$15.00
The Jakarta-based venture explores Indonesian identities through deconstructed tribal sounds... Divisi62 artists are constantly reinterpreting and reinventing Indonesia's cultural traditions: a worthy initiative in a county where widespread ethnic diversity has complicated national identity. - Nisa Kreems | Bandcamp
DIVISI62 is a sound and visual arts label aiming to reach new heights in the continual construction of the Indonesian identity. Emphasizing the cross-wiring of world heritage, DIVISI62 is initiating homegrown narratives into global consciousness. Singular and plural - The Attic
Foward moving, Futuristic, Rooted in the ancient. Definitely a must checkout for all electronic music lovers! C30 super-ferric cassette tape with hand-numbered cases and screen printed sleeves. Includes download card.
$39.00
Tom Jenkinson returns to the vintage hardware used in his early '90s works on ‘Be Up A Hello’ – his first project as Squarepusher following a 5-year hiatus. – Warp Records
At the record’s best, tracks pelt off the starting blocks and hit top speed without ever looking back. Lead single Vortrack’s eerie, submerged acid is all blots and splatter like octopus ink, fathoms deep. Susurrous hi-hats slowly creep, disguising the imminent jetstream of drum breaks, cymbal crashes and screaming synths. There’s the thrilling toxicity of freaky acid cut Speedcrank, while Nervelevers, a glitch and breaks romp that never stops rolling with the punches, proves an album highlight. The opening tunes’ hooky melodics feel almost uncomfortably reminiscent of chiptune, and elsewhere there are pretty but unmemorable beatless passages, stretching the stylistic range of the record. Ultimately Be Up a Hello is a fun albeit bumpy ride through future-retroism, best felt in the moment itself. – The Guardian
Label: Warp Records – WARPLP309R
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Format: Vinyl, LP, Album
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Country: UK
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Released: 2020
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Genre: Electronic
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Style: Breakbeat, Drum n Bass, Acid, Jungle, IDM
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$39.00
Like many electronic artists, Ryan Lee West aka Rival Consoles spent his early years experimenting with IDM, glitch and dance, but one consistent element in his musical journey has been his desire to create a more organic, humanised sound.
Through these experimentations he has found a process of producing electronic music that feels close to this urge. West engages his hands directly with instruments and is very selective about what he then records into the computer. He reduces musical parts even further, leaving enough space around the sound for it to breath. Odyssey is a reflection of West’s quest to create atmosphere and space from minimal arrangements. ‘I don’t like music to sound overly laboured, so I restrict how much is going on. I’m kind of obsessed with the idea of reduction.’ This 5-track EP was mastered by Naweed.
Label: Erased Tapes Records – ERATP052LP |
Format: Vinyl, 12", EP, Limited Edition |
Country: UK |
Released: 21 Oct 2013 |
Genre: Electronic |
Style: IDM, Experimental |
$45.00
Mere months after dropping Higgins Ultra Low Track Glue Funk Hits 1972-2006 on Planet \xB5, Aaron Funk strikes again with this little slice of audio lobotomy. Released under the moniker Vsnares, 2370894 is, in many ways, an homage to the prevailing sounds of British experimental electronic music (which could mean a whole shitload of things, really-- I'm thinking Skam, v/vm, Rephlex, etc). The album is comprised of tracks both unreleased and left over from the sessions for other Venetian Snares releases, and is a slight detour from Aaron's usual speedbreaks assault. The dark atmospherics and menace of Printf or Doll Doll Doll has been traded for a more playful, loose vibe, but despite this being an odds-and-sods sort of album, it's amazingly cohesive, and far from your standard tossed-off amalgam of half-baked leftovers. - Pitchfork
Label: Planet Mu – ZIQ057 |
Format: 2 × Vinyl, 12", 33 ⅓ RPM, Album, Limited Edition, Transparent Blue |
Country: UK |
Released: 18 Apr 2015 |
Genre: Electronic |
$39.00
Tobias. returns to Ostgut Ton with his third full length Eyes In The Center and expands the musical narrative laid out by his Helium Sessions EP (O-TON, 2016). The Berghain resident keeps exploring the vast modular synth-driven Techno, Experimental and Ambient territories on a journey in-between genres.
Label: Ostgut Ton – OSTGUTLP25 |
Format: 2 × Vinyl, 12", Album |
Country: Germany |
Released: 21 Apr 2017 |
Genre: Electronic |
$45.00
In early 2008, age 18, Space Dimension Controller (R&S, Clone, Royal Oak) made his first album in his bedroom in Belfast, now set for a release on 27th May 2016 via Ninja Tune. Crunchy, tattered and enjoyably odd - “Orange Melamine” is a lovingly produced and deeply personal album that laces supernatural sounds and translucent synths with a sense of overflowing harmony. Washed in reverb and draped in hiss, the album draws influence from the old VHS tapes handed down to Space Dimension Controller from his older brother and cousins, as well as artists like Boards of Canada, Brian Eno and William Basinski.
The album is also steeped in audio and visual references from 80’s and 90’s sci-fi films and animations; from The Guyver, Short Circuit, The Gobots, and Ghostbusters through to The Fifth Element, Escape from New York and Power Rangers - also reflected in the album's visual identity created by Jacob Chabeaux. - Bandcamp
$39.00
As mellow, warm, and welcoming as the day they patented the Ultramarine sound, the duo of Ian Cooper and Paul Hammond return after a long 15 years off with This Time Last Year, an album filled with enough high-grade, home-listening electronica to rival their beloved debut, 1992's Every Man and Woman Is a Star. The difference here is that big, hooky, Blue Room numbers like "Saratoga" and "Honey" have given way to smaller, more meditative music that reflects the indie, post-Boards of Canada world outside, but it's still sweater weather out there, and if Ultramarine have lost their "cute," they've certainly filled that space with grace and sophistication. Soft, broken beat gems like "Technique" are more complicated and artistically rewarding than the average Every Man cut, as that opening number suggests that Tangerine Dream's synths, Carl Craig's sequencers, and Prince's drum machines have all surrendered to Ultramarine's control. "Find My Way" anchors the album with some hazy, '70s-flavored vocals that represent the duo's equal love of the acoustic and the electronic, while all the analog moments give the album a nostalgic, wistful spin, as if these electronica spacemen have embraced home after years of orbiting Earth. The drifting here is all slowly downstream and not the weightless, otherworldly kind an astronaut experiences, so fans who always thought of them as a transitory, Orb-like, pre-club group should turn the car around and head toward the couch. It's best to trade those dancing shoes for comfy slippers, because This Time Last Year is the mature, delicious, and filling sound of the elder Ultramarine. - All Music
Label: Real Soon – RS-024 |
Format: Vinyl, LP, Album, 180gm vinyl |
Country: UK |
Released: 30 Sep 2013 |
Genre: Electronic |
Style: Deep House, Post Rock, Ambient, IDM |
$45.00
“"Live shows and clubs and festivals, for me, have taken on an entirely different meaning the more the world has changed over the past 18 months," Matthew Barnes said around the time of his last album, Compassion. "It can feel a lot more like a shared and beautiful experience." A year later, the producer's DJ-Kicks mix also reflects obliquely on the power of live music experiences. It's inspired by DIY nights he went to when he was younger: events driven by the urge "just to share music between people", where "DJ etiquette" was ignored and artists instead seemed to be "cook[ing] up their personal mixtape in front of you."
Forest Swords' first licensed mix is his own personal mixtape. A patchwork of sounds and moods with a few of Barnes's own "voice note" field recordings thrown in, it's casually and playfully eclectic, hinting at influences and nodding to his peers. There's only one Forest Swords track, the scratch-itching exclusive "Crow." But with its sombre mystical mood, clever combos of acoustic and electronic sounds, and the odd bright shot of pop, the mix as a whole has many of the qualities that define Barnes's own music.” – Resident Advisor
Item description:
Artist: |
Forest Swords |
Title: |
DJ-Kicks |
Label: |
DJ-Kicks |
Format: |
2 x Vinyl, LP, Album, Compilation |
Pressing: |
Germany |
Release Date: |
18th May 2018 |
Genre: |
Electronic |
Style: |
IDM, Techno, Leftfield |
Catalog No: |
K7365LP |
Condition: |
New |
$45.00
“Challenge Me Foolish is the third compendium of "lost" µ-Ziq material to surface on Planet Mu in the last three years—the fourth if we're including Expert Knob Twiddlers, the reissue of Paradinas' collaborative album with Aphex Twin. It compiles music written between 1998 and '99, and serves as a retrospective primer for the orchestral pop leanings of Royal Astronomy, Paradinas' fifth µ-Ziq album.
Both Royal Astronomy and Challenge Me Foolish feature tracks with the Japanese vocalist Kazumi. "Goodbye, Goodbye" was the former album's sentimental closer, while the twee pop of "The Fear" gave Royal Astronomy its gooey centre. On Challenge Me Foolish we are, perhaps, treated to the ones that didn't make the cut. The tracks range from the saccharine drum & bass of "Sad Inlay" to the naff kookiness of "Durian," neither of which have aged particularly well. The album's breezy title track is the best of these, though it would've been even better without the carnivalesque melody lines in the second half. Without these whimsical flourishes, though, it wouldn't be µ-Ziq. Unlike his more somber IDM peers, Paradinas was never afraid to sound cheerful.” - Resident Advisor
“After smooth, swaying synths of "Inclement" get things rolling for Foolish, groundwork is prepared for decidedly less laid-back material on "Undone", a track that doesn't quite live up to its sad and chaotic title. The title track is the first of five to feature Japanese vocalist Kazumi. "Challenge Me Foolish" could be Moby in stealth, but tracks like "Durian" and "Lexicon" throw shadings of psychedelia and jungle into the mix respectively. "Bassbins" stalks you from behind, eager to agitate. Hit the skip button, and the mood shifts to old-school computer game music with "Robin Hood Gate", completely free of percussion. Selections like "Perhaps" and "Perframe" also enjoy the pulse-free environment, though it would be a stretch to label them as ambient.
Challenge Me Foolish ends with a stunner, though not before the listener is teased with the (nearly) relentlessly playful "Peek Freans", a sunny slice of major-key dopiness that could be disguised as a synthesizer demo. Kazumi's vocals are then heavily sampled for the lyrically nonsensical yet heavily compelling "DoDaDu". It's somehow both slightly goofy and very lovely.” - Pop Matters
Artist: |
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Title: |
Challenge Me Foolish |
Label: |
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Format: |
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Pressing: |
Europe |
Release Date: |
13 Apr 2018 |
Genre: |
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Style: |
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Catalog No: |
ZIQ 400 |
Condition: |
New |
$39.00
“Age Of, the tenth studio album from the electronic artist Daniel Lopatin, spills over many of the formal and conceptual boundaries set by previous OPN records. After working with Anohni on her debut solo album Hopelessness, Lopatin found himself drawn to the process of collaborating with other artists, a stark contrast to the cerebral solo labor that had driven his work to date. Instead of going it alone again, Lopatin looped in James Blake to co-produce and mix the album. Anohni and noise artist Dominick Fernow (aka Prurient) lent vocals to several tracks, while Eli Keszler supplied live drums and multi-instrumentalist Kelsey Lu played keyboards. Strikingly, Lopatin sings lead on four songs, threading his distorted voice through jagged electronics for the first time since 2010’s Returnal.” – Pitchfork
"Moments of heightened cacophony on “We’ll Take It” overwhelm as sampled voices crash into a fractured, slumbering beat and stilted keys. A slippery dynamic builds on “Still Stuff That Doesn’t Happen” as romantic keyboards offset a dragging jazz beat on the drums while multiple variations of Anohni crooning “release me” are layered on top of each other as a discordant plea with her operatic vibrato. The combination of these dissonant elements make for a truly haunting yet enveloping listen.” - Consequence of Sound
"Flitting through soundtrack-style pieces, pop songs and dense instrumentals spanning from post-kosmische to neo-baroque, it's a dizzying trip meant to shore up Lopatin's status as an avant-garde auteur while aiding his forays into mainstream pop culture. It'd be easy to see this album-as-prospectus approach as cynical. But whatever his motives, Lopatin has successfully broadened his scope. Age Of is the sound of an internet addict sifting through the digital ruins, part of a culture jamming legacy for future generations, should they exist." - Resident Advisor
Item Description:
Artist: |
Oneohtrix Point Never |
Title: |
Age Of |
Label: |
Warp Records – WARPlp295 |
Format: |
Vinyl, LP, Album |
Country: |
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Released: |
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Genre: |
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Style: |
$45.00
Lapalux will release his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint, 30th June 2017. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes. – Bandcamp
Though far less accessible than his previous material, Ruinism isn’t the clinical listen it could have turned into. Its performers are never spotlit and yet its textures never lack a human soul. It is the kind of album that tends to frustrate a fanbase while cementing its maker as an artist for that very willingness to alienate the faithful. You could say that Ruinism is Howard’s coming-out party as a composer, but even that incorrectly implies an adherence to tradition. With Ruinism, Howard sets out on a whole new path to conceiving his music. – Pitchfork
Item description:
Artist: |
Lapalux |
Title: |
Ruinism |
Label: |
Brainfeeder |
Format: |
2 × Vinyl, LP, Album |
Pressing: |
UK |
Release Date: |
28 Jul 2017 |
Genre: |
Electronic |
Style: |
Abstract, Experimental, IDM, Leftfield |
Catalog No: |
BF061 |
Condition: |
New |
$48.00
A TAV Curator's Pick.
Actress, real name Darren Jordan Cunningham, known to friends as DAZ, returns with a new album, now on Ninja Tune and a new music system called “AZD” (pronounced “Azid”), a chrome aspect journey into a parallel world. An artist who has always preferred to make music than to talk about it, in “AZD” he has achieved another remarkable landmark, one which is as resistant to interpretation as it is demanding of it. Following on from his previous albums, R.I.P, Splazsh and Hazyville, an epilogue poem attached to the press release for Ghettoville was construed by media, commentators and spectators that Cunningham had retired. This led him to conceptualise this mass of conclusion as the key to ‘Giving power back to identity.’
So a few pointers, or possible ways to think about “AZD”. The album is themed around chrome – both as a reflective surface to see the self in, and as something that carves luminous voids out of any colour and fine focuses white and black representing the perfect metaphor for the bleakness of life in the Metropolis as suggested by Anish Kapoors Cloud Gate.
Another way to approach would be through the art of James Hampton and Rammellzee (who inspired “CYN,” which Cunningham also sees as a vision of New York in reverse…) – both of whom, though of different generations of the African-American slave diaspora, created art through “Sourcing castaway materials from their environment and reinterprating them into absolute majesty given from the fourth dimension.” There is also the career-long influence of the Detroit techno pioneers, something which becomes clear on this album “there is a contrast in the type of glow or reflection”.
Alternatively, you could write your PhD thesis on Jung’s Shadow Theory and AZD: “Lots of ideas come from dreams, this isn’t new, but sometimes the conscious mind starts to meld into the universal consciousness through constellation tunnelling.” If that sounds too taxing then you could always fall back on Star Wars and, in particular, the Death Star: “It has a dark dystopian backdrop, with highly sophisticated technology, but it is fading into the ether, still holding on and emitting a powerful energy. The music remaking the embers, binding them together and pulling them apart again.”
Alternatively, just listen. That “glow” Cunningham talks about makes this in some ways more immediate than previous Actress releases. Take lead single, “X22RME” (pronounced “Extreme”) which elegantly plays between the lines of Oriental classic rave and Balinese warehouse Techno machined in a Rotherhithe lock up welding the grooves into a seamless cracked joint.
At the other end of the spectrum is “Faure in Chrome,” a byproduct or development from his collaboration with the London Contemporary Orchestra, in which he “repatterns” aspect of Faure’s Requiem into a piece which sounds like the very institution of classical music being encased in electronic ice and scanned through a high frequency bandwidth. In between are gems like “Runner,” a personal re-soundtracking of Blade Runner “its from the deleted Fade Runner scene where AZD in a Peckham Cafe realises his barber has over the years etched a faded scroll into his head using early 80s African synthpop as a vexing serum“, or “Falling Rizlas,” an alienated music-box ballad. It’s a remarkable piece of work, that harks back both to Actress’ previous productions and to earlier iterations of the (broadly conceived) “techno” project without being beholden to anything but Cunningham’s forward-facing, individual and disembodied vision. – Ninja Tune
The simplest you could say about “AZD” is that it’s art – the unique creation of a unique mind. There will be few more distinctive, brilliant or visionary suites of music released in 2017. Call him what you will, this is the year that Darren ‘Daz’ Cunningham - aka Actress, aka AZD – asserts more clearly than ever before his complete independence. “Actress has a talent for melodies that snag at you, as demonstrated on the music-box ambience of Falling Rizlas, or Blue Window, on which house music battles to be heard over the sound of tape hiss. He also has an ability to twist the sound of dance music until it sounds private and intimate. Even the album’s most upbeat moment, X22RME, has a strangely introverted atmosphere to it: when the beats drop out, it doesn’t feel like a euphoric breakdown, but rather as if someone’s mind has wandered in the middle of the dancefloor.” – The Guardian
“…for all its artfully-deployed discordance, *AZD *maintains a musicality that holds the listener close. Sometimes this comes through in more danceable techno moments, like the single “X22RME” or the 80s-leaning synth-driven track “RUNNER,”; elsewhere, it’s in the emotive minimalist breaks of “FALLING RIZLAS” or “THERE'S AN ANGEL IN THE SHOWER.” Cunningham participates in a futurist tradition, following an arc set by artists and writers like Rammellzee and Eshun. But that futurism isn’t predictive, something yet to come; rather, his combination of science fictions, music histories, and socio-spatial realities feels deliriously adjacent to the world we’re listening to it in.” – Pitchfork
Item description:
Artist: |
|
Title: |
AZD |
Label: |
|
Format: |
2 x Vinyl, LP, Album |
Pressing: |
UK |
Release Date: |
2017 |
Genre: |
Electronic |
Style: |
IDM, Techno, Experimental |
Catalog No: |
ZEN 241 |
Condition: |
New |