Suche:elec

After the exceptional first volume of ‘Rakka’, Vladislav Delay is taken by the wanderlust again for a ravishing 2nd album of elemental electronics inspired by the Finnish wilderness. RIYL Shackleton, Rian Treanor...
Where 2020’s ‘Rakka’ represented some of Sasu Ripatti aka Vladislav Delay’s most intensely noisy textures and rhythmic complexity, as inspired by walks in his native Finnish wilderness, his follow-up further draws on and refines that experience in a beautifully brutalist bouquet of brambling distortion and tempestuous pulses that speak to the chaotic power of nature’s ecological interdependence. In the process ‘Rakka II’ fulminates Delay’s reactive sound even closer to the styles of Shapednoise, but still distinguished by his signature,
freehanded style of percussive tumult that reaches beyond techno and club music into an ecstatic, holistic hybrid of power ambient, black metal, avant-dub, free jazz, and extreme dance musicks.
While still breathlessly busy and densely overgrown, ‘Rakka II’ is intended as the romantic answer to the more hostile first volume. Its seven parts balance a sense of febrile passion with hyper-disciplined logic in more explicitly emotive, optimistic gestures that emerge from its atonal murk and convulsive structures.
Boundaries of discord and harmony are smudged almost into the red, but rendered with the spatial definition that become a hallmark of Delay’s best work for over 20 years, but never heard quite so wild and lushly semi-conscious as on cuts such as the soaring and collapsing ‘Raato’, or the craggy might of ‘Raaha’, and the heart-in-mouth headiness of ‘Rapaa.

Red Vinyl

The unmissable, head-twisting debut LP by Cairo’s 1127 returns on red vinyl pressing for those who missed its shockwaves for the first time back in summer 2019, Huge recommendation if you’re into Autechre, Arca, Croww w, Rabit...
Getting right under the skin with its hugely variegated palette of brutalist, rhythmic power electronics and evocative location recordings, ‘Tqaseem Mqamat El Haram 2016-2019’ resembles something like a soundtrack to a Neil Blomkamp flick set it Cario, Egypt, 2050 where stifling heat and pollution means everyone wears
breathing apparatus and hover cars sputter about its dusty sprawl. It’s surely one of the most shocking and transfixing sides from North Africa this side of the debut LPs by 1127’s peers, Myslma and Zuli, and should be prized by anyone with an ear for futurist rhythms and microtonal synths of a modern, Afro-futurist order.
Comprising collaged chunks from 1127’s archive arranged in a seamless, diffracted flow that recalls Autechre as well as the mutant adjuncts in Arca’s &&&& or Croww’s ‘Prosthetics MechaMix’, the results feel as though scraped from the insides of 1127’s skull, capturing and rendering the sounds of Cairo street raves ricocheting
with spasms of gristly noise, strafing into pockets of cutthroat flashcore and dropping out into smoky,
intimate scenes of Arabic dialogue, all threaded together with a distinctive taste for metallic microtonal synthlines and coruscating noise.

Scratch Sounds No 3 (Atomic Bounce), the accent in this record is on the sound of electronic funk.

The SCRATCH SOUNDS series is a resource for the musically minded turntablist practitioner.

My aim with this series is to produce a coherent set of original recordings with vocalists and instrumentalists, designed specifically for the scratch musician.

Taking inspiration from the library music catalogues of the 1960’s and 70’s, each record is themed in style or mood. By building a library of Scratch Sounds the creative process becomes streamlined, enabling you to select the record most fitting to your project or jam.



For each instrument I have provided a combination of skip-proof loops, chords, riffs and licks. This is to ensure that the format isn’t overly prescriptive and allows for a variety of playing styles and approaches. I recorded separate takes for each tempo so each side has a distinct set of sounds. One of the most rewarding elements of turntablism is sample discovery, for this reason i made sure there was ample material for your digging pleasure.



It is my belief that with the correct tools and mindset we can further strengthen the legitimacy of the turntable as a musical instrument.

Fold Unfold is the debut album by violinist Katrine Grarup Elbo from the Danish collective We like We. As a solo artist she steps out from the safety of group performance and presents a vulnerable portrait using only her classical training and analogue electronic setup.

Peaceful scenarios of natural beauty that hover like calm mist over cold streams are interrupted by spine chilling forces. Naked passages and electroacoustic electronics together create ripples in time as the pieces mold into flowers reaching for the outer edge. Elbo summons the most time stopping affairs using only the most basic of ingredients, as a true master. Clouds of uncertainty and reason echoes infinitely into the ether as she moves in and out of acoustic and manipulated sonic landscapes. Imagine Jocelyn Pook´s captivating Masked Ball piece from Kubrick´s Eyes Wide Shut with its clouds of mystery, suddenly turning unmasked and fragile, as if abruptly standing vulnerable in the shadows listening only to the reverb of the room and ones own breath.

The album was recorded and mixed at Saal 3, Funkhaus, Berlin with Antonio Pulli. In the 29 minutes runtime, we are presented with transportations through silent, almost Baroque sounding pieces towards overpowering, processed alterations of her violin that vibrates like echoes springing off the stars. A stunning debut with all its natural purity and intimacy.

This 4th full-length album by the legendary Congolese collective marks a new milestone in their already rich history, as the band have incorporated their own approach to electronic music into their new compositions. The album was produced by guitarist Mopero Mupemba, who also wrote about half of the songs. Mopero also took care of the often intricate programming, which is perfectly adapted to Kasai Allstars' peculiar rhythmic patterns drawn from traditional trance and ritual music. The album features Kasai Allstars mainstays such as vocalist Muambuyi (whose voice and personality inspired the making of multi-awarded feature film Félicité), vocalist and electric likembe player Kabongo, powerful singer Mi Amor, and instrumentalists Tandjolo and Bayila. Wonderful young vocalist Bijou makes a notable first appearance on several tracks. As is well-known by now, Kasai Allstars was born from the reunion of five bands, all from the Kasai region, but originating from five different ethnic groups whose diverse musical traditions were thought to be incompatible until these musicians decided to pool their resources and work together, an inspiring example of collaboration transcending ethnic and language barriers. Ever since the debut release in 2008, Kasai Allstars' music struck the imagination of music lovers and artists worldwide. They're particularly admired by avant-indie rock, electronic & hip hop musicians and media, who consider it as a kind of "primal rock", an accidental blend of trance and avant-garde. They're admired by artists such as Saul Williams, Questlove and Björk, have engaged in live collaborations with Deerhoof, Juana Molina and Konono Nd1, and have had their tracks remixed by the likes of Animal Collective, Deerhoof, Aksak Maboul, Jolie Holland, Shackleton and more.

Divine Invasions is the sophomore release from Welsh electro post-rock duo Ritual Cloak. The album builds on the cinematic soundscape themes of their debut, with the addition of vocals scattered throughout the record.
Work on Divine Invasions began as soon as the first album had been finished back in September 2019. The first album saw sparing use of guitar, instead mainly writing around piano. When it came to writing the second, Sanders and Barnett didn’t want to fall into the same routine, choosing to embrace exploring new sounds, experiment with new effects, making guitars sound like synths and using vocals for the first time.
The title Divine Invasions is inspired by the Philip K Dick biography. Dick was plagued by nervous breakdowns and driven to near insanity by visions of God.
For Fans Of:Mogwai, Radiohead, Sigur Ros, Kiasmos

Oiche, the debut album from Fears, available 7th Mayl 2021. Pieced
together over five years, Oiche chronicles growth through challenges,
instability, and relationship changes, both with one’s self and others.
The album reveals itself much like a coming of age novel about the breaking
apart of girlhood and rebuilding of a young woman. An intimate depiction of
discovery, Oiche unearths internal dialogue, and makes peace with uncertainty.
Oiche, meaning ‘night’ in Irish, was recorded in three bedrooms, hospital, and
the Domino Recordings studio in Brixton.
Fears is London-based Irish artist Constance Keane. Combining reflective electronics, acoustic samples, and haunting vocals with organic visuals, Fears invites the listener on an ethereal journey, blurring the boundaries between
music and visual art. Her minimalist approach centres on emotive subjects,
which are all-at-once deeply personal yet remarkably universal. Oiche is the
first release on TULLE, run by and for exceptional womxn.

Bob Mintzer has the knack. Whether he developed it during his brief
association with the Thad Jones-Mel Lewis Orchestra, his two years with the Buddy Rich Big Band, or his time with Jaco Pastorius’ Word of Mouth Big Band is unclear.
What is certain, however, is that the great tenor saxophonist has continued to perfect his instincts for orchestration and counterpoint over the years.
With ‘Soundscapes’, the maestro now returns as leader of the WDR Big Band with ten newly arranged pieces. “At WDR, there is, after all, a tradition that the chief conductor implements a project of his own writing at some point during his tenure,” he explains. “So I pulled together some of the things I’ve written for the band over the last five years, as well as a number of brand new numbers, for this recording.”
‘Soundscapes’, an amalgam of moods, grooves and complex textures, not only showcases Mintzer’s work for this widely acclaimed ensemble, but he does double duty. After all, he is also featured as the main soloist on tenor saxophone and the Electronic Wind Instrument (EWI), while spotlighting other outstanding soloists - such as long-time WDR members Paul Heller on tenor saxophone, Karolina Strassmayer and Johan Horlen on alto saxophone, Ruud Breuls
and Andy Haderer on trumpet, and Andy Hunter on trombone. Recorded in December 2019, the album is certainly among the very best of Mintzer’s long career.

Color Vinyl

Formed in 1977 by Tomata du Plenty (vocals), Tommy Gear (synthesizers, vocals), David Brown (electric piano) and KK Barrett (drums), the Screamers were deeply linked to Los Angeles' first wave punk scene, yet their music and high-energy performances stood apart – defying classification and evoking intense audience reactions.

"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto.

The Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety.

Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now."

– Jon Savage (excerpt from the liner notes)

Kleistwahr is the solo project of Gary Mundy, the legendary power electronic and noise-rock musician who is a founding member of Ramleh and runs the highly influential Broken Flag label. Solemn drones and elegiac long-form passages gird Kleistwahr’s Winter, which often chimes, glistens, and glows through a unhurried constructs for organ, synth, guitar, and electronics. Yet Mundy pivots throughout with triumphant explosions of shrill noise, redlined overload, and harrowingly anguished vocals from the great unknown. Quintessential Kleistwahr.

Winter was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.

With the necessary reissue of Winter, The Helen Scarsdale Agency will embark upon the reissue of much of that material from On Corrosion.

Cavern is a collaboration between Australian artists Sleep D and Ad Lib Collective. Sleep D is an underground electronic music duo and Butter Session label heads. Ad Lib Collective is a classical mixed chamber ensemble.

Cavern is the first record release from Play On, a Melbourne based classical/electronic music events company and now record label. Sleep D x Ad Lib Collective's recorded work is a culmination from a two-year project borne out of a live performance at Play On show in a Melbourne underground carpark. Limited to 150 physical copies, this single is taken from the upcoming full length album Flashed Glass.

Gordon Koang, South Sudan’s enigmatic superstar and ceaseless fountain of infectious, upbeat pop music, kick starts 2021 by revealing a series of remixes from his recent Unity album, this time partnering with two of the undisputed leaders of electronic music in his adopted home city of Melbourne, Australia - Sleep D and Andras.

Stranded overseas after civil war tore apart their country over six years ago, Gordon and his cousin Paul Biel Kueth, who were on tour performing to expatriate communities in Australia, were forced to apply for humanitarian protection and made the heartbreaking decision to leave their families stranded at home, on the chance that citizenship would be granted and reunification made possible.

After languishing on the outskirts of Melbourne’s suburbs for many years, Gordon met the Music in Exile label, a not-for-profit run by members of Melbourne’s flourishing music scene in order to create more opportunity for the city's numerous refugee and migrant musicians. He immediately assembled a band and tracked his eleventh full-length album, Unity (his first recorded album featuring performances in English and made widely available).

In the midst of a successful run of singles and festival performances around Australia, the Covid-19 pandemic hit, derailing Gordon’s newfound success and growing status as the darling of Melbourne’s vibrant music scene. Forced to find alternatives, Gordon reached out to some of his newfound friends in that city’s community. The result - this set of startling remixes by some of the finest voices in electronic music today.

Gordon, who was born blind in a small village in South Sudan’s Upper Nile Valley, began composing on the thom, a five-stringed instrument sometimes referred to as a Sudanese banjo, He started busking on the streets of Juba, accompanied by his cousin Paul Biel, who would sell homemade cassettes and CD’s. His anthems of peace, love and unity struck a chord, and before long Gordon found himself as something of a folk hero and a voice for peace in a country torn by ongoing conflict.

Now resettled in Australia, Gordon records and releases music in order to support his family back home in East Africa. He still awaits Australian citizenship, and forges on in the hope that this may one day be granted, allowing him to reunite with his wife and family in his newfound home.

Unity is Gordon’s eleventh full-length album and first to be recorded in Australia. It was produced by Stefan Blair and Liam Parsons of Melbourne lo-fi legends Good Morning, and features an ensemble cast of Australian performers. South Sudan and Y Dah are taken from the album, reimagined here by Andras and Sleep D. The remixes were a gift to Gordon and his family, with no fees paid or royalties due - all proceeds go directly to Gordon to help him reunite with his family.

UFC Records back with their second release with a four tracks Ep produced by label´s co-ower R.I.P. Bestia. The four tracks are original tracks produced between 2020 and 2021 years. Side A of this EP contains two tracks more oriented for the dance floor, like "Chordal Constellations" where the psychedelic electronic of the 90's is fused with the minimal sound of the first 2000's and "VCO Ray”, where vocoder vocals are mixed with deep techno lines.

On the other side the Ep opens with "Khae!”, psychedelic breakbeat-techno accompanied by ethereal vocals, to finish with "VCO HardCore Foundation", a piece of breakbeat influenced by the Nu Skool Breaks that ends in an acid and breaks explosion.

Laurine Frost continues the musical journey of his fictional character Lena, incarnating the life of his imaginary daughter in a series of albums. 'Nimfa' - as the sequel - leaves the eccentric drama of its predecessor behind, and paints naturalistic, slowly blooming landscapes instead. The result is a carefully crafted multi-dimensional fusion of jazz, dub, ethereal abstraction of drums and electronica with a bold poetic approach.

Following 2018’s debut, Giles Armstrong ‘finally’ returns to First Cut with three killer cuts.

From the woozy break beat techno of ‘The Bunny’ throughout the left field ‘Corridor of Uncertainty’ and the gritty electro of ‘Blazed In Slur’, the ninth release on First Cut showcases Giles’ considerable talent.

Kerbside Collection's third album "Smoke Signals" released in late 2018 is a real winner. Continuing in a down home, instrumental approach, but this time crafting newer ideas and flavours into their spectrum of warm, analogue, dusty rare grooves from much more Fender Rhodes electric jazz elements, to New Orleans sprinklings alongside their 60's inspired West Coast style.

"Cajun Jollof" is one the key tracks and was already released in its original form on a 7inch vinyl on Spasibo Records from St. Petersburg/Russia. Now French dub expert Grant Phabao takes "Cajun Jollof" on a surefire ska tip, while TwoDee delivers a down low dub version.

The first in a series of various artists to be released by Details Sound - The Spirit Of The Age Vol. 1 is a personal attempt to represent "the spirit" of this moment, an eye on the sea, where the initial intention of powerful and dynamic body music is changing, leaving room for a more contemplative and reflective way of dancing, where large places give space to the little ones, taking back the original spirit of being together. On the A side, Anatolian Weapons opens with A Series Of Changes - a progression of looped vocals and acidic basslines that culminate in a full, liberating rhythm. Following A Hand Modern Cage focuses on a more hypnotic and evocative soundtrack that can perfectly match an atmospheric opening. On the flip Gamma Intel’s Note To My Love deliver a mix of broken and electro rhythms that are part of the artist signature sound, ending with an intricate weave of melodic basslines. The last track Dense And Ragged is signed by the renowned london-based duo Vactrol Park who set the mood for a distopyan trip in 2049.

Júlio Cruz follows up his ¦rst solo EP on the label with this 4-
tracker dipping into some gritty electronic sounds. After the
production of the record has been delayed by almost exactly
one year due to corona, we are more then happy to ¦nally
share this beauty with you.

black vinyl in mirrorboard gatefold jacket with die-cut! Much like the New Orleans-born artist who created it, Second Line is an unapologetic genre bender that pushes boundaries, expands possibilities, and shatters expectations. It's more than just an album: Second Line is a cohesive sensory experience that questions traditional ideas of sound, production, and visual aesthetics as they relate to music. Its interlocking parts tell an epic story about the quest for artistic expression, with Dawn describing her project as "a movement to bring pioneering Black women in electronic music to the forefront." She elaborates: "You never see women appreciated as producers and artists alike _ especially Black women in the electronic space. The time is now for us to start recognizing their talent, not only in electronic music but in all genres. I wanna be the reason why a young Black girl from the South can be whoever she wants to be musically, visually, and artistically." Second Line cuts to the chase with its opening suite of dancefloor bangers, immediately displaying Dawn's mastery of layered production and melodic hooks. Second Line treats Louisiana Creole culture, New Orleans bounce, and Southern Swag as elemental, allowing Dawn to weave in and out of house, footwork, R&B, and more. As she says, "I am the genre." The story of Second Line centers on Dawn's persona King Creole, assassin of stereotypes, a Black girl from the South at a crossroads in her artistic career. To move forward, she decides to look back, but where previous album New Breed took influence from her father, Second Line is illuminated by Dawn's mother. Her proud repeated proclamation of "I'm a Creole Girl" introduces the ecstatic dancehall pop of "Jacuzzi," and later, on the cinematic album centerpiece "Mornin | Streetlights," she answers Dawn's question of how many times she has been in love. Intimate conversations like this between the two are interlaced throughout Second Line, giving credence to how the protagonist came to be, and direction to build a lane forward. It's no surprise that King Creole's story parallels Dawn Richard's. As a founding member of Danity Kane, and later with Diddy's Dirty Money, Dawn was able to explore the ins and outs of commercial pop music. As a solo artist, she opted to selfrelease her music. Over the span of five critically acclaimed full-length albums, Dawn has made the message clear that she will not bow down or bend to industry norms. All the while, she's built her resume with enough extracurriculars to make your head spin: Cheerleader for the New Orleans Hornets? Check. Animator for Adult Swim? Check. Owner-operator of a vegan pop-up food truck? Check. Martial arts expert? Check! Second Line embodies the heritage of soul music and the roots of New Orleans, all surrounded by the influences of electronic futurism. "The definition of a Second Line in New Orleans is a celebration of someone's homecoming," says Dawn. "In death and in life, we celebrate the impact of a person's legacy through dance and music. I'm celebrating the death of old views in the industry. The death of boxes and limits. I'm celebrating the homecoming of the Future. The homecoming to the new wave of artists. The emergence of all the King Creoles to come." Dawn Richard is bold, confident, purposeful, and a King throughout Second Line. Are you ready to dance?