Electronic & Dance CD Sale 28 Items

Produced by DJ Koze

All music by M. Rose, T. Parrish Art & Graphics by Nep Sidhu 2023 Whobody Publishing BMI

After L.A. is a lifetime as a moment. Not just a collection, but a consideration of what it means for an artist to have grown up, lashed out, and re-nested all within the extremely wide borders of Los Angeles. PALOMA PARFREY's ethos is immersed in LA history, both of the book smarts sort and the personally experienced. To some she is known as a chef. Others a punk diva. The majority of strangers in LA probably know her as the person always checking out 15 books simultaneously at the library. After L.A. pulls together all these things in the form of both a book and an album equal parts intertwined and standing on their own; much like the strange way the diversities of LA life and history work together. Paloma Parfrey has been writing and performing poetry around LA since she was 13. Her band, THE SHARP EASE, was an integral part of the LA DIY punk scene throughout the '00s. Her bandmate for the CD portion of this release is BRIAN MILLER, who performed in the drum and voice quartet FOOT VILLAGE, is a member of the TRUE NEUTRAL CREW, and records music for film and TV. Together they are SCROLLS. 94-page book, 5"x7", with full color cover and CD.

’See You Soon’ is the third album from Tokyo-based UK native submerse on the Project: Mooncircle imprint. A mélange of Slow-Jams, R&B, Hip Hop and Soul created while on a steady diet of 90’s NBA basketball and Dreamcast games. ’See You Soon’ features collaborations from fellow Tokyo-based artist Fitz Ambro$e and L.A.-based Devin Morrison and Pink Siifu.

NRW Records is proud to present another subversive album from Orax. After one year + wait, the main man is back with his sinister dark-synth injective sound. A must for all Darksynth and Cyberpunk enthusiasts!

In 2016 they released their debut album ‘Brainsugar’ via acclaimed independent label Anjunadeep. Accumulating over 40 million streams, the album won praise from Mixmag, Resident Advisor, Consequence of Sound and DJ Mag, who described it as “a startlingly accomplished debut” in their 9/10 review.

Originally an electronic duo comprised of Dutch producers Ariaan and Peter, Cubicolor became a three-piece band with the arrival of British singer-songwriter Tim in 2015, after collaborating on breakthrough single ‘Falling’. A published poet and playwright, Tim’s musical upbringing was rooted in playing guitar and listening to Nick Drake. Combined with Ariaan’s encyclopedic knowledge of electronic music and Peter’s love of late romantic classical, created what Clash described as “a beautiful, haunting fusion of ideas.”

In 2018 the band delivered, and then shelved, their second album…

“It had twelve tracks, a different name, all the artwork was done and a date was set for it to be released.

We got home and listened to it, then called each other and decided to drop the whole thing. The next week we went back into the studio and started again.

We loved the record we made but for some reason, it didn't feel right, so we didn't keep anything, we shut ourselves on the boat in Amsterdam where we work and didn't stop until we'd written a new album.”

A year after going back to the drawing board, the trio now presents ‘Hardly A Day, Hardly A Night’. Inspired by the cycles of time, and the cyclical movements of the planets, the new 12 track record weaves together themes of loss, hope, and acceptance.

“There were a lot of moments when we weren't sure we'd ever find what it was we were looking for. On the way, we lost friends, lost loves, battled health issues, lost an album, lost each other and came back together again. It feels like a lifetime has passed but the world keeps spinning and I guess we knew we would eventually find our strength and make the album we wanted to make.”

Showcasing their remarkable production techniques and textured sound design throughout the album, Cubicolor continues their unconventional rise to the upper ranks of the electronic music world.

The band will celebrate the album release with a listening event in London in February 2020, before taking their live show to festivals around the world in the summer.

Finally back in Stock! Some classic Theo from the early 2000's. ESSENTIAL!

* Unreleased album by Japanese ambient pioneer * Recorded in late 90’s.

Fumio Miyashita’s unreleased last recording is finally here.

We are honor to receive the master audio of Waterfall Symphony from Fumio’s family last year and finally ready to release on both Vinyl & CD."

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.

ASA

Arturo Lanz Saverio Evangelista AtomTM

are the last three futurists on earth.

Radial« is the result of a vivid creative merge between Esplendor Geométrico and AtomTM. A transparent diamond formed by a heavy implosion. Its underlying massive mechanics are covered by a crystal surface made to cut reality in half. Just one letter short of “radical”, this album is no less than exactly that - an orgy of powerful, blunt repetition and hyperbolic simplicity, a profound evocation of nothingness and its surroundings. The 13 tracks (which comprise the digital full-length version) of »Radial« are the exact expansion of sonic ideas those three artists have explored during the last couple of decades. Unexpectedly so, this makes this production an outstandingly atemporal one - some would even classify it as meta-contemporary. A selection of 10 tracks of the digital full-length album will be released on CD through raster on September 01, whereas an accompanying vinyl release is scheduled for the end of 2023.

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.

feat. Beck, Mike Patton, Ms John Soda, ... incl. bonus DVD with 15 minute short film

Jacob Stoy's Overload is here. It is a long-running and crucial project in the Berlin musician and graphic designer's artistic output. What began as a multi-dimensional art project about the over-presence of stimuli hammering our consciousness in the days of late capitalism evolved into a fascinating musical field study into the deep canyons of future IDM, lo-fi wave, freakfolk and everything in between. The album is a piece of conceptual art that uses sound and music to reflect on the modern information society and our relationship to digital content. Lost in the endless stream of sensations, we are not only plagued by fears of missing out on relevant information, but also increasingly by addictive behavior in the form of a permanent longing for content. Despite the constant oversupply, these relationships lead to loneliness, social isolation and the inability to make decisions. Almost inevitably, the musical spectrum on Overload is extraordinarily broad, ranging from state-of-the-art IDM to lo-fi wave sketches, hip-hop stumblings and freakfolk miniatures through to twisted ambient. Nevertheless, it is surprisingly cohesive and works well as a cure for digital overload in a kind of conceptual irony. It is an album that will inevitably cast a spell over listeners. A very limited physical edition of the album has been designed and manufactured with love and care by Jacob Stoy. It comes in the form of a handmade twelve-sided booklet that consists of eleven printed transparent foils and the CD in a protective sleeve. But Jacob Stoy's album is by no means the end of the Overload concept. The ideas are being continued on the project's website and in various artistic contributions. Jacob Stoy has asked many friends how they would translate their thoughts on the subject into individual works of art. Many exhibits have already been submitted, with many more to come. The project will ultimately culminate in a concept exhibition that brings together all the contributions and creates a dialog between them.

Elektra (Scream Through the Eyes of a Statue), is a multimedia performance broadly conceptualizing the female voice as an “X-ray to the bones of sound.” It was commissioned by Issue Project Room and performed April 26th, 2018 in Brooklyn, New York. Taking poet, essayist, and Classics professor Anne Carson’s translation of Sophocles’ tragic play Elektra as a point of departure, James K monstrously externalizes the inner sonic world of female vocalization through a scored collaborative framework interpreting each of Elektra’s “screams” in the Greek tragedy.

The piece develops unique methods of screaming through musical and non-musical objects -- performed through manipulated text, videos, and live contributions from James K (voice, electronics, violin, video) Brooklyn-based musician Eve Essex (alto saxophone, various winds and electronics), electronic producer and performer Dylan Shir (electronics), composer and cellist Leila Bordreuil (cello), and poet/artist Eli V Manuscript (textual alchemy, projections).

Within this collaborative framework, James K scores “the scream” to express the various relations between hysteria and the “gender of sound” -- a blurred and overlapping feminine sound defined by its fragmentation and resistance to scripted narrative. Elektra’s presence is emblematic of a radical alienation that occurs as a standing discrepancy to tragic convention. Amongst society, she is the anti-dialogue, a symbol of protest.

‘my cries are wings, they pierce the cage’

Elektra’s vocalizations pierce through language, revealing a shattered interior of multifaceted reflections constructed against habitual linguistic or vocal expression. In tragic convention, such habitual vocalization takes the shape of the often terse, patriarchal voice of the Greek philosopher -- a didactic, conceptual container in opposition to the expressive “becoming” of Elektra’s cries that riot against fixity. As a tragic character, Elektra is radical and alien for Sophocles and his audience -- an ever-present conviction that demonstrates how female shame has constructed a life-size funeral urn around her.

Through translating a text within layers of translations, a fragmentation of the firsthand into traces, James K mirrors Elektra’s deconstruction of reality into siren shards, offering an experiencing of female sign language as a means of sabotage to the world of normal utterances. By sliding on the edge of convention to sharply abandoning rational speech and sonic construction, K’s piece aims to embody Elektra’s strained and stretching screams, as cuts against the glass; her sabotage bound within the blanket loop. In response to rigid vocalization and fixed sonic understandings, Elektra (Scream Through the Eyes of a Statue) takes the scream as an unruly, emotive sonic experience projecting outwards into objects and audience: to the very bones of sound.

This is a live recording of its single performance. Recorded by Bob Bellerue at Issue Project Room in Brooklyn, NY. Mixed by James K. Mastered by Jack Callahan. Performed by James K, Eve Essex, Via App, and Leila Bordreuil. Conceived and scored by James K for four players, and written in collaborative improvisation with the performers. Textual alchemy by Eli V Manuscript. Design and layout by Nicola Tirabasso and James K. Label management by Joachim Nordwall.

Porter Ricks is a collaboration between Thomas Köner and Andy Mellwig. After the Re-release of the legendary album “Biokinetics", which is superb subaquatic dub techno, we re-release Porter Ricks first album on Mille Plateaux. The album demonstrates the move to a kind of discoid funkyness with an underlying almost organic rhythmight. But still its not music for beautiful souls. Instead, it combines funkyness with alien sonic fluxes and the rhythm of a killing mover.

Turning the mirror on herself, Marie Davidson arrives on Ninja Tune with Working Class Woman”, an album that is sure to be heralded as one of the most self-reflective recordings yet from the Montreal-based producer.

Building on the dancefloor-minded trajectory of her breakthrough LP Adieux Au Dancefloor, released via Veronica Vasicka's Cititrax imprint circa 2016. With “Working Class Woman”, Marie Davidson proves that once again that she can roll acidic new beat basslines and sleek, sexdrops tekno laced with sharp-edged vox like no one else. This super strong selection is sure to take pride of place within the collections and listening habits of anyone into DFA and Regis, Not Waving (with whom she recently collaborated) SOPHIE and GAIKA.

Working Class Woman reshapes Marie Davidson's sharp-edged Italo Disco, proto-industrial and electro influences into new modes of cyberpunk coldwave control, proof that looking inward can project a more expansive vision out into the world.

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

With his first widely available new material in 5 years, Aphex Twin returns with an intricate and melodic addition to his discography.

The machines co-opted in production are as complex as the Weirdcore artwork, layering signature sombre ambient chords with intricate drum programming.

‘Blackbox Life Recorder 21f’ marks Aphex Twin’s official and celebrated return to augment our current reality.

Naked feet in warm sand, a gentle breeze, a sweet taste of chocolate on the tip of your tongue - this is the moment before you jump into clear waters. JPattersson brings up eight shimmering pearls from the dubby depths of his repertoire and adds them to this chain of associations. Mood gives expression to an unquenched thirst for musical innovation and growing maturity. While the soul of JPattersson still reverberates through the frequencies of his trumpet and his voice, his third album sounds all new and different again. There are songs with clever lyrics and all the ensuing catchiness. In-between these tunes from tropical tipsiness to hypnotic depth you can hear one thing above all: musical love of detail. In consequence, it’s a wonderful album to listen to from beginning to end - and at the same time made for the dancefloor.

Okay, you’re listening to the 23rd edition of Kompakt’s annual compilation series Total… hold on… 23??? It’s impossible to look at this number without thinking of William S. Burrough’s Captain Clark anecdote, the Illuminatus trilogy and the Justified Ancients of Mu Mu. But don’t you worry, we’re not giving in to eikositriophobia. We’re enlightened folks, after all.

The lively dance begins solemnly with KOLLMORGEN’s deep-subtle minimal gem “Muddy”. Making her debut is the wonderful Argia with the somewhat misleading title ‘No Concept’ – the Madrid native indeed has a very precise plan. Also, our number one hit guarantor, Jürgen Paape, is represented here with his brand-new super hit ‘Alone In Italy’. His colleague Michael Mayer is also in top disco spirits with ‘Talmi’. One of the secret weapons of the current season comes from Stephan Barnem & Futuristant. ‘Don’t Cry’ is a passionate New Wave belter for eternity. Jörg Burger proclaims a new, trippy genre: Cinematic Dance, before C.A.R. & Patrice Bäumel slowly raise the energy level in the ‘Four Down’ Club Mix. John Tejada then cruises calmly at the desired cruising altitude while the cabin crew serves refreshments. ‘Duration’ by BARNT/Mayer pays tribute to an artist formerly known as Prince with grand rave romanticism, and about REX THE DOG’s summer smash hit ‘Change This Pain For Ecstasy’, there’s really nothing more to say. The Thuringian force of nature Robag Wruhme must not be missing here, of course. ‘Fire’ once again shows him in top form, with one of the dirtiest basslines in techno history. Joining us from London is Hardt Antoine, who spells u n d e r s t a t e m e n t with ‘All We See’. And finally, Reinhard Voigt feat Eduard Weber bring it all together – live from the grand Comedy Barn of folk music. Cheers!

The King of “Reggae vs Hip-Hop” remixes is back with a new and last LP collecting all his 7inches released over the past few months and a bunch of unreleased new Rocksteady remixes, done for the occasion. Yaaaayyyyy!

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel.
It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many,
became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)

Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

"Positive*" by Neuro... No Neuro is based upon thin slices of memory, and the disintegration of their existence. The day-to-day, with its 'ups and downs', all while operating/existing above and to the right of the body. When the day ends, and the separated is reunited; how does one collect what is no longer there?

Separating consciousness from the corporeal.

Memory and thought are being swept out to sea in granules that are imperceptible to those around you. Short term is riddled with inconsistencies.

Say "so long" to the granules.