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2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper and hectic leftfield club music. 'Goofballs' places its emphasis on playful melodies, ear worm hooks and vocals mixed with trademark machine funk rhythms that hit hard and land off balance. Any other way would be too obvious for an artist like Eric.

Eric explained the creation of this new album via email from his home on an island in lovely Balearic Palma Spain: i made it here in Palma at my studio, this is the first full record i've made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90's drum machine, cheap bass machine and a sampler. But most important was a homemade 'drum brain' that Barry's London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.'

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium and Paw Tracks.

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

Anthology is a near-comprehensive survey of John Carpenter's greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998's supernatural Western, Vampires. Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween's iconic 5/4 piano riff, and the eerie synth work of The Fog. Carpenter and his band also cover Ennio Morricone's bleak, minimalist theme for The Thing.

We also get vital new recordings of the themes to '80s classics and fan favorites Big Trouble in Little China, Escape From New York, Christine, and They Live, along with the romantic Starman, which earned Jeff Bridges his first Oscar nomination as a lead actor. The collection is rounded out by the menacing, heavy themes to Prince of Darkness and In the Mouth of Madness, the latter a Metallica-inspired riff originally played for the film by Kinks guitarist Dave Davies, and now played by his son Daniel.

In the weeks following Anthology's October 20 release, Carpenter will return to the road, playing both classic movie themes and material from his two Lost Themes albums. The performances will once again affirm the power of the Horror Master's brilliant work as a composer and musician, and undoubtedly send audiences rushing home to their DVD libraries to dive yet again into the most rewarding filmography in genre cinema.

Deluxe color vinyl editions come with 7" including the themes to Village of the Damned and Body Bags
Collects the classic themes of John Carpenter on one volume for the first time
Lost Themes is the best-selling album in Sacred Bones history

Optimo Music is delighted to release a first album by Fantastic Twins (formerly known as The Twins). We'll let them tell you the story behind this inspired and beguiling record -
Obakodomo (Au Balcon Du Monde) is a soundtrack I created for a piece of contemporary dance, performed by two dancers for a young audience from the age of 4. It is the story of an imaginary journey in Antartica where two explorers go on an adventure. They encounter a colony of penguins and will progressively learn to understand their habits and respect their environment. Essentially, Au Balcon Du Monde is a metaphor of how to exist next to each other, how to share a territory, how to learn to live together and share resources.
The scenography and stage accessories were designed in a minimalistic and non-obvious form to leave all the space for imagination. The penguins were made of translucent material to provide light effects and were programmed to move in a swaying motion, allowing interaction with the dancers and the music. LED system could be wireless piloted.
With the soundtrack, I wanted to create an atmosphere that would immediately transport the children into this terra nova - a poetical space, like a cold sphere, where the strange meets the frightening and the playful. Translating the immense vs the small, the far-off vs the near, the collective vs the individual, the strange vs the familiar or the cold vs the heat. My intention was to follow the thread of the story in a narrative, yet non-caricatural way. Music for children doesn't have to be 'childish'. Children love to be scared or even just challenged. They love to love and react instantly to what they hear through their emotions. Ultimately, the soundtrack aims to provide different levels of 'reading' so that it becomes something more universal. So we, adults, just have to accept the invitation.

The man who views life in constancy is destined for stagnation. Everything is change, everything is motion. Atoms to galaxies, seasons to lives. Together in motion. The powerful force brings together, spinning together. Be magnetic. Music is the magnet that brings together and makes us spin. With subtlety, the aptly named Gyration EP begins its spin as minimalist synths assault with increasing frenetic abandon. Under the guise of apparent simplicity, Rekord 61 abducts the mind to a realm of constant motion. A futuristic merry-go-round stuck in overdrive, adrenaline spikes and neon lights smear across your vision. Unbalance and Ari Atai produce remixes of Gyration and Ferrimagnet that brings the machine to life. With catchy sequences and galactic atmospherics, the remixes imbue organic energy to the unwavering motion of the original tracks. Bringing the revolutions back under control, the efforts of Ari Atai and Unbalance expose dubby layers, pounding drums and melodic texture. Let the breakneck pace of Rekord 61 race through your mind, then let your soul reverberate with the timeless melodics of the remixes.

Sparse and reflective, the Chicago native's work occupies a curious space on the periphery of the Techno genre. By stripping back the music to all but its most vital elements - most notably the Sequence, but at the same time maintaining a sense of urgency in its articulation, Litüus crafts exquisite, ghostly shadows of busier, more fleshed out material. Neither intro nor outro, but rather suspended in some middling point of formation - what remains is a remarkably pure examination of minimalist, experimental synthesis.

The enigmatic producer first appeared on the label with19805.-19905 - a collection of reduced hardware sequences released on cassette and 12" in 2015 and 2236 s Wentworth ave continues in much the same vein, though perhaps exploring a marginally more traditionally 'musical' sentiment. Nods to 1970's sound designer Irv Teibel's Environments series sit alongside more overtly contemporary structures, and the mood shifts gently across the recordings - from a low slung, pulsing anxiety to a gentler serenity via heavily ring modulated bells and spring reverbs, softly warping percussion and careful bandpass filtering.

Litüus creates music that is geared neither towards home listening nor the dance floor, but that exists somewhere in between - quite where exactly remains part of the the artist's undeniable allure.

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

Shaun Reeves & Tuccillo present a new facet of their ongoing collaborative efforts, with a collection of works that took root in the woods of Ibiza. SHANTU's first record opens with 'Primero', a classy ride through dreamy melodic elements and a relaxed groove with a steadily rising pace. 'Ingenue' moves things into 2nd gear with a deep and funky bassline that is soon propelled further with a variety of organic percussion elements. The long B side 'Zissou' would certainly be at home in the team Zissou minimalist playlist, a mysterious and psychedelic underwater trip populated with strange echoed synths and steady precision drum machine work.

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

LTD 140g 10" grape juice vinyl MAIDM is made up of musical pioneers Aim and Mikey D.O.N.
Locked in the lab for as long as it took, they're now set to share the first fruits of this miraculous merger. Presented on tasty 10' grape juice vinyl, MAIDM's opening statement boasts two hard hitting hip-hop home-runs, Tun Up Di Heat (Party Banger) and B-Boy Shit.Tun Up Di Heat (Party Banger) is an earth-quaking, bass speaker shaking introduction to how nice they are. A beatific blend of head down hip hop and funky, floor-filling accessibility, Tun Up... is the perfect introduction to MAIDM and it's precision manifesto.Flip to the flip side for second track B-Boy Shit, a track that eschews concession to commerce and takes no prisoners through minimalistic murk and hyper-aggressive vocals. Long forgotten legends are name-checked, old scores are settled, the dirty break-beat rolls on and hip-hop gains a fresh new anthem.
MAIDM - Imagine the possibilities...

Assemble Music brings together four more producers at the forefront of today's fine minimal/house/electro scene. Eklo boss Seuil kicks things off with JAM, a slowly-unfolding confection of metallic percussion and rolling bass set against a meditative, minor backdrop. His fellow Half Baked resident Robin Ordell brings a tipsy-sounding vibe to MOBSIW, each element swaying its way around the others in an off-key dance. Les Points' Barbir adds Detroit hats to a no-shits-given breakbeat and suspends it in time, before finally a 4/4 kick comes to put feet back on the ground. Finally, Traffic founders Martyné and Jacob draw on more contemporary breaks and electro influences on ELECTRONETTO, with that laissez-faire swing with which their label has become synonymous.

The Cryovac machine operates independently to service the world with an original strain of techno. Our people are pioneers of their own sound and seasoned veterans of its' cause. This cause is the basis for our action and the motivation for our vinyl. Cryovac believes the vinyl format is the truest way to take in our music, and this is why we take great care to personally craft our own plates and photograph our own art. The Cryovac approach and stance make it a true oddity in a world of commodities, and we hope you realize, feel, and respect our work.

Andy Vaz is a rebel from the city of Cologne. He is a creator of techno labels that follow their own path and challenge the standard dogma. His version of the techno sound has gone from stark and funky minimalism to synth cascades and housey feels. Andy Vaz is the perfect choice to collaborate with Andy Garcia. Garcia's brand crunchy soul tech mixed with vocal nonsense is the yin to Vaz's yang. These like minds share a name, a spirit, and a drive to keep moving forward no matter the cost.

Timedance drops a second instalment of remixes, featuring two interpretations of the Ploy track "Footprints In Solid Rock", taken from last years Iron Lungs EP. Beatrice Dillon contributes first with a sublime, dubbed out trip. She strips back the percussion of the original and adds a single dreamlike chord, it's a real zoner. Peder Mannerfelt supplies the flip. The remix takes on a stomping yet minimal form, before dissolving into one of the most wigged out uber-rave breakdowns, designed for the late night sessions!

The sub label of Sonic Groove, 'Sonic Groove Experiments', returns after a 4 year hiatus with a stellar re-release of the Electrowave classic 'Eruption' by Beta Evers. Originally released as a Limited Edition 12' back in 2005 on Beta's own Kommando 6 label. Now in 2017 the original pressing goes for quite a fortune on the record collecting market. Often exceeding €60 for a mint copy. For the first time in a dozen years this release is available on vinyl in its original running order but with very sleak new artwork for the normal asking price of a new store bought 12'.

Beta Evers is Brigitte Enzler from Augsburg, Germany. An artist with a substantial amount of accomplished work to her credit including an early release on the storied Hague label, Cre`me and her side project Black Spider Clan. After ceasing Kommando 6 operations, Beta Evers continues on independently releasing music on her other labels Bodyvolt and Venus Noir. Her most recent release is the 2016 awesome 'Delusion' album on legendary Industrial/EBM pioneer Dirk Ivens prestigious Daft imprint.

The opening track's title serves as a warning, titled 'Don't Be Afraid', a cold introduction led by sinister synth lines soliciting our attention to expertly crafted true analog electronic percussion in the EBM/Dark Electro disciplines. Surreal, deep and seductive vocals lie in the wake at the center of the composition giving us a melancholic piece worthy of deep contemplation during listening on or off the dance floor.

The following track 'Move In My Body Rhythm' continues in the same sinister and dark aesthetic in a more driving manner, this track continues to bring forth energy with a precise beat and rhythm accompanied by acidic synth modulations.

Side B continues to hold the heavy weight of this extended player with the track 'Eruptive' This reference track to the title of the EP. is an electronic/vocal robotic analog circuit breaker suitable for dawn light on the floor. Traditional arsenal of classic analog sounds are arranged and rearranged with sonic manipulation at the test. Mutant dance music for cosmic venues.

The closing track, 'Destination Lost' is comprised of lyrics of urban angst and disturbance whispered out through sultry vocals. Dark minimalist and cinematic cyberpunk breaks reinforced by low drone synth waves and crystals of lysergic analog bleeps drifting along the perimeter. Dead serious wave infected electronics.

This sonic document also serves as a good example of a roots approach to creating music whilst at the same time giving us something entirely innovative. This is as futuristic as it is timeless and that reflects the elements of a masterpiece.

As One LDN present to you a magnificent EP created by Viktor Udvari and Alan Castro, expressing a fine understanding on how to produce that quality minimal tech sound. Crafted by up and coming Viktor Udvari all the way from Hungary and highly established Alan Castro representing Argentina. Combing both musical knowledge and technique, we are proud to present AOL001-Photosynthesis!

This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.

In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.

Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.

- Beautiful 1 LP Edition with heavy 350g Sleeve, Poster Inlay with Liner Notes and Photo, includes CD with incl Bonus Tracks - 33 rpm LP mastercut by Emil Berliner - Midori Takada and Masahiko Satoh's 1990 masterpiece LUNAR CRUISE LP available on vinyl for the first time ever, as well as on CD, sourced from the original studio masters, with all new liner notes. - Featuring Yellow Magic Orchestra's Haruomi Hosono (bass) and Kazutoki Umezu (saxophone, clarinet). *** TERRITORY RESTRICTION - NO SALES TO JAPAN *** Following the successful reissue of Midori Takada's Through The Looking Glass, WRWTFWW Records is delighted to announce another release from the legendary Japanese percussionist: 1990's LUNAR CRUISE, her superb collaboration with jazz pianist, synth master, composer and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, LUNAR CRUISE is an under the radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End...) and Kazutoki Umezu. LUNAR CRUISE is available in two versions: a first-time-ever vinyl LP cut at Emil Berliner Studios, housed in a 350g sleeve and including a bonus CD of the album with 2 extra tracks, and a standalone digipak CD version. Both versions are sourced from the original studio masters (DATs) and come with new liner notes. Tracklisting Vinyl LP

We are pleased to announce the next vinyl only release on Pathway Traxx and an exciting new direction for the label focusing on the more minimal/tech side of house while still maintaining its true house roots. Label owner Niko is accompanied by underground house hero Nima Gorji and the in-form trend setter Primarie from the formidable Tzinah Records.

the label of the post-autonomous kindergarden from berlin's east cross awakes after a long beauty sleep. we're back behind the decks with a lineup that is carving out contemporary techno.
finnish producer samuli kemppi, from helsinki, has accompanied us since the beginning of our club. musically, he stands for a minimalist, crystal-cut sound hailing from galaxies far, far away.
fabrizio lapiana is a long-time friend of the house. his sounds are able to expand even the smallest dance floors—he sculpts spacious soundscapes and sends dancers on a deep dive into dark and melancholy travels. we are particularly excited about the presence of our resident akmê, who comes to us with energetic release after his first ep on connwax. he will be bringing his steadfast love of detail and sly playfulness—elements present in all his dj-sets. with these three numbers, the ://about blank 002 has compiled the best of the mdf soundtrack. next stop after powernap: lobby and garden. rave on!

Signum" was initially released more than twenty years ago on cd format and became a larger-than-life cornerstone of P.A.L's discography as well as a historical document in industrial music. recorded over a three year period from 1993- 95 this album displays the past & present face of this artist's sonic variety ranging from sweeping minimalistic soundscapes and powerloaded percussion-driven floorburners to heavily distorted harsh power noise attacks presented as a unified front. the industrial anthem 'Gelo¨bnis' is a truly fine example for the combination of crystal clear mastering and the selective, inspired implementation of samples which was always an important factor for p.a.l and became a trademark of his works.

ant-zen and aufnahme + wiedergabe are proud to present the extraordinary reissue of this long-deleted legendary release on coloured heavy double vinyl in a gatefold sleeve. a timeless opus for being re-discovered by adepts and recovered by novices.

recorded 1993-95 at Upper Meadow Field, Munich. Some overdubs were done at His Master's Studio, L.A.
mastered & co-produced in L.A. by rudy r. 1995.
cut by Christoph Grote-Beverborg at Dubplates & Mastering

Brixton's Dream Diary continue to bolster a blooming catalogue of classy electronic music with a fresh 4-track EP courtesy of label owner Oslo Roma. Staying true to their canon - Roma's 'Bubbles' EP spans Ambient, cruising Deep House, Minimal and Electro balancing water tight drums with eyes down melodies throughout.
The title track opens things up with gliding Juno chords and a steady, hypnotic pulse. Shimmering cymbals and spoken snippets ferry the listener into a trance before 'How Good Is The Party' rolls loose limbed drums under sweeping tones and expansive dub delays. 'Mars Water' then dims the lights with a driving bass line set under reversed vocals and clipped, neat drums. 'Twotet' then finishes the package up with sharp 808 drums and soft allaying melodies that work to round off another rich and varied addition to the Dream Diary catalogue.

Roman producer (and a force behind MinimalRome label) Valerio Lombardozzi known as Heinrich Dressel returns to Barba with a second release for our label, titled "The Styx Swamp". Heinrich has a unique way of combining classic techno and electro sounds with elements from the beloved Drexcyan universe and John Carpenter leitmotifs, and making them come together in a manner that both moves your body and pushes your mind beyond the point of awareness. As with the previous record, "Lurking Underwater", here he pulls off the move with the same efficiency and without sounding like he's repeating himself. "Gray Slope", "Sailing The Nether Waterways" and "The Styx Swamp" are all quite moody and deep, rich with sound and thick with vibe. However, the tracks feel equally at home in 4 am techno situation and a heady afterhours affair. He truly is a master of crafting hybrids whose influences get so flawlessly embedded that it's hard to point them out. If that's not enough, "The Styx Swamp" got a treatment by Nigel Rogers aka Perseus Traxx, a multi-faceted producer and a mighty live act performer. Nigel stayed respectful to the original but made the original's bouncy groove into something more direct and reduced, while retaining the same feel conditioned by lead synth's hypnotic quality. We're known to give a little bit of extra love to our releases so (as all before) this one's pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by EmaEmaEma.

A new piece by Australian artist Tarquin Manek, devised in collaboration with poet Martina Quake of Canvey Island, UK and recorded at M.E.S.S. (Melbourne Electronic Sound Studio), utilising EMS VCS3, Oberheim OB-Xa and ARP 2600 in combination with cheap, contemporary consumer electronics. It is, to all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. Our narrator is damaged and unreliable: Quake's voice, digitally processed into a flat, AI affectlessness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots - numb and listless not-quite-humans - of us all Locks revels in the space between the spontaneous and the programmed (what is a poem if not a programme). It's part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Manek's music is widescreen but understated...a becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys. A sort of sombre, lunar jazz. Space-age bachelor pad music, maybe, for a bachelor at the edge of space and the end of his tether. Just as Quake's words are cumulative in their tragedy, so the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Manek's 2015 Blackest Ever Black LP, Tarquin Magnet, and his work in F ingers with Samuel Karmel and Carla dal Forno.

"Feeling numb from all the electronic dancemusic coming out, moaning about how its become a bit samey, or are you just tired of your shitster friends saying its not like in the 90's anymore. This record will shut everyone in the room up. A1 is a deeply psychotic acid death march into confusion, so minimal and primitive (kick, snare, acidsquelch) it will challenge every beard and armpit and might even hypnotize the dj to the point he cannot mix in the next one. A2 is a straight up Commodore 64 SID track with mongoloid data elephants tooting over a wobbly and tarded electroish beat. B1 is a dystopic dreamy rave stomper, starting out kinda datacuddly but gets more and more serious, with choirs of fable mooers taking you into that virtual bad trip you need. b2 continues as expected with more c64 SID madness, so snary I cant even determine if its in 115 or 230bpm. But it leaves you with the feeling your ears and mind just been wrestled, smacked and poked at, and thats the point. This is no record for the safing chickenshit DJ." - /DJ Joakim Cosmo, Sweden.

KLYNE first caught everyone's attention with their critically-acclaimed debut EP 'Paralyzed' on Aesop, as well as their debut remix - a rework of Disclosure's 'Omen' feat. Sam Smith - before signing to Because Music and going on to release their first two singles, 'Don't Stop' & 'Water Flow'. Both tracks hit the #1 spot on Hype Machine whilst garnering support from i-D, PIGEONS & PLANES, THE FADER and NOISEY as well as receiving airplay support from BBC R1, 1Xtra, 6 Music and Beats1 with 'Water Flow' racing to over 6M streams and counting on Spotify. 'mellow electronic pop that's like a long-lost cousin of Jai Paul' - The FADER 'infectious and effortless... groove-laden soulful masterstrokes' - VICE / Noisey 'minimalist vibes, captivating vocals... impeccable melodies' - Pigeons & Planes 'more fire from the young Dutch duo... the boys are off to a strong start' - i-D

We are very exited to present you a fresh and sharp Ep from Julien wich is a big fan of the label since the beginning.. Today we got the best of his music.JULIEN SANDRE makes its debut on French,classy label HOME INVASION with a 4-tracks EP, wrapped in elegance and charm but at the same time rich of kiiller grooves and energy between hypnotics synth associated with micro-house elements that will make you dance in clubs and will make you dream in the afters party.A side is the "deeply" part of the EP where RESTLESS looks perfect to move the floor with its fat rolling groove and tripping chords; title track SERENDIPTY express perfectly Julien's sound of the moment: minimal drums & refined pads for a dreamlike journey to the start till the end.B side is more micro-house oriented.
JUST MAKE SENSE remind us about tracks of gold period of minimal of early 2000's but updated to our days with a wild, floor killer beat & smooth stabs and effects.Closing track AUTONOE looks perfect for after moments. Minimal-jazzy drums imbued with hypnotic deep elements.

Mercury Prize-nominated Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group created their own singular, cinematic sound over the course of three studio albums, from their 2007 breakthrough 'Knee-Deep in the North Sea', and 2010 John Leckie produced 'Isla', to the self titled record 'Portico Quartet' in 2012. Now rebooted as Portico Quartet after a brief spell as the three-piece Portico, the group are set to release their fourth studio album Art In The Age Of Automation this August on Manchester's forward thinking indy jazz and electronica label Gondwana Records. It's an eagerly anticipated return, with the band teasing both a return to their mesmeric signature sound and fresh new sonic departures in their new music. So much so that their four-night run at Archspace E8 (June 22-25) sold out in less than an hour as fans from around the world scrambled for tickets to hear the return of Portico Quartet. Support from Gilles Peterson, Jamie Cullum and similar minded DJs around the world. Airplay from TSF France. Features in Jazzism, Jazzthing, Jazzwise and beyond. Reviews in the Guardian, Mojo, Uncut and more. Full servcing to the Gondwana Records international DJ and radio mailing list.

After his memorable 'Wolves' EP of last year (which garnered great support and earned record of the week on B.Traits BBC Radio 1 show) Florian Busse returns to connected for his new release 'Heus' EP on vinyl and digital,retaining and developing his idiosyncratic sound sculpting, Florian has delivered another unique take for the dancefloor.
1. 'Heus' A hypnotic tom and bass groove, heavy on atmosphere and noise, foreign and far away synthesizers and a deceptive bass note, the melody starting slow with a repetative phrase, then telling its whole melancholic, wistful, but powerful story before an arpeggio in the main break brings things to an end and delivering a powerful moment in the club when the beat comes back. Memories of summer.
2. 'Intro'. As the track name says, the long intro is the 'featured' part of the track, a good starter for any dj-set where people do not leave the dancefloor if the beat hasn't kicked in after the first 10 seconds. Child like voices, steady synthesizer note coming and going and a low bass create an intense first 3mins before the beats kicks in for the first time continuing with a pretty minimal beat before the elements of the intro come back and voices replace the synth line.
3. ''Guem'. A steady bass note and a waylaying, moody synthesizer theme ,tastefully selected drums, heavy beat and percussion ,joined by weird bird like sounds place you into a wood where the sun has already set.

Camea returns with the third release on her Neverwhere imprint, titled 'Vanish', this Spring. In her new single, she digs deep on her drum machine into Studio 1-esque territory, using alluring classic minimal techno grooves as a back drop for her seductively soulful, selfconflicted vocals. Camea not only captures a timeless micro-house vibe in this piece, but she continues to push her sound forward as well as her love for avant-guard techno. Up next is Delft imprint boss, LA-4A, best known for his analogue vintage Roland drum machine productions. He has laid down an irresistible 303 break-beat club mix of Camea's track in the A2 spot. His dance cut of her vocals over bass driven percussion is a perfect counter piece to the original, and compliments the sound from his recent acid techno album 'Phonoautograph'. On the flip side, Berlin techno legend and Ostgut Ton/Berghain resident Tobias. gives his graceful interpretation. He has reworked the original into a tasteful, dark, spacious 8-minute minimal techno piece, with percolating panning and filters on the vocals. As usual with Tobias., he clearly conveys his undeniable expertise and instinct for exquisite dance music. With this release, Camea is also marking the 2nd anniversary of her cult Neverwhere Radio show this Spring, having produced twenty-four, two-hour episodes with exclusive DJ mixes and guests. The show currently has residencies on Digitally Imported, Tsugi Radio and Ibiza Sonica, and Camea has quickly established herself as a driving force in the left-field techno community, and a passionate advocate of underground radio.

Emotional Rescue starts its 5th year by shining a light on one of Europe's best underground 80s' label in Spain's Auxilio De Ciento. Their Terra Incognita Volumes I and II collated an international mix of synth-pop, new wave, world and industrial sounds to a small but appreciative following. Released in 1985 and 1986, the Volumes have become highly regarded and rightly sought after, finding a place in discerning playlists from London to Amsterdam and Dusseldorf to Glasgow. Here, taking a premise of avoiding the songs unearthed on other recent reissues, is a unique album itself. Starting with Denis Mpunga & Paul K's esoteric Criola, a fusion of fourth world ideals and poly-rhythmic funk. The music of Mal, Bene Gesserit and La Caida De La Casa Usher, however, soon highlight that the decade also belonged to dark, minimal synth as to shiny balearic ideals. The inclusion of Hector Zazou with Bony Biyake and their contribution Komba, is a fitting continuation from their cult Noir Et Blanc LP before, things continue with US avant-artist Danny Alias and his humorous Big Brother "response" to Laurie Anderson's Superman O. Image Pour Image loose indie-pop and the inclusion of seminal Beast Of Burden lead again to a Zazou contribution, this time in his collaborative Stranger In A New Light, before the compilation eclectically ends with the dadaesque Lakota and the post punk dub of Instead Of's closer, Angels .

A strange confluence of sound that sounds part Krautrock synth label Brain records, part Hyperdub.   Techno haze and synth wormholes with spectacular sound design that has banged at Berghain and soundtracked winter night drives.

Greenspan is known mainly for his work with Junior Boys and Jessy Lanza and Taraval is a longtime touring member of Caribou, but both have released several 12' and EPs of electronic exploration over the past few years. 

Inspired by synthesizer minimalists like JD Emmanuel, Cluster and John Carpenter, the two attempted to create a type of dance music with hardware that was indebted to their influences but did not feel intrinsically retrogressive. The idea was to make a type of raw synthesizer and drum machine music that could be listened to beside the hypermodern techno of Pearson Sound or Actress.  

The cover art is a tribute to a mysterious mural that looms over the Hamilton Ontario area where the album was recorded.
Each of the five tracks on the EP were edited down from much longer recording jams which were done with hardware sequencers in real time. The recording was done completely off the floor with no overdubs or added material after the fact. As this release might appeal to synthesizer hobbyists and enthusiasts it seemed appropriate to compile a list of the instruments used in the original recordings. they are as follows: Arp Odyssey  Pioneer Toraiz SP 16 Eurorack Modular System Roland JX8P DSI Tempest Simmons SDS8 Roland SH101 Roland Jupiter 6 Yamaha CS50 Oberheim OBXA

Synths versus me is back this time with the dancefloor at 5:00am as located and fixed target. 3 new tracks of classical ebm, new beat and minimal tribal techno + a remix by the french electro enfant terrible alek drive is what you are going to find on the demolishing 12 that reached worldwide position #1 on bandcamp's #ebm tag in only 24 hours after the preorder release. all tracks remastered specially for vinyl by eric van wonterghem at prodam studio (berlin).

Vinyl Only

Stan Yaroslavsky BerlinTel - Aviv based producer with past releases on label like Sakadat , Kina Music , Sleep is commercial and more is proud to present you his new project , Small Things Records
Label based in Tel Aviv Berlin which trying to bring you the same atmosphere of summer and winter with combination of small elements and space sounds .
On his first release Forward EP together with brilliant remix from Martinez (Martin Swanstein) the boss of Concealed Sounds , Stan and Martinez bringing you the perfect combination of minimal house music with new sounds and and new vibe , deep chords and fat bassline with a lot of small details throw the journey
so we can feel the summer on the way , And more to come .

Zeb Wayne returns with a majestic and scintillating song titled 'Wulfman', featuring a trio of top tier remixers including Alva Noto, Calibre and Radio Slave.
Following the release of 'Float' on Rekids last year, 'Wulfman' is a beautiful song that demonstrates how musically versed Wayne is as a producer, blending a serene vocal by Ziwi, with intricate sounds to create a truly beautiful song from start to finish.
Alva Noto, who composed the film score for The Revenant alongside Ryuichi Sakamoto, as well as being the co-founder of esteemed minimal imprint Raster Noton, is the first of three heavyweight remixers. The renowned German producer employs his signature elements of grit, static and glitch resulting in an inimitable melancholic cut.
Well respected for traversing numerous electronic music sub-genres, as evident in his recent album on Craig Richards' The Nothing Special, Calibre ups the energy in his remix using sultry synths, syncopated percussion and mesmerising effects.
Concluding the colossal package, Rekids founder Radio Slave creates a club-ready reinterpretation of his own, complete with fine-tuned kicks, looped vocals and a heady bassline.

(en) While the last Kompakt offering from legendary Russian synthesists SCSI-9 dates back to 2008, when the duo released their album Easy As Down' (KOMPAKT CD 068), co-founder and techno/house virtuoso ANTON KUBIKOV kept himself busy cultivating his own label Pro-Tez Records - and establishing a career as solo artist with a clear penchant for dub-infused soundscapes and ambient music. WHATNESS is Kubikov's first solo full-length under his proper name, weaving airy and iridescent sonic tapestry that takes up where his excellent contributions to our Pop Ambient compilations left off.
ANTON KUBIKOV's special ear for ambience and tonal spaces was always an integral part of SCSI-9's musical DNA that would alternate between tight dance workouts and vast melodic range - but it's as a solo artist that he truly started to explore these spaces, following mysterious sonic trails into foggy, reverb-heavy territory. Kubikov's contributions to the several instalments of our Pop Ambient compilation series announced the arrival of a promising new project in our talent pool - a promise more than satisfied with the immersive sound bath of first solo outing WHATNESS.
Going from the richly layered electronic drones of LIQUID MIRROR or ENTRANCE to the lush ambient dub of OTHER THE SEA and KURT'S FOREST, or the minimalist, evocative piano of OKTOBER and PIA, the album covers lots of stylistic ground, but remains committed to its overall aesthetic of misty mountains and serene valleys. With the endearing APRIL, a true Pop Ambient classic from the 2016 compilation (KOMPAKT 345 CD 128) makes a welcome return, priming the canvas for the subtle bass throb of NORTH and its charming synth bell orchestra. Masterfully refining and extending his sonic pallet on WHATNESS, ANTON KUBIKOV can claim his spot among the very best of today's ambient composers.
(de) Obwohl die letzte Kompakt-Offerte aus dem Studio der legendären russichen Synthesizeristen SCSI-9 schon eine Weile zurückliegt - 2008, um genau zu sein, mit dem Album Easy As Down' (KOMPAKT CD 068) -, hat Co-Gründer und Techno/House-Virtuose ANTON KUBIKOV nicht auf der faulen Haut geaalt, sondern sein eigenes Label Pro-Tez Records gepflegt - und eine Karriere als Solo-Künstler mit klarem Drang zur verdubbten Tonlandschaft und Ambient-Musik in die Wege geleitet. WHATNESS ist seine erste Solo-Album-Veröffentlichung unter eigenem Namen und webt einen luftigen wie schillernden Klangteppich, der genau da weitermacht, wo Kubikovs exzellente Beiträge zu unserer Pop Ambient Compilation-Reihe aufgehört haben.
ANTON KUBIKOVs besonderes Ohr für Ambientes und tonale Räume war schon immer integraler Bestandteil von SCSI-9s musikalischer DNA, die gerne zwischen fokussierter Tanzathletik und ausufernden Melodieräumen changiert - doch erst als Solo-Künstler macht er sich daran, diese Räume wirklich auszuloten und geheimnisvollen Klangspuren in neblige, hallende Gegenden zu folgen. Kubikovs Gastspiele auf mehreren Ausgaben unserer Pop Ambient-Serie deuteten auf ein vielverprechendes neues Projekt im Talentpool hin - ein Versprechen, das mit dem mitreissenden Klangbad von WHATNESS mehr als erfüllt wird.
Von den reichhaltig verschichteten elektronischen Drones von LIQUID MIRROR oder ENTRANCE zum üppigen Ambient-Dub von OTHER THE SEA und KURT'S FOREST, oder dem minimalistischen, andeutungsreichen Klavierspiel auf OKTOBER und PIA erstreckt sich das Album über viel Stilgebiet, bleibt aber der eigenen Ästhetik dunstiger Gebirgszüge und einsamer Täler true. Mit dem überaus reizenden APRIL macht ausserdem ein echter Pop Ambient-Klassiker von der 2016er Ausgabe (KOMPAKT 345 CD 128) seine Aufwartung und bereitet den Boden für den subtil pochenden Bass von NORTH nebst charmantem Synthieglockenorchester. Meisterhaft veredelt und aufgebohrt, ist ANTON KUBIKOVs Klangpalette auf WHATNESS Grund genug ihm einen Platz zwischen den besten Ambientkomponisten unserer Tage zu sichern.

A stunning version of Steve Reich's masterpiece of musical minimalism Music for 18 Musicians' (1974-1976) performed live at Tokyo Opera House in 2008 by The Modern Ensemble and Synergy Vocals featuring the composer as guest performer.

In the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music, he discovered tape-based techniques of looping and phasing using recordings of fragments of speech, and then molecules of musical material.

(...)When Steve Reich released Music for 18 Musicians (ECM, 1978), it was a consolidation and major leap forward in the pulse-based music that the minimalist progenitor had been exploring on earlier compositions including Four Organs' (1969), a piece that relied on nothing more than a six-note chord, yet was a near flat-out sonic assault. 18 Musicians was an altogether more complex and sophisticated work, with a broader textural palette based largely on tuned percussion—piano, vibraphone, marimba and xylophone—but also working with maracas, voice, strings, and clarinets to create a sweeping, hour-plus long suite that was hypnotic, melodic, and eminently accessible. With the mathematical precision by which its eleven sections and wrapping Pulses' develop, it's a demanding suite to play (...)"

Minimal multi-instrumentalist weirdo zone brilliance on another obscure uncovering from the excellent Growing Bin...big tip!
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"If you've kept a keen ear to the underground, you may have noticed a trance revival creeping into the dance floors and darkrooms of late, a post ironic return to the 64 bar breakdowns and peak time key changes of your serotonin drenched youth.....

So what's this then Has Growing Bin gone from groundbreaker to copycat Dig a little deeper folks, for the Trance is question is Jürgen Petersen, a forgotten cosmic kingpin in tune with true electronic excellence. When Danielle Baldelli wanted to show off his eclectic tastes, which record did he reach for Petersen's 1980 LP, 'Here And Now' of course. And when John Schaefer put together his essential exploration of New Sounds, who did he describe as Germany's answer to Eno Trance, damn right! After blessing the world with a trio of essential electronic LPs between 1979 and 1983, Petersen moved out of the limelight and lived off the grid, collecting his mind expanding music on a series of self-recorded, self-released cassettes, known only to the inner circle of elite European diggers. The sounds found within were unusual, experimental and ecstatic.

Fusing the organic tones of piano, 12 string guitar and sitar with soothing sine waves and hypnotic synthesis, Petersen harnessed the healing frequencies out there in the cosmos and transfixed the
listener with pure otherworldly beauty - ambient music for a new age... Unravelling these rare cassettes for music lovers everywhere, Growing Bin treats us to 'Tapes', a five track vision quest for the
horizontal travellers and fourth world nomads. Sven can keep his cocoon, we're off in search of the butterflies..."

Terrace Trips is presenting their first release by Anatol. Terrace is a minimalistic positive house cut with some trippy synths which lets you fade away. James Dexter (Inermu/Poker Flat) comes up with a percussive and intelligent remix which always brings the crowd forward with his multiple kicks. Samu Rodriguez (Serkal), moves the track in a more technoid direction and changes the mood to a darker atmosphere.

Amaniel presents its 5th release with a solid Ep full of groove, hypnotic percussion and minimal sounds. The original track in charge by the Berlin based Maki Polne and two remixes from Birdsmakingmachine and Olvap & Cesar Vinzent.

Bottom Forty's fifth release and second vinyl press showcases two French producers living and banging the drums in Berlin; a long time Bottom Forty favorite, La Fraicheur, teamed up with veteran producer and Leonizer record label ownerLeonard de Leonard. La Fraicheur, a producer of emotional and story-telling minimal techno, is seen here paired with Leonard de Leonard to turn up the heat on our first club-banger release track, 'Afraid of the Groove'. La Fraicheur and Leonard de Leonard beat the hell out of their analog Elektron to lay out a relentless whipping melody that demands a twirling dance floor while a classic minimal bass line, rhythm and 'she's uh-fraid of the groove' sample keep this track dark, dirty and underground.


In a beautiful contrast to the heart-pounding A-side, flip to the B-side for 'Une Place au Soleil'. Literally translated as 'a place in the sun', the saying is more about conveying the emotion of 'your hard work is putting you in a good place in life'. 'Une Place au Soleil' is a gorgeous deep house track filled with teasingly melodic stabs and subtle hardware sounds that come and go, crashing on the record like powerful but soothing waves on the hot beach sands. While 'Afraid of the Groove' may twist a peak-hour dance floor into a frenzy, 'Une Place au Soleil' will entrance them in the after hours, reminding dancers why electronic music is so beautiful and why dance floors can carry so much emotional release.


Yet another contrasting track, the remix of 'Afraid of the Groove' by the Milan based Elisa Bee, is what makes this record compact yet powerfully diverse for many dance floors. Entering the realm of ghetto-tech with pounding and distorted toms and kicks and fervent stabs, Elisa Bee's remix is like a rollercoaster that keeps ascending, building tension upon tension as it rides further into the sky, taking everyone along for the ride with it.