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viewing 1 To 25 of 77 items
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12"
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MNQ 055EP
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$14.50
PREORDER
RELEASE DATE: 2/15/2019
Mannequin Records present a new press of Decadance's "On And On (Fears Keep On)", one of the most iconic underground Italo-wave tracks ever. Produced by Franco Rago and Gigi Farina, the masterminds behind cult Italo disco projects 'Lectric Workers, Wanexa, Expansives, Atelier Folie, Peter Richard, and many more, the single was originally released in 1983 by Proto Records. Permeated by a dark and eerie synths, a perfectly programmed Roland TR-808, and an outstanding analog production, "On And On (Fears Keep On)" belongs to dark Italo disco or Italo wave. Remastered by Rude 66, 2018, Berlin.
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LP
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MNQ 103LP
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Mannequin Records starts a series of re-presses dedicated to the legendary Nocturnal Emissions, one of the best kept secrets of the industrial genre since the 1970s. Led by Nigel Ayers and Caroline K, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle, SPK, and Cabaret Voltaire. Originally self-released in 1988 on Earthly Delights, Spiritflesh is a masterpiece and a major reference for the early drone/dark ambient minds. By the time the album came out, Nocturnal Emissions had already produced several albums of electronic music which varied from noisy to funky. Displaying his usual perversity, Nigel chose to ditch electronic dance music immediately before the acid house revolution and produce a series of utterly compelling atmospheric albums which are often referred to these days as being "ambient industrial". Spiritflesh was the first offering by the new shape of Nocturnal Emissions. The record "came out of a long, hard thinking, a personal examination of my own motives for working within music." Nigel Ayers played church harmonium, chime, and music box on the record, and used samples of chimpanzees, cattle, and African and European wild birds. While generally ambient, the music is not like Brian Eno's work; it is atmospheric, but impossible to relegate to the background. "There's always a dangerous intrusion of the real world into our music," Ayers said. "We're looking into the relationship between people and the environment, the kind of feedback which happens between people and locations. Underneath it all, this planet has got its own message."
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12"
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MNQ 127EP
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Mannequin Records presents the first of a new series of compilations under the Death Of The Machines moniker, highlighting the dance floor/experimental oriented side of the label, and dedicated to new artists. Connecting music producers from all over the world, this new compilation will unearth names who are already building strong grounds for the future. Features: Exterminador, Craow, R Gamble, and Plastic Ivy.
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2LP
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MNQ 125LP
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Mannequin Records presents Le Syndicat Électronique a self-titled double LP retrospective compilation of the French electro-wave pioneer. Le Syndicat Électronique is the historical electro-wave project of Alaxis Andreas G., founder of the seminal Invasion Planète Recordings. Invasion Planète was the first French minimal electro-wave/experimental label founded in late 1998 by the insurance proceeds of a car crash. Heavily influenced by the work of masters like Kraftwerk, John Carpenter, and Front 242, Alaxis Andreas G. is responsible for many others' dark electronic/industrial/neo-folk projects to name a few: A//, Bruta Non Calculant, Swesor Brother, La Séduction Des Innocents, It & My Computer, and Eva VIII. After many years of supporting his artistic vision and direction, we decided it was time to collaborate together in this killer compilation, which includes five historic tracks never pressed on vinyl, while three more are being released for the first time ever.
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MNQ 121LP
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Mannequin Records concludes its trilogy of reissues from the avant-garde Italian-born producer Doris Norton with Artificial Intelligence (1985). Apple's first music "endorsement" (Norton was also later a consultant for IBM) and early Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro/computer music. While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre Erdenklang (1982). A year on from Personal Computer (MNQ 120LP, 2018), Norton released Artificial Intelligence in 1985, setting a step up in her deep electronic music research and innovation.
"The whole album was composed and programmed only with the alphanumerical keyboard of the computer. The total of the notes and coded events takes to the number 124,648: of these 123,827 were coded with 'step time' procedure and the rest with real-time procedure. Having reduced the keyboard, Norton used only a hexaphonic JX.8P with memory processed by her and interfaced to the computer. No drums were used, neither electronic nor much less acoustic. All the rhythms were obtained by A.D.A. conversions and processing of wave ranges with the use of expanders with a very special handling of envelopes, frequency, resonance, and noise. Doris Norton fed the computer the parameters of vowels and consonants of her own voice, like A, O, U, E, D, and N, through an A.D.A conversion card. By processing these values and assembling them in phonemes in hundreds of different combination, at various compressed resolutions she was able to make the computer sing a complete song in a totally human way (with the voice of Doris). Many other synth sounds resulting from A.D.A. conversions are present in Artificial Intelligence, amongst these: pipe organ, plate, electric discharge, iron beat, birds, dog, harp, and woods, all sampled and handled by the computer. Artificial Intelligence is a perfect example of how human intelligence can bend the coded 'artificial intelligence' to its own will." --ComputerMusik, 1985.
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12"
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MNQ 124EP
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George Thompson, aka Black Merlin, is joining the family of Mannequin Records with this insane EP for the Death of the Machines, the series dedicated to new artists ready to smash the dancefloor. Three-tracks strongly permeated by drones n' noises, EBM basslines, and a 4/4 straight techno-ish kick drum.
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12"
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MNQ 107EP
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Raw Ambassador steps in again for Mannequin Records' series Death Of The Machines with a veritable feast of '80s industrial and primitive EBM bangers. Four tracks of mutant industrial music designed for spreading disease and bringing disorder in every dance floor around the globe.
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12"
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MNQ 095EP
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After a year which saw them work with Return To Disorder, Contort Yourself, and New York Haunted, the Hamburg-based duo Fallbeil debuts on Mannequin. Tune in the incredible electro/acid razor "The Healer", also available on the B side with a distorted and industrial influenced version by Innsyter aka Fernando Seixlack, already smashing it for L.A.'s Club Resource. The 707-electro-driven extra track "Voice of Thunder" completes the pack. Just killer.
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12"
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MNQ 122EP
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Giant Swan debut on Mannequin Records through the Death Of The Machines series, the dancefloor/experimental oriented side of the label, dedicated to new artists. Robin Stewart and Harry Wright team up to create an acerbic marriage of energized, aggressive dance music, quaking bass and hypnotic electronic noise. Across a table of machines and pedals, incorporating abused guitar and liberal vocal manipulation, Giant Swan create a cross-breed of hypnotic bass, industrial percussion, and disorientating energy delivered with telepathic intricacy.
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MNQ 097LP
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Mannequin Records, Emotional Rescue, and Blowpipe come together to release the music of Dutch post-punk, industrial outsiders Nexda with a collection of music drawn from all their single and EP vinyl releases. Taken from two 12" EPs, a split 7", and a flexi 7", all released in 1982, the music within Word & Numbers captures striking compositions, part of, but in some way removed from their contemporary post-punk bands coming out of the Dutch "Ultra" scene of the time. Developing out of a series of concerts in Amsterdam, Ultra expanded to Eindhoven, Nijmegen, and Haarlem, with artists and musicians creating their own work spaces and studios. Driven by the DIY mentality of the punk movement, this uniquely Dutch take on the post-punk ethos embraced avant-garde thinking and experimentation that disseminated in ideas and from that, sound. Coming from Haarlem, Nexda -- consisting of Ivo Schalkx, Karin Hueting, Martienden Nijs -- played music on handmade drums, metal, organ, saxophone, and voice. Releasing a series of cassettes on their and Wim Dekker's (Smalts, Minny Pops) Studio 12 label, the latter's link with Wally Van Middendorp's Plurex label, resulted in the release of Nexda's two EPs -- 246, 121 and 657 (1982) and Second (1982) -0 with artwork of Ivo Schalkx, are included here, both in their entirety. Capturing the band's heavy percussive backdrop, raw, dub baselines contrast with questioning, mainly spoken-word lyrical poetics, saxophone underplay and occasional Pablo-style melodica. The avant nature of the music is apparent and enticing, where experimentalism and artistic expression was sought over commercial success and technique and song form were less important than the process of exploring ideas. The none-descriptive titles match song structures that jettison the traditional verse-chorus-verse; weaving across the eight songs so that they can be heard as one, as much asshort bursts of individual statements. Graphic design rework by Alessandro Adriani. Mastered by Rude 66.
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MNQ 116LP
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RSD 2018 release. Reissue; 35th anniversary edition. Mannequin Records present a reissue of Doris Norton's Norton Computer For Peace, or Nortoncomputerforpeace, originally released on Durium Records in 1983. This is a part of a trilogy of reissues from the avant-garde Italian-born producer, released alongside Personal Computer (MNQ 120LP, 1984) and Artificial Intelligence (1985). Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro/computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance, and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage, and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a MiniMoog, a Roland System 100M, a Roland System 700, and the ARP 2500/2600. In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera Under Ground. Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), Personal Computer (1984) -- whose album cover prominently features Apple's colored logo -- and Artificial Intelligence (1985). Third studio album, Nortoncomputerforpeace involved Doris Norton, Antonius Rex, and Rudy Luksch (hardware engineer). "Don't Shoot At Animals" was used as original soundtrack for the RAI TV program Rumore Di Fondo directed by Umberto Marino.
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2LP
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MNQ 100LP
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The modern synth wave scene would be significantly poorer without the keen ear and tireless efforts of Mannequin Records, run by Alessandro Adriani. Geographically situated within the nerve centers of Rome and Berlin, yet with a musical spirit that easily transcends these boundary lines, Mannequin Records' back catalog has been an important component in electronics-based independent music in the 21st century. Recent accolades and accomplishments -- being named Resident Advisor's "Label Of The Month" in May of 2017, starting the Death Of The Machines 12" series, and being given the "green light" for bi-monthly parties at the Säule room in Berghain -- have been earned through Mannequin Records' unflagging commitment to sonic diversity and Adriani's own realization that the anxious and sharp-edged sounds associated with, say, the Cold War of the 1980s can convey a completely different message today. Mannequin Records continues to go on exploratory missions to find the best and most relevant aspects of genres like acid, industrial, EBM, post-punk, cold wave, and still more. Mannequin Records' 100th release, Waves Of The Future, is a double-LP compilation which is not a conventional retrospective collection. None of the artists appearing on this collection have put out their own releases on Mannequin Records yet, despite acting as Mannequin's unofficial ambassadors (via DJ sets and other means). The set includes other scene leaders and label owners including Beau Wanzer, Willie Burns, Silent Servant, and Ron Morelli. Waves Of The Future projects a sense of aesthetic resilience and continuity; showcasing just how well the current artists allied with Mannequin Records employ and re-interpret the sonic lexicon of the label's reissues of "classic'" acts. Each track here pivots around a couple of key sound elements that seem to set the stage for the next track to come: see the sputtering/chopped ghost voices on Morelli's "Charges Won't Stick", which easily informs the slicing drone and authoritarian beat of Shawn O' Sullivan's "Ill Fit", which then lays down the emotional foundation for the sequencer-powered "With You" from An-I and Adriani or the glassy landscape of Illum Sphere's "Exhaustion". Elsewhere, the wired mischief of Not Waving intersects easily with the spherical electro-funk and coded commands of Beau Wanzer. When all the disparate parts of Waves Of The Future are soldered together, it perfectly illustrates Mannequin Records' non-linear philosophy and Adriani's suggestion that listeners engage with the music rather than try to analyze or dissect it.
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MNQ 118LP
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Mannequin Records present a reissue of Siekiera's Nowa Aleksandria, originally released in 1986. A classic record from the legendary '80s Polish post punk band. Originally released in 1986, Nowa Aleksandria caught brilliantly the cold, sultry atmosphere of the dark times of last years of communism in Poland. Influenced by British post punk heroes like Joy Division and Killing Joke, the album represents one of the most important records in the history of Polish rock. Graphic layout by Alessandro Adriani; Re-arranged from the original design cover by Alek Januszewski. Mastered by Damian Lipiński from the original analog master tapes. Edition of 500.
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MNQ 101LP
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Conceived along the space of a few years and part of a big collection of unfinished experiments stored on cassette tapes, this eight track selection represents Fred Ventura's late '80s and early '90s infatuation with Chicago house, Detroit techno, early Warp records, and even a secret passion for EBM. Using a basic set up made of Roland Juno 106, Roland JX-8P, Oberheim DX, Roland TR909, and an Akai sampler, these tracks were never officially mixed and never meant to be released, until now. Minimal and hypnotic, dry and direct, both sides of the record show an instinctive approach to rhythms and basslines, typical of those days where computer didn't have a predominant role in the creative process. One of the Italian electronic music's best-kept secrets. Graphic design by Alessandro Adriani. Mastering by Alden Tyrell and Enrico Colombo. Solid grey vinyl; Edition of 400.
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12"
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MNQ 117EP
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Berlin-based, Japanese industrial synth duo Group A's debut on Mannequin Records. Tommi Tokyo and Sayaka Botanic released two studio albums and one live album in Tokyo before moving to Berlin in 2016. With their mixture of dark minimal synth, avant-noise, striking visuals, and performance art, the duo carries the very breath of early industrial pioneers. "T.O.P." and "Ketabali" represents their personal reaction against the current economy -- an up-yours to capitalism, news, and politics. "Alibi" was inspired by an autobiography of Hi-Red Centre (Japanese avant-grade group in the '60-70s) written by one of the members, Genpei Akasegawa.
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12"
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MNQ 109EP
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Sam de la Rosa, best known under the alias Samuel Kklovenhoof of the band Led Er Est and with Karen Sharkey of The Coombe, is back on Mannequin Records for a stunning four-track electro-wave-experimental release. Texas born, but connected to New York's cold wave and disco scene from mid-2000, and the Wierd Records family, Sam's music is a clever mix of post punk, electronic hybrids, experimental pop, and catchy melodies. Additional mix by Michael Stein from S U R V I V E.
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2LP
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MNQ 102LP
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Double LP version. Led by Nigel Ayers, Nocturnal Emissions was one of the first bands to use tape cutting, avant-garde art, and underground video works to create a stage experience that was cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire. The band moved on to using samplers and electronic noise in their early '80s work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the '90s when they started www.earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies -- they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel -- and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website. Nocturnal Emissions is a compilation of classic tracks from the early to mid '80s. Track selection by Alessandro Adriani. Graphic artwork by Simon Crab. Audio mastering by Rude 66.
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MNQ 102CD
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Led by Nigel Ayers, Nocturnal Emissions was one of the first bands to use tape cutting, avant-garde art, and underground video works to create a stage experience that was cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire. The band moved on to using samplers and electronic noise in their early '80s work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the '90s when they started www.earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies -- they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel -- and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website. Nocturnal Emissions is a compilation of classic tracks from the early to mid '80s. Track selection by Alessandro Adriani. Graphic artwork by Simon Crab. Audio mastering by Rude 66.
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MNQ 096LP
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Mannequin Records present an LP compilation of Michael Antener's (Swamp Terrorist) early '80s minimal synth/industrial projects Nacht'Raum (with Michael Stämpfli) and his solo project Bande Berne Crematoire. Heavily influenced by the works of SPK and Nocturnal Emissions, Michael Antener made his first recordings in the basement of his parents' house in a small village nearby Bern, Utzensdorf. He started BBC in 1980, a hybrid of Neue Deutsch Welle and noise/experimental, making a household name in the international home recording scene of the time and participating to many tape compilations. Teaming up with Michael Stämpfli as Nacht'Raum, he self-released the untitled mini-LP in 1983. Coming out from the same town of Grauzone, the duo moved into the darkest minimal electronic sounds, choosing German as main language for the lyrics and a Roland TR-808 as main drum machine, bringing the sound to a proto-electro dimension. Nacth'Raum is a real gem in '80s Swiss underground electronic music, together with Mittageisen, Grauzone, LiLiPut, and The Vyllies. Michael, by the way, later teamed up with Ane Hebeisen. They went by the name of Swamp Terrorists, releasing seven albums and touring throughout the world until the end of the '90s. At the end of the '90s, he sold all of his instruments and became an independent graphic artist. Mastered by Rude 666. Includes two inserts; Edition of 500.
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LP
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MNQ 110LP
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Montréal synth pop band Police Des Moeurs are one of the finest and rawest bands in the minimal synth/wave and cold wave scene. Dédales, their third full-length album, keeps the pure energy of their previous efforts while leaving greater room for atmospheric and textural considerations. Dédales leads you into the passage zone between civilization and wilderness, a mysterious place where truth, lies, light, and darkness collide. For fans of New Order, Martin Dupont, Rational Youth, Xeno & Oaklander. Mastering by Rude 66; Graphic design by Alessandro Adriani. Edition of 500.
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MNQ 069LP
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Mannequin Records present Atelier du Mal's Noblesse Oblige, originally self-released on cassette in 1984. A brilliant comet of the Italian new wave scene, Atelier du Mal were formed in Florence in 1983 by Lapo Pistelli (synths, electronic drums), Iacopo Ficai Veltroni (bass, synth), and Ignazio Matteini (drum programming, percussions). Recorded in 1984, Noblesse Oblige was the first, and subsequently the only, demo tape by the group, using classic gear like Korg Ms-20, Roland Tr-606, Roland Tr-808, Roland Juno 60, and Roland TB-303. For fans of John Foxx, Tuxedomoon, Ultravox, Oppenheimer Analysis, Central Unit. Mastered by Rude 66; Graphic design by Alessandro Adriani. Edition of 400.
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12"
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MNQ 094EP
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Originally released in 1990 on Doremix Records, Techno Bert was the studio project of Robert Passera and Stefano Cundari. "Neue Dimensionen" was developed on Siouxsie & The Banshees' well-known guitar riff in "Happy House", in a techno crescendo, where the duo enjoyed inserting as many samples as possible, stopping only when the sampler's memory was full. The vocal sample comes from "Herrmann Hiess Er" by Nina Hagen, cutting and pasting vocal fragments all around the track. Even without big sales numbers and without any radio passage, the song survived by virtue of a subtly underground connotation. Edition of 500.
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MNQ 099LP
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RSD 2017 release. Mannequin Records present a reissue of one of the best minimal synth/cold wave albums of the past 15 years. Dust On Common from Led Er Est (Sam De La Rosa, Shawn O'Sullivan, and Owen Hutchinson) was originally released in 2009 by the seminal Brooklyn based record label Wierd Records. The band's first full-length release showed the three piece clearly breaking out of the minimal synth underground they had been a vital integral part of since its inception in Brooklyn to create an undeniably contemporary set of highly crafted and restrained, icily psychedelic pop songs. Synthesizing countless disparate musical influences from first wave British industrial music to house, disco, and the largely unknown cold wave (aka "La Vague Froide") tradition in Northern Europe, the tracks on Dust On Common fly by, straight out of the frozen hot, lonely cold plains of vocalist Samuel Kklovenhoof's native central Texas. After digesting a few songs of this rich dust, the listener can do no other than lie down in the wild weird Laredo bunker to revel in the refreshingly brisk blast of hedonistic analog pleasure dancing through the airwaves in the sky above... Comes on orange vinyl; Edition of 500.
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MNQ 105LP
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Mannequin Records celebrate their nine year anniversary with a reissue of Diaframma's Siberia, originally released in 1984. A masterpiece of '80s Italian new wave, and a cornerstone of Italian rock. At the end of the '70s Federico Fiumani, together with two classmates, gave life to CFS. The acronym is formed by the initials of the members: Gianni Cicchi (drummer), Fiumani (guitar and voice), and Salvatore Susini (bass). Later, Susini was replaced by Cicchi's brother, Leandro. The new incarnation of Diaframma was born, with the singer now replaced with Nicola Vannini. From their earliest moments, they shared the same stages as Neon, Pankow, and Litfiba, who all contributed transforming the Tuscan capital into the epicenter of post-punk in Italy. After their first single Pioggia / Illusione Ottica (1982), a split with Pankow (1982), and the mini-album Altrove (1983), the beautiful lyrics of the guitar player and leader Federico Fiumani exposed the band as one of the most popular in the Italian scene. In 1984, Diaframma signed onto IRA Records and Nicola Vannini was replaced by the painter and sculpturist Miro Sassolini. With Miro on board, Diaframma recorded Siberia, 3 Volte Lacrime (1986), and Boxe (1988), unwittingly laying the blueprint for the future generation of Italian alternative music scene. Siberia is one of the most successful attempts to combine derivative Anglo-Saxon musical styles and songs written in Italian. Siberia's title track is a masterpiece that highlights Fiumani's skills, drawing trajectories with his guitar in line with the metaphorical descriptions of a "big chill", reflecting the mood and social climate of Italy in the early '80s. Epoch-making is actually an adjective suitable for the album, filtered through the sensibility of memorable songs like "Neongrigio", "Amsterdam", "De Lorenzo", and "Specchi D'Acqua". An Italian breath, where the lyrics of Fiumani are totally lost in the symbolist poetry, represents a perfect model of harmony between the Italian metrics and the sound and rhythm of English post-punk. Siberia pictures Italy's first attempt to emerge from the exciting comfort zone of the "underground" to deal finally with the real market (IRA sold approximately 50,000 copies at the time), where the tradition of the Italian song-writing was merging with the musical forefather, such as Joy Division, Echo & the Bunnymen, and Television. In February 2012, Rolling Stone placed Siberia as #7 on their poll of the 100 most beautiful Italian records of all time. Edition of 600.
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2LP
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MNQ 089LP
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Mannequin Records present an archival collection from the genesis of Orphx's sound. Inspired by early industrial music and new waves of noise from Japan and Europe, the compilation is gathering together some of the best material from their first two cassette releases, released in 1993 and 1994, along with previously unreleased tracks recovered from the original four-track tapes. Mastered by Rude 66; Graphic design by Alessandro Adriani. Edition of 500.
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