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Visonia returns to Electronic Emergencies with the powerful Amethyst Eclipse EP. Evolving naturally from last year's Nausicaa, our beloved Chilean moves into darker techno territory without losing his distinctive melancholy while experimenting on the crossroads of ambient and electro. Once again, the resulting electronic storm will blow you from your inner space to the dance floor and back. Artwork was created especially for Visonia by silas.nl, also known as fellow EE star Machinegewehr.

Inspired by an evening spent in a restaurant next to a car demolition site, Eindkrak's long player debut echoes the distant sound of steel being crushed and cars pressed into cubes. All this noise, in combination with the taste of good Italian food, lead to the eleven tracks making up for the aptly titled Brullend Staal — loosely translated to weeping steel. A leisurely stroll on crumpled metal sheets, the acidic hints of oxidized metal and the smell of gasoline. Inaudible and distorted vocals as if smothered by the clatter and smokestacks of steel factories. Eindkrak's first full-length is all about this disquietude made of melted and straightened metal. A resounding and tumultuous din. Try to eat some nice gnocchi while listening to this album, and you'll see what it is all about

Sequoyah Tiger is the brainchild of Leila Gharib, songwriter and singer with a constantly shapeshifting voice from Verona, Italy. Following last year's Ta-Ta-Ta-Time EP, Sequoyah Tiger's debut album Parabolabandit expands Leila's distinct musical language, dragging us deep into her dark, twisted and sparkling fantasy. While exploring the limits and hubs of pop traditions, weird sound studies and vocal experiments, she comes up with bewilderingly beautiful songs in which vintage rock 'n' roll and present-day avant pop happily clash with electronic and acoustic elements, jagged beats and subtle rhythms, otherworldly shouts and confessional words.

Matching the customized vibe of her music, Leila likes to create compelling word combinations as shown by those of her alias and release titles. - Parabolabandit is a graft between two words that emerged during the writing process of the songs , she explains. - Inside this imaginary word I found roots, trunk and leaves of the entire album. The concepts triggered by this neologism inspired not only new music, but also videos, artworks and future live performances, for which Leila will share the stage with dancer Sonia Brunelli. A - parabola can mean a dynamic, geometric shape, but also refers to a storytelling technique. A - bandit on the other hand represents something mysterious, an uncanny figure. You can easily spot all those contexts in Sequoyah Tiger's music.

Since Leila has always been involved with collaborative projects like the performance art duo Barokthegreat or the indie rock outfit Bikini The Cat, this album presented a chance to handle the whole process on her own, from writing to mixing. The album was recorded in Leila's basement studio - Vampa Club , where she follows a kind of trial-and-error approach, discovering new possibilities by solving problems. Every input is welcome: acoustic drums mixed with drum machines, processed guitars and synthesizers, field recordings and animal calls. But - singing is the main point and the cause for this project , Leila stresses. From the intimate crooning of album opener - Another World Around Me to the Chipmunk outro of - Brilliant One , Leila passes through a wide array of vocal effects, tuning her voice to the mood of the songs. Although she shut out external influences, you can still hear echoing Joe Meek. The harmonies of The Everly Brothers shine through in songs like - Sissi , and - Where Am I has the sentimental air of a Ronettes classic. Still, you get dragged into the present again and again: The synth arpeggios of - Punta Otok confirm that Leila shares the DIY-pop attitude of Visions-era Grimes, while - Brother Brother inhabits the same weird world as Panda Bear. From beginning to end, Parabolabandit is a unique and sincere sketch of modern pop music, full of enthusiasm and inventiveness.

Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7' single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."

Musique Électronique' is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the From Bocal 5 To X-Ray Pop' album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7' originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured, richly textured, moving at a quick speed with hardly a pause. Evy's pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group's sense of humor, vitality and carefree playfulness.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band's archives designed by Eloise Leigh that exudes the project's DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.

Summer has not officially kicked in yet but Antinote's new addition to its roster will sure soundtrack perfectly its upcoming warm nights: encapsulating the teenage dream of an endless summer, 18 RAYS is the moniker behind which some of the label's most steady fixtures gave a try at recording music together, somewhere straight in the heart of Paris' 18th arrondissement.
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Nico Motte, Zaltan & Raphaël Top-Secret have been friends way before each of them occasionally played his part in the Parisian label and it is mainly out of this friendship that they conceived 18 RAYS, a vessel to finally give life to the band they dreamed of in their teenage years. It is safe to say that 18 RAYS has been in their mind for quite a while, but it was only last winter, after a couple of bottles of natural wine on a hazy evening, that they decided that it was time to give it a real go and to pick up the instrument each learned years ago: the guitar, the bass and
the drums.

Produced by Nico Motte - the man behind all the artworks of the label - the trio spent 5 weeks between Synth City (Motte's studio) and Red Bull Studio in Paris working on these 4 songs, each sitting somewhere between some sort of timeless and somehow aquatic dream pop and blurred visions of an eerie grunge sound, that probably
never was.

That being said, the genesis of 18 RAYS might explain why their debut EP turns out to be such an intimate affair: while it took its members down memory lane, the listener will embark on an ethereal trip, taking him to a parallel universe in which the sounds of Cocteau Twins,

Lassigue Bendthaus is the electro-industrial project of Uwe Schmidt aka Atom™ or Señor Coconut from Germany. Uwe Schmidt began making music in the early 1980s, first playing drums, then switching to programming a drum computer after he had heard a Linn Drum on the radio. In 1986 he co-founded the cassette label N.G. Medien, on which his first musical work under the name Lassigue Bendthaus, ''The Engineer's Love'', was released. Soon after, he started to work on what would become his first official record release, the album ''Matter''. The recordings and production began in 1986 and took almost 4 years, until the album finally came out in 1991 on the German Parade Amoureuse label. Musically somewhere between late ''Industrial'' and ''Electronic Body Music'', yet already anticipating ''Acid'' and ''Techno'', this production managed to cause quite a stir, due to its advanced production techniques. Songs pay strong homage to Kraftwerk, approaching the early industrial dance scene with a softer sequential approach than most of his contemporaries. ''Matter'' is a hermetic reflection about the relationship between perception, nature, science, technology and labor. This reissue comprises the entire 1991 ''Matter'' LP, as well a bonus 7'' record containing 2 tracks never before released on vinyl. All songs on ''Matter'' were recorded and mixed by Tobias Freund (Pink Elln). All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in a jacket featuring the photographic traces of a high-energy photon hitting a proton. Each LP includes a 2-sided insert with original album reviews, press clippings, liner notes by Atom™ and photos.

Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means âThe Yellow Postmen'' in Latvian. The constant core members of the band have remained Ingus BauÅ¡enieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiis (keyboards) and Ilgvars RiÅ¡is (drums). They released six albums between 1981 and 1987. All were recorded at the bandâs home studio and distributed on 1/4'' reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian. âLentu Gabaliiâ is a 10-track compilation featuring songs from each of the bandâs six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, âBolderjas dzelzceÅ¡â (The Railroad of Bolderja) a mix of dubbed out guitar/bass/drums. For their second album âMan oti patk jaunais vilnisâ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's âAlice's Adventures in Wonderlandâ and âThrough the Looking-Glassâ. The resulting album, 1984's âAliseâ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from âAliseâ as well as even earlier sessions formed the basis for the fourth album, âVienmr klusiâ (Always Quiet) also released in 1984. âDepresv pilstaâ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. âNaktisâ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by BauÅ¡enieks over the previous years. All songs have been mastered from original tapes at Bicycle Systems, Rga, by Ingus BauÅ¡enieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11❠insert with never before seen photos and liner notes.

REPRESSED !!

Originally self-released as a 7'' in 1982, Plath release is definitely one of the obscure gems of the Italian underground. TIP!
Plath were a duo from Prato, formed in 1982 by Silvia Innocenti (voice, bass guitar) and Fabrizio Lucarini (synth, drum machine). Plath were influenced by Throbbing Gristle and early Cabaret Voltaire works, moving in between two essential thematic actions: first, the constant search of a sound which aims to reflect the current reality as they were interpretating it and, second, the constant exposure of their anarchist ideological thinking against the established political and social system.

Mastering by Ruud 66.

Original 7'' graphics reworked for this issue.

While the A-Side includes the original single in full, with the classic 'I Am Strange Now', recently unearthed by Alessio Natalizia/Not Waving in his monumental 'Mutazione' compilation released by Strut Records in 2013, the B-side instead contains a killer percussive edit of Alessandro Adriani made for the most crazy mental dancefloors..

Electro, Breaks & SciFi-Disco! Dagobert's intergalactic fourth long-player on Dominance Electricity,
documents the transition from his former Electro-Breakbeat dominated productions to the genre-crossing
Electro variations of his new project MasterArp.

Covering works since his last release in 2011, the carefully selected songs on Startopology draw the listener
into Dagobert's cosmos of melodic and rhythmic playfulness somewhere between Electro, Breaks, Space-Disco
and Sci-Fi score music.

Electro, Breaks & SciFi-Disco! Dagoberts intergalaktischer vierter Longplayer auf Dominance Electricity
dokumentiert den Übergang seines bisher Electro-Breakbeat-dominierten Stils hin zu den verstärkt
Genre-mischenden Electro-Variationen seines neuen Projekts MasterArp.

Produziert seit seiner letzter Veröffentlichung im Jahr 2011, ziehen die für dieses Album sorgfältig
selektierten Werke den Zuhörer in Dagobert's Kosmos aus melodischer und rhythmischer
Verspieltheit irgendwo zwischen Electro, Breaks, Space-Disco und Sci-Fi Filmmusik.

Magic Waves brings us the first full-length EP from the enigmatic and secretive JaX DaX. 'Retribution' is a dark record that breathes a breath of fresh (rotten) air into techno, re-connecting it with its New Beat and rave roots, and presenting the kind of hammers that would surely make the likes of Joey Beltram or Mental Overdrive proud while bringing any dancefloor or illegally-occupied warehouse to its knees. Watch out for this record, it's limited and hotter than hell!

The frosts of Finland are blasted away by the radiate synthesizer sunlight of Surf Dancer! Rich analogue textures are supported by Surf Dancer's love of the vocoder, computer-spoken lyrics twirling amidst addictive melodies and clean-cut beats. Sweet notes and even sweeter words swirl in this world of ray guns, unicorns and of course rainbows. Strings soar skyward in the elation of Rainbow Man' before the sleek funk of Rocket in my Pocket'. Joy pours from the needle drop, instant happiness and body moving music from start to finish, the end coming in the xylophonic goodness of Future in the Night'.

Frigio Records are delighted to announce that Alessandro Parisi is once again donning the darkened robes of Hesperius Draco. Following the acclaimed Cathar Rhythms this supremely talented Italian artist delivers. The five track mini-album continues the Draco search to balance tainted techno, sinister synth and soulful sounds.
The underhanded rumblings of Tronitum Domini' introduces before filth encrusted bass blurs the menacing visage of Mjolnir', claps scarring the already grimacing sounds. To end the first side, the medieval blast of ASI Kingdom (Mitt Hjerte)' is track that surely won´t pass unnoticed. Skies crack with thunder by analogue alchemist Drvg Cvltvre on this interesting remix of Fenrir Eye' which original version ends the release with Blackened clouds build for the intense and tapering approach.

Keine Ahnung was a quartet from Wörth am Rhein, Germany formed in 1980. The original line up was Rolf Schmuck, Franz H. Rodenkirchen, Elke Fuchs and Olaf Schumacher. Hermann Kopp from Stuttgart, a friend of the band, contributed a composition on their first LP and became a full member in 1985. Taking cues from Conrad Schnitzler, Tuxedomoon and Dome, the band members shared a common interest in industrial, pop, avant garde literature and cinema. Their controversial name translates to Don't know' or Haven't got a clue' in German. The quartet would record three LPs in 6 years, two of which remain unreleased.

In March 1983, Keine Ahnung recorded their self-produced and financed debut LP in two days in a small studio in Stuttgart (12 hours total). The mixing was done in one day in a studio in Karlsruhe, April 1983. The self-titled LP was released later that summer on their own PASSIV label in an edition of 1000 copies. This record obtained recognition far beyond the German borders. Keine Ahnung in the studio and live were completely different. Studio time was expensive in these days, so the music was minimal electronic pop, expertly crafted and razor sharp man machine music. The live sound utilized more complex synthesizers, tapes, guitars, metal percussion and custom built electronics. The beats and bass lines came from the Roland 606/303 duo triggering a KORG MS-20 for the bass drum. The track "Funkbild DPA" is a spontaneous "live in the studio" recording, that gives a hint of what the live sound was like. All four members would take turns singing and playing the instruments.

The original master tape was transferred by Frieder Butzmann in Berlin. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in an exact replica jacket designed by Rolf Schmuck, featuring black and white texture and cartoon drawings the band members. Each copy includes a double sided insert featuring lyrics, notes and photos of the band.

LP + mp3

Here comes the brand new In The Dark Again record!
For release number 06 Snuffo got the chance to bring together four tracks by Le Chocolat Noir, Vault and Bakunin Commando.
Enjoy the darkness!

Hailing from Cologne, Mikrovolt is the nom de plume of music journalist and radio author Veit König. Recorded sporadically over the last six years, his first release I is the culmination of a hitherto undocumented musical journey. König has always made music for the last two decades, initially starting more pop-oriented before heading into a space disco direction, ultimately arriving at the retro-robotic synthesizer kraut of Mikrovolt's I. Assembled in his DAW from a host of vintage organ, mellotron, drum machine, and rhythm loop samples, König stays true to this music's cybertronic roots, locking into epic robotic pulses that sprawl into futuristic jams. König colors the synthetic palette with guitar, harmonica, or other percussion when necessary, but it's his dab-hand for driving grooves that defines the music here. While the influence of classic German acts like Neu!, Cluster or Kraftwerk is discernible, Mikrovolt's sprawling minimalist grooves owe just as much to composers Steve Reich and Philip Glass, Italian horror movie soundtracks and the era of techno and electronica in which he grew up.

Recorded and produced by Veit König in Cologne, 2011 - 2017. Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin. Artwork by Daniel Castrejon.

Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash­-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers â not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, 'Private Plane'/'International', on his own Oblique Records that we reissued in 2015. '1979' is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, '1979' was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.' Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomasâ brother Andy Wishart in 1980. Each copy includes a two­-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post­-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.

Der gefeierte Produzent und Remixer Giraffage veröffentlicht sein Debütalbum auf Counter Records!

Zwei Jahre lang hat der in San Francisco beheimatete Produzent Giraffage in seinem Schlafzimmer an seinem Debütalbum gewerkelt, das von seiner persönlichen Reise der Selbstheilung erzählt, bei dem jeder Song eine andere Periode in seinem Leben repräsentiert. Kaleidoskopische Beats und verträumte Synth-Pop- und R&B-Melodien umrahmen das neue Werk, bei dem Japanese Breakfast, Body Language's Angelica Bess und viele andere mitgewirkt haben. Der Sohn zweier taiwanesischer Einwanderer ist schon früh zur Musik gekommen - einer deutlichen Abweichung der sonstigen kulturellen Erwartungen innerhalb seiner Familie. Doch schnell schaffte er mit ganz speziellen Remixen seiner R&B-Lieblingslieder, die im Internet regelrecht explodierten, den Aufstieg vom regional bekannten Act, der bloß in kleinen Auskennerblogs Beachtung fand, hin auf die Bühnen der weltweit größten Festivals.

What would electronic music be without remixes This is a question Andrew Claristidge had to answer last year after releasing his first solo album « danser ou mourir ».Reworking the song of an other musician is a common thing nowadays. What is the purpose of it What if we would do the same in literature Imagine asking Philip Roth to rewrite Houellebecq... This is pure fantasy and this came to Andrew´s head.He started asking fellow musicians such as The Hacker, Cosmo Vitelli, David Carretta...to remix his songs. Blown away by the quality of what he received he couldn't stop himself to make its entire album « remixed » and to share it with the world in form of « danser ou mourir, relecture »
Bonus tracks with digital:

08. Automated Motion (Relecture by Baroque)
09. Mechanical Love (Relecture by Mike Theis)
10. Règlement de compte à la Cigale (Relecture by Beaumanoir.)
11. Discovering The Source (Relecture by 99LETTERS)
12. The coasts of French Cornwall (Relecture by The Third Half Time)

Touch Tones is a rotating cast of artists directed by two longtime Chicago musicians: James Elkington (Tweedy, Steve Gunn Band, Brokeback, Eleventh Dream Day, The Zincs) & Nick Macri (Euphone, Ken Vandemark, Stirrup, Bobby Conn, The Zincs). Two friends inviting one another into variance, to find solace in a state of flux, and mutual mutability. With rough-hewn, sonic sketches in hand, Touch Tones entered the studio for a short and sweet session filled with guest singers and players including free-jazz dummer Tim Daisy, avant garde violist, vocalist, and, in this case trumpet player, Liz Payne (Town & Country), Scottish vocalist and author Chris Connelly (The Bells, Ministry, Revolting Cocks), and mixed at the Wilco loft by John McEntire (Tortoise, The Sea & Cake, etc. Credited on the album as sentinel6).

Virgo On Virgo was produced by The Quiet Life - a skate/lifestyle clothing company from L.A. in conjunction with a limited summer clothing line. The 12-track LP is strictly limited to 250 copies, pressed on solid lemon yellow vinyl, and includes a hand-screened, custom turntable slipmat with a download code, packaged in a double DJ sleeve (one glossy/one matte), featuring unique artwork by Chicago artist duo Sonnenzimmer.

Zombie Zombie's debut LP 'A land for renegades' is approaching it's 10th anniversary. A decade is long enough before one should consider a full repress, and guess what Here it is. The LP that brought the renegades into our world, is back again. The combined sonic assault of Cosmic Newman's motorik drums paired with Etienne Jaumet's prodigious synth skills displayed the basis of their raw, hypnotic sound that has been the Zombie Zombie trademark style for all these years. Oh, and don't forget - there's a bonus - A download code is included for the hardcore and the undead!

TYVYT/IYTYI. A dusty tape of six tracks unearthed beneath the Pinkman Broken Dreams division. Nothing is known about this unnameable artist apart from his sound. A legion of hiss marches across the cassette, a blighted beat bites into lancing synthlines that bellow and writhe in their pitiful attempt to escape. Strings are left to howl in turmoil in tracks born out of a crude joke and wry smile. Mick Wills offers no condolences, the Stuttgart man lashing away any humanity with his embittered edit. Found in the pit, made for the pit.

Group Rhoda is the solo electronic music project of Mara Barenbaum, based out of Oakland, California. The project started around 2009 with a debut album 'Out of Time, Out of Touch' in 2012 on Night School Records and '12th House' in 2013 on Not Not Fun. She is also one half of Max and Mara who released the album 'Less Ness' in 2013 on Dark Entries Records. She is committed to live performance, situated within the analog synthesizer and drum machine medium.

'Wilderless' is Group Rhoda's third full length and first for Dark Entries Records. Each of the these 7 songs draw forth tones of tropical darkwave and soft industrial, while negating the sound of conformity and control. The album explore themes of societal and spiritual displacement, contemporary serfdom, the depths of empathy, regeneration through destruction, and the tyranny of claiming recognition and power. Lyrics are poetically expressed through allegory and explore archetypes rooted more in abstract observation rather than hard line experience. Through transgression and imagination, Group Rhoda explores the arc of songwriting interwoven into stark electronic environments, and creates a bridge between the corporeal and the dream worlds.

Each song was mixed by Mark Pistel at Room 5 in San Francisco and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a jacket featuring a colorful custom made collage by Hugo Barros and includes a full color sticker and digital download card.

Eleven Pond formed in 1986, released one epic postpunk/synth pop/darkwave LP titled 'Bas Relief' then records songs for a second LP titled 'Assemblage' and the experimental noise project 'Space Trio'. The band breaks up shortly after due to differences in taste, all the 16 track master tapes are shelved. 22 years later the song Watching Trees is rediscovered in Brooklyn NY and club DJ's in the minimal synth scene play Watching Trees. Dark Entries Records reissues 'Bas Relief', the original hand silkscreened vinyl LP becomes a $900 collectors item, invitations for the band to play shows appear on Facebook ... in 2010 Jeff Gallea reforms Eleven Pond and starts recording and performing. They release a cover of the Seasons Are Sitting on Chairs' from Arvid Tuba and a few great songs like Just Be Happy'. As we love the insane modernity of these two songs we decided to release them on Prego and asked Dmitry Distant to remix this happiness anthem. All songs are remastered for vinyl by Isolator, housed in a jacket designed by Anda Masq & Rodeo Basilic.

Originally released in 1982, including tracks written for Crosstalk (a science fiction thriller film made in Australia) and other electronic themes, it was written, performed and recorded by Chris Neal in his home studio, using Roland System 700 and Roland MC8. In 1982 there were only a few System 700s ever produced and Roland was more interested in promoting their more commercial System 100M (that's why it was credited on the 1982 original cover to give them a plug). The System 700 was developed by Taro Kakahashi and his team in Japan as a direct challenger to the Moog modular system.
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The Orbeatize remastered reissue also includes a special bonus track remixed and produced in 2017 by Jolly Mare.

This is a selection of previously unreleased tracks created at home by Enrico Serotti, without any purpose other than the fun of playing with new musical devices. The tracks date from 1983 to 1999. A pretty long time span, coinciding with the transition from analog to digital technology. Cover Art by Alessandro Pessoli.

1x each customer!! Oliver Ho's Broken English Club project delivers 12 tracks of decayed electronics and metallic techno finding a very fitting home on Ron Morelli's L.I.E.S. imprint. Comes with Download Code. TIP!
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Titled, "The english beach" the album is a sonic portrait of the strange and barren east coast town in england, called dungeness. Known as the only desert in the uk, abandoned buildings and wreckage litter the landscape. Overlooked by a nuclear power station, it feels lost in time.

Created during time spent staying in a converted old fog singal building, situated right on the seashore of this desert landscape, this new album is the next step in the project, following the suburban hunting lp released on veronica vasickas label cititrax.

Exploring the empty concrete soul of this english beach, the
Twisted metal ruins and crumbling buildings are drenched in dread and drip with a very english desolate romance. Dungeness is almost the physical manifestation of the broken english club sound.

To compliment the album, oliver has compiled a book of
Photographs of the area that also features burroughs inspired cut up word collages.

St. Vincent's highly anticipated new album - the culmination of years of writing, with songs crafted from voice memos, text messages, and snippets of melodies that came to Clark while traveling the globe. Special guests on the album include Thomas Bartlett on piano, Kamasi Washington on saxophone, Jenny Lewis on vocals, and beat production from Sounwave. Greg Leisz and Rich Hinman add pedal steel, and Tuck and Patti Andress contribute guitar and vocals respectively on select tracks. Marketing: £25K TV ad spend. £5K 'New York' 60x40 postering. £17.5K outdoor spend (billboards or tube posters TBC) Digital Marketing: £10K album spend across Facebook (carousel & native ads, organic, & dark posts), Instagram (stories, vertical & native ads), Twitter (website card), GDN banners & YouTube 20' Pre roll Radio: 'New York' was a list at 6Music. 'Los Ageless' currently A list at 6Music. & was the winning track on Steve Lamaq's Roundtable Online & Press: two big features in the Guardian Weekend magazine & New Yorker have run. Across the board support from the likes of Pitchfork, Mojo, DIY, Q. Dazed, Fader, Noisey, NME, FACT, The Line Of Best Fit, Clash. Annie is on the cover of the current edition of British Airways High Life Magazine. Live: 8 date European tour starting 17th Oct with UK dates in London (Brixton Academy), Manchester & Dublin

St. Vincent's highly anticipated new album - the culmination of years of writing, with songs crafted from voice memos, text messages, and snippets of melodies that came to Clark while traveling the globe. Special guests on the album include Thomas Bartlett on piano, Kamasi Washington on saxophone, Jenny Lewis on vocals, and beat production from Sounwave. Greg Leisz and Rich Hinman add pedal steel, and Tuck and Patti Andress contribute guitar and vocals respectively on select tracks. Marketing: £25K TV ad spend. £5K 'New York' 60x40 postering. £17.5K outdoor spend (billboards or tube posters TBC) Digital Marketing: £10K album spend across Facebook (carousel & native ads, organic, & dark posts), Instagram (stories, vertical & native ads), Twitter (website card), GDN banners & YouTube 20' Pre roll Radio: 'New York' was a list at 6Music. 'Los Ageless' currently A list at 6Music. & was the winning track on Steve Lamaq's Roundtable Online & Press: two big features in the Guardian Weekend magazine & New Yorker have run. Across the board support from the likes of Pitchfork, Mojo, DIY, Q. Dazed, Fader, Noisey, NME, FACT, The Line Of Best Fit, Clash. Annie is on the cover of the current edition of British Airways High Life Magazine. Live: 8 date European tour starting 17th Oct with UK dates in London (Brixton Academy), Manchester & Dublin

The record sleeve and inner sleeve were designed by Wolfgang Tillmans.

Imitating Aeroplanes is the new project of Tord Øverland Knudsen (The Wombats) and Marius Drogsås Hagen (Team Me) - a collective output tallying five albums, multi-million sales and streams, repeat Billboard charts, international play-listing and widespread acclaim, including a Norwegian Grammy Award and multiple NME / MTV Award nominations. On paper, it's an impressive partnership, but this is one project more destined than designed. Marius and Tord have been playing and writing music together since childhood, recording their first demos to cassette circa '96. The pair grew up in small Norwegian town Elverum before embarking respective international careers, with their latest planetary pursuit landing in Tokyo - the heartland of forthcoming album 'Planet Language', released September 22 via Propeller Recordings. The album blends elements of pop, prog, funk and psychedelia, with a no holds barred approach to song structure and production. The whole idea of this album was to do things we haven't done before, and things that we couldn't do in our existing projects,' Tord says. It feels like one hell of a journey, both lyrically and musically,' Marius adds. It's all about travelling in different ways - whether in music or in life - and somehow finding bits of home wherever you are,' he says, referencing a Japanese tour in which the pair were joined by video game composer and musician Kenji Ito (a.k.a. Itoken). Itoken's influence was great, contributing additional production and keyboard parts on instrumental prelude 'Roppongi Hills', and unintentionally coining the album's title whilst explaining his wife's made-up' language. He said it so casually,' Tord recalls, it's not Japanese, it's some sort of planet language'. It just felt incredibly profound.'