Techno / House
536 products


Burnt Friedman frames his latest album in the vein of the nonsuch explorer series, with a musical look at Central Europe, specifically Berlin, and its intersection of artists, dancers, musicians still moving to 30 year old techno and house while constantly investigating and discarding novel new forms...
“Burnt Friedman with Explorer Series Vol. 4, original ethnic music of the peoples of the world/full spectrum stereo dominance. With such a complicated amalgam of races, religions, and language as there is in central Europe, it is not surprising, that the musical life is endless in variety. Before the upheavals engendered by immigration policies, the introduction of 5 G technology, and the gaining of maximum self-expression, the separation of cultures must have been even more noticeable, yet now in the sphere of music one can see them drawing more closely together.
This is especially true of an under-populated melting pot such as Berlin, where the sense of beauty is innate and one hardly meets a white male or a woman not being a painter or a dancer, or a musician. The system of scales, and also the fact that the western central Europeans rely on recorded or written script in order to conserve the themes of their music, could lead us to look upon it as a form of art music. Remarkably enough, traditional house or techno which existed 30 years ago, still flourishes today. Moreover, all the time new forms and musical styles are being discovered, tried out and eventually overlooked. The present record can offer but a modest sampling of extinct splendors, political or individual sufferings, gloomy sadness, love, resentment, exquisite delicacy, laughter and delectable wisdom of rural and urban central European music. Burnt Friedman's essential function is to perform music that ensures the repose of the dead and render their ghosts harmless; in the case of whole communities, to dispel evil spirits and restore to Berlin its pristine purity; and in the case of individuals, to expel the demands of possession.
Despite the limited scope of sound carriers, these ten highlights of central European culture contain an emotional force and documentary value of inestimable importance. Although it would be incorrect to consider the various selections contained herein as authentic ethnological documents insofar as the performances were for the most part "mystified", on the other hand one can certainly consider them significant examples of the attempts of white males to develop their own modes of expression and communication.”


Returning with his first album in 13 years, Errorsmith’s ‘Superlative Fatigue’ long-awaited release on PAN arrives as his perhaps most optimistic record yet.
Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognisable synthesised tones, computerised vocal effects and timbral changes in motion.
In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: “I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional.” He suggests. “I find it touching when this little android raises its pitch at the end of ‘Lightspeed’ or the android catching its breath in ‘My Party’ for instance.”
The album title, ‘Superlative Fatigue’ reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness.
Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Soundstream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Where almost all the sounds in the LP were created with his synth, ‘Razor’, (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it.
Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length.
The album is mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas.
![The Detroit Escalator Co. - Soundtrack [313] (2LP)](http://meditations.jp/cdn/shop/products/MPD025_{width}x.jpg?v=1648232534)



Limited edition CD, self-released and independent. Comes in a reverse board, 6 panel package including all 6 drawings.
Includes the tracks Turquoise, Black, Stone, Gold, Silver, and Pearl.

Limited edition CD, self-released and independent. Comes in a reverse board, 6 panel package including all 6 drawings.
Includes the tracks Chartreuse, Rose, Lavender, Lime, Grey, and Violet.











The story of each re-release begins with the original. In the late 90s, Uwe Zahn (Arovane), along with Robert Henke (Monolake) and Stefan Betke (Pole), began releasing music on Torsten Pröfrock’s (Dynamo) newly launched DIN label. This was a very inconspicuous undertaking, but fans of the flourishing IDM, glitch, and constantly evolving abstract techno genres quickly picked up on the quality of sound coming out of Germany. After a few successful EPs, Zahn began working on his debut full-length, Atol Scrap. The release was a success, at least in the underground circles, where followers of the melodic harmonies, stuttering off-beat rhythms, and, most importantly, advanced sound design feverishly consumed the imprint’s output. There was only one thing missing – the album was never pressed on vinyl, and for decades remained in the digital domain. The fans, of course, inquired. There were multiple offers on the table, but Zahn retained control until he was assured that it was properly attained. “I thought of taking everything into my own hands and releasing the record myself,” says Zahn, “but at the end of last year, Matthias from Keplar asked me to re-release Atol Scrap on vinyl.” The label and its owner revolve in the Morr Music universe, and so it made sense for Zahn to trust the platform to treat the record right.
Listening to Atol Scrap over twenty years later it is inane not to admit how well it has held up. Where other genres clearly aged, becoming stale, bland, and dull, the music on eleven tasty tracks still keeps the neurons tickled with each note. More than an echo of the past, the bottled sound truly has matured. Many of the newly evolving techniques are recognizable on the album. “I created the digital artifacts with a digital multi-track recorder, the Fostex D80,” recalls Zahn. “The thing had a scrub wheel with which I could achieve wonderful glitch effects by winding through the audio data. I have sampled and further processed these artifacts.” And this approach is still embedded in Zahn’s sound design. “I still use my 24-track analog desk from Tascam to mix my audio. I love to use hardware synths and samplers. I’ve definitely built upon my studio experience in the 90s.” From this debut to the most recent output, Arovane’s sound has evolved to become more intricate, detailed, and pronounced. “My music has become much quieter and much slower. But that’s probably also due to the noise in the world.” And just as Atol Scrap reminds Zahn of the past, retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold. For me, among the many records of the time, this album held a special place in life, my heart, and many CD boxes moved across the world. And now I’m only happy to restock the vinyl space, where Atol Scrap belongs among the beloved records. Welcome home. - Mike Lazarev







On behalf of re:discovery records, it is with great excitement that we announce the release of the Mysteries of Science compilation. Mysteries of Science aka Dominic Woosey (Neutron 9000) was a fixture of the ambient, ambient house and trance scene in the late 80s until the mid 90's.
These selections have been carefully chosen to show the timeless sound crafting Dominic was capable of with his wide array of sound modules. They range from space music, ambient to a proto-techno and back again. In the vein of Berlin School ambient or Tangerine Dream type sequencing, but made during the post-rave world of the early 1990s during the chill out era. Tracks to search the stars with! All of them are here for the first time on vinyl and were chosen in this order for the best listening experience.
'Virtual Wake' starts off the a side with the opening track from the self titled Mysteries of Science album. Eerie and spacey it welcomes you to the scientific space music Dominic Woosey so much excelled in. 'Technological Womb' is from the 2nd self-titled album and further hones in on the sci-fi ominous journey. 'Diffusion' bridges the album with a fantastic voyage into floating space. Finally on side d has 2 tracks featured on compilations only at the time. 'Chaos Pleasures' & 'Stranger in a Strange Land'. Both show the avante-garde approach Dominic took with this project even including an acid line combined with a violin! Yes, you heard that right! Space music at it's pinnacle in the analog sequencer realm before the true digital age. 5 songs with nearly 60 minutes of beauty. Take a listen!

