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Boomkat Editions Electronic & Dance 8 Items

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Huerco S - Untitled
Huerco S
Untitled
LP | 2013 | EU | Reissue (Boomkat Editions)
18,99 €*
Release:2013 / EU – Reissue
Genre:Electronic / Dance
A much needed new edition of the knockout ‘Untitled’ tape from Huerco S. blending the sort of smudge-house tropes found on NWAQ’s ‘The Dead Bears’ or Actress’s ‘Hazyville’ alongside an extended 20 minute/sidelong piece of smoked-out bliss on the flip.
154 - Wherever You Go, I Will Follow
154
Wherever You Go, I Will Follow
12" | 2018 | EU | Original (Boomkat Editions)
11,24 €* 14,99 € -25%
Release:2018 / EU – Original
Genre:Electronic / Dance
Exquisite amniotic techno by Dutch electronic music deity, Jochem Peteri aka Neworldaquarium. It’s our pleasure to finally offer a major new work by Jochem Peteri’s cultishly adored 154 alias as part of the Boomkat Editions 12X12 series
Mark Fell - Intra
Mark Fell
Intra
LP | 2018 | EU | Original (Boomkat Editions)
18,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
Commissioned by Porto’s Fundacao de Serralves, the eight-part Intra develops from Fell’s Focal Music series and his projects with Indian Carnatic musicians. It probes the perceptive difference between ideas of simplicity and complexity by instructing acoustic instrumentalists via electronic triggers relayed through headphones. an idea previously explored on the Time and Space Shapes for Gamelan [Sheffield, 2017] installation Fell made in collaboration with Laurie Spiegel, as well as earlier collaborations between Fell and noted virtuoso improvisors Okkyung Lee, Laura Cannell, Sandro Mussida and Aby Vulliamy.
Lorenzo Senni - Superimpositions
Lorenzo Senni
Superimpositions
LP | 2014 | UK | Original (Boomkat Editions)
18,99 €*
Release:2014 / UK – Original
Genre:Electronic / Dance
‘Superimpositions’ is the hyper-coloured conceptual follow-up to multi-disciplinary Milanese artist, Lorenzo Senni’s landmark LP, ‘Quantum Jelly’ (Editions Mego, 2012). It further consolidates, accelerates and evolves his idea of “Pointillistic Trance” - an ascetic, extreme approach to the aesthetic essence of ‘90s-style trance/hard-trance - with a broader range of song structures, minimalist moiré patterns, and tantric dancefloor arrangements, all executed to visceral impact and challenging, exhilarating effect.
Akira Rabelais - Eisoptrophobia
Akira Rabelais
Eisoptrophobia
2LP | 2018 | EU | Original (Boomkat Editions)
26,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
Boomkat Editions is honoured to present a first vinyl edition of Akira Rabelais’ sophomore album, ’Eisoptrophobia’ a spellbinding, uniquely decayed rendering of solo piano pieces by Erik Satie and Bela Bartók. The 2001 release forms a poetic farewell to the 20th century and a bittersweet embrace of new technological possibility. It’s required listening for lovers of The Caretaker’s haunted ballroom elegies, Stephan Mathieu’s electro-acoustic microphony, or indeed the original, classical pieces.
V/VM - Brabant Schrobbeler
V/VM
Brabant Schrobbeler
LP | 2017 | EU | Original (Boomkat Editions)
9,74 €* 14,99 € -35%
Release:2017 / EU – Original
Genre:Electronic / Dance
The Brabant Shrobbelèr is a searing 20 minutes of classic and unreleased New Beat tributes by James Kirby aka TheCaretaker aka V/Vm, comprising material produced and originally produced in 2006. It was selected and sequenced by Jerk van den Boschalottt and mixed and chopped to mucky perfection by Miles ov Demdike Stare, marking up a personally important 5th instalment of our BK12X12 series, while also providing an arguably fitting headstone to one of V/Vm’s most cultishly adored projects.New Beat has long become the black sheep of Manchester’s dance music canon, wilfully unacknowledged by successive generations of DJs who continue to suckle at the entrails of the Haçienda, when in fact New Beat was a crucial part of the Manc Dance make-up, most often mixed up with Chicago, Detroit and New York house, and whatever UK bleeps and boops were bubbling thru at that time.James Kirby aka V/Vm is all too aware of the fact, and thanks to the influence and legendary DJ sets of V/Vm card holder, Acid Alan - whose New Beat collection spilled over the racks at a now defunct NQ record shop - its memory and place in Manchester’s rave folklore has been preserved by only a select few souls who really.cannot.be.fucking.chuffed. with the constantly regurgitated putative history of our city’s club and warehouse culture.Now, 30 years since New Beat was syncretised and sonified by the weekending loons of Flanders from the the best/worst bits of synth-pop, EBM, house and electro - arguably giving birth to the rave techno paradigm we know and love in the process - V/Vm’s sincerely dark, sexy, and unforgiving dedications take on a new afterlife, resculpted into the oft-maligned but temporally appropriate format of a MegaMix, as was found on dozens of original New Beat and Acid House compilations and 12”s.Driving from Be-Dash’s over-the-limit jackoff, Must Do to the curdled acid gargle of Euro Hit via pure smuts in I Wanna Fuck Miss Nicky Trax, also taking in ‘Animal’ Andy McGregor’s Fuck My Pussy and Hear Me Coming, and previously unknown gold such as Russell Grant and Bajs Grotta, this is the sort of record that deserves its own plinth in the Arndale, preferably somewhere in front of the sweaty gammons and chicken elbows at Gabbott’s farm shop...
You Speak What I Feel (DJ Sprinkles x SND) - My Good Friends Tell Me That
You Speak What I Feel (DJ Sprinkles x SND)
My Good Friends Tell Me That
12" | 2017 | EU | Original (Boomkat Editions)
12,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
Next in our 12 x 12 series is this total fucking peach of a collaboration made in 2002 by three peers with a mutual passion for the deepest, original NYC garage and house grooves. It’s the first time that Terre Thaemlitz (DJ Sprinkles), Mat Steel and Mark Fell (SND) have used their collective handle You Speak What I Feel since an appearance on a Comatonse 10th Anniversary Compilation back in 2003 and finds the trio at their deadliest - producing a deep-as-anything, peak-time killer riding a strolling bassline, pointillist claps and effervescent chords for 12 minutes of swingers’ bliss.Since the late ‘80s, on either side of the Atlantic - Thaemlitz in the depths of NYC; Steel + Fell in the pivotal Sheffield rave scene - both groups of operators were indelibly influenced by the sensuality and egalitarian politics of the House music movement which had spread from marginalised Gay and Black communities in urban American cities to take root in places such as Northern England, where, back then, as now, many young people felt an instinctive affinity with house music and its origins.By the late ‘90s Thaemlitz was established as a distinguished, versatile artist and DJ blurring the distinctions of ambient, concrète and dancefloor musics. A few years later, In 1998, Fell + Steel forged their SND alias with a series of records that radically reduced garage to its barest essence. Fast forward a couple of years and it was only a matter of time before the trio would consolidate their discrete, cerebral and deeply sound-sensitive approaches in the most devastating fashion imaginable.Made in 2002 at a time when house was firmly into its ‘mnml’ phase and original garage was reserved to weekenders or sped-up, 2-stepped and hyper, the elegant gait and sublimely tactile insistence of My Good Friends Tell Me That is a rare, exceptional example of producers returning to and reworking the foundational template and cooking up something fresh yet timelessly future-proofed in the process. It’s a prime example of economy, discipline and restraint at the service of hedonism and a deep burning emotive grip, and we’re immensely proud to make it available for public consumption, at long last.
Beatrice Dillon - Can I Change My Mind?
Beatrice Dillon
Can I Change My Mind?
12" | 2017 | EU | Original (Boomkat Editions)
12,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
Exceptional, 15 minute long dancer from Beatrice Dillon, blessing the 12 x 12 series with a concatenated ‘nuum sidewinder Can I Change My Mind?, where the London-based artist nimbly finds the square roots of jungle, techno, noise and minimalist dance music firmly anchored in steppers’ dub and West African percussive tradition. If you’ve ever been snagged by Sotofett, DJ Krust or Shackleton’s devilish dubs, this one’s for you! Since first emerging with a highly regarded monthly NTS radio show, a reel of widely-praised mixtapes for The Trilogy Tapes, Blowing Up the Workshop and, most recently, a mix with Ben UFO for Wichelroede, Beatrice’s uniquely focussed solo works - including two excellent EPs for Where To Now? and a split with Karen Gwyer - along with two acclaimed LPs with Rupert Clervaux and her recent remix for Helm on the PAN label, have all come to define a curious juncture of worldly rhythm studies and probing electronics which arguably exists in a long lineage of avant-garde experimentation done at the service of ‘floors both real and imagined. Can I Change My Mind? is Beatrice’s most tracky solo production to date, and also the most singular, adroit demonstration of what makes her tick, combining and parsing the most affective, tactile parts of Black Atlantic percussive patterns with a learned appreciation of dub-style economy and concrète texturing. Across 13 minutes of morphing, fractious rhythm, Beatrice renders clear the prismic and rhizomic dub binds and syncopations that connect original, rolling African drum traditions with Afrobeat and highlife, and likewise between proper UK roots steppers, house and ‘90s jungle, or, for that matter, the mosaic of modern antecedents which continue to be informed by those styles - from the rites of Shackleton to Tessela’s visceral techno swerve and the mercurial grooves of Rian Treanor or her sometime collaborator, Kassem Mosse. Urged by the intuition of a helpless riddim fiend and premo DJ, Beatrice nimbly synchs swollen, globular bass, needlepoint hi-hats and shocks of flinty amens at 150bpm in a deadly, mutating bogle, effectively exploring every interstice of half, double, and triplet-timed calculation with devilish sleight of hand and cadence; never letting the ball drop whilst suggesting myriad points of interpretation for the dancers and DJs. It’s a singular work of experience, intuition and technique, and perhaps surprisingly only her 3rd solo release proper. But its daring ruggedness and stringency is a clear indication that Beatrice Dillon is only just warming up and coming into her own. There’s only one side, one track. But it’s all you need.
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