Techno News

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.

Phillip Washington (aka Cygnus) is an electronic musician based Dallas, Texas and is making
a name for himself since the early 2010's with releases on Central Processing Unit, Breakin' Records, Biosoft Records, Recondite and Icesea to name a few. Gentrified Underground is giving his first & sought after tape-longplayer "Cybercity Z-Ro" from 2012 a vinyl reissue and a total cover-art make-over by Walid El Barbir. These aquatic and futuristic compositions represent a seminal timestamp for Phillip's discography and electro in general.
Pressed on green-vinyl!

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.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

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!!

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

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".

The stunning orchestral soundtrack is written by three-time academy award winning composer and conductor Howard Shore. Shore’s score credits span over 90 films, most notably for The Lord of the Rings and The Hobbit film trilogies. A long-term collaborator with writer and director David Cronenberg, Crimes of the Future marks Shore’s 16th feature film collaboration with him since 1979.
Set in a not-so-distant future, Crimes of the Future depicts humankind learning to adapt to its synthetic surroundings and, as humans alter their biological makeup - some naturally, some surgically - the body itself becomes art. With his partner Caprice (Léa Seydoux, No Time to Die, The French Dispatch), celebrity performance artist Saul Tenser (Viggo Mortensen, A History of Violence, Eastern Promises), publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin (Kristen Stewart, Spencer, Twilight), an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – to use Saul’s notoriety to shed light on the next phase of human evolution.

The infusion of electronic music into the score ultimately expanded into the inclusion of 11 remixes on the album, and it was an amalgam of inspirations which brought that idea to fruition. Both composers have worked extensively with electronic music, including their work on the celebrated, techno-infused Run Lola Run soundtrack.

Track A1 recorded live in San Francisco, The Warfield.
Track A3 recorded live in Warszawa, Sala Kongresowa.
Tracks A2, A4, A6 and B3 recorded live in Moscow, Lushniki.
Track A5 recorded live in Tokyo, Shibuya AX.
Track B1 recorded live in Tallinn, Exhibition Hall.
Track B2 recorded live in Riga, Olimpiska Hall.

Black Vinyl, DL Card. Following Lucy Gooch’s acclaimed ‘Rain’s Break’, her first release on Fire Records earlier this year, the artist’s acclaimed debut EP ‘Rushing’ is revisited with new artwork and a brand new track, ‘Orthione’. “Lucy’s sound marries the etheral qualities of ambient music with buoyant, effortless pop” Crack ‘Rushing’ in its original shorter five-track incarnation was heralded as a touchstone beneath the cascading torrent of modern times and an oasis for turbulent times. An intimate collection of songs built around Lucy’s emotive vocals and unique ambient dream pop, the newly added stand-out track ‘Orthione’ trips into the esoteric world of Laurie Anderson and Philip Glass; here her voice is the grounding force that travels to a space that heals and grows. “For an artist whose favourite trick is the seemingly infinite crescendo, she clearly knows the value of restraint” Pitchfork // “Expansive, upfront, spectral pop” KEXP // “The pastoral element of the music resonates more as you tune in to Lucy’s unique vocal.” Loud And Quiet

Ground Groove, the third full-length release from the LA-based, Iranian-American producer and DJ, Maral, begins with an invocation: the sprawling, achingly heavy Feedback Jam opens the floodgates of history. Conventional (linear) spacetime collapses, crushed beneath the track’s lumbering 4/4 heartbeat and successive waves of distortion. As each wave recedes, samples trickle forward in the mix — seeking, perhaps, to fill the void. Voices and instruments rise and fall in uncanny reverse. Overlapping, implied melodies flicker into focus, then flit away. Feedback Jam is at once an initiation ritual, and a thesis statement for the record that follows.

Drawing upon a vast personal archive of Iranian folk, classical, and pop recordings (some sourced from mixtapes made by her parents in the eighties/nineties), Maral presents, on Ground Groove, a further refinement of the signature “folk club” sound she developed as a live DJ— a sound she would later codify on Mahur Club (2019) and Push (2020). By collecting, dissecting, and re/presenting sonic fragments from Iran, Maral practices a kind of dance-floor ethnomusicology. The subject of her inquiry: Iranian


culture and contexts, throughout history and in the present. But, crucially, this inquiry is instantiated within and throughout the body of the listener, whether this listener is dancing in the club, or riding the train, nodding along with headphones on.

Maral speaks of being in collaboration with her samples, treating each as a distinct bandmate, often consulting with an artist’s catalog (or even a single recording) as one would a trusted creative partner. In so-doing, Maral claims to seek to transcend the self. In this regard, her output neatly triangulates contemporary dance and heavy music with much of the traditional religious music that she samples. Broadly speaking, each of these idioms addresses a desire —shared by audience and performer alike—to transcend the self through volume, repetition, and movement.

Having, in her youth, studied the Setar under Nader Majd (the founder of Virginia’s Center for Persian Classical Music), Maral cycled through various genres (ex: punk, emo, dub) in her adolescence and early twenties, all the while expanding her knowledge of, and appreciation for, Iran’s diverse musical traditions during regular summer trips to Tehran. In college, Maral taught herself to make beats with a ripped copy of Ableton (which remains her DAW of choice), eventually transitioning to playing and hosting various club nights. Forever abiding by an autodidactic, DIY impulse to create art and foster community, Maral relocated to Los Angeles in 2013, where she quickly immersed herself in the city’s numerous overlapping music scenes.

Collaboration (beyond sampling) has proven an important component of her process, with notable spoken word contributions from the likes of Lee Scratch Perry and Penny Rimbaud, as well as a 2021 Panda Bear collab track (On Your Way), which the Animal Collective founder co-produced. Maral is equally attentive to the visual components of her records (album art, music videos, etc.), drawing upon the work of peers and friends for inspiration.

Indeed, the genesis of Ground Groove can be traced back to an audio-visual collaboration between Maral and the artist Brenna Murphy, originally commissioned for the 2021 Rewire Festival — a project that would eventually serve as the album’s foundation. Tracks eight through eleven on Ground Groove comprise Maral’s half of this installation, with tracks one through seven composed afterwards, inspired by the fruits of Maral and Murphy’s collaboration. Murphy’s visuals will be released alongside Ground Groove as a visual accompaniment. Additionally, Murphy designed the album’s art, directed the video for the lead single (the aforementioned Feedback Jam), and is featured on track six, Shy Night.

Composed largely on Ableton, Ground Groove features more frequent and more prominent live recordings from Maral (guitar, bass, and vocals) than either Push or Mahar Club. The cult favorite Roland MC-909 groovebox rears its head on Mari’s Groove. Mixed by Trayer Tryon (Hundred Waters) and mastered by Daddy Kev, the attention to sonic quality on Ground Groove constitutes another significant step in Maral’s development as a studio artist.

Ground Groove’s eleven tracks are “grooves” in the obvious sense, in that they are each driven by a persistent, propulsive rhythm, but the album’s title may just as well suggest the glacial passage of time—the scope of human history, in which individual voices, like streams, carve paths (impossibly) through earth and stone, winding their way to the vast sea of the present.

Since the release of mau5ville: Level 1, the project has gained over 40M streams globally. The multiple JUNO award-winning and Grammy nominated, deadmau5, has enjoyed international platinum -certified chart success, seven critically acclaimed albums and is one of the most respected electronic music producers today.

In May 2021, for an exceptional residence on the Haunted Lighthouse of Tévennec, Molécule signs a new, mystical project straight out of the shadows. Faithful to his artistic dogma, the artist has entirely composed this album located in Tévennec's lair, at the gates of hell.

An Electronic and Ambient sound manifesto, stuffed with soundfield recordings: a rift towards the beyond.

When I finally lowered the Mordant Music portcullis after 20 years of sauntering alongside the mainstream I signed off with an EMS-based album entitled Mark of the Mould several tracks from which I re-worked for a Sony/KPM online-only library music release entitled Synthi Spores…during the ensuing C-19 castaway phase I composed a further hefty batch of library-style tunes intended for a mooted album with Sony/KPM, which was looking distinctly likely until my contact there vamoosed and corporate ‘reshuffles’ left the music abandoned and huddled in a folder on my desktop - classic ‘industry’ fayre I've witnessed many times and KPM itself has now moved St. Elsewhere…enter CiS, who had also previously re-released the Dead Air album and an eMMplekz 12” , to resuscitate ’n’ rally my underscores ’n’ jingles with their renowned gusto…myself and Phil Heeks fashioned a classic KPM-style ‘1000 Series’ sleeve and a random web pop-up provided the ad-hoc title (I was searching for raw plugs at the time)…I’ve made untold library tracks over the years for firms such as Boosey & Hawkes, Cavendish, Universal and Pifco etc and these are certainly some of my favourites, running a gamut of dinky styles for adverts, film and Netflix, whatever that means these days…njoi/endure, IBM

Strawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows.

Strawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope).

More Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate.

Strawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.

Nu Vision is Nipponese modernist kosmische that is therapeutic, multicolored, and alluringly strange, like a bioluminescent valley on an exoplanet discovered by a JAXA probe. With chopped-up kabuki howls and moonlit koto plucks placed ecstatically around floral billows of ambience and candy-coated synthesis, it at least approximates a picture-book about traditional Japan, cut-up and recombined to become an instruction manual for building the aforementioned spacecraft. The author of such a guidebook, Yuji Namiki aka began as a rapper and beatmaker, using hip-hop as a launchpad to traverse the plethora of genres he would later uncover during a formative stint working at a record shop in Tokyo. The musicological momentum he gained there would eventually lead him to establish his own label, UGFY Records, through which nubo and his peers continue to explore techno, acid-house, synthesis, and other electronic psychedelia. However, a marked shift toward the contemplative tone of Nu Vision arose out of spiritual necessity after Namiki's parents, concerned for his mental well-being as he slipped (understandably) further into dissatisfaction with the modern world, insisted he admit himself to a psychiatric hospital for three months. The pharmaceutical treatment he received there left him feeling creatively and emotionally detached. In his own words "judging that the world is sick, I was hospitalized, and it took me a year and a half," before he was able to make music of any kind. When the time finally came for nubo to retrace the musical steps inward to his sense of self, contemplative sounds became the torchlight by which he illuminated the path. "It was time," he says "to face my mind." He emerged with a Nu Vision, so to speak, one that folds his view of himself, his home country, and the cosmos at large into a psychospiritual codex of sound that only nubo himself could have fostered into existence. "The illusion for me is now the present world itself," he explains, "when we can see the world as being full of love, the scenery changes dramatically and we realize that life is infinite."

Nurse with Wound's epic Thunder Perfect Mind was originally released in 1992 on United Dairies and was a sort of twin sister album to Current 93's album sharing the same title. Both albums featured contributions from Coil's John Balance, David Tibet, Colin Potter, Rose McDowall and more. A masterclass in ominous ghostly atmospheres and mind-warping psychedelic sound collage, this enhanced, extended and remastered edition has been overseen by Stephen Stapleton himself.

Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate.

The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs".

It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

the very latest in 'techno couture'. One colour only, Black with white print.

Size: S

Shirt info:
EARTHPOSITIVE EP18
Unisex Heavy Jersey T-shirt
Jersey 5.6 oz / 190 g
100% Combed Organic Cotton

the very latest in 'techno couture'. One colour only, Black with white print.

Size: M

Shirt info:
EARTHPOSITIVE EP18
Unisex Heavy Jersey T-shirt
Jersey 5.6 oz / 190 g
100% Combed Organic Cotton

the very latest in 'techno couture'. One colour only, Black with white print.

Size: XL

Shirt info:
EARTHPOSITIVE EP18
Unisex Heavy Jersey T-shirt
Jersey 5.6 oz / 190 g
100% Combed Organic Cotton

the very latest in 'techno couture'. One colour only, Black with white print.

Size: XXL

Shirt info:
EARTHPOSITIVE EP18
Unisex Heavy Jersey T-shirt
Jersey 5.6 oz / 190 g
100% Combed Organic Cotton

Holuzam's third release features a fearless long-time sound activist: Ondness is one of many aliases of Bruno Silva. You may know him from Sabre (with Carlos Nascimento) or solo as Serpente; under the Ondness alias he’s been putting out music on Where To Now?, Seagrave or Sucata Tapes (a sister label from Discrepant). “Not Really Now Not Any More” is a beautiful resilient piece, mastering the fine line between album and mixtape.

Both the title and the contents of “Not Really Now Not Any More” have been inspired by the idea that we are constantly floating around unfinished ideas. The title is taken from a graffiti that inspired Alan Garner to write “Red Shift” (Mark Fisher wrote about it in his book/essay “The Weird And the Eerie”). The typo and the idea around “not really now not any more” serves this album perfectly well.

During its ten tracks, Ondness is constantly going back and forth on the way he explores soundscapes and how they can pair up with their own resolution. Nothing in “Not Really Now Not Any More” is really finished but also it isn’t unfinished. It’s a subtle idealization of the importance of accepting how things are. “Torre” starts and ends the album as two different songs sharing the similarities – not only the title – that encapsulate the whole essence of “Not Really Now Not Any More”.

“Esquina, Espera” points out this whole idea of never-ending construction, it’s dub-ska-industrial- techno perfectly crafted to make the listener feel the freakish anxiety that we have to be everywhere right now. It’s pop-up music, constantly moving and fading away, reappearing with a new idea and then leaving it out in the open. It tells the listener about how it lacks ideas because it contains too many ideas.

Those ‘too many ideas’ make this a perfectly fit record for 2019. Music that is everywhere and nowhere. But it's not loud or trying to show off. It lets the listener peel its skin and find the magnificent sci-fi extravaganza that “Not Really Now Not Any More” inspires. Going nowhere being somewhere. Do you feel me?

Fast paced abstract Detroit electro ghetto tracks.

Originally released in 1982, Pascal Comelade's Sentimientos is one of the most elusive and sought after LPs in the French composer's vast catalogue. Recorded on a two-track Revox machine, the album is an eclectic series of brief pieces – only two of the twenty tracks exceed four minutes – showcasing his poetic imagination and impressive range.

While much of Comelade's early work hints at many of the major electronic movements to come, Sentimientos remains earthbound and organic. Melodic fragments performed on piano, organ, plastic saxophone, vibes, guitar, toy piano, ukulele and synthesizer place Comelade's boundless creative spirit on display.

It is telling that Comelade chooses to cover a Brian Eno tune not from the ambient pioneer's seminal Music For Airports, released just four years earlier, but rather the more traditional "Taking Tiger Mountain," here rendered to highlight the song's previously hidden hymn-like qualities.

Like fellow countryman Ghédalia Tazartès, there is something distinctly unclassifiable about Comelade's music. Undoubtedly, the two artists share a flair for the mischievous.

Sentimientos is an unapologetically whimsical, frequently dizzying and loveably anarchic album of manic energy and radiant mystery – a perfect introduction to Comelade's singular musical mind.

Celebrate four decades of the fan-favorite iconic film, Pretty In Pink with the ultimate soundtrack of the ‘80s. Now available on black vinyl.

On Electro Records' ''Sci Fi Electro'' series, each artist has created a 15 minute track for each side of the record, taking you from pure electro tracks to very experimental compositions, sounds and atmospheres. Each side is divided in ''movements'' in a continuous morphing process without any pause between different tracks. The series is a collection of seven releases inspired by the following films created in the 20th century: THX 1138, 2001 A Space Odyssey, Blade Runner, The Thing, Akira, Terminator and Tron.

Traveling the spaceways as Spiral Galaxy, flautist/painter Sara Gossett and treated guitar/machines manipulator Plastic Crimewave (of Plastic Crimewave Syndicate/Galactic Zoo Dossier magazine) have created devotional sonic voyages and droney soundscapes with the occasional rhythmic pulse to conjure the textural and kosmische vibe of 70s German seekers like Yatha Sidhra, Emtidi, Popul Vuh, Achim Reichel, Sand, and early Kraftwerk. The duo have just completed their first album, expansive tracks they had been performing live on tours in the UK and Italy, plus USA events like Chicago Psych Fest, Milwaukee Psych Fest, Far Out Nashville festival, and The Feed Me Weird Things series in Iowa City.
Treating the studio as an instrument, new layers, instruments and collaborators were added to the heady mix, like special guests Jean-Hervé Péron of legendary avant-German collective Faust (who Spiral Galaxy was lucky enough to open for, and collaborate with on stage); Kawabata Makoto of Japanese communal psychlords Acid Mothers Temple on chants and spoken voice; and Alisha Sufit of UK 70s eastern-folk band Magic Carpet (also chanting her heart out). Also appearing on the album are guitar wunderkind Ryley Walker (playing backwards guitar on this, not easy!), Taralie of Spires that in the Sunset Rise on Terry Riley-ish circular sax, sitar-player Hands of Hydra, Moog-maestro Will MacLean of Protovulcan, and Christian Luke Brady of meditative Virginia cosmonauts Fargon. What results is a dense, hallucinogenic, sonic tapestry of an LP that covers many moods—from divine soundscapes to Krautrock's motorik beats, doomy experimental pieces to dark acid folk, and beyond.

Kristian Jabs is one of Bristol’s favourite sons in the modern era of electronic music. As Pessimist, Boreal Massif and Soft Boi, Jabs has solidified his position as a leader of a generation of artists. In his latest carnation Jabs presents ‘Too Long’, a new 7 track album project under a new artist moniker of Stigma. Enlisting a prolific cast of collaborators in the form of L, Justin K. Broadrick (Godflesh, Napalm Death, JK Flesh), Taylor E Burch (Tropic Of Cancer, DVA Damas) and Karim Maas, Too Long clocks in at almost 40 minutes of personally reflective, intimately authentic cyber-noir-esque trip hop. Industrial anarcho breaks, syncopated sleaze, analogue call and response. Too long is a tale of texture, feel and tone. Unadulterated. Aiming to shine a light on the relationship between poverty and mental health issues in the UK, all proceeds from the album will be donated to Second Step Bristol, a charity dedicated to supporting people with mental health problems, gently acknowledging the possibilities for change.

Long-time friends, and trustful party partners , the Brussels duo, Techno Thriller, joins the Teenage Menopause Records family with a batch of slow and cranky misshapes. During the past decade, we've linked them with the filthy EBM and chopped Indus-Techno they’re performing during massive lives, stabbing the dark rooms audiences. Two albums released on both l’Entorse and the Brussels’ pioneer Unknown Precept, integrating the C12 agency, they scoured Europe, releasing some smoky tracks, for those who love cinderblocks, leather and sweat. On the strength of this impeccable resume, they’re offering, now for Teenage Menopause, a free-reading of the Decameron: a 10 texts chronicle, by the florentine Boccace, describing the spread of the Great Plague of 1352 in his city. While exploring the limits of new sounds, expanding electronic music, Techno Thriller looks back into their medieval influences, sharpening the blades on the literature of British authors, cutting guts on dark folk moods. The rhythms are slow, the gears are dedicated to building a dark and gloomy feeling, helped by featurings like Naomie Klaus or violinist Tamara Goukassova.

On Electro Records' ''Sci Fi Electro'' series, each artist has created a 15 minute track for each side of the record, taking you from pure electro tracks to very experimental compositions, sounds and atmospheres. Each side is divided in ''movements'' in a continuous morphing process without any pause between different tracks. The series is a collection of seven releases inspired by the following films created in the 20th century: THX 1138, 2001 A Space Odyssey, Blade Runner, The Thing, Akira, Terminator and Tron.

180 gr Vinyl + insert, 12 Tracks. Again an unique compilation by leading Belgian re-release label Walhalla Records, specialized in Minimal synth. Following the widely acclaimed – and sold out - Underground Wave series, 5 albums released so far, and counting, there is now Volume 6 with mainly Belgian bands such as Onderbronders, White House White, Spleen, Tangible Joy, Blitzzega with a strong international presence by Hades from Brazil and SS20 from France. Again a wealth of ultra rare and previously unreleased material, deeply rooted in the electronic 80’s.

Warzou and Gil.Barte joined together for WARZABART side project, based on modular and analog setup. The album, recorded in a day at Big Science Studio by the duo, results into noise textures and industrial punk-pop vibes, cooked by layers. Struggle vocals arrangements from the french situation, polyrhythmic and disonnant wind instruments, for a dark club vision.

Why the Eye is an experimental masked quartet from Brussels that propels bodies into trance during its live performances. All instruments are DIY and played in real time, without loops or sequencers. Fans of The Residents, Société Étrange, Autechre, Boards Of Canada, The Meridian Brothers and Fulu Miziki could easily relate to their sound. Describing their music as "Prehistoric Techno", Why The Eye are set to release their new album ‘Inspirex’ on the 4th of October via Exag Records. Opening with the fidgety JNSP, the vindictive summons La Machine is a brash, abstract experience with a deep yearning to set us free from everyday political confinement while the raw Où cours-je explodes into a wild rage of disorder and mayhem. At the heart of each track are the DIY instruments band member DjP (Jean Paul Domb) has assembled over the years, some of them directly inspired by the African sanzas. With names such as ‘radiocaphone’ and ‘castabignettes’, the instruments are cleverly connected to different effects pedals and are the heartbeat of Why The Eye. Elsewhere, the album title track reveals a snappy rhythmic quality with skittish sounds while Prairies and Animal are tribal-like in delivery with a deep-lying punk ethosele

After the "curfew" (cf. album Out Past Curfew) and the "strange time" of adaptation following the health crisis (cf. EP Stranger Times), comes the relief and the open up to the world until now confined: the Salvation. Third artistic collaboration for Youthstar & Miscellaneous, the album Salvation is a 13 tracks journey with strong and optimistic subjects such as motivation, the quest for happiness, mixed with more melancholic themes such as addictions or dependency but always through incredible percussive flows and chorus with heady gimmicks that make you want to headbang! Faithful to the rap/hip-hop that forged the duo, this album also borrows the codes of electro, trap, bass music or even reggae. We find on this album a whole crew of top notch beatmakers such as Tha Trickaz, La Fine Equipe, as well as renowned artists & MCs like Biga*Ranx, Dope D.O.D, FP from ASM... Ltd. col. LP (splatter)!