2020 reissue! part 3 of e.r.p.s 10 inch series for semantica records come with new artwork!. including remix by plant43. one per customer!!

you know the score. another must buy release by gerard hanson. besides e.r.p.s gallup string there are 2 excellent remixes by ideograma and svreca. limited repress comes in clear vinyl!

first edition of the evoked potentials series.

indie edition

the deluxe bookpak 2lp+7inch+book !

in gatefold, trash metal

the override switch combines the talent of two detroit natives: jeff mills and rafael leafar. the latter is a multi-instrumentalist with a strong affiliation to jazz music. through mike banks, he was introduced to jeff mills, where the idea for the override switch began to manifest. the album is a homage to artists like john coltrane, j dilla, kraftwerk and those who inspire experimentation with what can be evoked through music.

1/2 gott is the new project of sneaker from dresden/berlin and scannoir from zurich, who share their love for ebm and synth pop not only when djing but also when producing. in several nights and with the help of a decent group of instruments, they have evoked a series of tracks that can certainly be subsumed as new swiss wave. the first record is entitled 1/2 gott and will be followed by gott in the foreseeable future. the result is music that sounds as if the iron curtain had never fallen. although sneaker likes to step to the microphone, he leaves the vocals to scannoir, who gives the perfect counterpart for the menacing beats with his deep laments. the tracks are little masterpieces in the matter of repetition with whipping drums and off-beat percussions. however, they cannot disguise their hymn-like gesture. this must be the sound of a sunrise over the industrial area.

deep listening, spatial imagery and floating introspection evoked by genres of ambient and electronica to enhance the immersive journey with rhythms of dub, bits of breakbeats plus erratic frequency rumbles and machine noises.

vast, expansive and introspective works utilising place-specific found sound on this second cremation lily lp for alter. contemplating mortality, illness and the perennial bleakness of british winter in a seaside town we find zen zsigo experimenting with piano, violin, synthesiser and walkman tape players. layering field recordings of the hastings shoreline atop druggy, stretched out 303 basslines and snippets of spoken word there seems to be an overarching thematic of memory and reflection at play. from vignettes of crumbling glass and bittersweet drones through to sprawling, semi-rhythmical pieces (‘as a sea creature...’) it seems as if zsigo is trawling the coast for fragments of its former glory. the end result of his study manages to echo the work of yoran, leyland kirby and even jacob kirkegaard yet the rare moments where he lays bare his own vocal narrative seemingly transforms in england now, underwater into sonic diary territory. mixing salt-water soaked cassette loops with haunting, minimalist piano motifs and warped recordings of crashing waves and bird noise an intense atmosphere of ballards drowned world is evoked through sound.

when i first stumbled across mix tapes out of hamburgs seminal front club (with klaus stockhausen and boris dlugosch at the helm) during the glorious and carefree early days of the popularized internet, there were certain tracks on them that struck a chord. in fact there was one specifically, i couldnt stop listening to. the mixture of an infectious bass line, a super sharp snare, music and harmony vocal snippets, happy claps and synths lines that evoked pictures of a convertible going down a coastline, and - to top it all off - a tribal chant, was irresistible. after some intensive track-id-hunting pre-shazam, i found out that the heaven-sent hymn was music by an act called syncbeat. originally released in 1984 during the craze that was called uk electro via street sounds resp. streetwave and later licensed to german omnivore zyx records. a joint venture between the electro-funk mastermind,dj pioneer and edit maestro greg wilson as well as manchester musicians martin jackson & andy connell, it is exactly that type of dance track that eludes any classification - as you can see from my description above. or to cite greg wilson himself from one of his essays on the subject of uk electro: the track that received the best response was music by syncbeat, which was full of good vibes and could have easily been re-vamped down the line as a house track.

an ardent heart is a focused techno mini album that brings forward stefan goldmann’s most dancefloor-centered material in a decade. the tracks push and pull relentlessly. despite their linear appeal, there is an intricately balanced interplay between the heavy-handed kicks, the bouncy bass accents and the sizzling, yet clear-cut details whipped up by the rallying drums. the peculiar, seemingly “vocalised” mode of synthesis is maybe the most unifying sonic characteristic of the six tracks and one coda. formant shaping, vowel filters and airstream perturbations let a wide range of sounding elements speak in the tongues of a cybernetic babylon. layered polymetric patterns perforate the aural plane with alien scripts. clearly structured, yet opaque messages that seem to have traveled for aeons emanate from the red-hot circuitry. they spill into a network of delays, channeled down into labyrinthine corridors, enveloped in electrostatic noise. most tracks build on chance patterns evoked with hardware sequencers and freeform modulation sources. the resulting synthetic systems are as cohesive as they exhibit vast internal variation and range. thus balancing simplicity and complexity right in the middle, the results are just as immediately gripping as they can feed sustained attention. a wide palette of distortion and overtones mark the contours of individual elements that seem to have near-physical qualities – as if there were metallic strings, thick membranes, a resonating sphere, all struck by electric mallets, caused to vibrate by mechanical bows and sung by silicone lips.

extending from the abstract and varied sound worlds exposed in the alien jams radio show and guest mixes, nervous system responds to evoked feelings of unease and anxiety, anatomical complexities, signalling networks and political uncertainty, nervous system is the first compilation to be released on alien jams and brings together tracks by rosen, xname, acolytes & alohbe, foql, rkss, ondness and recsund.

“struggle artist” is the new album from justin c. meyers, the minneapolis-based composer, artist, and head of the sympathy ltd. label. meyers is a unique, underappreciated talent in contemporary electronic music. his greatest strengths are twofold: his compositions have a meticulous structural logic, revealing a hermetic and austere formalism, concurrently, his compositions have a deep, introspective narrativity grounded in his lived experience, evoked with a mature clarity. together, they make meyers one of the most interesting electronic musicians working with cutting-edge sonics today, unlocking their latent powers of metaphor and figuration. his previous album, 2016’s “negative space (1981–2014)”, deals with the onset of chronic illness and near-death experience. its careful, anechoic meditations on the failing body are a resounding achievement, and the album remains a high watermark of acousmatic music in the 21st century. “struggle artist” portrays meyers’ expectations and disappointments arising from making art in his free time. created initially during lunch breaks and in hospital waiting rooms, and finished after being laid off from his job, it catalogues the despondency of the precarious life. if “negative space” was about the fallible body, “struggle artist” is its violent collision with late capitalism.

we are delighted to welcome egyptology to the hands in the dark family. the parisian duo, made up of stéphane laporte (domotic) and olivier lamm have been active since the late 90s in the french post-electronica/avant-pop scene. sur les autres mondes is inspired by a publication by french astronomer lucien rudaux (1937, larousse) in which he imagined the landscapes of other planets in our solar system through scientific descriptions. partly composed for a performance at the prestigious louvre museum in paris, the album is the band’s first full length output since 2012, and we can assure you that it has been worth the wait. their sharp ear for detail and the epic worlds evoked through the album make for an auditory voyage which is as graphic as the words inked by rudaux. the duo is bringing the 70s kosmiche genre back to life in a very fresh, bold way, offering a strong shot of pure analogue sound and a fantastic, melodic approach to synth-based ambient music.

repress - for their first multi-artist compilation, music from memory take us on a trip to the heart of the amazon rainforest. outro tempo: electronic and contemporary music from brazil, 1978-1992 is a double lp that explores the outer reaches of brazilian music, where indigenous rhythms mix with synthesizers and where mpb mingles with drum computers. as brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of brazilian music and culture. they embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. at the same time they referenced the musical forms and spirituality of indigenous tribes from the amazon. the music they produced was a complex and mesmerising tapestry that vividly evoked brazilian landscapes and simultaneously reached out to the world beyond its borders.

2017 remixed & remastered edition.
composed of members buckshot, 5ft, and dj evil dee, black moon simultaneously kicked off and defined the rap renaissance of new york with the release of enta da stage in 1993. whereas plenty of earlier groups had spit rage-filled rhymes to tear down the world’s unjust establishments, no one had evoked brooding pathos or introspective anger quite like black moon. underground hip-hop might have been dominated by the sunny sound of g-funk when enta da stage dropped, but from then on the scene turned to the dark side. black moon was rising.

composed of members buckshot, 5ft, and dj evil dee, black moon simultaneously kicked off and defined the rap renaissance of new york with the release of enta da stage in 1993. whereas plenty of earlier groups had spit rage-flled rhymes to tear down the world’s unjust establishments, no one had evoked brooding pathos or introspective anger quite like black moon.

a subtly appealing tape in a pink cover with an imposing artwork of highly erotic nuances: this cassette, originally promoted as candy-coloured sex-shop electronics, is the absolute gem of internazionale s discography and is clearly destined to become a timeless modern classic. together with the track the charnel house, included on the compilation ny dansk romantik, the excellent craftsmanship of elegy for the victors quickly evoked the loyal admiration of listeners worldwide who were captivated by its charm. this earned the danish artist a cult status and established him as an accomplished composer. the ambient music with an industrial flair of his earlier releases becomes organic in elegy for the victors and acquires life: a life depicting gorgeously melodious passages which tell a story of happy sadness or of sad happiness. such narrative is constructed by means of a lo-fi but majestic and emotionally charged sensitivity, gentle waves of haunting loops, cinematic samples and sweet maritime sounds which will hypnotise you. this is the long-awaited remastered vinyl reissue with a new artwork which, beautifully and more appropriately, captures the melancholic essence of a masterpiece of rarefied elegance.

nice price deal !!! executive produced by peanut butter wolf and with a sleeve designed by matt rowland/liger vision (based on the sleeve for the wreckin cru s 1984 electro classic urgery ), the ep evoked the spirit of that classic era of electronic sound and innovation.

vinyl 7- edition of 150 housed in uv printed sleeve. the album is the result of a double consideration travelling on a parallel path. on one hand the sensation evoked by dissonant organic sounds merged into patterns and chaotic structures,on the other hand its connection with the exploration of the concept of propaganda, with its adaptive and unstable nature, its relationship with the concept of privacy and its application in everyday life in the digital era. the two tracks, non sono un criminale and non ho niente da nascondere, are composed by a loop structure in order to emphasise the sensation of anxiety and confusion, the melodic changes are introduced by the use of pronounced reverberations, especially in non sono un criminale

way down into south america deepness theres a city named cordoba. inside this city dwell the rationalism family and thru this family members imaginary, beats of all sorts are evoked, thus came crudeza cordobesa a superb compilation, including four proper argentinian gentlemen and one amazing paraguayan

fast-rising rebel queen francesca lombardo is back on crosstown with her seductive new single ‘what to do featuring remixes from infinity ink, matrixxman and a luca cazal dub. showcasing francescas undeniable raw talent and pure, fluid vocal flair, what to do is another example of the producers sublime song composition in an electronic framework. the sultry mood evoked by francescas voice wraps around the infectious melody as spooky ethereal tones rise and fall with the subtly driving groove. infinity ink strip down the elements with mechanical precision, injecting some darker bass and a more solid kick. matrixxman revels in the twilight zone and delivers an alternative trippy tapestry of jagged synth stabs and melodic bleeps with only waves of the vocal. luca cazals dub is a perfect late night builder with added sonic textures

chad kaska aka daegon strikes again with his deep new ep >subterrene< released on cirque du minimaliste as a 12 inch vinyl. his approach on producing minimal electronic music is a solid work with a telling vibe and an inspiration evoked from the unknown. >subterrene< (a side) and >525< (b side) are an amazing addition to daegons former releases, without any compromises. paranormal noises, haunting atmospheres and pushing basslines will give you the creeps!

demdike stares debut album >symbiosis< was released in late 2009 and explored sean canty and miles whittakers interest in re-appropriated found sounds of all colours and origins. fast adopted into the >hauntological< canon, the album evoked the noises and spirits of distant yet oddly familiar locations.

olmeto’s first release of 2009 takes the flamenco bull by the horns and drops a track of such spanish influence, you’ll think you’re at las ventas! señor bushwackas ‘dromederie’ neatly entangles beautifully mournful spanish guitars, passionate feet stomping flamenco dancers with modern glitches to create a seriously ferocious tune with an underlying feeling of treachery. the percussive elements embroiled in the final three minutes (specially edited as a dj tool for the creative amongst you) are so unique, the reaction evoked on any primed and ready dancefloor has to be seen to be believed…it’s a tune you’re not going to forget in a hurry! side two, ‘the blues’ takes an altogether slower, more winding approach but is sure to draw you in from the off. whilst we are reminded ‘this is the blues’, rising melodies and catchy loops reminiscent of grooving disco transport you to a sleazy den of dance iniquity. marking the twentieth release on layo & bushwacka’s olmeto imprint, ‘dromederie’ & ‘the blues’ are a stunning representation of the forward thinking dance music this label has to offer. not to be ignored.

for their first multi-artist compilation, music from memory take us on a trip to the heart of the amazon rainforest. outro tempo: electronic and contemporary music from brazil, 1978-1992 is a double lp that explores the outer reaches of brazilian music, where indigenous rhythms mix with synthesizers and where mpb mingles with drum computers. as brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of brazilian music and culture. they embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. at the same time they referenced the musical forms and spirituality of indigenous tribes from the amazon. the music they produced was a complex and mesmerising tapestry that vividly evoked brazilian landscapes and simultaneously reached out to the world beyond its borders.