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2CD
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LPS PS014CD
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$21.50
PREORDER
RELEASE DATE: 12/8/2023
Back in the 1990s, video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you'd soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid '90s culture. wipE′out′′ also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield, and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game's original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE′out′′ was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum and bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt. These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven't, perhaps, quite got the respect they deserve, something that this release will address. Featuring remixes by µ-Ziq, Wordcolour, Brainwaltzera, James Shinra, Kode9, Simo Cell, Surgeons Girl, Datassette.
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3LP
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LPS PS014LP
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Triple LP version. Back in the 1990s, video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you'd soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid '90s culture. wipE′out′′ also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield, and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game's original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE′out′′ was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum and bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt. These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven't, perhaps, quite got the respect they deserve, something that this release will address. Featuring remixes by µ-Ziq, Wordcolour, Brainwaltzera, James Shinra, Kode9, Simo Cell, Surgeons Girl, Datassette.
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LAPSUS 037LP
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Composer, percussionist and multidisciplinary artist RRUCCULLA is undoubtedly one of the most eclectic projects to emerge from Spain in recent times, combining abstraction, plasticity and experimentation with an uncommon mastery. Since her first impact on the electronic "headz" scene with SHuSH in 2018, the Basque producer has been carefully distilling her new album Zeru Freq., which will be released on Barcelona's Lapsus record label. The album is wide-ranging, interweaving sound and art that transports the listener into an immersive universe. Zeru Freq. envelops us in a Euskadi environment, guiding us through an open-air museum, containing a collection of eleven sound productions that fuse nature, landscapes and the local climate. This epic musical journey incorporates organic frequencies painted in technicolor, in which hyper-realistic synthesizer textures merge with acoustic instruments, resulting in an atmospheric ambient sound that warps our perceptions of reality. At a sonic level the unmistakable stamp of RRUCCULLA is omnipresent, but this time she climbs to even higher plains. Zeru Freq. explores an expanded aural palette, traversing the borders of strictly electronic music, while laying foundations for a new audio discourse. Throughout its eleven tracks, RRUCCULLA embraces the broadest spectrum of contemporary music, flirting with avantgarde electronica at will, without succumbing to labels or pigeonholing. Zeru Freq. is the sound of shapes; figures and strokes, it is a work that mutates with each passing moment, until the last note is heard. Also featuring Violeta Azevedo and A. Txabarria.
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3LP
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LPS PS013LP
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Reissue, originally released in 1998. "Dance music has always been grounded in a sense of place . . . But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak's Snowboarding in Argentina is one such record. The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations -- mostly bedrooms -- around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne . . . On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then, after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. The album itself appeared in 1998 on London's Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn't quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher. A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of '90s production are available -- the music's almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw -- but there's nothing dated about it . . . Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus's Perennial Series edition unites, for the first time, all the album's tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material..." --Philip Sherburne
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LP
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LAPSUS 036LP
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Gacha Bakradze releases his third album on Lapsus entitled Pancakes, and while the name may appear conventional at first glance, it actually contains esoteric philosophical concepts. The Georgian producer perceives the making of pancakes -- a transformative and healing parental activity that he loves to partake in with his son -- as a metaphor for alteration, metamorphosis, and change. A reflection that also accentuates the importance of balance during each process of preparing a simple recipe, which in turn highlights key human attributes such as patience, attention to detail and willingness to adapt to shifting circumstances. On a sonic level, Gacha's new album embodies precisely that: the contextual reworking of his music, while maintaining the essence of his previous work. Pancakes provides the typically melancholic yet vibrant genetics already recognizable in his music, but also embraces new genres, including his unique and personal take on hyper-pop and trance. It is an album of contrasting elements, where bucolic interludes make way for heavier tracks that are more suited to a club environment, an aural universe that hybridizes IDM, electro, bass music and cutting-edge techno, and once again demonstrates that trying to pigeonhole Gacha Bakradze's sound is a somewhat fruitless task.
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LAPSUS 035LP
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Valencian producer Pépe's love of iridescent melodies, velvety pads and complex rhythms has seen him skillfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie, and Disclosure. His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album Reclaim opens the door to experimentation and sound design, while embracing the braindance and hyper-pop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures, and a strong vocal presence, both synthetic and authentic, sparkle. Reclaim imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pépe exhibits his personal reverence for the work of Antonio Cortés Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely. In Pépe's own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world."
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LAPSUS 034LP
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Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland's current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light, and Shall Not Fade, with whom he released his acclaimed debut album in 2020. His Lapsus release Closer Now, takes a different trajectory to his previous album The Sensual World (Shall Not Fade, 2022), fundamentally an energetic and high tempo club record. In contrast, Closer Now focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor. Closer Now is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely, it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.
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LP
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LAPSUS 033LP
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Neil McDonald's love of the outdoors is a constant feature in his music, hence his Lord Of The Isles moniker, a direct reference to the Highlands and islands of his native Scotland. His vivid, effervescent and blissfully cinematic sound paints a soundtrack to unmade films, building imaginary worlds inspired by his childhood passion for science fiction. It is therefore no coincidence that the closing track "Subtle Thoughts" samples the inimitable voice of Carl Sagan and is also the name of his forthcoming album on Lapsus Records. Subtle Thoughts is an album of sumptuous melancholic electronica that, like all his previous works, avoids being pigeonholed. In it you find ambient and IDM, but also breaks and down-tempo 4x4 beats with deep ruminations, and even passages akin to new age and Balearic. In Neil's own words, the real concept behind Subtle Thoughts is: "The spaces in between. Listening to the quiet voices. Freedom of expression and being open. It also contains my hopes and fears for the future of our world, but mainly hope and love."
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2LP
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LPS PS012LP
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Reissue, originally released in 2005. Vector Lovers has remained a firm favorite of the underground electronic music scene cognoscenti and holds a coveted place among the most hallowed of record shelves, and with good reason. Since the early 2000s, Martin Wheeler has explored a sparse audio wasteland in order to develop a new sonic palette that looks outward to electro, IDM, and ambient. After self-releasing a handful of his own productions on the Iwari label, Wheeler's career-defining album was signed by British label Soma in 2005, leading to the first great revival of '90s IDM. Capsule For One was an unrivalled masterpiece that perfectly synthesized the heritage of the hardcore continuum with renewed airs and degree of clarity that ushered in a new millennia and sound. It arrived as a worthy successor to the venerated Warp artists of the time, while embracing new panoramas and technologies. Capsule For One is a melancholic album, with an almost cosmic spirituality that provokes daydreaming. From its opening track "City Lights From a Train" it welcomes the listener onto an infinite journey at the speed of light, connecting the past, present and future, folding time and space and painting neon cities populated by cyborgs. The album reaches its zenith with "Melodies and Memory", featuring Wheeler's very own voice, which has arguably become one of this century's greatest electronic ballads to date. In fact, the impact of Capsule For One was such that Tracey Thorn commissioned him to produce her song "Easy", from the album Out of the Woods (Virgin, 2007). For its forthcoming release on Lapsus Records, Martin Wheeler has remixed each and every song on Capsule For One, as well as adding two previously unreleased tracks "A Simulation" and "Perfect Score", both produced around the same epoch. This extra special release, with artwork redesigned by Josep Basora, features marbled vinyl and a limited edition insert print.
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LP
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LAPSUS 030LP
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Sa Casa des Carbó is an old fishermen's house located on the seafront in Cala Vedella, a small beach cove situated on the west coast of Ibiza. Through its windows filters the salty air and the murmur of the sea, while also offering a glimpse into the history of a land with a powerful nomadic spirit and a cultural background that has no equal. In November 2020, in the midst of a global pandemic and driven by the desire to embark on an inner journey, Mario G. Quelart (Lucient) chose this peculiar enclave as a source of inspiration and focal point for his debut album Sa Casa des Carbó. For ten days, Lucient self-isolated by choice and undertook an introspective journey to find himself. It was a voyage through uncertainty and fear, with moments of tranquility; a personal pilgrimage traveling through light and the shadows, in which time became a relative element. Sa Casa des Carbó is a sound journal of this experience, an album with an ambient base, but which opens the door to experimentation, rhythm, and psychedelia. Field recordings -- the sea, the birds, the wind, and a strangely silent airport -- are fundamental parts of this journey and serve as a canvas for an album of cosmic electronica with Balearic overtones.
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2LP
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LPS PS011LP
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Lapsus Records present a reissue of Kettel's My Dogan, originally released in 2006. It's no secret that Dutch artist and producer Reimer Eising, aka Kettel, is a Lapsus Records favorite, as well as being a leading proponent in braindance/IDM over the last two decades. This makes him the obvious choice for the next release in our on-going Perennial series. My Dogan, was originally released in 2006 on Sending Orbs and is undoubtedly one of his most iconic works to date, and possibly the most popular album among his adoring fan base. Lapsus Records present this musical golden nugget, for the first time on vinyl. Includes brand new artwork and a high-quality print insert. Marbled vinyl.
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12"
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LPS 029EP
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Described by his peers as a keystone in ambient-electro, Datassette is a bastion of the underground and one of alternative electronic music's most exceptional and enigmatic talents. His extensive and diverse discography spans two decades and includes a plethora of albums, EPs and remixes for independent record labels, including: Ai Records, Apollo/R&S, Wall Of Sound, CPU, and Shipwrec. His work and creative output also extends to the design of music libraries for TV and radio; producing sound effects for 8-bit video games; working as a graphic designer and co-running the Misc label. Datassette has never been shy of creating complex, addictive and emotive music and this magical music formula is replicated on Sentinel, his new EP for Lapsus Records. As is emblematic in his long-standing career, Datassette demonstrates a healthy non- conformist approach to conventional labels and pigeonholing. By using a combination of powerful vintage hardware and latest generation digital techniques, the British producer continually manages to redefine his sound. This new four-track EP sees him fuse dub, electro, braindance, ambient, experimental electronica, and even abstract hip-hop.
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2LP
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LPS PS010LP
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After presenting the acclaimed special reissue of A Midsummer Nice Dream by Ochre in 2019 (LPS PS003-LP), Christopher Scott Leary returns to Lapsus's perennial series with Lemodie (15th Anniversary Edition). 2021 marks 15 years since the original release of Lemodie on Scottish label Benbecula in 2006, and to celebrate the release's fifteenth anniversary Lapsus Records present a special collector's edition of this IDM classic for the first time on vinyl. Lemodie (15th Anniversary Edition) includes five previously unreleased tracks from the Lemodie era. Double marbled vinyl; includes a full-color print and a brand-new artwork redesigned by Portland (Oregon) illustrator Nathaniel Reeves who has worked alongside Ochre over the last decade.
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12"
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LPS 028EP
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British producer Patrick Tipler spent his formative years immersed in psychedelia as a bassist and guitarist in various bands and groups. The arrival of synthesizers -- along with his move to Bristol -- radically changed his vision of sound and impacted on his musical direction with the force of an asteroid. This shockwave subsequently saw the birth of Delay Grounds. After releasing the outstanding Onomatopoeia [Pressure Dome, 2020] and Upcycling [Tropopause, 2021], Delay Grounds' output has made it clear for all to see that Tipler's sound design skills are second to none, and with just two releases to his name he has already transformed himself into an artist to watch very closely. Today, Patrick joins the Lapsus crew to present Genus, a five-track EP that he says "is my most personal release to date, something I've always carried inside and wanted to produce, but had never managed to articulate before." On Genus, Delay Grounds preserves the essence of his sound but takes things a step further, with a form of maximalist electronica, sprouting powerful torrents of high-pitched and ruff-as-rock avant-techno, glitches and mutant sound elements, combined with sweet and delicate melodies in the purest IDM style. Polishing is provided by sound engineer Nick Earle, with whom Patrick has recorded and remarkably treated a kit of "deconstructed drums" especially for the occasion. Genus is 30 minutes of astral travelling, an experience perhaps analogous to what we would feel if we opened a vault, containing music from a lost civilization. Marbled snowy white vinyl.
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2LP
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LPS PS009LP
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20th Anniversary Edition of Slow Motion Process, originally released in 2001. In 2019, Lapsus released the only album to date from IDM duo Abfahrt Hinwil, released for the first time on vinyl. Abfahrt Hinwil is formed by two good friends Martin Haidinger and Chris Cunningham, who as well as collaborating on musical projects were also responsible for the now defunct Toytronic label. Today, Lapsus welcomes back Martin Haidinger, AKA Gimmik, the pseudonym under which Haidinger has been releasing intricate and exquisite electronic music since the late 1990s. The Austrian producer's album Slow Motion Process is his best-known work to date and was released in 2001 on the Worm Interference label. It's sound is very reminiscent of Abfahrt Hinwil's album Links Berge Recht Seen: combining elements of subtle braindance, glitch-tinged electronic music, floating between analog and digital; exceptional IDM that still sounds as contemporary as when it was first released. Lapsus Records celebrates the 20th anniversary of Slow Motion Process with the release of a deluxe edition that includes artwork updated and designed by Martin himself, as well as the unreleased track "Typologic (1999)" -- only available on the vinyl version.
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LP
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LAPSUS 027LP
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"In the beginning, there was just a box of tapes and 'Fate's Gentle Hand.' It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services, found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as 'archived magnetic recordings.' The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of moldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: Black Mill Sessions. And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work . . . Some of the tapes displayed an unusual amount of degradation and ... an unsettling amount of background noise, whether electrical in nature, or otherwise,' wrote the Head Technician . . . It was a good yarn, and the music was better still. Like his contemporaries Demdike Stare and Ghost Box, Pye Corner Audio seemed to be tapping into some hidden energy current, channeling spirits via electrical means. The pioneering transmissions of the BBC Radiophonic Workshop could be detected lurking within the music's staticky swirl; so could the ominous throb of John Carpenter's film soundtracks. Drones and flutes commingled with chugging machine beats; miasmic clouds of haunted tone alternated with death disco. It all sounded eerie, otherworldly, possibly occult -- yet also, in tracks like the glimmering 'We Have Visitors,' accented with a hint of mischief. Over the next few years, Martin Jenkins -- for that, after all, was the Head Technician's name -- would go on to release three more volumes of Black Mills Tapes. Among the dozens of releases he has put out since 2010, they remain among the most beloved in his catalog. Now, ten years after Avant Shards first appeared, Lapsus is pleased to present Black Mill Tapes Volume 5: The Lost Tapes. The musical landscape has changed considerably in the past decade, but what is remarkable about the Black Mills Tapes material is that it hasn't aged a day; its retro-futurist transmissions sound just as mysteriously compelling as they did the first time around. While they purport to faithfully transcribe the sound of yesterday's technology, they end up being something more: a record of what we wish the past sounded like -- a rickety tape transfer of desire itself, spooled and boxed, just awaiting discovery." --Philip Sherburne
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2LP
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LPS PS007LP
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The next release in Lapsus Records "Perennial" series is from veteran producer Lee Norris, also known as Metamatics, the pseudonym under which he has spent more than two decades creating melodic IDM and sophisticated electro. Norris is an artist who warrants his cult following with an extensive catalog and countless monikers, including his main work as Metamatics and alternative projects Norken, Nacht Plank, Ishqamatic, and Autumn Of Communion. This unflagging artist with an enviable track record behind him has released material on labels such as Delsin, Hydrogen Dukebox, Dot, Numbers and Clear, as well as running his own record labels Neo Ouija, ...txt, XTT Recordings and Nagual. His seminal EP series 01, 02, 03, and 04 was originally released between 1997 and 1998 on the now defunct but influential Clear label. Compiled as A Metamatics Production, the tracks breathed fresh air into the global IDM scene and were comprised of crystal-clear futuristic sounds, flirting with complex and funky drum & bass that carried both UK and Detroit influences, a true masterpiece. More than twenty years since its original release in 1997, Lapsus Records present the British producer's original debut album A Metamatics Production, released in full and on vinyl for the first time. Silver "blob" in yellow vinyl; remastered; includes limited edition insert.
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5LP BOX
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LPS PS006LP
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Limited repress. "In the beginning, there was just a box of tapes and 'Fate's Gentle Hand.' It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services, found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as 'archived magnetic recordings.' The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of moldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: Black Mill Sessions. And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work. Whether anyone believed it or not, this was the framing device surrounding Pye Corner Audio's Black Mill Tapes Volume I: Avant Shards, which took the mysterious tactics of artists like Boards of Canada and Burial and raised them exponentially . . . These were not compositions, we were told; they were tape transfers -- 'transcriptions' of an unknown author, slathered with hiss and thick with ambiguity. Some of the tapes displayed an unusual amount of degradation and ... an unsettling amount of background noise, whether electrical in nature, or otherwise,' wrote the Head Technician. 'I chose to edit around the worst of the unusual break-ups, but some still remain.' It was a good yarn, and the music was better still. Like his contemporaries Demdike Stare and Ghost Box, Pye Corner Audio seemed to be tapping into some hidden energy current, channeling spirits via electrical means. The pioneering transmissions of the BBC Radiophonic Workshop could be detected lurking within the music's staticky swirl; so could the ominous throb of John Carpenter's film soundtracks. Drones and flutes commingled with chugging machine beats; miasmic clouds of haunted tone alternated with death disco. It all sounded eerie, otherworldly, possibly occult -- yet also, in tracks like the glimmering 'We Have Visitors,' accented with a hint of mischief. Over the next few years, Martin Jenkins -- for that, after all, was the Head Technician's name -- would go on to release three more volumes of Black Mills Tapes. Among the dozens of releases he has put out since 2010, they remain among the most beloved in his catalog . . . Now, ten years after Avant Shards first appeared, Lapsus Records collects all four volumes along with a fifth disc of unreleased material..." --Philip Sherburne Color LPs; includes booklet.
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2LP
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LPS PS008LP
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In 2006, the now defunct BaseLogic label released the first in a triad of EPs entitled Fixxy, produced by the enigmatic British artist Ed Chamberlain. These EPs left many electronic music lovers scratching their heads, having heard something genuinely different. It represented a new generation of IDM reminiscent of The Black Dog or Plaid, melancholic electro with a meticulous nuanced palate that immediately transformed Chamberlain into a revered figure. Fifteen years on Lapsus Records, as part of its Perennial series, will release Ed Chamberlain's superlative productions across 2x12", entitled 03/06. The lavish 12" double pack will feature a sizeable part of the Fixxy material, along with additional tracks created during the same period of time, 2003-2006, including "Zarathustra" and "Does Ape", the latter released on vinyl in 2008 by Madrid label Semantica. Remastered.
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LP
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LAPSUS 026LP
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Hailing from Georgia's capital Tbilisi, Gacha Bakradze is one of the national scene's leading electronic music exponents. He returns to Lapsus Records with his new album Obscure Languages, his second release for the Barcelona label. Following the superb LP Word Color (LAPSUS 017LP, 2018), which appeared in several "album of the year" lists for publications such as Pitchfork and XLR8R, the prolific producer presents Obscure Languages. This new piece of work could well be described as a sound continuation from his previous album and maintains a powerful narrative at its core. Obscure Languages delves into the world of cinematic soundscapes, replete with microscopic details and fragments that showcase a luscious IDM style audio palette, laced with ambient, avant-techno, bass, and sound design.
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LP
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LAPSUS 025LP
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Suzanne Ciani is a true electronic music pioneer. The five Grammy nominated Italian-American neoclassical composer is unquestionably one of the greatest minds that contemporary music has ever witnessed. After an incredible career spanning forty years, Ciani's accomplishments have become a benchmark when discussing the origins of musical synthesis. For more than four decades she developed a body of work that transcends the music industry, composing for film, video games, and famous advertising campaigns that have impacted popular culture. On December 14, 2019, after six years of sound experimentation, Lapsus Festival bid farewell to Barcelona's Centre for Contemporary Culture. Its final event was entitled "A Sonic Womb" and was dedicated to the musical roots of the synthesizer, with Suzanne Ciani headlining on the night. Ciani performed an exclusive show accompanied by her modular Buchla 200e synthesizer and enveloped in a specially designed multi-channel sound environment by Intorno Labs. It was a sonic voyage to the very heart of her beloved machine and a tribute to improvisation through an instrument that is said to possess its own soul. Suzanne described the night as "an improvisation that I began using in the '70s and continue to use now as raw material. Each performance based on this material has its own expression and one could liken it to jazz." Lapsus Records present A Sonic Womb: Live Buchla Performance at Lapsus, a unique live recording of this extra special concert.
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12"
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LAPSUS 024EP
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Growing up in Milton Keynes, the largest of the "new towns" outside of London designed and built in the 1960s, perhaps explains why producer Nicholas Worrall is subconsciously drawn to clearly delineated sonic structures and flawed techno utopianism, two concepts that are ever present in both his sound and aesthetic approach to music. Wordcolour was formed just two years ago, at a time when Worrall was habitually cutting up and splicing human voice samples ripped from YouTube memes, film dialogues, and musique concrète tapes. The first artistic demonstration of these ideas arrived in 2019 via his mixtape I Want To Tell You Something for the Blowing Up The Workshop platform. This unique set immediately grabbed the attention and support of the specialized music press and media, including Pitchfork and Resident Advisor. Tell Me Something is Wordcolour's official debut EP and heads straight for the dancefloor. It is comprised of an unusual melting pot of influences that fuse the UK club sound, post-dubstep and a style akin to Paul Lansky's '90s musique concrète. Tell Me Something offers a vibrant leftfield, avant-garde techno, and edgy electro, all immersed in the vast cosmos of the human voice. Solid silver color vinyl.
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12"
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LAPSUS 023EP
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Martin Jenkins, more commonly known as the artist Pye Corner Audio, epitomizes Lapsus Records' commitment to cutting edge sound experimentation. In 2017, he beguiled the electronic music community by releasing the Where Things Are Hollow EP (LAPSUS 016EP), on Lapsus Records. The Barcelona label announces the release of Where Things Are Hollow 2, consisting of three brand new original cuts and a remix from none other than John Talabot. Where Things Are Hollow 2 explores a spectral and hypnagogic terrain, establishing an electronic sound that at times invokes Jenkins' more dance friendly facet -- "Self Synchronise", "Weather The Storm" -- while also offering his familiar iridescent dreamlike ambient textures -- "Phase B" -- that featured prominently on his first EP. This second EP also includes a remix from John Talabot, unquestionably one of Spain's most internationally recognized names over the last decade, who exquisitely reimagines "Resist" -- a song from the first EP -- transforming it into a cross between EBM and hypnotic techno. From a graphic design perspective, renowned artists Alex Trochut and Basora have once again collaborated on this project, repeating the formula that made the artwork for Where Things Are Hollow such a collector's item.
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2LP
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LPS PS005-LP
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2023 repress. From its creation in the late '90s until its closure in 2009, the Toytronic label witnessed a digital revolution that transformed the record industry, turning glitch into a production tool for a whole generation heir to the of bleep 'n' bass sound. Thanks to their impeccable A&R credentials, its head honchos, Martin Haidinger and Chris Cunningham, created an incredible IDM label catalog, as well as producing their own material under pseudonym Abfahrt Hinwil. Their only album to date Links Berge Rechts Seen (Toytronic, 2002) was released as a compilation featuring tracks from their brief career that over the years has become a benchmark for the Toytronic sound. This album included their first -- and only -- three releases signed to Expending Records and Toytronic, and also included two previously unreleased songs: "Planquadrat" and a hidden track at the end of the CD version. Lapsus presents Links Berge Rechts Seen, which will be released on vinyl for the first time as part of its Perennial Series. Originally released on CD in 2002. The collector's format double-LP is accompanied by a double-sided lithographic print, which includes a unique and exclusive interview from Martin and Chris, talking to prestigious electronic music journalist Philip Sherburne; marbled vinyl (solid silver & black) double-LP.
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2LP
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LAPSUS 022LP
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Quinze -- "fifteen" in Catalan -- is the title of the new release from Barcelona's Lapsus Records. Lapsus celebrates its fifteenth anniversary with the launch of a new compilation comprised of today's most compelling, experimental, and ground-breaking electronic music. Fifteen unreleased songs from artists that best define the Lapsus sound: Attraktta, Chevel, Gábor Lázár, Gacha Bakradze, Johanna Knutsson, Karen Gwyer, Leif, Machine Woman, Patricia, Pye Corner Audio, RRUCCULLA, Steve Hauschildt, Telefon Tel Aviv, The Belgium, and Ylia. Double-LP on marbled vinyl: solid yellow, solid orange, and solid red.
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