custard yellow coloured vinyl.

zweites album des mexikanischen produzenten cesar urbina aka cubenx, dessen minimalistische und bittersüsse electronica künstlerkollegen von agoria bis michael meyer begeistert. -elegiac- enthält 11 neue tracks mit gastvokalisten wie cyane aus mexiko, yasmin hamdan aus dem libanon und born in flamez aus berlin. das 180g doppelvinyl enthält 3 zusätzliche bonustracks einer digitalen vorab-ep, die hier erstmals auf tonträger erscheinen.

out of print for nearly 40 years - now finally back via soul jazz. fully remastered from the original tapes and pressed as a limited edition of 1000 copies on vinyl with download code included.

from the heart of macedonia comes herzel with his first ep for uncanny valley. the four tracks point him out as an expert for creating tracks on the blurred line between rave and darkness. if you are listening on a proper sound system, it is almost impossible not to be moved by the mighty drones of forms that almost feel like tectonic shifts. glide runs in similar veines and brings power to the dance floor with rolling bass synths and sublime pads. a little more straightforward is glowworms with sharp drums and an acidic synth theme only to finally merge into an elegiac climax. finally, two hits hard with slapping synths and a dubby bass line, a gripping yet somehow nasty track.

it’s always exciting to introduce new names to the spring theory roster and pedro vian, its latest addition, makes no exception to the rule. it’s also the 10th release on spring theory, so more reasons to rejoice! the barcelona-based producer came to (my) attention with his releases dancing hindus and titled beautiful things you left us for memories on his own label modern obscure music. this ep picks up some of the themes from those records and further explores of his style of elegiac synth lines and primitive drum machines. the sound of dancing alone with your eyes closed, late at night. haunting house for the heartbroken.

born in poland and now operating out of the ever-effervescent london, the adoptive city where she’s learnt the ropes of music production and djing, anii – real name ania iwinska – has lived many lives in one. yet if one thing’s remained a constant over the years, no matter the harshness of the obstacles life threw at her, it’s indeed a deep and inextinguishable love for music, be it behind the mixing desk at wired studios or in her own shoreditch workroom, the key place where she’s kept honing her skills with unfazed diligence, up to the point of making it her actual second home. a&#324,,,,,,,,ii lands her debut transmission on kompakt and surely not the last. named after the polish word for ‘roots’, ‘korzenie’ finds ania threading her way in between subtle deep-house and techno folds, delving into the essential strength of her past and present to carve out an hypnotic maelstrom of traditional polish music strings, tribal percussions and elegiac melodies. coupling eerie ostinatos with stealthy bass moves, it’s an ode to the magnitude of memory and power of resilience that reels out, blurring the line between late night club environment and further spacious, moony soundscapes.

this is a great sophomore effort by this scottish outfit. the singer has a unique semi-quavering voice with a melodramatic quality that suits the music and would equally suit him on stage in a musical. some songs are aggressive but with a dark hue. opening cut -a leaving song- finds sutherland carving his way through jangly and buzzing guitars set to a skittery beat with a touch of the theatrical. closing is -home-, a forlorn ballad with sutherland delicately pleading -please let me come home-, elegiac and sweet.

following the success in 2017 of the koharu kisaragi/ryuichi sakamoto collaboration neo-plant, uk label lag records continues its revival of vintage electronic esoterica with kissh&#333,, tennyo, the 1984 lp by joe hisaishi, premier film composer of japan. whilst known worldwide for his elegiac scores to studio ghibli classics like princess mononoke and spirited away, it s a different kind of soundtrack behind kissh&#333,, tennyo, intended as it was to be a musical accompaniment to an 80s manga of the same name. it s also a showcase of hisaishi s lesser known talents as an electronic musician, shortly before he became composer of choice for world-renowned directors such as hayao miyazaki and takeshi kitano. on kissh&#333,, tennyo we hear hisaishi unleash synth arpeggios with all the suspense of a giallo horror. his cold minimalist ambience evokes the likes of terry riley. tracks like &#34880,,,,,,,,,&#12398,,,,,,,,,&#25239,,,,,,,,,&#20105,,,,,,,,, ( blood feud ) meanwhile lighten the mood, running at car chase speed with the bounce of early ymo. all in all, befittingly beguiling music for the cartoon tale of a modern femme fatale who has the powers of an ancient deity (the eponymous kissh&#333,,,,,,,,, tennyo or &#21513,,,,,,,,,&#31077,,,,,,,,,&#22825,,,,,,,,,&#22899,,,,,,,,, , to use the album s japanese title). in the same spirit of the manga, lag records have combined the old with the new on kissh&#333,,,,,,,,, tennyo. licensed by tokuma japan communications, the original release from classic anime label animage comes with new artwork by luna monogatari, and a remastering courtesy of jerome schmitt at the airlab. a download card and poster will be included with the gatefold. lp which comes on standard black vinyl.

the shadows is the new album from leeds-based six-piece tomorrow we sail. building on their debut release for those who caught the sun in flight (gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise tomorrow we sail’s sound. yet, there is a new sense of urgency here. very much an album of its time, the shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling that’s even more defiant and deeply personal.

like its predecessor, the record features seven songs but from the chiming guitars of opening track side by side it is clear that the stately pace of for those who caught the sun in flight has made way for a far more dynamic and driving energy, perhaps best captured in the righteous anger of the ghost of john maynard keynes. tomorrow we sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of winifred and to sleep. urgent, yet assured, the shadows demands your attention.

following the first two elegiac notes to our dear lost cindy, palmbomen ii s third dedication arrives with the last 12inch available independently of the four piece set and a new episode of real talk. throughout memories of cindy pt. 3, voicings from the palmbomen ii paradigm are pared down to their vascular essentials. pumping iridescent, melodic acid house through club fog and californian smog on ultimate lovestory fantasy, teleac, and disappointment island, the nearly hymnal qualities of wilcos funeral and fat director counter the dance cuts and commemorate cindy with colors reminiscent of schmoelling-era tangerine dream as twisted by kai hugos melon

apollo proudly presents the debut from haramia tapes, a new mysterious side project from renowned hungarian electronic music producer laurine frost. more usually known for his refined techno sensibilities, frost has packed pfunk with deftly programmed rhythmic structures and infused it with low slung bass and jazzy textures that make for a sumptuous, enveloping listening experience, ideal for fans of nonkeen, jazzanova or leftfield. pfunk contains seven unique beat sessions - smooth funk, crossed with unique broken rhythms, live drums, bass and found sounds - shot through with cinematic melancholy. from the elegiac piano of opener i am you to the twisted drunken breaks of pfunk to the cooled out percussion and spaced atmospheres of hail, or the moody spy-movie atmospherics of farewell four - this is an album that traverses a variety of moods and textures, effortlessly fusing traditional instrumentation with modern electronics and a perfect addition to apollos beguiling canon of mellowed out grooves.

this ep s lead track comes in form of a deep dub techno aesthetic at an adequate 128 bpm while not neglecting warm and melodic elements. “box drop” stands in the tradition of höppner s interest in musical detail rather than blatant functionality: aside from his recognizable kick drums and basslines nick lays out plenty of harmonic layers and effects such as string arrangements, leading synth pads, now trickling then rotating sound patterns, making this cut as elegiac and frisky as it’s muscular and straightforward.

opalescent, the debut album from mercury music prize and ivor novello award nominated artist jon hopkins has been remastered and reissued for the first time on vinyl for its 15 year anniversary in a special edition 2 lp gatefold with liner notes.

skin and bone. a face featureless, white linen. the debut 12” of funeral future greets you with a cold hand and welcomes you into this dark night of the soul. manic pulse, cutting hi-hats, and funereal leads. techno has never sounded this elegiac.

its winter in detroit and fit siegel has given us * carmine*, a moody techno classic perfect for the lonely season. subtle, low-key and thumping, the title track revolves around a bittersweet piano lead, elegiac 303 and blade runner string swells. its a high-tech driving song in the tradition of model 500s low-key classic * pick up the flow* and fit sounds more assured than ever. * first found* is mills-ian jigsaw puzzle techno imbued with breathy and addictive humanity. stacatto, free-jazz informed piano solos lock into ping-pong synths -- eventually, a female vocal emerges over a bed of arpeggiated bass. loose yet robotic, * first found* is first-rate detroit techno mysticism. the record as a whole is a worthy entry into the motor citys storied canon from a leader of the new school.

there is music that is made from the outside looking in. the textures are vibrant and the beats bang, but there is a hollow radiance at the core. it is pantomime. then there is los angeles alfred darlington aka daedelus, who has released a dozen albums in a dozen years straddling countless sub-genres. they are united by his insistence on letting his emotions guide the blueprint. if you have listened to his music, you understand. there is a balance between the direct and the obtuse that cant be articulated in words. this is part of the subtext for drown out, daedelus most elegiac album. his debut for anticon is a heart-on-sleeve meditation devoted to loss, coded language, and the maddening failures of communication. and yet you can still bob your head to it.
the vinyl lp comes with code for download of the full album.

femen is the second ep from hound scales on fifth wall, the brooklyn imprint he runs with divvorce. a dedication to the powerful women that have sculpted his life, the release sees the artist setting out to create the story of their impact on him by distilling these and other major influences into a techno format. the result is two originals blending amen-style jungle rhythms with collapsed industrial squeals, each with its own sense of beauty clawing upwards towards the surface.on the remix front, japanese producer and 10 label head honcho yuji kondo delivers an incredibly complex, layered interpretation of *a clique of tough women*, while mira and opal tapes affiliate bleaching agent pits the elegiac chords of the original *throated* against a repeated, mangled vocal motif, imbuing the remix with nostalgia while remaining an effective dancefloor instrument.
support includes marcel dettmann, norman nodge, sunil sharpe,tommy four seven, perc, and, forward strategy group, sigha, darko esser, mosca, shadow dancer, and sinden.

new joints on the way from lovers rock. following his debut itals theme on 100% silk and the collaboration with la vampires, ital returns with culture clubs. two elegiac cuts + a remix by chicagos f***ed-acid mastermind, hieroglyphic being. deep opulent sway, submerged pitch bend and thousand yard stare ambiance. culture clubs meets mannheim steamroller downtown, eternally yours drips and cuts, and hbs no culture mix freaks like none other. outsider techno for a weeping world. edition of 500 in dj sleeve.

animal knights - creating something new by coupling the established! pique on the a-side is pure dancefloor-kerosine and an archetypal peaktime-hit. the elegiac kalmuck on the flip takes it from a rather gentle approach and is impressed by a catchy melody followed by guitar and singing passages. both tracks share the same amount of animal trainer and round table knights styles without any doubt

bob dylans >love & theft< was a true return to form, his 30th studio album, with the unfortunate release date of september 11, 2001.
his voice is shot, but he sounds warmer, more relaxed, and old mr. grumpy is as good humoured as on >the basement tapes< (movlp 429). bob is in a wistful, elegiac, playful mood. he has recovered the humanity he lost on >time out of mind<, and is looking on life with loving eyes. he has thrown off the weight of life and is remembering a better self. and that makes this one of his more accessible albums, despite a lack of high-flying hit songs.
with beautiful printed inner sleeves and 180 grams audiophile vinyl, this is the first vinyl re-issue since 2001!

from the very start, track one the first thirteen minutes of love opens the album with over ten minutes of ambient unlike anything you’ve heard in years, a long, elegiac composition somewhere between carl craig and the chill-out zone at a bygone rave. it’s a warning: take a deep breath before being swept away by eight tracks that span detroit and berlin, front 242 and carl craig, linking them via soaring trance, carefully-crafted minimal, the sound of the 90s, the sound of the new millennium. it’s hard to imagine the strike force and heart pangs it will inevitably inflict on any club in the know

it really is an unbelievable honour for us that we may release this fantastic track by von spar, a track that might as well be found on their outstanding album >foreigner< from 2010. maybe it is because we are such a big label and this crude, elegiac, and emotionally mighty sound of these guys fits just perfect for us. and whoever would like get out of this tunnel of infinite deepness should rely on the remix ada comes up with. trust is good-but no doubt, control is better.

nsyde music is happy to announce their first installment for this label. daso franke a.k.a. daso shows on nsyde music his deepest soul and his irresistable sense for activating great emotions. >why try< includes a certain warmth and invites every listener to slow down and float on a streched timeline that lets time and space pass by. shown to fred p, who inmediatly fell in love with the elegiac melancholy of the track, the idea of a remix was born. fred p alters the strechted timeline to a straight forward moving one. like an unstopable train ride the track starts to build up, step by step, ending up at cruising speed when the sublime warm chords hit reade truth opens up a big space for the original melody, the percussion work and the punchy bassdrum is just the right basis for the melody to meander. getting support from the likes of keith worthy, daniel bell, basic soul unit, efdemin etc. , this is gonna be something for the heads out there!

following on the stunning remix for micromattics >under over the clouds< (ar1), opuswerk provides 3 remarkable tracks for his debut ep on absolutive records. his intricate compositions reveal the wide sound palette and elegiac influences that inspire this artists musical visions. opuswerks activities naturally evolve with several releases and remixes for different labels (absolutive records, hope recordings, ponyplay).

after several side-projects as sid lerock and gringo grinder, pan/tone is now back with >dr. pyckle and mr. pryde<. >the tear jerker< is one of these elegiac anthems, building up more and more in a way you never want it to end. the flip resurrects the momories of the good old school of cologne - back then, when minimal was still pristine, and the groove as the fundamental element was still wirth something. as a bonus there s a remix by kimberly & clark, accentuating the track with some bleepy bliss, and loads of 808

on la manie oliver koletzki released originally the track mÜckenschwarm. after oliver koletzki left la manie because of his own career, michael sehte get into the project and brought his anarchistic character in the new tracks. and here they are, the new tracks. >drecksbeat< sounds like it s called. dirty, nasty, horrible. the consequential continuation of >mückenschwarm<. it will be transform the dancefloor into a pillow fight and jawing match at the same time. the b-side track >the cocka hola company< is affected by the homonymous wonderful book of michael forsakken. the gloomy matrix retrieves memories of old ebm-days. it is sallied by a an elegiac melody. its for the dj who will not shrink from kitsch. see you at the floor. the weasel-quick children from downtown are back!

the shadows is the new album from leeds-based six-piece tomorrow we sail. building on their debut release for those who caught the sun in flight (gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise tomorrow we sailÕs sound. yet, there is a new sense of urgency here. very much an album of its time, the shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling thatÕs even more defiant and deeply personal.
like its predecessor, the record features seven songs but from the chiming guitars of opening track side by side it is clear that the stately pace of for those who caught the sun in flight has made way for a far more dynamic and driving energy, perhaps best captured in the righteous anger of the ghost of john maynard keynes. tomorrow we sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of winifred and to sleep. urgent, yet assured, the shadows demands your attention.