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inkl. Tom Wax & Jan Jacarta Mix !!

die zweite doppelmaxi auf force inc. !!! coole typische justin berkovi tracks !!!

erinnert etwas an wishmontain, coole minimale trax !!!

Under their exael moniker, Berlin-based producer Naemi makes highly imaginative music that can be seen as a study in contrasts - precise, hyper-detailed drum programming sits atop fuzzy, organic pools of ambience, virtuosic futurism is wrung from a falling apart laptop. Following a string of excellent releases, both solo and in group settings, “Flowered Knife Shadows” features eight productions that feel like the full realization of the project, demonstrating the artist’s range and knack for vivid, pressurized productions. From the dextrous, chops-flexing “Koch Metish” to the sanguine “Reality’s Sweetheart,” Naemi’s clarity of vision and instantly recognizable aesthetic are delivered here with remarkable potency. Frost on the window, whispers in the dark.

HIGHLIGHTS 7697 Miles, the synth duo made up of Dieter Mauson (Hamburg, Germany) and Cristóbal Rawlins (Santiago, Chile), two long-standing artists of the underground scenes of their respective countries. DESCRIPTION The name of the project, 7697 Miles by Dieter Mauson and Cristóbal Rawlins, alludes to the distance that separates both geographical places. Mauson started in the 80s with various industrial and minimal synth projects. He currently performs as a solo artist under the name of Occupied Head. For his part, Rawlins, under the alias of Raw C, has become one of the fundamental names in the most innovative techno scene in Chile. "Iskay" (which in Quechua means "two") was recorded during a tour that the duo made in Peru, inspired by the Andean culture and its ancient traditions. The pieces that make up "Iskay" were composed using a wide variety of synthesizers and follow the lessons left by German electronic music from groups such as Kraftwerk and the Berlin school. But they are also open to ambient experimentations and echoes of techno culture, resulting in pieces that cover a whole tradition of electronic music, in a true hypnotic excursion for those who enjoy electronic sounds as a journey to new territories of sound and psyche. "Iskay" represents the debut of 7697 Miles on Buh Records and is released in a limited edition of 300 copies. The cover art was designed by the great Peruvian artist Paloma Pizarro (Infra_Intl).

They have been called, amongst other things, "the best live band in Britain." Their music has graced everything from The Sopranos to The Simpsons, and celebrity fans include Irvine Welsh and the world's biggest selling author, Stephen King. They are undoubtedly the greatest American act the UK ever did produce, and their heady combination of techno and C&W, alongside a proclivity for rock 'n' roll decadence and an acute social conscience means that they are effectively a unique entity in modern music. Exile on Coldharbour Lane is the debut album by Alabama 3, originally released in 1997. The name and cover are references to Exile on Main St. by The Rolling Stones and Coldharbour Lane a major street in Brixton, South London best known for containing several after-hours clubs. Upon its release, the album received favourable reviews, including an 8.9 review from Pitchfork Media. The song "Sister Rosetta" was featured in the film "Barnyard". "Woke Up This Morning" is best known as the opening theme music for the television series, The Sopranos, which used the "Chosen One Mix" of that song.

When electronic artist Ben Chatwin plugged his Moog synthesiser into the mains at home one day, he was surprised to find the electrics of his home faintly singing. His house was built in the Nineteenth Century and what he was listening to was the building’s natural hum. He boosted the volume and in doing so found the inspiration for his next release, The Hum, out on Village Green.
 ‘The Hum’ is Chatwin's sixth solo album of experimental electronic music under his own name and his eleventh in total. It amplifies the hidden frequencies that swirl invisibly around us in the air all the time but which most of us never hear, including the 50Hz hum of the power grid that producers will know all too well from the studio but is almost undetectable to the human ear. “There are so many sounds around us that are lower and higher than we can hear,” Ben says. “I wanted to make it all audible.”
 Taking inspiration from Mika Vainio’s physical sound worlds and Jóhann Jóhannsson’s immersive soundtracks, ‘The Hum’’s emotive accumulations and caustic textures form dense stratas, with strings and analogue synths harnessed as melodic anchor points among electric storms of pulsating sound.
 After discovering the drone of his home he began extracting and amplifying as many ghost frequencies as he could from other sources to make tracks for the album. ‘Interference’ includes aeroplane communications pulled from the sky; ‘War of the Ants’ resurrects long lost echoes from previously erased recordings on blank tape. At one point, he found what sounded like human chorus in the signals - nobody else could hear it so he also brought in singer Kirsten Norrie (MacGillivray) and buried her voice in the mix among the signals on ‘Creep Strain’ and ‘Snow Crash’. Strings are arranged and performed by Ben’s regular collaborator Pete Harvey (Modern Studies).
 Ben avoided using the computer as a sound source, and most of ‘The Hum’ is completely analogue - it was mixed live and mastered to tape. This record marks a technological and textural leap in his music, as an album that is both made with and is about the hidden sounds of tubes, tape and the air between us all

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.

Birthed from Arizona’s regaled Ascetic House collective, Body of Light is a dark synth-pop outfit comprised of young brothers Andrew and Alexander Jarson. What began as a vehicle for their exploration of noise and sound during their early teens has evolved into an established production over the last decade, as Body of Light continues to carve out their own style of complex, structured, and moving dancefloor electronics.

Their music is not only individually personal, but drawn from experiences shared between the two brothers – and calls on elements of new wave, freestyle, goth, and techno to create timeless and singular tracks without fear of trend or passing fashion.

On their third album Time to Kill, Body of Light refines their brand of cold and driving synth pop with a bold pallet of sounds and a focus on uncharted technique and purpose. Like the pale digital stare of the modern devices surrounding our daily lives, the album weaves stories of love and obsession in an era of technical bondage and fleeting exhilaration. Written over a period of intense and profound change, Time to Kill stands as a startling reminder of how important our existence truly is. Haunting keys, swelling pads, and punching rhythms score their work as Alex Jarson presents an alluring and romantic dialogue with confident projection. The title single “Time to Kill” kicks off the album with a merciless signature beat, complimented by distorted sample patterns against an infectious, moving bass groove

Boreal Massif is the collaborative effort of Pessimist and Loop Faction, and here they present their debut full-length LP, We All Have An Impact.

Focusing on the destruction of the natural world and our ecosystems, We All Have An Impact shows there can be more to electronic music than a shallow and empty narrative. Built from field recordings and a deep reservoir of trip-hop / drum & bass influences (think B12's Electro-Soma, vintage Mo Wax records...), Boreal Massif's raw, unpolished anarcho-electronics offer a blueprint for the next generation of new age music.

Love in the time of collectively assured techno-capitalist-nuclear holocaust! It’s the endless summer the Brits have been harping on about since they think they won the World Cup. The soundtrack is the debut album of the Content Provider; where Octatrack illbient and industrial chanson mesh in a singed postcard addressed to the UK Border Force and co-signed by aliens plucked from the petri dishes of Young Echo, Cold Light and Avon Terror Corps.
It’s a name she tried to keep anonymous, but Drowned By Locals and Bokeh Versions are breaking contract to reveal that the Content Provider is in fact the shock production alias of DALI DE SAINT PAUL. Patron saint of Bristol’s self-destructive improv idols EP/64 as well as post-feminist chamber collective Viridian Ensemble, avant-terror duo Harrga and constant collaborator with the likes of *breathe* Moor Mother, Valentina Magaletti, Mariam Rezaei, Vincent Moon, Maxwell Sterling, Ossia, Ben Vince.
And isn’t it such a strange release? And won’t people be surprised? Endless Summer is grubby and heartfelt, defiant and hopeful, with flecks of warped reggae on E-System nudging the freeform dream balladry of A Feeling and Sunday Morning, Kode9 & Spaceape-worthy dread poetry of Close Ur Eyes next to anthemic electro-crush of Overdrive. Even to those that know her well, and EVERYONE with their belly in the Bristol underground knows her, Endless Summer is a revelation. Perhaps the apex of the known Dali-verse……where her live gigs have boiled with an experimental volcanic vocal force, Endless Summer is twisted, syrupy, sultry, POP.

Following on from their 2017 ‘Welsh Music Prize’ nominated debut ‘ Life in Analogue ’, Cotton Wolf are back with a brand new album. ‘ Ofni ’ (Welsh for ‘Fear’) will be released on 4th October on vinyl and digital formats.
Set against a thematic backdrop of social uncertainty, the album’s darker material is simultaneously imbued with anxious paranoia and hopeful positivity. The new tracks from the Cardiff duo showcase a bolder production with faster tempos and purer electronic sounds, alongside hypnotic, abstract and melodic ideas inherent to their previous release. Whilst the bulk of the album is instrumental, the title track features an ethereal vocal contribution by Adwaith’s Hollie Singer.
Brought together through various musical projects, Llion Robertson and Seb Goldfinch discovered their mutual appreciation of electronic music, as well as their love of film and TV soundtracks. Through Cotton Wolf, the pair aim to create organic, intelligent soundscapes that provoke equal measures of thoughtfulness and danceablity. Seb’s background in classical composition and arranging (BBC National Orchestra of Wales / The Gentle Good) combined with Llion’s work mixing and producing (Super Furry Animals, Gruff Rhys, Aldous Harding, James Yiull) , leads to an expansive, unique approach to songwriting and the wider collaborative process.

Part Man, Part Machine, Cybotron was the synthesis of progressive rock and electronic music experimentation. Conceived by pioneers of the Australian electronic underground, Steve Maxwell Von Braund and keyboardist Geo Green, together they produced a series of mind-altering cosmic albums throughout the 1970s which set the tone for the Minimal wave and electronic post punk scene of early 1980s Melbourne.



Part Tangerine Dream, part Ash Ra Tempel, Cybotron channelled the spirit of Krautrock to create their own unique brand of throbbing Komische electronica rivalling the futuristic vision of their German counterparts. Dual Planet present the long awaited reissue of this landmark Australian recording.



Issued as a limited edition reissue of the 1978 LP, remastered from the original source!* First ever reissue of the mega rare original 1978 LP from legendary Australian electronic duo Cybotron.

At the forefront of dance music for over a decade, Brighton’s James Connolly has left an indelible mark as a progressive producer; under the name L-Vis 1990, and as his alias Dance System.

Dance System boils dance music down to its core elements and the result is infectious club tools that offer something more; character that will standout in any set. Under this alias, Connolly has released on Clone and Jimmy Edgar’s Ultramajic labels.

“When Night Slugs boss L-Vis 1990, aka James Connolly, slips on his Dance System alias, the mission is simple: slamming—but pointedly simple and unfussy—tracks that get your ass on the dancefloor.” - VICE

Following a five-year hiatus, Connolly is excited to return to Dance System, with the Wind Em Up EP, released in April on Modeselektor’s lauded Monkeytown Records. In today’s serious techno world, and against the current political landscape, Dance System is the playful breath of fresh air we all want and need.

Indeed, on title track Wind Em Up, Dance System is playfully calling out for other DJs to do exactly that; wind up the crowd with the unexpected UK garage breaks that bring colour to the driving beat and guitar lick. Heeez Baaad takes a single hypnotic loop and pushes it to its absolute limit, the only break coming when the track slows down to a halt, before slamming straight back into the action. Bringing in the horns on That That Sh**, the off–kilter horn loop is unsettling, but driven along by the low-end tom groove. Body closes out the Wind Em Up EP with an uplifting piano chord, before dropping you into minimal bassline and drum groove that’s just impossible to argue with on the dancefloor.

106 Kerri Chandler Chords” reflects the conceptual and archival obsessions of an artist committed to acting as an intermediary for the work of others. Compiling 106 chords by the legendary house music DJ and producer Kerri Chandler—and arranging them for string quartet, performed live by SEM Ensemble—this record by die Reihe presents a feedback loop of context and content, resulting in an entirely new work. Elemental and diffuse, yet compositionally cohesive, the presentation of single chords, each on their own, works to both wither and embellish the source of their creation. “106 Kerri Chandler Chords” is a road that encourages hours of meticulous listening, ending in a space where die Reihe, SEM Ensemble, and Chandler are all mysteriously both present and absent.

"Die Reihe" is the moniker of NYC-based composer and sound engineer Jack Callahan. Taken from the journal edited by Herbert Eimert and Karlheinz Stockhausen, die Reihe makes work that often examines and abstracts a single musical element, from the functioning of a vocoder to the harmonies of house music. With this project he has toured both the U.S. and Europe multiple times, been invited to numerous festivals and has released music with labels such as anòmia, Ascetic House, NNA Tapes, and Salon. In 2013 he founded Bánh Mì Verlag, an imprint dedicated to contemporary experimental music and culture.

The new album by Egyptian Lover following up his 1994 and 1985 releases! Classic west coast electro by the lover! Gatefold 2lp release. Essential.

Timeless E-lover album, as allways heavy on the 808, featuring ''You're So Fine'', ''Livin' On The Nile'', ''Freak-A-Holic'', ''The Lover'', ''A Strange Place (The Alezby Inn)'' and some more to cool electro!!

We're absolutely delighted to announce the reissue of Ouroborindra on the Ghost Box Records label.

Ouroborindra was first released in 2005 on CD-R, and now re-issued on CD and, for the first time, on Vinyl. Eric Zann was an alias for the more experimental work of Jim Jupp, aka Belbury Poly and Ghost Box co-founder.

Inspired by early 20th century cosmic horror fiction, Ouroborindra sets out to conjure up it's own awe inspiring and chilling imagery. It's drone music with melodic elements, stitched together with synthesizers, samples, found sound and effects.

Another exceptional reissue from the consistently excellent Ghost Box.

Drop us a line now to order these.

Fluence is the brainchild and first release of sound artist / provocateur Pascal Comelade. Recorded in Montpellier, France in 1974-1975, the project consists of exploratory electronic pieces in the Fripp & Eno vernacular with a Kosmische tinge.

"A Few Reasons To Stay / A Few Reasons To Split," a title inspired by Swiss conceptual artist Urs Lüthi, features Comelade's kaleidoscopic arpeggios and Richard Pinhas' howling guitar, which variously resembles a dreamlike cello and ghostly human moans.

"Barcelona Tango's" off-kilter exotica with pocket trumpet and looping drum beats foreshadows Comelade's later work, which would create a stir in some avant-garde circles for his use of unorthodox instruments (plastic saxophone, toy piano, etc.).

On the side-long "Schizo," Comelade's electric organ with probing, Terry Riley-esque swooshes collides with Gabriel Ibanez's thick, reedy buzz – together forming a truly magical soundscape. These incendiary performances ably join the ranks of other dreamily cosmic, impressionistic guitar-and-synth masterworks like No Pussyfooting and The Serpent (In Quicksilver) as well as Conny Veit's work with Popol Vuh.

Originally released in 1975, Fluence offers a remarkable emotional and textural range – richly experimental and deeply progressive – that sounds at once timeless and strikingly contemporary.

Nach fast 30 Jahren veröffentlichen Funker Vogt ihr 1996
erschienenes Debut Album „Thanks for Nothing“ erstmals,
streng limitiert, auf farbigem Doppel-Vinyl. Für die VinylProduktion wurde in einem speziellen Verfahren buntes,
recyceltes Vinyl verwendet, welches jede Platte zu einem
besonderen Unikat macht.
Alle Tracks wurden auf Basis der Originalaufnahmen aus dem
Jahr 1996 von Mastermind Gerrit Thomas für die VinylProduktion neu gemastered. Das Album erscheint dadurch in
einer noch nie dagewesen Klangqualität und zeigt nochmals
deutlich welchen Meilenstein die Band damals erschaffen hat:
Club-Hits wie „Black Hole“, „Funker Vogt“ oder „Thanks for
Nothing“ haben die EBM-Szene nachhaltig geprägt.
Als Bonus zu den original Album-Tracks sind der „Body
Rapture Remix“ von „Thanks for Nothing“ und der „In
Between Mix“ von „A New Beginning“ enthalten.

GLOK is the electronic solo project from Andy Bell of shoegaze legends RIDE (formerly of Oasis/ Beady Eye/Hurricane #1). His debut album under the moniker, Dissident, was originally released last year on a limited edition cassette by Bytes, an offshoot of Ransom Note Records. That sold out in 24 hours, and was followed by a vinyl pressing of 500 copies, on transparent green vinyl, sold via Bandcamp and two online shops.

However, with that edition now sold out pretty much on word of mouth, due to popular demand, Dissident is being repressed and is this time being made available to a wider audience via a partnership between Bytes and Republic of Music/K7.

The name GLOK is a misspelling of the German word for Bell. The German connection fits well as there is a strong Krautrock influence in the music, especially on the title track, ‘Dissident’, an epic clocking in just shy of the 20-minute mark, which blends synthwave, minimalism, trance, Detroit techno and John Carpenter soundtracks, with Andy even dropping in some killer John Squire-esque guitar licks.

The album was supported by Andrew Weatherall, Justin Robertson, Tom Ravenscroft at BBC 6 Music, The Times, Electronic Sound, Clash, DJ Mag, ChainDLK, Stamp the Wax and Groove.

Dissident Remixed will follow on June 26, 2020, featuring reworkings from Andrew Weatherall, Jay Glass Dubs, Maps, Richard Sen, Minotaur Shock, C.A.R., Timothy Clerkin and Andy himself.

London-based experimentalist Luke Younger (a.k.a HELM) returns to PAN with ‘Olympic Mess’.
Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.

Die Electro-Keule kreist wieder! Nicht einmal zwei Jahre nach ihrem letzten Album sind die mexikanischen Höllen-Cousins zurück aus dem Pandemie-Kerker und lassen ihrer Aggression auf dem neuen Opus „Hyperviolent“ unverblümt freien Lauf. Latent bedrohlich und eher schleichend rabiat wie bei „Broken Empires“ oder im pulsierenden Dark’n’Bass-Gewand wie bei der zweiten Vorab-Single „Backstabbers“ – Hocico spielen auf den 13 Tracks ihres neuen Longplayers die komplette Aggro-Klaviatur. Dazu zählt auch und vor allem der Bonus-Track „Weapons Of Resistance“, den Erk gemeinsam mit Ten56.-Frontmann Aaron Matts eingesungen hat und der nach Kooperationen mit Lord Of The Lost und Ost+Front einen weiteren Krachmacher-Trip ins Gitarrenlager bedeutet. Auch 2022 gilt für Hocico also: Knüppel aus dem Sack oder einfach gesagt: „Hyper hyper“!

Less than two years after their last album, legendary Mexican Electro duo Hocico is once again filling the air with their unabashedly sound and strikes hard with their full range of aggression on the band's brand new album "Hyperviolent".