Search Results for:

ELECTRONIC

Various Artists

ALFA/YEN Records 1980-1987: Techno Pop And Other Electronic Adventures In Tokyo (LITA Exclusive)

    Recording technology was completely revolutionized in the 80s by the multitrack recorder, with the popularity of 24-channel SSL consoles sweeping the world. Japanese pop music created during this wave of digital improvement is now recognized worldwide as ""City Pop."" Techno Pop was another offshoot born of the same revolution.

    Precise, computer-controlled beats produced by groups like Yellow Magic Orchestra (YMO) introduced a different type of sound to the masses. By now, these works have been brought into the international limelight and continue to be a major influence on today's music.

    At the center of Tokyo’s Techno Pop scene was ALFA/YEN Records. The label left behind an impressive body of work, but much of it wasn't made widely available... until now!

    This new, definitive compilation focuses on the music archives of the YEN Records catalog, available for the first time exclusively at Light in the Attic. This is a true celebration of Japan's Techno Pop scene of the 80s, reissued with the intent that future generations, internationally, will be able to discover, enjoy, and appreciate ALFA/YEN and its significant contributions to the sonic landscape of the 80s and beyond.


    TRACK LISTING

    1. SEOUL MUSIC - YELLOW MAGIC ORCHESTRA
    2. ZOOT KOOK - SANDII
    3. Sakisaka To Momonai No Gokigen Ikaga One Two Three - You An’ Me Orgasmus Orchestra
    4. Drip Dry Eyes - Yukihiro Takahashi
    5. SUKI-SUKI-DAISUKI - Jun Togawa
    6. Parallelisme - Miharu Koshi
    7. Bikkuri Party No Theme - Haruomi Hosono & Yukihiro Takahashi
    8. Sakasa Kenjin Eagas - Apogee & Perigee
    9. Yumemiru Yakusoku - Haruomi Hosono
    10. ROCK - Hajime Tachibana
    11. Riot In Lagos - Ryuichi Sakamoto
    12. Radarman - Jun Togawa
    13. Platonic - Haruomi Hosono
    14. BEAT THE RAP- Super Eccentric Theater
    15. Rap Phenomena - YELLOW MAGIC ORCHESTRA
    16. LEXINGTON QUEEN - Ryuichi Sakamoto
    17. Chanel No #5 No On The Rock - Sheena
    18. Beach Girl - TESTPATTERN
    19. FLASHBACK - Yukihiro Takahashi
    20. Automne Dans Un Miroir - Tamao Koike
    21. Ascending - INTERIOR

    Various Artists

    Ghana Special 2: Electronic Highlife & Afro Sounds In The Diaspora 1980​-​93

      Highlighting a time when the burgeoning Ghanaian diaspora across Europe and North America was utilising new music technology and recording techniques. A period of movement, emigration and innovation.

      The dawn of the 80s saw an increase in emigration following a period of political upheaval at home, with many Ghanaians moving to Europe - especially Germany - to find work. Musicians recording both at home and abroad began to blend highlife with outside influences, taking inspiration from US disco and boogie, European new wave and Caribbean zouk and soca, reflecting new surroundings and cementing musical connections forged in London, Hamburg, Toronto and New York.

      Ghana Special celebrates this key period of musical innovation and cultural
      exchange that redefined the parameters of Ghanaian music and accelerated the cultural exchange between West Africa and Europe.

      TRACK LISTING

      1. The Godfathers - Ebe Ye Yie Ni
      2. Pat Thomas - Gye Wani
      3. Pepper, Onion, Ginger & Salt - M.C. Mambo
      4. Andy Vans - Adjoa Amisa
      5. George Darko - Kaakyire Nua
      6. Rex Gyamfi - Obiara Bewu
      7. Starlite - Anoma Koro
      8. Abdul Raheem - Alaiye
      9. Jon K - Asafo
      10. Kwasi Afari Minta - Barima Nsu
      11. Marijata (feat. Ata Kak) - Otanhunu
      12. Gyedu Blay Ambolley - Apple
      13. Dadadi - Jigi Jigi
      14. Charles Amoah - Fre Me (Call Me)
      15. Ernest Honny - New Dance
      16. Bessa Simons - Sii Nana
      17. Nan Mayen - Mumude
      18. Nana Budjei - Asobrachie

      George Harrison

      Electronic Sound (RSD24 EDITION)

        THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

        IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.


        Dark Horse Records and Record Store Day are excited to announce a multi-year partnership to release limited Zoetrope picture disc pressings of George Harrisonís entire studio album catalog. The first two titles in the RSD exclusive series ñ Wonderwall Music and Electronic Sound - will be available on Record Store Day in April 2024. Limited to 8,000 units globally and exclusive to Record Store Day, each unit is individually numbered in silver foil and includes an insert reproducing the original artwork.

        Simon Reynolds

        FUTUROMANIA: Electronic Dreams, Desiring Machines And Tomorrow’s Music Today - SIGNED EDITION

          Simon Reynolds's first book in eight years is a celebration of music that feels like a taste of tomorrow. Sounds that prefigure pop music's future - the vanguard genres and heroic innovators whose discoveries eventually get accepted by the wider mass audience. But it's also about the way music can stir anticipation for a thrillingly transformed world just around the corner: a future that might be utopian or dystopian, but at least will be radically changed and exhilaratingly other.

          Starting with an extraordinary chapter on Giorgio Moroder and Donna Summer, taking in illuminating profiles of Ryuichi Sakamoto, Boards of Canada, Burial, and Daft Punk, and arguing for Auto-Tune as the defining sound of 21st century pop, Futuromania shapes over two-dozen essays and interviews into a chronological narrative of machine-music from the 1970s to now. Reynolds explores the interface between pop music and science fiction's utopian dreams and nightmare visions, always emphasizing the quirky human individuals abusing the technology as much as the era-defining advances in electronic hardware and digital software.

          A tapestry of the scenes and subcultures that have proliferated in that febrile, sexy and contested space where man meets machine, Futuromania is an enthused listening guide that will propel readers towards adventures in sound. There is a lifetime of electronic listening here.

          Paranoid London

          ARSEHOLES, LIARS AND ELECTRONIC PIONEERS

            Paranoid London, the electronic band of Gerardo Delgado and Quinn Whalley, has become synonymous with stripping acid house back down to its basics, rescuing the sound from smiley faces, rave, and sugary excess while paying respects to its gay, black, American roots. Performing mainly live with hardware only, often with vocal guests, as well as unique hybrid DJ sets, the duo has established a tongue in cheek, grumpy punk sound and attitude without taking it too seriously. Following 2019’s latest album PL and a bunch of 12” singles and edits, their new long-player Arseholes, Liars, and Electronic Pioneers refers to the cavalcade of c***s we find ourselves surrounded by. Our only respite being the joy that musical geniuses bring. The cover artwork and gatefold of the vinyl reflect this with a collage-like poster including personalities of all kinds, from politicians and royalty to music legends. When we asked them to highlight key music pioneers from their picks, they mentioned American electro don Aldo Marin, British producer Andrea Parker and Post Punk band WIRE. Inspired by early ‘90s British prog house on the likes of Sabres Of Paradise Records and Guerilla Records, the album presents a step up on their production while the anarchic attitude remains unaltered, unadulterated and undiluted. In Quinn’s words: the album has a slightly more Hi-Fi sound than previous efforts, but retains the urgency and punk rock attitude that we're known for. It was tested over the summer, where it lit up festival stages at Glastonbury, Houghton, Love International, and many, many others. As expected, PL has recruited a bunch of special guests on vocals including Primal Scream’s Bobby Gillespie, US house veteran Monica “DJ Genesis” Lockett, the novo-New Romantic/gothic, Jennifer Touch, and Joe Love, from Fat Dog, Brixton’s current ones-to-watch. As well, previous collaborators Josh Caffe and Mutado Pintado return for new recordings. All bring something unique to the party, while integrating perfectly with PL’s Fuck you! circuitry.

            STAFF COMMENTS

            Matt says: Acid house punks Paranoid London return with their third album, adding giants such as Bobby Gillespie and Josh Cafe to their list of collaborators. This might be the duo's biggest album to date - it FEELS like a proper long player, not just a selection of warehouse rattlers and acid burners. Nice to see long term pal Mutado Pintado return to the squad too. Excellent stuff for both bitter, cynical, aging ravers and bright-eyed young club kids alike!

            TRACK LISTING

            1. Steal &Adapt(Or)
            2. People (Ah Yeah)
            3. Start To Fade
            4. Love One Self
            5. Up Is Down
            6. Help
            7. Touch The State Of That
            8. Fields Of Fire
            9. The Motion
            10. Grndr

            Various Artists

            Denshi Ongaku No Bigaku - The Aesthetics Of Japanese Electronic Music Vol 2

              Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2.

              From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.



              TRACK LISTING

              A1 Seiji Ono ‘ Celebrate Your Life
              A2 Uyama Hiroto ‘Compass’
              A3 J.A.K.A.M ‘Pray’
              B1 Yuu Udagawa ‘We Float’
              B2 Jazztronik ‘ Neon Forest’ (vinyl Only)
              B3 BRISA ‘State Of Mind’m
              C1 Ryoma Takemasa ‘Deepn’ (The Backwoods Remix)Remix: The Backwoods (DJ Kent Of Force Of Nature)
              C2 The Backwoods ‘Cloud Nine’ Written & Produced By The Backwoods Guitar :
              LOADRUNNER
              D1 909 State ‘RaTaTaTam’ (Hiroshi Watanabe Instrumental Remix)
              D2 Tomi Chair ‘Remorse’ (Satoshi Fumi Mix)

              Electronic

              Get The Message - The Best Of Electronic - 2023 Reissue

                First released in 2006, ‘Get the Message: The Best Of Electronic’ is the career spanning collection from the Johnny Marr and Bernard Sumner band who released a string of critically acclaimed hits including their debut single ‘Getting Away With It’, ‘Get The Message’ ‘Disappointed’ and ‘Feel Every Beat’. This compilation captures the very essence of their groundbreaking sound, blending Marr’s distinctive guitar work with Sumner’s vocals and guest features from Pet Shop Boys’ Neil Tennant (Getting Away With It, Disappointed) and Kraftwerk’s Karl Bartos (For You, Imitation Of Life). 


                TRACK LISTING

                Vinyl:
                Side A
                1. Forbidden City
                2. Getting Away With It
                3. Get The Message (Single Remix)
                4. Feel Every Beat
                Side B
                1. Disappointed (Single Mix)
                2. Vivid (Radio Edit)
                3. Second Nature
                4. All That I Need
                Side C
                1. Prodigal Son
                2. For You
                3. Imitation Of Life (New Edit)
                Side D
                1. Out Of My League
                2. Like No Other
                3. Twisted Tenderness
                4. Late At Night (Radio Edit)

                CD:
                CD1
                1. Forbidden City
                2. Getting Away With It
                3. Get The Message (Single Remix)
                4. Feel Every Beat
                5. Disappointed (Single Mix)
                6. Vivid (Radio Edit)
                7. Second Nature
                8. All That I Need
                9. Prodigal Son
                10. For You
                11. Imitation Of Life (New Edit)
                12. Out Of My League
                13. Like No Other
                14. Twisted Tenderness
                15. Late At Night (Radio Edit)
                CD2
                1. Getting Away With It (Vocal Remix)
                2. Lucky Bag
                3. Feel Every Beat (DNA Remix)
                4. Lean To The Inside (2013 Edit)
                5. Get The Message (DNA Groove Mix)
                6. Free Will (Edit)
                7. Disappointed (12” 808 State Remix)
                8. Idiot Country Two (Edit)
                9. Gangster (FBI Mix)
                10. I Feel Alright
                11. A New Religion
                12. Turning Point
                13. Until The End Of Time (Fluffy Dice Remix)
                14. King For A Day
                15. Radiation

                Various Artists

                Denshi Ongaku No Bigaku - The Aesthetics Of Japanese Electronic Music Vol 1

                  Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2.

                  From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

                  This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

                  Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

                  Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

                  Mixed by Ken Ishii at Far East Lab and Skywalker Studios. Published by Truelove Music/TAP.

                  TRACK LISTING

                  A1 Kaoru Inoue ‘Em Paz’
                  A2 Gabby And Lopez ‘Drive From Miracles ‘ (Kaoru Inoue Remix)
                  A3 Inner Science ‘Alight’
                  B1 Aquarium ‘Rainy Night In Shibuya (???deepspace Slow Down Mix)
                  B2 Naohito Uchiyama ‘Shugetsu’
                  B3 Keta Ra ‘Equals’
                  C1 Yuu Udagawa ‘Infinite Possibility’
                  C2 Noah ‘Gemini - Mysterious Lot‘ Written & Produced By Noah, Taken From The Album ‘Noire’
                  C3 Sauce81 ‘Sign Of Secret Love’
                  C4 Keita Sano ‘Tai + Dai’
                  D1 Waltz ‘Folkesta’
                  D2 Kuniyuki ‘ Free’
                  D3 Ken Ishii Presents Metropolitan Harmonic Formulas Can You Feel It
                  (feat. Metropolitan Harmonic Formulas And Naruyoshi Kikuchi) Written By
                  Larry Heard. Produced By Ken Ishii. Saxophones By Naruyoshi Kikuchi

                  Carl Stone

                  Electronic Music From 1972-2022

                    Electronic Music from 1972-2022 seeks to frame fifty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 ("Three Confusongs" and "Ryound Thygizunz", featuring the voice and poetry of Stefan Weiser – later known as Z'EV) up to the present. This collection is not meant as a definitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival release marking Carl Stone’s

                    evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving.

                    Stone’s practice emerged from the repetitive archival process of his graduate job at CalArts preserving vinyl recordings by dubbing them to tape. With perhaps 10,000 albums ranging from Renaissance and electronic works to music from across the globe, he had to re-record multiple discs concurrently, creating chance collisions and coincidences.

                    In the decades since, he’s explored various ways to compose this process, creating temporal envelopes in which found sounds – existing tracks or field recordings – can take form. Whilst the technologies he’s used have changed and samples have varied beyond categorization, what’s remained consistent is his concern for organizing temporal experience using fragments of pre-existing sounding events. Stone's impish collage-like constructions of times cut from time suggest that archival records are neither wholly in documents preserved from change nor in living memories and use, but in their interaction.


                    TRACK LISTING

                    SIDE A
                    1. Three Confusongs (1972)
                    2. Ryouund Thygizunz (1972)
                    SIDE B
                    3. Vim (1987)
                    4. Noor Mahal (1987)
                    SIDE C
                    5. Flint's (1999)
                    6. Morangak (2005)
                    SIDE D
                    7. Ngoc Suong (2003)
                    SIDE E
                    8. L'Os à Moelle (2007)
                    SIDE F
                    9. Walt's (2022)
                    10. Kustaa (2022)
                    11. Merkato (2022)

                    Naarm alchemists Sleep D's revelatory new synthetic 'Electronic Arts' is ready for circulation.

                    Having released 4 EPs of mind-altering club tackle since 2019's 'Rebel Force', the duo overcome second album syndrome, boiling down their chaos with a more developed sense of songwriting. Never banging one drum, 'Electronic Arts' mirrors the anything goes mania of their DJ sets, tactfully shifting through different sounds and styles. Tempos intensify and decelerate, at times pushing the threshold to 150 bpm from docile canine dreamscapes to full tilt Space Invaders in AR mind games.

                    Largely built on road tested material from their live performances, the album is a tangible Butter Sessions gathering, busting out the gate with Martian rave initiation Planet Waves, Outdoor System's polyrhythmic beatdown and the Orb-like hero dose affirmations of Sunrise In The Crater (I Exist). While 'Electronic Arts' is otherwise a self-dependent effort, Punch Drunk is brewed ever more potent by the hypnagogic vocals and lucid trumpet cycles of former futsal team member YL Hooi. Their unified energy incidentally manifests a profound matrix of ambient techno, motorik, Don Cherry and Everything But the Girl.

                    Also touching on apocalyptic doof and minimal, the album is not exclusively peak time with Maryos Syawish and Corey Kikos' specialty curveballs also playing their part. From Village To Empire finds the duo rooting down in Syawish's heritage with a tapestry of purposefully deployed Iraqi and Syrian ethnographic samples and field recordings, dubbed within range of Muslimgauze and On-U Sound. As minimal techno finale Textile trails off into footsteps wandering back to base camp with a satisfied exhale, one wonders where Sleep D's existential pathfinding could possibly take us next?

                    TRACK LISTING

                    1. Planet Waves
                    2. Outdoor System
                    3. Sunrise In The Crater (I Exist)
                    4. Strange Sounds
                    5. From Village To Empire
                    6. Punch Drunk (feat. YL Hooi)
                    7. Textile
                    8. Happiness
                    9. Hector (Dreaming)
                    10. Hockey

                    Various Artists

                    A Moi La Liberte - Early Electronic Rai - Algerie 1983-1990

                      Delving into the deepest recesses of raï, this compilation serves as a tribute to its roaring years, but also as a rejuvenation of the genre in its sulphurous, subterranean version.

                      Through the pre and post-independence years, from 1950 to 1970, raï urbanised itself, with a generation listening to the traditional sounds, but also and mostly listening to twist, French variété and rock music. Including 6-page booklet with liner notes in French and English and download code.

                      TRACK LISTING

                      Cheb Hindi - A Moi La Libert?
                      Houari Benchenet - Malika
                      Chab Mohamed Sghir - Khalouni
                      Chaba Fadila - Kii Kount Ouelite
                      Cheb Tahar - Djehida
                      Cheb Djalal - Mohal Nahna
                      Benchenet - Ghir Hiya Salbetni
                      Cheb Kader - Reggae Ra?
                      Chab Hamouda - Zahri Mate
                      Cheb Khaled - Li Bini Ou Binek
                      Nordine Sta'fi - Rouh Ya L'mersoul
                      Chaba Amel - Lala Kusti
                      Chaba Malika Meddah - Sid Houari Ya Mlah
                      Tchier Abdelgani - La'roussa Jate?

                      Various Artists

                      Happy Land (A Compendium Of Electronic Music From The British Isles 1992-1996 Volume 1)

                        Future Jazzers, notorious experimentalists and outfield eccentrics stumble onto the dancefloor. In the 90s. In the UK.

                        From an electronic music perspective, the period 1992 to 1996 in the UK that this compilation celebrates, was one of dizzying sonic diversification.

                        It was also a particularly turbulent time in the UK, not only politically and economically, but also culturally too. Economic catastrophe in ‘92 was followed by widespread poverty, a cost of living crisis and countless political scandals. Meanwhile, John Major’s Tory government pandered to its political base via unpleasant, authoritarian legislation that seemingly sought to crush rave culture, alternative lifestyles, and traveller communities. The UK was not so much a ‘Happy Land’ – to quote the name of this compilation – as an angry and divided one. Sounds familiar, doesn’t it?

                        Throughout, the music created by producers based across these Isles remained uniquely British, speeding up a process begun in the late 1980s through the emergence of street soul, bleep & bass and breakbeat hardcore – musical styles whose roots in multicultural inner-city communities made them distinctly different from the Black American sounds that had inspired their creators. It was here, rather than in the indie pubs of Camden, that real musical revolutions were taking place.

                        This deep diving selection brings together some truly adventurous and original electronic music from this period, much of it very hard to find. Major label outings connect with white label oddities with ease. Perhaps it could even be argued that many of these unearthed gems fit more easily into DJ sets in 2023 than they ever did at the time. The off-kilter swing of Richard D James’ obscure and highly sought after Strider B outing, ‘Bradley’s Robot’ is joined by further rare cuts from Cabaret Voltaire and the Black Dog, and artists as diverse as Ultramarine, Herbert, Fretless AZM, and Radioactive Lamb, amongst others.

                        This collection has been lovingly selected, compiled and mastered for maximum sonic playback. This very special release boasts sublime pastoral themed artwork, as well as informative and passionate liner notes by celebrated music scribe Matt Anniss (‘Join The Future’).


                        TRACK LISTING

                        A1. Cabaret Voltaire - Soul Vine (70 Billion People)
                        A2. Ultramarine - Happy Land (ft. Robert Wyatt)
                        B. Thunderhead The Word By Eden - True Romance
                        C1. Xeper - Carceres Ex Novum
                        C2. Herbert - Housewife
                        D1. Liquid Son - Big Decision
                        D2. Syzgzy - Meditation

                        Sunroof

                        Electronic Music Improvisations Vol. 2

                          Electronic Music Improvisations Volume 2 is the second collection of improvised modular pieces recorded by Sunroof, aka Daniel Miller, the Founder and Chairman of Mute and Gareth Jones, a producer and engineer, notable for working with Depeche Mode, Einstürzende Neubauten, Erasure and Yann Tiersen. The album recorded through 2022, is available on CD and white vinyl.

                          TRACK LISTING

                          1. January #2
                          2. July #2
                          3. November
                          4. July #3
                          5. October
                          6. September
                          7. July #1
                          8. January #1

                          Various Artists

                          Electronic Music Travels

                            "The release of the Electronic Music Travels albums is an incredibly special moment for me in that it represents several years of friendships, collaboration, creativity and personal investment in the wonderful world of electronic music. I never imagined for a moment when I ran the first Electronic Music Open Mic (EMOM) in Manchester in early 2017 that it would lead to UK wide, European (and Australian) events, as well as a music travel book, CD compilations and a sexy vinyl release on an amazing emerging record label. All I wanted to do was have some fun with music in a space that was supportive and encouraging to everyone involved, those with ambitions plus those with no ambitions, people who enjoyed making music and wanted to test it out in a live environment. At that time there were very few places for electronic and experimental artists to meet up and play, there still aren’t enough, but at least the EMOM movement has contributed to making such spaces available.

                            When Electronic Music Travels (the book) was published via Werra Foxma Records in 2020 it sold out in just a few months. This was a massive surprise to me as I’ve grown so used to getting minimal interest in my art and music. I keep going because it’s in my bloodstream and I can’t help myself. It’s part of my DNA. Many of the people who bought the book were actively involved in the EMOM movement as organisers, performers and supporters. Many of those people were also mentioned in the book which gave a snapshot of grass roots electronic music making around the UK and beyond. For this reason it seemed natural to me that the money raised from the book sales should be used to fund something exciting for the community in the form of an exciting music release. A vinyl release was the obvious choice but in discussions with Frazer of Werra Foxma Records I soon appreciated the time limitations of this format. We opted for a vinyl release with complementary CD releases so we could cover as wide a range of artists as possible. The process of choosing the music to include from the many brilliant submissions was a tough one and sometimes led to some lively debates and communications. There simply wasn’t room for all the submissions to be included so we aimed to select previously unreleased material and give a sense of the amazing range of electronic and experimental music that is being made at this time. This we hoped would emulate a typical EMOM night where soundscape artists follow DJ sets, synth pop performers and modular enthusiasts. I truly believe we have achieved that great mix and that these releases represent a moment in time when fabulous music is being made and should be heard.

                            I’d like to say a big thank you to everyone who submitted music to these albums and to all the artists and supporters involved in the EMOM community. It’s amazing how new friendships and allegiances have been formed from the simple act of bringing people together in a live music setting. I’ve always tried to espouse the view that whatever happens this is not about one individual and what they do. It’s about what we all do to support each other and what we all bring to the table. That table is waiting for you on the stage of an EMOM night somewhere out there. Go and listen to what others are doing and let them listen to what you are doing and most of all have fun along the way. It makes our music travels so much more interesting.

                            TRACK LISTING

                            1. Manu Roig - Dustmote 01:30
                            2. ModReaktor - First You Have To Climb The Mountain 05:08
                            3. Apta - Wander 03:55
                            4. Linus Fitness Centre - Bleeding Out 04:20
                            5. Valentich - Unaware 03:58
                            6. Tegan Northwood - Ghost In Your Life 05:13
                            7. Quentin Leonetti - Dust & Snow 02:06
                            8. Bloom's Taxonomy - Next Week's Milk 03:48
                            9. Yodest - Where Are They Going 02:25
                            10. How To Use This Manual - 1 TRK MND 04:07
                            11. Tristan Burfield - Whimsical Journey 01:56

                            Chris Carter

                            Electronic Ambient Remixes Three

                              Electronic Ambient Remixes Three was originally released in 2001 and includes ambient remixes and soundscapes utilising Chris Carter’s original Throbbing Gristle rhythm tapes from the 70s and 80s. Tracks from this instrumental series have been used internationally in gallery installations, performed at numerous electronic music festivals, featured on TV and radio broadcasts and within Hollywood movie trailers.

                              Chris Carter

                              Electronic Ambient Remixes One - Reissue

                                Electronic Ambient Remixes One was originally released in 2000 and includes ambient remixes and reinventions of the album ‘The Space Between’. Tracks from this instrumental series have been used internationally in gallery installations, performed at numerous electronic music festivals, featured on TV and radio broadcasts and within Hollywood movie trailers. Electronic Ambient Remixes One is now available for the first time on double violet coloured vinyl as well as CD, download and streaming.

                                Various Artists

                                Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds Of Japan 1980-1988

                                  Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

                                  Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

                                  These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

                                  Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.


                                  TRACK LISTING

                                  Noriko Miyamoto - Arrows & Eyes
                                  Mishio Ogawa - Hikari No Ito Kin No Ito
                                  Yoshio Ojima - Days Man
                                  Mkwaju Ensemble - Tira-Rin
                                  R.N.A-ORGANISM - WEIMAR 22
                                  Naoki Asai - Yakan Hikou
                                  Takami Hasegawa - Koneko To Watashi
                                  Mammy - Mizu No Naka No Himitsu
                                  Dip In The Pool - Hasu No Enishi
                                  Wha Ha Ha - Akatere
                                  D-Day - Sweet Sultan
                                  Perfect Mother - Dark Disco-Da·Da·Da·Da·Run
                                  Neo Museum - Area
                                  Sonoko - Wedding With God (À Nijinski)

                                  Sunroof

                                  Electronic Music Improvisations Vol. 1

                                    Electronic Music Improvisations Volume 1 is a collection of eight improvised modular pieces recorded in various studio spaces across London in the spring and summer of 2019 by Sunroof, aka Daniel Miller, the Founder and Chairman of Mute and Gareth Jones, a producer and engineer, notable for working with Depeche Mode, Einstürzende Neubauten, Erasure and Yann Tiersen.

                                    STAFF COMMENTS

                                    Barry says: A selection of deep modular cuts, blipping oscillators and paddling arpeggios, imbued with the spirit of experimental German synth music but brought to you by a couple of already legendary names in the music biz. It's entrancing and immersive experimental synth music at its best.

                                    Anthoney Hart returns with his second Basic Rhythm album for Planet Mu. 'Electronic Labyrinth' is a maturing of his sound that draws a line under his work as Basic Rhythm thus far. The title itself conveys the overarching theme of the album, evoking the journey through a musical labyrinth that Hart has undertaken over the last 30 years or so, following a path through to the centre where these disparate strands have coalesced and solidified into a coherent whole.

                                    The underlying themes are of a more personal nature, intimated by the cover photo of St Fabian Tower where Hart first joined the now infamous Rude FM in the late 90s, the sometimes misleading directness of the track titles, as well as explicit references to books such as Wilson Harris’ Palace of the Peacocks, the ontological promiscuity of Harris’ writing mirrored here in Hart's own musical endeavours. What you end up with is an album that not only draws upon a wide range of influences from both the musical and literary worlds, intertwining them within a deeply personal context that imbues the music with a depth of meaning, but that is also somehow more coherent despite such a wide range of references and hidden meanings. It is at once both an album of subtexts open to interpretation, and a cohesive whole that fits together perfectly.


                                    TRACK LISTING

                                    A:

                                    1/Craft
                                    2/Hayward Road
                                    3/Acid Track
                                    4/Larkin Around

                                    B:

                                    1/Electronic Labyrinth
                                    2/Techno
                                    3/Palace Of The Peacock
                                    4/The Secret Ladder

                                    Various Artists

                                    Bruton Brutoff - The Ambient, Electronic And Pastoral Side Of The Bruton Library Catalogue

                                      Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Francis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.

                                      Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.

                                      There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.

                                      But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was painting a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of experimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.

                                      In recent years as interest in library music has expanded, we’ve watched
                                      the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people finally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.

                                      Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the originals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.

                                      The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.

                                      The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect. 


                                      TRACK LISTING

                                      SIDE ONE
                                      Vibes - BRS 6 – Frank Ricotti 1981
                                      Utopia Revisited - BRJ 18 – Johnny Scott 1980
                                      Trek - BRM 9 – John Cameron 1981
                                      Tropic 2 - BRM 9 – John Cameron 1981
                                      Reflections - BRM 2 – Frank Reidy / Eric Allen 1978
                                      Stargazing - BRI 2 – Francis Monkman 1978

                                      SIDE TWO
                                      Drifting - BRI 3 – John Cameron 1978
                                      Dissolves - BRI 3 – Les Hurdle / Frank Ricotti 1978
                                      Floatation - BRI 9 – John Cameron 1980
                                      One Language - BRR 18 – Orlando Kimber / John Keliehor 1984
                                      Saturn Rings - BRI 6 – Alan Hawkshaw 1979
                                      Billowing Sails - BRD 20 – Steve Gray 1982
                                      The Swan - BRD 19 – Brian Bennett 1982

                                      Album Mastered By Jon Brooks.

                                      Various Artists

                                      Soul Jazz Records Presents: Deutsche Elektronische Musik 4: Experimental German Rock And Electronic Music 1971-83

                                        This is the new instalment of Soul Jazz Records’ ground-breaking ‘Deutsche Elektronische Musik’ series, “a near-definitive guide to some of the world’s most extraordinary music” - The Guardian.

                                        This new Soul Jazz release features many of the classic German electronic and Krautrock groups from the 1970s and 1980s, including Can, Amon Düül II, Harmonia, Conrad Schnitzler, Agitation Free and Roedelius, as well as a host of lesser known artists such as Dzyan, Klaus Weiss, Gruppe Between and many more.

                                        Deutsche Elektronische rarities unearthed on the album include Kalacakra (whose fanbase included the great Moondog) and their superb ‘Nearby Shiras’, taken from their super-rare spiritual / psychedelic private press concept album ‘Crawling to Lhasa’ from 1972. 

                                        ‘Deutsche Elektronische 4’ includes a wealth of German electronic experimental artists - the seminal pioneering group Harmonia (Roedelius, Moebius and Michael Rother) and avant-garde guru Conrad Schnitzler, as well as lesser known synthetic artists such as Klaus Weiss, Deutsche Wertarbeit, E.M.A.K. (Elektronische Musik Aus Köln), Günter Schickert and others.

                                        Finally, the album also features an array of heavy and progressive German cosmic rock groups - Dzyan, Virus and the amazing Turkish/German tripped out sound of Alex’s ‘Patella Black’, recorded at Can’s Inner Space in 1973, produced by Holger Czukay and Jackie Liebezeit.

                                        ‘Deutsche Elektronische 4’ comes with extensive newly commissioned sleevenotes by David Stubbs, author of the seminal books ‘Future Days: Krautrock and the building of Modern Germany’, ‘Mars By 1980: The story of Electronic Music’ and ‘Krautrock: Cosmic Rock and its Legacy’.

                                        This album comes as a deluxe double CD edition with outsize booklet and slipcase, as well as a heavyweight triple vinyl edition with full colour inner sleeves. Both formats include full liner notes and extensive rare photography.

                                        STAFF COMMENTS

                                        Barry says: I really can't get enough of these compilations. Superb, unheard of gems mixed in with some undeniable classics, and presented beautifully in true Soul Jazz style. Unsurprisingly brilliant.

                                        TRACK LISTING

                                        1. Alex – Patella Black
                                        2. Klaus Weiss – Driving Sequences
                                        3. Can – I'm So Green
                                        4. Agitation Free – Laila, Part II
                                        5. Deutsche Wertarbeit – Guten Abend, Leute
                                        6. Amon Düül II – Wolf City
                                        7. Michael Rother – Flammende Herzen
                                        8. Klaus Weiss – Pink Sails
                                        9. Virus – My Strand-Eyed Girl
                                        10. Conrad Schnitzler – Ballet Statique
                                        11. Kalacakra – Nearby Shiras
                                        12. EMAK – Tanz In Den Himmel
                                        13. Et Cetera – Mellodrama 2a
                                        14. Between – Triumphzug Kaiser Maximilian I
                                        15. Roedelius – Halmharfe
                                        16. Dzyan – Dragonsong
                                        17. Harmonia – Deluxe (Immer Wieder)
                                        18. Günter Schickert – Suleika
                                        19. Witthüser & Westrupp – Schöpfung (1. Mose 1)

                                        Electronic

                                        Electronic

                                          Electronic are proud to present the release of their self-titled album. Pressed on 180g black vinyl, this reissue features the black cover on vinyl for the very first time, which was first used on the CD version released in 1994.

                                          Electronic were the coming together of Bernard Sumner and Johnny Marr in 1987. This was the year of the sudden and wholly unexpected demise of The Smiths, who imploded in July after Marr left the group. Two months later, midway through a North American tour, Bernard Sumner shocked his bandmates by announcing that he planned to take time out from New Order.

                                          Marr and Sumner had met in 1984 when Marr added guitar to Atom Rock by Quando Quango, an electro-dance track co-produced by Sumner. Marr sums up their coming together for Electronic; ‘We were two musicians who wanted to get away from the suffocating politics of the band. At the same time, it was OK for duos and DJs and non-groups to make records, and that really appealed to Bernard and me.”

                                          The project was a joyous Venn Diagram of Sumner and Marr’s influences. Although ostensibly coming from different disciplines, the experimental dance-pop of New Order and the fullbodied jangle of The Smiths, their common interests were many: dance music, a good tune and pushing musical boundaries. At the time of release (May 1991), ‘Electronic’ was met with huge acclaim and stands up as one of the most important electronica albums of all time.



                                          TRACK LISTING

                                          Side One

                                          Idiot Country
                                          Reality
                                          Tighten Up
                                          The Patience Of A Saint
                                          Gangster


                                          Side Two

                                          Soviet
                                          Get The Message
                                          Try All You Want
                                          Some Distant Memory
                                          Feel Every Beat

                                          Delia Derbyshire & Martin Hannett

                                          The Synth And Electronic Recording Exchanges

                                            21 tracks on LP of synth and electronic recording exchanges between Delia Derbyshire and Martin Hannett. Forty years since Martin Hannett first used synths and electronic sound effects in production work on Joy Division's "Unknown Pleasures", this album looks at 21 tracks of electronic and synth music that Hannett had compiled in the the mid 70s to early 80s whilst exchanging tapes by post with electronic music pioneer Delia Derbyshire. The compiled work from the two electronic music geniuses was to have been released by Hannett but was shelved in the early 80s. Here it is as he put it together for the planned album.

                                            Various Artists

                                            Body Beat: Soca-Dub And Electronic Calypso (1979-98)

                                              17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. Owing as much to New York, Toronto and London as to the Caribbean cities of Port of Spain, Bridgetown and Kingstown this compilation traces the genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

                                              Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

                                              Filled with up-tempo tracks from start to finish, the compilation’s lead single “I Want Your Love” by Peter Britto is a soca-house number which originally came out on NYC-based label Hometown Music in 1998. It features the recognisable soca synth beat, along with Caribbean steel drums and horns - but with the obvious influence of New York’s booming house scene, making it an ultimate crossover track for club dancefloors and carnivals alike.

                                              So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

                                              TRACK LISTING

                                              Cito Jarvis - Fighting Soldier
                                              Roger Bain - Stand Up & Rock Your Body (Instrumental)
                                              *D* Ivan - Fire (Extended Dub Edit)
                                              Bill Campbell - Body Beat
                                              Brother Resistance - Move It (Version)
                                              Adonijah - It’s Alright
                                              Peter Britto - I
                                              Want Your Love
                                              Juno D - Hotter And Hotter (Dub Edit)
                                              Colin Jackman - D’Jab
                                              Jab Dance (Bad Lad Mix)
                                              Levi John - S-O-C-A
                                              Spiking - Liberation Train
                                              Mohjah - Zion Gates (Dub)
                                              Andre Tanker - Wild Indian Band
                                              Touch - Touch Music (Edit)
                                              D’ Rebel Band - Solid
                                              The Millers - Last Days
                                              Chocolate Affaire - Jump To Calypso

                                              In support of their forthcoming Bob Moog documentary 'Electronic Voyager', Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, "Electronic Voyages: Early Moog recordings 1964-1969" contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

                                              Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, "Electronic Voyages..." aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an audio letter ("The Abominatron") from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, "Electronic Voyages" veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

                                              The musicians and composers behind these "Electronic Voyages" may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy. A triumph!


                                              TRACK LISTING

                                              A1. Robert Arthur Moog - The Abominatron (1964)
                                              A2. Herbert Deutsch - Jazz Images, A Worksong And Blues (1967)
                                              A3. Joel Chadabe - Blues Mix (1966)
                                              B1. Lothar And The Hand People - Milkweed Love (1968)
                                              B2. Intersystems - Changing Colours (1968)
                                              B3. Ruth White - The Clock (1969)
                                              B4. Max Brand - Triptych (1969)
                                              B5. Paul Earls - Monday Music (1968) 

                                              The Top Of The Poppers

                                              Sing And Play The Hits Of David Bowie

                                                In 2001, a group of David Bowie insiders put together a private CD of the cover versions of the Bowie songs that had appeared on Pickwick Records’ notorious ‘Top Of The Pops’ budget album series between 1972 and 1980. They called the CD ’Top Of The Fops’ and put a picture of a lookalike lifted from the 1970s teen mag Mirabelle on the cover. Bowie, we’re reliably informed by one of those insiders, loved the album.

                                                ‘The Top Of The Poppers Sing And Play The Hits Of David Bowie’ gathers together the nine Pickwick cover versions on vinyl for the very first time. It’s a fascinating document of a confused era, where the high water mark of British pop and the countervailing trash aesthetic of the 1970s collided. And as is only fitting for those heady days, our album is released as a limited edition on groovy purple vinyl.

                                                The ‘Top Of The Pops’ business model saw Pickwick churn out album after album of cover versions of the big hits of the day recorded by a ever-changing group of session musicians known only as The Top Of The Poppers. It didn’t seem to matter that the original records had already sold hundreds of thousands of copies. The ‘Top Of The Pops’ compilations were cheap to buy and were so popular that they were excluded from the official charts because they’d just clog the place up week after week, like bin bags during the Winter of Discontent. Listening to them as an over-eager pop consumer of the 1970s was to enter a disconcerting parallel world of the ersatz.

                                                It’s perhaps no wonder that Bowie himself enjoyed these cover versions so much. After all, here was a man who had built a career on pretending to be someone else, manoeuvring his various invented personas through a succession of albums and telling anyone who bothered to listen that it wasn’t actually him the audience was responding to. It was Ziggy, or Aladdin Sane, or The Thin White Duke.

                                                TRACK LISTING

                                                SIDE A
                                                1 Starman
                                                2 Life On Mars?
                                                3 Sorrow
                                                4 The Man Who Sold The World
                                                5 TVC15

                                                SIDE B
                                                6 Space Oddity
                                                7 Heroes
                                                8 Boys Keep Swinging
                                                9 Fashion

                                                Dennis Young

                                                Synthesis / Electronic Music 1984-1988

                                                  Dennis Young is best known as the percussionist of the New York band LIQUID LIQUID, which is known for their piece "Cavern" from 1983, which in turn became very well known because Grandmaster Flash sampled it and used it as the basis for their hit "White Lines". But Young was more than just a member of the band, he produced plenty of his own music, much of it reflecting his passion for analog electronics. He was fascinated by the pioneers of the genre. In 2016 Bureau B released "Wave", a collection of pieces Young had issued on cassettes between 1985-1988. "Synthesis", by contrast, features tracks from 1984-1988 which have never been previously released.

                                                  Rudi Esch

                                                  Electri_City: The Dusseldorf School Of Electronic Music

                                                    Just like Memphis for Rock'n'Roll, Dusseldorf is regarded as the Mecca for electronic music. The capital of North Rhine-Westphalia became the centre of an analog electronic movement which changed the course of all popular music to come.

                                                    Electri_City is the oral account of the city's most influential bands, including Kraftwerk, NEU!, DAF, Die Krupps and many more. This history uncovers the myths and reality of the bands emerging from the artistic backdrop of a wealthy, modern, post-WWII German city; the conditions that fostered such a creative explosion.

                                                    Interviews include Daniel Miller (Mute Records), Paul Humphreys and Andy McCluskey (OMD), Martyn Ware (Human League), Glenn Gregory (Heaven 17), Rusty Egan (Visage) Ryuichi Sakamoto and producer, Giorgio Moroder.

                                                    'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

                                                    Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

                                                    TRACK LISTING

                                                    CD:
                                                    01 Fontana Mix With Aria 1958 / 13'36
                                                    02 Imaginary Landscape N°.5 1952 / 3'00
                                                    03 WBAI 1960 / 7'00
                                                    04 Cartridge Music 1960 / 10'00
                                                    05 0'00'' 1962 / 2'36
                                                    06 Variations I 1960 / 10'00 Tracklisting LP

                                                    VINYL:
                                                    SIDE A
                                                    01 Fontana Mix With Aria 1958 / 13'36
                                                    02 Imaginary Landscape N°.5 1952 / 3'00
                                                    03 WBAI 1960 / 7'00

                                                    SIDE B
                                                    01 Cartridge Music 1960 / 10'00
                                                    02 0'00'' 1962 / 2'36
                                                    03 Variations I 1960 / 10'00

                                                    TRASE

                                                    Electronic Rock

                                                      Known amongst a small group of teenage friends as T.R.A.S.E. (Tape Recorder And Synthesiser Ensemble) this previously unearthed and fully formed electronic music project was spearheaded by a 16-year-old schoolboy as an extension of his woodwork, metalwork and science classes in 1981.

                                                      Composed and recorded using a self-made synth, audio mixer and electronic percussion units, T.R.A.S.E. would bridge the gap between a love for sci-fi horror soundtracks, Gary Numan B-sides and an extra curricular hobby as a sound and lighting designer for school plays - bequeathing a backstory as unique and unfathomable as the individualistic sonic results that he would finally commit to C90.

                                                      Having successfully recorded his only solo album, 'Electronic Rock’ (which was never duplicated beyond his own demo copy), this early musical achievement by Andy Popplewell stands up as a rare self-initiated example of embryonic experimental electro pop and genuine outsider music, marking the early domestication of synthesisers and the dawn of electronic home recording studios and the uninhibited results.

                                                      Unhindered by adult concepts like self-consciousness, popular snobbery, fashion, pride and fear of failure (while funded by paper rounds and odd jobs in his Mancunian community), Andy, armed with the plans to the Chorosynth kit module, an old junk shop piano keyboard and some hand-me-down tools from his recently deceased dad, would fill an exercise book with plans, arrangements and self-penned new wave pop lyrics to fully realise the potential of his one-man synthetic symphony.

                                                      Reaping the benefits of his own stencilled circuit boards and soldering iron skills (whilst occasionally enlisting the part time help of his younger brother on guitar) T.R.A.S.E.’s homemade technology pop continued to bloom right up until the very cusp of adolescence, when careers officers and real life responsibilities saw the end of Andy’s reel to reel multitracking, which is finally presented here for the first time since it was sung and played.

                                                      This ambitious cross section of robotic funk and moody soundscape sequences makes instrumental nods to John Carpenter and Kraftwerk next to unpolished vocal drones worthy of a sedated Human League or Joy Divison, all of whom shared radio dial digits amongst Giorgio Moroder, Tubeway Army and The Glitter Band as Popplewell’s clearest unabashed influences.

                                                      The T.R.A.S.E. tapes, finally unearthed by Finders Keepers, show the full extent of the projects repertoire before the ‘group’s final hiatus which, for Andy, was followed by a working education in London under BBC employment as a trainee radio engineer (not far from the closed door of the Radiophonic Workshop) which has since led to a widespread reputation as one of the country’s leading independent tape engineers / editors / archivists indiscriminately splicing and baking vintage tapes for anyone in-between Alpha in Brussels and ZTT in London.

                                                      Expect further previously unreleased archival releases from T.R.A.S.E., including their full length album, a compilation and a 12” single

                                                      Tangerine Dream

                                                      Electronic Meditation

                                                      It's incredible to think that this album came out over 40 years ago! Before Krautrock was a concept or genre, Berlin based Edgar Froese, Conrad Schnitzler and a young Klaus Schulze on drums recorded these 1969 sessions. There's a more experimental, improvisational feel to these tracks with Froese's wailing guitar solos set against the (almost) tribal drum patterns laid down by Schulze.

                                                      Upon its release in 1970 “Electronic Meditation” and tracks such as ‘Journey Through A Burning Brain’ would define a genre of music and herald the massive creative musical explosion that would emerge in Germany in the early seventies.

                                                      This Esoteric Reactive edition is newly remastered, fully restores the original album artwork and includes a lavishly illustrated booklet with new essay.

                                                      TRACK LISTING

                                                      1. Genesis
                                                      2. Journey Through A Burning Brain
                                                      3. Cold Smoke
                                                      4. Ashes To Ashes
                                                      5. Resurrection


                                                      Just In

                                                      123 NEW ITEMS

                                                      Latest Pre-Sales

                                                      177 NEW ITEMS

                                                      E-newsletter —
                                                      Sign up
                                                      Back to top