Mannequin HHV Records 32 Items

Void Vision is a Philadelphia-based electronic project helmed by Shari Wallin. It began around 2009 at a time when a wave of synth-revivalists were materializing, but the quality of the songwriting and intense vocals set the band apart from the pack. In a rare instance, Void Vision has managed to combine vintage dance elements with melodic structures, haunting melancholy, and lyrics that have a palpable soul. The songs themselves are dynamic, referencing a cross-section of the last 30 years of electronic music, while simultaneously retaining a uniqueness all their own.

Wierd Records weekly club night in New York, which showcased a variety of talented electronic and coldwave artists, served as an incubator for Void Vision in it’s early stages. After a standout debut performance at the club, they immediately caught the attention of Blind Prophet Records, who consequently released their first 7″ single, ‘In 20 Years’, which received excellent reviews.

Vari has continued performing and recording steadily over the last few years, releasing songs on compilations for various labels, including Rough Trade, and in 2012 the song ‘Everything is Fine’ was selected for Artforum magazine’s ‘Best of 2012′ issue. In 2013, Void Vision toured the West Coast and later that year released a split 12″ with Portland-based band, Vice Device. The first official full-length album, entitled ‘Sub Rosa’ is set to debut on Berlin-based Mannequin Records, followed by a European tour in 2015.

After his acclaimed EP "Shiny Black Leather" and a dream collaboration with Dario Argento for the soundtrack of his new film "Occhiali Neri", Maestro Arnaud Rebotini is back on Mannequin Records with a new 4-tracks EP "I Drive East".

For this new EP, Arnaud started working more on a song form, deeply inspired by his rock'n'roll roots. Having heroes like Suicide or Alien Sex Fiend in mind, he was able to create the perfect link between EBM and Industrial Rock. The final production was orchestrated diving deep into percussive drums and digital synthesizers, a mega hybrid of analog and digital, recalling back our favourite mid-80's productions.

Hailing from Barcelona, Silvia Konstance and Viktor L.Crux (a collaborator of Nurse With Wound and J.Arbeit from Einstürzende Neubauten) developed during the last years a unique music style recognized as "Tribal Wave". Mixing synth bassline arpeggios and live percussions, noises and congas, industrialism and tribalism, Italian and Spanish, Dame Area are running across the same path and breathing the same air of the EBM/Industrial driven Diseño Corbusier or the drum compositions of Roberto De Simone. Starting to play live and releasing their music in 2018 for their own label and venue Maja Roja (with the support of fans like Julian Cope and Yamatsuka Eye), their incessant touring schedule has already seen them play all over Europe in the past couple of years. Since 2019 they also play live as a trio with Jesse Webb from Gnod/Anthroprophh at the drums/percussion. For fans of: Diseño Corbusier, Esplendor Geometrico, group A, Kris Baha

Expanded double-LP of »Exploded View« from Dutch minimal synth pioneers The Actor. Originally released in 1982 by Trumpett Tapes, the album was repressed for the first time by Mannequin Records in 2014, and is now coming back to life again in 2022, enriched by an extra full-length of demos from a 1981-1984 period.

Mannequin Records is proud to present a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Norton Computer For Peace" (1983), "Personal Computer" (1984), "Artificial Intellingence" (1985).
Apple's first music "endorsement" (later IBM consultant) and early Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music.
While the beat-oriented style of Norton’s music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton’s predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader’s bizarre 1982 one-off Erdenklang.
1 year after "Personal Computer", Doris Norton released 'Artificial Intelligence' (previous title: 'From Art-Physiol to Artificial Intelligence', changed before publishing) in 1985, setting a step up in her deep electronic music research and innovation.
"The whole album was composed and programmed only with the alfanumerical keyboard of the computer. The total of the notes and coded events takes to the number 124.648: of these 123.827 were coded with 'step time' procedure and the rest with real time procedure.
Having done reduced the keyboard Doris Norton used only an hexaphonic JX.8P with memory processed by her and interfaced to the computer.
No drums were used, neither electronic nor much less acoustic. All the rhythmics were obtained by A.D.A. conversions and processing of wave ranges and with the use of expanders with a very special handling of envelopes, frequency, resonance, noise
Doris Norton fed the computer the parameters of vowels and consonants of her own voice, like A, O, U, E, D, N, through an A.D.A conversion card; by processing these values and assembling them in phoneme in hundreds of different combination, various compressed resolutions she was able to make the computer sing a complete song in a totally human way (with the voice of Doris).
Many other yxith sounds resulting from A.D.A. conversions are present in this new album 'Artificial Intelligence', amongst these: pipe organ, plate, electric discharge, iron beat, birds, dog, harp, woods ...... all sampled and handled by the computer.
'Artificial Intelligence' is a perfect example of how human intelligence can bend the coded 'artificial intelligence' to hits own will. ....."
(Source: ComputerMusik -1985)

Bourbonese Qualk's third album "The Spike" was recorded during the period 1984-1985 and published by the Berlin based Dossier/Atonal label while Bourbonese Qualk were involved in organising the Berlin Atonal festival. Parts of Side 2 of the album is a recording of pieces made for a dance and film performance at the Bloomsbury Theatre in London in 1985.

Bourbonese Qualk were an experimental music group from England, active from 1979 through 2003. They were always obsessively and uncompromisingly focused on controlling their work: they ran their own record label, recording studio, tour organization, and music venue (the notorious Ambulance Station). They refused to integrate into the commercial music racket and turned down publishing deals from major labels, stubbornly opting for total independence.

They're also known for their political activism, formed in the crucible of 1980s Britain amid such influences as the UK miners' strike, The Falklands War, Thatcherism, monetarism, local government corruption, squatting, anti-capitalism, anti-fascism, and anarchism. Their work was often ambiguous and directly critical of cynical power-politics of any color, often irritating members of the traditional organized left. In 1984 Bourbonese Qualk occupied a large empty building - The Ambulance Station - on the Old Kent Road in South London, which they turned into a base for their activities, a cooperative space for artists, musicians, and writers, and a center for radical political activism -- specifically as a coordinating center for the Stop the City anti-capitalist riots of 1984.

This is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge.

The self named LP marked the fifth album and end of the first incarnation of Bourbonese Qualk. Julian Gilbert left the group after ‘The Spike'(1986) to concentrate on writing and theatre, leaving Steven Tanza and Simon Crab who parted ways after touring in Europe in early 1986 and recording this album. Steven Tanza went on to found the group ‘The State’ and while Crab continued as Bourbonese Qualk (with the new line-up of Miles Miles,Crab and Owen If), dissolved the Recloose Organisation label and founded ‘New International’ as the outlet for future Bourbonese Qualk and Recloose Org releases.

"If we were awarding prizes for making people rush out of the room in blind panic Bourbonese Qualk would have a trophy cabinet to match Bayern Munich’s. Strange, because whilst some of their music is damned uncomfortable listening, an equal part is pleasantly ambient. Pretty, even. Their 5th album is no exception with different types of track side by side throughout, so that the listener can neither drift along in a state of slumber nor masochistically subject themselves to the audio equivalent of the chinese water torture. This makes it all a very stop-start thing but all the more rewarding as a result."

Can't be Beat magazine - London 1986

Bourbonese Qualk were an experimental music group from England, active from 1979 through 2003. They were always obsessively and uncompromisingly focused on controlling their work: they ran their own record label, recording studio, tour organization, and music venue (the notorious Ambulance Station). They refused to integrate into the commercial music racket and turned down publishing deals from major labels, stubbornly opting for total independence.

They're also known for their political activism, formed in the crucible of 1980s Britain amid such influences as the UK miners' strike, The Falklands War, Thatcherism, monetarism, local government corruption, squatting, anti-capitalism, anti-fascism, and anarchism. Their work was often ambiguous and directly critical of cynical power-politics of any color, often irritating members of the traditional organized left. In 1984 Bourbonese Qualk occupied a large empty building - The Ambulance Station - on the Old Kent Road in South London, which they turned into a base for their activities, a cooperative space for artists, musicians, and writers, and a center for radical political activism -- specifically as a coordinating center for the Stop the City anti-capitalist riots of 1984.

This is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge.

Ltd Edition.

Alessandro Adriani marks his comeback on Mannequin Records with an impressive body of work on this 2xLP 'Program & Rhythm', inspired by the Italian library music and soundtrack composers.

Italian composers from the 60s to the 80s seemed limitless in their experiments and endlessly colorful, despite being a hidden part in the history of music. Library music takes weird and fantastic detours, between garish drum machines, seedy guitars, synthesizers gone haywire, and fractious brass sections. The scene’s big names included Ennio Morricone, Piero Umiliani, Alessandro Alessandroni, Giampiero Boneschi, Egisto Macchi, A.R. Luciani and Bruno Nicolai, just to name a few.

After spending weeks on end in an improvised-by-covid home studio recording hours and hours of music every day, Alessandro was turning and shaping his analog machines into an experimental synth pop, psychedelic funky jazz and weird ambient fusion, making up six different releases called simply 'Program & Rhythm' from the Roland Cr-78 programming buttons.

The final selection of 42 tracks out of the six releases - originally intended to be put out as tapes - would finally compose the tracklist of the double vinyl presented here, with the catalog number PR and roman numerals used for the track titles.

An exceptional document of music in Alessandro's discography, 'Program & Rhythm' enters into an ultimate unknown journey, creating music for films that do not yet exist, putting his steps deeper into a faceless obscure music.

2xLP 400 copies, black vinyl. Graphic design by Trevor Jackson. Mastering by Rude 66.

Limited edition of 500 copies on 'milky' clear vinyl.

Mannequin Records is elated to introduce you a brand new album by Johannes Haas aka L.F.T. (Love, Fist, Tears) - one of the hottest electro/wave names around the globe.

The Hamburg-based producer is obviously one of the resident artists at Golden Pudel Club, being blessed by a collaborative friendship with the mighty Helena Hauff (go check their b2b on Hör radio for the definitive Electro music set), and also running also the label 'Neoprimitive' with Lukas, focusing mostly on experimental music.

Pursuing a stubborn D-I-Y aesthetic with an extensive use of lo-fi technology, over compressed drum machines and tapes, over the last two years L.F.T. has released several records on different labels like Helena Hauff's Return To Disorder and Elena Colombi's Osaré Editions

Endorsing a distinctive contemporary sound, 'Salz' is moving forward to an highly authentic mixture of electro and synthwave, with a lo-fi analog power blended all over his tracks, somewhere between Liaisons Dangereuses, I-F and Bakterielle Infektion, bringing us back - and fresh as never before - the amazing early days of CBS Radio - now Intergalactic Fm.

Mannequin Records is elated to present for the first time on vinyl the reissue of Giovanotti Mondani Meccanici’s first video soundtrack, originally released in 1984 as an audiotape in less than one hundred copies. Giovanotti Mondani Meccanici (literally Mundane Mechanical Youth) or GMM was one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami a.k.a. Alexander Robotnick, a pivotal member of GMM, was responsible for the group’s music output. Founded in 1984 by Antonio Glessi and Andrea Zingoni in Florence, GMM was an art collective whose production represents the quintessential expression of postmodern transmedia hybridity. GMM pioneered the genre of computer comics, created video installations, developed “multiple identity” performances, and was involved in fashion, media, and music productions, and later on produced cyberdelic environments, artificial reality projects, and proto-memes. Alexander Robotnick’s first contribution to GMM was this soundtrack for the group’s eponymous first video, the animated version of a computer comics they coincidentally published on legendary Frigidaire magazine. Restored by Dami and reissued here for the first time by Mannequin Records, the composition was also split into two “suites” and released as an audiotape distributed by Materiali Sonori, also responsible for other releases by both Robotnick and GMM. Determining in this work is Dami’s adoption of the alphaSyntauri, also known as the first affordable digital synth (priced less than $2000 when it was released in 1980), which was playable through its own software, “alphaPlus,” on the Apple II computer. The same computer was used by Glessi to “draw” the 3-bit strips scripted by Zingoni recounting the joyrides of the Giovanotti Mondani Meccanici, three merciless cyborgs in black suit and sunglasses dividing their time between nightclubs, rapes and murders. As Robotnick, Dami developed an innovative formula of Italo disco that was attractive to the dance floor yet at the same time highlighted the expressive properties of the instruments he used, notably Roland drum machines and Korg synthesizers. For the soundtrack of GMM’s videos and installations, he left aside the danceable synth rhythmics in favor of ambient sounds that produced rarefied atmospheres, psychological tensions, and enhanced states of consciousness. Dami’s scores for GMM’s artworks could be associated with Italian avant-garde music of the 1970s and 1980s, ranging from composers who adopted electronics flirting with pop and songwriting to minimalist musicians exploring seriality and drones, including Franco Battiato, Roberto Cacciapaglia, Francesco Messina, and Riccardo Sinigaglia. Analogies could also be traced with the playful and humanizing approach to personal computers that characterizes the music output of Marcello Giombini and Doris Norton. The futuristic escapism of minimal synth and ambient music’s psychological nature is infiltrated by drifting harmonics typical of new age, as if in search of a spiritual dimension of technology. Characteristic of the postmodern ethos of GMM Suite, in line with the humanizing approach to technology that is at the base of GMM’s computer comics, is the melancholic take at speculative dystopias in which human beings would find themselves increasingly trapped into identity crises: a true cyborg’s melodrama. Limited edition of 500 copies, (orange vinyl)

Sam de la Rosa of the band Led Er Est, and with Karen Sharkey of The Coombe, is back on Mannequin Records with his third release with 4 stunning tracks blending the finest Tr-606 driven electro cold wave with expressive spoken wordy minimal synth instrumentals. Mixed by Marcos Cabral Mastered by Rude 66

Dona Aka Dj Plant Texture’s debut on Mannequin is the result of an effective true love for the early Chicago Acid and Jackbeat, mixed with textures of EBM and Cold Wave. “Mindscapes”, featuring the haunted vocals of Aloth, represents a trip into states of consciousness and psychiatric diseases. Ispired by some reports describing America’s Mental health System during the latest 70’s, the EP is a blend of analog machines, forced to create the perfect jam session.

Japanese industrial/synth-duo Group A partner with choreographer/performer Dana Gingras, Montréal artist Sonya Stefan & Finnish lighting designer Mikko Hynninen for athe multimedia project. Performance, installation of televisions, sound, light and image converging to create an exhilarating event placing a living, breathing and transmuting body at the heart of the experience.

De Sang Froid is the new project of Alaxis Andreas G.
Killer french cold wave / electro tunes from Le Syndicat Electronique mastermind, French precursor musician and performer, at work since 1996, AND founder of the labels Hiératique and Invasion Planète Recordings.
Recommended to fans of Dopplereffekt, Beta Evers, I-F, Umwelt and Legowelt.

Greek artist June makes his debut on Mannequin Records with the 'Silver Demon' LP. The album explores a futuristic dystopian world where transcendence and oppression coexist, where claustrophobia and infinite openness coincide. A world of contrasts that is the product of the artist‘s active imagination and conscious effort to confront the subconscious.
The album was recorded using original techniques from the golden era of electronic music (late 70s to mid 80s) with an arsenal of vintage analog synthesizers, drum machines and effect processors (originating) from the same time period. While the aesthetics of the classic precursors emerge through the minimal, deep, dark architecture of June's music, Silver Demon prevails with the artist's characteristic originality.
Mastered by Rude 66.
Graphic design by Lee Douglas.

solo project of Mathilde Mallen aka DISSEMBLANCE, from Paris. All tracks composed and produced by Mathilde Mallen.
Mixed by Silent Servant. Mastered by Rude 66.
Graphic design by Lee Douglas (AN-I)

Originally released in 2016, 'Montagne Trasparenti' is now repressed on Mannequin Records with a full new graphic design. The album was recorded between Adriani’s native Rome and adopted Berlin, “in various years of travelling, composing, fighting with cables and machines.” In the last years Alessandro contribute to shape the new EBM and Techno sound with productions for labels like Stroboscopic Artefacts, Jealous God, Pinkman and Mannequin. Curator and resident DJ at Berghain/Panorama Bar and guest curator at Berlin Atonal 2018, Alessandro presented many of the tracks included in this LP with an audio-visual interactive 3D premiere live show in collaboration with Nuova Astrazione.

Originally released on Illuminated Records in 1983, "Viral Shedding" is surely one of the most important references for the industrial/funk dance music.

Repress of their first 12'' single "The Stains". This extended edition includes a bonus track - 'Phantasmagoria'- and a friendly dancefloor cut of the title-track by Alessandro Adriani.

Mannequin, Emotional Rescue and Blowpipe come together to release the music of Dutch post-punk, industrial outsiders Nexda, by releasing a collection of music drawn from all their single and EP vinyl releases, to offer a compelling album.
Taken from two 12” EPs, a split 7” and a flexi 7”, all released in 1982, the music within Word & Numbers captures striking compositions, part of, but some way removed from their contemporary post-punk bands coming out of the Dutch “Ultra” scene of the time.
Developing out of a series of concerts in Amsterdam, Ultra expanded to Eindhoven, Nijmegen and Haarlem, with artists and musicians creating their own work spaces and studios. Driven by the DIY mentality of the punk movement, this uniquely Dutch take on the post-punk ethos embraced avant-garde thinking and experimentation that disseminated in ideas and from that, sound.
Coming from Haarlem, Nexda – consisting of Ivo Schalkx, Karin Hueting, Martienden Nijs – played music on handmade drums, metal, organ, saxophone and voice. Releasing a series of cassettes on their and Wim Dekker (Smalts, Minny Pops) Studio 12 label, the latter’s link with Wally Van Middendorp’s Plurex label, resulted in the release of Nexda’s two EP – 246, 121 and 657 (PLUREX 0026) and Second (PLUREX 0031) - with artwork of Ivo Schalkx, are included here, both in their entirety.
Capturing the bands’ heavy percussive backdrop, raw, dub baselines contrast with questioning, mainly spoken word lyrical poetics, saxophone underplay and occasional Pablo-style melodica. The avant nature of the music is apparent and enticing, where experimentalism and artistic expression was sought over commercial success and technique and song form were less important than the process of exploring ideas.
The none-descriptive titles match song structures that jettison the traditional verse, chorus, verse; weaving across the 8 songs so that they can be heard as one, as much asshort bursts of individual statements.

Brilliant comet of the Italian New Wave scene. Real deal. TIP!

Atelier du Mal were formed in Florence in 1983 by Lapo Pistelli (synths, electronic drums), Iacopo Ficai Veltroni (bass, synth) and Ignazio Matteini
(drum programming, percussions). Recorded in 1984, 'Noblesse Oblige' was the first and subsequently the only demo tape by the group, self-released using classic gear like Korg Ms-20, Roland Tr-606, Roland Tr-808, Roland Juno 60, Roland TB-303.

Limited edition for Record Store Day 2017!

Leroy Se Meurt is a French musical duo known for their eclectic and experimental sound.

Formed in 2018 in Paris, their music can be described as a fusion of various genres, abrasive and hypnotic, an energetic old school EBM fused with fierce electro and bound by punk ethos. Retaining the minimalist and raw qualities of punk rock, and replacing the complement traditional punk rock instruments like guitars and drums with drum machine and synthesizers, LSM sound is characterized by a blend of influences, including electronic, experimental, and noise elements, which contribute to their unique and distinctive style. If you enjoy post-punk music or are interested in exploring this genre, you may find aspects of it in Leroy Se Meurt's work, but their music also transcends traditional genre boundaries.

Red vinyl!

Splits in seams.

he collaborative bi-coastal project between Andi (nyc) and Machino (la) is dark, spiraling music that conflates the tension of running EBM basslines with the monstrosity of electro-saturated, industrialized beats. In 2021, Andi and Machino began sending music back and forth to each other virtually—thousands of miles apart—as they built upon their passion for creating off-the-cuff, dangerously degenerate dance tracks.

Parafernales, their first release out this summer on Mannequin, is a conceptual EP that deals with power struggles: love and lust, strength and destruction, dominating and domination. Andi's vocals are spoken, whispered, and yelled simultaneously, as if to mirror the mania of having control and losing it at the same time. The EP title, Parafernales, is a nod to Machino's first language of Spanish and stems from the idea of miscellany: it is parafernalia for drugs, or, simply, accessories for unsavory activities. With inspirations from turn-of-the-90s erotic thrillers to the Chilean post-punk band, Los Prisoneros, the duo collide in a manner that is unadulterated and, at times, completely unhinged.

Machino is an electronic performer and music producer from Mexico based in Los Angeles who started out making moody ambient, techno and has now pivoted towards industrial music. He has released several EPs on different labels such as Tresor and X-img. Andi is a DJ, producer and music journalist based in NYC. She runs the nine year strong label/party Synthicide in NYC.

Blessed by the vocal features of Rosaceae ( the bloodthirsty breaktbeat 'I Want To Be A Witch'), Nils Fock (the banging wave 'Hörst Du Das') and Petra Flurr (ebm anthem 'Panzer Tanz'), L.F.T. music evokes a urge of dancing while simultaneously embracing a DIY aesthetic, creating a sonic universe where past, present, and future converge.

The Hacker aka Michel Amato, a long time collaborator of Mannequin Records, is joining the pack with his interpretation of 'Panzer Tanz', turning the track into a straight techno banger.

L.F.T. is a visionary artist who takes listeners on a mesmerizing journey through a sonic landscape that fuses elements of electro and new wave aesthetics.

"After his sold out LP "Salz" and an extensive tour in Europe, L.F.T. aka Johannes Haas is back on Mannequin Records with a brand new 6-tracks EP "Hollow Head".""