Electronic & Dance Tape 524 Items

This one's for the heads.

We are incredibly excited to release the debut EP by Kle-kle. Although this is the first release of a new project, GWD and Spoq are no newcomers to the electronic underground. Both have been active in production and both live and DJ performance for at least the past decade.

They come out guns blazing with a debut that is focused, mature and irresistible. Breakneck IDM beat textures never become send indulging and maintain heft and momentum inexplicably rooted in machinist dub/post-punk fusions with a knack for oddly pleasing dissonant washes and melodies that tickle the reptilian part of your brain. For the stellar remix-work, they enlisted scene veterans Dead Janitor and Trauma.

Runar Magnusson is an Icelandic/Danish sound artist and musician, currently based in Austria. With a masters degree in Electronic Music Composition from The Royal Academy of Music, Aarhus, Denmark, he is inspired by the sounds of nature, noise, and meditation. Magnusson specialises in atmospheric disturbances through minimalist compositions. A sly humour cuts through the dark hues of his works.

Magnusson writes: "The two works which make up "Inside Out of Chaos" are somewhat related. They were made at the same time and share the same source materials somewhat – a pool of sounds I had been experimenting with for a couple of years. Two separate projects created the opportunities for me to realise them in these finished forms.

At the beginning of 2020 I was invited to participate in an acousmatic concert series at the Traktorfabrikken in Vienna. Curated by Austrian composer Christian Tschinkel and performed on his Akusmonautikum sound system this particular event, titled Kill & Kaoss, was the last in the series. I named my piece after the event and dedicated it to Tschinkel´s Akusmonautikum system. Without my knowing, I had witnessed this system in action half a year earlier at a concert at the Hermann Nitsch Museum in Mistelbach, with Hermann Nitch playing the organ and Tschinkel operating the sound system – a profoundly enjoyable performance. I was very happy when I connected the dots soon after the invitation to participate. I intended my work for Kill & Kaoss to be a way to greet the new lunar year of the rat – a year which held many surprises… The event took place on 22nd of February 2020 at Traktorfabrikken, Vienna.

"Inside Out (for Trattner)" was composed for Austrian artist Josef Trattner. It was the soundtrack for a film that was a part of his exhibition "Inside Out" at the Kiesler Foundation in Vienna, 2020. I assisted with the installation of the exhibition, itself a filmed action that evolved into the movie of which this is the score. The installation was a very hard physical process that left me bloody and blistered. It was also a fascinating, trance-inducing experience. Mining with ones bare hands, digging out this huge structure and creating a womblike cave, a tunnel system, a playground, a hideaway while experiencing ever-increasing pain in the fingers and hands. The exhibition ran from 27 February 2020 until 23 December 2020.

I consider this release as the final part of a trilogy I refer to as "the three sisters of sorrow". These three releases are an insight into my state of mind at the time – a mental collapse, somewhat triggered by a move to a new country, the death of my friend Jóhann Jóhannsson and the loss of my father a year later. Between 2018 and 2021 I had the trilogy almost ready but had not been able to finish them. I sought professional help to lift me up from the deep and was diagnosed with Adhd, which explained many things in my life. Only after the darkness had lifted could I see that these three releases were connected. They depicted both the mental state I had been in – an incapacitating downward spiral, a crushing chaos – and also my search for the light, a way out of the maze and my path up to the surface."

Runar Magnusson, Vienna, 13 November 2023

Microcorps, Alexander Tucker's mutant techno alter ego, presents "Macrocorpse – 2021-2024", an 8-track collection of tracks that stray into a mutated space where techno-based composition inhabits the same space as microsound time scales, drone and noise. Regular Tapeworm collaborator Savage Pencil lends his warped graphic visions to the cover artwork.

"I'd always admired The Tapeworm from afar and over the years The Tapeworm and I would often bump into one another at gigs and enthuse about Derek Jarman." explained Tucker, "I'd amassed all these tracks, some of which I'd forgotten even existed until they asked me to produce a tape. Each track is made with a specific system I had set up on the modular rig. I'd have all these processes feeding back into each other creating these dense fragmented bangers."

Across the album, machine technology sits next to Tucker's own voice, processed through electronics and granular sampling. Vocals are pitched beyond recognition and delivered in a wordless constructed language that attempts to create its own alien landscapes. Tucker's aim is for each track to set a balance between structure and disrupting processes that feed off one another, where core rhythmic elements rub up against fried textures that fold in and out of each track. Always keen to marry electronic systems and acoustic instruments Tucker also employs cello layers which are resampled into sonic drone debris.

He expands "I often want to have my cake and eat it with these tracks. My idea was is to place my love of experimental techno, drone, music concréte and composition into each piece, where all these elements can weave through each other and produce a hybrid area"
Tucker is joined on final track PYN by Luke J Murray (Nonexistent, Stonecirclesampler, Liquid DnB-like Ambient Grime 2) adding his gauzy drones and electronic drift.