Electronic & Dance CD 360 Items

Harald Uunk's debut album, Unseen, is an immersive, contemplative trip through the forest. The 18 tracks are designed to build on each other, starting close in and gradually expanding to poke at the different corners of your mind. There are heady, overcast and menacing moments offset with pupil-dilating, sweeping, atmospheric levity. Varied tempos, warm basslines, fluttering glitches, undulating percussion and moments of crystalline equilibrium lean into elements of dub, minimal and introspective techno. Five years in the making, Unseen puts all of Uunk out to the world. The output is a reflection of the energies around him and the result is a spatiotemporal play.

The music of Amir Telem wanders through the human consciousness like a mighty endorphine storm with torrential downpours of happiness-inducing neurotransmitters. The analogue thunder of the bassline rolls through our nervous system until it finds its grounding in the stomping of our feet, the stroboscopic flashes of digital lightning bath us in the dazzling light of pure euphoria. It leaves us with a feeling of freshness and peaceful calm similar to what lingers in the air after a summer rain. In hearing distance to Progressive House, Melodic Techno and Neo Trance, Amir Telem opened up his very own groove universe, and his album Art Of Compassion reflects the stunning elegance of his unique sound. From the sunlit melodies of Sage Tear and the housey updraught of Krishna to the kaleidoscopic escalations of One More Prayer, from the broken beats and electroid 80s vibes in Do You Believe In Magics to the vocal tracks Fight It and Mode Of Service, the stylistic bandwidth is a truly enlightening trip, especially when enjoyed as the coherent story this album tells.

Nous'klaer Audio presents the official debut album by Mathilde Nobel: Founds on Land. Eleven magnificent dark experimental pop tracks written, produced and performed by Mathilde Nobel. Today I woke up with a vague memory of yesterday. It's not the first time that I've encountered clouded memories. From where I lay I can see there are fresh cuts on my arms and feet and legs next to scarred over wounds. I turn my head and see that there are a few drops of blood dried on the white bathroom tile next to caked on red stains turned brown. I've reached the point where I stopped asking "why"? In fairness, I stopped asking "what?", too. I stand out of bed into a relatively organized room. There's no headache, no hangover, no shaking, no blurred vision. There's no nausea, no instability. One foot smoothly walks in front of the other. I trace my fingers along the white walls as I cross the threshold into the bright kitchen. Through the windows I see the city, its skyscrapers glowing in the cold winter morning sun. Beyond them I can make out the snowy mountains and the cold black ocean. As I dress in silence, my mind is empty and clear. My day is not purposeless, I'm not directionless. I have a calling and it's guiding hand leads me outside. As I step outside I turn left down the road one foot smoothly in front of the other, I'm not directionless; I walk in silence. Mixed by Remco de Jong at Phako Studio. Mastered by Neel at Enisslab. Words by Gregory Markus.

The third Mollono.Bass Album is dedicated to what we need most. We as inhabitants of the same planet, we as members of a free society, and we as a culture. We have to stick together more than ever, rather than drifting further and further apart. At the same time, Together brings together everything Mollono.Bass stands for since more than 20 years: Ritualist Afro-influences and acid loops, the sensual physicality of House, the laid-back boost of Dub Techno, analogue depth and digital highs, hope transcribed into groove and utopia set into rhythmic motion. It’s the dynamic novelty and pioneering spirit of the arrangements that reflect the unmistakable signature style of this producer. True to the traditional idea of an album, complete with previously unreleased tracks and special versions, Together is a highly immersive listening experience from start to end and works beautifully on the dancefloor and far beyond it.

Where to Now? are proud to present the debut LP from Peru based and born Areliz Ramos. ‘Frio’ seeks to explore the common reality of isolation and melancholy which exists when stepping away from our roots towards a solo global exploration of culture and place. Recorded between spells in London, Berlin, and Lima, 'Frio’ attempts to soak up experimental & electronic subcultural scenes within these environments, resulting in a body of work which seeks to connect, longs to feel, and yearns to regain a sense of belonging.

Previously recording under the moniker ‘Milkshlk’ (Female Pressure, Napp), Areliz’s sound shuffles all over the place - from occupying the same deep haze, ethereal, smudged, and downtempo space championed by the likes of Boards of Canada, Odd Nosdam, Seefeel etc, to carrying an unassuming boom bap sensibility and confidence at times, to stepping back and opening widely to experimentation, extended field recordings and tonal subtleties.

The LP begins with title track ‘Frio’, an orchestral and meditative movement in which inaudible, hushed conversations flicker in and out of focus, before the playful piano samples of ‘This Track Is For You’ swing into motion, with a prolonged sampling of a loving ‘pep talk’ from father to daughter welcoming jazzwise flutters and swirling melodies, eventually collapsing under a wave of distortion.

‘Euduvin’ switches focus to what we can only assume is a nod to the warmth and belonging felt for Areliz’s native Peru home, where a long form field recording captures distant nature, environment, and hushed intimate conversations, floating below a swell of warm ambience. All this is intentionally juxtaposed with the start of the next piece ‘Sang’, instantly evoking anxiety and dread, signifying the disconnect between the comfort of ‘home’ and the disconnect felt when moving on… ‘Samos’ develops into a melee of dizzying underwater bass and percussive experimentation, before returning to a wandering dread.

‘Emails’ tells tales of the heart and communication breakdown over what could be a lost cut from Los Angeles era Flying Lotus before we hear the most unnerving cut on the record ‘Kabal’, again conveying isolation and unease via it’s shards of sharp tone and off kilter rhythm, building into a emotive, heads down clash.

‘Driller 1’ sees the return of Areliz’s more exuberant side, where dense, straight faced ambience skittishly flips to sudden joyful bass dives and unpretentious sample phases. ‘Ava’ rounds us out with the hum of Cicada’s, drifting throughout the album’s closing 8 minutes, becoming buried under layers of hopeful texture, and serene warmth.

UXY Dosing© (ud) is a maximalist genre of electronic music that refers to sound productions that make for a radical succession to the minimalist genre, regardless of style and aesthetic practice though mainly associated with the field of sound arts.

More precisely, it designates that which embraces heterogeneity and allows for complex systems of juxtapositions and collisions, in which all outside influences are viewed as potential raw material. However, UD relies more on singular experimentation rather than the addition of musical characteristics attached to specific genres. Subsequently, UXY Dosing© gives birth to MDM (Maximal Dance Music) which, beyond a sole matter of genre, remains linked to the high consumption of dextrose associated with milk, which de facto shares the same acronym as MDM (Maximal Dextrose & Milk). Read : Dextrose, energiser or poison?

DJ Micky More & DJ Andy Tee's Italy based Groove Culture imprint celebrates their fifth year in existence with a mouth-wateringly good mixed double CD. The duo seamlessly blend classics, remixes and original material from themselves, label friends and legends into a sunshine soaked, melting pot of vibes. From its humble beginnings Groove Culture has grown to become a highly recognized and respected brand in the global dance music scene boasting a catalogue that includes some of the biggest names on the global dance music scene, including: Incognito, Dave Lee & The Sunburst Band, Dimitri From Paris, David Penn, Miguel Migs, Matt Johnson & Derrick Mckanzie(Jamiroquai), Richard Earnshaw, Ron Carroll, Michele Chiavarini, Full Intention, Angelo Ferreri, Opolopo, Dr Packer, John Morales, Angela Johnson, Roland Clark, Dj James Ingram, Funkatomic, Serge Funk, Kathy Brown, Reverendos Of Soul and many more...

With each successive release, the world of the Budapest based trio Jü seems to become exponentially larger and encompass an ever expanding range of vibrant and startling influences. The title of their latest reflects the basic fact that this is their third outing as a band and also the tripartite nature of the collective trio. But it also harkens to something mystical and elusive about the number three, a quality of arcane mystery reflected in the number's vital importance in cultures across the globe. That essential fact, rather than any specific meaning, may get at the heart of why the members of Jü - guitarist Adám Mészáros bassist Ern? Hock, and drummer András Halmos opted for the title. More than anything, their music reflects a core drive to explore traditions and ideas from farflung corners of the world, returning with a vital and pulse-quickening sound accented by countless disparate influences yet singularly possessing its own boldly uncategorizable voice.On III that sound is marked by the now - familiar whirlwind of blistering rock, dizzying prog, ferocious free jazz, mesmerizing ambient textures and alluring Eastern European rhythms. This time out, a strong influence from Southeast Asia bleeds its own way into the mix, particularly the gamelan music of Indonesia and the ecstatic devotional songs of India. The mysticism and spiritual intensity of this music melds with the band's immersive potency to conjure an overwhelming sound of compelling complexity and breathtaking vigor. The hybrid sounds become all the richer throughout III with the addition of two special guests, both of whom join the trio on several tracks. Vocalist Dóra Gy?rfi is a Hungarian singer who works primarily in the context of gamelan and wayang groups in Java. Master electronic musician Bálint Bolcsó is a regular collaborator who also joined the band for its previous release,Summa, and adds a limitless array of possibilities to the band's palette.

With about a million subscribers and millions upon millions of views, TheRealSullyG is the undisputed King of Otamatones. His lovingly-produced otamatone covers of pop-culture standards, paired with quirky and imaginative videos starring the adorable Japanese synthesizers, have proven to be a recipe for viral success. Covering roughly his first year of otamatone content, Otama-Tunes, Vol. 1 dazzles the ears and delights the senses with wahsome covers of Queen, Daft Punk, Michael Jackson, Dragonforce and more! Remastered by Angel Marcloid, TheRealSullyG’s debut on physical media is presented on two different deluxe gatefold vinyl variants as well as CD and cassette.

The Avalanches are set to commemorate the 20th anniversary of their debut album ‘Since I Left You’ with the release of a deluxe edition this June.

Released in Australia in 2000, and in the US and UK in 2001, ‘Since I Left You’ was hailed as a boundary-pushing release comprised of over 900 individual samples.

The forthcoming deluxe release – out June 4 – features a plethora of additional bonus tracks, including previously unreleased and fresh remixes by the late MF Doom, Black Dice, Leon Vynehall, Sinkane and Carl Craig to name a few. The CD version will also include some of The Avalanches’ remixes of Belle & Sebastian, Manic Street Preachers, Franz Ferdinand and more.

The German composer and multi-instrumentalist Secret of Elements returns with "Cassini", the entrancing first single taken from his forthcoming album 'Chronos', a musical chronicle of his moving life story. Chronos - in Greek mythology, the titanic personification of time - is the title of an album that captures Pätzold's musical work over a span of more than a decade. During this time, Pätzold saved the "Volkstheater" in his hometown of Rostock with which he now closely works, travelled to the Mediterranean to save lives during the European refugee crisis, became a father — the list could go on. In combining emotive, cinematic orchestration with warm, dense layers of synthesis, Johann Pätzold aka Secret of Elements has created a deeply moving sound picture through which to narrate his personal struggles alongside the social upheavals to which he has dedicated himself as a ‘music activist.’ "Cassini", the albums centre-piece, is a testament to Pätzold’s perseverance to complete it despite challenging circumstances. It is named after a space probe that was launched into orbit in 2004, and which, after almost thirteen years exploring Saturn, finally burned up in its upper atmosphere.

16 nice tracks feat. Bajka and others ... made in Berlin!

Final artwork will appear with release date.

Four Tet has announced a new album, Sixteen Oceans. The record follows his last LP, 2017's New Energy, a pair of live LPs, and the threetrack
record Anna Painting. In 2018, Four Tet also shared a BBC Essential Mix featured a Kaitlyn Aurelia Smith remix, along with tracks by Selena Gomez, Britney Spears, Destiny's Child, and more. In 2016, he shared Randoms, an album comprising music from various compilation records over the years.

JETS is the collaboration project of powerhouse producers Travis Stewart (Machinedrum) and Jimmy Edgar. On the first single, "PLAY," from their forthcoming full-length album, the duo teams up with boldly pioneering rapper Mykki Blanco. The sparse, yet aggressive beat slaps back and forth between Blanco's playfully sinister vocals.

New album from Los Angeles composer/producer Henry Laufer, out March 22nd on Friends of Friends/Wedidit
“The album is vaguely about the end of the world, but from the viewpoint of smoking on the couch during the extinction event. Reading a nice book while the meteor hits. The fake peace of insularity during chaos” Shlohmo

Theo's classic 2007 album back again! Loads of soulful samples, vocal house + soul tracks, some beautiful electronic instrumentals and some incredible dancefloor moving techno. Released on 3 x 12" in gatefold sleeve and 2x CD with 10 extra tracks not on vinyl.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

Aerials live, dials tuned, Transmission Towers broadcasting. On either side of the river Mersey, transcendental communications are traded back and forth. Two late-night revellers, one firing messages filled with music, the other returning them laced with lyrics. The result, a dopamine hit of oddball machine soul, melded with a highlife, Afrofuturist touch. Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s - astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra. Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘up’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’. Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps. Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle. Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label. Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

Paper Tiger’s All Over the Place is a moody record, but also muscular—with strong kick patterns, spare but catchy vocal sampling, and short songs that make their mark then make an exit. Paper manages a nostalgia without sentimentalism, a 90s-style urgency and earnestness. The lead single, “A Different Trish,” features some drum and bass patterns that could score a new Run Lola Run sprint scene; it’s a dark, tightly-wound, electronic universe built and dismantled in 3 minutes and 21 seconds. Paper Tiger has a long list of credits as a hip hop producer, but working solo allows his style room to maneuver; All Over the Place explores everything from slow, drumless ambient compositions to hard, dark dance music. There’s a unifying sensibility, though: the chord progressions lean melancholy, textured timbres feel a little like grainy film, and distinct song sections reveal his pop fluency. For this record Paper set aside some of his digital rig to work with hardware instruments, in part because of what they can’t do. “Creative limitations can generate new ideas quickly for me—also you can’t get email or breaking news on a synthesizer.” The product of Paper’s efforts is a 12-track album with a distinct cinematic quality; All Over the Place is one of those records that turns your life into a movie as soon as you hit play. The tides of synth in your headphones swallow up the din of traffic and strangers’ chatter and the frame rate slows on your walk home. And everything feels infused with some new, deliberate significance: the guy on the corner stuck to his phone becomes a sympathetic everyman, the cityscape is suddenly vivified by all the human stories unspooling in it—you in your headphones among them.

'Karnofsky's Score' by Teresa Cos is a musical journey inspired by the Karnofsky Performance Scale used in medical oncology. The album explores the emotional spectrum within the scale's extremes. Guitar improvisations and minimal harmonica elements echo the dichotomy of 'normal' and 'dead', revealing a range of fleeting emotions and creating a haunting atmosphere. An imagined soundtrack for a film in the making, 'Karnofsky's Score' offers an evocative sonic experience that leans against conventional boundaries.

Rompe HECHIZO's first release comes in the form of an 11-track CD compilation from different ATX artists such as Marcos Cabral (L.I.E.S. Records), Bill Converse (Dark Entries), Mures (MRT/Lux Rec), and Quarters Eye (Joshua Cordova & Kyle Dixon - Kyle being a musical composer for the Stranger Things TV series). Techno, EBM, and other forms of 4/4 experimentation take the listener to different corners of the dance-floor.

Canaan Balsam’s work revolves around the exploration of the dead space between ambient and new age music, the liminal zone between the harshness of industrial, and the beatific serenity of devotional music. ‘Eternity lies within or nowhere’ builds on the themes of loneliness, Isolation, and vulnerability, first explored on their debut album ‘Cruise Utopia’ (Modern Obscure Music). Responding to the context where ever-expanding modes of communication seem only to blur the line between connectivity and solitude, Canaan often returns to the theme of Isolation in his work, creating a deep melancholy - exploring how it can grow and metastasize, until it becomes incommunicable, resistant to empathy; an alien host overtaking the body. Canaan’s considered, emotionally aware experimentations hold that unique power to stop our world dead in its tracks, lulling the listener through the darkness but ultimately towards the light - there is intense hope within Canaan’s work, where pieces guide us through a crushingly low emptiness, but always towards glistening introspective peaks. “I wanted a music that spoke to solidarity, that in a quiet manner offered solace, a brief step outside of this world - not a meditation, nor a background ambient shimmer, or anything vague. That inspired to an almost religious intensity of serenity. Something with the potential to engender empathy and clarity. A music you could wear like an amulet, like a spell, like a religious medal around your neck. Music as protection.” Canaan often uses spoken word to further bring his soundscapes to life, but these self penned passages are far from being clumsily walloped vocal tinglers, instead Canaan’s use of voice compliments and contextualizes the states explored within his pieces with hauntingly evocative precision, where carefully curated guest speakers lament a often bleak scene of dread, despair, and longing recollection. The album culminates with the incredible ‘Requiem for a Wolf’, encapsulating the hints of light that have flickered the album, but blooming them to become 6 minutes of pure celestial minimalism, where bells swing in and out of focus, and radiant zither play looms below Canaan’s swelling ambience. Produced and mixed by Canaan Balsam. Mastered by Rupert Clervaux. Art design by James Hines and Liam Cosford. All tracks by Canaan Balsam except for 'I AM Skeleton' by Canaan Balsam / Saint Jude's Infirmary. 'Rat in a skull '- narration by Daniel Mutch. 'You are the architect of your own utopia' & 'A passive apocalypse': narration by Alex Johnston. 'You fell into a screen as you had no place left to fall': narration by Cosima Cobley Carr. 'I am Skeleton': narration by Jack Vettriano, taken from the track by Saint Jude's Infirmary.

The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue.

Whether taken as warning or promise, No Highs delivers – this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined.

Morse code pulse programming flickers like distress signals while a gathering storm of strings, noise, and low-end looms in the distance. Processed electronics shiver and shudder against pitch-shifting assemblages of crackling voltage, mantric horns (including exquisite modal sax by Colin Stetson), and cathedral keys. Throughout, the pieces both accrue and avoid drama, more attuned to undertow than crescendo. Hecker mentions “negation” as a muse of sorts – the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet.

Mike Lazarev drops his first album on Past Inside the Present and it's one that reminds us why he has such a great reputation as being one of modern ambient and classical's finest composers. After exploring notions of time on previous records, for this one, he embraces the here and now and that lends itself to a record steeped in mindfulness and meditation. As such, Sacred Tonalities is a perfect accompaniment to introspective moments with textural soundscapes placing you at the centre of them. The harmonics range from soft to gritty, the moods occasionally hint at trance and the layers of bass, piano and arps bring subtle and ever-shifting rhythms.

The tenth studio album by Bjork coming in a Deluxe Mediabook edition.

For collectors: This edition comes with a different barcode than the first edition.

Frank Vigroux’s latest release »Magnetoscope« refers to the eighties, a “terrifying time” as he calls it. A time that influenced him and us; »Blade Runner« dystopia, Polaroid colors and VHS video recorder aesthetics (in French »Magnétoscope«) form the conceptual foundation of the sound aesthetics used here.

The compositions, between progressive pop (»vhs«), Vangelis romanticism (»L.A.«) and dark, abstract layers of sound (»Stream«), are worked out in detail, driving forward, and can also be harmonically complex. Nevertheless, as usual from Vigroux, they somehow always remain timeless and classic. New on »Magnetoscope« is a kind of melodic euphoria paired with machine-funk elements, like on »Cassette«.

»Magnetoscope« is part of a series of releases (including Vigroux’s predecessor »Ballades sur lac gelé« from 2020) that interrelate strict and cool analog sounds, drum machines and noise landscapes in an epic, almost cinematic way. Let’s leave it open whether this artistic attitude is also a child of the 80s.

The tenth studio album by Bjork coming in a Deluxe Mediabook edition

Back in 2015, Japanese deep house pioneer Soichi Terada stepped back into the limelight courtesy of Sounds From The Far East, a Rush Hour-released, Hunee curated retrospective of material released on his Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light.

Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light.

“I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.”

Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor).

Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages.

The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise.

There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.

"Sound Space Variations" is a delicate and restrained sound bath. A mix of atmospheric, suspenseful drone sounds and meditative aspects. It is an album made for those moments when we just are. zake has managed to capture the moments that lie between sounds; the unagitated murmurs and atmospheric hisses. The artist connects this in-between-world and our earthly one with calm and sonorous scores, making us think about everything and nothing. The six pieces on the record do not seem heavy-headed or overloaded but much more airy, wide and open for interpretations. They stimulate the imagination - in a wonderfully unbiased way. In the last track. James Bernhard mixed and mastered the album, written and produced by drone artist zake, at Ambient Mountain House Studio. zake himself provided the artwork and photos himself."

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995.

MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor.

‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”

Artwork by Vica Pacheco, design by Steele Bonus, liner notes by Dr. Rob

First time on CD for this classic Merzbow duo album from 1983.

Material Action is a favorite among early Merzbow free-music, junk-noise workouts. Psychedelic improvised instrumental energy abounds on this essential early recording that is Pure Merz.

Masami Akita plays tapes, percussion, electro-acoustic noise, organ Kiyoshi Mizutani overdubs tapes, synthesizer, violin, machine noise

Merzbow's Merzbeat is one the most unique and legendary titles in the artist's vast archive. This 20th anniversary repress is being issued at the same time as CD reissue of his 1983 album Material Action 2 and a brand new collaboration with Arcane Device, all on Important Records.

Originally released in 2002, Merzbeat contains over 50 minutes of aggressive, psychedelic, organic, analog beat oriented Merzbow compositions. Drummed rhythms, massive looping samples, a punk spirit and a return to analog Merzbow.

KID 606 called it 'one of the greatest thing Merzbow has ever done.'

Japan's leading noise luminary Merzbow meets American electro-feedback artist Arcane Device as they mix and manipulate each other's work. The result are droning, bubbling sonic textures that are as serene as they are extreme pushing the boundaries and meeting in the middle. Both artists contribute long-form manipulations that inspire contemplation as much as highly caffeinated charges of sonic skullduggery. Sonic textures take center stage on Merzbow & Arcane Device.

David Lee Meyers aka Arcane Device has been building electronics and creating feedback based electronic music since the late 70's. He has collaborated with Tod Dockstader, Kim Cascone, Asmus Tietchens among others.

Masami Akita's legendary Merzbow project has established him as an international electronic phenomenon and this collaboration with Arcane Device is being released at the same time as a 20th anniversary reissue of his Merzbeat album and a CD reissue of his 1983 album Material Action, all on Important Records.

New 50-minute opus from Gothenburg Sound Workshop. Imagine a handcuffed Terry Riley driving a ice cream truck down in the Göta Älv. The second disc compiles both Förlag För Fri Musik albums (released in small vinyl editions in 2020 and 2021 respectively). Together the three albums creates a massive trilogy of stripped down, melancholic and introspective synth minimalism. Six-panel digipack, edition of 500 copies. Discreet Music Cd04.