Electronic / Experimental
3721 products
Connecters Vol. 1: Original Recordings, 1992–1999 marks the first public release by Larrison, the recording alias of Midwestern visual artist and musician Larrison Seidle. Composing, programming, and recording entirely on a Casio CZ-5000 during the halcyon days of early '90s homespun exploration and experimentation, Larrison inhabited a dreamworld of his invention, soundtracked by space age pop vignettes speckling with hypnotic, ebullient layered synthesizer melodies. Unfolding across 26 tracks, all newly restored and mastered from the original sources, Connecters Vol. 1 reinvents itself, song by song, transcending time and defying the fated obscurity of this brilliant, discreet music made three decades ago.
Every artist has to discover their voice. Gia Margaret didn’t find herself until she lost hers. With a vocal injury that kept her from singing for years, she developed other musical languages, mastering the grammar of an intricate, homey form of ambient music pioneered by Ernest Hood and perfected by The Books. Now, her physical voice healed and her artistic voice honed, she comes full circle with Singing, her first vocal album since 2018’s There’s Always Glimmer. Led by soft piano lines that fall like breath on glass, the music on Singing evidences the same jeweler’s sensitivity to detail that she developed in her silence.
“There was a time when I really didn’t know if I would sing again. So once I healed, there was a lot of internal pressure to come back strong,” Margaret says. “I didn’t know who I was anymore. So it felt like beginning again, and reconnecting with these very old, old parts of myself.” This feeling of intermixed alienation and rediscovery is palpable across the album. In opener “Everyone Around Me Dancing,” she watches a party from the wings, aware of how her body keeps her from communal joy while also providing new modes of self-knowledge. Shut out from the scene, she is “closer to the ground, the planet.” In “Alive Inside,” she’s so far away from the source that she’s praying to whoever might hear (“a god, a friend that’s gone, a spirit”). As her voice rises, it seems to be trapped in a web of distortion; it’s as if in her pursuit, she’s pushing at the very boundaries of what can be said.
The process of making Singing was one of learning how to trust each of those feelings. The album was partially recorded in London with Frou Frou’s Guy Sigsworth, who helped Margaret unify the spree of ideas she had for “Good Friend,” an album highlight that includes Gregorian chant by ILĀ and turntable scratches, among many other things. David Bazan and Amy Millan also make appearances, as do Kurt Vile and Sean Carey, while Margaret’s longtime collaborator Doug Saltzman plays on and co-produces much of the record. Deb Talan, previously of The Weepies, lends her voice, piano, and guitar to the album's closing—and definitive—statement, "E-Motion."
Gia Margaret is always singing. Every note of this album sings a warm requiem to her past selves; every layer sings her future self into being. Across the album, she applies the lessons of speechlessness—the quasirational ways we communicate without communicating, the way formless sound can cut to the heart of things like a scalpel—to her own artistic voice.
4月24日発売。Meditationsでも本当に長い間に渡って愛され続ける驚異の大名盤『Romantic Piano』でお馴染みの Gia Margaret の新作『Singing』がリリース！病によって声を失った経験から2020年リリースの『Mia Gargaret』、前作『Romantic Piano』でアンビエント寄りの作風へ踏み出した彼女が本作では声を取り戻しつつあり、一方で、その静けさと優しさはさらに深まっている。数年間声を出せなかった彼女は、代わりに音で語る方法を磨き、響きの細部と感情の精度を研ぎ澄ませてきた。その感覚は今作にも受け継がれ、ピアノの小さなフレーズや静かなアレンジが驚くほど繊細に響く。楽器、機材、アレンジ、声、ひとつひとつに深い情緒を見出し、信じること。その積み重ねが、音と音のあいだの空気までも音楽として息づかせているよう。透明なピアノの響きと、ささやくような歌声、余白が大きく、全てが控えめでありながら、静けさの中に確かな生命が灯る。Gia Margaret が沈黙の先で見つけた新しい声のかたちが、静かにしかし力強く、聴く者の心に触れてくる。
Bruce Haack's "The Electric Lucifer" is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968-69, it's an eminently listenable work where Pop-psychedelia and Moog musique-concrete sounds coalesce.
PULSE DEMON probably is the most iconic, most representative and best known album in the JAPANOISE scene and MERZBOW discography.
This is the edge of music and sound, here you enter a new dimension made of POWERFULL NOISE.
Recorded in 1995 and first released in 1996 on the US label REPLAPSE, this album was re-released several times in both, CD and Vinyl formats.
This is first time in which album was completely re-mastered by Masami Akita for CD re-release with the addition of an exclusive bonus track taken from the original PULSE DEMON recoding session (the original DAT) and never used up to now.
Album comes in a six panel digifile presenting the lavish original and very psychedelic holographic-waves-art-work.
PLAY VERY LOUD AND MERCILESS!
*199 copies limited edition* Aka Meme by Merzbow was first released on Music-Cassette in 1983 on Masami'a own label ZSF Produkt and on V2 Uitgave (a Sub-label of V2 Organisation). Tape was later re-released in other two editions but is long time sold-out and impossible to find. Finally OEC is going to re-release that special tape once more. This is Industrial-Noise from the very first era made by the master of Japanoise. Recordings are mixing many different sounds that range from: ritual-sounds / vocals / found-sounds / treated-guitar / many different rythms / noise.... and a wired and wide range of other bubbling & rumbling sounds! A total merzexperience!
ノイズ界の二大巨頭、Merzbow と Bastard Noise が真正面から激突したコラボ作『Brick Wall Evolution』。Merzbow の流動的で有機的なハーシュノイズと、Bastard Noise の低域重視のパワーエレクトロニクスが融合し、圧倒的な密度と質量を持つ音響が立ち上がる。高周波のきらめきと地鳴りのような低周波が層を成し、混沌と秩序が同時に存在するノイズの地形が刻々と変化していく。タイトル通り、進化した音の壁！！
ITALIA SYNTHETICA 2025 features a FRED VENTURA curated selection of unreleased tracks from a collective of Italian artists and producers who have long been influential in the electronic underground scene. These musicians continue to push boundaries and explore new frontiers within electro, synth-pop, and new wave.
Beat Records is glad to present GOLDRAKE GENERATION VOLUME 1, the first release of a series dedicated to Italian 70s, 80s and 90s cartoons’ main titles songs. A franchise with roots in Japanese immense cartoons’ production that stormed Italy with a high wave of images, sounds and colours which left a remarkable sign in the period children. Goldrake Generation is dedicated to a musical period deeply rooted in screen emotions which, every time we experience it, generates a chain reaction, this first episode dedicated to music composed for cartoons having Robot as protagonists. Grande Mazinger, Trider G7, Ufo Diapolon, Yattaman and many more, for going back to the origins and to the memories of a wonderful childhood, among the dearest belonging to the Goldrake Generation to which we dedicate the series. This CD presents Universal TV theme songs belonging to former RCA catalogue, a selection by Francesco Piccardo that together with Simone Pellecchia and Claudio Fuiano remastered 13 cues for a great listening experience. Liner notes by Daniele De Gemini, Goldrake Generation mascotte by Jacopo Cigarini, graphic layout by Daniele De Gemini.
Beat Records is glad to present GOLDRAKE GENERATION VOLUME 1, the first release of a series dedicated to Italian 70s, 80s and 90s cartoons’ main titles songs. A franchise with roots in Japanese immense cartoons’ production that stormed Italy with a high wave of images, sounds and colours which left a remarkable sign in the period children. Goldrake Generation is dedicated to a musical period deeply rooted in screen emotions which, every time we experience it, generates a chain reaction, this first episode dedicated to music composed for cartoons having Robot as protagonists. Grande Mazinger, Trider G7, Ufo Diapolon, Yattaman and many more, for going back to the origins and to the memories of a wonderful childhood, among the dearest belonging to the Goldrake Generation to which we dedicate the series. This CD presents Universal TV theme songs belonging to former RCA catalogue, a selection by Francesco Piccardo that together with Simone Pellecchia and Claudio Fuiano remastered 13 cues for a great listening experience. Liner notes by Daniele De Gemini, Goldrake Generation mascotte by Jacopo Cigarini, graphic layout by Daniele De Gemini.
Alex Zhang Hungtai stands in stillness on 'Dras', but it's the kind of stillness that contains entire ranges of possibility. Recorded in 2019 inside Montreal's Saint Joseph Oratory (right before a piano demolition, no less), these nine pieces sat dormant on his hard drive through pandemic years until something finally clicked. What emerges now feels like watching someone trace the contours of their own interior landscape, each melodic line a careful negotiation with the unconscious. This is only a saxophone record in the barest sense.
The terrain here is tactile and unforgiving. On the title track, difficult melodies get torn apart and molded into emotive drones, dissonance interlocking where tones cut paths through the senses with metallic sheen. "El Khela" refracts into spectral layers that pull with eternal gravity, while "Estado" finds solace inside its own haze, rhythms barely audible but guiding forward with their cadence smeared against grey walls. These are small moments that become cathartic sonic breaths, each one revealing new passages through psychic geography.
There's beauty encased in the subtle repetitions of opener "Erg,” and in the glowing progressions of "White Dwarf." Zhang's saxophone becomes a dowsing rod for the uncharted, with electricity running through the album's veins while his breath anchors everything to something wordlessly human. The digital manipulation applied to those church recordings doesn't obscure that human element of 'Dras'. It transforms the raw material into something that navigates between external space and internal landscape.
By the time closer "Mazil" arrives, Alex Zhang Hungtai lets his saxophone speak its full resonance. Low, guttural expressions open up like chasms beneath melodic constellations floating in thick gravity. There’s a finality here even though something in these passages feels weightless. This is music permeated with inner dialogue, a wordless spell dancing above the psychic abyss. Tonal sequences disintegrate into narcotized sonics, a sharp elegant edge that cuts without drawing blood. This lonely work of exploration becomes something communal. 'Dras' is a map for traversing the space between where we are and where we might go.
An epoch is defined as an extended period of time typically characterized by a distinctive development or by a memorable series of events, and Scott Hansen, leader of the band Tycho, has named their new album Epoch with that in mind. The last installment in a trilogy, Epoch is the culmination of more than a decade’s work that has seen the band evolving and maturing through two sublime releases Dive (2011) and Awake (2014), and developing from featuring Hansen as a delicate solo performer into the iconic frontman of a powerful multi-layered live band performing on the world’s largest stages. “Dive was where the whole thing crystallized,” said Hansen. “I found that crossover space between what I was doing before, which was more IDM electronic stuff, and the rock music that reflected more of what I was listening to and not necessarily what I was making. Awake was a prototype of pushing it as far into the rock realm as I was comfortable with. Epoch is basically coming full circle. All the lessons of Dive and Awake were applied and then expanded upon. Epoch leverages the sonic aesthetic of Dive’s down-tempo vintage-style synthesizers and beautiful melodies while drawing on the kinetic energy of Awake’s progressive composition and organic instrumentation. “I felt like I explored a lot of open-ended unbridled, optimistic spaces with the other records. I don't know if it's a reflection of my life, but it seemed like that’s what just came out at the time.” For the new record, the themes felt a bit darker as he explored new musical territory. “My threshold for darkness is much lower. Things that seem dark to me seem happy and light to other people. I think it’s the darker sounds themselves. The timbres are a bit more aggressive.” Hansen initially attempted a more traditional recording process at Panoramic Studios in Stinson Beach, CA, but ultimately opted to do the majority of the recording in his home studio in Berkeley following a temporary relocation from his home in San Francisco. “I’ve been in the same San Francisco house the last 11 years. I made the last two records in the exact same room. I figured it was time for a change. There were a few other factors as well. I wanted to get some more space, be relaxed, and not be living in the middle of a crazy city. I wanted to have a more relaxed environment where noise or people didn’t bother me. Mostly just for the isolation.” Once complete, it was important to Hansen to release Epoch as a surprise album. “I've never been fond of handing in an album then waiting 4 months for it to be released,” he said. “I wanted to be more connected to the people consuming the music. There is a kind of visceral fulfillment you get from sharing something that you've just created with other people. That's a very satisfying feeling as an artist. “All art is in some way shaped by the current state of the world around the person creating it so there's a element of zeitgeist built into any album. We just finished mastering the album so it will be a month old when people hear it. I'm hoping people get a sense that this music is directly connected to the time they are experiencing it in.” Epoch was arranged alongside Zac Brown, a long time collaborator and partner in the Tycho project. Brown contributed bass and guitar parts to the songwriting process, while Rory O'Connor played drums. O’Connor was brought in during the Dive tour cycle. Hansen has known Brown since their Sacramento upbringing. “At the end of Dive is when we started to work together on a couple songs. I thought there should be more guitar. Zac played on a couple songs like on ‘Ascension.’ He played some bass and guitar on ‘Hours.’ I brought him on to play parts in the shows. We did Awake together. We took the same approach with this record.” Hansen sees Epoch as a multi-dimensional artistic vision at the confluence of his graphic design work via ISO50 and music with Tycho. The graphic presentation of the album artwork is as important as the music itself. The keystone is the central image of Epoch and the colour scheme red and black. This is a stark contrast to the almost rainbow palette of Awake.
Personal Computer Music, 1997-2022 is the culmination of Chapter Music’s ongoing reissue series for Jeremy Dower.
"Reclusive Melbourne electronic figure Jeremy Dower announces a quarter century-spanning compilation of previously unreleased music, split into halves to showcase his unpronounceable 90s ambient techno project Tetrphnm, as well as the wistful faux-jazz recordings made subsequently under his own name.
Inspired at first by austere German techno such as Monolake and Mouse on Mars, Jeremy’s sound world grew to take in influences as various as The Sea and Cake, Joao Gilberto, Jaki Liebezeit and Alain Goraguer. But Jeremy worked through these touchstones all alone on the other side of the world, improvising systems of “subtractive composition” via cheap 90s sound cards, 12 bit samplers and banked noise gates. His music evolved in a parallel but separate world to genres later called IDM or Microhouse, but really it sounds like nothing but Jeremy Dower – magically inventive, touching and personal. Efficient Space comped a Tetrphnm track on their much-loved 2018 compilation of 90s Australian electronica 3AM Spares. But Personal Computer Music, 1997-2022 is your first chance to explore Jeremy Dower’s compelling musical history with the depth it deserves."
Label co-founder Conrad Pack returns to SELN with what is in essence a Dub EP, but so much more. The failsafe formula of stepping percussion and “ital” bass lean on a familiar soundsystem nature with engulfing pads finishing the job to evoke a true BIG SMOKE FEELING. Although the melody itself wouldn’t sound out of place in a UK Drill number the song overall still touches on DIY ++ sonics (yes it’s as good as it sounds if not better). Recorded during the height of the Scram era, masterminded by Leeway (Guy Gormley), and hosted by the late soundsystem luminary Julian Fairshare at Ormside Projects, the influences are crystal clear; Steppers-esq, leaning heavily on London’s musical legacy past and present, whilst still pushing for SOMETHING NEW. Praise EP will be available as a limited edition Vinyl (edition of 200) and digital download. You can catch Pack performing a special live set at our forthcoming 'late night event’ at Ormside Projects on 4th October alongside Kerrie, Jah Vibemaster & Sam Clarke.
Rave At Your Fictional Borders is not beyond borders. The band simply denies any notion thereof. Driven by a sense of community, it defines human existence as one bio-organism with planet Earth. Now comprising members Dave De Rose, Marius Mathiszik, and Salim Akki, this incarnation of Rave At Your Fictional Borders first released the 'Entanglement' and 'Utopia' tracks in March 2025. Analogue Nomadism is the project's first album release. Recorded in Morocco and then co-produced and mixed by Dan Nicholls, it is an album of dizzying, trance-inducing scope. Rave music stripped of all external signifiers. Repetition, noise, krautrock, avant-garde sensibilities. This is a search for a groove that both connects and interlocks. The soul of improvisation and exploration runs through all seven pieces on Analogue Nomadism. Genres are referenced and transcended. The open-ended is perpetually embraced. It is neither night nor day, but there is a half-light all the time. What used to be disconcerting is now not alien anymore. The sky boasts a faint light. Certain shapes are laid out, but get changed through communal ritual. Analogue Nomadism is the music of a feeling of community. It builds and breaks down. It is accepting of the psychedelic standards of the groove. Transportative and vertiginous. Endless.
On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer. Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players. Yet the record is not all as sparse as this intimate opening. The ensuing collection of 10 tracks—variously inspired by the vignette structure of Akira Kurosawa’s 1990 film Dreams and the parables of Chinese philosopher Zhuangzi—unfurls Takahashi’s most colourful, poignant and sophisticated set to date. With instrumental contributions from the likes of Thom Gill (collaborator to everyone from Chaka Khan to Sam Wilkes), Bram Gielen (Jeremy Dutcher, Owen Pallett), Philippe Melanson (Sam Gendel, Eric Chenaux),Orange Milk Records alum Nick Storring, Takahashi and company embrace everything from viscous jazz-funk to wistful ambience, languid balladry to groove-laden tropical repose. Then there’s the vocals, which play a key role in connecting this body of work to its pop inspirations. Fellow Telephone Explosion artist Dorothea Paas sings on nine cuts, while Chris A. Cummings (Marker Starling, Cici Arthur) crafted elegant vocal arrangements featuring both of them for six tracks. And just like the intricate songcraft that Takahashi so admires, In Another teems with personality and wit, offering surprise twists of colour tucked into its warm and evocative compositions.
Music From Memory returns with their penultimate release of 2016, this time bringing together a compilation of works by the Italian composer and musician Roberto Musci. While studying guitar and saxophone in his hometown of Milan, Musci developed a deep fascination for non-western music and set out to travel across India, Asia and Africa, which he would do extensively between 1974-1985. During his many journeys Roberto would become deeply embedded in each unique world of rhythms, scales and approaches to making and performing music. Throughout this period of travel he would make many field recordings as well as collect and study many traditional and indigenous instruments that he would then later combine with synthesizers and electronics on his return to Italy.
Combining personal documents of music and sounds deeply connected to the history and cultures of those lands, with his own explorations and experiments with cutting edge sound technology Roberto Musci would develop through his music a very unique and at times wholly mystical space, where ancient and modern would evolve into a new musical language.
As well as making his own music, during the 1980’s and 1990’s Roberto would also regularly broadcast radio shows of experimental and indigenous music on Italian radio stations such as Rai and Radio Popolare. Deeply connected to the arts he would also compose and perform numerous pieces of music for theatre, dance and performance art pieces as well as soundtracks for film and television.
‘Tower of Silence’ brings together a double LP of material from Roberto Musci’s solo recordings commencing with the Loa of Music sessions from 1984 up until later very recent works. The compilation also includes a number of collaborative pieces, many performed and written in collaboration with Giovanni Venosa, such as material taken from their ‘Water Messages On Desert Sand’, which as an album was Grammy-nominated in in the UK in 1987. A unique and at times intensely mesmerising musical world ‘Tower of Silence’ offers an introduction to the work of a unique and visionary artist.
‘Desire’ is the sophomore full-length album by TLF Trio. On ‘Desire’, the group presents their signature, contemporised chamber music through their main instruments: piano, cello and electric guitar; now enhanced by a pervasive use of sampling and a distinct use of silence as musical material.
The album is an aesthetic voyage in a musical landscape of minimalism, classical music, free improvisation, left-field-electronica, and references to pop and house music. It blends into a sound that is experimental and unpredictable – yet at the same time strangely familiar and self-explanatory.
The album’s ten pieces balance an open-ended improvisational intimacy with a tight compositional intention. Each track's repetitiveness operates as a trickling plateau of layered sentiments of times and spaces through the sampling of different acoustic rooms, the playing in specific styles and the curated selection of sounds and instrumentations; a collage of memories and associations patched together to create new meanings.
Street Druid merges acoustic, manipulated and electronic sound using saxophone, synth, voice, guitars & drum machine, and features drum kit from Mercury-nominated artist, Moses Boyd.
It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.
A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia's rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.
Third volume in Dave Huismans' stellar ex_libris series, further exploring the outer edges of deep house and leftfield music across three cuts in a total runtime of 25 minutes. The A-side offers up a rough-around-the-edges, spirited 4/4 beatdown epic, while the B1 & B2 venture into equally vivid world-building and fluttering wildlife curiosity. Limited edition - once again housed in lovingly hand-stamped, full-color sleeves. Design by Bernie van Vlijmen. Mastered and cut by Anne Taegert at D&M.
Diagonale des Yeux is a new band formed by EYE and panoptique (Parasite Jazz, Simple Music Experience...). Their homemade world drifts along the fringes of cabaret, strange 1980s French underground pop music to contemporary lo-fi scene — evoking the spirit of Nini Raviolette and The Residents — while delivering beautifully written songs that lodge themselves in your head almost immediately like a Cindy Lee ballad. The tracks on Madeleine squeak and creak, wobbling on fragile hinges before suddenly opening onto moments of pure beauty. Drums and guitars follow up synths and electronic percussions captured on tape; chance and dialogue shape meaning and intention through "exquisite corpse" lyrics in diverse languages, with a kink for choirs.