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2LP
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MNQ 129LP
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$25.00
PREORDER
RELEASE DATE: 10/16/2020
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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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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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 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 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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12"
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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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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 131LP
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RSD 2019 release. 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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MNQ 132LP
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RSD 2019 release. 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 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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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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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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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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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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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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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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