Mannequin Records present a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, ”Norton Computer For Peace” (1983), ”Personal Computer” (1984), ”Artificial Intellingence” (1985). Apple’s first music ”endorsement” and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music.
Mannequin Records present a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, ”Norton Computer For Peace” (1983), ”Personal Computer” (1984), ”Artificial Intellingence” (1985). Apple’s first music ”endorsement” and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music.
Instant is the trio of Bernd Schöll (Bass, Vocals, Rhythm), Mike Hauer (Guitar, Synth, Percussion), and Marion Siekmann (Vocals) from Munich, Germany. They formed in 1980 after meeting through mutual friends attending the local art and graphic design school. The trio were dissatisfied with their surrounding musical environment. They set out to create their own brand of Neue Deutsche Welle fusing Dada, disco, and Krautrock. Over the course of 2 weeks in Summer 1980 the band teamed up with local producer Mario Strack to record 6 songs. These would make up their debut eponymous album that was originally self-released on 10” vinyl in 1981. They utilized a simple set up of guitar, bass, and keyboards, plus the BOSS DR-55 Dr. Rhythm drum machine. Metal scraps clanging appear on the tracks “Do Not” and “Optimate Minimum”, and a washing machine was sampled on the track “Joyboy”, which features Marion reading from the appliance’s instruction manual. The A-side features 4 tracks in 11 minute, while the B-side hosts 2 songs in the same stretch of time. “Charade” features no wave saxophone accompaniment from Kai Taschner of Munich New Wave band Luna Set. Marion’s vocals are between Nico’s Teutonic chill and Alison Statton’s (Young Marble Giants) playfulness, while Bernd takes a monotone approach. Lyrics for “My Boy” and “Everybody’s Gotta Mutate” were adapted from ‘Rotwang’, a fragmented novel written by Tim Hildebrandt, one of the brothers famous for illustrating the works of Tolkien.
DsorDNE (pronounced Disordine) is a project from Torino, Italy that evolved as group out of the electronic experimental post punk project Novostj in 1987. At the core of DsorDNE is Marco Milanesio, musical engineer and co-founder of the HAX record label, joined by a revolving cast of musicians. Their spectrum ranged from experimental to structured electro-poetry and Soundtrack like instrumental electronic music. In 1987 they released their first track on a split-single with The Legendary Pink Dots. Between 1987 and 1994 they released 6 full length albums, 3 split-EPs and appeared on various cassette compilations. Ã Un Sole (Itâs a Sun) was the groupâs only vinyl full length originally released in 1990 on HAX. Itâs 8 tracks of electro-beat poetry and experimentation recorded between July 1989 and January 1990 by Marco Milanesio (music) and Roberta Ongaro (vocals) with guests Claudio Burdese (guitar), Danilo Beltrame (guitar) and Cristiana Bauducco (vocals). The album is broken up into two distinct halves. Side A contains four chunks of hard hitting, percussive patterns and rushing bass sequences. Dark, moody female vocals force their monologues through the machinery in their native Italian tongue. The traditional song structure is carefully avoided by giving lyrics equal opportunities be they recited, half-sung, whispered or spoken. Side B displays moodier moments, less savage attacks and subtler sensuality, veering towards the more melodic and existential.
Burning Rose and Pelvis Records meet in the middle to dish up Dormir, a two piece machine from Melbourne, Australia featuring Morgan Wright (formerly of Melbourne hardcore act Imprisoned) and Harry Maslen (formerly of Postblue). Two tracks of blacked out vocal electronics originally released on cassette are now brought to the floor with remixes by Leo James (Canyons, Berceuse Heroique) and Cop Envy (Opal Tapes, Templar Sound).
Dark Entries release the debut album from Bézier titled ‘Parler Musique’. Bézier is Taiwanese-American musician Robert Yang who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert grew up in Southern California then planted his roots in San Francisco in 2005. Over the years in SF he has built an impressive analog synth-based studio, which also serves as the creative hub for his riveting live performances. Parler Musique clocks in at over 52 minutes with 8 tracks are spread across four sides for maximum loudness. The album title is a French transliteration on the phrase “Parlor Music” and is evening music for a meeting of minds in a drawing room or a literary salon. To ‘talk about music’, the actual translation of the title, the album is a hotbed of ideas. Different genres are crisscrossed: punk, synthpop, jungle, new romantic, industrial and new wave. Airy melodies, surging arpeggios and symphonic breakdowns counterpoint cold digital drum sounds to convey beauty within inescapable and impending daily processes.
Dark Entries continues to license and reissue some of the greatest – not to mention hardest to find – Italo-disco ever made. This 1984 single from Italo-disco duo Fokewulf 190 is a great example. In many ways, it’s atypical of Italo-disco, eschewing the style’s usual arpeggio basslines in favour of a bubbly synth groove inspired by electrofunk, onto which is layered stylish, new wave influenced synthesizer melodies, atmospheric chords, snaking synth-saxophone and a highly accented vocal – originally un-credited – from future Italian synth-pop star Fred Ventura, who was then in the early stages of his career. Naturally, the headline vocal version comes accompanied by a fine instrumental, which is more like a delay-laden club dub in feel.
A compilation dedicated to the early 80’s Spanish Synth Wave and Post Punk scene. First to be published outside Spain, this anthology explores the electronic music side of the independent music produced in the days in the Iberian Peninsula: Synthetic pop music with industrial sounds including futurist Art Rock, dance-floor productions and low-fi experiments on cassettes. Classics or true hidden treasures, this selection of nineteen songs is symbolic of the musical dawn that Spain experienced during the decade marked by the return of democracy and by the creative freedom initiated by Punk music. “La Contra Ola” covers the years 1980-1986, and the most striking thing about this LP is the diversity of sounds that these artists were using. Unlike the stale synth wave that swept across the UK in that Neo-romantic sway, the likes of Esplendor Geometrico, Derribos Arias, Linea Vienesa, or Tres, to whom this comp is dedicated to, used their own native influences to express their vision of electronic punk music, and the results can be heard all over this magnificent anthology. It’s a piece of history that we finally have more knowledge of, and we thank the ever-reliable Bongo Joe for it.
IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max’s Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don’s background was in electronic music and Andy’s in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled “IMA” on an 8” flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd’s interstellar overdrive.
Calendar Crowd was the duo of Alan Heaton and Terence Tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the ‘70s. In the ‘80s they formed a 6-piece band called Room For Humans and recorded one single“Telephone Telephone / Girlfriend”. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. In 1982 they released their debut single “Perfect Hideaway/Perfect Hideaway Dub” on 7”. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP “Listen in to the Heart” in 1985. A reviewer at the time called Calendar Crowd “A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.” For this reissue we’ve compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance’s deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side “Listen in to the Heart” and “Questions Answers” are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies.
Dark Entries presents the first ever official vinyl reissue of Space Museum by Solid Space. Solid Space was the British duo of Dan Goldstein (keyboards, vocals) and Matthew ‘Maf’ Vosburgh (guitar, bass, keyboards, vocals) formed in 1980. Amongst collectors of post-punk era cassettes, Solid Space’s sole album, 1982’s Space Museum, has long been a sought-after item. While scarce and hard to find, the demand is largely down to the music contained within. Combining bright and spacey synthesizers with cheap drum machines, fuzzy guitars and vocals musing on science fiction and isolation, the British DIY duo created something surprisingly magical and alluring despite its lo-fi creation.
It’s been a long time between drinks for John Maus. “Screen Memories” is the producer’s first new album since 2011, and glistens from start to finish. After opening with the grandiose synthesizer soundscapes of ”Combine”, Maus delivers a range of atmospheric instrumental and vocal synth-pop gems dripping with Italo-disco style arpeggio lines, John Carpenter flourishes and decidedly cheap, lo-fi drum machine rhythms. “Screen Memories” was written, recorded, and engineered by Maus over the last few years in his home in Minnesota. It’s a solitary place situated in the sub-zero winter temperatures creep into the songs as do the buzzing wasps of summer.
First release by a female ensemble from Rotterdam. Shakkatam is a collaboration between Miss Nixon and Jacqueline Fuijkschot. All tracks are recorded at the attic of the Falafular Modules HQ.
Blind Delon debuted back in 2016 with Edouard EP. After a sold out and a lot of love and great acceptance of specialized press the french duo presents 4 new remixes of the main track Edouard signed by Kareem, Synths Versus Me, I Hate Models and Violet Poison.
Electronic Emergencies is thrilled to work together with brand new New York label Sangron Records on the 10-track compilation album ‘Sangron Volume 1’. Compiled by Skeleton Head’s Leo Torres, the compilation draws from the U.S. underground with songs from minimal synth pioneers Crash Course in Science and Mark Lane, alongside contributions from Skeleton Head, Revival Times, M/A/N/O/S, Ortrotasce, Minima Moralia, Silent Em, Horoscope and Paper Music. Moody, dancefloor-friendly and rebellious, this is “music for dissidents”.
Spoiled Drama reemerges exhibiting their darker side on “This is Our Mission”, their debut on the label embodiment of Berlin’s Fleisch collective. The five track EP exhibits a unique range and dexterity, blurring lines between the realms of techno, EBM, acid and electro with a touch of maladjusted pop and post-punk. From the anxious beat and shimmering tones of “Another Death Experience” to the ritualistic war drums and heavily distorted vocals of “Kisses Are Out of Fashion”, expect to feel dizzied, unnerved, yet beckoned to move. The eponymous track closes out the EP in an undeniably Drexciyan fashion, low-pitched vocals emerging from watery depths in lush sweeping pads and dissonant melodies. A mission accomplished with style.
Lauréne Exposito is back with a follow up to her well received debut album from last year on Knekelhuis. This new record turned out to be very personal. Life changes and love’s stranges are central themes in all its shapes, sizes and colors. Still, hope takes centerstage. All tracks have been recorded at Lauréne’s home in the French Alps, using analog gear. Take a Cocktail Mexico and immerse yourself into her liberating new trip.
The Hipodrome Of Music 