MUSIC

Maria is a trio from Holland and the Czech Republic, who have been producing their own unique post-religious cabaret since 2016. Lyckle, Katerina and Bjorn have amassed seven albums of outsider pop and improvised mayhem over the years. This collection of tracks were mostly made on a farm over a two year period and you can tell the fresh air had a conducive effect on their collective songwriting. A classic sound of drum machines, synth bass, and keyboards holds up Katerina and Lyckle’s vocal interplay alongside Bjorn’s guitars. When the three find their sweet spot, they can conjure up fine slices of whimsical, bleary-eyed pop music that isn’t afraid to smile once in a while and dream big.

Unfortunately, passed away last year, and as a result, it became a posthumous work, but a masterpiece suitable as a true monument of a new era that connects to the horizon of Cosmicche Musik (= ambient music) -Ambient-New Age has appeared! Brooklyn's Experi is the latest album by Pauline Anna Strom, a naturally blind female electronic musician based in the Bay Area, who has made a mark in the history of synthesizer music. A dignified release from the great mental sanctuary ! Strom who lost his eyesight tragically early due to complications of premature birth. After spending his childhood accustomed to a lot of classical music and moving to San Francisco, he was inspired by New Age music radio station Hearts Of Space, Klaus Schulze, Tangerine Dream and Brian Eno. To be fascinated by such electronic music. The outstanding view of music, which can be said to be the prototype of the early OPN ~ Flying Lotus, which was drawn in the works left in the 1980s, is still unabated even after being updated to the present age, and it is something unique to this person, and I still heard it. You can even hear the feeling that there is no music here and there. You will be amazed at the glitchy and unusual sound field of the leading single "Marking Time", but it is also a serious masterpiece full of quiet and crystal-like minimal new age!

Giant Swan's Robin Stewart returns to Trilogy Tapes with a new solo album and a new moniker, twisting warehouse techno into psychedelic, suspended bumps 'n grinds that never lose sight of the sticky dancefloor. RIYL Blawan, Regis, Rhyw or Rrose. Stewart steps up his solo game on 'When A Worm Wears A Wig'; he's been releasing material under his own name since 2016, but re-badging his productions as RS Tangent feels like an intentional line in the sand. The album appears on Trilogy Tapes, who released his dubby 2020 EP 'Time Travel', but where that set honed in on stifling vapors and cavernous reverberations, this latest long-form suite cuts back on the FX and focuses on bone-dry and unpredictable ADHD rhythmic pressure. Stewart makes techno, but refuses to take the easy route. On 'Manic Balance', the kickdrum is drowned out by galloping, squelchy synth vamps and distant vocal snips wrapped around Berghain-ready sine subs that sound as if they could level a small building. If you're searching for floor-filling, industrial pressure, 'Bovine Overbite' should convince you that you're in the right place. A thundering 4/4 that's interrupted by deliriously psychedelic percussion, it's a backroom jam that uses the language of big-room tech to challenge the status quo. There's parallels to be drawn with Batu and Metrist's cracked, controlled chaos too, but it's the pneumatic grind of Brummie techno that casts the longest shadow on 'When A Worm...', with Surgeon's scientific slop guiding tracks like 'Emperor Worm' and the itchy 'Swimmer's Ear', and Regis's pitch-black shuffle hypnotising 'Primitive Paste'. When Stewart careens off course, like on 'Youth Scene Butcher Dub', he lets his propulsive jams dissolve into the aether, bringing out the rhythmic texture of his machines in the same way Rrose did on this summer's brilliant 'Please Touch'. And on 'Touch the Tap', the producer imagines a reality where minimal techno and bassline exist in the same continuum, adding a low end throb that wouldn't sound out of place in deepest, darkest Deutschland. Hard, heavy, and winningly tongue-in-cheek - just the way we like it.

Stripped back and bony funk. The residue and distant memories of a party. Closing your eyes, still not dark. A lighting rig under your lids. A night lasting 20 years, falling asleep with your favourite song on repeat. The deconstructed, untangled memory lingers in your system. What you hear are the remnants of a social gathering and its body movements. KMOS. The fog machines are gone, the free deconstructed thinking laid out bare. Fourth album. The white noise funk still here, 4 to the floor and gnarly basslines. The jazz but the tight, the funk but the taut. The austere but the flow. The instruments, sinuous and intricate. The deconstructed dancefloor. Sawed up bits, sawed up pieces. The drums the strings the claps the sharpness. Rearranged, picked apart. organized for a new day. A new idea. A new blueprint. A brave new clear elusive promise. The love in the strict. The strict but the mess. The strict but the lie. A promise. Drifting through a sleepless world. The rent, the eyes, the mirror the scrolling the daylight, and the gravel in your eyes. Sounds of endless nights long lasting days, reality and visions, blurred and frazzled. The eavesdropping the neighbour the conversations the sleep. The fear and the joy and the new that I project onto you. The loopy sound of sirens. The joy of the sun. The field, the horizon, the light, the smoke. Xeroxed memories are now our new. The love the dream. The sleep the wake. The wish the longing. The promise the fear. What once was promised We will reclaim

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones. At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory. The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 8 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 6 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music. The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 8 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 6 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

Immense tramplers and jigs by the whirling percussive dervish of Valentina Magaletti (Moin), João Pais Filipe (HHY & The Macumbas) & Leon Marks’ (Hey Colossus) aka CZN - huge RIYL Mark Ernestus' Ndagga Rhythm Force, Shackleton, Bernd Friedmann, Uwalmassa, Don't DJ, Photek. On their 2nd mission for TTT after 2021’s ‘Luxury Variations’, CZN come hungry for the ‘floor in all five parts of ‘Station to Station to Station’. While the title is a nod to Bowie, the EP has fuck all to do with him, and everything to do with untangling creaky limbs and showing nuff options for the aerobic mystics and polyrhythm-metered DJs. The battery of Magaletti, Filipe and Marks make a wickedly disciplined racket from drums, drums, and more drums, sealed in place with sparing dabs of triggered synth and FX. ‘Compliance Crew’ gathers their energies in a pendulous mid-tempo swirl, congas and wraithlike vocies dubbed to the rafters, before ‘Lawn Thug’ more explicitly references West African traditions, notably the tussle of Mbalax, in its pugilistic call and response, and ‘Year of the Rat’ ramps it on the slow/fast bent with rattling drums corkscrewing at angles over rudest South London subs and pads like a lost Horsepower x Hatcha fantasy. The cosmic whorl of ‘Born to Snap’ is perhaps best compared with the proggier urges of Shackleton and Bernd Friedmann, leading to a the EP’s straightest, hypnotic, 15 minute highlight of rolling linearity recalling Shackleton’s remix of Villalobos or Ron Trent deep house.

The "Produkt" compilation takes us back to the time between 1979 and 1984, when post-punk was the main expression of the underground movement. Bands in the wake of PIL and Joy Division came out like mushrooms after the punk crush. In this compilation you will find mostly unknown yet interesting productions. This is a 10 track album, all originally released on 7" from all over the world: from Poland to Sweden, from Yugoslavia to Denmark. A perfect item for both enthusiasts and completists but also for those curious, passionate of those extraordinary years and lovers of a genre that still continues to evolve and that indeed continues to storm clubs around the world.

Along with Pan Sonic's Mika Vainio, Vladislav Delay is a master of cutting-edge Finnish electronic music. Stock the masterpiece EP "Espoo EP" released in 2012 from , a major glitch electronics / IDM sacred place. A total of 4 abstract/minimal electronic tracks by Vladislav Delay, who has always been creating unique and fresh music, rooted in the spirit of experimental music while keeping an eye on the dance floor.

Alum of Belgium’s legendary Insane Music series and Hawai’s ’SNX’ boxset, Patrick Stas takes his Stroom bow with a posthumous archival survey of melancholic delicacies made under multiple pseudonyms. The haunting work of Patrick Stas (1995-2020) is emblematic of the early ‘80s Belgian tape scene’s creative fecundity and dare-to-differ DIY discipline. As a musician and co-founder of tape label Home Produkt, he was a key part of a home-brewed movement whose rhizomic organisation forged links between outlier artists across the region and would naturally lay the roots for independent, experimental musicks to follow. Although originally intended for release in 2018, ‘If Paul K .'s Life Was a Movie, This Would Be the Soundtrack of His Death’ sadly sees the light of day as a posthumous dedication to his personalised oeuvre as Stas passed away in late 2020, leaving these 10 songs as spellbinding testament to a creative life well lived. Pulled from exceedingly rare cassettes and unreleased demos, the cherry-picked goods spell out Stas’ web of styles spanning gloaming post-punk goth with early band General Thî et les fourmis to his wavey organ dub as Albert Et Guido and solo kinks under the Paul K alias. Each imparts a fine flavour of various aspects to Stas’ musical personalities, but linked by a puckered taste for neo-gothic lowlands vibes that resonate his peers such as Bene Gesserit, Tara Cross or Enno Velthuys and share a certain twist of foggy nostalgia for Belgian ballrooms that dials up comparison to noted mayo admirer Leyland Kirby in his Intrigue & Stuff phase, even with protoplasmic traces of new beat in its slow pacing typical of Belgian dance music.

Originally released in 2009. This ‘Mike Huckaby S Y N T H Remix’ to Vladislav Delay become instantly a gem into the Semantica Discography. Now we designed a brand new edition reimagining the 12” as a SYNTH release with the intention to dedicate this work to the legacy and memory of Mike Huckaby.

Síntomas de techno : Ondas electrónicas subterráneas desde Perú (1985​-​1991) Symptoms of techno: Underground electronic waves from Peru (1985-1991) This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo [underground rock], these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1994 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1994 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

Ela Minus and DJ Python share two remixes by electronic music producer and DJ Ricardo Villalobos of tracks from their collaborative 2022 ♡ EP.

talia Synthetica 1981-1985 represents the musical mutation that occurred after the post-punk hangover gave way to more frigid emotional shores, in-line with the synth-wave moment that was sweeping Europe and the white cliffs of Albion. This scene flourished in Italy between 1981-1985, and the musicians that came out of it are still revered today (particularly in the US). Robotic rhythms and intuitions that, besides sharing common ground with the electronic movements that had come before, also knew how to fill up the dancefloor. Featuring four previously unreleased tracks by Der Blaue Reiter, along with tracks by Modo, Actor's Studio, and La Maison, as well as the still fresh sounding contributions by true pioneers of the genre Neon and Naif Orchestra. Also features Ein-st-ein, Scortilla, Eurotunes, Oh Oh Art, and 2+2=5 featuring Paolo Mauri. LP includes CD which includes five bonus tracks from the Italia New Wave LP (SPITTLE 031LP). Included CD features Jeunesse D'Ivoire, Fockewulf 190, State Of Art, N.O.I.A., and 2+2=5.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1994 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

A miraculous union of techno and dub reggae, featuring two tracks remixed by Mark Ernestus & Moritz von Oswald's Basic Channel, "Remake (Basic Reshape)" (1994) and "The Climax (Basic Reshape)" (2001) under the name Carl Craig-Paperclip People. A universal masterpiece of immersive ambient dub techno, remixed by von Oswald's Basic Channel.

A miraculous union of techno and dub reggae. The outstanding universal masterpiece of acoustic dub / techno released only on CD in 1995 by the Basic Channel of German Mark Ernestus & Moritz von Oswald is vinylized with a full-length version longer than the original cut.

Some notes: tracks A1, A2, A3, A4, B2, B3 and B4 are mastered from 1980's demo tapes that Piitu got from the artists. Piitu exchanged letters and tapes actively with artists in punk, industrial and experimental scenes from all over the world. Some of the tapes we had to leave out from this compilation because we couldn't reach the artists. The three new tracks among the older ones underline the principle of infinity and immortality of music Piitu Lintunen: The first idea for this compilation came one night when Tommi text messaged me while I was having a good time with my Raisio-born punk friends. Tommi suggested that I compile an album from my musical history. After considering different directions I went through my archives and found a box of 1980's demo tapes. Some of the tapes were from 1981 and 1982, when we did the punk zine Pöly with my brother Sakke Lintunen. I had totally forgotten about many of them. A beautiful track from a Nurse with Wound demo turned out to be made by a NWW studio technician that lived somewhere in the Canarian Islands in early 2000. He couldn't be found. At first this collection consisted only of demo tracks. Then I got a feeling that I want to include some new tracks too. I asked for a track from Clair whose debut solo is one of my recent favorites. Corumn was another contemporary artist I thought should be there. Jimi Tenor sent me some demos when he moved to NYC in early 1990's. I chose one of those tracks for the compilation. I learned to know Pekka Airaksinen in the early 1980's. He passed away in 2019. Pekka has a big archive of unfinished songs. His wife Maarit gave me some unfinished tracks and Jimi Tenor made a new track out of them. DDAA sent me a tape in the 1986's. After I asked one of the tracks for this compilation they wanted to re-record the track. And they did so in a very original style. Kostruktivists sent me a tape in 1983 while they were recording Psykho Genetica. All 4 tracks from the tape could have been suitable here, but Opening Signs was the one. Ramleh's Black Ark is a unreleased chapter from the recording of Grazing on Fear in 1987. All of the tracks are electronic experimentations. In early 80's I did a lot of cassette exchange. It was a way of communication in the punk spirit. Everybody knew each other. Tasaday, Odal and Neljän seinän jumalat (my own project) are examples of the active players of the time.

Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music. If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same. This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.

Phew's 1992 legendary solo album "Our Likeness" will be reissued on clear vinyl, limited to 1,000 copies worldwide!

Jaki Liebezait (CAN), Alexander Hacke (Einstürzende Neubauten), Chrislo Haas (D.A.F.), Thomas Stern (Lime and the City Solution) participated! Recording by Kraftwerk , NEU!, Cluster & Eno, D.A.F.