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Where To Now? Vinyl, CD & Tape 8 Items

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Akiko Haruna - Delusions
Akiko Haruna
12" | 2019 | EU | Original (Where To Now?)
12,99 €*
Release:2019 / EU – Original
Genre:Electronic / Dance
Where To Now? Records present the debut release from Akiko Haruna. Akiko’s world is one where cacophonic distress lingers, shuffling itself over scapes of percussive damage and driven groove. Akiko presents a fresh take on the current Technoid function through her use of emotive and intentionally disruptive vocal chops and a dizzying ‘wall of sound’ approach to the dancefloor, consuming all yet somehow keeping vibes alive.
Bergsonist - Solyaris
12" | 2018 | EU | Original (Where To Now?)
11,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. ’Solyaris’ follows the self-released ‘أ’ and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.
Selwa describes ‘Solyaris’ as “an ode to the present broken education system that allowed me to sustain my dreams in NewYork”, explaining, “As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music”.
Assel - This Will Not Stand
This Will Not Stand
12" | 2017 | EU | Original (Where To Now?)
11,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
Imagine a collab between Cabaret Voltaire and Eric Copeland mixed by The Scientist and you’ll start to enter the sphere of Robin Asselman.

All spectrums explored.

The off kilter dub waltz of ’16-16’ stutters into view with a heavy and heady rolling dread, whilst inaudible vocal snippets and flatlining synth lines echo and enforce a melee of repetition and danger.

‘Fitness Talk’ perhaps best showcases Assel’s interest in Dubwise production techniques, and his ability to soak up a palette of sound and turn it into something truly his own. Soft familiar bass pads provide the backbone here for all out sample mayhem, a space where recognisable dub effects and sonars vibe alongside absolutely unsettling outer samples of jarring vocals and inaudible upset, purposefully mixed to jolt ears into unfamiliar territories.
Being the Nephew of DJ Marcelle, this experimental approach and inspiring concept of pushing samples to the absolute limits of their origin to create a new unexplored path is clearly something that has been fed down from Marcelle to Robin throughout his youth.

Assel strives to convey the same elements of anticipation, surprise, and suspense in the listener as he himself experiences during the production process, and it is this successful translation where the power of Assel’s music lies. As also is the case with other contemporary acts that push the boundaries of electronic music such as N.M.O & N1L, there is this almost tangible and terrifying physicality to Assel’s sound, yet it retains an undeniably subtle workout groove. Perhaps this groove is enabled by the obvious dub and techno influence throughout the EP, both through Assel’s utilisation and realisation of the importance of the space in-between and his striking use of samples which seemingly dart out of nowhere, intentionally beaming from the mix to transform ears to that next zone

‘Barbecue Stains’ and ‘Pantoffels’ up the pace with layer upon layer of technoid strictness. Grooves come and go throughout, never settling in one spot for too long, but rather opting to explore the dramatic effects of each differing loop cycle and heavily treated vocal sample, again reinforcing this impression of Assel as a producer who never takes the easy path, or follows any kind of musical rule, but rather always looks forward for new angles to approach composition.

“Music always should be surprising and make you alert. You must be on your toes and you should feel that anything could happen, the weirder the better. I love darkness and grit in music, it’s great when it doesn’t quite fit - that’s far more interesting to me then any kind of smoothness.” – Robin Asselman / Assel

‘This will not stand’ opens and closes in similar fashions through ‘Don Leo 2’ and ‘Don Leo 1’, with Assel crystallising the themes of grit, surrealism, absurdism, dub, and experimentalism explored over the EPs 22 minutes into two short sharp bursts.
N1L - Mud Diver
Mud Diver
12" | 2017 | EU | Original (Where To Now?)
10,39 €* 12,99 € -20%
Release:2017 / EU – Original
Genre:Electronic / Dance
After releasing two 12”s for Lee Gamble’s fledging UIQ label, Latvian artist N1L flits to Where To Now? to present four new compositions of smudged, innovative, and completely otherworldly bass mutation.

‘Mud Diver’ begins with the aptly titled ‘Chasing the Sun’, at first holding all the intentions of aiming for a big room anthem – introducing itself with familiar melodic pads and focused, drop friendly peaks. Anyone who knows N1L’s work though will understand that this settling for a straight forward approach is not his vibe… at drop point the anthemic nature absolutely plummets face first into the grit and accelerates away into layer upon layer of revving synth mayhem, transforming with grace into the complete polar opposite of its initial gambit.

Title track ‘Mud Diver’ takes us further down into the realms of machine trouble and its mechanised cyclical movements. Held together by the deepest of off beat kicks, we wade through this horrorscape of construction and collapse in search for light. This light comes in the form of ‘Jaget Och Maskerna’ where swathes of rapid-fire signals weave through the darkness and speed away towards the hopeful bloom, holding an escapist and otherworldly aura, a hallmark of much of N1L’s work.

Submerged for 9 minutes ‘Clockroach’ takes us deeper and deeper down into the basin, where dubwise flutters of percussion and sparks from the breaks of rolling dread bubble around the vessel. Recalling the deepest moments of Raime, the tensest moments of Kode 9, and the most desolate moments of Demdike Stare, ‘Clockroach’ best embodies N1L’s ability to respectfully reference a rich history of bass music, whilst injecting his own deeply experimental learnings and leanings at every turn.

“Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves at a different rate to the rest of the world…N1L’s music feels stretched and compressed in equal measure, combining a nostalgic traces of 90s techno, jungle and rave into something that sounds like it’s been torn from another era and warped in the process.” – Scott Wilson (FACT)
Dale Cornish - Clap
Dale Cornish
12" | 2017 | EU | Original (Where To Now?)
11,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
Fresh from guesting on the debut Powell LP ‘Sport’ (XL Recordings), and having released on labels such as The Tapeworm, Entr’acte, and Halcyon Veil, Dale Cornish now presents ‘Clap’ - four rhythmic experiments that explore the mesmeric tones of the digital clap using the ever-popular TR909 clap pre-set. Sharing similarities in intention with N.M.O’s “as strict as possible” approach, pieces subtly evolve and mutate around the clap to generate motion, tension and action. ‘Oolovka’ takes an unashamedly joyous look at the clap, where melodic repetition whirls and whirls until it takes on a form of mesmerising minimalism – perhaps taking its cues from a modern take on Steve Reich’s ‘Music for 18 musicians’ as a backdrop for the clap to playfully roll over and mutate into a sound which is both refreshingly light hearted yet steeped in rhythmic experimentation. ‘Cxema’ takes us a into a tenser, more claustrophobic space where a heads down pulse keeps the body locked until the fog is occasionally broken and the tension momentarily cleared via delayed claps and familiar sonar tones. This vibe continues into ‘Isolate’ with Cornish upping the anxiety by using the clap as a foreboding menace. Coming across like an inspired soundtrack to a military performance piece the concern appears to revolve around strict precision and strict movement and how the clap can be used to enforce and heighten this functional display. ‘Before Encore’ winds things down by stripping things back to the bare minimum for movement – a single effected clap gradually layers and layers itself to create pleasingly odd high tension atmospherics solely through a meticulous process of delicate rhythm and repetition.
CVN - Exposure
12" | 2016 | EU | Original (Where To Now?)
4,99 €* 12,99 € -61%
Release:2016 / EU – Original
Genre:Electronic / Dance
CVN is the work of Japanese electronic artist and core member of the now defunct Synth punk duo ‘Jesse Ruins’ -Nobuyuki Sakuma. A work that is distinctly Sci-Fi in it’s intention, ‘Exposure’ is comprised of six tracks that veer from battered & scorched weightless warfare workouts to bright & melodic mutant electro to desolate and longing fragments of cracked ambience. Nobuyuki’s interest appears to lay in the imagining and exploration of an otherworldly zone of warfare, destruction and ruin. However Nobuyuki is not simply interested in representing this melee of chaos, rather he is more concerned with an exploration of what is born out of, and remains intact after this futuristic & sci-fi representation of war. The after effects of this destruction manifest in truly touching and human snippets of hope – throughout the record the noise frequently drops away to expose haunting passages of skeletal, longing dub horns and blistering ambience. When CVN does veer towards the dancefloor the transitions between styles are vicious and warping, sweeping from deep Detroit vibes on ‘secondary infection’ to the bold and bright machine shuffle of ‘Golgi Complex’. ‘Exposure’ is a record of oscillating weights, seamlessly shifting from sparse pounding throbbing drums to completely featherweight tremors.
U - Vienna Orchestra
Vienna Orchestra
LP | 2016 | EU | Original (Where To Now?)
16,99 €* 19,99 € -15%
Release:2016 / EU – Original
Genre:Electronic / Dance, Classical Music
U has always displayed an unironic conformity to his own absolutely genuine / occasionally challenging ideal as to what a release should entail. After a series of predominantly, and (in the most loving sense) maybe begrudgingly, dance floor oriented EPs, ‘Vienna Orchestra’ is a long overdue insight into his core fascination as a musician; making complex and intriguing experimental pieces that belie the humble mode of their creation - recording from vinyl records and manipulating the audio on old school samplers. This LP is an insight into scores of hours of twiddling with loops and sequences to create music far removed from its source material (dusty classical records acquired on a trip to Vienna). This is a dense, blunted world, which holds the sound of a musician indulging their own ear’s obsessions and insatiable curiosity.

The record’s opening is reminiscent of Walter Schumann’s ‘Night of the Hunter’ soundtrack in its deeply unsettling, creeping feel. The droning high strings in the background prick your ears while, in the foreground, oddly syncopated staccato stabs provide the loping, lurching feel. You could be forgiven for momentarily comparing this to some kind of oddball, Deep Puddle Dynamics-esque excursion… but then the fun begins. Throughout the record, the most consistently striking element is U’s masterful ability to, with the use of relatively simple EQs, filters and basic effects, turn familiar and fairly orthodox sounds into futuristic and daring electronic experimentalism. Forceful strings become ethereal and strange in their timbre, long, drawn-out notes are oscillated to create warped riffs or motifs and the imperfections of the physical format are treated as an essential aspect of the soundscapes he creates (more on this later). His isolation of contemporary rhythms in the source material displays an impeccable musical ear. Moments of the album sound like beatless grime or techno - not in a “YO kidz, Shakespeare was the original rapper!” kind of way - but in the startling, often illuminating fashion they summon connections between styles of the past and present. It’s also fascinating and joyful to hear, in this context, the early rave producers’ technique of pitching one chord or note across several pads / keys to create increments of the scale that shouldn’t really exist. No doubt this would discombobulate a classical purist to the point of distraction but it is a constant delight to hear this fairly un-musical production technique applied within a tuneful, meticulous and unfamiliar paradigm.
Lutto Lento - Whips
Lutto Lento
12" | 2015 | UK | Original (Where To Now?)
12,99 €*
Release:2015 / UK – Original
Genre:Electronic / Dance
Polish resident Lutto Lento follows up his debut 12” for Charles Drakeford's ‘FTD' label with this 6 track EP ‘Whips' for ‘Where To Now?' Records.

Lutto's sound places him as quite a unique figure in modern electronic music, showing a fearless work ethic in shrouding his productions in saturated tape loops, and achieving what is certainly a low-fi quality to his sound, Lutto manages to never let this lo-fi edge take centre stage - instead this expertly crafted process of tape cutting and looping provides the backdrop to Lutto's exuberantly crafted yet absolutely dance floor orientated drum work.

‘Marabut' & ‘Vengo' pair similar 2 note drones with dissimilar intricate rhythmic backings. On ‘Marabut' the church organ like chords quake over layers of metallic percussion hits, hissing hi hats and clattering cymbals whilst ‘Vengo's drums have far more of a low swung swagger, where sweet string melodies with eerie atonal elements help draw you deep into the loops… when something rattles too-close to your ear and the aura of the track switches up to become a chilling experience.

‘Whips' whirls us away from the spook of ‘Vengo' into an ecstasy-induced autobahn fever dream, careering down a ps2 animated, neon delineated racetrack with the radio pelting soothingly lucid disembodied vocals that drift the vehicle of your consciousness from lane to lane. ‘Whips' is perhaps the most visceral of productions here, where Lutto's use of the layered sounds of crashing cars create's a unique and twisted combination of both euphoria and destruction.
‘Amarea' is the most febrile piece, operating on a more guttural and obvious dancefloor level, a downcast mutation of the same feeling that drives you to whip out Dance Mania records at 5am. A beat that draws you to the offbeat and keeps you poised amid barked vocals and booming kicks.

‘Outro' perhaps serves to encompass all that Lutto is about, where frantic tape cuts simmer over a hazy world of cosmic Laraaji esque experiments and beat work, and a vocal sample that perhaps nods towards Lutto's use of found sound and manipulation to aid his musical vision, it laments “I live on an island… it is usually very warm… sometimes we go on picnics…and eat fruits and vegetables from our garden…mmmm…mmmmm”
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