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LP
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MNQ 140LP
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Mannequin Records present for the first time on vinyl, the reissue of Giovanotti Mondani Meccanici's first video soundtrack, originally released in 1984 as an audiotape in less than one hundred copies. Giovanotti Mondani Meccanici (literally "Mundane Mechanical Youth") or GMM was one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami, aka Alexander Robotnick, a pivotal member of GMM, was responsible for the group's music output. Founded in 1984 by Antonio Glessi and Andrea Zingoni in Florence, GMM was an art collective whose production represents the quintessential expression of postmodern transmedia hybridity. GMM pioneered the genre of computer comics, created video installations, developed "multiple identity" performances, and was involved in fashion, media, and music productions, and later on produced cyberdelic environments, artificial reality projects, and proto-memes. Alexander Robotnick's first contribution to GMM was this soundtrack for the group's eponymous first video, the animated version of a computer comics they coincidentally published on legendary Frigidaire magazine. Restored by Dami and reissued here for the first time by Mannequin Records, the composition was also split into two "suites". Determining in this work is Dami's adoption of the alphaSyntauri, also known as the first affordable digital synth (priced less than $2000 when it was released in 1980), which was playable through its own software, "alphaPlus," on the Apple II computer. The same computer was used by Glessi to "draw" the 3-bit strips scripted by Zingoni recounting the joyrides of the Giovanotti Mondani Meccanici, three merciless cyborgs in black suit and sunglasses. As Robotnick, Dami developed an innovative formula of Italo disco that was attractive to the dancefloor yet at the same time highlighted the expressive properties of the instruments he used, notably Roland drum machines and Korg synthesizers. For the soundtrack of GMM's videos and installations, he left aside the danceable synth rhythmics in favor of ambient sounds that produced rarefied atmospheres, psychological tensions, and enhanced states of consciousness. Dami's scores for GMM's artworks could be associated with Italian avant-garde music of the 1970s and 1980s, ranging from composers who adopted electronics flirting with pop and songwriting to minimalist musicians exploring seriality and drones, including Franco Battiato, Roberto Cacciapaglia, Francesco Messina, and Riccardo Sinigaglia. Analogies could also be traced with the playful and humanizing approach to personal computers that characterizes the music output of Marcello Giombini and Doris Norton. The futuristic escapism of minimal synth and ambient music's psychological nature is infiltrated by drifting harmonics typical of new age, as if in search of a spiritual dimension of technology.
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MNQ 144EP
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Mannequin Records welcome a brand-new killer release from the legendary French producer Arnaud Rebotini. Whether as one half of Black Strobe or in his own material or just busy receiving a César prize in 2018 for best film music, Arnaud Rebotini devotes his career to mind-blowing electronic productions. Passionate about analog synthesizers, and with a strong taste for electronic music of a dark and brutal hue, the new EP Shiny Black Leather pushes to the limit his EBM-influenced electro-goth side, making the most doomy, goth clubber happy.
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MNQ 115LP
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Reissue, originally released in 1987. The self-named LP marked the fifth album and end of the first incarnation of Bourbonese Qualk. Julian Gilbert left the group after The Spike (1986) to concentrate on writing and theatre, leaving Steven Tanza and Simon Crab who parted ways after touring in Europe in early 1986 and recording this album. Steven Tanza went on to found the group The State and while Crab continued as Bourbonese Qualk (with the new line-up of Miles Miles, Crab and Owen If), dissolved the Recloose Organisation label and founded New International as the outlet for future Bourbonese Qualk and Recloose Org releases.
"If we were awarding prizes for making people rush out of the room in blind panic Bourbonese Qualk would have a trophy cabinet to match Bayern Munich's. Strange, because whilst some of their music is damned uncomfortable listening, an equal part is pleasantly ambient. Pretty, even. Their fifth album is no exception with different types of track side by side throughout, so that the listener can neither drift along in a state of slumber nor masochistically subject themselves to the audio equivalent of the Chinese water torture. This makes it all a very stop-start thing but all the more rewarding as a result." --Can't Be Beat, London 1986
Bourbonese Qualk were an experimental music group from England, active from 1979 through 2003. They were always obsessively and uncompromisingly focused on controlling their work: they ran their own record label, recording studio, tour organization, and music venue (the notorious Ambulance Station). They refused to integrate into the commercial music racket and turned down publishing deals from major labels, stubbornly opting for total independence. They're also known for their political activism, formed in the crucible of 1980s Britain amid such influences as the UK miners' strike, The Falklands War, Thatcherism, monetarism, local government corruption, squatting, anti-capitalism, anti-fascism, and anarchism. Their work was often ambiguous and directly critical of cynical power-politics of any color, often irritating members of the traditional organized left. In 1984 Bourbonese Qualk occupied a large empty building -- The Ambulance Station -- on the Old Kent Road in South London, which they turned into a base for their activities, a cooperative space for artists, musicians, and writers, and a center for radical political activism -- specifically as a coordinating center for the Stop the City anti-capitalist riots of 1984. This is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge. Remastered by Rude 66. Graphic design by Simon Crab. Edition of 400.
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2LP
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MNQ 151LP
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Alessandro Adriani marks his comeback on Mannequin Records with an impressive body of work on this double-LP Program & Rhythm, inspired by the Italian library music and soundtrack composers. Italian composers from the '60s to the '80s seemed limitless in their experiments and endlessly colorful, despite being a hidden part in the history of music. Library music takes weird and fantastic detours, between garish drum machines, seedy guitars, synthesizers gone haywire, and fractious brass sections. The scene's big names included Ennio Morricone, Piero Umiliani, Alessandro Alessandroni, Giampiero Boneschi, Egisto Macchi, A.R. Luciani, and Bruno Nicolai, just to name a few. After spending weeks on end in an improvised-by-covid home studio recording hours and hours of music every day, Alessandro was turning and shaping his analog machines into an experimental synth pop, psychedelic funky jazz, and weird ambient fusion, making up six different releases called simply Program & Rhythm from the Roland CR-78 programming buttons. The final selection of 42 tracks out of the six releases -- originally intended to be put out as tapes -- would finally compose the track list of the double vinyl presented here, with the catalog number PR and roman numerals used for the track titles. An exceptional document of music in Alessandro's discography, Program & Rhythm enters into an ultimate unknown journey, creating music for films that do not yet exist, putting his steps deeper into a faceless obscure music.
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MNQ 114LP
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Reissue, originally released in 1985. Bourbonese Qualk's third album The Spike was recorded during the period 1984-1985 and published by the Berlin based Dossier/Atonal label while Bourbonese Qualk were involved in organizing the Berlin Atonal festival. Parts of side two of the album is a recording of pieces made for a dance and film performance at the Bloomsbury Theatre in London in 1985. Bourbonese Qualk were an experimental music group from England, active from 1979 through 2003. They were always obsessively and uncompromisingly focused on controlling their work: they ran their own record label, recording studio, tour organization, and music venue (the notorious Ambulance Station). They refused to integrate into the commercial music racket and turned down publishing deals from major labels, stubbornly opting for total independence. They're also known for their political activism, formed in the crucible of 1980s Britain amid such influences as the UK miners' strike, The Falklands War, Thatcherism, monetarism, local government corruption, squatting, anti-capitalism, anti-fascism, and anarchism. Their work was often ambiguous and directly critical of cynical power-politics of any color, often irritating members of the traditional organized left. In 1984 Bourbonese Qualk occupied a large empty building -- The Ambulance Station -- on the Old Kent Road in South London, which they turned into a base for their activities, a cooperative space for artists, musicians, and writers, and a center for radical political activism -- specifically as a coordinating center for the Stop the City anti-capitalist riots of 1984. This is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge. Remastered by Rude 66. Graphic design by Simon Crab. Edition of 400.
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PIC. DISC
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MNQ 145EP
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Forever lost single track from Caroline K real name Caroline Kaye Walters -- founder member of Nocturnal Emissions, one of the best UK experimental/industrial music groups in the 1980s. Conceived at her Brixton studio in 1983 during the same sessions of Don't Believe It's Over, "Mirrorball" sounds heavily inspired by "Blue Monday" from New Order, unveiling an unexpected pop side from the British experimental artist, here with the help of Beverley Ireland at the voice. Caroline Kaye Walters formed Nocturnal Emissions in 1980 with Nigel Ayers, contributing voice, synthesizer, bass and drum programming to the group's early releases. She and Ayers also co-founded Sterile Records (1979-1986), one of the key underground imprints of its time, home to music from the likes of SPK, Lustmord and Maurizio Bianchi. In later life Walters retreated from the public eye, and in 2001 married Daniel Ayers (Nigel's brother, also of Nocturnal Emissions, and her collaborator in The Pump), moving to Garfagnana, Italy, where she resided until her death from leukemia on July 12, 2008. Mannequin Records head Alessandro Adriani goes once again at the remix duties with a nearly seven-minute minimal-electro-Balearic remix, overheating his Roland Tr-808/909/707 with delays reverbs and flangers and updating the original track for the dancefloor.
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MNQ 141LP
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Mannequin Records welcome Dame Area into the label's family. Hailing from Barcelona, Silvia Konstance and Viktor L.Crux (a collaborator of Nurse With Wound and Joachim Arbeit from Einstürzende Neubauten) developed during 2020 a unique music style recognized as "tribal wave". Mixing synth bassline arpeggios and live percussions, noises and congas, industrialism, and tribalism, Italian and Spanish, Dame Area are running across the same path and breathing the same air of the EBM/industrial driven Diseño Corbusier or the drum compositions of Roberto De Simone. Starting to play live and releasing their music in 2018 for their own label and venue Magia Roja (with the support of fans like Julian Cope and Yamatsuka Eye), their incessant touring schedule has already seen them play all over Europe in the past couple of years. Since 2019, they also play live as a trio with Jesse Webb from Gnod/Anthroprophh at the drums/percussion. For fans of: Diseño Corbusier, Esplendor Geometrico, group A, Kris Baha. Red vinyl; edition of 400.
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MNQ 132LP
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Mannequin Records start 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 released on Illuminated Records in 1983, Viral Shedding is surely one of the most important references for the industrial/funk dance music. Between pure noise and electronic beats, Viral Shedding is creating a twisted and percussive rhythmic urge, a funky disco sound permeated by digital industrial beats. Nigel Ayers and Caroline K take their inaccessible best and thrown it into the melting pot with a set of pumping rhythms. The result is the frustrated son of mutant disco, swimming in the same waters of Cabaret Voltaire, 23 Skidoo, Tackhead, Meat Beat Manifesto, and Hula. As Nigel Ayers recalls, "Popular music picked up on what we were doing 1983-1984, which helps explain why records such as Viral Shedding sound clubbier today than they did at the time, but the technology of music making locked in a seat of aesthetics in those days that shaped pop as a whole more than industrial music itself did. Whether by synthesizer manufacturers' musical design or through engineering limitations, the more automated a band allowed their music to become, the dancer it was likely to be." Features the classics "Suffering Stinks", "Going Under", and "No Separation".
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MNQ 131LP
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Mannequin Records start 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 1985 for Sterile Records, Songs of Love and Revolution is the Nocturnal Emission's most successful album ever. The release marked the end of a period of more "conventional" songwriting and instrument use for Nocturnal Emissions. The first couple of albums were brooding, bleak affairs that called to mind a more sedate version of SPK. Then came a few albums that were firmly song-dominated. SOLAR was the last of the bunch, and was the most explicitly "message"-oriented and political. Songs of Love and Revolution was a big step forward for the band, having a full-color cover and turning the NE sound further towards electronic pop music. Classics such as "No Sacrifice" and "Never Give Up" have made this an essential album for every fan of electronic music. As Nigel himself reminds, "they were buying lots of equipment at the time and seemed to have naturally acquired some skill over the years so they thought, 'Let's make some pop music.' He continues: "The Miners' Strike was on and there were riots down our street in Brixton. I was convinced there was going to be a revolution. But it would probably have been quite unpleasant. All these old punks and hippies preaching revolution, I don't think we were really prepared to live with the consequences. If we actually had a revolution in this country, it would be like Iraq or something, or Syria. But we were having horrible times with Thatcher. All we could do in that sort of milieu was imagine what the alternative would be like."
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12"
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MNQ 135EP
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Sam de la Rosa of the band Led Er Est, and with Karen Sharkey of The Coombe, is back on Mannequin Records with his third release with four stunning tracks blending the finest TR-606 driven electro cold wave with expressive spoken wordy minimal synth instrumentals. Mixed by Marcos Cabral. Mastered by Rude 66. Graphics by Alessandro Adriani.
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2LP
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MNQ 129LP
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Mannequin Records present a double-LP compilation of the Dutch industrial-experimental heroes Doxa Sinistra. Preciously selected by the expert ears of Frank Brinkhuis, head of Trumpett, Universo spans from 1982 to 1988 through their entire discography. Doxa Sinistra was formed in Amsterdam, The Netherlands, early 1982. On the strength of live performances at Paradiso and Ultra venue Oktopus, the two-piece band was invited by Trumpett to record an album in the Freakowitz & Einstein Studio in Den Burg on Texel. Armed with their Korg MS-10 and Korg MS-20 synths they took the ferry to the West Frisian island, and spent a week recording in the legendary Trumpett HQ. The result, the debut cassette Via Del Latte, was released in June 1982. Just months later band member R. K. kidnapped the band name, formed a new duo and played one live date. After that the project fizzled out. Until early 1984, when Trumpett and Doxa Sinistra received an invitation from Italian cassette label ADN to record a new album. The invitation was accepted and Doxa Sinistra Mark II was born. Conveyer Belt, recorded between June 1984 and February 1985, appeared as an ADN/Trumpett co-release in August 1985. After the move of the Trumpett Studios to Amsterdam late 1986, Doxa Sinistra started demoing a new album in the Summer of 1987. California based underground cassette label, Ladd-Frith, were keen to release the ultimate results. Recorded early 1988, Newsflashes, the group's third and final album, was released as a Ladd-Frith/Trumpett co-release in the Summer of 1988. Graphics by Alessandro Adriani, Berlin, 2020. Mastering by Rude 66, Amsterdam, 2020. Edition of 300.
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LP
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MNQ 142LP
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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.
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MNQ 126LP
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Japanese industrial/avant-garde synth duo group A partner with choreographer/performer Dana Gingras and Montréal media artist Sonya Stefan as well as Finnish lighting designer Mikko Hynninen for anOther, the multimedia project developed and premiered at Agora de la danse, Montréal, April 2018. Performance, installation of televisions, sound, light, and image converging to create an exhilarating event placing a living, breathing and transmuting body at the heart of the experience. "A hybrid of art installation and electroacoustic performance, anOther transports us into a post-feminine fourth dimension, whose atmosphere is as enticing as it is paradoxically unsettling. This jewel of experimental choreography will thrill visual art and underground music aficionados." --Mélanie Carpentier, Le Devoir. Solid red vinyl; edition of 400.
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MNQ 134LP
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June's Silver Demon explores a futuristic dystopian world where transcendence and oppression coexist, where claustrophobia and infinite openness coincide. A world of contrasts that is the product of the artist's active imagination and conscious effort to confront the subconscious. The album was recorded using original techniques from the golden era of electronic music (late '70s to mid-80s) with an arsenal of vintage analog synthesizers, drum machines, and effect processors (originating) from the same time period. While the aesthetics of the classic precursors emerge through the minimal, deep, dark architecture of June's music, Silver Demon prevails with the artist's characteristic originality. Graphic design by Lee Douglas. All tracks recorded and produced by Tsampikos Fronas, 2019. Mastered by Rude 66.
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MNQ 133LP
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Killer French minimal/industrial/electro tunes from A// aka Le Syndicat Electronique, French precursor musician and performer, at work since 1996, and founder of the labels Hieratique and Invasion Planete Recordings. Born in November 2018 at the same time as the French Yellow Vest Revolution, A// renews the industrial genre by his avant-gardism and his uncompromising vision of a refined music at its strict minimum, without artifices, without compromise in the sounds and words used. Recommended to fans of Dopplereffekt, Beta Evers, I-F, Umwelt, and Legowelt. Red vinyl; edition of 400.
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12"
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MNQ 055EP
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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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MNQ 037LP
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Mannequin Records release the long-awaited debut LP by Nottingham's finest purveyors of psychedelic noise, The Cult Of Dom Keller. Partially compiled from re-mastered and reworked versions of tracks previously included in the band's self-released series of EPs, this new incarnation of The Cult Of Dom Keller's sounds also features three unreleased recordings. This is the absolute first time that these recordings become available on vinyl, a format that perfectly complements the band's meticulously textured and carnal sound. A collection of fuzzily enrapturing and lysergic-tinged compositions with an electronically-infused backbone, the band's debut might appear as a slight deviation from Mannequin's traditional aesthetics. Mannequin Records' connoisseur audience will appreciate the novelty and will instantly fall for these stupefying songs. Golden vinyl; edition of 300. Strongly recommended to fans of Spectrum, Spacemen 3, Faust, Wooden Shjips, Moon Duo, Psychic Ills, The Brian Jonestown Massacre, and 13th Floor Elevators.
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12"
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MNQ 049B-EP
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2020 version; black vinyl and alternative cover. Originally released in 2014. Void Vision is a Philadelphia based solo female minimal synth/cold wave project from Shari Wallin. Already included by Rough Trade in their seminal Synth Wave compilations, the single anticipated her full-length Sub Rosa for Mannequin Records (MNQ 054CD/LP, 2014). "Sour" was featured in the acclaimed Wild Wild Country Netflix series in 2018. Music supervisor Chris Swanson about the track: "We were having a hard time finding a song for that scene, actually. We had a Future Islands track originally in that scene, I think, but I remember we were having a hard time getting the tone right... because there were objectives with regards to the narrative... we wanted a good beat, a sense of time but also conforming to the time. I think of all the songs [in WWC], the Void Vision song is the one that stands out... because it was different yet it sold the story that we were trying to tell." Remix by Vanzetti & Sacco, aka Jos Van Galen with the Otto Kraanen, the boss of the acclaimed Bordello A Parigi from Rotterdam. Edition of 500.
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MNQ 136LP
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Exploring the balances between pop song writing structures, '80s cold wave bedroom style electronic production, and dreary gloom rock, Paris-based Dissemblance presents her debut LP Over The Sand for Mannequin Records. Over ten tracks, Dissemblance treads the fringes of a blurred dream world, using her bass guitar, voice, and drum machine as the backbone to create haunting yet soothing pop atmospheres in her songs. The opener "Transfuge" maintains a focus on the bass guitar, while a sparse rhythm box and monotone vocal fuel unbreakable tension. "Rescue" continues centered around the bass playing, this time with more almost upbeat surf rock pop sensibility driving the track. The closer, "A Ride", takes shape with Boss DR-55 clicks, solemn, floating vocals, and a subtle bassline reminding us of some of Lifetones' finer moments. A welcome new addition to the Mannequin catalog, Over The Sand will appeal to fans of gloom-tinged electronic pop and even to optimistic goths around the globe. All songs written and produced by Mathilde Mallen in Paris, France. Mixed by Silent Servant in Los Angeles, California, 2019.
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12"
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MNQ 128EP
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Mutant industrial acid house from one member of the UK Mutoid Waste Company art and performers collective. The Mutate tracks were created in 1990 when Steffe Lewry, vocalist composer and producer from the UK, active since the mid 1970 (Gong, Planet Gong, Here & Now), was living with members of the Mutoid Waste Company -- the legendary performance arts group founded in West London in the early '80s. Influenced by the movie Mad Max and the popular Judge Dredd comics, they specialized in organizing illegal parties in London throughout the 1980s, driven at first by eclectic assortments of fringe music such as psychedelic rock and dub reggae, but then embracing the burgeoning acid house music movement by the late 1980s. Described as "part street theater, part art show and part traveling circus" in the 1986 LWT documentary South of Watford presented by Hugh Laurie. The group became famous for building giant welded sculptures from waste materials and for customizing broken down cars, as well as making large scale murals in the disused buildings where they held their parties. In 1989, after a number of police raids on their warehouse in King's Cross, they left the country and traveled to Germany where they became notorious for building giant sculptures out of old machinery and car parts, one of which was "Käferman", a giant human figure with a Volkswagen Beetle for its chest, offering a Bird Of Peace sculpture that overlooked the Berlin Wall towards East Berlin and the regime of East Germany. They had a collection of scrap military vehicles, including a Russian MiG 21 fighter aircraft which "followed" them around wherever they went, and a painted tank known as "the Pink Panzer". The three tracks where included in a video compilation of Mutoid art, "How The Mutoids Brought Down The Berlin Wall", edited by film maker Jonathan Barnett.
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MNQ 137EP
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Amato & Adriani is the new found project by Michel Amato, more commonly known as influential artist The Hacker, and producer and Mannequin Records label head honcho Alessandro Adriani. The collaboration fuses contemporary ideas with the duo's shared love for electro, EBM, post-punk, wave, and the natural synergy to be found in the creative moment. The result, an innovative hybrid of classic sounds fueled by two creative forces working in pure synchronization. Their debut EP, Présence Du Futur, includes a special collaboration with Cabaret Voltaire singer (and founder) Stephen Mallinder.
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12"
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MNQ 130EP
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Mannequin Records is elated to present a rare lost demo tape recording of Caroline K -- real name Caroline Kaye Walters -- founder member of Nocturnal Emissions. Presented in four different versions -- "Original", "Dub", "Instrumental", and "Edit" -- "Don't Believe It's Over" was recorded in 1983 at Caroline's home studio in Brixton. With Beverley Ireland -- a mysterious friend -- on the vocals, Caroline used a full weapon gear made of Sequential Circuit Six Tracks and Drumtracks, Roland SH-101, Roland Tr-808, Powertran Vocoder, EMS Synthi, some Casio, all recorded on a Fostex 8 tracks reel-to-reel. Features an Alessandro Adriani re-edit.
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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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