Electronic & Dance CD Sale 30 Items

Produced by DJ Koze

After L.A. is a lifetime as a moment. Not just a collection, but a consideration of what it means for an artist to have grown up, lashed out, and re-nested all within the extremely wide borders of Los Angeles. PALOMA PARFREY's ethos is immersed in LA history, both of the book smarts sort and the personally experienced. To some she is known as a chef. Others a punk diva. The majority of strangers in LA probably know her as the person always checking out 15 books simultaneously at the library. After L.A. pulls together all these things in the form of both a book and an album equal parts intertwined and standing on their own; much like the strange way the diversities of LA life and history work together. Paloma Parfrey has been writing and performing poetry around LA since she was 13. Her band, THE SHARP EASE, was an integral part of the LA DIY punk scene throughout the '00s. Her bandmate for the CD portion of this release is BRIAN MILLER, who performed in the drum and voice quartet FOOT VILLAGE, is a member of the TRUE NEUTRAL CREW, and records music for film and TV. Together they are SCROLLS. 94-page book, 5"x7", with full color cover and CD.

Finally back in Stock! Some classic Theo from the early 2000's. ESSENTIAL!

Theo's classic 2007 album back again! Loads of soulful samples, vocal house + soul tracks, some beautiful electronic instrumentals and some incredible dancefloor moving techno. Released on 3 x 12" in gatefold sleeve and 2x CD with 10 extra tracks not on vinyl.

In 2016 they released their debut album ‘Brainsugar’ via acclaimed independent label Anjunadeep. Accumulating over 40 million streams, the album won praise from Mixmag, Resident Advisor, Consequence of Sound and DJ Mag, who described it as “a startlingly accomplished debut” in their 9/10 review.

Originally an electronic duo comprised of Dutch producers Ariaan and Peter, Cubicolor became a three-piece band with the arrival of British singer-songwriter Tim in 2015, after collaborating on breakthrough single ‘Falling’. A published poet and playwright, Tim’s musical upbringing was rooted in playing guitar and listening to Nick Drake. Combined with Ariaan’s encyclopedic knowledge of electronic music and Peter’s love of late romantic classical, created what Clash described as “a beautiful, haunting fusion of ideas.”

In 2018 the band delivered, and then shelved, their second album…

“It had twelve tracks, a different name, all the artwork was done and a date was set for it to be released.

We got home and listened to it, then called each other and decided to drop the whole thing. The next week we went back into the studio and started again.

We loved the record we made but for some reason, it didn't feel right, so we didn't keep anything, we shut ourselves on the boat in Amsterdam where we work and didn't stop until we'd written a new album.”

A year after going back to the drawing board, the trio now presents ‘Hardly A Day, Hardly A Night’. Inspired by the cycles of time, and the cyclical movements of the planets, the new 12 track record weaves together themes of loss, hope, and acceptance.

“There were a lot of moments when we weren't sure we'd ever find what it was we were looking for. On the way, we lost friends, lost loves, battled health issues, lost an album, lost each other and came back together again. It feels like a lifetime has passed but the world keeps spinning and I guess we knew we would eventually find our strength and make the album we wanted to make.”

Showcasing their remarkable production techniques and textured sound design throughout the album, Cubicolor continues their unconventional rise to the upper ranks of the electronic music world.

The band will celebrate the album release with a listening event in London in February 2020, before taking their live show to festivals around the world in the summer.

* Unreleased album by Japanese ambient pioneer * Recorded in late 90’s.

Fumio Miyashita’s unreleased last recording is finally here.

We are honor to receive the master audio of Waterfall Symphony from Fumio’s family last year and finally ready to release on both Vinyl & CD."

ASA

Arturo Lanz Saverio Evangelista AtomTM

are the last three futurists on earth.

Radial« is the result of a vivid creative merge between Esplendor Geométrico and AtomTM. A transparent diamond formed by a heavy implosion. Its underlying massive mechanics are covered by a crystal surface made to cut reality in half. Just one letter short of “radical”, this album is no less than exactly that - an orgy of powerful, blunt repetition and hyperbolic simplicity, a profound evocation of nothingness and its surroundings. The 13 tracks (which comprise the digital full-length version) of »Radial« are the exact expansion of sonic ideas those three artists have explored during the last couple of decades. Unexpectedly so, this makes this production an outstandingly atemporal one - some would even classify it as meta-contemporary. A selection of 10 tracks of the digital full-length album will be released on CD through raster on September 01, whereas an accompanying vinyl release is scheduled for the end of 2023.

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

NRW Records is proud to present another subversive album from Orax. After one year + wait, the main man is back with his sinister dark-synth injective sound. A must for all Darksynth and Cyberpunk enthusiasts!

Harald Uunk's debut album, Unseen, is an immersive, contemplative trip through the forest. The 18 tracks are designed to build on each other, starting close in and gradually expanding to poke at the different corners of your mind. There are heady, overcast and menacing moments offset with pupil-dilating, sweeping, atmospheric levity. Varied tempos, warm basslines, fluttering glitches, undulating percussion and moments of crystalline equilibrium lean into elements of dub, minimal and introspective techno. Five years in the making, Unseen puts all of Uunk out to the world. The output is a reflection of the energies around him and the result is a spatiotemporal play.

Frizzell and Duque, better known as zake and City Of Dawn, further extend their already impressive catalogue of music with the sublime 'A Sorrow Unrequited'. The joy of ambient music is its ability to provide the listener with a pathway to quiet contemplation. These two musicians take the listener on an aural journey, a musical interpretation of the beautiful poem of the same name written by Julia Frizzell. A Sorrow Unrequited showcases the beauty of the modern classical/ambient genre, and the talent of these two artists is on full display. Music that is truly timeless and enduring.

feat. Beck, Mike Patton, Ms John Soda, ... incl. bonus DVD with 15 minute short film

All music by M. Rose, T. Parrish Art & Graphics by Nep Sidhu 2023 Whobody Publishing BMI

Porter Ricks is a collaboration between Thomas Köner and Andy Mellwig. After the Re-release of the legendary album “Biokinetics", which is superb subaquatic dub techno, we re-release Porter Ricks first album on Mille Plateaux. The album demonstrates the move to a kind of discoid funkyness with an underlying almost organic rhythmight. But still its not music for beautiful souls. Instead, it combines funkyness with alien sonic fluxes and the rhythm of a killing mover.

Jacob Stoy's Overload is here. It is a long-running and crucial project in the Berlin musician and graphic designer's artistic output. What began as a multi-dimensional art project about the over-presence of stimuli hammering our consciousness in the days of late capitalism evolved into a fascinating musical field study into the deep canyons of future IDM, lo-fi wave, freakfolk and everything in between. The album is a piece of conceptual art that uses sound and music to reflect on the modern information society and our relationship to digital content. Lost in the endless stream of sensations, we are not only plagued by fears of missing out on relevant information, but also increasingly by addictive behavior in the form of a permanent longing for content. Despite the constant oversupply, these relationships lead to loneliness, social isolation and the inability to make decisions. Almost inevitably, the musical spectrum on Overload is extraordinarily broad, ranging from state-of-the-art IDM to lo-fi wave sketches, hip-hop stumblings and freakfolk miniatures through to twisted ambient. Nevertheless, it is surprisingly cohesive and works well as a cure for digital overload in a kind of conceptual irony. It is an album that will inevitably cast a spell over listeners. A very limited physical edition of the album has been designed and manufactured with love and care by Jacob Stoy. It comes in the form of a handmade twelve-sided booklet that consists of eleven printed transparent foils and the CD in a protective sleeve. But Jacob Stoy's album is by no means the end of the Overload concept. The ideas are being continued on the project's website and in various artistic contributions. Jacob Stoy has asked many friends how they would translate their thoughts on the subject into individual works of art. Many exhibits have already been submitted, with many more to come. The project will ultimately culminate in a concept exhibition that brings together all the contributions and creates a dialog between them.

Elektra (Scream Through the Eyes of a Statue), is a multimedia performance broadly conceptualizing the female voice as an “X-ray to the bones of sound.” It was commissioned by Issue Project Room and performed April 26th, 2018 in Brooklyn, New York. Taking poet, essayist, and Classics professor Anne Carson’s translation of Sophocles’ tragic play Elektra as a point of departure, James K monstrously externalizes the inner sonic world of female vocalization through a scored collaborative framework interpreting each of Elektra’s “screams” in the Greek tragedy.

The piece develops unique methods of screaming through musical and non-musical objects -- performed through manipulated text, videos, and live contributions from James K (voice, electronics, violin, video) Brooklyn-based musician Eve Essex (alto saxophone, various winds and electronics), electronic producer and performer Dylan Shir (electronics), composer and cellist Leila Bordreuil (cello), and poet/artist Eli V Manuscript (textual alchemy, projections).

Within this collaborative framework, James K scores “the scream” to express the various relations between hysteria and the “gender of sound” -- a blurred and overlapping feminine sound defined by its fragmentation and resistance to scripted narrative. Elektra’s presence is emblematic of a radical alienation that occurs as a standing discrepancy to tragic convention. Amongst society, she is the anti-dialogue, a symbol of protest.

‘my cries are wings, they pierce the cage’

Elektra’s vocalizations pierce through language, revealing a shattered interior of multifaceted reflections constructed against habitual linguistic or vocal expression. In tragic convention, such habitual vocalization takes the shape of the often terse, patriarchal voice of the Greek philosopher -- a didactic, conceptual container in opposition to the expressive “becoming” of Elektra’s cries that riot against fixity. As a tragic character, Elektra is radical and alien for Sophocles and his audience -- an ever-present conviction that demonstrates how female shame has constructed a life-size funeral urn around her.

Through translating a text within layers of translations, a fragmentation of the firsthand into traces, James K mirrors Elektra’s deconstruction of reality into siren shards, offering an experiencing of female sign language as a means of sabotage to the world of normal utterances. By sliding on the edge of convention to sharply abandoning rational speech and sonic construction, K’s piece aims to embody Elektra’s strained and stretching screams, as cuts against the glass; her sabotage bound within the blanket loop. In response to rigid vocalization and fixed sonic understandings, Elektra (Scream Through the Eyes of a Statue) takes the scream as an unruly, emotive sonic experience projecting outwards into objects and audience: to the very bones of sound.

This is a live recording of its single performance. Recorded by Bob Bellerue at Issue Project Room in Brooklyn, NY. Mixed by James K. Mastered by Jack Callahan. Performed by James K, Eve Essex, Via App, and Leila Bordreuil. Conceived and scored by James K for four players, and written in collaborative improvisation with the performers. Textual alchemy by Eli V Manuscript. Design and layout by Nicola Tirabasso and James K. Label management by Joachim Nordwall.

Umeko Ando (1932-2004) was a folk singer from Japan. She was a representative of the Ainu culture on the Hokkaido Island in the north of Japan. “Ihunke” is her first album which was recorded with the Ainu musician and dub producer Oki Kano in 2000. The 16 Ainu songs on “Ihunke” are delicate, natural gems. They are built on Oki Kano’s Tonkori patterns (a 5-string harp), over which Umeko Ando develops her repetitive, mantric vocals, often in a call-response manner. Oki Kano is one of very few professional Tonkori players who performs worldwide with his Oki Dub Ainu Band. The songs possess a mystical energy – when crows call accurately with Ando’s brittle voice in the first song, it seems like natural powers join in with her music. Her voice sounds like animals of the sky and the forest. Oki Kano: “It was a lot of fun to record with Umeko Ando. Many Ainu hesitate to break from tradition - if Umeko hadn’t been so flexible to work with the younger generation and recording technology, this album would never have happened. Our sessions were intense, and we were proud and happy about making such beautiful music.” Upcoming in autumn: remixes of “Ihunke” by Tolouse Lowtrax, M.Rux, DJ Ground, El Buho Mark Peters, Gama, Andi Otto, and Dreems.

Historical background: Only recently (in 2008) have the Ainu officially been acknowledged as indigenous people who are culturally independent from Japan. This record is an example of how their music has been passed on through generations in the underground Ainu communities while it was oppressed by the Japanese hegemony. It deserves a huge audience.

Compiled by Hunee, 'Sounds from the Far East' features highly sought after material by legendary Japanese house producer Soichi Terada and fellow producer Shinichiro Yokota!

Turning the mirror on herself, Marie Davidson arrives on Ninja Tune with Working Class Woman”, an album that is sure to be heralded as one of the most self-reflective recordings yet from the Montreal-based producer.

Building on the dancefloor-minded trajectory of her breakthrough LP Adieux Au Dancefloor, released via Veronica Vasicka's Cititrax imprint circa 2016. With “Working Class Woman”, Marie Davidson proves that once again that she can roll acidic new beat basslines and sleek, sexdrops tekno laced with sharp-edged vox like no one else. This super strong selection is sure to take pride of place within the collections and listening habits of anyone into DFA and Regis, Not Waving (with whom she recently collaborated) SOPHIE and GAIKA.

Working Class Woman reshapes Marie Davidson's sharp-edged Italo Disco, proto-industrial and electro influences into new modes of cyberpunk coldwave control, proof that looking inward can project a more expansive vision out into the world.

“Whether it is traditional or contemporary, we need to be authentic,” says Gözen Atila who performs as Anadol. “I don't claim that I am authentic, but this is what I want to achieve.”

A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.

The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”

This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.

If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”

Fünfzehn + 1 is a commemorative compilation celebrating 16 years of Ostgut Ton – and the first glimpses of light at the end of a long dark tunnel for parent club Berghain.

Originally planned for release in 2020, the music focuses on the interwoven nature of the label and the club in its multitude of different spaces and musical facets. Ostgut Ton artists and close affiliates worked together in pairs to make music dedicated to five different floors, each represented by a specific 12" vinyl. The result is a diverse selection of sometimes functional, other times more abstract sonic tributes; musical homages to spaces they have both influenced and been influenced by.

With the pandemic having forced the club to close temporarily, the collaborative nature of the 5x12" boxset represents an attempt to transcend varying degrees of isolation and to wrestle with memories of music and space that had been inaccessible. But certainly not forgotten.

The CD Edition includes the remastered 13 tracks and reproduces the original Wax Trax! booklet utilizing new photographs of the Steven Stapleton painting.