Techno / House

From outsider disco to ambient to improvisational folk, the giant Arthur Russell's famous album "Calling Out of Context" has been reissued as Rough Trade analog edition!
Released in 2015, this work was recorded in 1982 and 1983, and the following year in 1985, the original 1/4 inch tape of the sound source produced as a test press board called "El Dinosaur", "Indian Ocean" and "Untitled".・From the master, Arthur Russell's partner Tom Lee and Steve Knutson compiled 9 tracks.
In addition to an unreleased/alternate take that emphasizes echoes and rhythm machines, the instrumental track "Ocean" is one of the most beautiful songs in the discography.
A must-have board for fans that includes "Movie"! !

Taking off from Beaugars Seck’s foundational sabar drum rhythms — recorded by Sam in Dakar in February 2020 — Shackleton has constructed a trio of intricately layered, luminous, enchanted, epic excursions. The second is more dazzled and meandering, with jellied bass, insectile detail, and discombobulated jabbering; the third is more liquid, fleet of foot, and psychedelic, with a grooving b-line and funky keyboard stabs, scrambled eastern strings and hypnotic vocalese. The harmonium in The Overwhelming Yes sounds like Nico blowing in chillily from up the desert shore. The overall mood is wondrous, twinkling with light, onwards-and-upwards; an uncanny, dubwise mix of the ancient and the futuristic. Mark Ernestus’ Version is stripped, trepidatious, mystical, and stranger still, with just a snatch of the original melody, extra distortion and delay, and crystal-clear drum sound. Twenty minutes of startlingly original music, with Shackleton the maestro at the top of his game, and a characteristically evilous dub by Mark Ernestus. Mastered by Rashad Becker; handsomely sleeved. Sick to the nth. Love 4 Ever.

This is the first full-length album in two years from NY-based genius Madteo, who has released strong titles on prestigious labels such as DDS, Sähkö Recordings, and Hinge Finger. The album is the first full-length album in two years, and it is a collection of unorthodox sounds, dub-wise memories, sweat, and blood. This is a huge album that is sure to attract fans of Actress, Demdike Stare, and Theo Parrish!

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya WWW. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.

A CD compiling all of K-S.H.E's 12-inch and one-off releases to date beyond the 2006 debut album Routes not Roots (one of the few albums to ever receive a full 5-star rating from Resident Advisor, and precursor to DJ Sprinkles' Midtown 120 Blues). This is the first time for many of these tracks to be available in digital format. Includes K-S.H.E's previously unreleased original version of "Reverse Rotation," which was later dramatically re-tempo'ed and re-worked for release on DJ Sprinkles' album. Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes one CD in an archival vinyl pouch with one double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-k-s.h.e spirits, lose your hold(Excerpt 1)
視聴-k-s.h.e spirits, lose your hold(Excerpt 2)
視聴-k-s.h.e spirits, lose your hold(Excerpt 3)
視聴-k-s.h.e spirits, lose your hold(Excerpt 4)
視聴-k-s.h.e spirits, lose your hold(Excerpt 5)
視聴-k-s.h.e spirits, lose your hold(Excerpt 6)
視聴-k-s.h.e spirits, lose your hold(Excerpt 7)

Comatonse.000 was the project name, EP title, and catalog number of Terre Thaemlitz' 1993 debut 12-inch featuring the NY Loft classic A-side "Raw Through a Straw," and the bass-heavy ambient B-side that captured the attention of producers like Bill Laswell and Mixmaster Morris, "Tranquilizer." This CD compiles all Comatonse.000 related releases to date, including that other Comatonse EP working the "Scorpio" break so important to the early Loft house scene, Social Material's, Class/Consciousness. This is the first time "Consciousness" has been made available in digital format. The disc also includes a previously unreleased demo version of "Tranquilizer" as a hidden bonus track. Self- released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes one CD in an archival vinyl pouch with one double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-comatonse.000 comatonse.000.r3(Excerpt 1)
視聴-comatonse.000 comatonse.000.r3(Excerpt 2)
視聴-comatonse.000 comatonse.000.r3(Excerpt 3)
視聴-comatonse.000 comatonse.000.r3(Excerpt 4)
視聴-comatonse.000 comatonse.000.r3(Excerpt 5)
視聴-comatonse.000 comatonse.000.r3(Excerpt 6)
視聴-comatonse.000 comatonse.000.r3(Excerpt 7)
視聴-comatonse.000 comatonse.000.r3(Excerpt 8)

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

Two raw minimal cuts from '94 that will piece up any self respecting dance floor; Mika Vainio, Ilpo Väisänen & Sami Salo at the controls - an ESSENTIAL 12" from Sähkö Recordings, TIP!

This is the second album after the transfer of the company, which was released in 1995, and is a compilation of songs created between 1990 and 1994. The album is a work that encompasses the dichotomy and diversity of the Aphex Twin, with acid, noise, and broken beats that could be described as "drill'n'bass," while following the ambient, IDM, and hardcore techno of the early days. The album contains 12 tracks, including the single "Ventolin," which is a strong industrial downtempo explosion, and "Alberto Balsalm," a song that is often mentioned alongside "Xtal. 180g vinyl.

Open Space is proud to present our first ever full-length LP by LA’s newest chillout band, Puli. Some words from our dear friend Matt McDermott below: In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli. If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip. But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out. “Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north. But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

Following Music From Memory’s landmark compilation Virtual Dreams—which reframed ambient techno and IDM through a new age lens—comes another groundbreaking survey. Telepathic Fish: Trawling The Early 90s Ambient Underground revisits the legendary early ’90s London ambient party Telepathic Fish. Conceived by Mario Aguera, David Vallade, and Kevin Foakes (DJ Food), the series intersected with experimental spaces like Ambient Soho and Megatripolis, and this release captures that moment in vivid detail. Featuring unreleased and rare material from the likes of Global Communication, Spacetime Continuum, and Nightmares On Wax, the set reflects the multifaceted character of the ambient underground in its formative years. Complete with a 20-page booklet of photographs and archival materials, this is an essential document that reconnects sound with its era and hands the spirit of ’90s ambient and chillout into the present.

Following the release of the well received Rave ‘Till You Cry compilation of unreleased versions from the vaults in 2019, Disciples follow it up (a mere 5 years later!) with a new album from Rephlex alumni Bogdan Raczynski, complete with another manifesto style title: You’re Only Young Once But You Can Be Stupid Forever.

A collection of warmly melodic electronic sketches, with tracks alternately drifting beatless on the breeze or underpinned by lo-fi drums, sometimes barely held together with a delicate construction of odd synth patches and ping-pong percussion. Each piece is short and to the point, a record of perfect miniatures. Whilst this description may sound utopian, the album is conceived around themes of late stage capitalist brutality, hyper consumerism, online doom and alogorhithmic apocalypse. Beauty in the face of planetary collapse and 24/7 livestreamed genocide. The theme summed up by the front cover which just features a giant (readable) QR code, that most ubiquitous of modern symbols. We’ve asked Bogdan on several occasions for more background information on the creation of these tracks, but received a different answer each time. One of the below statements might be true, though it’s equally possible that none of them are, just like the real news.

1) All these tracks are a result of Bogdan asking AI to make an EDM album.

2) These tracks originated in a desperate bid by Bogdan to crack the lucrative mood / chill / coffee / gym algorithmic playlist market.

3) All of these tracks were commissioned for a Tesla infomercial but rejected when Elon Musk heard them.

4) The music on this album is over ten years old.

5) The music on this album was made in a furious weekend of creative inspiration in early 2024.

The QR code on the cover takes listeners to an ever-evolving page on Bogdan’s website which may delve into some of these theories in more detail, or ignore them completely.

We leave you with Bogdan’s text in the booklet that accompanied Rave ‘Till You Cry as the closest we may ever get to some kind of logical reasoning:

“Burn the damned art labels. Ambiguity is wonder. Information is an affront to expression, a death knell to spontaneity. For if an explanation is required, then a connection has failed to be made. Art should be like an overtone, resonating invisibly with your history to form an ethereal experience. Either it hits you or it’s wrong time, wrong place. To hell with the dawdling interviews and vanity shots. One turns to music precisely because it least resembles what’s in the mirror. Put away the arrogance and pride, and boast and bias. With each word uttered, your mystery wanes. Your shimmer dims. In my nostalgia, your light show is drowned out by the ricochet of soundwaves. Art is best when all else is drowned out. Black as though the moon forgot to come out. Let the night cover my flailing humanity like a veil. Gangly arms tangled, feet aflutter, yet all but silent against the din. This is not an escape. This is me screaming, happily, inside, out through my fingertips. This is my beck and call. Carefully assembled to drw forth some other form of you. May we partake in this moment together, for just a little longer.”

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

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.

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 2025.

For the 10th release on vinyl, HVS is extremely syked to welcome Dope On Plastic!! This is part ONE of a two part series of amiga tunes from dop & I, showcasing both of our styles within trackers. The reason for the series is in large part due to dop having just an insane amount of good music under their belt, as well as a really large range in style when it comes to hardcore/jungle. Admittedly it's also because I am notoriously slow to finish amiga/hardware tunes (EDITS) and I didn't wanna drag them along for a double LP or something crazy. I really appreciate them hanging with me. I first heard about them from Coco Bryce when he came to Seattle to play a basement rave a few years back. Funny enuff, dop hit me up about a week after that with some fresh tunes, and I was rinsing them non stop at every show I was playing! I thought the timing of that was really cool, and also learning they were in the states was a nice bonus, as there's not many of us out here in the US! Dop's tracks were made using the Protracker Clone (PT2) and mine were made using Octamed V4 on the A1200, all Amiga emulated/paula audio, no MIDI. These are xxxtra crunchy tunes, mastered by Simon to get loud in the rave! The A side tunes, while still absolutely tearin' are definitely some of dop's more lowkey pieces they've made, as they are known for making some seriously diabolical tunes (as can be heard on their EP on Future Retro). The B side tunes are a bit more aggressive for the dancefloor but that was just the mood I was in. The selection for part two will most likely be a 180 for both of our tunes to again, showcase the styles. So much respect going out to Kim Lilly for drawing up the art for the stickers on this one. The A side is hand stickered by me for bandcamp and by the distro for international. Each record also comes with a bonus “non-applied” sticker with a drawing of an A1200 and the release's tracklist/credits for you to put anywhere you like! Really huge love to dop for pumping out some of the most unique, quality and uncompromising 8bit & hardware Jungle tunes around. And I wanna thank them again for their patience on this. Please enjoy the record and look out for part TWO!

Al Wootton’s Trule hosts a truly outstanding session of needlepoint techno steppers dub by Đ.K. - absolutely required listening for fans of Muslimgauze, Shackleton, Raime and Carrier.

Long admired for a percussive sleight of hand and hypnotic atmospheric levity to his music, Parisian producer Dang-Khoa Chau made a decisive switch from downbeat pressure to up-stepping momentum on his ‘Signals from the Stars’ 12” for Midgar in ’24. He now sustains that effortless feel for steppers chronics into ‘Realm of Symbols’, coaxing a signature palette of S.E. Asian-accented drums and spectral electronics into sub-propelled, spring-heeled rhythms holding among the deadliest in his contemporary field.

Seriously we’re shocked at the levels of his shadowboxing tekkerz here, from the sort of tip-toed, Tyson-esque peek-a-boo pivots and humid Ballardian atmosphere to ‘High Rise’, thru the kind of scaly, reticulated intricacies we’d expect from Photek, Raime or Carrier in ’Stepping Stone’, to the laser-etched spatial sound design harnessing his mercurial flow in the title piece, and pendulous swivel of his industrial-strength conga-clonks synced to coiled subbass torque on ‘Rough Dub’.

No doubt it’s some of the sickest, deep-end ‘floor tackle we’ve heard in a hot minute. No brainer!

Kuniyuki Takahashi's debut album, We Are Together, originally released on CD in 2006.

"Nearly two decades later, the album is finally seeing a vinyl release to commemorate the 300th title from mule musiq."

As hard as obsidian and blazingly fast bass playing, ferocious orchestral soundscapes, and a relentless series of sharp turns traversing progressive, ambient, electronic, and experimental music—this ambitious work, true to its name “Chamber Concerto,” pushes the very limits of musical structure itself.

Lovers of Susumu Yokota’s mid-‘90s ‘Acid Mt. Fuji’ era will be licking their lips for this previously unheard ruck of slow-to-quicksilver acid and psychedelic techno trips par excellence, on David Fogarty’s retronaut label Transmigration.Salvaged from a set of DATs given the label by Ray Castle, who received them from the Japanese acid maestro circa 1994’s ‘AcidMt. Fuji’ and ‘Zen’ as Ebi, these eight gems have evidently lost none of their lustre over the last 30 years. They plug heads directly into a classic phase of acid, techno, and ambient experimentation whose durable results prevail to resonate contemporary ‘floors, and should be filed up there with sterling examples from Plastikman to Ø, AFX and Tin Man.For our ¥ the most choice cuts are the opening, slow storms of acid harnessing his Roland boxes to dreamiest traction, as with the 9 min meld of shoreside sounds, whining sine waves and chime trees that precipitate the creamiest slow acid in ‘Dust’, and again with the sexiest writhe in ‘Wave’, both acutely recalling Vladimir Ivkovic’s sets of decelerated Goa trance or the type of throwbacks conjured by Full Circle. But that’s not to discount the rest, which also impresses at higher velocities ready for full club flight. His ‘Obsession’ and ‘Thirteen’ surely hark to peak Analogue Bubblebath, and the clinically clean and spacious floatation device ‘Dove’ is a sure prototype for Tin Man decades down the line. Farther up the BPMs ‘No Way Back’ rides jabbing 303 and singing hi-hats at 135BPM, and ‘Fortune’ keeps the ticker up with urgent groove and chattering choral motif bound to get the yoghurt weavers going at 5am.

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

Finally compiled on CD, Mark Fell & Will Guthrie’s Infoldings / Diffractions is an inspirational, almost 80 minute long study in four parts, informed by Gamelan and South Indian Carnatic musics. Essential listening if you’re into Autechre, Michael Ranta, The Necks, Milford Graves. Infoldings / Diffractions combines synthesis and acoustic percussion in unpredictable, pointillist arrangements where Guthrie plays against patterns derived from Max MSP patches by Fell. The album’s four longform expositions are in this sense different to the man-machine concept of Fell’s acclaimed ‘Intra’ album, where he triggered performances by Portugal’s Drumming Grupo De Percussão to play a metallophone designed by Iannis Xenakis. Here, the pair find common and sometimes contrasting purpose in a probing of rhythmic signatures, with groundbreaking results. Recorded at HFG, Karlsruhe (where Fell is guest professor), and finished later in respective isolation, the pieces were edited from iterations of call-and-response between Fell’s rhythmic patterns and Guthrie’s overdubs. They effectively propose beguiling solutions to electronic music’s problems with grid-lock, using generative processing to make physical actions seem unfeasibly effortless, while melting the computer’s clock to a real-time, free-hand syncopation. Taking the influence of gamelan and fusing it with the fractal computer music that Fell has obsessively picked-at over the last four decades, the duo zoom into a sound that’s completely captivating; mutating into polyrhythmic outer-realms and eerie universes of microtonality that are hard to fathom in a single sitting. There are trace echoes of free jazz hanging from the rafters, the post-everything chatter of Humcrush and Food drummer Thomas Strønen’s mind-expanding solo material or even Autechre at their most confounding. The genius here is that just as you convince yourself that the music could only possibly have been generated by a computer, Guthrie’s unmistakably human flex edges into focus - playing with perception and expectation in the most wild, liquid way imaginable.

2024 Repress. Essential stuff from Finnish legend, Mika Vaino ( Ø, Pan Sonic ++ + +).
One for the headphone amp / hi fi sound system crew.

Minimal & reduced nordic techno and electronics - Mika Vaino's second album from 1996 - only released on vinyl for the first time in 2019.