Suche:elec

James Shinra presents Shinra Electro Company Vol 1, a collection of dancefloor electro tracks showcasing a tougher, more bassy side to his sound. Lead track Poppin has had heavy support from Bicep, including featuring in their Coachella 2024 set.

Hackney Electronica come to Dark Entries with the Synaptic Shadows EP, featuring 5 cuts of acidic rave-inflected wave. Quinn Whalley (Paranoid London), Unai Trotti (Cartulis Music), and Margo Broom (Hermitage Working Studios) formed Hackney Electronica during COVID era. Trotti and Whalley were spending countless hours digging through records and making music during lockdown. As their sound took shape - heavy and hypnotic - they invited Broom to join, cementing the motley trio. The five pieces on Synaptic Shadows explore themes of altered states, late-night cityscapes, and the fine line between pleasure and paranoia. Each track pulses like a memory from the backstreets of Hackney, where the night transforms the city into an electrified maze of fleeting highs and inevitable crashes. The anxious grooves on “H.E. Nuestro Circuito” and “Whispers from the Depths” channel 1980s DIY electronics onto the contemporary dancefloor, while “Efecto Perfecto,” “The One”, and “Nueva Ola” offer breakbeat-laced electro that will keep you dancing until dawn. Housed in a sleeve designed by German Bardo, Synaptic Shadows is more than just a debut release, it’s a journey through the flickering alleys of the mind, where tension and transcendence intertwine.

Limited to 300 copies.

Japanese musician MERMAID, focusing on new roots dub with all bases in sine wave.

The songs have plenty of echoes of chamber music, Japanese folk songs and chopped his own voices, giving the listener layered sounds with a rather odd sense of humour :)

MERMAID is one of the members of DDM (Dangerous Dance Music), which is the movement spread from 'Los Apson?' record store in Tokyo.

After participating in dub & electronic compilations, continuing his own research into Reggae, he has finally unleashed 10 songs in DUBMAID.

Gina X makes her way to Dark Entries for Greatest Fits, a compilation of gems and jams from the eccentric New Wave icon. Gina X Performance was formed in Cologne in 1978 when art history student and chanteuse Gina Kikoine teamed up with synth wizard Zeus B. Held. Inspired by Patti Smith and Lou Reed, Kikoine aimed to create "the absolute union of music, poetry and travesty," a lofty goal that she most certainly would achieve. 1979 saw the release of the classic first LP, Nice Mover, which put Held’s lush electronic production in dialogue with Gina X’s deadpan delivery. Songs explore androgyny, decadence, and avant-garde art in a fashion that is stylish, sexy, and more than a touch transgressive. Nice Mover quickly became a cult favorite thanks to tracks like the euphoric “Nice Mover” and the dancefloor bomb “No G.D.M.”, dedicated to queer icon Quentin Crisp. Three more LPs followed in the coming years: X-Traordinaire in 1980; Voyeur in 1981; and Yinglish in 1984. The duo continued their genre deviance throughout, exploring uptempo space disco on “Strip Tease,” punk-laced New Wave on “Babylon Generation,” and icy electro-pop on “French Lift.” Greatest Fits is the first-ever double LP compilation of Gina X material.

The 17 tracks on Greatest Fits were selected by Kikoine and Held, reflecting the duo’s most cherished moments from their wide-ranging catalog. The record comes housed in a gatefold sleeve designed by Eloise Shir-Juen Leigh featuring press clippings and photographs, and includes an insert with lyrics and memories about each song from Kikoine and Held.

Borghesia is an electronic music group, founded in 1982 in Ljubljana, Slovenia. The band was formed by four members of alternative theatrical group Theatre FV-112/15: Dario Seraval, Aldo Ivancic, Neven Korda and Zemira Alajbegovic. They established FV Video to self-publish their video projects and FV Založba – the first independent record label in ex-Yugoslavia. Aldo and Dario took care of songwriting, production and recording while Zemira and Neven handled the visuals. In the late 80s the band signed to PIAS and went on to release a string of successful albums and played world-wide tours.

Clones was Borghesia's second album, self-released on cassette only in 1984. The band borrowed synthesizers (Roland SH-101, Casio VL-1, Korg Polysix) and a Roland 808 drum machine from friends. Every song was played live - no overdubs - and recorded to a cassette deck over a few nights at their club Disco FV during 1983-1984. The music on "Clones" is meant to accompany various video installations and performances. All of the songs are instrumental and feature various cutting edge techniques for 1983. Hypnotic, proto-techno and acid rhythms and synth lines. Music on the A Side of the LP is faster and club oriented while the B Side offers a drugged out soundtrack to get lost in.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley directly from the original master tape. Each LP is housed in a silver jacket with original gelatin print by photographer Jane Štravs. A fold-out poster is included with unreleased photos, original artwork and liner notes by Željko Luketić. After 28 years, Borghesia's "music for video" is finally appearing on vinyl for the first time.

Senselessness 1/2 is the very first solo issue of the Swiss electronic composer Robin Félix, on his own label De l’Aube (Of Dawn), the occasion for him to prove that field recordings can be (or should be?) an integral part of the global matter, when so often they are just something hovering in the background because it’s “nice” or reminds the artist of a place he loves.

Throughout the length of these four tracks, they are litterally central; moreover, they are electronically transformed, manipulated, skewed and twisted in order to form some sort of framework, a backbone on to which sounds and genres intertwine. On Cluster, violins and cellos (recorded in the gardens of the Venice Biennale) are soon transmuted into the abrasions of the electroacoustic realm, until the pulse of a relentless bass introduces a pure and pristine electronic music that knows and uses the roots of dub, drum’n’bass and the meticulousness of Jan Jelinek’s Glitch aesthetics. A tad “housy”, Chi comes as a second pulse where a modified didgeridoo and African percussions (recorded in a Swiss forest) lead the listener to a sort of tribal mode, as suited to dancers than to those who prefer inner journeys; here, the spatial dub of King Tubby moves from background to foreground.

The more abstract Boiler verges on the IDM and the heady, elegant and spartan Detroit techno – headphones reveal its numerous minute and delicate details. Based on the recording of insects, of which one can hear the actual rubbing of elytras, the closing Swarm ends the record with and intricate blend of ambient, which in some way winks to the Aphex Twin and The Future Sound Of London. Overall Senselessness 1/2 is a mesmerising and concise update of the famous Deutsche elektronische musik of old, that gathered on its way the other genres that made Robin Félix tick. Since field recordings have hardly been that meaningful, one wonders where Senselessness 2/2 will lead us to

Matching vivid world-building with a full house of kinetic rhythms, Polygonia delivers her latest album to Dekmantel as an invitation to experience 12 different dream scenarios.

As Polygonia, Munich-based Lindsey Wang has established herself as a constantly inventive, omnipresent operator within the modern electronic landscape, exploring varying shades of ambient and deep techno while increasingly spreading into downtempo and leftfield electronica with a playful yet mysterious spirit.

Dream Horizons is an instructive title — Wang approached her new album as a collection of different dream scenarios, with all the creative freedom the concept implies. From oceanic calm to artful propulsion, she was free to shift gears from track to track while relishing the strange and beautiful atmospheres her inspiration pointed towards. A multi-instrumentalist as well as a producer, Wang recorded her own voice, saxophone, flute, violin and percussion to inject organic, human vibrancy into the surreal spaces she was shaping out, capturing the uncanny sensation of alien and familiar that hangs over the places we visit when we sleep.

There are pointedly direct techno workouts on the album, from deft beatdown 'Soul Reflections' to shimmering ear worm 'Set Me Free', and 'Twisted Colours' relishes shifting blocks of flute around a sprightly, footwork-tickled framework. Elsewhere, there's space for softer expressions on pearlescent opus 'Crystal Valley' while elastic rhythms and tactile textures slither around at a lower tempo on 'Flakes Flying Upwards'. In between, Wang plays with fractured beat patterns and sharply sculpted sonic matter with a staggering level of detail and intention. 'Gate To Amygdala' is the perfect example of the bold scope of her expression — the midpoint track thrives on nervous tension and a dislocated sense of momentum without anything like a conventional techno trope. 'Mindfunk' equally pushes and pulls at sensory perception with an off-kilter, awkwardly looped synth phrase that relishes the opportunity to skew dance music conventions within the flexible rules of the dream world.

For all the smart production and knowingly experimental approaches that form the basis of the album's sound, it's also a record charged with the full range of emotions you might expect to experience on a break away from consciousness. Whether it's the melancholic impressions that smudge into incidental pauses on 'Metaphysical Scribbles' or the mantra-like breath and sax combination of 'Essential Breath' that closes the record, Polygonia's heart bursts out of the album's vibrant form as brilliantly as her exacting, studio-synced mind.

[b] A2 Bedroom Eyes, Double Bass [Upright Bass] – Fred Chalenor




[g] B7 Tiger Tatoos, Resonator Guitar [National] – Bill Frisell


[j] B10 Devil's Hootenanny, Alto Saxophone, Clarinet – Amy Denio, Banjo – Danny Barnes, Double Bass [Upright Bass] – Fred Chalenor

Depth.Request proudly announces the debut full-length album from French electronic artist Pierre Berge-Cia - a culmination of two years of dedicated experimentation and creative exploration. This inaugural LP represents a significant milestone in Pierre Berge-Cia's musical journey, showcasing his innovative approach to electronic music.

Crafted through experimental processes and delving into themes of tension, control, and movement, "If You Do, Then When?" unfolds as a visceral journey through the complexities of bodily and sensory experience. Each track is designed to reflect the human body in all its shapes and forms, using innovative sounds and structures to evoke physicality and movement, and aiming to resonate with listeners on a deeply corporeal level.

The album was produced using a combination of the Elektron Digitone synth, a Mackie CR1604 mixer, a Shure SM57 microphone, and a limited selection of digital plugins to maintain sonic consistency. Mastering was handled by Pierre's close friend, Stefan Brown - also known as "Lesser Of". His expertise as a top-tier sound engineer at Abbey Road Studios helped shape the LP's pristine and powerful sound identity. Additionally, the tracks were tested and refined using some of the electronic scene's most beloved sound systems, ensuring an impactful club experience.

The album's artwork, created by Pierre Berge-Cia himself, is a reinterpretation of one of his favorite art performances: "Rest Energy" by Marina Abramovic and Ulay. The tension of the drawn bow and the close-up framing of the subject evoke a palpable sense of danger and emotional intensity, mirroring the physical and psychological strains within human connection. Pierre used his own hands as the model, infusing the artwork with a deeply personal and intimate touch that amplifies the psychic gravity and thematic cohesion of the album.

Pierre Berge-Cia's debut LP is a multi-sensory experience that challenges listeners to feel sound in its most physical and affective form.

Back to the future and northern velkommens to bro Morken. EPs for Prins 'Blud' Thomas' Full Pupp show early production chops, but it's his residency as part of Oslo's Jaeger crew where the range of styles is truly showcased.

Appearances on Trushmix series and his recent Road Trippin' cassette for L.I.E.S last year show depth(charge) DJ on a roll, but it's setting up the Moonlighting label where vibes came alive via some electro bass tribal sub bass wonder. Jungle dialects!

All and more over these 5 cuts >>> afro-bump-shuffle-rat-tat-hats-acid-stab-meets-storyville-dark-tom-toms-pads-relentless-hypnotic-down-down-electro-italo-endings-and-bass! Strange Thank f***.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Ride bassist Steve Queralt’s debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, Memorials).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created.Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album’s dark intensity. This is most notable on the closing track, ‘Motor Boats’, where he overlays words from Julie Sheldon’s polemic poem The Same Boat (“We’re all in the same boat they say, but I would disagree”). According to Steve, these simple words of rejection “capture the reality of our times perfectly”. However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. “After a few false starts, I had started to doubt the project altogether. It was going nowhere,” says Steve. “Then, out of the darkness, Emma got in touch to tell me that she’d found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had ‘Lonely Town’ and ‘Swiss Air’.”In the meantime, Verity from Electrelane had added vocals to the song ‘Messengers’ and transformed the track. Matthew Simms, now her bandmate in Memorials, would go on to mix the finished album.“Swallow has turned out so much better than I had hoped,” enthuses Steve. “I’d fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn’t be the whole story.”

Preeminent cellist / composer Oliver Coates follows his scores for
‘Aftersun’ and ‘Foe’ with a stately string and electronic orchestration for Tudor and Stuart-era period drama ‘Mary & George’. Coate’s score draws on his roots in classical, electronic and club music to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
The score sees Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s enough harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film

"Instant Holograms On Metal Film" ist das erste Stereolab-Album seit 15 Jahren mit 13 neuen Studioaufnahmen. Eingespielt wurde das Werk von Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson und Xavi Muñoz, mit Gastbeiträgen von Cooper Crain und Rob Frye von Bitchin Bajas, Ben LaMar Gay (Komponist/Jazz-Multiinstrumentalist), Holger Zapf (Cavern Of Anti Matter), Marie Merlet (Monade) und Molly Read, und weiteren. Die Band wird das ganze Jahr 2025 über live spielen - in Europa, Nordamerika, Südamerika und Großbritannien. Das neue Album folgt auf "Not Music" aus dem Jahr 2010, remasterte und erweiterte Neuauflagen von sieben ihrer Alben im Jahr 2019 sowie die Bände 4 und 5 der "Switched On"-Reihe, die 2021 bzw. 2022 erschienen.

A meeting of minds and bodies on a heady percussive trip with no clear destination, captured live at Espacio Cultural El Tanque in Tenerife. With both imaginary and lived in tropical sceneries coalescing the two units, both Tenerife's Lagoss and Kampala's Abagwagwa (aka Nihiloxica) find a common thread to disentangle cartographies. As if it was bound to happen. As it did.

Taking Abagwagwa's relentless barrage of polyrhythms as a starting point to jammin' excursions that never falter into self indulgence, brimming with ideas and spirits pulled from East African traditions, Free Jazz cosmologies, Dub tactics, urban sonic warfare and different strains of psychedelia through a vast array of drums, percussion, flutes, skewed synths, ecstatic vocals and electronic processing.Blessed with the xamanic drumming of João Pais Filipe on two tracks and feeling equally indebted to both bands' vision all the while commiting to a newfound sense of wonder, 'Island Slang' is a celebration that's truly alluring in its search for some sort of 'Universal Consciousness' - to quote Alice Coltrane - for which we're now invited to tag along. You are all welcome.

MME circles back to the mothership with their highly anticipated second release, this time guided by Philadelphia-based astral pilot, Sweater. This four-track EP delivers a perfect blend of deep, driving rhythms and futuristic soundscapes, designed to assist your escape from the gravity of a distant future. The opener, 'Mighty Morphin' sets the tone nicely with a housey track, lighting up the night with rays of starlight followed by 'Body Scan' with an otherworldly bassline and atmospheric elements that ebb, flow, and weave through late-night magic. Flip over to the B-side where 'Escape The Future' plunges into the dub-laden depths of hyperspace, wreaking havoc on any dance floor in its path. Closing the journey is 'Hydro Pump,' a pure electro tour de force with playful yet dynamic synth work and intricate percussion, culminating in a well-balanced release, primed for the most arduous celestial voyages.

Soft Cell’s second long-player was the groundbreaking mini-LP ‘NonStop Ecstatic Dancing’… the world’s first remix album and a huge influence on subsequent generations of clubbers, DJs and remixers. Reissue of the original album, remastered, and bolstered by the inclusion of extended versions of its two related hit singles – ‘Torch’ and ‘What!’ – and bring it up to date with a second disc of unreleased mixes and highlights from 2007’s long-deleted ‘Heat – The Remixes’. The release will be laser-focussed to celebrate Soft Cell’s pioneering work in the clubs of Leeds, London, New York and Berlin and clear the decks for our next full deluxe edition ‘The Art Of Falling Apart’ in Q3 2025. Barring the super 6CD version would follow the formats that were so successful for ‘Non-Stop Erotic Cabaret’ reissue with a 2CD and 2LP coloured as the physical versions with a digital deluxe mirroring the 2CD set. We know this artist has a wide appeal AND a solid fanbase and this album is also legendary in DJ / club / electronic circles.

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.