new album from philippe hallais, aka low jack blissed out and emotive instrumental ambient pieces somewhere between shoegaze, dream pop and futuristic 1980’s documentary music

repress, black vinyl

22nd anniversary reissue of one of the greatest albums ever made, originally released on rephlex in 1998. newly remastered by rashad becker, cut by lupo. vinyl includes a limited edition bonus 7 inch, like the initial run in 1998. like weather has been unavailable on any format for years. riyl: prince, a guy called gerald, mica levi, tirzah, jai paul, autechre, rick rubin, yves tumor

andy stott back on vinyl

after a 5 year pause for breath, rainer veil return with their debut full length for modern love

miles whittaker and sean canty are back as demdike stare with a new album for modern love.

limited edition of 300 copies on transparent vinyl.

astonishing solo debut by acclaimed cellist and composer lucy - a daring, non-conformist and deviant approach to composition and instrumentation. one side of filigree, multi-layered autobiographical collage-work, the other of raw and phased cello glissandi.

debut release from a new addition to the modern love family. 10 dancefloor variants shot from the hip.

a project that came to life fuelled by collectors obsession and a lifelong willingness to dive head- first into unknown musical wormholes, miles whittaker and sean canty have never been defined by a singular musical trajectory. their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the italian library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated dds label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. while 2013s testpressing series provided an outlet for mostly club-based productions shot from the hip, wonderland has been constructed with a narrative in mind.from the clipped hardstyle of the opening curzon, through the jaunty dancehall mutations of animal style and fulledge, exotica/house refractions on hardnoise, the frankly ridiculous, bassbin destroying jungle ructions on sourcer, or the extended tease of overstaying, its probably the most enjoyable and loose-limbed hour of music in their catalogue, or that youll likely hear in these weird, angst-ridden times.

a project that came to life fuelled by collectors obsession and a lifelong willingness to dive head- first into unknown musical wormholes, miles whittaker and sean canty have never been defined by a singular musical trajectory. their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the italian library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated dds label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. while 2013s testpressing series provided an outlet for mostly club-based productions shot from the hip, wonderland has been constructed with a narrative in mind. from the clipped hardstyle of the opening curzon, through the jaunty dancehall mutations of animal style and fulledge, exotica/house refractions on hardnoise, the frankly ridiculous, bassbin destroying jungle ructions on sourcer, or the extended tease of overstaying, its probably the most enjoyable and loose-limbed hour of music in their catalogue, or that youll likely hear in these weird, angst-ridden times.

from the disputed border somewhere between lancashire and yorkshire, g..h. claims a no mans land where he is free to decimate distinctions between black metal, grime and concre&#768,te techno by drawing upon an elusive, metaphysical force that’s exclusively common to music rooted in that region, from muslimgauze and autechre thru shackleton and demdike stare. the inarguably mongrel housebound demigod is g.h.’s debut solo album, following the ground ep (2011) and his involvement with the hexed pendle coven project & hate, alongside miles whittaker and andy stott, respectively, between 2003 - 2009.

modern love very rarely reaches out to artists outside of its immediate surroundings, it’s happened just a couple of times in the last 14 years. but there’s something about philippe hallais that compelled the label to ask him if he wanted to do something together. philippe has released music on a bunch of cool labels (l.i.e.s., the trilogy tapes, delsin, in paradisum), but hearing the first tracks recorded for lighthouse stories, it was obvious philippe was hitting on something new: a kinda weird slow/fast dance music that sounded like a footwork variant sewn up with an exotic production style that was impossible to pin down. these tracks eventually splintered off into different directions, held together by a strong sense of narrative and motion harking back to a teenage obsession with turntablism, detroit electro and ghetto house, and eventually juke and grime. although he’s spent the last few years focusing on more industrial dancefloor variants, for lighthouse stories philippe turned to these foundational influences, as well as his love of mixtapes and sound collages full of unfinished ideas, skits and experiments, all things that inform the flow of this new album. lighthouse stories captures a sense of nostalgia well, but is also a futuristic vision full of that exploratory, vibrant spirit that’s so hard to find in electronic music these days. frames of reference are hard, but in places it reminds us of the dusted swagger of anthony shake shakir, the acquatic drexciyan movements of ultradyne, a loose-limbed take on shangaan, and of actress at his most submerged. but ultimately, it’s an album made by a producer looking to his personal history while forging new ground, pushing ahead with little regard to convention and ultimately ending up with something completely unique: a kind of intimate journal rendered in bright colours and odd shapes.

4th album from andy stott, a follow-­up to 2014s faith in strangers, once again featuring vocal contributions from alison skidmore, fourth world pop variants joining the dots between haruomi hosono & ryuichi sakamoto, newworldaquarium, ruff sqwad and theo parrish. mastered by matt colton at alchemy

2015 repress ...following on from a pair of extended players released in 2011 (passed me by / we stay together) andy stott returns to modern love with luxury problems, an 8 track album of new material recorded over the last 12 months

its been almost a year since demdike stare finished their >tryptych< of releases, and in the intervening months miles whittaker and sean canty have been busy touring and gradually piecing together sounds for this new series: elemental.

seventh 12inch in the testpressing series, the last in the series for the time being. mastered and cut by matt colton, pressed at pallas. includes an insert with artwork by alex solman

double vinyl edition compiling selected tracks originally released as a set of six cassettes via hospital productions in an edition of 100!

the album straddles analogue club music and vocal pop songs - rough, dark, extraordinary.

the album straddles analogue club music and vocal pop songs - rough, dark, extraordinary.

strictly limited 2014 repress !!!
>voices of dust< is the third and final part in demdike stares trilogy of albums for 2010, mastered and cut by lupo at d&m, berlin

exactly one month on from tp5, demdike stare unleash the 6th instalment in their ongoing testpressing series, a split session focusing on damaged dancefloor articulations on the a-side, and demented metal edits on the flip.

millie & andrea are miles whittaker and andy stott, fellow labelmates at modern love who collaborated on an occasional series of 12inch releases between 2008 and 2010. its been four years since we last heard from them but they now return with drop the vowels, their debut album.

millie & andrea are miles whittaker and andy stott, fellow labelmates at modern love who collaborated on an occasional series of 12inch releases between 2008 and 2010. its been four years since we last heard from them but they now return with drop the vowels, their debut album.

released almost exactly a year on from their debut struck ep, liam morley and dan valentine return with new brutalism, an exploration of angular, brittle club music.

earlier on this year andy stott found himself playing on the same bill as new york heavy metal hoarders batillus. despite operating in completely different spheres, batillus had been playing luxury problems, stotts most recent album, on their tourbus and suggested a remix. the result is pressed up on this one-sided 12inch, a deadly reduction that pitches the original down into the abyss. andy stott will be back in 2014 with new material.

includes an insert with artwork by alex solman and handstamped sleeves

polymath james leyland kirby must surely have one of the most confounding cvs in the business: he spent years taking the piss out of the music industry with anthems rallying against the (vv)mcps, he notoriously fell out with various well known record labels for reasons you ll just have to google, goaded aphex twin with a series of tributes and channelled his love of everything from falco (rock me amadeus), chris de burgh, frankie goes to hollywood and stockport karaoke nights into a stream of increasingly bizzare 7 s back in the early noughties. but at the same time he was responsible for releasing some of the very earliest material from boards of canada (hell interface: 1997), made a ruck of frankly groundbreaking industrial electronic records, brought new beat to the worlds attention and, in 1999, made his first album as the caretaker, a project that would go on to release some of the most loved ambient/ lynchian albums of recent times.

second 12 inch in the testpressing series, hand-stamped sleeve including insert with artwork by alex solman. mastered and cut by matt colton at alchemy, pressed at pallas so here we are at part two in the series: grows without bound on the a-side is a monster, a noisy analogue session resurrected from the burning embers of industrial and noise, harnessed into an unstable growl that slowly makes room for a barely-there percussive stumble - think somewhere between vainio and nate young. over on the flipside primitive equations takes for inspiration the bare-boned, hyper-tense production of photeks still devastating ni-ten-ichi-ryu, slugging out feral, steely noise and ardcore torque forged by calloused hands and burning minds to cruel, propulsive effect.

miles has been releasing material on modern love for a decade, first as one half of pendle coven, then on his own as mlz, and eventually pairing up with sean canty to record as demdike stare. in between he has also pursued more experimental terrain under the suum cuique moniker, produced jungle for the hate project and (together with andy stott) taken on the occasional release as millie & andrea for modern love sublabel daphne. he is also an admired, exhilarating dj, his sets have been known to span a broad spectrum of electronic music, from the obscure uk techno of labels like radioactive lamb and irdial, to classic chicago house, detroit techno and - most importantly - early 90s jungle and breakbeat, feeding into his love of the most uncompromising end of the italian experimental movement, musique concrète, synthwave and contemporary noise.

demdike stare return to the lab with two extended new productions, inaugurating a series of untamed releases brought together under the testpressing banner. collision was recorded in late 2012 and is pretty much unlike anything you will have heard from demdike before, an intense high-frequency re-arrangement of jungle and noise, like a more brutal variant of the demdike-affiliated hate project, fed through a bank of analogue boxes and pedals, left to spin uncontrollably for 10 minutes before fading to black. misappropriation on the flip feeds off a different noise altogether, perched precariously between the mangled percussion you would most commonly associate with muslimgauze and the metallic clank of industry, a proper sunstroke riddim: angry and unforgiving.

rainer veil are liam morley and dan valentine, two friends who met while studying contemporary music in the north of england. the pair began improvising and making drones in a dark basement before incorporating a broader palette and forming rainer veil as an ongoing concern last year. *struck* is their first ep and debut for modern love, following an appearance at the label boiler room takeover in august 2012.

the analogue project from m.whittaker, one half of demdike stare, comes up with a noise/experimental lp!

miles whittaker has been an integral part of the modern love label since its inception in 2002 - as one half of both pendle coven and demdike stare, as well as his own productions under the mlz and millie monikers. after almost 15 years writing music, this is the first release miles is putting out under his own name and marks a turning point of sorts in his production style, or rather, in its sequencing. the facets ep brings together different ends of his production style, unifying elements of the house and techno he s most commonly released as mlz together with the more broken production signatures usually reserved for millie and the darkened tribalism of demdike stare. flawed opens the set with a linn loop from the archives, stretched and slowed down with an intoxicated aesthetic that s somewhere between house and dub, before lustre re-configures source material originally keyed in by labelmate andy stott with a nice line in squashed percussion. primer on the flip extends from a demdike stare outtake and veers off into an analogue drum machine workout, before on the fly ends the set with a recording made straight to mixing desk from an array of mis-wired and malfunctioning drum boxes, contact microphones and samplers, over at his studio the mill earlier this year.

produced slowly and meticulously over the last 12 months, these seven tracks are the closet thing we have had to a new album from andy stott since the release of his debut full-length merciless five years ago. taking influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind- tricks of arthur russell to the slowhouse of kassem mosse, from the alternate vhs realities of james ferraro and jamal moss to the linn drum classics of the vintage prince era - these seven tracks create their own pace and agenda, largely shying away from the dancefloor in favour of something more complex and hard to define.

liberation through hearing is the second part in demdike stares trilogy of albums for 2010. once again indebted to the black arts, the occult and tibetan spiritualism, there are dark currents running through these 6 pieces, each one referencing the six images displayed on the cover. demdike stare will be back later on this year with the third and final part in this mystical odyssey.

hot modern love cd compilation!

this repress comes as a jewelcase single cd version. a project that came to life fuelled by collectorsÕ obsession and a lifelong willingness to dive head- first into unknown musical wormholes, miles whittaker and sean canty have never been defined by a singular musical trajectory. their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the italian library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated dds label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. while 2013Õs testpressing series provided an outlet for mostly club-based productions shot from the hip, wonderland has been constructed with a narrative in mind. from the clipped hardstyle of the opening curzon, through the jaunty dancehall mutations of animal style and fulledge, exotica/house refractions on hardnoise, the frankly ridiculous, bassbin destroying jungle ructions on sourcer, or the extended tease of overstaying, itÕs probably the most enjoyable and loose-limbed hour of music in their catalogue, or that youÕll likely hear in these weird, angst-ridden times.

3xcd edition compiling all the material originally released as a set of 6 cassettes via hospital productions