Downbeat | Electronica | Leftfield 7047 Items

Only 1 per customer!

Produced by Brian Eno and Fred Gibson

4th April 2020 - 23rd December 2022

Mastered by Kieran Hebden

Lacquer cut by Bernie Grundman

Artwork by loose

Gatefold photograph by Brian Eno

Limited to 200 copies for GSA.
Joji is a Japanese-born US singer and producer. His music moves between pop, trip-hop, and lo-fi, with elements of trap, folk, electronic, and R&B shining through throughout. "Smithereens" is Joji's first full album since 2020's "Nectar," and he delivers his characteristically melancholic yet powerful vocals in tracks like "Die For You," a sober, morning reminder of a past love. The track is accompanied by a video produced by creative studio Actual Objects and composed entirely of archival footage.

Side A of the album heralds a more mature sonic direction for Joji with wistful and reflective ballads, accompanied by lush production that flourishes in each song. Side B, largely produced by Joji himself, goes deeper into the lo-fi and quirky sounds that harken back to his experimental beginnings as an artist. After making his live debut this year at Coachella Valley Music and Arts Festival, Governors Ball Music Festival (nyc) and Hard Summer Music Festival, among others, Joji is heading out on tour across North America in September.

Highly anticipated would be an understatement; since their inception Overmono have purposefully cultivated a fanbase that heralds them as one of the UK’s most original contemporary live electronic acts. A run of ground-breaking club EPs between 2020 and 2022 built momentum and culminated in their breakthrough club single, ‘So U Kno’, which encapsulated the hearts of clubbers and went on to become a bonafide phenomenon as dancefloors re-opened; featuring in end of year lists published by Resident Advisor, Pitchfork, DJ Mag and Mixmag. Since then, Overmono have been named ‘Best Live Act’ at the prestigious DJ Mag Best of British Awards, taken their custom audio-visual live show to the most credible festivals across the globe, including Glastonbury, Movement Festival, Dekmantel and to sold-out crowds in London, LA and NYC as part of their debut headline tour last year. And, they have produced innovative releases including their instalment of their ‘Fabric Presents’ DJ mix series and collaborations with the likes of Joy Orbison.

Now, Overmono return to present their most ambitious release to date. Across the twelve-track project, Overmono journey through a powerful distillation of their musical career so far; incorporating “So U Kno” alongside new music that propels them beyond the dancefloor. “Good Lies” remoulds and interweaves captivating vocal cuts into a series of multi-genre electronic sounds that flits effortlessly between euphoria and melancholy.

Tricky’s Pre-Millennium Tension gets it’s first repress and debut on coloured wax (pink) for Record Store Day 2023. This “difficult” second album from Tricky was originally released in 1996 and was a conscious effort by him to move away from the trip hop sound that his debut album Maxinquaye had been labelled with. Recorded in Jamaica and once again featuring long-time vocal collaborator Martina Topley-Bird, P-M T pushed his post-punk, hip-hop hybrid experiment to further depths incl. two covers of rap classics: Chill Rob G’s “Bad Dreams” and “Lyrics of Fury” by Eric B. and Rakim.

Voices From the Lake (consisting of Donato Dozzy and Neel) mark the 10th anniversary of their influential self-titled album with a fully remastered reissue on Spazio Disponibile. It arrives in full on vinyl for the first time, as well as on digital formats, first quarter of 2023 as the pair continues to play select live shows around the world. The release will see the light of day as a 4-set vinyl LP release, including download. Italians Dozzy and Neel have been friends united by a shared vision of music since their teenage years. They are immaculate sculptors of sound who fuse evocative ambient and leftfield techno into multi-layered soundscapes. For many years they worked as established solo artists but came together in 2011 to craft what is now regarded as one of techno's most pure and absorbing listening experiences. It's often said that the best music comes about as a happy accident, and that is certainly true of Voices From the Lake. The career-defining album first arose in the thoughts of Dozzy and Neel when the latter was preparing a mix for the former's wedding and named it Voices From The Lake. It was a pertinent title that stuck in the mind: both grew up by waters around the coast of Italy, and in their early days the pair even held private parties on the shores of a lake. Fittingly, Japan's celebrated Labyrinth festival at that time was also held by a river and a lake in the middle of a forest on a serene mountainside. It was that exact setting the pair envisaged when making music to play live on stage. During preparations, they "accidentally" wrote an entire album. It has only ever been performed live a few times - once at Japan's Labyrinth festival in 2011, at London's Barbican, Barcelona's Mira Festival, Paris' Marathon Festival and once during 2022's Amsterdam Dance Event. Those shows saw the pair using banks of analogue and digital equipment to improvise in the moment and essentially remix the album live on stage. That spontaneity is captured in the original Voices From the Lake recordings and on later LPs such as Live at Maxxi in 2015, and the most recent EP Quarto Freddo from 2020. But the debut album remains a standout achievement. A decade on, it's quiet intensity, musical storytelling and slowly unfolding tension remain in a class of one. Each sound is meticulously designed and placed, and the spaces left behind are just as important in conveying such a captivating mood and emotion. Rather than traditional kick drums, hi-hats or snares, this is music crafted from layers of real-world sound - dripping water, chirping birds, rustling leaves or a distant breeze - and it's that which defines the album's organic allure. From deeply contemplative to cautiously optimistic, pastoral organic scenes to more underwater worlds, Voices From the Lake is a cohesive collection of tracks that add up to one inseparable whole.

This is a repress. Susumu Yokota's iconic 90s masterpiece "Acid Mt Fuji" finally available on vinyl, remastered and pressed on wax for the very first time. Double Vinyl 180g with insert of the original 1994 artwork and download code Included.

Another reissue slammer form Warp's Nightmares On Wax back cataloque!

Hania Rani announces "On Giacometti" a tender meditation on the life and art of Alberto Giacometti and family.

"On Giacometti" is a collection of beautiful recordings inspired by the renowned artist and family and features some of Rani's most profoundly delicate compositions to date. Invited by film director Susanna Fanzun, to score her forthcoming documentary on the legendary artist Alberto Giacometti, Hania Rani took herself to the Swiss mountains to compose in blissful isolation. As Rani explains eloquently below the compositions are based on improvised melodies, simple harmonies and structures and inspired by the silence of the mountains as Rani returns to her main instrument, the piano. The results are beguilingly reminiscent of her beloved debut album Esja, but with subtle extra layers of synthesiser, and on two tracks cello from friend and long-running collaborator Dobrawa Czocher.

'On Giacometti' is presented as a limited edition LP with bespoke packaging featuring Les Naturals - Chocolat (Gmund) sustainable recycled paperboard made from 100 % recovered paper with Foil Artwork by Lukasz Palczynski. Plus Double sided printed insert and download code inside.

WRWTFWW Records is proud to present the first official worldwide reissue of the debut album from fabled Japanese folk singer-songwriter/actress/writer Hako Yamasaki, Tobimasu. The limited edition 180g vinyl LP comes in a heavy sleeve with the original artwork, and the digipack CD has one bonus track. Tobimasu is also available in digital formats.

Originally released in 1975 on legendary independent label Elec Records, Tobimasu is a masterpiece of melancholy carried by one of the most beautiful, moving, melodic, and haunting voices in the history of Japanese music. An extraordinary singer and guitar player, Hako Yamasaki wrote the album at only 18 years old, showing incredible emotional maturity and music making skills, and creating, out of nowhere, a downright classic of folk music, brilliantly arranged and sequenced.

Hako Yamasaki’s folk is bluesy, psychedelic, soft, and poetic, perfectly fitting the themes of nostalgia, love, and nature she covers with heartbreaking intensity. Her songs capture sorrow ravishingly, offering glimpses of empowering hope and uplifting wisdom. A unique voice, a unique approach, and nothing less than magnificent music.

Hako Yamasaki, a pioneer in both the creative boom and the rise of feminism in 1970s Japan, went on to release over thirty albums, building an impressive discography and a fascinating career filled with ups and downs. Her work, inimitable and timeless, deserves the utmost recognition and should be celebrated. Again and again and again.

Tobimasu is released in conjunction with Hako Yamasaki’s beautiful follow-up Tsunawatari, also available on WRWTFWW Records.

Points of interests

- For fans of folk, alternative, ballads, psychedelic, poetic music, the joy of love, the sorrow of love, nostalgia, nature, life, just life life life.

- Official reissue of Hako Yamasaki’s debut album in pristine 180g vinyl.

The borders between London’s musical tribes have always been porous. For Yussef Kamaal, the sound of the capital – with its hum of jungle, grime and broken beat – has shaped a self-taught, UK-tipped approach to playing jazz. In the states, the genre’s long-running to-and-fro with hip hop – from Robert Glasper to Kamasi Washington – has reimagined it within US culture. On Black Focus, Yussef Kamaal frame jazz inside the bass-saturated, pirate radio broadcasts of London.

Taking inspiration from the anything-goes spirit of ‘70s jazz-funk, on albums by Herbie Hancock or the Mahavishnu Orchestra, it’s a loose template with plenty of room to experiment. The pair, made up of Yussef Dayes and Kamaal Williams (aka Henry Wu), have had little in the way of formal training. Instead, their musical tastes – and approach to playing – are indebted to Thelonious Monk’s piano as much as the drum programming of Kaidi Tatham.

“It's all about the drums and the keys,” Williams says. “Not to take anything from anyone else, but that's where it all originates from: the chords, the rhythm of the chords and the drums.” Born out of a one-off live session to perform Williams’ solo material for Boiler Room, it soon became a project in its own right. Coming together as Yussef Kamaal, they played a series of live shows where little more than a chord progression would be planned before taking to the stage

Bringing that unspoken understanding to the recording sessions (engineered by Malcolm Catto of The Heliocentrics), the unplanned, telepathically spawned grooves retain the raw energy of their live shows. “It's not so much about complete arrangement, it's more about flow,” Dayes says. “A lot of the tracks are just made spontaneously – Henry will be playing two chords, I'll fill in the groove and we'll just leave the arrangement naturally.”

Both hail from South East London, crossing paths in 2007 as teenagers playing their first pub gigs around Peckham and Camberwell. Dayes drums for cosmically-inclined, afrobeat outfit United Vibrations, while Williams – on top of drumming and playing keys in different incarnations over the years – has made waves with his solo, synth-draped house 12"s for much-fêted labels like 22a and Rhythm Section.

Gaia: Selected Ambient & Downtempo Works (1996-2003)’ is a new in-depth compilation of works by Japanese musician Dream Dolphin. Co-compiled by Eiji Taniguchi, it draws from a vast discography of music oscillating between IDM, Pop and Electronic Dance Music. First appearing on Eiji’s compilation ’Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)’, this selection of rediscoveries, further shines a light on the singular musician known as Dream Dolphin and her place in Japan’s rich electronic music legacy.

Dream Dolphin was originally an Ambient and Electronic project by the Japanese artist referred to simply as Noriko, who moved from studying classic Italian songs as a child, to increasingly being inspired by artists such as PIL, Yellow Magic Orchestra, KLF and movies such as ‘2001: A Space Odyssey’ and ‘Le Grand Bleu’. The music she released under the name Dream Dolphin, from the age of sixteen, is unique and versatile in style, encompassing Ambient, IDM, Techno, Trance and Drum & Bass, whilst fusing natural sounds with her own spoken word lyrics.

Dream Dolphin released an incredible twenty albums in just eight years. In addition to her own projects, she has also put together a number of fascinating compilations herself, as well as composing ambient music to be used in hospitals and other caring contexts. ‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ contains 15 tracks thoughtfully selected from various albums that until now were only released on CD format.

Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) takes us beneath all the bedazzled glam stardom as Yves journeys through the limbo of life and love, escaping toxicity to get higher and holier. From the raw, unapologetic drawl of 'God Is a Circle' comes a mercurially shifting tracklist where Yves picks apart their psyche, discerning lovers and enemies both spiritually devoted to. 'Lovely Sewer' captures the incendiary spark of love, heart racing to the red flags under sunset coloured new wave guitars; a total flipside to the later sultry sighs and strong shuffles of 'Echolalia', where heat rises from the spiralling synths and funky dance grooves.

Highly anticipated would be an understatement; since their inception Overmono have purposefully cultivated a fanbase that heralds them as one of the UK’s most original contemporary live electronic acts. A run of ground-breaking club EPs between 2020 and 2022 built momentum and culminated in their breakthrough club single, ‘So U Kno’, which encapsulated the hearts of clubbers and went on to become a bonafide phenomenon as dancefloors re-opened; featuring in end of year lists published by Resident Advisor, Pitchfork, DJ Mag and Mixmag. Since then, Overmono have been named ‘Best Live Act’ at the prestigious DJ Mag Best of British Awards, taken their custom audio-visual live show to the most credible festivals across the globe, including Glastonbury, Movement Festival, Dekmantel and to sold-out crowds in London, LA and NYC as part of their debut headline tour last year. And, they have produced innovative releases including their instalment of their ‘Fabric Presents’ DJ mix series and collaborations with the likes of Joy Orbison.

Now, Overmono return to present their most ambitious release to date. Across the twelve-track project, Overmono journey through a powerful distillation of their musical career so far; incorporating “So U Kno” alongside new music that propels them beyond the dancefloor. “Good Lies” remoulds and interweaves captivating vocal cuts into a series of multi-genre electronic sounds that flits effortlessly between euphoria and melancholy.

Originally released via the R&S Ambient sub-label Apollo in '92 and repressed more times than anyone could even begin to keep a count of, Aphex Twin's Selected Ambient Works 85-92 is not only one of the most important releases in both the Aphex catalogue but also electronic music as an entire entity. A richly woven tapestry of blissful sounds that offer the listener new surprises, twists and turns no matter how many times they venture through its cosmos. The techno equivalent of mainlining serotonin, Selected Ambient Works 85-92 should be prescribed on a daily dose twice a day for any and everyone reading this...

Cold neon lights. Dreamy sounds. Pure, hypnotic visuals. Welcome to the brand new, mesmerising universe of synthwave - unlike one you've seen before, where the future is in the past, and the past in the future. If you’re looking for alternative background music to accompany your work/study/chill sessions, you’ve arrived at the right destination. Hazy resonances, lush synth pads and electronic drums with gated reverb will have you gliding through outer space, mixed with nostalgic reverberations reminiscent of the ‘80's - recharging your energy and creative inspiration upon returning to the present. There are mysterious faces to meet thrilling stories to be uncovered on the road ahead; but for now, let your thoughts drift to a place of pure focus and relaxation.

Massive Attack's third album "Mezzanine" finally gets the reissue treatment. Essential!

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

A Queer Anthology of Drums - "a percussive collage of low-fi frequencies documenting a journey that never took place" (Takuroku), a home recording capturing Valentina's ritualistic free-improv essence, is now being presented to audiences across the world by bié Records, via both streaming services and vinyl for the first time.

*A Queer Anthology of Drums was originally released on Cafe Oto's label “Takuroku” with 8 tracks solely in MP3 format. The new version by the Beijing-based bié Records, whose associate acts range across Hualun, Yu Su, Lim Giong, Gong Gong Gong and many more, is specifically remastered for vinyl format and expanded to 9 tracks with the previously unreleased “She/Her/Gone”.

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

LP 180g, beautiful embossed Chess Board Artwork Print, inner sleeve with artist picture and text by David Elliott, Sounds June 16, 1984!

Chet Faker, Melbourne, Australia … some laid back stuff straight from the sun! Includes the genius 'No Diggity' cover version!

Limited to 1000 copies on clear vinyl in occasion of HHV's 20th birthday.

20 years HHV: our team has selected an album from each of these years that is particularly relevant and precious to us. On a monthly basis, we release exclusive and limited pressings of these records in collaboration with some of our favorite labels.

Cold neon lights. Dreamy sounds. Pure, hypnotic visuals. Welcome to the brand new, mesmerising universe of synthwave - unlike one you've seen before, where the future is in the past, and the past in the future. If you’re looking for alternative background music to accompany your work/study/chill sessions, you’ve arrived at the right destination. Hazy resonances, lush synth pads and electronic drums with gated reverb will have you gliding through outer space, mixed with nostalgic reverberations reminiscent of the ‘80's - recharging your energy and creative inspiration upon returning to the present. There are mysterious faces to meet thrilling stories to be uncovered on the road ahead; but for now, let your thoughts drift to a place of pure focus and relaxation.

WRWTFWW Records is proud to present the first official worldwide reissue of the sophomore album from fabled Japanese folk singer-songwriter/actress/writer Hako Yamasaki, Tsunawatari. The limited edition 180g vinyl LP comes in a heavy sleeve with the original artwork, and the digipack CD has one bonus track. Tsunawatari is also available in digital formats.

Recorded right after her outstanding debut Tobimasu, Tsunawatari was released in 1976 on Elec Records, one of the first independent labels in Japan, and solidified Hako Yamasaki as one of the most gorgeous voices of the country and an exceptional musician and singer. A truly perfect follow-up, it immortalizes the bitter beauty of heartache with tearful performances and nostalgic empowerment.

The beauty of melancholic songs reaches heartbreaking heights in Tsunawatari, a magnificent ode to the sorrow of lost love and the time that passes offered to the world with a very unique brand of folk music. The kind of folk that goes for the guts, folk that shamelessly flirts with tearful blues, contemplative soft pop and psychedelic nostalgia. Put the needle on "Help Me" - there’s simply no holding back.

Hako Yamasaki, a pioneer in both the creative boom and the rise of feminism of 1970s Japan, went on to release over thirty albums, building an impressive discography and a fascinating career filled with ups and downs. Her work, inimitable and timeless, deserves the utmost recognition and should be celebrated. Again and again and again.

Tsunawatari is released in conjunction with Hako Yamasaki’s classic debut album Tobimasu, also available on WRWTFWW Records.

Points of interests

- For fans of folk, alternative, ballads, psychedelic, poetic music, the joy of love, the sorrow of love, nostalgia, nature, Janis Joplin, Lana Del Rey, being human.

- Official reissue of Hako Yamasaki’s sophomore album in pristine 180g vinyl.

You knew they would be reissued, too, right? So here they are, the instrumentals. Opaque red vinyl edition. While stock lasts, we won't get more copies after this.

“Lovage” is defined as “an herb that is said to be a benefit for relieving abdominal pains due to gastrointestinal gas…also touted to reduce flatulence when consumed as a tea.” But when placed in the able hands of sonic mastermind Dan “The Automator” Nakamura, recording under the guise of musical lothario Nathaniel Merriweather, the result is a concept album of “music to make love to your old lady by.”

It's Gou's second Ninja Tune release, following 2016's Seek For Maktoop, which landed on their club-focused Technicolour sublabel. The Berlin-based artist also sings on the new EP, which includes three tracks that each cater to a specific context—open air, warm-up and "proper party," she says.

"I tried to draw on all my influences of the last few years," she explains, "from electro, African music, early '90s house music and also techno, especially Maurice Fulton and DMX Krew." She closed out her RA podcast this week with the EP cut "It Makes You Forget (Itgehane)."

Originally released in 2007 on CD and now re-released on double vinyl. "Heimische Gefilde" was the second full-length release on Traum at that time from Westerwald based DJ, producer and park ranger, Dominik Eulberg. Dominik has since then expended his activities enormously now appearing as a book author with best selling books in the German official bestseller list. He is the ambassador of the most popular Conservation Union in Germany Nabu, he has created a bird quartet and a hand made insect hotel and appears on national German TV regularly next playing in clubs world wide and producing stunning music. "Heimische Gefilde" includes spoken words by the man himself and the release won the price of the German critic awards for music. It is the only compilation that comprises a selection of Dominik Eulberg’s best early works and it is for the first time available on vinyl now.

As Dominik Eulberg says in his own words: „After more than 16 years, "Heimische Gefilde" is finally released on vinyl. At that time it was still a daring experiment to combine music with lustful science communication. Quickly one was thrown into the pot of the "weird eco-techno sound owl". Today, we are increasingly finding that we cannot stop the impending ecocide in a cognitive way. For more than 60 years we have known about the concrete threats to humanity from global warming and species extinction; yet nothing changes. Many alarmist efforts fail miserably, red lists grow longer and longer each year, and global temperatures continue to rise unchecked. It is becoming clearer and clearer that we have to reach out to our fellow human beings in a positive emotional way in order to make a difference, because we only protect what we love. Then sentimental minorities become majorities that change something. Art and culture are low-threshold vectors to make things majority-friendly. They are a fertile and valuable breeding ground to sensitize people outside the eco-bubble and to let their environment become a co-environment again. Today my transdisciplinary work is inseparable. I write books, develop games, lecture, make film, and am a visiting scholar at museums. "Heimische Gefilde" was a valuable cornerstone for my creative work, a very intrinsic work to go my very own way.“

We would also like quote here the description of Forced Exposure done at the time when the album was originally recorded and released to keep the authentic feel: „The influence of nature (bird twitters, owl hoots, flowing water, crunching leaves) and other domestic sounds has made his music easy to identify with. „Heimische Gefilde" means "native habitat," and this release takes the concept of his debut a step further and at the same time is a retrospective of his major hits. Tracks like "Die Rotbauchunken vom Tegernsee" and "Björn Borkenkäfer" are included here in unreleased edits that are even stronger than the originals, and as a bonus, previously vinyl-only

Sounds like Can meets Hawkwind! Unbelievably killer and super, super heavy brand new Psyche/Krautrock album coming out of nowhere from Brown Spirits, new on Soul Jazz Records! Brown Spirits are from Melbourne, Australia. Their stripped down and tight musical unit is a trio (think Cream or Hendrix!) of raw bass, drums and shared guitar/keyboards meets the D-i-y attitude and punk/post-punk intensity, giving them a unique hi-octane sound. Like their labelmates Trees Speak, Brown Spirits have a love all things Krautrock - mixed with an overwhelmingly powerful lo-fi psyche and punk attitude. The album features super heavy and raw drums, tough basslines, heavy fuzzed-out wah and psyche guitar and analog moog synthesizers, all recorded on analogue ü inch tape. In short - they rock! With a range of influences that range from Neu! to Soft Machine, Gang of Four, Miles Davis, Hendrix, Argent, Lonnie Liston Smith, King Crimson and beyond, their powerfully progressive hard and hypnotic sound is truly unforgettable.

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.

The title of Ital Tek's seventh album "Timeproof" reflects what Alan Myson has observed and learned whilst making the album. Firstly, how distorted the perception of time is in the creative headspace - being in the studio creates a timeless environment, one's mind starts wandering and the perception of time is altered. Secondly, the bizarre effect of the last few years of lockdown have somehow infected the title, temporarily contracting our collective notion of time. And thirdly, Alan has learnt how spending time away from the studio can be as effective as being there, giving one space to process. Appreciating the power of being out in nature, putting other things into perspective, refreshing one's ability to approach work with both patience and creativity. Overall "Timeproof" feels more introspective than Alan's last album "Outland". Perhaps because of the time in which it was created or this new relationship to the creative process. The sounds and textures of the record hint at brutality and menace whilst also pulsing and evolving softly with a more refined interior life. It's expansive and elegant, neatly balanced between light and dark, more mossy and dreamy than the extremes of "Outland".

When making the album, Alan spent about a year or so working quickly and intuitively, churning out ideas, sketches and sound experiments without any attempt to finish or perfect anything. "I let it settle until I was ready to return to this body of raw material with fresh ears some months later, sometimes barely remembering what or how I’d done much of it." Over the course of another year he dived into the details, rendering all of this rough material and sound into something with form. Alan also visited older material and ideas, trying out, reworking and sampling, building it into this new body. The finished album feels open, with a gentle intuition that feels as if it's guiding you through.

Are you sitting comfortably? Artificial Intelligence is for long journeys, quiet nights and club drowsy dawns. Listen with an open mind.

Back in 1992 when Warp released the Artificial Intelligence compilation it almost instantly changed both the course of Warp as a label and arguably what many would consider club music as an entity to be. Artificial Intelligence came housed inside a prog rock styled gatefold sleeve depicting a cover image of a robot blowing smoke rings whilst reclining on an armchair. Its extra long rolling papers and tin of tobacco just out of reach, whilst a high-end stereo plays out the sounds of Kraftwerk's Autobahn and Pink Floyd's Dark Side Of The Moon, their LP sleeves lay strewn across the floor. This image along with the above text that as printed on the sleeve acted as a guide for the listener on how to best experience this new mode of techno music, one that was designed for those nights when your body stays in but your mind steps out.

Having been in operation for three years by the time they compiled and released the Artificial Intelligence compilation, Warp had already proved itself as a worthy force within the world of quickfire 12 singles of acid house and the emerging hardcore scene. Starting as a predominant pusher of the new bleep 'n' bass sounds of their hometown Sheffield, Warp had enjoyed success with early anthemic singles from artists such as Nightmares on Wax, LFO & Richard H. Kirk's Sweet Exorcist project. These building blocks laid the foundations for what many would go on to define as the Warp sound but it was 1992's Artificial Intelligence compilation that cemented their place in music history.

Artificial Intelligence was notable for early appearances by people who went on to become pioneers of the hypnotic groove for both Warp and electronic music in its entirety. Artists such as The Black Dog/Plaid whose melancholic contribution The Clan (produced under the alias I.A.O.) bears long drawn out strings combine perfectly with the tear-drenched techno of Carl Craig with the trend for looped breakbeats to create a track that still resonates deeply every time it is played. Looking further out than most, B12's Telefone 529 with its recording of an automated incorrect phone number message carries an air of nostalgic puzzlement, while Preminition transports a diva vocal and hardcore piano roll into a zero-gravity soundtrack of space. Autechre's Crystel and The Egg offers the first steps towards the path of abstract oblivion that they would go on to travel throughout the post-AI years. Both pieces focus an acidic gurgle around some cut up vocals, its timeframe existing perfectly within a distinct hip-hop cylinder that brilliantly displays their roots within b-boy culture.

Aphex Twin appears under his alias The Dice Man, opening up the operation with a track that would become an alias in itself, Polygon Window in many ways formed the core sound of the Artificial Intelligence compilation and subsequent album series that followed it. Rolling post-acid dynamics, a strong knowledge of breakbeat techno and some serious subs keep the track in a full forward motion, Polygon Window still stands out as one of the most unbeatable techno tracks within Warp's discography. Elsewhere, chief ambient technologist Dr Alex Paterson put forward a four-minute cosmic ambient piece akin to his work as the central figure of which The Orb revolves around. Whilst Richie Hawtin made an appearance with his euphoric almost gabba track Spiritual High, produced under the name Up! his fellow Plus 8 producer Speedy J stepped in with De-Orbit, a track that you could say on reflection, almost helped shape the early steps towards what would turn into the deeper recesses of liquid drum & bass.

Warp co-founder Steve Beckett was quoted around the time of the Artificial Intelligence compilations release in 1992 as saying you started to hear tracks by B12 and Plaid and Speedy J that just didn't fit into any category, B-sides and last tracks on EPs. We just realised that they weren't meant for 12-inches, it was just that this was the only outlet for that kind of music. We realised you could make a really good album out of it. You could sit down and listen to it like you would a Kraftwerk or Pink Floyd album. That's why we put those sleeves on the cover of Artificial Intelligence - to get it into people's heads that you weren't supposed to dance to it!. This train of thought led to Warp putting together one of the most forward-thinking compilations to appear within the early 90s post-acid explosion, and many others tried to copy the formula but arguably no imprint ever came close to topping or even releasing anything that stands tall alongside Artificial Intelligence for its undeniably experimental, yet sheer futuristic scope and vision.

Listening back now, 30 years since its original release, it's striking how contemporary and fresh the music of Artificial Intelligence still sounds. While many tracks from those days still and will forever sound brilliant, many AI contemporary compilations have taken on the sheen of a more retro and throwback feel. When digested with a knowledge of what has been made within the last quarter of a century, the tracks that form Artificial Intelligence still carry a strong, almost outside of time feeling that's influence shines as strongly today as it did 30 years ago. A timeless record that will continue to point the way forward for electronic music for many years yet to come.

180g Vinyl including download code.

Two old souls creating music not of this plane, taking you to a dream world...

Only 1 per customer!

Fifteen years since its original release, The Other People Place's Lifestyles Of The Laptop Café is finally made available again on vinyl. A long-standing favourite among the many legions of Warp fans and rightly considered to be one of the very best electronic albums of all time.

It's hard to sum up in words just how important Lifestyles Of The Laptop Café truly is. Originally released back in 2001 as part of the Drexciyan off-shoot Storm Series, Lifestyles was one of the various projects of one-half of deep sea electro pioneers Drexciya, James Stinson. Shrouded in mystery, the two members of Drexciya took the blueprint laid out by the pioneers of the hypnotic groove, Kraftwerk and gave it a truly electro feel - cold, yet funky. Where Drexciya's sound was focused in the deepest corners of the ocean, James's work as The Other People Place was a solo project that turned its gaze elsewhere, most notably in the direction of love.

Playing out like the first meeting through the early days of a relationship, the themes of closeness and affection carry a strong theme throughout with tracks like 'Eye Contact' describing those very first seconds of connection, before the story unfolds with the twilight romance of 'Moonlight Rendezvous', and the almost doubt creeps in on the bittersweet 'You Said You Want Me' and the anthemic 'Let Me Be Me'. A track of legendary status amongst the wide-ranging spectrum of electronic music lovers, producers and DJs the world over.

With the original vinyl being incredibly hard to find (for a second-hand copy, you are looking upwards of one hundred and fifty quid easily!) this freshly repressed edition is something many of us have been dreaming of, and for those looking to take their first trip to the Place, you are in for a life-affirming experience.

Like all of the very best techno and electro, The Other People Place yields some of the most beautiful sounds to emerge from the D with a limited sound pallette, stripping everything back to the essentials to compose an incredibly important yet delicate album that still to this day continues to fascinate and seduce with its strikingly subtle flow and elegant mystery.

Originally released on Studio !K7 Records in 1998, Peter Kruder and
Richard Dorfmeister's groundbreaking release, 'The K&D Sessions'
reset the bar for what could be achieved in a compilation. Across an
array of original tracks, dubs and infamous K&D Session remixes, the
DJ and producer duo took the listener on a smoke-filled blunted journey
that flowed flawlessly. Often compared to DJ Shadow's 'Endtroducing'
for it's similarly deft craft of rhythm and quoted by Allmusic as "the
most blissfully blunted music the world has ever heard", the album has
sold over 1,000,000 copies to date and was included in Spin s Top 20
albums of 1999 .
The album has long since been deleted on Vinyl
with original 4LP sets changing hands for 300+ on the collectors market
and even a bootleg vinyl copy will set a buyer back over 100. Sixteen
years later, this legendary album will be available as a long overdue
5LP reissue remastered by Bernie Grundman Mastering in Hollywood.
Finally back in print in 180g vinyl.

Remastered from the original tapes, 180g vinyl!

Moderator is proving himself to be a master of cinematic beat-construction, evidenced by his album The World Within and other memorable appearances. The Athens-based producer is a serious player on the Greek downtempo/trip-hop scene, dazzling with a distinctive production style that leaps across genre boundaries. Lounge, hip hop, Italian horror film soundtracks, dub, Memphis soul, and even rockabilly are among the influences that phase in-and-out of Moderator’s songs. It’s like calmly turning the radio dial to a random station, yielding a surprising but pleasant discovery.

Sinner’s Syndrome, the new album from Moderator on Melting Records, continues this aesthetic, and builds upon it for extra sonic satisfaction. The sound and titles of the album’s 14 tracks hint at the channeling of a dark, supernatural element, but Moderator assures us that he only uses earthly, electronic means to concoct his sampling magic. Regardless, Sinner’s Syndrome is sure to cast a spell on any willing listener.

Highlights include “Sweet Curse” with its captivating boom-bap take on southern blues; the upbeat “Red Headed Devil” which evokes a ‘50s lounge band experiencing time travel; the late night backwoods roadhouse stomp of “Zombie Girl”; and the gentle “No Other Love” with its spaghetti western flavor and thoughtful poetics. These moods are made for groovin’, and there’s plenty here for eclectic-minded DJs and home listeners to love. Enter the world of Moderator’s Sinner’s Syndrome … once you’re here, there’s no escape.

Official RSD UK Release. RSD 2023 indie exclusive. with sticker. A fine selection of unpublished tracks from the pioneering British roots dub duo.

"Ancient A&O is a selection of unreleased tracks and dubs we like from our old DAT tapes all created during our early years between 1989 and 1993. It includes Here For A Reason, a rare unreleased track featuring Nishka. We're very pleased the great Lantern Rec are releasing the vinyl and we hope you like it, many thanks... A&O

First ever vinyl pressing of Haruomi Hosono's full album N.D.E. Featuring Goh Hotoda, Yasuhiko Terada, Yasuaki Shimizu, Bill Laswell & François Kevorkian. Big TIP!

Ever since his days as a pioneer of Japanese electronic music in the 1970s, Haruomi Hosono has constantly pushed forwards musically. The 1990s was a particularly fertile decade for the Yellow Magic Orchestra co-founder. Following two decades spent creating and releasing innovative electronic pop, imaginary sound worlds and inspirational ambient music, Hosono established the Daisyworld label to showcase cutting-edge ambient, techno and electronica, while also embarking on a wide range of often overlooked collaborative projects.

N.D.E. - , one of the headiest, psychedelic, evocative and gently mind-altering albums in Hosono’s vast discography, is one such project. It formed part of a run of albums that saw the Japanese producer embrace contemporaneous influences – think Spacetime Continuum style ambient techno, DJ Spooky-esque illbient, weighty ambient dub and the ‘ambient house’ antics of The Orb – in his own inimitable, far-sighted style.

He was ably assisted on N.D.E. by an undeniably impressive roll call of collaborators, most notably no-wave hero turned ambient explorer Bill Laswell (who Hosono subsequently worked with on joint album Interpieces Organisation), NYC DJ/producer Francois Kevorkian, and fellow Japanese ambient pioneer Yasuaki Shimizu.

With such a stellar cast-list, it’s perhaps unsurprising that N.D.E. has achieved cult status over the years, despite being near impossible to find outside of Hosono’s native Japan. Remarkably, it never received a full vinyl release, with only five of the set’s cuts appearing on an ultra-limited sampler. Now Rush Hour is putting the record straight, delivering a DJ-friendly, remastered version that spreads that album’s seven tracks across two slabs of vinyl, cut at 45rpm.

N.D.E. remains an impressive, unearthly and otherworldly album. Its unique and distinctive sound makes use of multiple nods to Eastern musical culture – think Tabla rhythms, heady violin courtesy of guest musician Arun Bagal, and transcendental synth sounds – but also throbbing techno grooves, Pete Namlook style ambient electronics, spaced-out dub rhythms, bubbly melodies reminiscent of Warp Records Artificial Intelligence-era IDM output, trippy tribal drums, and immersive electronic dream-scapes that recall the greatest exponents of Japanese new-age ambient music.

Highlights are plentiful, from the Test Department-at-dawn brilliance of Bill Laswell co-production ‘Edge of the End’ and the sunrise-ready, dew-fresh dreaminess of ‘Aero’, to the surging ambient techno hedonism of ‘Strange Attractor’ – a near cult cut that remains a timeless slab of hallucinatory dancefloor excellence – and the slow-motion space-dub of Francois Kevorkian collaboration ‘Teaching of Sphinx’, whose oddly processed sounds and low-slung bass subtly reference the Orb’s earlier remix of YMO’s ‘Tong Poo’.

There’s also the impeccable, pleasingly experimental ‘Spinning Spirits’ – all addictive Indian rhythms, punishingly distorted bass, raw electronics and paranoid aural textures – and the sparkling bliss of ‘Heliotherapy’, a woozy chunk of sun-bright electronic hypnotism that encapsulates everything good about Hosono’s mid-90s productions.

Ambassade’s 2019 ‘Duistre Kamers’ album was a huge favourite here at Optimo Music towers so we jumped at the chance to release the follow up; ‘The Fool’.

Following hot in the heels of the acclaimed ‘Young Birds / Palette’ 12” on Optimo Music, ‘The Fool’ is destined to be another Cold Wave, Synth, New Industrial, Experimental …whatever you want to call it …classic. We asked Ambassade to tell us a bit about the album – Born from several years of research and contemplation on the human mind ‘The Fool’ can be understood as a reflection to the dark energies – natural, political, human and otherwise – that are released when it comes to religion, greed and power.

Historically, some rulers have used religion to legitimise their power. We were also inspired by wanting to examine what negative impact religion can have from the fact that it’s always dominated by men.

This was pursued by exploring a wide range of diverse and unusual types of instruments that took on a new approach of tonal expression, with the use of detuned choral and voice samples, droned tape loops and DIY metal and found percussion. It’s from these diverse sources that the process of creativity keeps persistently mutating. This process was focused through the enigmatic electronic and percussion composition from the band which alternates between foreground and background for the haunting vocal performances.

Andi Otto’s Bangalore Whispers gets finally repressed. The psychedelic track which he recorded together with the Indian singer MD Pallavi in 2016 has become a hit in the downtempo scene around the globe (“Saaaa - resa nisa”). Pingipung press a new edition of the much sought after single on the occasion of their 20th label anniversary. In this 2022 edition the original track is paired with the Peter Power remix which has not seen the light of day on vinyl before.The Brazil-based producer slows the track down a notch and adds even more space. A perfect tune both for the dancefloor or meditation.

Bonobo will release his new album ‘Fragments' via Ninja Tune on January 14th, 2022. Fragments is the most emotionally intense record that he - aka Simon Green - has ever had to make. It’s no surprise that it’s also his masterpiece. The album features Jamila Woods, Joji, Kadhja Bonet, Jordan Rakei, O’Flynn and Miguel Atwood-Ferguson. Born first out of fragments of ideas and experimentation, the album ultimately was fused together in a burst of creativity fuelled by both collaboration and Green’s escape into the wild. The artwork for ‘Fragments" is by Neil Krug who returns after creating the art for 2017’s 'Migration’. Krug has also made a visualiser for ’Rosewood”.

One of the biggest names in dance music, Green’s career includes 3 Grammy nominations and playing to over 2 million people for the tour supporting his 2017 album Migration. Migration was a top ten album in multiple countries, top five at home in the UK and a Billboard dance album number one in the US. He’s also a favourite mainstage performer at the world’s greatest music festivals. As part of the tour announced today Bonobo will play three dates at the legendary Royal Albert Hall in London in addition to dates in Brighton, Birmingham, Manchester, Leeds and Nottingham.

Fragments is a series of 12 sonic affirmations, featuring some of the hardest and most hip-shaking grooves that Green has ever created. The ballads are perfectly placed throughout; they capture a world in flux and glow with hope. Coaxing the ideas out initially took some hard work. The constantly-touring Green creates best while on the move; the global shutdown forced him to stand still.

The Avalanches' Downbeat milestone back in print!

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day. Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as "The Black Record" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script. Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath. Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any slower speed down to 8 and 1/3 RPM for turntables with this capacity.

From Radiohead to Bonobo, From Kid Loco to Fakear, we selected for you the most beautifull down tempo music from the 90"s to today.Originals Versions Remastered

HHV and Too Good are happy to present this exclusive color run of 1000 red copies of Tommy Guerreros 2014 album "No Mans Land". Back in print for the first time. Only at HHV. As a special treat you can pick up the poster with the artwork of this album in our bonus section.

A download code is included. We are pleased to share with you Hugo Kant's 4th album, Far From Home, out on October 16th 2020 It seems like nothing can change the triennal cycle of his album releases: 2011, 2014, 2017, 2020.

You will recognize his meticulous sound and composition work, his soulful flute, rich percussions, and a wide diversity of traditional and contemporary instruments borrowed from different cultures and music styles. A wide range of emotions, often mixed together. An invitation to a mental journey.

This is a first : This multi-instrumentalist, who usually expresses himself through keyboards, flutes, basse, guitar, drums, flugelhorn, clarinet, and so, added a string to his bow. He did the vocals on both songs Sure The Sun Will Rise and Come With Me.

Art Of The Album-Edition

Tosca's second album 'Suzuki' (Studio K7) takes a lighter, airier approach to the trip-hop terrain that Opera explored. The spare, shimmering title track's delicate synth textures, minimal beats, mellow rhythms, and breathy vocal samples set the tone for more moody musical fairytales from Richard Dorfmeister, this time with Rupert Huber under the guise of Tosca. Suzuki is--like his releases with Kruder and Dorfmeister--a sublime work that manipulates emotions through sound. Soft and sweet, subtle and supple, Tosca's tracks drift, sifting from one dream to the next. Though they patch hip-hop, jazz, ambient, and techno together, you can't hear where one begins and the other ends. "Annanas" pairs sneaky, squeaky scratching with a lusty female vocal and bossa-nova-inspired hip-hop breaks, while "Orozco" loops a playful riff, running it through reverbs and filters, creating something like pure bliss for the ears.

Welcome to Recreational Kraut, the latest release on the recently relaunched Source Records label.

This collaboration between Jordan Czamanski (aka Jordan Gcz) and David Moufang (aka Move D) links back to the ambient experimental beginnings of Source Records in the early 90s, as well as to Conjoint, a project exploring the borders of improvised music based on ambient, experimental electronics and jazz featuring Karl Berger, Jamie Hodge, Gunter “ruit” Kraus and David Moufang.

Recreational Kraut was recorded live in in three sessions in Jordan’s Amsterdam studio in 2018 and 2019. As the title suggests, the album flirts with the term and the “genre” krautrock and it’s prolonged, often improvised instrumental passages. The equipment used in the late 60s and early 70s was often rather conventional like electric piano, old synthesizers and electric bass guitar - all present on the album’s opener “recreation parts 1-3”. The two instruments shaping the album and giving it a coherence, despite the varied styles and tempos are Czamanski’s Fender Rhodes and Moufang’s lyra-8, an 8 oscillator drone synthesizer which is played manually via touch sensors, giving it a very expressive sometimes violin-like other times outer-worldly, atonal character.

Recreational Kraut’s 11 tracks span beat-less ambient soundscapes to jazzy psychedelia, as well as hints of house, techno, broken beat and funk.

Let yourself submerge in the gravitational fields of Recreational Kraut.

Audiophile pressing (45 Rpm). Packaged in a deluxe, gatefold Stoughton tip-on jacket. Hi-res download included.

Junko Tange’s second and final album - a minimalistic, phantasmagoric masterpiece of distant, dreamlike voices woven through pulsating, dubbed-out drum machines, synths and static, originally issued by Osaka’s Vanity Records in 1981. Did this unassuming dental student (who vanished from the music world following this release) inadvertently invent dub techno? You be the judge. Label head Yuzuru Agi said this was his favorite Vanity release, and it’s not hard to see why. Remastered by Stephan Mathieu from new transfers of the original analog tapes, this fully authorized 2LP is the definitive edition of this landmark electronic work.

Futurecop! is back at it with another synthtastic project. "Between the Moon and Stars' is a special project that draws many inspiration from the past while harnessing the groundwork of the present day. it is a lovely addition to the Futurecop! catalog. Listen and enjoy. A must for all synthlovers.

A co release with Kiez Beats.

Stunning and gracious album by Mike Paradinas on Balmat. Some of his best work right here for you! This is what the label has to tell about their collaboration with Mike Paradinas; "When we established Balmat in 2021, neither of us could have imagined that within two years, we'd be putting out an album by one of our musical heroes: Mike Paradinas, aka U-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs U-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment. Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them U-Ziq, the British artist revolutionized leftfield electronic music in the 1990s--coincidentally, this year marks the 30th anniversary of his debut album, Tango N' Vectif, for his friend and sometime collaborator Aphex Twin's Rephlex label--and his label Planet Mu has built up a formidable catalog of visionary, forward looking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album's title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early '90s, before the tools and tropes had calcified into cut-and-dried styles. There's no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more selfaware. More than anything, 1977 sounds like U-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas' first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light. Along the way Paradinas touches on dark-ambient drones ("Marmite"), horror-film themes ("Belt & Carpet"), jungle breaks ("Mesolithic Jungle"), and even house music ("Houzz 13"), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never --to our ears, anyway-- feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended deja vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same!"

180g White Colored Vinyl, Heavy 350gsm Gatefold Sleeve, 3 Sleeve Artwork Variants, Inside Out Sleeve Printing, Obi, 12" x 12" Art Print Inlay

Snoopy is hard to follow up. The same brilliant musicality is lavished on Orange — a combination of unmistakably original, skittering drum programming, startlingly fresh instrumental interjections, creepily invocatory voices, and dubwise treatments — giddily imbued with the dark arts of ritual and seance. But Orange is more gripping, focussed and urgent, more intense and ambitious. Next level.

Its first quarter presents a trio of forays in suspense.
Bassline squares up like an epic psych-funk grinder, with a moody guitar line traversed by ticking drum patterns and faint electric crackle. In no time the guitar is staggering and stammering under the duress of echo and distortion, and over-run with percussive electronics and the first of the voices massing in the music’s head. The mood has quickly become more trepidatious. We're deeper underground; it’s gloomier, wetter.
Shred propulsively ratchets up the tension and menace. Glazily tentative xylophone is played against slashing, nervy cello. The voices are more strangulated and sick now. Flutes and chimes evoke the same kind of beautiful, contaminated efflorescence which is pictured on the LP’s front cover.
Voice Of The Spider makes easier progress across this cavernous, shadowy, dripping terrain, with funky pads and Nasty, eighties, No Wave electric bass; woozy chimes, non-plussed keys, singing-in-tongues.

Pink Mist marks an arrival, or unbottling, with annunciatory church-organ and choral voices from the off, and a newly relaxed, head-nodding kosmische rhythm.

Mandarin is a short, beat-less and voice-free interlude for piano and bass. It's reflective and nostalgic, ambivalent and inconclusive, with a lovely snatch of melody. A bridge half-way.

Would You Like A Vampire is a triumphant, mesmerizing go at New Folk, with strummed acoustic guitar, descant song, and jazzily restless drum programming (including a tasty bass-bin trembler). Amazingly, Conrad Standish is joined at the mic by none other than Bridget St John. Together they sing 'Earth is Paradise’ so repeatedly and tremulously — and the song is cut off so abruptly at the end — it seems as if the verb is teetering on the past tense, and hymn fading into valediction and catastrophe.

Similarly Storm Rips Banana Tree begins idyllically enough, with a CS-&-Kreme-style raga… before something like an immense, obliterative drill starts up. Harpsichord and organ — by James Rushford — and flutes, and clapping, distant chanting and insectile percussion steadily leaven the dread, till finally all that is left is lapping water.
It’s an epic, deeply immersive, compelling, thought-provoking, twenty-minute finale… the coup de grâce.

Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with "Summvs" in 2011, Noton reissues all the five albums between June and October 2022.

With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002),Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered.

Remastered in collaboration with Calyx Mastering, the recordings of Vrioon, Insen, Revep, Utp_, and Summvs are made available on vinyl and CD under the title 'reMASTER, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.

Given his noted love of anime, scoring a fantastical retelling of a 16th-century samurai warrior of African descent serving under a Japanese daimyo, must be a dream project for Flying Lotus. But, as we’ve come to expect from the man who brought us the mind-bending 2019 LP Flamagra and his own written, directed and scored full-length surrealist fever dream Kuso back in 2017, Steve Ellison is anything but predictable.

Where his recent work has ventured deep into the hitherto unexplored avant-garde reaches of contemporary electronic music, jazz and hip-hop, FlyLo’s score to renowned anime creators Studio MAPPA’s Netflix original series Yasuke — on which he also acts as story consultant and executive producer — sees FlyLo eschew his digital maximalism with rumblings of traditional instrumentation, sweeping romanticism and widescreen cinematic scope.

Broadening the canvas of show creators LeSean Thomas and Takeshi Satou’s alternative-historical Sengoku period of magic and swordplay, with a soundtrack of Morricone-style epic tones, traditional Japanese percussion instruments and West African percussion, the feudal yet futuristic world of Yasuke is summoned.

The drum-driven drama of ‘Your Armour’ and ‘Your Lord’ simmer with synth flutes, strings and koto, as the bubbling arps of ‘War Lords’ recall the cyberpunk noir of Vangelis’ Blade Runner score, while frequent collaborators Thundercat and Niki Randa, also make an appearance in this parallel universe.

Another spellbinding FlyLo release even without the stylish animations of the show, Yasuke is set to be one of Ellison’s most prized releases.

180 gram audiophile vinyl
Deluxe lift-off box set
Includes 5 exclusive Armin van Buuren lithos + 3 printed innersleeves
Brand new 2023 album feat. the singles "Come Around Again" (with Billen Ted feat. JC Stewart), "No Fun" (with The Stickmen Project), "REFLEXION (ASOT 2023 anthem)" (with Cosmic Gate)
Featuring cooperations with R3Hab, Simon Ward, Cosmic Gate, Husky, Wildstylez, Teddy Swims, Matoma, Diane Warren, My Marianne, Owl City, Chicane amongst many others
Limited edition deluxe boxset of 3000 individually numbered copies on turquoise marbled (LP1), white marbled (LP2) and orange marbled (LP3) vinyl

AD 93 is proud to present the new album from Polish composer Wojciech Rusin, due for release on the 4th February 2022. Syphon is the second instalment of an ‘alchemical’ trilogy which started with The Funnel on Akashik records.

The record consists of speculative medieval and renaissance music, imagined composed in the future, where it is reconstructed from the ashes of the past, via incomplete fragments. "In a future where the old semantic systems don’t apply anymore, what we are left with is some kind of delirium."

The album features 3D printed instruments, multilayered bagpipe chanters, double recorders and other hybrids. With additional voices of soprano Eden Girma and Emmy Broughton.

Artwork by Wojeciech Rusin and Nicola Tirabasso Mastered by Rupert Clervaux

Icelandic musician Gunnar Jónsson Collider debuts on A Strangely Isolated Place with an expansive trip through six fictional environments, brought further to life through an accompanying video by artist Arna Beth.

Inviting escapism through detailed, glacial textures, S.W.I.M. elevates a traditional beatless spectrum into a first-person narrative, moving across burning wastelands, miles-high sundown, a dizzying night sky, subterranean exploration, and more beautiful, natural phenomena. Subtle changes in tone and texture across each of the six environments provide a signal of the destination’s energy and the intended perception of the traveler. At times, elated and dwarfed by nature’s surrounding grandeur. Other times, bestowing a sense of apprehension and unknowing.

Best absorbed through the accompanying visual album by fellow Icelandic digital artist Arna Beth, S.W.I.M. is an immersive jump into a majestic sci-fi world, placing you front and center in both sound and visual.

Mastered by Franceso Fabris, S.W.I.M., will be available on limited edition 12” and digital.

Packaged in an old school, tip-on sleeve. Includes hi-res digital download.

Legendary debut album by Junko Tange (mystery woman who showed up on the NWW list), originally issued by Osaka’s Vanity Records in 1979. Dadaesque recitations and sparse guitar, piano and electronic meanderings combine for a beguiling, hypnotic dreamworld. Officially licensed from the custodians of Yuzuru Agi's Vanity Records archives, this edition has been fully remastered from new transfers of the original analog tapes by Stephan Mathieu.

Arovane's acclaimed 2004 album »Lilies« has been out of print on vinyl for nearly 2 decades now. It finally gets a well-deserved reissue through the Berlin based Keplar label. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. »Lilies« was a follow-up to »Tides« in every sense, exploring a trip to Japan and drawing on shimmering textures and the sort of melodies that you might need some time to recover from. There's a hugely evocative sense to these tracks, emotionally driven, free of complexity or conceit, piano melodies providing the central focus for a twilight cascade of light that seems perfect for the Tokyo skyline - just as the sun sets. It's an album that radiates warmth and vulnerability, fusing the technological might at the heart of each track (and at the heart of the city) with an age-old understanding that certain echoes of sound, small melodic changes and cushioned lullabies can imprint sounds on your mind like childhood memories - remembered forever. Like a dreamlike score, or maybe even an alternate soundtrack to »Lost in Translation« - the sort of music that intertwines with images and stays in your mind indefinately. After coming back from Tokyo and completing the production of »Lilies«, Uwe Zahn disassembled his studio in the big flat in an old building in Berlin's Prenzlauerberg district and stored it away in boxes. He needed a break from making music. »Lilies« was the last album prior to a nine-year hiatus for Arovane, ending in 2013 with the release of »Ve Palor«.

Music for Open Spaces is more than a collection of eleven masterly composed pieces of experimental music inspired by moving landscapes such as the Joshua Tree desert, the Cornwall coastline or the inward Londoner abode: it is an adventure into a compelling intellectual landscape that involves the listener while opening unexpected perspectives at every step towards a new beginning.

Listening to the tracks induces us to find our own way beyond the consuetudinary geometries through which we decipher our interaction with the ambient, offering us the chance of a true discipline of perception.

All tracks written, performed and produced by Marta Salogni and Tom Relleen. Recorded at Stella’s Studios in Joshua Tree, Cornwall and London Mixing by Marta Salogni at Studio Zona, London Mastered by Heba Kadry, NYC Cutting by Matt Colton at Metropolis Studios, London Artwork: collages by Morgan Cuinet; Internal Map by Tom Relleen

Another exclusive colorway only available at HHV Records in Germany. Limited to 530 copies.

If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears) in 1976, you also took home Plantasia, an album recorded especially for plants. Subtitled "warm earth music for plants_and the people that love them," it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Before Brian Eno did it, Mort Garson was making discreet music. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored the 1969 moon-landing and plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell's "By the Time I Get to Phoenix." But as his daughter Day Darmet recalls: "When my dad found the synthesizer, he realized he didn't want to do pop music anymore." Garson encountered Robert Moog and his new device at the Audio Engineering Society's West Coast convention in 1967 and immediately began tinkering with the device. "My mom had a lot of plants," Darmet says. "She didn't believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible." And she also knew when her husband had a good song. Novel as it might seem, Plantasia is simply full of good tunes. This release marks the first official re-issue of the long sought-after cult classic. Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. "My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time," Darmet says of Plantasia's new renaissance. "He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then." Garson seems to be everywhere again, even if he's not really noticed, just like a houseplant.

The release comes on 180g vinyl. The vinyl LP has been discontinued and second-hand copies of the original pressing are changing hands on Ebay and Discogs for upwards of £100! This vinyl only Simple Things re-issue will mirror the original release, cut over 4 sides and using the original artwork but now pressed on heavyweight 180g vinyl. Simple Things is a timelessly classic album and the essential soundtrack to any laidback summer chilling.

Only one copy per customer!
The late Hiroshi Yoshimura, a pioneer of Japanese ambient music. Yoshimura was involved in a wide range of fields, such as sound design for public installations, graphic design, visual poetry, free improvised performance (using his own body) and inventing his own instruments, right up until he passed away in 2003.
The seven songson this album were created for a fashion exibition held at a warehouse in the Tokyo bay area. He released it on cassete tape on Japanese label ‘Fukusei Gijutsu Kohboh” ran by Yoshio Ojima who produced the album.
Referring to the Loft: "As the time goes by, the Loft that was swept away ( forgotten) from the City but it somewhat has a look of a " City of Ruins" that reminds you of something you have forgotten. Something nostalgic. Sounds from the City and the vast landscape gave me a great opportunity to take a fresh look at Tokyo." says Yoshimura.
Referring To the Pier: His look towards Tokyo bay takes on the shape of sonic particles....tickling down gently while tinged with change. A landscape of Seven Sounds.
This is the first-ever vinyl release, 34 years after it's recording. The sleeve image is the same as on the original cassette release.

Faitiche presents a long-lost vinyl album: for the last 14 years, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the landmark album is available again on vinyl, as a double LP with two bonus tracks (B-sides from the Tendency EP, 2000).

After selling 2.8 million copies in the last 12 years it was time to kick out a remastered version for 2012. Jazzy stuff for the dancefloor and your couch ...

2023 Pressing --The album straddles analogue club music and vocal pop songs - rough, dark, extraordinary!

From its creation in the late 90s until its closure in 2009, the Toytronic label witnessed a digital revolution that transformed the record industry, turning glitch into a production tool for a whole generation heir to the of bleep 'n' bass sound. Thanks to their impeccable A&R credentials, its head honchos, Martin Haidinger and Chris Cunningham, created an incredible IDM label catalogue, as well as producing their own material under pseudonym Abfahrt Hinwil. Their only album to date 'Links Berge Rechts Seen' [Toytronic, 2002] was released as a compilation featuring tracks from their brief career that over the years has become a benchmark for the Toytronic sound. This album included their first -and only- three releases signed to Expending Records and Toytronic, and also included two previously unreleased songs: 'Planquadrat' and a hidden track at the end of the CD version. Lapsus proudly presents 'Links Berge Rechts Seen', which will be released on vinyl for the first time as part of its'Perennial Series'. The collector's format marbled 2LP is accompanied by a double-sided lithographic print, which includes a unique and exclusive interview from Martin and Chris, talking to prestigious electronic music journalist Philip Sherburne.

Andrea’s second album “Due In Color“ was primarily created in 2020 and 2021. During these crazy and decelerated times he explored more hazy and experimental Jazz, which inspired him to use more acoustic sounds in his productions. Dark loud clubs are in a far away distance, while Andrea takes us to wonderful blooming fields.

A Strangely Isolated Place welcomes Norwegian Mikkel Rev for an album that might be his best yet. He is part of the Ute Records label collective and often hosts raves in uninhabited Scandi forests. This gorgeous new album comes with slow-burning downtempo grooves and nostalgic chill-out sounds that sink you in deep and take you on a roller coaster of emotions from euphoric trance-states to inward reflection. The Art Of Levitation is a vivid album both in concept and execution and a healthy retro-future style and mix of nostalgia and invention. It is a perfect accompaniment to quiet listening experiences and rewards your close attention.

The original environmental album from the Kyoto Connection available on Vinyl for the very first time. The album was composed, produced and recorded by Argentinian producer Facundo Arena over the course of one month in early 2018. A classically trained pianist and analogue hardware obsessive, for this project Facundo wanted to move out of his comfort zone and compose the album purely using plugins and sequencing software on his iPad, running the songs directly onto tape, in this case his trusted 1978 Akai Gxc-70d tape recorder.

Why an iPad? Facundo explains “In the 1980’s Japanese ambient producers experimented with hardware sequencers and computer sequencers on the Atari ST. Today thanks to IOS apps like Samplr, Korg Gadget and Fugue Machine it’s possible to experiment like the old days with new ways of composing and recording. Each track was recorded live into the Akai, so there were many takes to get the right result with each take recorded on the same cassette (recorded and erased over and over again) which helped to achieve an ‘old tape saturation’ effect”.

The image for the album is taken from an original 1960’s Japanese postcard featuring the famous Arashishama Bridge. The album is pressed on heavyweight 180 Gram Vinyl with sleeve design by Bradley Pinkerton.

Hania Rani is a pianist, composer and musician who splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. She has written for strings, piano, voice and electronics and has collaborated with the likes of Christian Löffler, Dobrawa Czocher and Hior Chronik, and released an album with her Polish group teskno last year. She has performed at some of the most prestigious venues in Europe - from the National Philharmony in Warsaw, to Funkhaus in Berlin, to The Roundhouse in London (where she made her debut at the Gondwana 10thanniversary festival last October) and at festivals such as Open'er, Scope Festival and Eurosonic. Her compositions for solo piano were born out of a fascination with the piano as an instrument, and her desire to interpret its sound and harmonic possibilities in their entirety and in her own way.

LP comes with heavy weight reverse board sleeve including a double sided printed insert plus digital download code.

Esja is her debut solo album and for Rani it is her first, real, personal statement as an artist. "No hiding behind the "collaborations" or "projects" anymore. For the very first time, finally - just me, as I am".

Recorded at Rani's apartment in Warsaw (the piano room has a beautiful reverb and the space has become part art studio and part sound laboratory for Rani) and at her friend Bergur Þórisson'sstudio in Reykjavik, Esja is a series of beautiful melodic vignettes. Sensual, sensitive, rhythmic, atmospheric, free but harmonious, beguiling and hypnotic, collectively they project a sense of unlimited space and time.

Expect support from accross the media spectrum from Mojo to Uncut and Gilles Peterson and Mary Ann Hobbs on 6 Music to Radio 3 and beyond. Full servicing to the Gondwana Records datebase.

One copy per customer.

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.

First ever reissue of this groundbreaking ambient work
Produced in full cooperation with Yoshimura’s estate
Remastered for vinyl and pressed at RTI
Unseen original handwritten track notes by Yoshimura.

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.

Poké & Chill is a 16 track Pokémon remix album, with faithful lofi hip hop renditions of music from Nintendo's beloved Pokemon video game series. From the original Pokemon Red & Blue games, composed by Jun'ichi Masuda, to later installments like Pokemon Sun & Moon, Poké & Chill features a diverse collection of nostalgic and expressive game music.

Mikel is best known as the producer from Zelda & Chill, an album that may go down in history as the most popular game music record of all time. In less than a year from it's release, it's received over 20 million plays and sold thousands of copies. That's power of chill vibes and great game music!

Poké & Chill features compositions by Jun’ichi Masuda, Gō Ichinose, Minako Adachi, and Shota Kageyama. It features music from Pokémon Red & Blue, Gold & Silver, Sun & Moon, X & Y, Black & White, and Ruby & Sapphire.

Anadol is a psychedelic synth folk project by Gözen Atila, a Turkish sound artist and photographer based in Berlin. Her third album Uzun Havalar is based on collective improvisations of middle eastern folk songs called „uzun hava“. They turn out as rich, atmospheric synth ballads. A diverse roster of improvising musicians creates their fascinating complexity. Anadol recorded them during extensive sessions in Istanbul. You can hear drummers laughing and playing guitars, composers howling, announcements in French and screams in no language, record collectors playing oscillators, and trumpets through spacious echoes. Anadol represents Gözen Atila’s liberation from a rather academic approach to electronic composition which she pursued during her music technology studies in Istanbul. She calls her education the „darkness of serious music“ where she first tried to belong, then to break free with the help of lo-fi synth pop. As a producer of radio plays and an expert field recording artist she has developed a distinct sense of timing, editing and sound design. Her Anadol project walks in the footsteps of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, pushing the boundaries of minimal equipment. On Uzun Havalar she translates her experimental background into these floating folk ballads. The album was originally released on tape via Kinship in 2018.