Electronic / Experimental
4136 products
Anthology of all three albums in the Pentimento series, a remarkable late career renaissance by Jon Hassell, the pioneer of 'fourth world' music. Contains Listening To Pictures (2018), Seeing Through Sound (2020), and Music Is Invisible (2026), the latter a recording of his final ever live concert performance.
TOTAL Allison de Groot is a clawhammer banjo player from Winnipeg, Canada whose work spans old-time, bluegrass, and folk traditions. A recipient of the Steve Martin Prize for Excellence in Banjo and an Americana Music Association Instrumentalist of the Year nominee, she is perhaps best known for her duo with fiddler Tatiana Hargreaves, whose albums Hurricane Clarice and their self-titled debut earned recognition from the IBMA, the Canadian Folk Music Awards, and the JUNOs. Rich Ruth is a Nashville-based multi-instrumentalist (born Michael Ruth) who records for Third Man Records. His solo albums draw from ambient, spiritual jazz, minimalism, and synth-driven post-rock, compositions that begin with looping drones and synthesizers and expand outward through collaboration. He is also a third of Shrunken Elvis, a Nashville trio born from long European drives and winter jam sessions, uniting Ruth with pedal steel guitarist Spencer Cullum and guitarist Sean Thompson in a shared creative space that prizes intuition over ambition. Their well-received self-titled debut arrived in 2025. The two came together when Ruth was set to produce a solo record for de Groot. Over the course of about a year in Ruth's Nashville studio, the project quietly shifted: the two began composing together, and what emerged is shaped as much by space and process as by melody. De Groot's clawhammer banjo moves through looping and delay, set against Ruth's synthesizer arrangements in a way that balances the tactile immediacy of acoustic instruments with the enveloping qualities of electronics. Patrick M'Gonigle contributed violin and string arrangements throughout, while Shrunken Elvis bandmate Spencer Cullum brings his pedal steel to several tracks, adding another layer of atmospheric depth to the record's palette. Shortly after completing the album, the group debuted the material live at Big Ears Festival as one of the event's surprise performances, a stripped, minimalist set that reflected the spirit of the recordings. The album captures two distinct musical voices finding not so much a meeting point as a new, shared language.
The Whole Of The Moon” is a classic. It’s a song about awe and hope and love for the people who show us the best of this often broken world, the blessed few who show the way and introduce us to things and thoughts. Keith McIvor aka JD Twitch of Optimo was one of those people, and this version of the track - electronic, euphoric, open-hearted - was made by some members of the broader Optimo community after his terminal brain cancer diagnosis in 2025. The task of making a version that could’ve been heard on the dance floor at Planet Peach, Mas, or the Sub Club on a Sunday night or Monday morning brought them together across oceans, an act of joy amidst so much loss. It was never intended to be released, but as it made its way to friends and others, it also felt wrong not to. Its sentiment is universal and applies to so many incredible people in music and beyond that are sadly missed. So here is the Watergirls’ first and last track, presented as a limited white label with some particularly lethal mixes from Sean Johnston of Hardway Bros and A Love From Outer Space. We’re giving all the profits to charity. It’s meant to be played out. It’s meant to make two friends hug and sing into each other’s faces. It’s for Keith and for everyone like him.
“Iker Munduate is an artist and musician who brings a delicate sense of composition and design... Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura" - Derek Walmsley Continuing from where he left it 2 years ago after a sold out debut LP released on Hegoa, Iker is back with his follow up “Sinkronia”. A gripping take on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker’s attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca’s Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao’s UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work.
Here we have a very special reissue, a landmark in the history of Spanish pop music: "La chica de plexiglas" and "La vision," the first two singles by El Aviador Dro y sus Obreros Especializados (released in 1980 and 1981), together with two tracks rescued from a lost 1980 recording session that were never released as a single. The collection is presented exactly as it was originally compiled on a 1983 mini-LP. To this day, this remains the most advanced techno-punk ever made in Spain. Think a Spanish version of Kraftwerk meets Devo meets The Residents. Futuristic electronic music created back when computers were the size of an entire room. Out of print since 1985, we're delighted to bring this groundbreaking gem of early-'80s Spanish pop back into circulation in collaboration with Discos Banana. Tracklisting>> Side A 1. La Chica De Plexiglas 2.Vano Temporal 3. Gestalt Side B 1.La Vision 2. Hal 9000 3. Laser
*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!
Composed for Werner Herzog's documentary The Great Ecstasy of Woodcarver Steiner (Die große Ekstase des Bildschnitzers Steiner, 1974), this previously unreleased score by the German musical collective Popol Vuh accompanies the extraordinary flights of Swiss ski flyer and woodcarver Walter Steiner. Internationally celebrated for his record-breaking ski flying in the 1970s, Steiner (born 1951) became a two-time world champion and earned the nickname "the bird man." Popol Vuh's ethereal score elevates Steiner's flights beyond the realm of sporting achievement, giving musical form to what Herzog would later call "ecstatic truth": a poetic reality that reaches beyond objective fact toward a deeper emotional and spiritual experience. Herzog saw Steiner not simply as a medal-winning athlete, but as someone pursuing "dreams of flight," whose ski flying and work as a woodcarver were driven by the same desire to escape gravity. Together, Popol Vuh's transcendent score and Herzog's use of slow motion stretch each flight beyond its physical limits until it becomes almost sculptural - a suspended moment where human aspiration meets physical vulnerability and the fear of death. Rather than following the trajectory of the jump itself, Popol Vuh's music reaches its crescendo only after the decisive moment has passed. It is a crescendo not of triumph, but of suspension and profound solitude. Founded by Florian Fricke in Munich in 1969, Popol Vuh are considered one of the most influential German avant-garde groups to emerge from the progressive rock movement of the 1970s. After pioneering the use of the Moog synthesizer on their earliest recordings, the group gradually moved towards a more acoustic and spiritual sound, drawing on piano, guitars, percussion, and musical traditions from India, Africa, and South America. Fricke resisted labels such as "krautrock" and "new age," preferring terms like "magic music" or "cosmic space rock" when a description was needed. Beginning with Aguirre, the Wrath of God (1972), Werner Herzog and Florian Fricke developed one of cinema's most distinctive artistic collaborations. Across more than a decade of films - including Heart of Glass, Nosferatu, Fitzcarraldo, and Cobra Verde - Popol Vuh's scores became an essential part of Herzog's cinematic language, shaping the immersive atmosphere and emotional intensity that define his films. The Great Ecstasy of Woodcarver Steiner is one of Werner Herzog's most important films and marks an early expression of the themes that would come to define his cinema. Time and again, Herzog is drawn to individuals who push beyond fear and the physical limits of the body, pursuing visions and ambitions that exist at the very edge of possibility. To accompany this release, three contemporary artists - james K, ML Buch, and Lorenzo Senni - revisit Popol Vuh's original soundtrack. Their reinterpretations create a dialogue across five decades, revealing the enduring resonance of Popol Vuh's music and its remarkable capacity to continue evoking wonder, contemplation, and transcendence.
"Tara Cunningham’s guitar glitch miniatures draw patterns in negative space on new mini-album Warm Ground. Operating predominantly within improvisational and experimental music, guitarist Tara Cunningham has developed a discrete sonic language that reveals the full textural and timbral range of her instrument. Marking a new chapter for Cunningham that builds on her solo debut, Almost – Not Exactly, released on Non Classical in 2025, Warm Ground unfolds across seven compelling instrumental dialogues - each a conversation of rhythms and found sounds, syncopated and juxtaposed, open to encounter. Implied by the title of first single ‘Following a Thought’, Cunningham weaves an exploratory melody into the spaces between field recordings. At once introspective and highly relational, each track ushers the listener into a world of different scales, seeking beauty and meaning in the everyday, from the discrete mechanisms of ‘Fridgelight’ to the delicately unhinged organism of ‘Flying Ant Day’. "Cunningham finds a natural home on Odda’s roster of artists sensitive to the details of their materials and surroundings, finding kinship alongside the intimate songcraft of Kirk Barley and Fohn in the gaps between composition and improvisation."
Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself. Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz. »Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.« »Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks_+_Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«
Fresh from ongoing actvities with cult entity The Crying Nudes alongside Dean Blunt, Fine Glindvad Jensen finally lands a new album, crooning across an impressionistic blur of chamber pop, Americana, doo-wop and blunted trip-hop, tipped FFO Cindy Lee, Mazzy Star, Jessica Pratt, Lana Del Rey. 'Jazz Dreams' isn't a jazz album in any sense of the word, but the record and its maze of hazy, almost-familiar earworms took shape like a Jazz improv session. And If you copped 2024's 'Rocky Top Ballads' - still one of the modish Escho imprint's finest - you'll already know just how special Fine's technical songwriting is. In a pop landscape dominated by brevity and ohrwurms, it's refreshing to get handed songs that make harmonic complexity feel like a completely carefree endeavour. None of it would matter, though, if Fine's informally exquisite vocals didn't keep us captivated from beginning to end. She welcomes us with 'The Thing', a seemingly offhand Badalamenti-does-dub jam that wouldn't have felt out of place on the 'Mullholland Drive' soundtrack. It's a perfect place to start - pulling us gently into her waking dream, letting us know early-on that anything can happen. A phone rings, and we half expect to hear Bill Pullman on the other end of the line, instead Fine welds a molasses-slow bassline to strangulated pads and snakelike strings. "Just breathe," she cries. "Just breathe with me." In its own way, 'Jazz Dreams' sounds like a Fine mixtape, putting her own spin on dusty faves she half remembers. 'Goodbye Brain' sounds like an intersection of classic girl group and post-punk, while the brief 'Sometimes I Rush' is a ruff-edged, C86-tinted glow-up of Massive Attack's 'Mezzanine' steeze. And even when the album threatens to veer into more placid waters on the downtempo single 'Run', Fine claws it back with whip-smart harmonies that wake us from the dream for a brief moment. Impeccably crafted from beginning to end - just tune into 'Portal' and some of the most subtle synthwork we've heard for years - the album is that most illusive treat, a pop album that never panders for a moment. Or maybe it's a collage of illusory experiments that just shows off Fine's superior understanding of pop history. Either way, it's gonna be on the listening pile for a minute.
Fresh from ongoing actvities with cult entity The Crying Nudes alongside Dean Blunt, Fine Glindvad Jensen finally lands a new album, crooning across an impressionistic blur of chamber pop, Americana, doo-wop and blunted trip-hop, tipped FFO Cindy Lee, Mazzy Star, Jessica Pratt, Lana Del Rey. 'Jazz Dreams' isn't a jazz album in any sense of the word, but the record and its maze of hazy, almost-familiar earworms took shape like a Jazz improv session. And If you copped 2024's 'Rocky Top Ballads' - still one of the modish Escho imprint's finest - you'll already know just how special Fine's technical songwriting is. In a pop landscape dominated by brevity and ohrwurms, it's refreshing to get handed songs that make harmonic complexity feel like a completely carefree endeavour. None of it would matter, though, if Fine's informally exquisite vocals didn't keep us captivated from beginning to end. She welcomes us with 'The Thing', a seemingly offhand Badalamenti-does-dub jam that wouldn't have felt out of place on the 'Mullholland Drive' soundtrack. It's a perfect place to start - pulling us gently into her waking dream, letting us know early-on that anything can happen. A phone rings, and we half expect to hear Bill Pullman on the other end of the line, instead Fine welds a molasses-slow bassline to strangulated pads and snakelike strings. "Just breathe," she cries. "Just breathe with me." In its own way, 'Jazz Dreams' sounds like a Fine mixtape, putting her own spin on dusty faves she half remembers. 'Goodbye Brain' sounds like an intersection of classic girl group and post-punk, while the brief 'Sometimes I Rush' is a ruff-edged, C86-tinted glow-up of Massive Attack's 'Mezzanine' steeze. And even when the album threatens to veer into more placid waters on the downtempo single 'Run', Fine claws it back with whip-smart harmonies that wake us from the dream for a brief moment. Impeccably crafted from beginning to end - just tune into 'Portal' and some of the most subtle synthwork we've heard for years - the album is that most illusive treat, a pop album that never panders for a moment. Or maybe it's a collage of illusory experiments that just shows off Fine's superior understanding of pop history. Either way, it's gonna be on the listening pile for a minute.
Another late night oooooze from short span, this time from NYC’s Eden Aurelius doing that sticky, hazed thing you’ll love if you’ve a feel for False Aralia, 3XL, Emer… "A beautifully poised collection for Short Span. A gorgeous showcase of her singular talent within a sparkling scene. Recorded in Brooklyn, NY, this is an innovative, and graceful body of music that feels truly contemporary. This album felt important for us to have out in time for summer. Emerging out of the heat, a feeling brought alive with the sun. Music that evolves throughout seasons and carries a spectrum of emotional range. Entre Nous is tight, but expansive. Its depth and complexity is languid but has gravitational pull. Like much of her work, this record feels so refreshing because its tracks are both sensory and illusory tones built in gossamer and transitory layers of satin. They have a remarkable sense of presence and pressure - floating rhythmically without sharp edges. There is guidance and gentle control that lead throughout the record. The B side opens with “Ion” featuring Pontiac Streator. The song is formed out of a textural haze. A glistening, iridescent light appears, broken through fabric, projecting a blurred image onto the surface nearby. A hypnotic and evocative collaboration. The shared connection between the two artists’ command of rhythm and ambient language. Mastered and cut by Mike Grinser at Manmade.
Originally released on Mark Ernestus and Moritz von Oswald's Chain Reaction label in 1999, Hallucinator's Landlocked is compiled onto a 2LP for the first time. Created by London trio Anna Piva, Edward George and Trevor Mathison, the album became a quietly influential early dub techno release, built from deep bass, echo, fractured rhythms and carefully sculpted space. Across twelve tracks, sounds fade in and out with hypnotic precision, creating an atmosphere that values silence as much as texture. Beneath its abstract surface sits a dedication to the memory of Stephen Lawrence, lending the music a lasting emotional resonance. More than 25 years on, Landlocked remains a distinctive work of immersive, minimalist electronic music.
Chicago’s excellent, shapeshifting Kino Disk chase 8004’s ace dub abstractions with Eustress’ actions in familiar meadows of overgrown FX, farming post-dub techno landscapes highly tipped FFO Vladislav Delay, Echospace, False Aralia. Peripheral to the Windy City’s fecund undergrowth, Indianapolis-based Heath Gillespie aka Eustress practises forms of dub techno at gauzy arm’s reach from the OG source. On the six tracks of ‘Exit’, his 2nd release for the label, he distorts familiar tropes to taste, diffusing a palette of windswept dub chords and unanchored bass in space crackling with an iridescent grayscale filament. His approach broadly swerves dub techno’s club momentum in favour of soothing meditation, letting everything hang out and slosh, loosely suspended in gritty yet lush amniotic plasm with an effect calling to mind the etheric depths of Echospace or even Werkbund’s atmospheric enigmas. A hands-on background as mixing engineer comes to the fore in his work’s sensory tactility, convecting minds from a slow tempest to beatific bliss-out, rumbles of distant dub chord thunder and carpet rolling gouch-out, ultimately stranding up on the 8 min peninsula of ‘Exit 6’, under a borealis play of smudged, harmonised light, nerves combed into the breeze.
Side A
1. 自分のことだけ考えよう (Remixed by Cornelius)
2. Flow (Remixed by YANN TOMITA ”A BRAND NEW CADILLAC AND ETERNAL LIFE MIX”)
Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel's Chain Reaction imprint back in 2001. He delivered the second-to-last 12" on the label and then disappeared without a trace, leaving behind a solitary record that's been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12" has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and -- unbelievably -- an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is -- deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It's a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare's DDS imprint, following the release of Nate Young's Regression Vol. 3 (Other Days) (DDS 007LP) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.
Demdike Stare’s DDS label kicks off a new series of limited edition 12”s with the return of Shinichi Atobe, offering a slow evolution of his inimitable deep house, finely balanced with a new found sub-heavy bias while unlocking extra space in the upper registers.
Atobe’s third 12” since debuting on Chain Reaction in 2001 marks a subtle but crucial development of his style, leaning towards classically deep, dub house templates. On both sides he adds supple flesh and hypnotic emotive pathos to his stripped formula, resulting in some of the most immediate and enduring work in his canon thus far. It coincidentally also marks a decade since he first graced DDS with his debut album ‘Butterfly Effect’, followed by a tranche of cultishly acclaimed albums in the years since.
On the A-side pearl ‘Ongaku 1’ he steps out with a shimmering take on the effortless gait of M-Series blueprints, as derived from the deepest NYC house, delicately ornamented with cascading levels of detail. Precision-tooled kicks precipitate Prescription-via-Maurizio feathered dub chords, interlaced with a frisson of darker strings and synth melodies for the full goosebump. ‘Dub 6(six)’ on the flip whisks up a psychedelic lattice of arps and synth voices with ruder bass ballast, taking its sweet time before the kicks come to swing the ‘floor deep and wide.
Straight bullets, no messing.
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Brazil’s premiere guess-again specialists Lugar Alto have been threatening to unleash this one for a while and here it finally is; compiled by the goat GG Albuquerque and mixed by label enigma Akira Umeda, “My Life is a Movie and In It I Am the Villain” is a compendium of signature DJ drops and idents used in soundsystems from Rio de Janeiro and São Paulo going back to the 1980's and right up to the present day - a genuinely synapse-popping madness that maps the constant evolution of the most vibrant and forward-facing soundsystem cultures of our time... If you've spent any time with Brazilian funk, you'll know the sonorous intros - always larger-than-life, tongue-in-cheek, fluoro-flavoured - almost as important as the songs themselves. You don't have to understand Portuguese to get the message, either; the cacophony of pitch-wonked vocal stims, familiar samples, pop culture references and cheapo effects is borderless in its appeal, a core component of contemporary funk that's just as important as the syncopated tamborzão beat itself. We've copped tracks that are entirely reliant on the "carimbos" (literally "stamps") and "vinhetas" (intros) so we were hoping someone would put together something like this. And Lugar Alto - the Brazilian imprint responsible for releasing those essential DJ Ramon Successo LPs and that shocking Djalma Corrêa anthology - have taken the most impressive approach imaginable, tasking fount of all knowledge and journalist GG Albuquerque (last seen putting together that sick MÉDIO GRAVE tape for Nyege Nyege Tapes) with compiling something from a genuine street's-eye perspective. The mix tells a non-linear, multi-dimensional story of Brazilian sound system culture, using DJ drops, stage calls, adverts, cheeky samples and explosive intros made between the 1980s and 2025. It takes us from the point where local sounds collided with funk, freestyle, electro and Miami bass in the wake of 'Planet Rock’ to the moment the scene eventually evolved into the splintered landscape of bruxaria, ritmado, brega and other sounds that we can interface with today via TikTok and Insta. It's a dense, fittingly psychedelic and suitably impertinent mosaic of references, in-jokes and mind-tickling sonics that's seemingly without beginning or end, a time-fluxing braindump of laugh tracks and aborted rhythmic snaps that's best compared to being airlifted into a Rio street party after being shot with medical-grade ketamine. Within a matter of seconds we get John Williams' 'Star Wars' intro followed by a Portuguese Darth Vader voice and a barrage of buzzing "tuin" effects - and it just gets madder and more frenetic from there. A sort of heatsick parallel narrative to decades of British pirate radio culture, 'Minha Vida...' Is an incredible artefact of a movement that defies easy categorisation, a multi-coloured collage of sounds, humour and idiosyncratic energy that's driven the sound since the very beginning. You can take the boom-cha-cha boom-cha-cha beat, but you can't even begin to mimic the sheer gusto.
