagination to draw from interlocking time signatures and variant tempos. From the cosmic interference and mathematics DNGDNGDNG create a polyrhythmic theme that brings the sound of continents lost and imagined to our ears. Heavily influenced by the sounds of UK bass sub-cultures Dengue Dengue Dengue are drawing on their decade of entrancing audiences around the world to connect to dances of the mythical past and lands of the dance beyond their alter ego Afro Peruvian invocations via ancient future rhythms. With the futurist alias of DNGDNGDNG the duo is able to break expectations and swing into imagined realities on a 6/8 rhythm. Behind the masks are Felipe Salmon and Rafael Pereira, two producers, DJs and graphic designers from Lima, Perú. Their work explores the rhythms from Peru and other parts of the world, recreating them electronically by mixing new and old, analog and digital, to create a unique sound and visuals. Their musical explorations go from psychedelic cumbia to dub, from salsa to footwork, from tribal to techno. Their visual and sound palette continues to grow and add new flavors to this melting pot.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
EYE 012CD
|
$15.50
PREORDER
RELEASE DATE: 7/24/2020
André Hommen presents both his first and last album More Than This on his uncompromising label, These Eyes. The nine-track album is a melodic journey demonstrating the diverse facets of his original sound. Founded in Cologne during 2017, André Hommen created These Eyes with a clear mission statement to release underground electronic music accompanied by his vision for unique design and an ethos for quality. With a back catalog of selected EPs from the likes of Marc Romboy, Jonathan Kaspar, and Clavis, More Than This is the label's first album and also a debut from the label-owner himself. "Eins" opens with glowing ambient, chimes and sparkling keys are added to produce a lush groove. Like a hazy dream of an unknown paradise, warm soulful chords and vocals-sound, like waves, slowly washing against the shore on "Pantone". During "Mirror", distorted female vocals become the centerpiece of the melody, in a driving techno track made for the warehouse. The funky bassline of "Current Issue" moves with swagger, a deeper vibe is unveiled as the harmony builds suspense and charm on a rhythm of cowbell. Eerie tribalistic percussion combines with devilish piano on the haunting "Arythm". Fuzzy, scratching electronics and the energy of the 808 leaves you in a dizzy state during "Waste Your Youth". "Emphase" is a tense night-time ride through the forest, featuring slowly burning progression that flows with the sound of running water. Starting with nothing but an intricate drum-pattern, "Cohesive" is André at his hypnotic best, waiting until you are fully under his spell before adding a mesmerizing loop. Title track "More Than This" sees synths that ebb, flow and flicker in this floating downtempo number that gently closes the album. House music has always been front-and-center of Hommen's life script, growing up in Nettetal in Germany he started mixing in his bedroom, inspired by seminal radio shows before moving on to play local underground parties. Developing his career, he moved on to become a key part of Dennis Ferrer's Objektivity brand, where he became label manager and released three stunning EPs. In 2017, André turned his focus to launching his very own label These Eyes. More Than This showcases a producer who has fine-tuned his remarkable talent over a long period.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
AX 087LP
|
$20.00
PREORDER
RELEASE DATE: 7/24/2020
LP version. Includes one-page insert. In 2018, the idea was introduced by Jeff Mills to address the lack of artistic collaborations within and from the city of Detroit. The city had always been an engine of new innovative ideas related to music, art, dance, poetry, and all other arts. It was thought of as a way to demonstrate the commonality people possess from various art forms and that by mixing ideas visions and perspectives together are might produce unexpected and often provocative results. The project started when Mills reached out to one of Detroit techno's founder and legendary DJ/producer Eddie Fowlkes. Though the two are known and connected to Detroit techno and knew each other for decades, they never worked together so the first few meetings and conversations were marked with finding all the common links that have built both of their careers. During this time, Mills wanted to find a third person for the project, one that was from Detroit, but not a musician. His idea was that by engaging two other creative thinkers would most likely produce something unique as emotions would become linked together to find that common, but higher level. While browsing the web, Mills discovered a post that featured the Detroit-born poet Jessica Care Moore. Struck by her words and the energy she mastered to say them, Mills knew immediately that she would be the perfect artist to approach for this creative venture. As with most artists that grew up in Detroit, they immediately opened up the links in their past, present, and future outlook. He presented the case and explained to her how he thought it might work. She liked the idea and agree to join. The Crystal City Is Alive (A phrase extracted from Moore's words), puts the Detroit, America, and the world on notice. The alarm has sounded and it is now time to mobilize all creative units to the frontline. CD version includes eight-page booklet. Double LP version includes one-page insert.
|
viewing 1 To 25 of 32444 items
Next >>
|
|