Search:electronica

'There's a lot of serendipity involved in wrestling grooves out of these awkward machines', says Richards about the process behind the record. 'A large part of the composition is making the machines and the patches. They define the limitations of the pieces coming together. Then the performances are happy accidents - found using intuition and practice.'

Made up of two studio sessions and one live recording, PINK NOTHING reflects the unusual space Richards inhabits musically. It's partly informed by his background as a PhD student at Goldsmiths, where he re-imagined and built the Mini Oramics machine – a 'drawn sound' instrument first conceived by electronic music pioneer Daphne Oram, and finally realised by Richards in 2016.

But Richards is also an autodidact beat-maker, and much of the structures and sounds on PINK NOTHING derive from dance music, while his influences also include ritual trance, Ghanaian drum choir music, and the cellular rhythms of Steve Reich. 'It's polyrhythmic abstract electronica' – and he emphasises – 'listening music'.credits

Having broken a decade's silence with 2016's 'System', LA-based electronic musician Joseph Fraioli, a.k.a. Datach’i, returns this summer with his eighth album 'Bones'.
Released on Venetian Snares' Timesig imprint, 'Bones' features 12 tracks of mind expanding electronica, once again recorded on his custom-built Eurorack modular system. Much like its predecessor, 'Bones' manages to make the most of the possibilities modular systems offer, whilst avoiding their many pitfalls that can often turn such music into little more than a dry academic exercise. Indeed 'Bones' is a remarkably intimate album, written and recorded in the time following his father's death, and reflects this intense period of personal change in Joseph's life.

"Creating this music was a therapy of sorts," Joseph recalls. "It was almost like a close friend being there for me, and it's something that I hope others can perhaps utilize in the same way."

The connection to his father is something that is reflected not just in the emotional intensity of 'Bones', but in the actual production itself. "My father and I were very close," he explains. "Whilst he was sick with cancer I bought him a guitar as he wanted to learn how to play, just to have something to do while he was getting treated. After he passed away my mother gave me the guitar to have as a sort of memory of him. I had the idea to record some sounds and music on the guitar and load it onto granular sample players on the modular synth so I could make new music from those sounds as a sort of tribute to my dad. You can hear some of those sounds on a few of the tracks here like 'Arrivals', 'Motion in the Living Room' and 'Undimension'."

The resulting album grapples with the intensity of these emotions. But for all their weight, tracks like 'Saugerties Road', ‘Rockledge 3A’ and ‘Antumalal’ transform that heaviness into something warm and comforting whilst the aforementioned 'Arrivals' or ‘Wand’ ultimately achieve some kind of escape velocity and soar. Even though 'Bones' is about endings and finding closure, it also looks forward to new beginnings.

"It was something very much on my mind throughout recording this album," he relates, "ends being beginnings and beginnings being the end. Cycles of time and how time works, it's all reflected throughout the album right down to how the tracks are ordered."

Ranging from blissful ambience and guileless, starry eyed melodies, to intricate claustrophobic rhythms that forever sound close to collapsing in on themselves before expanding into bold new patterns, 'Bones' is the work of a producer who, twenty years on from his debut, continues to push the boundaries of electronic music.

Erste Solo-EP des Berliner Produzenten Allan Shotter, neben Sängerin Giada Zerbo eine Hälfte des Duos Vittoria Fleet mit Releases auf n5md und 2DIY4. Inspiriert von Veteranen der elektronischen Musik wie Aphex Twin, Radiohead und Boards Of Canada sowie Sounddesignern wie Steve Reich, Moon Dog und John Cage, nimmt uns Shotter mit in eine Welt aus überwältigender, analog erzeugter Electronica mit atmosphärischen Klangkulissen und cineastischen Akkordläufen.

On ‘Ways Of Seeing’ Konx-om-Pax has switched up the mood and hit gold. He has made an album that is filled with joy and sunshine, saturated with the classic feel of Berlin Techno.

Tom Scholefield has moved on from the dark ambient and brittle rave of the first two Konx-om-Pax albums, which were a reflection of his hometown Glasgow's electronic music scenes. After a recent move to Berlin, the textures of Glasgow's musical strains have fused into an accessible and friendly mix of poppy melodic electronica built from a stricter 'less is more' sound pallete, closer in spirit to the music of his adopted city. It is also a record which was made in opposition to recent music he has been hearing, in particular the troubled, dark and noisy experimental music coming out of Berlin. Tom wanted to focus on more joyful qualities, making this a record imbued with warmth and happiness, a panacea to the darkness and disorientation all around in 2019.

Having a social scene full of producers has also influenced the album. The opening track 'LA Melody' came from staying with Ross Birchard (Hudson Mohawke) at his house in LA, hanging out in the glorious sunshine with him and Lunice working on tracks.
"Initially Ross asked me to write some melodies to use in a project he was producing, but I ended up liking it so much I decided to keep the riff. I generally write music alone, but being around other producers gave me a certain excited energy that reminded me of after-parties back in Glasgow where Ross and myself spent our youth together. Spending time in Clark's studio also helped me improve my workflow and sequencing the album by seeing the way he does things". On 'Säule Acid' he collaborates with Silvia Kastel and in 'I’m For Real' the vocals of Glaswegian DJ/producer Nightwave filter around the track.

The second chapter in the Family Matters serie marks the 10th release on the Belgian record label 9300 Records. Via electro, through house and breakbeat, all the way to New Beat, established members offer you their view on the different aspects in the spectrum of electronical music. It's a nostalgic reference to the past, through the eyes of the present. Alessandro Parisi makes his first contribution to the label with an ominous New Beat influenced track, while Betonkust joins him on the dark B-side with his well known non compromising electro. A-side consists of dance-floor approved electro/house tracks of both Intimacy & Innershades and a sober, yet sophisticated anthem by the hand of Robert D.

A collection of contemporary reggae, dub and electronica, which marks a broadening of musical horizons for the label beyond reissues of lost African guitar dance music. The LP covers a range of Jamaican inspired sounds, including roots reggae, dancehall, dub and jungle, which may act as a taster for potential future releases.

Due for release in July 2019. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music. Steve Barker plans to review for The Wire magazine

Roman Poncet's 2018 debut LP stands an impressive work in its own right. Now Figure has invited a group of artists to contribute new takes on standout album cuts. Some clearly for the floor, some nestling on its verges. But all adding to the unique Gypsophila-vibe.
Antigone turns in dust shaking flurry of tribal drumming, ceaselessly pounding and rattling away for an exhilarating and at the same time grounding rhythmic experience.
Wiggling and squelching, Efdemin blends a bunch of lively elements into one wildly roaming remix, which despite all its inner momentum retains an orderly structure, testament to the artist's extraordinary production skills.
On the flipside, Margaret Dygas adventurously goes on a trip of finely tuned acoustics, patiently letting each sound grow into what becomes an enthralling piece of enchanted electronica. Evocative, emotional and of serene beauty, Echoplex closes the collection with an epic track, led by grand strings and flute-like synths, begging to be dropped at the break of dawn.

Emerging from the flourishing house scene in Århus, Forte is one of the most exciting producers to make his debut in Denmark in the past years. Having produced and released music under various monikers, Forte debuted in 2017 as Forte with the excellent mini album Techne on 12recs and the standout EP ”Away” on ØEN Records. Intermissions is Forte’s first full length album. Composed and recorded in Århus during 2018 Intermissions consists of six tracks and five interludes and is a study of, and tribute to, intermissions.

Across the albums eleven cuts, Forte effortlessly traverse between ethereal dreamy vibes, intricate electronica and bustling rhythmic explorations. Stretching far beyond the traditional house music boundaries, Forte’s layered and intricate compositions constantly balances melancholic and elevating atmospheres. Perfectly suited whether you are lounging in the living room, standing on a train platform or at discerning and esoteric dance floors. Out on vinyl and digital June 22.

"Summer", the third of four parts in our vinyl retrospective series Perfect Collection, is available for preorder now. The careful curation and narrational compiling really starts to show its poignancy with this one, and, besides, three is always a turning point. The 12" showcases several dance floor makers + movers from Montreal's CMD, Philadelphia's Sean Thomas and bpmf, to one of San Francisco's best kept secret, Atlas Of Nothing. We also have a quintessential summer track from the esteemed Roy England along with a dazzling intro track by beloved electronica duo Star Service. Comes with watery fuchsia looks by Josh Ivy and transformative remastering by Dietrich Schoenemann.

Borneo’s eighth release brings a sweet little five track compilation of eccentric and exotic electronica. All music is lovingly composed and constructed by the label’s family and close friends.

Ultrastation is the lovechild project of Cosmic Force and Nuno Dos Santos. Their Eau De Voodoo kicks this EP off with a fire starter made out of driving afro rhythms combined with mesmerizing vocal samples.

Phones On Fail Jah by Fader sees a quirky digital take on digidub. Centered around filtered chords, a deftly curated selection of melody and percussion is put through its paces.

The enigmatic Fizzy Veins poured his hart out on the song Handbrake. Guitar play over a subtle synth line, all sprinkled with fragile vocals that are almost drowning in the sea of echoes that lies underneath.

Rotterdam’s Nous’Klaer mainstay Mattheis has contributed V21. A stealthy weapon with synth driven melodies and electronic rhythms that are slowly morphing in and out of each other. This will hypnotize any dance floor.

Samo DJ closes the excursion with a remix. He handpicked OVFiets from the Borneo vaults, an unreleased techno work out by party crew Marck. Samo’s version brings the original in a more airy, wholesome and percussive state of mind.

"One of the hardest thing as a musician is to maintain this naive, almost utopian and emotional approach to our music. Especially when it comes to a highly codified genre like Electronic music which appeared in the late 80s/early 90s like a promise of a bright future for music, everything sounding so fresh and revolutionary. When Katerina sent me those demos I heard that freshness, that pure intention, something I remember from discovering melancholic Detroit tunes in the 90s or early Warp ‘artificial intelligence’ compilations, bridging the gap between techno and more intricate electronica. It’s been a while since I didn’t hear an EP so sincere - and not JUST nostalgic, that makes me want to dance alone in my living room and forget about everything else. It’s a subtle thing that makes the difference but that difference is everything, it’s Music."

- Joakim

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

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TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

oothing cut-ups and analogue collages for dreamers in the summer breeze.

Originally released in 2003 (on CD only), conceived by Sora aka Takeshi Kurosawa. Re.sort is a miracle of Japanese electronica. Widely unknown but very necessary. Fragments and textures playfully flirt with each other, bossa nova and jazz records float in the air, an old phonograph sits by the sea. Leftfield that feels like a home away, where joyful nothings are everything. Sweet minimalism and micro melodies.

Sora means sky. Let's drift.

180gr vinyl. Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.In 1987 Gerry Vergult (Aroma Di Amore ) and Gerrit Valckenaers (Adult Fantasies) created an abstract universe where minimal post-punk basslines blend together with dub, tropical vibes, jazz, and dreamy electronica.
Most of the october nights in 1987 you could find Gerry Vergult (Aroma Di Amore / Fred A. / Adult Fantasies) and Gerrit Valckenaers (Adult Fantasies /The Colorist Orchestra / multi-instrumentalist) in a desolated Top studio in Gent. At that time and place they sneakily crafted and shaped this Nasca record while they were supposed to finish a new Fred A. record. They created an abstract universe where minimal post-punk basslines blend together with radio sounds in 'Nothing Toulouse', tropical tribal vibes oscillates between futuristic nostalgia and hunted dreams in 'Ketama' and 'Ritz', a sampled heartbeat slowly mutates in mesmerising midnight jazz and a drugged out dub groove of 'Kamayacha' transforms into the inner city blues of 'Josaphat'.


All tracks composed, arranged and performed by Gerry Vergult & Gerrit Valckenaers

Gerrit Valckenaers: piano, saxophone, clarinet, synths, samples, electronics

Gerry Vergult: guitar, bass, synths, samples, electronics

Produced by Koen Van Regenmortel

For people who like Jah Wobble, Jon Hassell, Brian Eno & David Byrne, dub, world, jazz, and dreamy electronica

Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.

Introducing a new label and musical direction for Lee Renacre from 100Hz with, PUSHER. His aim is to push the boundaries of electronic music by using different time signatures and poly rhythmic patterns, and by not using 4/4 patterns and the standard hat clap beats it’s possible to create a different style of mood and dancing which is deep loose and skippy. Pusher has a bold new Techno sound and also a gentle side with tracks of deep emotive strings and melody’s.

This Series of tracks is called Drug Music, a stripped down funky style with unusual beat patterns and poly rhythmic elements best enjoyed and fully understood when in an euphoric state, always recorded from a live studio jam where Lee’s improvised sounds come to life with some unexpected results. Lee also collaborates with artist and good friends for some extra depth and to mix up this unique style of electronica.

The first of the Pusher EP’s is a thumping minimal and full on affair with infectious killer acid riffs in odd time signatures. Crisp funky modulating hats monster bass lines and dramatic interplanetary sounds with live tweaks, twists and turns. Also some seriously deep and intense music is coming from this live jam situation with a thrilling string track to round off the Pusher experience.

Standing tall above his peers, multi instrumentalist Guy Bartell AKA Bronnt Industries Kapital has left an impressive mark on cinematic electronica, having spent the last decade being commissioned to soundtrack everything from legendary silent film Haxan: Witchcraft Through The Ages to 1930s Soviet documentary Turksib, Bronnt has been there long before the 3rd wave of Italian Library Fetishists and long before this thing called Horror Disco even had a name. Force The Line sees a group soaked in the soundtracks of a thousand low-budget-straight-to-video action-slashers, the sound of heavily dubbed Martial Art imports where vampires jump and acid-laced revenge thrillers invented on demoscene message boards. Bronnt’s first studio album since the 2009 Get Physical LP ‘Hard For Justice’ is all that we might ever want from this underground legend, dance floor heavy, krautrock zombie epics for the past present and future. Miss this at your peril.

Cosmo Vitelli hasn’t slept since 1973. Instead, he’s replaced slumber with the tireless exploration of electronic music, sharing his finds as an accomplished DJ and label manager as well as an esteemed producer, with heaps of records, remixes and edits under his belt. With his upcoming two-part LP on Malka Tuti, Cosmo brings forward his more diverse and somehow mature musical side, combining elements of post-punk, krautrock, electronica and pop on this first of 2 four-track records. The songs on the LP transcend style and genre. They manage to hold and playfully sustain an idea that echoes throughout them all - a musical “saying” as well as a personal life experience, and they reflect Cosmo’s prolific studio work of the past 2 years since he moved to Berlin. On the opening song A Brand New City he collaborates with longtime friend Julienne Dessagne (aka Fantastic Twins). Dessagne's vocals cut through the quirky and addictive percussion groove and synth sequence, leading to a a strong emotional melancholic melodic catharsis. On the following two songs Groupe Surdose & Die Alraune we find Cosmo collaborating with Sebastian Lee Philipp (of Die Wilde Jagd fame) to show his more post-rock/krautrock side. Groupe Surdose is an instant classic slow burning dance floor Krautrock tune while in Die Alruane we find poetic German lyrics sung by Lee-Philipp on top of organic grooves, guitars and an epic Saxophone line that together create a distinctive highlight for the record. The closing track Kuldip is the curve ball of them all, sealing the first part of his album with a Mediterranean mid tempo dance tune for the selectors and the middle-eastern inspired electro aficionados.

Slagmann is the new collaboration between producer Talismann and music ensemble Slagwerk Den Haag. Their first album 'Krysalis' is an adventurous synthesis of hypnotizing rhythm patterns, organic soundscapes and captivating scenography - or, as the artists themselves like to call it, a "ritualistic experience." Sometimes dreamy and dark, euphoric and explosive at other times. This mesmerizing cross-pollination between ritualistic percussion and drum machines will lure you into the murkiest depths of electronica and classical minimal music. For the visual identity of 'Krysalis' Slagmann works together with visual artist Heleen Blanken. Who is responsible for the scenography of the live show and capturing the cover image.

For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Oliver Doerell is putting out an album that sounds like a late electronica manifesto. As CUMMI FLU, Doerell mainly does sound design. There is not a sound on Z that has been included by chance. A puzzle whose pieces do not always fit seamlessly together. Some go over the edges a little bit, giving an overall impression of unevenness. And this blurring or ambiguity is what makes Doerell's music so special.

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

Marco Bailey returns to his imprint MATERIA with a gorgeously multi-colored EP titled "Never Rust".

From melodic breakbeat electronica to deep yet driving techno to an absolute electrifying banger, the main man presents his whole intelligence through 2 awe-inspiring original tracks, Joachim Spieth's remix on the title track and of course the legendary-to-be modular takeover by the one and only Colin Benders on his recent release - Burn

Not a package that you should miss.

Das technisch versierte Naturtalent Leafcutter John (Planet Mu, Staubgold)präsentiert sich mit seinem siebten Album auf Border Community in Höchstform. "Yes! Come Parade With Us" ist ein kleines, perfektes, freudiges, utopisches Folk-Electronica-Kunstwerk, erstellt aus mehrschichtigen, gefühlvoll-modularen Synths, gelegentlichen Drum-Features (von Tom Skinner/Hello Skinny und Sebastian Rochford/Polar Bear) und Field Recordings, aufgenommen im Sommer 2017 auf einem 60-Meilen-Spaziergang entlang der Norfolk-Küste. Limitierte Formate.

After The First Wave Of Artists That Have Broken The Ice With Their Way Of Combining Contemporary Symphonic Music With Electronica And Jazz On The European Side (olafur Arnalds, Nils Frahm, Max Richter) - Now There Is A New Generation Of Young Musician Breaking Boundaries On A New Level. Especially In Germany There Is A New Wave Of Artists That Bring The Thing On A Whole New Level. These 20 - 25 Year Old People Don't Just Imitate What The Bigger Names In The Scene (the Fathers) Have Done But Develop The Style To A Totally Different Level And Add New Ideas Instead Of Just Copying What The Older Guys Did. This New Wave Of Artists Have A Huge Musical Knowledge, Have Studied At The Best Music Academies, Learned To Play "classical" Instruments And Know How To Improvise On A Very High Level. They Have Been Raised In 2 Different World: Studied The History Of (contemporary) Classical Music And Also Been Influenced By What's Happening In Electronica Evolution Of The Last 25 Years. Ralph Heidel Is One Of These New Kids In The German Scene. Coming From Munich, The 25 Year Old Extremely Talented Musician Studied Saxophone And Composition At The Munich Academy Of Music (known For Being The Best Music School In Germany. Think Julliard Or Berklee). He Graduated In 2018.leering Everything About The Music Of 20th Century Composers (charles Ives, Alfred Schnittke, Giöyrgi Ligeti Etc). At The Same Time He Grow Up With The Music Of Electronic Producers Like Alvo Noto, Boards Of Canada, Jon Hopkins, Jan Jelinek, Four Tet Since Early Days. And: He Comes From A Jazz Musicians Family And Has Grown Up By Listening To The Jazz Collection Of His Father. Studied Saxophone Since Age Of 12 With A Big Passion For The More Advanced Jazz. In His Own Music All This Comes Together. "moments Of Resonance" Are Seven Compositions Full Of Brilliant Little Ideas, Harmonic Complexity, Unheard Music Surprises, Clever Citations, Dramatic Evolutions, Big Explosive Moments, Meditative Moments And Euphoric High Points. This Album Is An Extremely Emotional Work Of Art For Strings, Saxophone, Drums, Bass And Electronics. Ralph Heidel And His 7 Piece Ensemble Homo Ludens Connect Contemporary Chamber Music With Electronica, Ambient, Post Rock And Avant-garde Jazz. On A Highest Possible Musical Level - Without Getting Too Abstract And Incomprehensible. Everything Is Composed And Improvised. Nothing Is Sampled. You Find Wild Punk-jazz Parts That Recall John Zorn Or Mahavishnu Orchestra And Romantic Passages That Make You Think About European Impressionistic Composers Like Ravel Or Debussy. But Nothing Is Imitated, Everything Gets Broken Up Through An Expressive New Way Of Using Harmonization And Melodic Composing. Sometimes The Band Flies Through An Ambient And Drone Universe But One Moment Later The Music Evolves Into An Explosive, Impossible To Describe Musical Moment. One Of Heidel's Biggest Ability Is To Melt Electronic And Organic Elements Into A New Unheard Sound.

The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

KMRU is one of the rising stars of the East African music scene, selected as one Resident Advisor's 15 East African artists you need to hear last year, playing at the infamous Nyege Nyege Festival in 2018, and being picked up by Deadmau5's label Mau5trap for a track on their 'We Are Friends' compilation, with Chris Waldt. KMRU makes intelligent atmospheric and emotionally evocative electronic music. His sounds combine everything from gritty, indigenous field recordings to piano to 303. As his Erased EP demonstrates, soulful electronica sounds beautiful, even natural. Just a 300 pressing, so pick up this gem from Nairobi before they go - 3 sublime tracks! Mastered by Neil Perch, artwork by G.S-L Studio.

Midnight Embassy is a ping­pong project by songwriter Angela Aux and producer Sam Irl. During nightly sessions and on walks together, the two artists have created a palette of timeless tracks and futuristic sculptures from pop music flotsam. Like if two archive junkies had synchronized their sketch collections and notebooks so that the different genres and decades seem to effortlessly swirl through each other: Dub, Folk, Beatnik literature, Afrobeat & Electronica. Aux & Irl celebrate a gentle escapism, both cosmopolitan and aloof. This island mentality sparkles unobtrusively through all five tracks of the debut EP. No fireworks, no illuminated advertisements, no selfie thunderstorms: they come at dusk, set shimmering beacons and disappear on a reverberation trail behind the curtain of the night.

Second Lp From French Electronic Talent Thylacine
Regardless Of Whether Or Not The Thylacine, A Species Of Marsupial With A Tiger-striped Back, Still Lives
In Tasmania Or Not, It Is In Argentina That This Young Star Of The French Electro Scene Decided To
Record His Second Album. To Create A Follow Up To Transsiberian, His Brilliant First Album That He
Recorded In 2015 Aboard The Train That Links Moscow To Vladivostok, William Rezé, Aka Thylacine,
Bought A 1972 Trailer, One Of The Famous All-aluminum Airstreams.
After Painstakingly Transforming The Trailer Into A Recording Studio, He Put His Beautiful American On
A Freighter Across The Atlantic And Got It Back A Month Later In Buenos Aires.
He Was Drawn To South America By The Pull Of The Unknown, The Absolute Absence Of Reference. He
Wanted To Immerse Himself In Desert And Lunar Landscapes, Explore Multicolored Canyons, Sand
Dunes, Giant Cacti Forests, Snow-capped Peaks... And Write, Alone, In The Intimacy Of His Nomadic
Studio.
After Making Stops In The Middle Of Nowhere, He Returned With Ten Tracks That Marvelously Combine
Moderat's Aerial Melodies, The Solar Touch Of Nicola Cruz, And The Techno Power Of Paul Kalkbrenner.
His Electronica Is Often Laden With Saxophonehis Instrument Of Choice, Which He Started Playing At
The Age Of 6 At A Conservatoryand Features Vocals From Julia Minkin (of Kid Francescoli), Clara
Trucco (a Member Of The Trio Femina), And Juana Molina, "considered The Argentinian Björk," Says
Thylacine.
Mission Accomplished: The Young Angevin's Vaporous Layers Are Tinged With Charango, A Local
Instrument, And Melodies Inspired By Traditional Argentinian Songs. "i Wanted To Go Back To A Music
With A More Acoustic Sound."
And The Tracks Follow One Another, Telling The Story Of His Extraordinary Odyssey: The Hypnotizing the
Road Expresses The Miles Of Road Traveled; The Captivating Tale Of santa Barbara Evokes The Close
Ties Between Inhabitants Of A Tiny Village In The Andes; And The Rhythm Of 4500 M, Cut By The Flow Of
The American Rapper J. Medeiros, Recalls The High Desert Where Thylacine Once Had To Sleep, Forced To
Stop For The Night By Storms Of A Rare Intensity.
Three Months And Ten Thousand Kilometers Later, This "concept Album" Is Ready; It's Called Roads Vol.
1, And Its The First Installment Of A Collection That The 26-year-old Thylacine Expects To Add To As He
Continues His Travels. His Itinerant Studio, Ingeniously Equipped With Solar Panels, Will Take Him,
Hopefully, Very Far.

Nach seinem begnadeten Remix für Axwell^Ingrosso 2018 auf Astralwerks überzeugt das aus Deutschland stammende Duo minds&machines, ein menschlich-elektronischer Hybrid zweier Individuen, mit seiner neuen EP auf Solomuns 2DIY4 Label. Auf "Silenced / Nothing" lassen minds&machines Spuren von Garage, Electronica und Ambient auf deren divergierenden Routen für einen kurzen Moment kollidieren, womit ihnen ein neues Highlight innovativer Musikschreibung gelingt.

After a long time silent, La Luna is back with a 6 track VA featuring artists, Exit 47, Maricopa, Olywok, Mr. Projectile, Inmost and Senoy & Joce. The dreamy artwork was done by Berlin based artist, Heather Marie and will be pressed on 180 gram with a beautiful high quality outer sleeve. We hope you enjoy the sounds ranging from ambient, deep house, IDM and all types of downtempo electronica. Secure your copy and stay tuned for news on LALUNA003

Wex 003. A special double LP that that depicts the mind of the Dutch producer, Eversines. This album is his first release and explores much of the vast world of electronica. From ambient to techno and much in between this is a special album for both the dance floor and your home listening. For the rest we will let the music speak as let you explore the sounds. Be sure to grab this while you can as it will be a limited double LP press on 180 gram. Photography from label head, Marco Malpeso. Stay tuned with much more to come in 2019 and thank you to all who have supported us thus far.

Detroit's resident producer, Appian, joins ANMA with three originals that twist and grind through break and straight 4/4 beat grooves. A lot of the sound presented sets ground in the rough and rugged but minimalist feel with focus on rhythms that are sometimes complex and sometimes more reliant on the heavier dance floor cuts while simultaneously meshing new ideas with references to electronica classics that paved the way for today.

The alternative take on the flip is provided by Italian producer Sofa Talk, no stranger to the label seeing his own release debut EP hitting the shops in 2017, with more focus on 4/4 beat with layers upon layers of improvised synth and atmospheric licks.

In 1986 iconic group The Future Sound of London released the UK Top 40 chart album 'Dead Cities', from which came a track 'Yage'. Such has been the interest in this masterpiece of electronica over the years that the guys have been back into the studio to revisit it.

Here, on this limited edition, individually numbered LP press exclusively for 2019's Record Store Day comes the results. 'Yage 2019' takes the core of the original and rebuilds it. All together there are eleven tracks reconstructions and interpretations, woven together (as FSOL do) into a 42 minute dreamscape journey across the 2 sides of vinyl. Only 1000 copies of this release will be pressed on vinyl.

Die Geschichte von Lambchop ist die der steten Veränderung und Weiterentwicklung. Was vor fast 30 Jahren im Keller von Kurt Wagner begann und von ihm selbst scherzhaft als 'most fucked-up country band in Nashville' bezeichnet wurde, hat sich inzwischen nicht nur als eine der dienstältesten sondern auch innovativsten Bands der US amerikanischen Musikszene etabliert. Seit jeher verbinden Lambchop unterschiedlichste Genres wie Folk & Country, mit Soul und Urban Electronica zu einem ganz eigenen, unnachahmlichen Sound. Kein Lambchop-Album klingt wie das andere, aber jedes klingt immer unverwechselbar nach Lambchop. Nach ihrem wegweisenden Album - Flotus' (2016) hat die Band aus Nashville jetzt ein neues Album für den 22.03.2019 angekündigt. Für 'This (is what i wanted to tell you)' arbeitete Kurt Wagner mit Matthew McCaughan (Bon Iver, Hiss Golden Messenger) zusammen, der ihn auch als Teil des Lambchop Live Ensembles im April auf Tour begleiten wird.

Im Sommer 2017 machte sich Wagner auf, über die Blue Ridge Mountains in Richtung North Carolina, zum Geburtstag seines langjährigen Freundes und Chef des Merge Labels: Mac McCaughan. Dort traf er auf seinen jüngeren Bruder Matt McCaughan, der das letzte Jahrzehnt als Schlagzeuger für Bon Iver und Hiss Golden Messenger verbrachte. Matt und Kurt kannten sich schon viele Jahre, aber erst an diesem Abend beschlossen sie zusammen an Musik zu arbeiten. Wagner schickte Mac neue Songideen und McCaughan schickte Wagner Synthesizer-Stücke zur Inspiration. Schließlich gingen beide gemeinsam in Nashville ins Studio, Pedal Steel und Piano und der Harmonika von Nashvilles Legende Charlie McCoy, die diesen schwarz-weißen Skizzen Leben einhauchte.

- 180g heavy, black Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Das Ergebnis ist This (is what I wanted to tell you)", ein Album, ergreifend ehrlich, atemberaubend, wunderschön und überraschend. Aber Lambchop sind nicht immer nur für eine Überraschung gut, sondern überraschen immer wieder mit verdammt guten Songs. Wenn Kurt Wagner etwas zu sagen hat, hören wir natürlich hin, das sollten sich alle zu Herzen nehmen. Diese Platte muss man einfach hören!

Heute gibt es die erste Single aus dem Album: 'The December-ish you' eine verblüffende Mischung aus bewährt emotionalen Slide-guitar und Pianoflächen alter Lambchop-Schule und effektiven PVC Pop Beats, Claps und Samples, über die Kurt Wagner die melancholischste 'Friday Night Fever' Ballade der Dekade croont.

- Limited edition, 180g heavy, weisses Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Die Geschichte Von Lambchop Ist Die Der Steten Veränderung Und Weiterentwicklung. Was Vor Fast 30 Jahren Im Keller Von Kurt Wagner Begann Und Von Ihm Selbst Scherzhaft Als most Fucked-up Country Band In Nashville' Bezeichnet Wurde, Hat Sich Inzwischen Nicht Nur Als Eine Der Dienstältesten Sondern Auch Innovativsten Bands Der Us Amerikanischen Musikszene Etabliert. Seit Jeher Verbinden Lambchop Unterschiedlichste Genres Wie Folk & Country, Mit Soul Und Urban Electronica Zu Einem Ganz Eigenen, Unnachahmlichen Sound. Kein Lambchop-album Klingt Wie Das Andere, Aber Jedes Klingt Immer Unverwechselbar Nach Lambchop. Nach Ihrem Wegweisenden Album - flotus (2016) Hat Die Band Aus Nashville Jetzt Ein Neues Album Für Den 22.03.2019 Angekündigt. Für this (is What I Wanted To Tell You)' Arbeitete Kurt Wagner Mit Matthew Mccaughan (bon Iver, Hiss Golden Messenger) Zusammen, Der Ihn Auch Als Teil Des Lambchop Live Ensembles Im April Auf Tour Begleiten Wird.

Im Sommer 2017 Machte Sich Wagner Auf, Über Die Blue Ridge Mountains In Richtung North Carolina, Zum Geburtstag Seines Langjährigen Freundes Und Chef Des Merge Labels: Mac Mccaughan. Dort Traf Er Auf Seinen Jüngeren Bruder Matt Mccaughan, Der Das Letzte Jahrzehnt Als Schlagzeuger Für Bon Iver Und Hiss Golden Messenger Verbrachte. Matt Und Kurt Kannten Sich Schon Viele Jahre, Aber Erst An Diesem Abend Beschlossen Sie Zusammen An Musik Zu Arbeiten. Wagner Schickte Mac Neue Songideen Und Mccaughan Schickte Wagner Synthesizer-stücke Zur Inspiration. Schließlich Gingen Beide Gemeinsam In Nashville Ins Studio, Pedal Steel Und Piano Und Der Harmonika Von Nashvilles Legende Charlie Mccoy, Die Diesen Schwarz-weißen Skizzen Leben Einhauchte.

Das Ergebnis Ist "this (is What I Wanted To Tell You)", Ein Album, Ergreifend Ehrlich, Atemberaubend, Wunderschön Und Überraschend. Aber Lambchop Sind Nicht Immer Nur Für Eine Überraschung Gut, Sondern Überraschen Immer Wieder Mit Verdammt Guten Songs. Wenn Kurt Wagner Etwas Zu Sagen Hat, Hören Wir Natürlich Hin, Das Sollten Sich Alle Zu Herzen Nehmen. Diese Platte Muss Man Einfach Hören!

Heute Gibt Es Die Erste Single Aus Dem Album: the December-ish You' Eine Verblüffende Mischung Aus Bewährt Emotionalen Slide-guitar Und Pianoflächen Alter Lambchop-schule Und Effektiven Pvc Pop Beats, Claps Und Samples, Über Die Kurt Wagner Die Melancholischste friday Night Fever' Ballade Der Dekade Croont.

WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzurus fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early 80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, anda Texas Instruments Speak & Spell! Its elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!

Keys are Benedikt Frey and Chris Cox, the front and rear covers of a lucid
narrative of an incomprehensible nature. Substance induced Hara-kiri, a human
consciousness leaving it's temporary and insignificant vessel, a motorcycle ride
through the sands of a desolate Martian desert or a twisted eternity dissolved
inside Pandora's Box. These are just a few of the scenes effortlessly evoked by
the epic yet somehow erotic omnibus of slow-motion electronica that is Voltage.
In a time dominated by robotic beat and melody, this 8 part expedition away from
the dancefloor may surprise, disorientate and hypnotise. Allow Keys to seal you
in their infinite vacuum of flirtatious melancholia.

Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.