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Greek artist June makes his debut on Mannequin Records with the 'Silver Demon' LP. The album explores a futuristic dystopian world where transcendence and oppression coexist, where claustrophobia and infinite openness coincide. A world of contrasts that is the product of the artist‘s active imagination and conscious effort to confront the subconscious.

The album was recorded using original techniques from the golden era of electronic music (late 70s to mid 80s) with an arsenal of vintage analog synthesizers, drum machines and effect processors (originating) from the same time period. While the aesthetics of the classic precursors emerge through the minimal, deep, dark architecture of June's music, Silver Demon prevails with the artist's characteristic originality.

For the unitiated, Alaxis Andreas G is the man behind legendary electro imprint Invasion Planète, experimental stable Hiératique and the musical mastermind behind razor sharp, and recently re-appraised French electo (fans of Justice et al need wash their ears out now) project Le Syndicat Electronique. Entering the new decade reborn as De Sang Froid, monseiur Gand harnesses minimal wave moods, buzzing electronics and scorched circuitry for ten tracks of the chilliest bleepery you're likely to hear this year. Whether he's laying down twisted analogue lullabies, skittering electro bombs, or hypnotic industrial creepers, our main man is always interfaced with his hardware rig, getting full Lawnmower Man on our asses. Recommended to fans of Dopplereffekt, I-F and Legowelt.

FORMAT INFORMATION

Coloured LP Info: Limited red vinyl LP

Mutant industrial acid house from one member of the UK Mutoid Waste Company art and performers collective. The Mutate tracks where created in 1990 when Steffe Lewry, vocalist composer and producer from the UK, active since the mid 1970 (Gong, Planet Gong, Here & Now), was living with members of the Mutoid Waste Company - the legendary performance arts group founded in West London in the early 80s.

Influenced by the movie Mad Max and the popular Judge Dredd comics, they specialised in organising illegal parties in London throughout the 1980s, driven at first by eclectic assortments of fringe music such as psychedelic rock and dub reggae, but then embracing the burgeoning acid house music movement by the late 1980s. They were famously described as "part street theatre, part art show and part traveling circus" in the 1986 LWT documentary South of Watford presented by Hugh Laurie.
The group became famous for building giant welded sculptures from waste materials and for customising broken down cars, as well as making large scale murals in the disused buildings where they held their parties. 
In 1989, after a number of police raids on their warehouse in King's Cross, they left the country and travelled to Germany where they became notorious for building giant sculptures out of old machinery and car parts, one of which was 'Käferman', a giant human figure with a Volkswagen Beetle for its chest, offering a Bird Of Peace sculpture that overlooked the Berlin Wall towards East Berlin and the regime of East Germany. They had a collection of scrap military vehicles, including a Russian MiG 21 fighter aircraft which 'followed' them around wherever they went, and a painted tank known as "the Pink Panzer".
The 3 tracks where included in a video compilation of Mutoid art, “How The Mutoids Brought Down The Berlin Wall”, edited by film maker Jonathan Barnett. To make these tracks Steffe used a 4 track teac reel to reel, a Korg DDD1 drum machine and Fender stratocaster guitar.

Exploring the balances between pop song writing structures, 80s bedroom electronics and dirge-y gloom rock, Paris based Dissemblance presents her debut LP "Over the Sand" for Mannequin Records.

Over the ten tracks Dissemblance treads the fringes of a blurred dream world, using her bass guitar, voice, and drum machine as the backbone to create haunting yet soothing pop atmospheres in her songs.
The opener "Transfuge" maintains a focus on the bass guitar, while a sparse rhythm box and monotone vocal fuel unbreakable tension. "Rescue" continues centered around the bass playing, this time with more almost upbeat surf rock pop sensibility driving the track. The closer "A Ride" takes shape with Boss DR-55 clicks, solem, floating vocals and a subtle bassline reminding us of some of Lifetones finer moments.
A welcome new addition to the Mannequin catalog, "Over the Sand" will appeal to fans of gloom tinged electronic pop and even to optimistic goths around the globe.

All songs written and produced by Mathilde Mallen in Paris, France. Mixed by Silent Servant in Los Angeles, California, 2019.

With a bigger grin than Barry when he found a tenner on the floor, Mannequin Records present a rare lost demo tape recording of Caroline K - real name Caroline Kaye Walters - founder member of Nocturnal Emissions, one of the best UK experimental/industrial music groups in the 1980s.

When the label approached Nigel Ayers about the possibility of pressing a small batch of the edit made by head-honcho Alessandro Adriani, they never expected to find more material from her solo career. In fact, the only extant recording of Caroline is her LP 'Now Wait For The Last Year' released in 1987 by Earthly Delights and eventually repressed by Klanggalerie / Blackest Ever Black Black.

Presented in 4 different versions - Original, Dub, Instrumental and Edit - 'Dont Believe It's Over' was recorded in 1983 at Caroline's home studio in Brixton, during a pause from the main project Nocturnal Emissions. With the help of Beverley Ireland - a mysterious friend of Caroline, who currently proves untraceable - on the vocals, Caroline used a full hardware arsenal comprising Sequential Circuit Six Tracks and Drumtracks, Roland SH-101, Roland Tr-808, Powertran Vocoder, EMS Synthi, some Casio, all recorded on a Fostex 8 tracks reel-to-reel. Caroline and Beverley completed a full demo cassette and sent it around to few labels, and no one unfortunately got interest. Eventually Caroline suggested later Nigel to include 'Don't Believe It's Over' on the Nocturnal Emissions retrospective 'Duty Experiment' cassette, released on Soleilmoon Records in 1988.
With the utmost thanks to Nigel and Danny Ayers for making it all possible, Mannequin release this minimal wave masterpiece in Loving Memory of Caroline Kaye Walters. 

Long the go-to label for razor sharp synth pop, emotional wave and industrial excursions, Mannequin serve up another sure shot here with a five track EP of acid techno and electro experiments from Italo master Fred Ventura. The set opens in suitably strident fashion with the pump, pulse and thump of "Technologies" (found here in extended form thanks to label head Alessandro Adriani) a vintage combination of hypnotic sequences, Chicago bass and ruthless drum programming topped with the kind of spoken / programmed vocal you'd expect to hear from an Electifying Mojo tape. "Afraid To Dance" flirts with Kraftwerk's "Computer Love" and the trademark chord progression of the Italo house era before becoming its own electro-styled man. We're back to the jack on the Chicago meets Sheffield synth pop of "Looking For The Western Beat", before "The Endless Journey" encourages a pilled up euphoria/end of the world rave with its trance sensibilites. "Lost Memories" sees the tempo drop as we touch down on terra firma with a possible show stealing finale, synths tugging at the heartstrings as the steady Italo beat stomps on.

Atelier du Mal were formed in Florence in 1983 by Lapo Pistelli (synths, electronic drums), Iacopo Ficai Veltroni (bass, synth) and Ignazio Matteini
(drum programming, percussions). Recorded in 1984, "Noblesse Oblige" was the first and subsequently the only demo tape by the group, self-released using classic gear like Korg MS-20, Roland Tr-606, Roland Tr-808, Roland Juno 60, Roland TB-303. The ten tracks on offer fuse the melancholy vocal melodies, snapping drum machines and propulsive sequences of the early Human League with angular post punk guitars, gloomy basslines and a touch of cinematic new wave. A forgotten gem from Italy's electronic past, returned to the shelves thanks to the mighty Mannequin.

Mannequin Records is proud to present a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Norton Computer For Peace" (1983), "Personal Computer" (1984), "Artificial Intellingence" (1985).

35th anniversary edition, original release from 1983 by Durium Records.

Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.

In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) – whose album cover prominently features Apple’s colored logo – and Artificial Intelligence (1985).

Third studio album, 'Nortoncomputerforpeace' involved Doris Norton, Antonius Rex and Rudy Luksch (hardware engineer).

"Don't Shoot At Animals" was used as original soundtrack for the RAI tv program "Rumore Di Fondo" directed by Umberto Marino.

Nacht Raum / Bande Berne Crematorie

Expanded 1982-1984

Continuing their rich vein of form, Mannequin Records present a LP compilation of Michael Antener (Swamp Terrorist) early 80's minimal synth/industrial projects Nacht'raum (with Michael Stämpfli) and, as solo, Bande Berne Crematoire.
Heavily influenced by the works of SPK and Nocturnal Emissions, Michael Antener made his first recordings in the basement of his parents house in a small village nearby Bern, Utzensdorf. He started BBC in 1980, a hybrid of Neue Deutsch Welle and noise/experimental, making a household name in the international home recording scene of the time and participating to many tape compilations.
Teaming up with Michael Stämpfli as Nacht’raum, he self-released the untitled mini-lp in 1983. Coming out from the same town of Grauzone, the duo moved into the darkest minimal electronic sounds, choosing German as main language for the lyrics and a Roland Tr-808 as main drum machine, bringing the sound to a proto-electro dimension. Nacth’raum will be historically a real gem in the 80's Swiss underground electronic music, together with Mittageisen, Grauzone, Liliput, The Vyllies.
Michael, by the way, later teamed up with Ane Hebeisen and they went by the name of Swamp Terrorists, releasing seven albums and touring throughout the world until the end of the nineties. At the end of the nineties he sold all his instruments and became independent as a graphic artist. 


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