darkentriesrecords: Recent Episodes
darkentriesrecords
B moves are flexed on “Girl 2 Girl” and “Alright With Me.” But longing and yearning exist within this joyous arc, and the question arises: “How can I get you to love me?” More than an idealistic narrative of girl meets they/them, Dyke Den paints a portrait of love in all its multifaceted moments: the bids for commitment, the stagnation of years going by, the wormholes of desire. Yet the album maintains its thesis of hope. The sweet, layered harmonies of closing song “Love Letter” display the power of life partnership: “My whole life is a love letter to you.” Dyke Den features artwork by Hailee Va in a sleeve designed by Eloise Shir-Juen Leigh. Darlynn’s final declaration, “We are all creatures of desire, completely built for love.”
Edgar debuts on Dark Entries with Pavor, an 11 track LP of sleazy disco, warped synthpop, and gothic cumbia. Veteran musician Luis Gutierrez has spent the past two decades touring in bands, running Lalalandia Studio, and building his practice in Oakland and Guadalajara. But now, for his first solo outing, he has become Edgar, a pop star who knows no limits! “Edgar feels mightier than anyone but is always reduced to his vices” says Gutierrez, and Pavor delivers vices in spades. From the opening salvos of “Otra Agua,” it’s clear we’re in for a wild ride: seasick synths slide along slamming disco beats, menacingly chanted vocals sit amid a flurry of careening horror movie samples. The mischief does not abate as we’re guided through a demented funhouse of genre detournements. Edgar puts his indelible fingerprints over every inch of this vinyl, from uptempo numbers like the spooky chip-tune frenzy of “Nunca Mas” to the twisted cumbia of “Panteon.” We’re even treated to a fairly faithful (and majestic) Spanish-language cover of Amanda Lear’s “Follow Me,” here titled “Sigueme.” EBM, space disco, and horror movie soundtracks all find their way into the mix on Pavor, but the diverse palette comes together perfectly, like a Yello album for the 21st century. Pavor comes housed in a sleeve designed by Eloise Shir-Juen Leigh and features a photograph by Izaak Schlossman. Also included is an insert with lyrics and notes. On Pavor, Edgar brings us a healthy dose of pure excess, reminding us that dread can be a hell of a lot of fun.
BUY: https://puremotorisedinstinct.bandcamp.com/album/at-last-i-m-leaving-the-earthPure Motorised Instinct drives over to Dark Entries with At Last I’m Leaving the Earth, an LP of industrial-tinged ambient and new age. When legendary industrial outfit Nagamatzu went dormant in 1991, band member Stephen Jarvis moved forward with Pure Motorised Instinct, a name he pulled from a line in George Romero’s Dawn of the Dead. Throughout two cassette albums - 1991’s Between Intimacy and Elsewhere, and 1993’s Everything Is True - Jarvis pushed the Nagamatzu spirit in new directions. At Last I’m Leaving the Earth collects 9 tracks from this era, which are appearing on vinyl for the first time, along with 3 additional tracks on a bonus CD. The material here sits between the brooding and the optimistic, the claustrophobic and the soporific. Jarvis’s digital synths are pushed so far into tape-scuffed terrain that they talk and squawk analog-like, scurrying with vibrant curiosity. The late-night vibes peak on pieces like “Vincent V,” with its reverb-drenched digital drum machines, or “Geek,” which taps into a wide-eyed proto-vaporwave zone. At Last I’m Leaving the Earth is Black Lodge ambient for the empty set.
BUY VINYL : bergsonist.bandcamp.com/album/depthsBergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality. Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a rare balance of elegance and DIY ethics - it is truly an ode to life.
BUY VINYL ka-posse.bandcamp.comChicago legend K. Alexi returns to Dark Entries with K.A. Posse’s Strkes Again, an EP of preleased unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn’s personal archive. This record showcases the rawer, more immediate side of Shelby’s sound, with tracks full of overdriven 808’s, careening sirens, and dangerously funky breakbeats. “Imported Taste” brings Shelby’s signature deep pads to the front of wild congo-laced percussion. “Suckas Be Ready” is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking “Muzic Box.” Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh.
BUY VINYL: k-alexi.bandcamp.com/album/warehouse-traxChicago legend K. Alexi returns to Dark Entries with Warehouse Trax, an EP of previously unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began writing songs and honing his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Warehouse Trax follows with six tracks recorded in Chicago between 1991 and 1994. The material here has all the hallmarks of classic K’Alexi. Salsa-inflected rhythms, emotive basslines, and hip-house vibes are displayed on tracks like the high-octane “Jungle Line” or the low-key tearjerker “Protect and Survive.” There are also some unexpected surprises in store. “Aaaah” comes out of the gate swinging with hard-hitting beats and apocalyptic ravey vocal pads evocative of the edgier material on Saber Records or Djax Up Beats, and the surprisingly contemporary-sounding “Klub Dred” delivers half-time dub with stuttering vocal samples. Warehouse Trax comes in a retro-styled sleeve designed by Eloise Shir-Juen Leigh. This is essential material for devotees of classic house sounds.
BUY VINYL: https://grouprhoda.bandcamp.com/album/phase-5Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum’s songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, we find Barenbaum waxing nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation. The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, “Field Tone” transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. “Dragon Pine” darts from cosmic dub to cybernetic dancehall and back again. The uptempo darkwave-leaning number “Aeolian Crossing” dissolves into the void, like sand falling through one’s fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx. The digital version of Phase 5 will be released via Katabatik, a label and sound system that Barenbaum has had close ties to for the past decade.
Recorded live at Dark Entries Records on December 7th, 2025Celebrating our record shop’s 3 year anniversary 🎉G. ZIFCAK is a musician and audiovisual artist living in NYC. He has been a steady presence in various scenes stretching from late 90s Portland raves through 2000s Bay Area experimental club and noise shows in warehouses and basements across the US and Europe and beyond. A preoccupation with de- and re-contextualized music and production equipment motivates his approach to audio, video, and lighting systems. This deconstruction of mechanism led him into DIY electronics early on, and he continues to build and modify much of his gear.
Recorded live at Dark Entries Records on December 7th, 2025Celebrating our record shop’s 3 year anniversary 🎉Selwa Abd, professionally known as Bergsonist, is a Moroccan-born, New York City–based interdisciplinary artist, composer, and design researcher specializing in time-based media, performance, and sound art. Her multimedia practice reconfigures evolving archives of field recordings, live video, and electronic sounds into immersive, intuitive environments. Informed by Deleuze’s interpretation of Bergson, Abd uses intuition to explore complex questions of post-colonial identity, techno-futurism and the psychological effects of virtuality on contemporary societiy.
BUY VINYL: https://vox-populi.bandcamp.com/album/sucre-de-past-queLegendary French industrial pioneers Vox Populi! arrive on Dark Entries with a reissue of Sucre De Pastèque. Vox Populi! was founded in Paris in 1981 by Axel Kyrou, a multi-instrumentalist of Greek, French, and Palestinian roots. He soon recruited his future partner, Mitra, and her brother Arash Khalatbari, who were born in Iran and came to Paris in their teens, as well as bassist Fr6 Man (Francis Manne). Their sound was motley, combining elements of musique concrete and early industrial with horns, flutes, and traditional Persian instrumentation. Improbably prolific and ceaselessly divergent, Vox Populi! found their way onto dozens of cassette compilations during the heyday of the 1980s DIY tape music scene, including releases on era-defining labels like Insane Music, Cthulhu Records, and their own Vox Man. Sucre De Pastèque, the band’s sixth full-length release, came out in 1986 on Unlikely Records. Like most of Vox Populi!’s output, Sucre is a scattershot endeavor, encompassing psychedelic dirges, cosmic drones, hypnotic chants, and fractured machine-funk. The mood is understatedly bleak, but Vox Populi!’s genre agnosticism and curious sense of wonder prevent things from feeling oppressive or heavy-handed. The cover for Sucre De Pastèque was designed by Eloise Shir-Juen Leigh, and features a collage by Vox Populi! member Fr6 Man. This is deeply fried material, perfectly capturing the obscurantism that characterized much of the 80s DIY cassette scene.
Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed “Spider” by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite. Throughout the 70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early 80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker’s partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider’s music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider’s compositions for film veer from the expansive, reverb-drenched “Rainforest” to the Miami Vice-esque chugger “Tech.” While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music will be available on both LP and CD, the latter of which includes a 20-minute version of “Strange Places…Strange Things!” as a bonus track. The album’s cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider’s estate by Michael Ely, Spider’s partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later.
BUY VINYL: brandydalton.bandcamp.com/album/fallen-angelSomewhere between heaven and hell…there is Fallen Angel. Dark Entries continues its mission of shining light on a generation of composers and musicians lost to AIDS with Brandy Dalton’s Fallen Angel, his soundtrack work for the award-winning Fallen Angel series. In the late 80s, Brandy teamed up with friends Robert Woods and John Munt to form the band Drance, becoming infamous for their high-energy performances and songs that tackled taboo topics like sadomasochism. While Drance explored the aggressive sounds of industrial and EBM, Dalton continued to produce a wide range of electronica, from abstract sonic textures to techno bangers. The Fallen Angel album collects 16 sweaty, sticky cuts composed for the pornographic series Fallen Angel, a trio of leather-focused films released by Titan Studios. The sounds here span from the fractured cyberpunk-rave of “Swelled” to the tabla-laced trance of “FA2,” taking listeners on a journey through hedonistic recesses, chock full of crunchy digital drum machines and wailing FM synths. This album was originally released on CD in 1999 by Titan Studios, capitalizing on the success of the film franchise. It will be reissued on LP as well as on CD, which features 6 bonus tracks. Artwork for the album, designed by Eloise Shir-Juen Leigh, features stills from the Fallen Angel film. Also included is an insert with liner notes and photographs. This album is dedicated to Brandy, who passed away from AIDS-related illness in 2006, after battling with the disease for 17 years. Fallen Angel provides a hardcore BDSM ride, in contrast to the lush, analogue sounds that Dark Entries has released on previous archival soundtracks. All proceeds from this release will go to AIDS Project Los Angeles.
BUY VINYL: clawsisthebastard.bandcamp.com/album/splat-city-iiC.L.A.W.S. comes to Dark Entries with a new ripping LP, Splat City II. C.L.A.W.S. is the solo project of musical luminary Brian Hock, who has been a key figure in the Bay Area underground for over two decades via his involvement in projects like Bronze and The Vanishing, as well as helming the record labels Squirrels on Film and Immortal Sin. With C.L.A.W.S., Hock takes on the dancefloor, picking up cues from the Hague’s Giallo-dipped electro, the skewed minimalism of Chicago acid, and the mind-rending forays of San Francisco post-punk icons like Chrome and Tuxedomoon. Following 2019’s inaugural Splat City EP, Splat City II continues to map the psychogeography of a metropolis both alien and immediately recognizable, one where life is cheap, but so are the thrills. Previously released on Squirrels on Film in digital-only format, this expanded vinyl edition of Splat City II features two new cuts. Things kick off with “Route 505” and “One Tear,” a duo of rompers that vibe like Tom Ellard and Chip E locked in a room with a vial of liquid. Next up, Bay Area deckmaster Tyrel lends his editing chops to “Vigilant Slimy Monsters,” sculpting a moody space disco beast. Squirrels on Film co-founder Solar teams up with Hock for “Black Magic Carpet Ride III,” a cavernous downtempo banger. The slow-mo pace continues with “Wild Slugs United,” which features the no wave-esque clarinet work of Paul Costuros. Closer “Don’t Flip the Crystal Ship” pays homage to Bayview venue Bay Area 51 with melancholic strings and a quartz-solid electrofunk bassline. Splat City II comes in a sleeve with artwork by Bert Bergen, which features a vampiric cat and sci-fi cityscapes.
BUY VINYL: brown-angel.bandcamp.comBrown Angel descends upon Dark Entries with Pure Brown Energy, an EP featuring 6 tracks of gloom-laced electro-funk and retro house. Pure Brown Energy was born when San Francisco-based producer and Hard French collective member Brown Angel was faced with a gift and a loss: an original Roland TR-808 was given to them around the same time that their father passed away. To process their grief, they set about making an album that showcased the many facets of their being, in their words: “my gay tío side, my Latin goth side, my cruising down the boulevard side, and most of all my soft vulnerable side.” From slamming vogue/ballroom house to cumbia-inflected freestyle, Pure Brown Energy channels club sounds both contemporary and timeless, while centering the most eternal electronic instrument of all: the TR-808. Opener “Miel” grooves with the effortlessness of peak-era Masters at Work or vintage Kevin Saunderson, while “Dame Más” dials up the energy even further. The influences of Miami bass and West Coast electro shine through on “Maya” and “Love Me Right,” which pair razor-sharp beats with a flurry of samples culled from Brown Angel’s record collection. “PBE” and “En Movimiento” take the Planet Rock vibes to another level, combining influences from contemporary cumbia and reggaeton sounds with Brown Angel’s Latin goth flair. Each copy comes in a sleeve designed by Ricardo Diseño featuring illustrations inspired by Teen Angels, a popular 1980’s Chicano magazine. Pure Brown Energy brings a sense of urgency to the dancefloor, unreluctantly examining the crossover between creation and loss, between celebration and sorrow. But don’t forget: these cuts also slap.
BUY VINYL: evelynemasao.bandcamp.comEvelyne/Masao bring Testpattern to Dark Entries for the label’s first foray into vintage Japanese electronics. Masao Hiruma and Fumio Ichimura’s project Testpattern is known for their release Apres-Midi, a cult slab of synthpop perfection released by Yukihiro Takahashi and Haruomi Hosono’s legendary Yen Records in 1982. While Hiruma and Ichimura parted ways following Apres-Midi, Hiruma’s musical endeavors would continue after meeting French/American model and vocalist Evelyne Bennu in 1984 at a café bar where she would sit and write poetry. Their collaborative efforts as Evelyne/Masao were fruitful, and the duo first performed together in June 1984 on a television program called TOKYO ROCK TV. The album Testpattern comprises seventeen songs recorded in Hiruma’s home studio, which have never been released previously. The Evelyne/Masao duo continues building on the soundworld of Apres-Midi: lush, sophisticated electronics with intricate yet minimalist production. Tracks like “Sakuramochi” and “Bird Island” bear influence from Hosono most clearly, their soaring melodies revealing a subtly ironic redeployment of East Asian musical tropes. But Testpattern is more than homage to Yellow Magic Orchestra. “Tabac” and “Le Soleil Se Leve” display oddball sensibilities closer to Sky Records icons Asmus Tietchens or Cluster. Elsewhere, the project shows affinity for the punkier ethos of continental DIY electronics, like on the quirky “Alien Go Home” and a positively skewed cover of “Singin’ in the Rain.” Bennu’s vocals provide a common thread through these explorations, as she alternates deftly between New Wave deadpan and unhinged chanson singer—check her waxing maximally Francophone on “Au Clair de Lune,” based on an 18th century French song. Testpattern will be available on both double LP as well as CD, and includes a fold-out poster with liner notes with lyrics. This album is dedicated to Masao Hiruma, who passed away in 2011.
BUY VINYL: coatshek.bandcamp.com/album/sound-bathDark Entries returns to the steam room with Coatshek’s Sound Bath. For their SoundBaths series, now-defunct poppers brand Double Scorpio commissioned artists to make mixes for an imaginary queer bathhouse. When asked to contribute, San Francisco-based artist Coatshek aka @sheki-cicelsky took the opportunity to create original compositions. The resulting album, Sound Bath, serves as a masterclass in slow and sultry ambient techno. Taking inspiration from Pink Floyd, Manuel Göttsching’s E2-E4, and his friend’s DJ mixes (particularly Nick Moss and Matthew Paul’s for “Por Detroit”), Coatshek landed on 107 bpm as the optimal speed for sauna sex. With just a few synths, his Telecaster, and “lots of delays, reverb, and weed,” he sculpted stunning cuts like the effortlessly grooving “Softest” and the psych-laced “Triple Virgo.” The cover for Sound Bath was designed by Coatshek’s fiancé Nate Sprecher, and features photographs by Luke Kraman taken at The Ever Afters campout. The album also includes an insert featuring the Double Scorpio SoundBaths series artwork by Blake Wright. Equally hypnogogic and sexually supercharged, Sound Bath situates the bathhouse as a liminal dreamspace of unbounded erotic potentiality.
kinga-sexy.bandcamp.com/album/sexy-boyIn celebration of Pride Month, Kinga struts to Dark Entries with “Sexy Boy,” a steamy Canadian pop gem. Inspired by gender-bending pop stars of the 1980s like Boy George and Janet Jackson, a young Tomas Fussey aka Kinga ditched his “schoolboy appearance” to adopt an edgier, androgynous style. Immersed in Calgary nightlife, he became acquainted with sexy synthpop and disco songs like Madonna’s “Everybody,” Divine’s “Native Love,” and the Flirts’ “Passion” - songs which still linger in his mind. He began writing music: “It was 80s. Everyone was making a record. So I made one too.” In 1988 he teamed up with keyboardist Dan Madison and veteran producer Bob Gallo to make “Elevator Operator” and “Sexy Boy.” Kinga was surprised when the B-side “Sexy Boy” garnered substantial radio play from CFNY in Toronto. But he notes: “They saw the obvious... My physical appearance supported the lyrics.” In 1989, Amok Records backed a new “Late Night Dance Mix” version of “Sexy Boy.” Almost every part was re-recorded or remade, including Kinga’s vocals. The new version surprised Kinga with its slick production and moody atmosphere. Sales were disappointing, and Kinga stated “It was not the sound of the moment.” But these deeper house-inflected grooves feel like the sound of our current moment. This release of Sexy Boy includes five different mixes, including the original 7” mix, three versions from the 12”, and the previously unreleased “TV Mix”. Sexy Boy comes sleeved in a reproduction of the original artwork and includes an insert with liner notes and lyrics, as well as an 8x10 glossy press photo of the sexy boy himself.
BUY VINYL: https://mistylane.bandcamp.com/album/energyMisty Lane paves a path to Dark Entries to deliver some quirky Quebecois electro disco. In 1983, producers Michel Bibeau, perhaps best known for his work on Pluton & Humanoids’ “World Invasion,” and Fitz Roy aka Ralph Mashats teamed up with singer Elaine Desjardins, the eponymous Misty Lane. Mashats reminisces about bringing his Roland TR-808 and TB-303 to Michel’s Studio 21 in St. Eustache, two units he regretted later selling for “a slice of bread.” Michel added hooks with his Roland Jupiter 4 and various studio effects. Their sessions produced “Energy” and “Contrôle,” two cuts of slinky synthpop with French-Canadian flair. “Energy” pops off with proto-house vibes thanks to snappy 808s and Desjardin’s naive-but-enthusiastic vocals, and would fit right into a mid-80s WBMX Radio mix. “Contrôle” is a mid-tempo groover with tropical atmospheres, sitting perfectly next to to Junior Byron’s “Dance to the Music,” which was another Bibeau production. Energy comes in a sleeve featuring Elaine at The Chivas Club in Montreal. Fans of Italo, Canadian disco, and oddball wave will rejoice in these artfully produced gems.
BUY VINYL: https://hackneyelectronica.bandcamp.com/album/synaptic-shadowsHackney Electronica come to Dark Entries with the Synaptic Shadows EP, featuring 5 cuts of acidic rave-inflected wave. Quinn Whalley (Paranoid London), Unai Trotti (Cartulis Music), and Margo Broom (Hermitage Working Studios) formed Hackney Electronica during COVID era. Trotti and Whalley were spending countless hours digging through records and making music during lockdown. As their sound took shape - heavy and hypnotic - they invited Broom to join, cementing the motley trio. The five pieces on Synaptic Shadows explore themes of altered states, late-night cityscapes, and the fine line between pleasure and paranoia. Each track pulses like a memory from the backstreets of Hackney, where the night transforms the city into an electrified maze of fleeting highs and inevitable crashes. The anxious grooves on “H.E. Nuestro Circuito” and “Whispers from the Depths” channel 1980s DIY electronics onto the contemporary dancefloor, while “Efecto Perfecto,” “The One”, and “Nueva Ola” offer breakbeat-laced electro that will keep you dancing until dawn. Housed in a sleeve designed by German Bardo, Synaptic Shadows is more than just a debut release, it’s a journey through the flickering alleys of the mind, where tension and transcendence intertwine.
BUY VINYL: https://billconverse.bandcamp.com/album/trustCult icon Bill Converse trots back to Dark Entries with Trust. Converse has honed his craft since the early days of the Midwest rave scene, absorbing lessons from luminaries like Claude Young and Traxx. His skill as a producer has been cemented with releases on labels like Dark Entries, Fit Sound, and Obsolete Futures, and his prowess as a DJ has been witnessed on floors worldwide. In recent years, Converse has also pushed audiences to their lysergic limits with his sinewy and kinetic live sets, which pair classic analog boxes like the Roland TB-303 with cutting-edge modular synthesis techniques. The 7 tracks on Trust pick up the wild energy of these live hardware explorations, channeling the splayed beats of Chicago’s Relief Records, the acidic grit of Midwest techno like Woody McBride’s Communique Records, and the hypnagogic hooks of Artificial Intelligence-era IDM. According to Converse, the abrupt changes and off-kilter rhythms are “an effort to facilitate or express trust-making in the listening experience. I want some degree of give and take with the listener.” This process makes Converse’s sound truly singular, the kind of aural landscape that can only be conjured through a lifetime of crate-digging and analog abuse - just check out the untenable funk of “Live Track” or the otherworldly groove of “Romance.” Trust comes in a sleeve featuring artwork from Sonya Rapaport from 1986 featuring images generated with an MS-DOS computer. Converse says “I think there's also a muscle-to-love vibe with this one.” We can trust him.
BUY VINYL: https://corpsdiplomatique.bandcamp.com/French coldwave act Corps Diplomatique comes to Dark Entries with Dans Ta Nuit, a collection of tracks recorded between 1984-1987. Founded in Marseille by Olivier Aubin, Marie-Eve Bensussan, Patrick Loubet and Nicolas Pélissie, Corps Diplomatique remain shrouded in mystery. The band only released one 7” during their time, 1988’s Paradis I, in addition to appearing with three tracks on the La Muse Vénale compilation, a holy grail for devotees of the French coldwave. Dans Ta Nuit brings us nine tracks from this cult band, seven of which have never before appeared on vinyl. These cuts are raw and unembellished but not at the expense of dramatic tension. Tracks like “Sin of Flesh” and “Eros Phobia” deliver the kind of high octane mix of despair and ecstasy that coldwave enthusiasts crave. Comparisons are inevitably to be made with fellow Marseille act Martin Dupont, and the bands were indeed close; Alain Séghir from Martin Dupont lent Corps Diplomatique synthesizers for their own recording endeavors. Cold hearts care for each other. The cover art for Dans Ta Nuit includes photographs of the band from a 1985 concert in Marseille, and the record includes an insert that includes a photograph of the band as well as lyrics and notes.
BUY VINYL: https://sunfear-octopus.bandcamp.com/album/all-at-onceSunfear returns to Dark Entries with All at Once, her sophomore LP. Sunfear is the project of Turkish multidisciplinary artist Eylül Deniz. Her music blends intense guitar feedback with layers of noise, creating vast, textured compositions and vocals that evoke a sense of both chaos and beauty. Since 2017, Sunfear has carved out a niche in the experimental music scene, using her guitar and her voice to explore the boundaries of sound and emotion. Her work often feels like a journey through dark, expansive sonic landscapes, reflecting her deep connection to the power of sound. Her aim is self-expressive; these experimental tactics are her narrative and worldbuilding tools.All at Once shows Deniz deepening her connection to the guitar, her voice, and the Sunfear project as whole. All at Once is a darker album than its predecessor Octopus. On “Above,” sparse guitar riffs meet swirling electronics in a doom-laden reverb chamber. “Bright and Wild” unleashes brittle blasts of feedback over its lush drones. Deniz’s voice, drenched in textural processing, intermittently peeks through the murk, like on the quietly despairing “Littleness.” Optimistic glimmers are still to be found, though, like on album-closer, “Form Changed,” which veers into aquatic pop territory with a softly sauntering beat undergirding its ethereal melodies. The artwork was designed by Eloise Shir-Juen Leigh, and the album includes an insert with liner notes and lyrics. All at Once reflects the dark times we live in, but it does not only live in hopelessness; it recognizes that while loss and trauma may change our forms, we must continue to move forward.
BUY VINYL: https://darkentriesrecords.bandcamp.com/album/deep-entries-gay-electronic-excursions-1979-1985Dark Entries has raided the bathhouse to bring us Deep Entries: Gay Electronic Excursions 1979-1985, 10 tracks of obscure queer synth bliss. One of Dark Entries' most important missions has been illuminating neglected facets of gay musical history, with crucial archival works by legends like Patrick Cowley, Sylvester, and Man Parrish. On Deep Entries, the label spans 6 years of gay electronics - from sultry to angsty to camp, these songs are overflowing with snappy 808 snares and sinewy analog synth leads. The '80s were a difficult period for many in the gay community as they grappled with the horrors of the HIV/AIDS crisis. The 10 tracks on Deep Entries, varied in genre and vibe, are united in their portraiture of 1980s gay life, and the hope for love or fleeting romance. Previously unreleased cruising soundtracks come courtesy of Patrick Cowley’s “Love Me Hot” featuring vocalist Paul Parker and Boytronic’s “Tonight (Alternate Mix)” set on Hamburg’s famous “Mile of Sin.” Brisbane-based Megamen deliver the proto-electroclash number “Designed for Living,” which prefigures Madonna’s Marlene Dietrich rap in “Vogue.” Trans vocalist Paula "Ula" Villagrá declares, “Everyone is gay!” on Muzak’s “Happy Song,” a skittering tecnopop anthem. Dereck Higgins' “This Was Something” rings like a lost Joy Division cut draped in bizarre effects, and Polar Praxis’ “(I Want) To Be Different” is a seething ode to alterity. Nightmoves’ “Nightdrive,” is best known as the brooding instrumental B-side to their epochal “Transdance.” Transistor Jet’s “Master Of The Universe (BW's f-w)”, Maxx Mann’s “Just Like a Razor” and Bachelor’s Anonymous’ “A Stranger’s Bed” are mood music for the pleasures of BDSM and one-night stands. The record comes housed in a retro bathhouse fantasy sleeve designed by Gwenaël Rattke and includes a double-sided poster with photographs and lyrics. Deep Entries arrives on December 1st in honor of World AIDS day, and proceeds will go to the San Francisco AIDS Foundation.
BUY VINYL: https://borusiade.bandcamp.com/album/the-fall-a-series-of-documented-experiencesBorusiade lands on Dark Entries with their triumphant third LP, THE FALL: A Series of Documented Experiences. The Romanian producer and DJ Miruna Boruzescu aka Borusiade has a track record of genre-bending releases on tastemaking outlets like Cómeme, Pinkman, Cititrax, and of course Dark Entries, who unleashed their stunning 2020 sophomore album Fortunate Isolation. THE FALL builds on Borusiade’s mythos with its 9 brooding and sophisticated tracks investigating the contours of memory and embodiment - the “fragile bridge between body and mind” in Borusiade’s words. Moody basslines and melancholy synths wrestle with muscular rhythms; this is electronic body music for the heart and head. This is their most diaristic work to date, as well, chronicling love and loss through the gauze of reflection. Tracks like “Save Me”, “Recovery and Redemption”, and “The Fall” sprung from painful breakups, periods which Borusiade identifies as some of their most creatively fruitful, finding themselves “making the best music when I was brokenhearted.” There are odes to musical titans we’ve lost: the minimal electro producer Porn Darsteller is comemorated on “Darsteller”, while industrial legends Genesis P-Orrige and Lady Jaye are honored on “Pandrogyne.” THE FALL comes housed in a sleeve using Gautier D'Agoty’s “Essai d'Anatomie,” an anatomical work from 1745, and also includes a lyric sheet. Trauma, from lost love to pandemic isolation, informs THE FALL, situating itself as a gap that can only be accessed through sound and the creation of art. “What can I add? When life gives you drama, make music.”
BUY VINYL: https://robertrental.bandcamp.com/album/mental-detentionsRobert Rental takes up residence with Dark Entries again for an expanded double vinyl reissue of Mental Detentions. Robert Rental was a Scottish pioneer of DIY electronic music. Along with his illustrious collaborators like Thomas Leer and Daniel Miller, Rental helped shape the countercultural sound of the UK with his timely melding of Krautrock, dub, and punk. Originally from Port Glasgow, he moved to the south of England with Thomas Leer in the late 1970s, and became involved with the local music scene. Robert Rental however released very little of his solo music - the only solo recording from The 1970s is the 7" single "Paralysis" first released on the homemade Regular Records in 1978, and re-released on Dark Entries in 2020.Mental Detentions was released as a cassette in 1979, the same year as his masterpiece The Bridge, a collaboration with Thomas Leer. Using an assortment of budget electronics - a Roland drum machine, a kid’s Stylophone keyboard, and an Electroharmonix DrQ - Robert takes us on a gauzy, trip, at once expansive and intimate, minimalist and maximalist. “Stuck” is mangled motorik, like Neu! run through a meat grinder, while “Vox” meanders like an 18 minute ambient fever dream. Robert spoke to friends of his frustration at being unable to replicate his sound in a commercial studio - it was these demos' sound that he wanted to create. Sometimes having only access to the most rudimentary of equipment can sharpen one’s craft - necessity is the mother of invention, indeed. This ethic shines in his work, providing a throughline to the now, as the world feels bigger and smaller than ever. “Influenced everyone from John Foxx and Art of Noise to ABC. Seriously next level day zero DIY electro pop made in a bedsit with hacked together synths and reel-to-reel recorders.” - Boomkat
BUY VINYL: https://patrickcowley.bandcamp.com/album/from-behindCybernetic disco maestro Patrick Cowley returns to Dark Entries with From Behind, a collection of grooving and ecstatic covers of 60s garage and soul cuts. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for films on compilation albums School Daze, Muscle Up, and Afternooners. From Behind reveals yet another facet of Cowley’s myriad influences; garage and soul. As a tripped-out teenage music freak who arrived in 60’s San Francisco, it should come as no surprise that these psychedelic sounds, both heady and visceral, infuse Cowley’s oeuvre. Recorded during Cowley’s most productive period, ‘80-’82, these tracks show the master flexing his virtuosity while paying loving tribute to the songs that shaped him. A rough draft of Loverde’s “Iko Iko” contorts the jaunty Dixie Cups classic into a slithering, monstrous bathhouse groover, the song’s signature claps draped in cavernous reverb. An unexpected hi-NRG cover of The Doors’ “20th Century Fox” has Paul Parker on vocals, ironically twisting the original’s overt heterosexuality. Via Cowley’s vocoder, The Who’s “Shakin’ All Over” is transformed into a haunting meditation on the loss of bodily autonomy that AIDS inflicts, while the Moody Blues’ “Ride My See Saw” appears in instrumental, amped up and synthesized for dancefloor impact. We’re also graced with instrumental demo versions of The Seeds’ “Pushin’ Too Hard” and The Electric Prunes’ “Too Much To Dream (Last Night),” which later appeared on Paul Parker releases. Things close out with a swinging version of the Four Tops’ Motown classic “Baby I Need Your Loving”, Cowley later reimagined for R&B artist Carl Carlton. The record comes housed in a sleeve designed by Gwenaël Rattke and includes an insert with photos and liner notes written by Louis Niebur. Arriving on October 19th in celebration of what would have been Cowley’s 74th birthday, From Behind gives us yet another glimpse into Cowley’s world: iconic, erotic, and more than a little cheeky.
BUY VINYL: https://the-ghostwriters.bandcamp.com/album/objects-in-mirrors-are-closer-than-they-appearDark Entries calls on Philadelphia experimental duo The Ghostwriters to resurrect their 1981 LP of minimalist mayhem, Objects In Mirrors Are Closer Than They Appear. The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate. 1981 saw the release of their debut album, Objects In Mirrors Are Closer Than They Appear, a whirling, messy, telepathic slipstream cascading across an imaginary landscape. Recorded in Don Buchla’s childhood home, Objects offers 8 cuts of minimalist electronic bliss, equal parts icy and quirky, with standout cuts including the grooving havoc of “Fix it in the Mix” and the otherworldly hymn “Moon Chant.” These angular pearls will be cherished by fans of John Bender, Ceramic Hello, and all strains of outsider 80s electronics. Objects In Mirrors Are Closer Than They Appear has been freshly remastered and includes an insert with photos and liner notes. Proceeds from the album will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking.
BUY VIYNL: https://the-ghostwriters.bandcamp.com/album/remote-dreamingDark Entries summons Philadelphia synthesizer scribes The Ghostwriters to rouse their ambient masterwork Remote Dreaming. The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate. Following their debut album, Objects in Mirrors Are Closer Than They Appear, they were approached by ambient outlet Mu-Pysch. Remote Dreaming would take shape in various studios over nine months. Jeff Cain's instruments on this project included electric and acoustic pianos, the Juno 106 synthesizer, and a Mirage sampler, while Charles Cohen used his signature Buchla 200 Series Electronic Musical Instrument. A stark departure from the tightly wound first LP, Remote Dreaming shows the duo unfurling with soothing pianos and psychoacoustic textures, its somnambulant drones just skirting the edges of the uncanny. Although ignored in its time, Remote Dreaming is now heralded as a landmark in 80s experimental ambient music. It is here released for the first time on vinyl, spread across a double LP with five additional tracks, four of which were previously unreleased. Remote Dreaming has been freshly remastered and includes an insert with photos and liner notes. Proceeds will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking.
BUY VINYL: https://severedheads.bandcamp.com/album/ear-bittenDark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!
BUY VINYL: https://patrickcowley.bandcamp.com/album/kickin-in-2024-remasterDark Entries again shines a spotlight on bathhouse disco don Patrick Cowley with a newly remastered release of Kickin’ In. Although Cowley tragically passed from AIDS-related illness in 1982, he left an extensive archive of unreleased tapes, many of which Dark Entries has had the honor of releasing. While working as a lighting technician at The City, SF’s disco cabaret, Cowley saw rising star Frank Loverde perform. Cowley asked Loverde to contribute vocals to some material in progress, and Frank, Linda Imperial, and Peggy Gibbons joined Cowley in the studio. The resulting songs included “Kickin’ In,” a 9-minute cybernetic disco stormer that taps into the essence of Cowley’s hi-NRG sound: equal parts spaced out and zoned in on the dancefloor. In May 1978 Cowley joined Loverde on stage at The City to perform “Kickin’ In” as they opened for disco diva Sylvester. “Kickin’ In” was initially released in 2015 via Honey Soundsystem who found the tapes in the basement of Megatone Records owner John Hedges. This newly remastered version was made possible due to the discovery of the original multi-track recordings of "Kickin’ In," allowing for a fresh mixdown by Jim Hopkins as well as the creation of a new instrumental version. Also included are two impeccably sleazy Cowley jams recorded in 1980, “Thief of Love” and “Make It Come Loose.” Cowley narrates excerpts from his erotic journals on these raunchy slow-burners, capturing the vibe of SF’s leather bars and backrooms. “Thief of Love” features frequent Cowley collaborator Paul Parker on background vocals. This reissue of Kickin’ In includes features an illustration by Gwenaël Rattke that originally appeared Cowley’s erotic journal, Mechanical Fantasy Box, as well as a postcard with lyrics. “Patrick parted the veil and entered a dark world of forbidden vices, wondrous musical panoramas and bold, strident, hopeful possibilities. Patrick brought the future to us and laid it at our feet.” – David Diebold, Tribal Rites
BUY VINYL / DIGITAL https://darkentriesrecords.bandcamp.com/album/eleven-pond-bas-relief-2024-remasterDark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.”With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.
BUY VINYL: https://ortrotasce.bandcamp.com/album/dispatches-from-solitudeOrtrotasce comes to Dark Entries with Dispatches from Solitude, their latest LP. For over a decade, Nic Hamersly has been using the Ortotrasce (pronounced: or-tro-task) moniker to unleash brooding-yet-propulsive darkwave anthems upon the world. Hamersly’s work explores the intersection between industrial and synth pop, drawing a line from the sounds of the past to the present. Recorded during the Covid and post-Covid era, Dispatches from Solitude brings 8 tracks of tightly wrought synth-pop exploring grief, romance, and our strange world - which just keeps getting stranger. The cover art was designed by Hamersly, and the record includes a postcard with notes. Dispatches from Solitude will thrill fans of classic industrial-laced wave bands like Hard Corps, Fad Gadget, and SPK.
BUY VINYL: https://angelyne.bandcamp.com/album/driven-to-fantasyOn May 3rd, LA pink goddess Angelyne’s neon-draped sophomore album “Driven to Fantasy” will be available once more on Angelyne Pink vinyl, in stores and online, in partnership with Dark Entries Records as part of the label’s 15th anniversary.Angelyne, a voluptuous blonde, is a self-made icon who drives a pink corvette. A series of billboards popped up in the LA area featuring the name “Angelyne” along with a mysterious femme fatale posing provocatively. The campaign created an instant stir worldwide, making her the first icon who was "famous for being famous," and it led to the recording of her second solo album, “Driven to Fantasy.” The album features 8 tracks of bubblegum-hued new wave with a distinctly LA flavor. On sexy titles like “Sex Goddess,” “Skin Tight,” and “Flirt,” Angelyne fuses the glam and grit of southern California punk with flashy, sexy synth-pop style. This will be the first time that this cult record will be in print since its original release, on Hot Pink vinyl with a bonus 2-sided poster featuring lyrics. Angelyne is more than just a billboard queen or a rock star; she’s a movie star, a visual artist, a painter and even a political candidate. Celebrate a worldwide legend with this historic release.
BUY VINYL: https://crashcourseinscience.bandcamp.com/album/near-marinelandDark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed CCIS in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight CCIS’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see CCIS going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.
BUY VINYL: https://coti-k.bandcamp.com/album/therosCoti K. brings 5 tracks of Balearic-ambient sweetness to Dark Entries. Italian-Greek musician Costantino Luca Rolando Kiriakos has been a pioneering force in the Athens electronic music scene since the mid-80’s, wearing hats as diverse as composer, sound engineer, and installation artist. His countless projects and collaborators include Tuxedomoon, Stereo Nova, In Trance 95, and RAW (previously reissued by Dark Entries). 1994’s Theros, Kiriakos’s first release as Coti K., was comprised of three tracks of breezy downtempo beats, brimming with smooth breaks, boomy 808’s, and cosmically chill pads & pianos. In tune with the global vibes of the emerging ambient electronica movement, Coti K. brings a dose of his Hellenic heritage with tracks titles like “Argonauts” and “Theros.” The title track includes spoken word contributions from Konstantinos Bhta of Stereo Nova and is built off of a drum loop from Greek goth outfit Flowers of Romance. The sauntering “Blue” features vocals by Christina Moraki which were captured on a portable tape recorder, while the instrumental “Argonauts” is bolstered by cello from Nikos Veliotis. This reissue also includes two tracks from Coti’s 1997 debut LP - “Shoal” and “Notte Estiva” - which have never before appeared on vinyl, and show Coti experimenting with ambient and IDM styles. The cover art for Theros is a photo of the ocean by Giannis Papaioannou of RAW featuring early digital processing done on a Macintosh LC. Coti’s Theros is a timely slice of 90’s nostalgia with a uniquely Mediterranean twist.
BUY VINYL: https://doc-sleep.bandcamp.com/album/cloud-sight-fadeDoc Sleep returns to Dark Entries with Cloud Sight Fade, an album of ethereal house and techno. Doc Sleep is the alias of DJ and producer Melissa Maristuen. Following 2023’s Birds, her ambient and IDM-leaning debut album, Cloud Sight Fade shows Doc drawing on her years of queer clubbing to bring us seven diverse tracks sitting between muscular New York house, Berlin twilight techno, and funky West-coast breakbeats. Production began in the Bay Area and was completed in Berlin; Maristuen says that this work became a love letter to the West Coast’s magnificent natural landscape, the light of the Pacific sunrise. While draped in dreamlike textures and melodies, this is also a record about embodiment and the memories that live within our corporeal forms. The powerful grooves on the breakbeat-inflected “Lemon Zest” and the propulsive “Cloud Sight Fade” remind us that dance music is for bodies dancing. Meanwhile, tracks like the sparkling album-closer “Enchanted Static” or the brooding groover “Water Sign” plunge us deeper into hypnotic depths. On Cloud Sight Fade, Doc Sleep guides us through slumber and wakefulness, in and out of our bodies, with the mastery of a seasoned DJ and clubgoer.
BUY VINYL: https://topographies.bandcamp.com/album/interior-springBay Area post-punk outfit Topographies deliver their sophomore LP, Interior Spring, via Dark Entries. Formed in 2018 in San Francisco by Justin Oronos, Jeremie Ruest, and Gray Tolhurst, Topographies link the icy riffs and gloomy atmosphere of early coldwave with the textural depth and warmth of classic shoegaze, emerging with a style that’s both contemporary and timeless. On Interior Spring, Topographies explore themes of guilt, inherited trauma, and recovery. The meaning of its title is triplicate: a submerged river carrying hope, an anxiously wound clock, and a season where wildflowers bloom on the graves of the past. While the work of Tolhurst’s father - Laurence Tolhurst from The Cure - provides a clear influence, Topographies expertly channel acts like Asylum Party or The Chameleons on anthemic pearls like “Night Sea” and “Chain of Days”. Tolhurst’s lyrics draw on his own experience in recovery from substance abuse to examine the cycle of use and hopelessness that characterizes addiction. Through these ten songs, the group hopes to present the idea that freedom is not an escape but an embrace of the quotidian beauty of human life.
BUY VINYL: https://blueslawyer.bandcamp.com/album/sight-gags-on-the-radioBlues Lawyer is back on Dark Entries with a new 7” EP of summery alt-pop. Fresh off the heels of their critically acclaimed Dark Entries debut, Sight Gags On The Radio expands the Blues Lawyer universe, one where lovelorn millennials struggle to find their place. The four songs were recorded one afternoon by Rob I. Miller, Blues Lawyer co-founder and chief songwriter, in the band’s Oakland rehearsal space. It was recorded just days before Elyse Schrock (singer, songwriter, drummer, and music video creator) would be leaving the Bay Area – her home for the past decade – due to the soaring cost of living.The first single, “Have Nots,” shows the band moving away from the rapid chord changes that characterized their earlier work towards hazy guitar textures. It is accompanied by a tender music video portrait of the band reuniting in Portland, where Schrock now resides. The video documents the band’s touring life: playing pizza parlors and billiard clubs, sleeping on floors, and killing time between gigs. These touching images are elevated by Schrock’s trademark animations and editing style. Blues Lawyer also experiment with new songwriting configurations on this EP. “True Love’s Only Name,” was musically developed by Blues Lawyer guitarist, Ellen Matthews, lyrically by Miller, and sung by Schrock. Sight Gags On The Radio captures the essence of the band's sound but also reflects their development as songwriters. The outcome is Blues Lawyer’s most compelling artistic proclamation to date. Each 7” is housed in a warm orange toned jacket designed by Eloise Leigh featuring lyrics on the back. Blues Lawyer - “Sight Gags On The Radio” 7” EP releases Friday, September 29th via Dark Entries days before the band embarks on their first tour of Europe and the United Kingdom.
BUY VINYL: https://sylvester.bandcamp.com/album/private-recordings-august-1970 Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockette performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings both depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This release documents the earliest known recordings from one of disco’s greatest talents.
BUY VINYL: https://ianelms.bandcamp.com/album/good-night Ian Elms’s cult isolationist synth masterpiece Good Night returns via Dark Entries. Originally released in 1982, Good Night blends Berlin school minimalism and BBC Radiophonic weirdness with the aesthetics of then-nascent DIY punk electronics throughout its fifteen short tracks. According to Elms, these pieces were composed in two broad but interrelated modes: pieces with voice and synthesizer, which are obliquely narrative, and instrumental synthesizer pieces that aspire to capture fleeting emotions. Ian met with producer David Hoser at Octopus Studios and they began constructing pieces using a Polymoog Keyboard 280a, sampled drum tracks, and Elms’s synthesizer. On “The Street Enters the House”, live drums lurch along with skeletal motifs while Elms’s elliptical lyrics evoke domestic discontent. “A Light Moves Across Curtains” features metronomic pummeling and icy strings buttressing the scant cryptic lines from Elms. Instrumental gems like “Goodnight” and “Surrounded by Trees” are built around detuned riffs in round-like structure, both drifting and static like the motion of waves. With original pressings fetching three digits – if you can even find a copy – this reissue is essential listening for fans of John Bender, Transparent Illusion, and the early 80’s DIY cassette scene. Each copy of Good Night comes with a postcard featuring a photograph and notes by Elms. “This record is intended for anyone who by accident or design spends most of their time alone (whether in the body or in the mind).” – Ian Elms.
BUY VINYL: https://brontez-purnell.bandcamp.com/album/no-jack-swing Dark Entries and Papi Juice Records team up for No Jack Swing, the solo electronic debut of multi-hype man Brontez Purnell. The Southern-raised, Oakland-based musician and writer has centered his queerness and Blackness in projects Gravy Train and Younger Lovers as well as in his award-winning books 100 Boyfriends and Since I Laid My Burden Down. On No Jack Swing, Purnell gives us a love letter to the most beloved (and secularized) of drum patterns - that is, the electronic 808 “Amen Break”. Beginning recording in 2020, Purnell conceived of No Jack Swing as an audio zine of found sound materials: chain letters of instrumentals recorded in bedrooms, poems from boys in France, found gospel tapes from his childhood family Baptist Choir, and the sound of records skipping on his bedroom turntable. No Jack Swing is as much a homage to No Wave and New Jack Swing as it is an answering to the gods of Indie, Electroclash, Disco, and Gospel. Amidst all this background noise, the unexpected occurs: all the niche pretensions collapse to a singularity - the sound of High Pop! No Jack Swing was produced by Nightfeelings. Each copy of includes a lyric sheet with a photo of Brontez.
BUY VINYL https://cristinalaveneno.bandcamp.com/album/veneno-pa-tu-piel Veneno hits Dark Entries! Spain’s most loved transgender TV star arrives on the label in celebration of Madrid Pride on June 30th. Cristina Ortiz fled her home in Almeria at age 13. While working as a sex worker in the Parque del Oeste in Madrid, she was discovered by the TV program “Este Noche Cruzamos el Mississippi”. Her acerbic wit and candid descriptions of life as a sex worker (including graphic use of the microphone as a visual aid) struck program host and director Pepe Navarro, who recognized a star when he saw one. As a regular on the show, La Veneno (The Poison) became a TV sensation and an icon for the trans community. Her music career began in 1996 with the release of “Veneno Pa Tu Piel”, a sassy but mournful Eurobeat number about forbidden love with her johns. The flipside features “El Rap De La Veneno”, a house track over which Veneno improvises some of her famous catchphrases, including her iconic “Digoooo!”. The release was a hit, selling over 50,000 copies in Spain. Two different mixes of both tracks are included on this reissue. Each copy includes an insert with lyrics, notes, and a photo of La Veneno. Celebrate Madrid Pride with these ecstatic gay anthems!
BUY VINYL: https://cristinalaveneno.bandcamp.com/album/veneno-pa-tu-pielVeneno hits Dark Entries! Spain’s most loved transgender TV star arrives on the label in celebration of Madrid Pride on June 30th. Cristina Ortiz fled her home in Almeria at age 13. While working as a sex worker in the Parque del Oeste in Madrid, she was discovered by the TV program “Este Noche Cruzamos el Mississippi”. Her acerbic wit and candid descriptions of life as a sex worker (including graphic use of the microphone as a visual aid) struck program host and director Pepe Navarro, who recognized a star when he saw one. As a regular on the show, La Veneno (The Poison) became a TV sensation and an icon for the trans community. Her music career began in 1996 with the release of “Veneno Pa Tu Piel”, a sassy but mournful Eurobeat number about forbidden love with her johns. The flipside features “El Rap De La Veneno”, a house track over which Veneno improvises some of her famous catchphrases, including her iconic “Digoooo!”. The release was a hit, selling over 50,000 copies in Spain. Two different mixes of both tracks are included on this reissue. Each copy includes an insert with lyrics, notes, and a photo of La Veneno. Celebrate Madrid Pride with these ecstatic gay anthems!
BUY VIYNL: https://codeindustry.bandcamp.com/album/structureSeminal EBM-techno outfit Code Industry surfaces on Dark Entries with a reissue of their Structure EP. Detroit-based musicians Rob Myers, E.N. Sevy, Kyl Crys, and William Keith formed Code Industry in 1989 following their previous project, Code Assault. Among the few Black artists working in the idioms of EBM and industrial during their time, Code Industry tackle issues of racism, the media, and the hypocrisy of patriotism. The band’s frigid synths and menacingly whispered vocals display their affinity for European EBM acts like Front 242 and Nitzer Ebb, but their adventurous production and high- tech grooves situate their work equally within the Detroit techno continuum. The Structure EP was originally released in 1991 via the legendary Antler-Subway label. On its six tracks, Code Assembly expand upon Method of Assembly, their debut album from the year prior, while presenting striking new work hinting at the development of their sound. On “Behind the Mask (Image Mix)”, the band reworks one of the hits from Method of Assembly into a leaner, more kinetic form, finely sculpted for maximum dancefloor impact. The instrumental “Fury” shows the outfit pushing harder into the then-nascent Detroit techno sound, with spare synths and disembodied vocal snippets. Meanwhile, brooding downtempo cuts like “Ail” and “Crimes Again the People” imbue their cyberpunk aesthetics with politically-charged rage. Code Industry illustrates the depth of techno and EBM’s mutual entanglement while addressing political struggles that still embroil us in 2023. This reissue of Structure includes a double-sided insert with lyrics and liner notes by Pen Jackson aka E.N. Sevy. It will be released on Juneteenth as a celebration of powerful Black American music.
BUY VINYL: https://de-bons-en-pierre.bandcamp.com/album/card-short-of-a-full-deckDark Entries’ resident scuzzmasters De-Bons-en-Pierre return with the Card Short of a Full Deck EP, featuring six tracks of their signature sludge. In 2016, Beau Wanzer and Maoupa Mazzochetti fused forces in order to infect the world with their mutant analog strain, a noxious hybrid of 80’s DIY cassette electronics and 90’s Birmingham techno. Card Short of a Full Deck follows 2017’s Crepes EP and 2019’s EP No. 1 and EP No. 2, all released via Dark Entries. Their latest salvo features six tracks composed for a live performance in 2019. While a damaged sense of whimsy has pervaded their previous work, Card Short sees the duo ramping up the absurdity to obscene levels. Skittering rhythms dance over ghoulish basslines and haunting, rave-evocative chords on cuts “Le Râle du Mâle Alpha” and “Puddle Points”. Elsewhere, like on “Card Short of a Full Deck” and “Accidental Surgeries”, contorted vocals battle careening synths amidst post-apocalyptic waste. This deck’s not just short, it’s also full of jokers The sleeve for Card Short of a Full Deck was designed by Eloise Leigh, and features a punk zine xerox aesthetic with playing card motifs.
PREORDER: https://de-bons-en-pierre.bandcamp.com/album/card-short-of-a-full-deckDark Entries’ resident scuzzmasters De-Bons-en-Pierre return with the Card Short of a Full Deck EP, featuring six tracks of their signature sludge. In 2016, Beau Wanzer and Maoupa Mazzochetti fused forces in order to infect the world with their mutant analog strain, a noxious hybrid of 80’s DIY cassette electronics and 90’s Birmingham techno. Card Short of a Full Deck follows 2017’s Crepes EP and 2019’s EP No. 1 and EP No. 2, all released via Dark Entries. Their latest salvo features six tracks composed for a live performance in 2019. While a damaged sense of whimsy has pervaded their previous work, Card Short sees the duo ramping up the absurdity to obscene levels. Skittering rhythms dance over ghoulish basslines and haunting, rave-evocative chords on cuts “Le Râle du Mâle Alpha” and “Puddle Points”. Elsewhere, like on “Card Short of a Full Deck” and “Accidental Surgeries”, contorted vocals battle careening synths amidst post-apocalyptic waste. This deck’s not just short, it’s also full of jokers The sleeve for Card Short of a Full Deck was designed by Eloise Leigh, and features a punk zine xerox aesthetic with playing card motifs.
The venerable Dark Entries celebrates it’s 300th release with Panoramic Coloursound, a triple LP from the Creative Technology Consortium. Traxx, Andrew Bisenius, and Jason Letkiewicz forged the CtC during the depths of pandemic isolation. Drawing from film and television music of the 80’s/90’s and armed with a mighty array of vintage analog and digital synthesizers, they set out to explore heists, vices, and catastrophe. Panoramic Coloursound collapses sound and image into a neon blur throughout its 25 tracks.While retro scores were the starting point for the CtC, the project does more than pay dutiful homage — these notes are warped and skewed, devolving into decaying digital soundscapes. EBM-inflected basslines pop up on tracks like “Catastrophe” and “A Retro Vice”, menacing numbers that recall Traxx and Letkiewicz’s legendary work as Mutant Beat Dance (a project also featuring Beau Wanzer). “Follow Our Kode” pairs heroic synths with funky bass, striking cosmic chords akin to the material that Traxx and Bisenius have released as An Anomaly. Krautrock-esque guitars slide along anthemic pads on “Beautifully Polluted Sunset”, which comes across like an alien Miami Vice closing theme. The CtC channel corroded VHS vibes while making music for the future. Panoramic Coloursound was mastered by Frédéric Alstadt. The sleeve was designed by Eloise Leigh, and features a photograph by Jason Letkiewicz. Also included is a postcard featuring liner notes, a gear list, and a photograph by Maria Tzeka
BUY VINYL: https://patrickcowley.bandcamp.com/album/malebox
Dark Entries has a surprise delivery! Malebox brings us six previously unreleased funk-fueled jams from the archives of the cybernetic disco titan himself, Patrick Cowley. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films on compilation albums School Daze, Muscle Up, and Afternooners. But Malebox gives us more of the Cowley we know and love: churning disco-funk and hi-NRG tracks that are spacey and sleazy, gritty and sublime. Recorded from 1979-1981, these six tracks illuminate what was one of Patrick’s most creatively exciting periods. “If You Feel It” and “Love Me Hot” were both early Paul Parker demos; the former is a peak hour hi-NRG bomb, while the latter dips into Cowley’s zoned-out space disco sound. Jeanie Tracy’s soulful vocals feature on the demo version of “Low Down Dirty Rhythm”, which was later re-recorded by Sarah Dash. The slower, less-varnished rendition here hits with a wild psychedelic edge. Meanwhile, Patrick’s gifts for careful orchestration and infectious melodies shine on “Floating” and “Love and Passion”, which were likely demo tracks for Loverde. The songs on Malebox display the vitality and inventiveness of a brilliant composer taken from us too soon. Malebox sleeve design was by Gwenaël Rattke, and features a hyper-color retro collage. Also included is an air mail envelope containing a letter from Patrick Cowley to French disco producer Pierre Jaubert as well as liner notes and hand-written lyrics. Malebox will be released on November 12th , which is the 40th anniversary of Patrick’s passing.
PREORDER VINYL: https://forbiddenoverture.bandcamp.com/
The master sleuths at Dark Entries bring us Forbidden Overture, another tantalizing mystery from the hidden depths of sleaze. It all began years ago when Bijou Video’s Jules Zinn introduced the label to the soundtracks of the pornographic films of legendary filmmaker Steve Scott and gay superstar Al Parker. It wasn’t until The Magazine’s Bob Mainardi gifted a cassette copy of the soundtrack to the film TURNED ON—a bathhouse fantasy from 1982—that the wheels started turning. The steamy, hypnotic sounds were credited only to “Forbidden Overture…” but who was that? This question remained unanswered for some time, and countless hours of research, Venn diagramming, and elaborate flow charts all proved fruitless. It wasn’t until a chance screening of BAD GIRLS DORMITORY, a 1986 women-in-prison movie from gay porn director Joe Gage that happened to reuse some of the same music did the answer become clear: Forbidden Overture was none other than the mighty Man Parrish! The soundtrack to TURNED ON consists of two epic side-long pieces, both of which employ classic Man Parrish production techniques. “Primal Overture” slinks along with brooding pads and ominous chords, building and oozing throughout its 27 minute runtime like a sultrier Goblin soundtrack. “Strictly Forbidden” takes a similar groove to a major key, but it’s optimistic chirp conceals a wry, mysterious wink. Says director Steve Scott: “It took us about two weeks to find the right piece for the jockstrap scene. But it's like anything else—you know when it’s right.” Also included is a 20 page booklet featuring photos, archival material, a pull-out poster, and interviews with Steve Scott and stars Al Parker and Scott Taylor. TURNED ON is an exciting musical rediscovery as well as a vital document of queer history.
BUY VINYL: https://billconverse.bandcamp.com/album/take-parts
Underground hero Bill Converse returns to Dark Entries with Take Parts, perhaps his most muscular and floor-focused work to date. Converse has honed his analog craft since the early days of the Midwest rave scene, absorbing lessons from luminaries like Claude Young and Traxx. His skill as a producer has been established with releases on labels such as Dark Entries, Fit Sound, and Obsolete Futures, and his prowess as a DJ has been witnessed on floors the world over. On Take Parts, Converse peels away the layers of acidic gauze that have characterized much of his work, revealing his sharp grasp of dancefloor dynamics and DJ functionality. While the 808’s, 909’s, and 303’s are on full display, Converse does not indulge in retro-fetishism; he channels the future forward impulse of the originary rave ethos. Tracks like “Stroke” and “What You Have” pit seasick chords and analog squelch atop funky but unsettling loops. The flurry of 808 snares on “Measurement (Of What?)” nods towards both footwork and jungle, but feels ultimately planted in a world of Converse’s own. With the acid-electro masterpiece “Take Apart”, Converse implores us to both join him in this new world and reconfigure the one we’re living in now. The 6-tracks on Take Parts present a new focus for Converse, and will excite DJ’s and thrill dancers
BUY VINYL: https://euroshima.bandcamp.com/album/gala
Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl. Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths. This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.
BUY VINYL/DIGITAL https://sunfear-octopus.bandcamp.com/album/octopus
Sunfear, the project of Istanbul-based multidisciplinary artist Eylül Deniz, debuts on Dark Entries with Octopus. Since 2017, Deniz has been working as a composer, performer, and DJ, with a focus on different facets of ambient, jazz, and experimental music. Deniz is deeply steeped in both music theory and history. She explores electroacoustic techniques, utilizing piano, guitar, voice, and synthesizer. These are her tools for self-expression, the means to tell her story to the world. Octopus is a rumination on loneliness, memory, and Deniz’s childhood fondness for aquatic creatures. The ten songs on the album are static and turbulent, mournful and optimistic, grounded and otherworldly. A field recording of a gently flowing stream undergirds instrumental album opener “Dokun”. The stream begins by soothing us, but as tension builds throughout the song, its presence becomes unstable, uncanny. On “I Don’t Know Why I’m Crying”, a repeating motif serves as the canvas for Deniz’s majestic, reverberant voice. While the source of sorrow remains unknowable, her catharsis is pure and real. The penultimate track, “Octopus”, breaks into an unexpected trip hop-esque beat, which only enriches the album’s introspective terroir. With Octopus, Deniz gently guides the listener to places unknown. All songs on Octopus were mastered by George Horn at Fantasy Studios. The sleeve, designed by Eloise Leigh, features a manipulated photograph taken by Deniz, which contrasts textures and colors in a non-representational fashion. Also included is an 11 x 11 insert with lyrics and a photo.
PREORDER HERE: https://shawnpittman.bandcamp.com/album/dreams Dark Entries presents a reissue of Shawn Pittman’s 1989 Dreams, an obscure and highly sought-after private press gem produced and written by Art Forest. An undersung figure in the development of the late 80’s Detroit techno sound, Forest collaborated with, produced, or penned material for many of the key players in the movement, including Inner City, Suburban Knight, and the Belleville Three themselves (on Kreem’s “Triangle of Love”). This reissue gives Forest’s own productions some shine while providing a thrill for both dancers and collectors. Dreams features two songs, both written and produced by Art Forest and featuring Shawn Pittman on vocals. The A-side contains two mixes of “Dreams”, a smooth R&B/modern soul number driven by Pittman’s vocal. While the song is undeniably radio-friendly, it contains some of the hallmarks of the Detroit techno sound – sparse arrangement, lush reverb, and booming bass. On the B-side, we are treated to two different versions of the clubbier “I’m Losing Control”. The original mix leans towards boogie/freestyle, with syncopated 909 beats and sassy synth vamps, and wouldn’t sound out of place next to Forest’s work with Inner City. The Extended-Bass-ment Club Mix strips things down and dubs them out, leaving us with shards of bass synth, brooding strings, and Pittman’s vocals eerily warped to the edge of recognition; a perfect late-night warehouse anthem. All songs were remastered by George Horn at Fantasy Studios. The sleeve is a replica of the original cover art. Also included is a 2-sided postcard with lyrics and photos of Art.
Announcing our next reissue out April 1st. We will be donating 100% of proceeds from this release to Sphere who provide support to the young queer community across Ukraine and the Palestine Children's Relief Fund who help provide urgent humanitarian care for Gaza's children. Hassan Ideddir’s 1989 single “Atfalouna” sees an expanded repress courtesy of Dark Entries. Born to Berber parents in Morocco, Ideddir began making music at the age of 10 after being discovered singing in the stairwell by his school’s headmaster. Encouraged by his peers, he began playing concerts, and his status grew. In 1987, he played a string of sold-out concerts in Casablanca, Rabat, and Marrakesh, in support of a children’s charity. The success of these concerts secured him a record deal, and he went to Paris to record his debut single “Atfalouna” in 1988. Released in 1989 on WEA, “Atfalouna” is a dense slab of multi-genre pop. An opening wash of digital synths and reverberant vocals quickly falls away to a cascade of orchestra hits and pulsing electronic drums; the monotone chant-rap of a female chorus collides with Ideddir’s soaring melismatic vocals, pleading against the injustice and hunger in the world. While Hip-Hop and New Beat borrowed tropes from Arabic music, “Atfalouna” inverts the gesture, resituating orchestra hits and sampling techniques within a Moroccan music framework. A shorter instrumental version follows, which preserves the female vocals. Also included are two tracks not on the original 12”. “Ibina” is a moody, downtempo instrumental that sounds like a cult Italo B-side. The record closes with “Ydouchababe”, an electro number driven by funky guitars, electronic claps, huge horn riff. Here, Ideddir sings of a youth festival honoring Hassan II, former king of Morocco. All songs were remastered by George Horn. The sleeve is a replica of the original 12” cover art, featuring Ideddir set in a cheeky collage of clocks, columns, and camels. Also included is a postcard with a photo of Hassan, as well as lyrics in both Arabic and English.
Bézier returns to Dark Entries with Valencia, a six track rumination on memory, geography, and transmutation. Multi-instrumentalist Robert Yang’s Bézier project has appeared on Dark Entries many times over the last decade, most recently with the 2018 LP Parler Musique. Says Yang, “What started as a project to investigate the love of the sound and scenery while living in San Francisco quickly developed into a passionate search for interlocking melodies and driving rhythms.” On Valencia, Bézier invokes twinned places. The Valencia Street of San Francisco is channeled, which was the center of the city’s vibrant new wave scene in the 1980s. But also echoed is Valencia, Spain, and La Ruta del Bakalao aka La Ruta Destroy, the Spanish clubbing scene throughout the 80s and 90s famed for its aggressive and synthetic sounds. Valencia is a darker record for Yang, exploring themes of submission and catharsis with nods to SF’s gay leather bars of the 70s and 80s. The high BPM salvos of “Valencia” and “Scrupulous” capture the frantic energy of Bakalao and Valencian wave acts like Última Emoción. Elsewhere Yang mines the dreamy space disco and Hi-NRG sounds they’re known for, like on the brooding “Past the Marshes” or the anthemic “Reservoir”, which features their partner Len.Leo on vocals. Bézier deftly navigates past and present, light and dark, pain and pleasure, the stasis of memory and the flux of time. Valencia was mastered by Alex Michalski, with EQ for vinyl done by George Horn. Gwenael Rattke designed the sleeve, which features an 80’s punk zine-esque geometric grid pattern mirroring San Francisco street maps. Also included is a 5x7 postcard with notes.
Celebrating the 40th anniversary of Speak & Spell by Depeche Mode on NTS October 26, 2021 Tracklist: Any Second Now (Altered) Any Second Now (Voices) Puppets Shout! (Rio Mix) Nodisco Just Can't Get Enough (Schizo Mix) Sometimes I Wish I Was Dead Dreaming Of Me Boys Say Go! (1981-06-11 BBC Studio Session) Ice Machine Tora! Tora! Tora! (1981-06-11 BBC Studio Session) Big Muff (1981-09-29 Les Bains Douches, Paris, France) Television Set (1981-09-29 Les Bains Douches, Paris, France) What's Your Name? New Life Photographic (Some Bizzare Mix)
BUY VINYL/DIGITAL: https://lenaplatonos.bandcamp.com/album/balancers Greek electronic music legend Lena Platonos returns to Dark Entries with Balancers, an LP of previously unreleased material recorded between 1982-1985. Athens-based Platonos has worked with the label previously to reissue her three solo LPs - Gallop, Sun Masks, and Lepidoptera - as well as to release three accompanying 12” EPs featuring modern remixes of her work. She is renowned for her forays into cutting-edge electronic experimentation as well as her striking, impressionistic poetry and lyrics, always recited in Greek. The twelve tracks on Balancers reveal a murkier side of Lena, one draped in tenebrous washes and oneiric utterances. Ragged analog rhythms feature on several tracks, even breaking into a brooding electro groove on “A Cat in the Corner”, but the predominant tone is sparse and somber. Mournful instrumental “Phaethon” swells to mythological proportions, while “In September” feels small enough to fit in your pocket. Lena’s poetry sits amidst lush pads and Radiophonic Workshop-esque squiggles, her voice setting an intimate tone in the shifting electronic sea. Inspiration is drawn from Greek mythology and architecture, and lyrics evoke a soft sorrow, an ambivalence towards love, life, and the passage of time. Although the material here spans 3 years and features a range of recording fidelities and synthesis techniques, the collection possesses the heft of a singular artist’s vision. Balancers was remastered by George Horn at Fantasy Studios. Eloise Leigh designed the sleeve, which features a doubled Lena in washed-out burgundy hues, channeling the femininity and mystery of the album. Also included is an insert with lyrics in both Greek and English.
BUY VINYL/DIGITAL: https://darkentriesrecords.bandcamp.com/album/back-up-mexican-tecno-pop-1980-1989 On Back Up: Mexican Tecno Pop, Dark Entries brings us 10 divergent tracks of Mexican electronics from 1980-1989, full of skittering analog drum boxes and saucy synthesizer hooks. 8 of these songs were culled from the 2005 CD-only compilation Backup: Expediente Tecno Pop on AT-AT records. Also included are two previously unreleased cuts. This release marks the first time many of these songs will have appeared on vinyl; it is also the first ever vinyl compilation of Mexican New Wave and post-punk. While synth pop and obscure electronics from Europe and the United States have been extensively documented, much less attention has been paid to such offerings from the periphery. Back Up serves as a vital document of Mexico’s flourishing DIY scene in the 1980’s, surveying a wide range of styles and moods. By using home recording techniques, the bands featured here were able to circumvent relying on the expensive studios of the era. Tracks by Avant Garde, Vandana, and Silueta Pálida mine the kind of dreary-but-infectious wave that long-time Dark Entries fans will celebrate. Meanwhile, Volti and Artefacto offer a floor-ready pop sound that has echoes of NY freestyle, with Latin percussion and boxy beats. But darker turns are present as well, with Década 2’s New Beat-inflections and electro experiments of Syntoma and their side project Escuadrón Del Ritmo. Back Up: Mexican Tecno Pop was remastered by George Horn at Fantasy Studios. The sleeve is a neon retro-futurist design by Gwenaël Rattke. Also included is a 12-page booklet printed on neon green, pink, and orange paper, which features photographs, band biographies, lyrics, and liner notes.
BUY VINYL/DIGITAL: https://fromnurserytomisery.bandcamp.com/album/tree-spirits
From Nursery to Misery crawl back to Dark Entries with Tree Spirits, the follow up to 2017’s Pixies In The Woods. The project was founded in 1987, when producer and keyboardist Lee Stevens invited identical twins Gina and Tina Fear over to record in his home studio in Basildon, Essex. Four years of prodigious studio experimentation followed, resulting in two full length cassettes (1989’s The Oak Tree and 1990’s Equilibrium), and a split EP with Nostalgie Eternelle in 1990. Stalwarts of the Mail Art scene, they also appeared on over 22 cassette compilations, home-dubbed in true DIY fashion, before splitting in 1991. The eleven tracks on Tree Spirits display From Nursery to Misery’s signatures: chunky drum machine patterns, playfully eerie synth melodies, and Tina and Gina’s stark, nursery rhyme-esque vocals. The lyrical content ranges from dreary to grim; they explore existential despair, sexual violence, and death through an acerbic, feminist lens. Inspired by the Bladerunner soundtrack and 4AD, Lee’s production is alternatingly warm and icy, like a glacier wrapped in analog tape hiss. Stylistically, the tracks range from charmingly miserable synth pop on “Cry Me”, to the clanging rhythmic industrial of “The Daily Raper”, and even a haunting flute driven instrumental with “A Summer Morning Trip Through The Misty Woods”. From Nursery to Misery are a pure expression of the British DIY aesthetic, which is made all the more captivating by the band’s own confession that they were just trying to make pop music! All songs on Tree Spirits were remastered by George Horn at Fantasy Studios. The cover art by Eloise Leigh features a photograph of the twins posing dramatically in the woods. Included is a 12-page booklet with lyrics, liner notes, and an archival interview with the band, as well as a bonus 1.25” square pin featuring the band’s logo.
https://fromnurserytomisery.bandcamp.com/album/tree-spirits From Nursery to Misery crawl back to Dark Entries with Tree Spirits, the follow up to 2017’s Pixies In The Woods. The project was founded in 1987, when producer and keyboardist Lee Stevens invited identical twins Gina and Tina Fear over to record in his home studio in Basildon, Essex. Four years of prodigious studio experimentation followed, resulting in two full length cassettes (1989’s The Oak Tree and 1990’s Equilibrium), and a split EP with Nostalgie Eternelle in 1990. Stalwarts of the Mail Art scene, they also appeared on over 22 cassette compilations, home-dubbed in true DIY fashion, before splitting in 1991. The eleven tracks on Tree Spirits display From Nursery to Misery’s signatures: chunky drum machine patterns, playfully eerie synth melodies, and Tina and Gina’s stark, nursery rhyme-esque vocals. The lyrical content ranges from dreary to grim; they explore existential despair, sexual violence, and death through an acerbic, feminist lens. Inspired by the Bladerunner soundtrack and 4AD, Lee’s production is alternatingly warm and icy, like a glacier wrapped in analog tape hiss. Stylistically, the tracks range from charmingly miserable synth pop on “Cry Me”, to the clanging rhythmic industrial of “The Daily Raper”, and even a haunting flute driven instrumental with “A Summer Morning Trip Through The Misty Woods”. From Nursery to Misery are a pure expression of the British DIY aesthetic, which is made all the more captivating by the band’s own confession that they were just trying to make pop music! All songs on Tree Spirits were remastered by George Horn at Fantasy Studios. The cover art by Eloise Leigh features a photograph of the twins posing dramatically in the woods. Included is a 12-page booklet with lyrics, liner notes, and an archival interview with the band, as well as a bonus 1.25” square pin featuring the band’s logo.
We’ve unlocked another song from ‘Mechanical Music for Brighter Days’ by Fear-E today for streaming and download. “El Bimbo de Oro” channels the kind of raw, high-impact techno that would have been at home on labels like Djax-Up-Beats or Tresor in the 90’s. Without descending into pastiche - Fear-E’s clever production techniques keep things fresh. Full release is out this Friday July 30th. www.fear-e.bandcamp.com
Recorded live on Lower Grand Radio June 21, 2021 Tracklist: RuPaul - La Wanda in Your Face Tony Talks - These Toxic Friendships I Have BAE BAE ft. Miss Pvssy - EXPENSIVE The Look - Glammer Girl [Bochinche Prelude-Ballroom Mix-Moog Reprise] Johnny Dynell & David Ian Xtravaganza - Elements of Vogue Sylvester - I Need You (Underground Mix) Jose & Luis - Queens English (The Factory Mix) Moi Renee - Miss Honey (Vocal Mix) Candy J. - Shoulda Known Better (M.D. Rubba Dub Mix) DJ Minx & Gari Romalis - A Cocktail or Two Justin Cudmore - Pride @cudmore Bouffant Bouffant - Night Blue @bouffant-bouffant Erasure - Secrets (Kim Ann Foxman Remix)@kimannfoxman Love Letters - Press N Pull @askloveletters Octo Octa - River @octoocta Cristina "La Veneno" - El Rap de la Veneno I.M.T. - The Devil Made Me Buy This Dress Doc Sleep - M2M @docsleep Honey Dijon - La Femme Fantastique (feat. Josh Caffe) [KiNK & KEi Remix] @honeydijon Kevin Aviance - Cunty (Wave Edit) la Prohibida - Mujer de Bien Bézier - Vocalise @bezier Boytronic - Tonight (short alternate) Maxx Mann - Leather Man Jasmine Infiniti feat. Sir JoQ - Stunna @jasmineinfiniti
BUY DIGITAL/VINYL: https://patrickcowley.bandcamp.com/album/white-trash-boom-boom The deep archives of disco legend and synth wizard Patrick Cowley continue to prove inspirational for Dark Entries. Cowley, who passed away from AIDS-related illness in 1982, was the multi-faceted producer behind numerous disco anthems such as Sylvester’s “You Make Me Feel (Mighty Real)”. Since 2009, Dark Entries has been working with Cowley’s friends and family to shed light on the lesser known facets of this singular artist’s output. This has resulted in a string of celebrated archival albums, including Catholic (featuring Jorge Socarras), School Daze, Muscle Up, Afternooners, Mechanical Fantasy Box, and Some Funkettes. For the latest addition to this saga, White Trash Boom-Boom, Dark Entries has teamed up with The Stud to release four tracks culled from some of Cowley’s earliest rehearsal tapes. In 1972 Patrick was living in the Haight-Ashbury neighborhood with Theresa McGinley and Janice Sukaitis, friends of his from New York. Through his roommates he met Candice Vadalla, better known as erotic actress and producer Candida Royalle. In 1973, Theresa, Candice, and Janice formed White Trash Boom-Boom, an all-female avant-garde performance troupe. Reacting to the Angels of Light and the Cockettes, they captured the spirit of the times: camp, confrontational, and delirious. Theresa recalls, "We brewed a brand of performance that steered away from the doctrinaire and reveled in ambiguities." Patrick provided their theatrical experiments with appropriately zany musical accompaniment. Side A features two songs from the “Country and Western” skit, “Bride” and “Beer and a Pizza”, which were written by Janice Sukaitis, Karen Dunaway, and Cowley. The feminist skit tackled the issue of women’s limited life choices in society. The B-side contains “Baciami” and “Spengo la Luce”, two songs from “Goes to Little Italy”, a skit addressing Catholic expectations of female chastity, performed in 1974 on top of the bar at the Stud. These songs were lifted from an Italian folk 7” found at a thrift store, and feature “improvised” Italian, including a solo by Candida Royalle. The material on White Trash shows Cowley flexing his synthesizer muscles to create curiously camp genre pieces. This is an essential document of a bygone era. White Trash Boom-Boom is limited to 330 hand-numbered copies. All songs were remastered by George Horn at Fantasy Studios. The cover was designed by Eloise Leigh, and features a photograph of the White Trash Boom-Boom skit “Goes to Little Italy”. The lithograph sleeves were printed by The Aesthetic Union. Included is an insert featuring notes from original Boom-Boom girls Theresa, Janice, and Candida. The release date of White Trash is timed to coincide with the opening of Queer Visions at Haight Street Art Center, an exhibition that explores the role of nightlife in queer art in San Francisco.
slo-mo leftfield mix for @veneno_live in São Paulo tracklist: Shriekback - Madness into Method Second Thoughts - Never Seen Shelly Pearse - If You Want My Love (House Mix) Sade - Make Some Room He Said - Pump Janitors Animated - Demo Denis & Denis - Soba 23 Volti - Corazón Cabaret Voltaire - Here To Go (Little Dub) Kid D. & The Nightshades -Sensation Boys Neon - Voices Twice a Man - Goat II A Certain Ratio - Life's A Scream Bandaid - A Tour in Italy Agentss - Agentss (Slowdance By The Glimmers)
BUY VINYL/DIGITAL: https://risque-iii.bandcamp.com/album/essence-of-a-dream Dark Entries is again presenting an essential classic: the Chicago house anthem Essence of a Dream, by Risqué III. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high profile artists such as Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.” In 1987, Shelby’s first solo release, Risqué III’s “Essence of a Dream” b/w “Risqué Madness,” was to be cemented in Chicago dance history. He was accompanied in the studio by his cousin and production mentor, Mr. Lee. The track’s effortlessly propulsive house rhythms (courtesy of the Roland TR-727, TR-707, and TR-909), salsa-inflected bassline, and oneiric strings fuse magnificently with K’Alexi’s steamy, Prince-esque verse. Due to tight studio schedule times, his vocals were almost omitted. Says Shelby: “The session was coming to an end and I said I wanted to put the vocals on there. They said, ‘We got no time unless you can get your vocals right in one take’. I said, ‘Let it rip’ and went into the vocal booth...they just stood there with their mouths open. The look on their faces was priceless.” The B-side’s “Risqué Madness” is a tribute to Ron Hardy, DJ at the Music Box and one of K’Alexi’s formative influences. The track opens with Shelby’s processed voice announcing "I'd like to talk to you about escape. Let me take you away, away to a place where rhythm is life, and life is a never ending sound." This introduction captures how he felt dancing to disco every week at the Music Box. Hardy was known for playing an edit of Kikrokos’ “Life is a Jungle,” in which he looped the track’s lysergic breakdown. Shelby utilizes the same delirious loop but builds upon it with additional percussion, melodies, samples from Hardy favorite “Let No Man Put Asunder” by First Choice, and manipulated vocals taken from The Madam’s “The Sensuous Black Woman”, a recording used often in early Chicago house DJ sets and recordings. Both sides of this record perfectly reflect the spirit of Chicago house music. Essence of a Dream has been remastered by George Horn at Fantasy Studios. The sleeve was designed by Eloise Leigh, and features a never-before-seen photo of a teenage Shelby taken at his high school, with a bold font evoking 80’s house music covers. Also included is a postcard with lyrics, an additional photo from the same session as the cover artwork, and liner notes from Shelby.
BUY VINYL: https://xymox.bandcamp.com/album/peel-sessions Dark Entries reunites with longtime idols Xymox, also known as Clan of Xymox, to reissue their Peel Sessions. Xymox was founded in Nijmegen, Netherlands in 1983 by Ronny Moorings and Anka Wolbert, who were joined shortly by Frank Weyzig and Pieter Nooten. Melding the synthesizer-driven experiments of post-punk and New Wave with the doom-laden atmospherics of the burgeoning goth rock scene, Xymox were one of the key progenitors of dark wave. The success of their 1983 debut EP, Subsequent Pleasures (reissued by Dark Entries in 2014) paved the way for a string of epochal releases on 4AD, where they honed their lush, despairing sound. Following their 1985 debut LP, Clan of Xymox, DJ and tastemaker John Peel invited them to BBC studios to record for his Radio 1 show. These recordings were released in 2001 via the Strange Fruit label on CD and are now available here for the first time on vinyl and digital formats. Side A of Peel Sessions was recorded on June 4, 1985 at Maida Vale 5. Ronny and Anka recount facing anxiety and technical difficulties that day, with their complicated MIDI routing and a necessary plug conversion eating into their scant studio time. But their craft shines on these recordings, unmarred by the stressful circumstances. A reverb-drenched rendition of “Stranger”, the brooding hit single from Clan of Xymox, opens the record. “Muscoviet Mosquito”, a cult number from Subsequent Pleasure, follows. It is reworked here in a more robust fashion, similar to the version that would appear on the 1987 Lonely is an Eyesore compilation. Anka’s vocals take center stage on side closer “Seventh Time”, allegedly the song that charmed John Peel. Side B was recorded during a second Peel session on November 3, 1985, and illustrates the band’s continued development with three tracks that would appear on their 1986 album Medusa. “After the Call” was written and sung by Pieter Nooten, and has subtle echoes of Morricone amidst its proto-shoegaze drone. “Agonised by Love” and “Mesmerize”, which would later be retitled “Medusa”, both point towards the smoother, softer anguish that would characterize their sophomore LP. All songs were remastered by George Horn at Fantasy studios. The sleeve, by Eloise Leigh, evokes classic Vaughn Oliver designs for 4AD, and features a photograph of the band mid-performance. Also included is a 2-sided insert with archival photos and notes from both Ronny and Anka on their experiences recording at the BBC studio.
Women's History Month set support lowergrandradio.com Track List: Tori Amos - All The Girls Hate Her Pauline Anna Strom - I Still Hope Lena Platonos - A Cat on the Corner Helena Hauff - hdowed From Nursery To Misery - Phoenix Dragon SOPHIE - BIPP (Autechre Mx) ELLES feat. Violet - ice ballad ASEUL - Loveless Group Rhoda - Twin Studies Kim Ann Foxman - My Dog Has Fleas Borusiade - Purge (Original Mix) Candy J - Hurt Me! Hurt Me! Steffi feat. Virginia - Reasons DJ Minx A Walk In The Park (Stay) Lara Sarkissian - Faith, Drama & The Flute Honey Dijon - Not About You (feat. Hadiya George) [KDA 'Legacy' Remix] Doc Sleep - Lemon Zest Ariel Zetina - Security Theatre Jasmine Infiniti - Prove It Linda and the Lollipops - I Remember Buffy Sainte-Marie - God Is Alive, Magic Is Afoot Penelope Trappes Nervous Wendy Carlos - Timesteps (Excerpt) Ivy Barkakati - Mango Sheen
BUY VINYL: https://daxpierson.bandcamp.com/album/nerve-bumps-a-queer-divine-dissatisfaction Dax Pierson’s debut solo LP is coming via San Francisco’s Electronic powerhouse imprint Dark Entries Records and Oakland’s Ratskin Records collective. Pierson, an Oakland-based underground legend, has pushed the boundaries of experimental electronic music with his soul-moving opus Nerve Bumps; A Queer Divine Dissatisfaction, an endeavor two long years in the making. On Nerve Bumps, Pierson blends hip hop, jazz, John Carpenter-esque arpeggios, trap/anti trap-influenced percussion, and musique concrete-informed experiments. Futuristic synthesizers cut through layers of fog as Pierson’s bombastic drum programming forges new worlds within themselves. Pierson tells a complicated and inspiring story on Nerve Bumps, which is both a privilege and a gift to experience. Tracks such as “I Slay The Pain” reiterate that although Pierson has to live his life as a quadriplegic, this does not define him as an artist or as a person. The cinematic “For The Angels” plays as a masterclass in heart and body-moving rhythms and undulating synthesizers. Pierson directly confronts the listener on “Snap”, an act of solidarity with the disabled community. Sputtering orchestral swells become encapsulated by splintering shards of Pierson’s voice, evoking his relentless determination to learn new music production methods as well as share his experience with losing certain physical abilities. The album’s closing track, “NTHNG FKS U HRDR THN TM”, is a perfect distillation of the varied emotions explored on the album. Warm, heavy synths masterfully guide us down a psychedelic slope through the track’s twelve minutes. On Nerve Bumps, honesty, empathy, and humanity bleed through the speakers like a dark liquid just beneath the skin’s surface. For Pierson, music is his lifeblood, both as a creator and a listener. Nerve Bumps was mastered by George Horn at Fantasy Studios. The front cover features a painting of pink and green horizontal stripes by Pierson’s partner, artist Chuck Nanney. A photograph of Pierson’s wheelchair by Lenny Gonzalez graces the back sleeve. Dax’s guiding mantra throughout this journey has been a quote from choreographer Martha Graham: “No artist is pleased… There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”
40 years ago this week I was born and I wanted to celebrate with a completely random mix of songs released in 1981. thanks to lowergrandradio.com
Appliances - Paranoia Rap Bernard Wright - Haboglabotribin’ Nyrabakiga - Cor Corora Siouxsie & the Banshees - Congo Conga Anna Dobiey - Resümee Herbie Hancock - Magic Number Imagination - Flashback ZYX - When Darkness Comes Rich La Bonte - White Magician Brian Eno - David Byrne - The Jezebel Spirit Depeche Mode - Shout Project - Love Rescue Dinosaur L - #1 Stone - Time Trek w/ Quintronic - When I Was Young Crash Course In Science - Flying Turns Patrick Cowley - Menergy Kraftwerk - Numbers Bush Tetras - Can’t Be Funky Sad Lovers and Giants - Things We Never Did ESG - UFO Kitchen and the Plastic Spoons - Ice Cream To God Jeff and Jane Hudson - PCP
Buy Vinyl: https://daxpierson.bandcamp.com/album/nerve-bumps-a-queer-divine-dissatisfaction Dax Pierson’s debut solo LP is coming via San Francisco’s Electronic powerhouse imprint Dark Entries Records and Oakland’s Ratskin Records collective. Pierson, an Oakland-based underground legend, has pushed the boundaries of experimental electronic music with his soul-moving opus Nerve Bumps; A Queer Divine Dissatisfaction, an endeavor two long years in the making. On Nerve Bumps, Pierson blends hip hop, jazz, John Carpenter-esque arpeggios, trap/anti trap-influenced percussion, and musique concrete-informed experiments. Futuristic synthesizers cut through layers of fog as Pierson’s bombastic drum programming forges new worlds within themselves. Pierson tells a complicated and inspiring story on Nerve Bumps, which is both a privilege and a gift to experience. Tracks such as “I Slay The Pain” reiterate that although Pierson has to live his life as a quadriplegic, this does not define him as an artist or as a person. The cinematic “For The Angels” plays as a masterclass in heart and body-moving rhythms and undulating synthesizers. Pierson directly confronts the listener on “Snap”, an act of solidarity with the disabled community. Sputtering orchestral swells become encapsulated by splintering shards of Pierson’s voice, evoking his relentless determination to learn new music production methods as well as share his experience with losing certain physical abilities. The album’s closing track, “NTHNG FKS U HRDR THN TM”, is a perfect distillation of the varied emotions explored on the album. Warm, heavy synths masterfully guide us down a psychedelic slope through the track’s twelve minutes. On Nerve Bumps, honesty, empathy, and humanity bleed through the speakers like a dark liquid just beneath the skin’s surface. For Pierson, music is his lifeblood, both as a creator and a listener. Nerve Bumps was mastered by George Horn at Fantasy Studios. The front cover features a painting of pink and green horizontal stripes by Pierson’s partner, artist Chuck Nanney. A photograph of Pierson’s wheelchair by Lenny Gonzalez graces the back sleeve. Dax’s guiding mantra throughout this journey has been a quote from choreographer Martha Graham: “No artist is pleased… There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”
Traxx(Nation) created a 6-hour selection dedicated to Danny's in Chicago where he held his monthly party Passage. Curated and programmed musically by Traxx, transporting us to a full night of music from 9-pm til 2am. Passage focuses on the new wave/new beat era with a personal collection of music fashioned to alleviate your senses discovering different outtakes and unknown songs. It’s a lengthy journey that hopefully people will enjoy...
BUY VINYL: https://daxpierson.bandcamp.com/album/nerve-bumps-a-queer-divine-dissatisfaction Dax Pierson’s debut solo LP is coming via San Francisco’s Electronic powerhouse imprint Dark Entries Records and Oakland’s Ratskin Records collective. Pierson, an Oakland-based underground legend, has pushed the boundaries of experimental electronic music with his soul-moving opus Nerve Bumps; A Queer Divine Dissatisfaction, an endeavor two long years in the making. On Nerve Bumps, Pierson blends hip hop, jazz, John Carpenter-esque arpeggios, trap/anti trap-influenced percussion, and musique concrete-informed experiments. Futuristic synthesizers cut through layers of fog as Pierson’s bombastic drum programming forges new worlds within themselves. Pierson tells a complicated and inspiring story on Nerve Bumps, which is both a privilege and a gift to experience. Tracks such as “I Slay The Pain” reiterate that although Pierson has to live his life as a quadriplegic, this does not define him as an artist or as a person. The cinematic “For The Angels” plays as a masterclass in heart and body-moving rhythms and undulating synthesizers. Pierson directly confronts the listener on “Snap”, an act of solidarity with the disabled community. Sputtering orchestral swells become encapsulated by splintering shards of Pierson’s voice, evoking his relentless determination to learn new music production methods as well as share his experience with losing certain physical abilities. The album’s closing track, “NTHNG FKS U HRDR THN TM”, is a perfect distillation of the varied emotions explored on the album. Warm, heavy synths masterfully guide us down a psychedelic slope through the track’s twelve minutes. On Nerve Bumps, honesty, empathy, and humanity bleed through the speakers like a dark liquid just beneath the skin’s surface. For Pierson, music is his lifeblood, both as a creator and a listener. Nerve Bumps was mastered by George Horn at Fantasy Studios. The front cover features a painting of pink and green horizontal stripes by Pierson’s partner, artist Chuck Nanney. A photograph of Pierson’s wheelchair by Lenny Gonzalez graces the back sleeve. Dax’s guiding mantra throughout this journey has been a quote from choreographer Martha Graham: “No artist is pleased… There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”
BUY VINYL: https://sexual-harrassment.bandcamp.com/album/i-need-a-freak Dark Entries is pleased to announce a deluxe reissue of Sexual Harrassment’s 1983 opus I Need A Freak. Lynn Tolliver, DJ/Program Director at Cleveland’s WZAK, adopted the pseudonym David Payton in order to keep his musical endeavors separate from his public persona. Sexual Harrassment (misspelled deliberately) was formed as a concept band, with members selected based on appearance and choreographic skill rather than musical ability. Tolliver’s explicit lyrics focused on the central themes of desire and sexual relations. Working at a studio in Akron, he recorded an album of quirky-yet-lurid electro funk, which was released on Heat Records. Tolliver remarks, “I learned as a youngster, sex sells! The things that are rated the worst – violence, horror and sex – are the things people want to see or hear about.” I Need a Freak was a surprise hit, selling over 100,000 copies. I Need A Freak is presented here for the first time on double LP, pressed at 45 rpm for maximum DJ-friendliness. While the album’s naughtier moments seem quaint by contemporary standards, the fusion of lo-fi funk and disaffected vocals still stuns today. On the eternal electro-raunch anthem “I Need a Freak”, minimalism serves to highlight the lasciviousness of the deadpan lyrics, which were inspired by Lourdes Figueroa, Tolliver’s girlfriend at the time. Tolliver’s whimsy shines on tracks like “If I Gave You a Party” and “K.I.S.S.I.N.G.”, which contrast nursery rhyme structures with decidedly R-rated lyrics. “Exercise Your Ass Off” lampoons the home exercise craze, but with a more-than-suggestive sexual bent. Also included are two bonus cuts, “We Want Prince” and “These Are The Things That I Like”, previously released as singles in 1984 and 1986, respectively. “We Want Prince” is both a homage to the Purple one and a gentle satire of obsessive fandom. I Need A Freak has been remastered by George Horn at Fantasy Studios. The album comes in a gatefold sleeve featuring the original artwork. Included are lyrics, photos, and liner notes by Lynn Tolliver and drummer Dale Jackson. Tolliver’s sly provacateurship is best captured by the quote: “It’s funny – without sex, mankind is dead, yet we hide the very thing we need.”
BUY VINYL: https://jasmineinfiniti.bandcamp.com/album/bxtch-sl-p-remastered Brooklyn-based queer nightlife luminary Jasmine Infiniti self-released her debut album, BXTCH SLÄP, in March 2020. Dark Entries steps forward to present the album remastered and on double vinyl. Over the thirteen disruptive club cuts of BXTCH SLÄP, Jasmine conjures occult rave incantations with sub-tectonic bass and seductive harmonies. Audaciously championing R&B, vogue, and hip-hop sounds, Jasmine Infiniti’s latest collection of techno-hybrid dance tunes is built for the dancefloors of underground nightlife. While SiS, her debut EP, was an ode to queer solidarity, community, and sisterhood, BXTCH SLÄP refines the art of personal myth-building. It is an unflinching and uncompromising album, but it also boasts surprising range, moving briskly between ethereal hardcore house (“HOTT”), anxious dark electro (“SPOOKED”), and certifiable techno bangers (“YES, SIR”, “WELLFAIR”). Meanwhile album standout “<3” hovers just above 100 BPM, a defiant statement of euphoric sensuality that’s no less gripping for its dramatic deceleration. Closing number “SHONUFF” clocks in at ten and half minutes, but not a second of this acid-laced adrenaline rush feels wasted. BXTCH SLÄP might be suited for the high-impact dancefloor, but this music takes on a new life in the moments we spend between the parties, alone and full of desire. BXTCH SLÄP was mastered by George Horn at Fantasy Studios. The sleeve features photography from Guerrilla Davis and hand drawn Infiniti logo designed by Eloise Leigh with a 3-D chrome effect by Sebastian Ortega. Each copy includes a 3-D chrome die-cut sticker. The Queen of Hell is back and her powers are stronger than ever. All hail The Queen!
BUY VINYL: grouprhoda.bandcamp.com/album/passing-shades Group Rhoda, the solo project of Mara Barenbaum, returns to Dark Entries with ‘Passing Shades’. An integral member of the Oakland electronic music scene, Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. This is the project’s fourth LP, and the third time Barenbaum has collaborated with Dark Entries; previously on the Max & Mara LP ‘Less Ness’ in 2013 and the Group Rhoda LP ‘Wilderless’ in 2017. Passing Shades is an investigation of the metaphysics of loss and the transitory nature of the material world. But it is not a grim collection; over 8 songs, Group Rhoda diverges through synthesizer-laden symphonics, four-to-the-floor inflections, and cosmic musings. Barenbaum’s striking voice and singular songcraft guide us through this labyrinth. Arpeggiated waltz “Flow” channels wisdom sought through martial arts; “Earthly Ark” sets a Margaret Atwood poem from the God Gardener’s Hymn Book to somber electronics. The vocoded canticle “Nevermore” is dedicated to the memory of a beloved cat. ‘Passing Shades’ is both mystifying and revelatory. Folk forms are echoed only to detour into the alien. Each song functions as both a fragment of a larger puzzle and a koan unto itself.
BUY VINYL: https://grouprhoda.bandcamp.com/album/passing-shades Group Rhoda, the solo project of Mara Barenbaum, returns to Dark Entries with ‘Passing Shades’. An integral member of the Oakland electronic music scene, Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. This is the project’s fourth LP, and the third time Barenbaum has collaborated with Dark Entries; previously on the Max & Mara LP ‘Less Ness’ in 2013 and the Group Rhoda LP ‘Wilderless’ in 2017. Passing Shades is an investigation of the metaphysics of loss and the transitory nature of the material world. But it is not a grim collection; over 8 songs, Group Rhoda diverges through synthesizer-laden symphonics, four-to-the-floor inflections, and cosmic musings. Barenbaum’s striking voice and singular songcraft guide us through this labyrinth. Arpeggiated waltz “Flow” channels wisdom sought through martial arts; “Earthly Ark” sets a Margaret Atwood poem from the God Gardener’s Hymn Book to somber electronics. The vocoded canticle “Nevermore” is dedicated to the memory of a beloved cat. ‘Passing Shades’ is both mystifying and revelatory. Folk forms are echoed only to detour into the alien. Each song functions as both a fragment of a larger puzzle and a koan unto itself. ‘Passing Shades’ was mastered by George Horn at Fantasy Studios. The sleeve was designed by Eloise Leigh, and features a hazy, clouded sky. The back cover uses a photograph by Harry Crofton. A postcard featuring a poem by Barenbaum is included, as well as a digital download.
BUY VINYL: https://grouprhoda.bandcamp.com/album/passing-shades Group Rhoda, the solo project of Mara Barenbaum, returns to Dark Entries with ‘Passing Shades’. An integral member of the Oakland electronic music scene, Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. This is the project’s fourth LP, and the third time Barenbaum has collaborated with Dark Entries; previously on the Max & Mara LP ‘Less Ness’ in 2013 and the Group Rhoda LP ‘Wilderless’ in 2017. Passing Shades is an investigation of the metaphysics of loss and the transitory nature of the material world. But it is not a grim collection; over 8 songs, Group Rhoda diverges through synthesizer-laden symphonics, four-to-the-floor inflections, and cosmic musings. Barenbaum’s striking voice and singular songcraft guide us through this labyrinth. Arpeggiated waltz “Flow” channels wisdom sought through martial arts; “Earthly Ark” sets a Margaret Atwood poem from the God Gardener’s Hymn Book to somber electronics. The vocoded canticle “Nevermore” is dedicated to the memory of a beloved cat. ‘Passing Shades’ is both mystifying and revelatory. Folk forms are echoed only to detour into the alien. Each song functions as both a fragment of a larger puzzle and a koan unto itself.
BUY VINYL/DIGITAL: https://patrickcowley.bandcamp.com/album/some-funkettes Dark Entries is humbled to continue digging through the archives of legendary producer Patrick Cowley. While best known for his production on chart-topping cybernetic disco anthems such as Sylvester’s “You Make Me Feel (Mighty Real)” or his own “Menergy”, Cowley, who passed away from AIDS-related illness in 1982, left us with a substantial body of work. Since 2009, Dark Entries has been working with Cowley’s friends and family to shed light on the lesser known facets of this singular artist’s output. This has resulted in a string of celebrated archival albums, including Catholic (featuring Jorge Socarras), School Daze, Muscle Up, Afternooners, and the recent Mechanical Fantasy Box. Some Funkettes, the latest addition to this series, is a collection of previously unreleased cover songs recorded from 1975-1977. These raw, unembellished tributes both showcase Cowley’s early musical interests and chart the development of his production techniques. Some Funkettes opens with Cowley’s sauntering instrumental rendition of “Do It Anyway You Wanna”, the disco classic by People’s Choice. Next is a psychedelic reworking of the Temptations’ “Papa Was a Rolling Stone”, here hazily retitled “Papa Wuzza Rollinston”. Over its 7 minute runtime, the track’s metronomic, minimal groove builds to a frantic synth solo - this is pure Bay Area motorik. “Spiked Punch”, a curious riff on Herbie Hancock’s “Chameleon” follows. Cowley’s lurching, minimalist reimagining of Hancock’s opus prefigures the work he would later do on Sylvester’s masterpiece “I Need Somebody to Love Tonight”. Side B opens with a truly important historical document: Cowley’s cover of Donna Summer’s “I Feel Love”. The Moroder-produced disco anthem was a critical influence on Cowley - he would later resculpt the original song into arguably its highest form with his 15-minute-long remix. The instrumental cover version here is sparse and euphoric, brimming with classic Cowley synth signatures alongside the infectious Moroder bassline. A relatively faithful take on Bazuka’s 1975 funk classic “Dynomite” follows. The record closes with the dub version of “Spiked Punch”, which highlights developments in Cowley’s recording and synthesis techniques by way of its resonant burbles and spring reverb-laden passages. Some Funkettes was made possible with help from Patrick's brother Jim and his former studiomate Maurice Tani. All songs were mastered for vinyl by George Horn. The sleeve is a collage designed in 1975 by Cowley’s former roommate Francesca Rosa that was found covering a reel to reel box. It features a yin-yang symbol and a photograph of a scruffy 24 year old Patrick, to which we added his original handwriting. Each record comes with an insert featuring a four page essay by Francesca as well as a postcard featuring liner notes and a photograph by Cowley’s roommate and best friend, Theresa McGinley. Vocal versions of “Papa Wuzza Rollingston” and “Do It Anyway You Wanna” are included as bonus tracks on the digital and CD releases. This peek into Cowley’s formative years arrives just in time for what would have been his 70th birthday.
BUY VINYL/DIGITAL: https://patrickcowley.bandcamp.com/some-funkettes Dark Entries is humbled to continue digging through the archives of legendary producer Patrick Cowley. While best known for his production on chart-topping cybernetic disco anthems such as Sylvester’s “You Make Me Feel (Mighty Real)” or his own “Menergy”, Cowley, who passed away from AIDS-related illness in 1982, left us with a substantial body of work. Since 2009, Dark Entries has been working with Cowley’s friends and family to shed light on the lesser known facets of this singular artist’s output. This has resulted in a string of celebrated archival albums, including Catholic (featuring Jorge Socarras), School Daze, Muscle Up, Afternooners, and the recent Mechanical Fantasy Box. Some Funkettes, the latest addition to this series, is a collection of previously unreleased cover songs recorded from 1975-1977. These raw, unembellished tributes both showcase Cowley’s early musical interests and chart the development of his production techniques. Some Funkettes opens with Cowley’s sauntering instrumental rendition of “Do It Anyway You Wanna”, the disco classic by People’s Choice. Next is a psychedelic reworking of the Temptations’ “Papa Was a Rolling Stone”, here hazily retitled “Papa Wuzza Rollinston”. Over its 7 minute runtime, the track’s metronomic, minimal groove builds to a frantic synth solo - this is pure Bay Area motorik. “Spiked Punch”, a curious riff on Herbie Hancock’s “Chameleon” follows. Cowley’s lurching, minimalist reimagining of Hancock’s opus prefigures the work he would later do on Sylvester’s masterpiece “I Need Somebody to Love Tonight”. Side B opens with a truly important historical document: Cowley’s cover of Donna Summer’s “I Feel Love”. The Moroder-produced disco anthem was a critical influence on Cowley - he would later resculpt the original song into arguably its highest form with his 15-minute-long remix. The instrumental cover version here is sparse and euphoric, brimming with classic Cowley synth signatures alongside the infectious Moroder bassline. A relatively faithful take on Bazuka’s 1975 funk classic “Dynomite” follows. The record closes with the dub version of “Spiked Punch”, which highlights developments in Cowley’s recording and synthesis techniques by way of its resonant burbles and spring reverb-laden passages. Some Funkettes was made possible with help from Patrick's brother Jim and his former studiomate Maurice Tani. All songs were mastered for vinyl by George Horn. The sleeve is a collage designed in 1975 by Cowley’s former roommate Francesca Rosa that was found covering a reel to reel box. It features a yin-yang symbol and a photograph of a scruffy 24 year old Patrick, to which we added his original handwriting. Each record comes with an insert featuring a four page essay by Francesca as well as a postcard featuring liner notes and a photograph by Cowley’s roommate and best friend, Theresa McGinley. Vocal versions of “Papa Wuzza Rollingston” and “Do It Anyway You Wanna” are included as bonus tracks on the digital and CD releases. This peek into Cowley’s formative years arrives just in time for what would have been his 70th birthday.
https://darkentriesrecords.bandcamp.com/album/various-artists-endangered-species-vol-1 In eleven years of deep digging, Dark Entries has uncovered many curiosities, lone exemplars of the scarsest breeds. They are lurking in Croatia, on the streets of New York, maybe in the back of your own dusty closet - these odd-ball Italo and synth-wave monsters are too rare to live, too divine to die. Once-lost creatures now have a home with Dark Entries’ new Endangered Species series. The inaugural edition features five specimens previously deemed extinct, only mentioned passingly in lore and speculation, but now safely preserved on vinyl. The first cut on Endangered Species Vol. 1 is the previously unreleased electro-New Wave gem “Munich” by John King, an artist best known for his work as one half of the Dust Brothers, lauded producers of the Beastie Boys’ legendary Paul’s Boutique. “Munich”, a Danceteria-ready cut produced in 1983, sheds some light on King’s earlier interests, bridging between freestyle and emotive synthpop. Next up is a rare demo version of The Actor’s “Picture 210”. The Dutch duo here channel both the minimalism of Kraftwerk and the Surrealism of Throbbing Gristle to create one of the finest teary-eyed Goth club anthems. Brazil is a synthpop band from Croatia, and they feature with their 1990 cover of Tears for Fears’ “Mad World”, which is sure to turn some heads on the dancefloor. The eerily faithful production belies Brazil’s re-working of the song’s lyrics. “L'Étranger (Ana Gharib)” by Jamal Khe follows, a pearl originally only available on an impossibly rare French 7” from 1983. Khe is from the Ain Beida region of Algeria, and his Arabic vocal melodies perfectly complement the propulsive percussion and airy arpeggios from producer Jacky Bourgogne. Closing the record is the previously unreleased “Abemus Mind” from Marzio Benellil’s project Nightless. Recorded in 1983, this moody, low-tempo Italo groover features Gregorian chant-inspired vocoders and jazzy piano courtesy of Benelli’s collaborator Marco Falagiani. All songs were mastered for vinyl by George Horn. The sleeve is the first in a series of endangered animal designs by Eloise Leigh, featuring the glam tiger in its natural, 1980’s habitat. Also included is an insert with lyrics, photos, and notes. Please assist us in our efforts to preserve this planet’s weirdest beasts.
PREORDER: https://crushedsoul.bandcamp.com/ Berlin-based, Dutch-born Steffi possesses near-boundless prowess. As a DJ, she’s proved her effortless mastery of disco, house, electro, and techno; as helm of labels Klakson and Dolly, she’s long maintained her status as tastemaker; as a producer, she has graced us with three solo LPs and numerous 12”s. Dark Entries is now honored to unveil the debut of her project Crushed Soul, a moniker she had used only once in 2013 for an Ostgut Ton compilation track. The mutual esteem of Steffi and DE has been previously fruitful, with Steffi providing a remix for Cute Heels’ 2016 EP on DE, but this is their first full-length collaboration. The Family of Waves EP represents both familiar and novel pastures for Steffi. While her love of electro and classic Detroit techno have been oft-evident, here we witness the darker shades of new wave and industrial creep to the forefront. This turn for the twisted feels not just natural, but predestined, an inevitable succumbing to morbid forces. But Steffi also views Family as “a playful association...a mix of my past and new modern waves". There is a kernel of whimsy, even joy, lurking within the record’s temporal jumblings. The A-side opens with “Gravitational Field”, which juxtaposes its gnarled bassline with unearthly percussives and a recurrent resonant gong. The wild sonic palette speaks Steffi’s singular voice. “Scalar Property” continues the paranoid propulsion with an unhealthy dose of what can only be described as Metroid-funk, its staccato bass jabs interlaced with ghastly vocal pads. The B-side contains a diptych of slower tracks that juggle reference points both retro and futurist. In “Family of Waves”, a churning EBM-esque bassline battles acerbic yelps. On this track, the collision of past and present is most pronounced, as if A Split Second were covering Mike Parker. “Diffusion of Heat” closes the EP with what feels like a perfect synthesis of Steffi’s musical passions: funky, warbling chord stabs; intricate rhythmic diversions; the ecstasy of repetition. Here, disco, new wave, and techno marry harmoniously, if only to inform us of the disharmony of our present. All songs have been mastered for vinyl by George Horn at Fantasy Studios. The sleeve and accompanying postcard were designed by Eloise Leigh using video art stills by Goldenliustra.
Crushed Soul “Scalar Property” from the ‘Family of Waves’ EP out Friday Aug 28. Steffi serves up unhealthy dose of what can only be described as Metroid-funk, its staccato bass jabs interlaced with ghastly vocal pads.
BUY VINYL/DIGITAL: https://robertrental.bandcamp.com/album/paralysis
Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018. The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity. The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.
https://robertrental.bandcamp.com/album/paralysis Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018. The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity. The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.
Our first digital-only compilation called ‘Lost & Found Vol. 1” out July 3rd on Bandcamp featuring Bézier, Bill Converse, Doc Sleep, Mystic Bill, Borusiade, Group Rhoda, Sepehr, Patrick Cowley, Maxx Mann and Magnus II all proceeds go to artists and Black-Led Trans orgs ❤️https://darkentriesrecords.bandcamp.com/album/lost-found-vol-1
BUY VINYL: https://red-axes.bandcamp.com/album/red-axes This year marks the tenth of collaboration for @redaxes Red Axes, the Tel Aviv-based duo of Dori Sadovnik and Niv Arzi. Informed by post-punk, new wave, and a plethora of club sounds old and new, they have cleaved a singular path with their hefty discography. To celebrate their anniversary, they reunite with Dark Entries for an eponymous 11 track LP brimming with jagged guitars, spacy arpeggios, and hypnotic vocals. Although Sadovnik and Arzi have previously released LPs on I’m A Cliche and Garzen Records, Red Axes is their first effort written and conceived of as an album-length listening experience. This work flows effortlessly through a variety of stylistic detours, highlighting their ears as both keen listeners and skilled DJs. Opener ‘They Game’ is a grooving number that unifies the psychedelia of cosmic disco with the early 90s ‘baggy’ sound. The energy mounts further with “Shelera”, a guitar-driven acidic banger, and “Sticks and Stones”, a certifiable club hit fueled by sassy vocals courtesy of Adi Bronicki. Launching Side B is “Break the Limit”, an EBM-laced number that wouldn’t sound out of place on a Razormaid compilation. The following tracks wax moodier, with “Brotherhood (Of the Misunderstanding)” touching on darkwave territory. “Udibaby” and “Arpman” close out the album with their respectively dense and sparse takes on kosmische lysergia. Red Axes was mixed by Steve Dub and mastered by George Horn at Fantasy Studios. The album’s artwork starkly depicts the project’s name in blood-red smear. Also included is a postcard with full credits and album art. It’s rare one finds an album that so casually challenges classification while still being firmly rooted on the dancefloor
BUY VINYL: https://sepehr.bandcamp.com/album/shaytoon We are proud to welcome back San Francisco based DJ and producer Sepehr Alimagham @sepehr-a for his debut album ‘Shaytoon’. He cites early influences like Boards of Canada, Aphex Twin, and post-hardcore bands for kick-starting his affinity for off-kilter, underground music. In 2017 Sepehr began performing live PA sets and released his first EP on Black Catalogue. He’s since released music on Squirrels On Film, Acid Camp, Legwork, EON, and the ‘Body Mechanics’ EP for us in 2018. Drenched in nostalgia from his upbringing, ‘Shaytoon’ pays homage to 1970s Iranian albums that were on rotation throughout his youth. Eight tracks of twisted acid, left-of center electro, sludgy psychedelia, and things-you-can-maybe-call-techno are a few of the sonic elements found within. Regular listeners will find Sepehr’s signature perspiratory dance-floor vibe, but some songs also showcase a low-slung, cerebral approach. Sepehr's unique sonic palette carves an interesting space in the dance music world by harnessing the spirit of his cultural ancestors. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The artwork pays tribute to ‘70s Iranian pop and funk albums with bold Farsi calligraphy and portraits by Sahra Jajarmikhayat. In relation to the music, the album cover creates a dichotomy much like Throbbing Gristle's ’20 Funk Jazz Greats’. Berakhs (Dance).
BUY: https://sepehr.bandcamp.com/album/shaytoon We are proud to welcome back San Francisco based DJ and producer @sepehr-a Sepehr Alimagham for his debut album ‘Shaytoon’. Drenched in nostalgia from his upbringing, ‘Shaytoon’ pays homage to 1970s Iranian albums that were on rotation throughout his youth. Eight tracks of twisted acid, left-of center electro, sludgy psychedelia, and things-you-can-maybe-call-techno are a few of the sonic elements found within. Regular listeners will find Sepehr’s signature perspiratory dance-floor vibe, but some songs also showcase a low-slung, cerebral approach. Sepehr's unique sonic palette carves an interesting space in the dance music world by harnessing the spirit of his cultural ancestors. The artwork pays tribute to ‘70s Iranian pop and funk albums with bold Farsi calligraphy and portraits by Sahra Jajarmikhayat. In relation to the music, the album cover creates a dichotomy much like Throbbing Gristle's ’20 Funk Jazz Greats’. Berakhs (Dance).
Maxx Mann were the gay New Wave duo of Frank Oldham Jr (vocals, lyrics) and Paul Hamman (music) from New York City formed in 1981. Frank studied voice and acting at the Herbert Bergdorf School idolizing Eartha Kitt, Nancy Wilson, Johnny Mathis and Shirley Bassey. Paul was playing piano for a cabaret singer at a bar in Greenwich Village where Frank met him and their friendship began. Paul and Frank worked together 3 to 4 times a week recording their debut self-titled album released in 1982, limited to 500 copies. Songs provide interesting insights into the homosexual experience before the AIDS crisis: cruising backroom bars, BDSM and one-night stands. The music is "Neo-realistic rock" heavily influenced by punk, titillating, synthesized body and soul with Frank’s dramatized vocal stylings. The original press release sent to radio stations stated, "Because this is a completely innovative sound, we hope you will give it several listenings. It is adventurous, daring, and certain to cause reactions from your listeners.” For this first time vinyl reissue we’ve added two bonus instrumental tracks, so the album now contains all four original vocal cuts and their corresponding instrumental versions. Paul sadly passed away in 1986 aged 33 from AIDS-related illness and we dedicate this reissue to him. All songs have been remastered by George Horn at Fantasy Studios. Each vinyl copy is housed in an exact replica of the 1982 jacket and includes a fold-post poster with photos, lyrics and notes by Frank Oldham Jr.
We are honored to share a segment from Passage, a party at Danny’s in Chicago curated and programmed musically by Traxx on the last Wednesday of every month. Passage focuses on the new wave/new beat era with a personal collection of music fashioned to alleviate your senses discovering different outtakes and unknown songs from far off countries. This mix also nods to the Liaisons Dangereuse radio show from Antwerp, Belgium playing the vintage Ancienne Belgique /Boccaccio club hits not heard in a long time.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/ep/fear-e-grey-skies-in-a-dear-green-place/ We are proud to welcome Fear-E @fear-e for his Dark Entries debut ‘Grey Skies In A Dear Green Place’ out February 28th. Fear-E is the moniker of Scott McKay a Glasgow based DJ and producer. Scott has already made a name for himself as one of Glasgow’s most technically-gifted and diverse selectors over the past decade. Then a slew of releases on the home-grown Dixon Avenue Basement Jams and Super Rhythm Trax introduced Fear-E, equally skilled studio operator, to the world. ‘Grey Skies In A Dear Green Place’ contains six club-ready tracks to “smash sound systems and illuminate sweaty warehouses.” The title is a reference to a nickname that Glasgow has, coming from Cumbric, means 'green hollow' or (dear) 'green place'. Layering cut-up vocals with warm thumping beats, Scott creates a stripped-back yet deeply jackin’ vibe. Call these tracks what you will, “acid attacks”, “club destroyers”, “pickle ticklers?!” All songs have been mastered by George Horn at Fantasy Studios. For the cover, Scott commissioned legendary Detroit illustrator Alan Oldham, who’s artwork has graced established an identity for Transmat and DJAX-UP-BEATS, to create a futuristic portrait of Glasgow in black & white and with green kryptonite flourishes by Eloise Leigh.
BUY VINYL: https://shcuro.bandcamp.com/album/particle-of-memory Shcuro is the alias of João Ervedosa a DJ, producer and graphic designer based in Lisbon. He also runs the record labels Sombra and Paraíso, makes music as Jose Acid and hosts a show on Rádio Quântica. His first contact with a DJ setup happened at age 15, and that’s when Shcuro decided to buy his own turntables and mixer; and started producing his own beats, too. He’s since released music on Basal, Circus Maximus, Obscuur Techno, Golden Mist Records and his most recent collaboration with Photonz for Future Déjà Vu. ‘Particle of Memory’ is a hypnotic 6-track EP that explores new territories in contemporary dance music. Sonically Shcuro paints his sounds blending moody techno with industrial noises alongside fast, apocalyptic electro and breakbeat. He is influenced by Portuguese rave culture that was born in the mid-90s at Lisbon clubs Alcântara-Mar and Kremlin and the country’s first electronic label Kaos Records. Shcuro continues to expand and morph this rich dance heritage to create something entirely different. The bouncy, lead track “Afterlife” features vocals and lyrics by London's ELLES followed by a Decadent Dub rework. All songs have been mastered by George Horn at Fantasy Studios. Housed in a die-cut jacket designed by Eloise Leigh reminiscent of ‘90s escape/sci-fi films with futuristic bright pink pop flourishes.
BUY VINYL: https://shcuro.bandcamp.com/album/particle-of-memory Shcuro @shcuro is the alias of João Ervedosa a DJ, producer and graphic designer based in Lisbon. He also runs the record labels Sombra and Paraíso, makes music as Jose Acid and hosts a show on Rádio Quântica. His first contact with a DJ setup happened at age 15, and that’s when Shcuro decided to buy his own turntables and mixer; and started producing his own beats, too. He’s since released music on Basal, Circus Maximus, Obscuur Techno, Golden Mist Records and his most recent collaboration with Photonz for Future Déjà Vu. ‘Particle of Memory’ is a hypnotic 6-track EP that explores new territories in contemporary dance music. Sonically Shcuro paints his sounds blending moody techno with industrial noises alongside fast, apocalyptic electro and breakbeat. He is influenced by Portuguese rave culture that was born in the mid-90s at Lisbon clubs Alcântara-Mar and Kremlin and the country’s first electronic label Kaos Records. Shcuro continues to expand and morph this rich dance heritage to create something entirely different. The bouncy, lead track “Afterlife” features vocals and lyrics by London's ELLES followed by a Decadent Dub rework. All songs have been mastered by George Horn at Fantasy Studios. Housed in a die-cut jacket designed by Eloise Leigh reminiscent of ‘90s escape/sci-fi films with futuristic bright pink pop flourishes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lp/borusiade-fortunate-isolation-lp/ We are proud to release ‘Fortunate Isolation’ the sophomore album from Borusiade. Born and raised in Bucharest, Romania, Borusiade aka Miruna Boruzescu started DJ-ing in 2002 as one of the very few female DJs in the city’s emerging alternative clubbing scene. Influenced by a classical musical education, a bachelor in film direction and fascinated by raw electronic sounds, Borusiade first combined these universes in the construction of her DJ sets and starting 2005 also in her music production. A sound of her own has slowly crystallized, often dark with poignant bass lines, obsessive themes and by all means melodic. She has released EPs on labels like Pinkman, Unterton, Cititrax, Correspondant and Cómeme, who released her debut album ‘A Body’ in 2018. ‘Fortunate Isolation’ is perhaps Borusiade’s most personal release to date. Eight songs that capture a bystander witnessing the world as it undergoes drastic changes. We have disconnected ourselves from ecology, humanity, preservation, care for what surrounds us, for what is still alive. Borusiade adds, “| know that this place, our home has went through so many other extinctions, but | believe things will find their own way on this planet only once we are gone. Entropy creates a time-line but also a transformation - a new beginning.” The album’s sound is gloomy and powerful mixing sonic film sequences, rhythmic excursions and soothing yet obsessive vocals that touch one’s deepest senses. Lyrically the songs tackle themes of forgotten memories, spirituality, mortality, and destruction. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket designed by Eloise Leigh with decaying daguerreotypes against a rust color palette and includes an insert with lyrics.
BUY VINYL/DIGITAL: https://borusiade.bandcamp.com/album/fortunate-isolation We are proud to release ‘Fortunate Isolation’ the sophomore album from Borusiade. Born and raised in Bucharest, Romania, Borusiade aka Miruna Boruzescu started DJ-ing in 2002 as one of the very few female DJs in the city’s emerging alternative clubbing scene. Influenced by a classical musical education, a bachelor in film direction and fascinated by raw electronic sounds, Borusiade first combined these universes in the construction of her DJ sets and starting 2005 also in her music production. A sound of her own has slowly crystallized, often dark with poignant bass lines, obsessive themes and by all means melodic. She has released EPs on labels like Pinkman, Unterton, Cititrax, Correspondant and Cómeme, who released her debut album ‘A Body’ in 2018. ‘Fortunate Isolation’ is perhaps Borusiade’s most personal release to date. Eight songs that capture a bystander witnessing the world as it undergoes drastic changes. We have disconnected ourselves from ecology, humanity, preservation, care for what surrounds us, for what is still alive. Borusiade adds, “| know that this place, our home has went through so many other extinctions, but | believe things will find their own way on this planet only once we are gone. Entropy creates a time-line but also a transformation - a new beginning.” The album’s sound is gloomy and powerful mixing sonic film sequences, rhythmic excursions and soothing yet obsessive vocals that touch one’s deepest senses. Lyrically the songs tackle themes of forgotten memories, spirituality, mortality, and destruction. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket designed by Eloise Leigh with decaying daguerreotypes against a rust color palette and includes an insert with lyrics.
NTS asked me to contribute a mix of my favorite club tracks Arthur Russell wrote or was involved with. Broadcast Nov 14, 2019 celebrating the life & work of this composer, musician and cultural icon with a special day of shows, archive recordings curated by Audika.
Bonzo Goes To Washington - 5 Minutes (B-b-b Bombing Mix) Arthur Russell - Make 1, 2 Lola - Wax The Van Arthur Russell - Springfield Arthur Russell - Hop On Down Arthur Russell - Arm Around You Dinosaur L - Clean on Your Bean #1 Loose Joints - Is It All over My Face? (Larry Levan Female Vocal Version) Felix - You Can't Hold Me Down (Test Pressing Version) Felix - Tiger Stripes (Extended Version) Loose Joints - Tell You (Today) [12" Vocal] Dinosaur - Kiss Me Again (Version) Arthur Russell - See My Brother, He's Jumping Out (Let's Go Swimming #2) Arthur Russell - Let's Go Swimming (Gulf Stream Dub) Loose Joints - Pop Your Funk (Single Vocal Version) Dinosaur L - #5 Go Bang! (Francois K Mix) Dinosaur L - Go Bang! (Thank You Arthur Edit) Arthur Russell - That's Us/Wild Combination
First livestream on Hyde FM in San Fransisco video here: https://youtu.be/qjbepZB9l0Q TRACKLIST: Jyl - Silicon Valley Endrik Schroeder - Everyday Of Your Life Fresh Color - Sing with Me Tonight Daniel Holt - Disassembled Self E-BONY - Horny Cats Cardopusher - Programmed To Consume DJ Paulo - Curtir Sleep D & Samo DJ - No Mans Land TV.OUT - Morning Light Furious Frank ft. Ivy Barkakati - Ahora Sí (Tiffany Remix) Tobias Bernstrup - Private Eye Cold Beat - Double Sided Mirror Severed Heads- Car Advertisment
A special podcast focusing on Patrick Cowley hosted by Blindboy, of the Rubberbandits of Limerick Ireland. Available on Spotify each week: https://open.spotify.com/show/7HinkS0WZqDuMXYh02EUY1
BUY VINYL/DIGITAL https://severedheads.bandcamp.com/album/clean Our first release of 2020 is a deluxe 2xLP reissue of Severed Heads’ debut 1981 album ‘Clean’. One of the longest surviving bands to emerge from the Australian post-punk independent music scene, they began in Sydney in 1979. Severed Heads is basically a nom- de-plum for Tom Ellard, who incorporates elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. ‘Clean’ was amongst the first vinyl releases under the Dogfood Productions banner of Terse Tapes, previously a cassette-only label. For this records Tom used an array of synthesizers (Kawai 100F, Casiotone, Roland CR78+SH1+CSQ100), sequencers, tapes and occasional guitar and violin played by Garry Bradbury. Severed Heads have a language of their own, music that juxtaposes all sorts of noise, in all sorts of ways so that a structure evolves, (fragmented) melody and rhythm being almost a by-product. As one reviewer said in 1981, “It is an ugly album that you simply cannot ignore, it thuds and screeches and makes you stare just to wonder what kind of people would procure such an album.” For this deluxe reissue we’ve included a bonus disc featuring 13 songs, 5 of which have never been released before, culled from live performances, the ‘Side 3’ cassette and a ‘Clean’ demo tape that only surfaced last year, plus "Food City" missing from previous reissues. All songs have been remastered by Tom Ellard, with vinyl EQ and lacquer cutting by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a gatefold jacket featuring black and white xeroxed artwork from the first vinyl edition. Inside the gatefold are liner notes by Tom Ellard plus photos and press clippings from the period. “‘Clean’ is original and powerful and everybody should listen to it at least once, just so they know where the boundaries lie.” Ashley Crawford, Virgin Press 1981. 25% of proceeds will be donated to the Australian Fire Relief Fund for First Nations Communities, that offers specific direct support to some of those communities with critical costs to cover expenses.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/ep/red-axes-voom-ep/ Our final release of 2019 is a 4-track EP by Red Axes @redaxes the prolific production duo of Dori Sadovnik and Niv Arzi from Tel Aviv. The pair were raised on a diet of post-punk, new-wave, and Italo-disco at fogged out warehouse and basement parties. Their own productions and remixes have appeared on labels such as I’m a Cliché, Correspondant, and Hivern Discs. “Voom” kicks things off with wild percussive toms and bubblegum female chants over a fat electro break. “Doom” rightly brings us into a dark, menacing cave where see pulses of light in the form of carefully placed synth lasers. “Mister Q” serves up metallic rhythms a la Front 242 backed with a strobe-ready sound. “Prblems” is the 10-minute anthem that closes the EP in typical Axes fashion: militant drums, battered electronics and lovingly drowned traditional instruments hypnotically pulse and reverberate. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The EP is housed in a die cut jacket that keeps the dancefloor vibes with a bold, DIY design by Eloise Leigh.
X-RAY POP - Corto Maltese @photonz - Xentra @cosmo-vitelli & TANJA VEZIC - Party Old Boy @shcuro- Refraction @violet - They Don't Wanna Know @tv_out - Product Of My Environment @dax-pierson - For The Angels @andersonchase - Moon Replacement (@eug) @redaxes - Prblems @the-exaltics - Symbionts Came Through The Green Lights DE SANG FROID - De Sang Froid @mannequin-label VICTROLA - Luca (Instrumental) KONSTRUKTIVISTS - Ikon CORPS DIPLOMATIQUE - Paradis I ARTHUR RUSSELL - List Of Boys DARK DAY - Heroine PATRICK COWLEY - Sea of Sin
BUY VINYL: https://tvout.bandcamp.com/album/dusk-till-dawn
Tel Aviv born, Berlin based duo TV.OUT @tv_out make their Dark Entries debut with a 6-track EP titled ‘Dusk Till Dawn’ out Black Friday 2019. Doron Mastey Charly & Ori Itshaki have made a name for themselves the past few years putting on impressive live sets, DJing around the world, and running Parallax Records releasing various strains of rugged, well informed electronic music. Clocking in at 36 minutes this collection moves in hot pursuit of their two previous EPs for L.I.E.S. Side A opens with the metallic hi-hats of “Morning Light” that echoes early Euro/Goa techno-EBM sound to the 8-minute sleek, pounding industrial darkroom vibes of “Sun” and closes with the titanium-tipped 808 warped electro of “War Zone”. Side B leads off with the heavy New Beat scorcher “Lord”, a song we first heard on a mix from Cardopusher and knew we had to release. Then comes “Product Of My Environment” a slow-motion mutant menace that flows into the final song “Slippery Slope” a classic West Coast of The Hague ‘90s style electro perfectly suited for complete dance floor drama. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket designed by Eloise Leigh with black-white-red apocalyptic vibes and bold type.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/ep/tv-out-dusk-till-dawn/ Tel Aviv born, Berlin based duo TV.OUT @tv_out make their Dark Entries debut with a 6-track EP titled ‘Dusk Till Dawn’ out Black Friday 2019. Doron Mastey Charly & Ori Itshaki have made a name for themselves the past few years putting on impressive live sets, DJing around the world, and running Parallax Records releasing various strains of rugged, well informed electronic music. Clocking in at 36 minutes this collection moves in hot pursuit of their two previous EPs for L.I.E.S. Side A opens with the metallic hi-hats of “Morning Light” that echoes early Euro/Goa techno-EBM sound to the 8-minute sleek, pounding industrial darkroom vibes of “Sun” and closes with the titanium-tipped 808 warped electro of “War Zone”. Side B leads off with the heavy New Beat scorcher “Lord”, a song we first heard on a mix from Cardopusher and knew we had to release. Then comes “Product Of My Environment” a slow-motion mutant menace that flows into the final song “Slippery Slope” a classic West Coast of The Hague ‘90s style electro perfectly suited for complete dance floor drama. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket designed by Eloise Leigh with black-white-red apocalyptic vibes and bold type.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lp/dark-day-darkest-before-dawn/ Dark Day is the brainchild of Robin Crutchfield, a New York City based musician, performance artist, and writer. Robin’s musical path began in 1977 when he formed the no wave group DNA with Arto Lindsay and Ikue Mori. In 1979 Crutchfield left DNA to pursue his more synthesizer-based solo project. He released the ‘Hands In The Dark’ 7” followed by two albums, ‘Exterminating Angel’ in 1980 and ‘Window’ in 1982. In 1984 he re-launched Dark Day as an acoustic chamber ensemble performing ethereal soundscapes and self-released two cassette albums “Obsession” and “Beyond The Pale”. ‘Darkest Before Dawn' is a collection of 13 songs recorded between 1985-86, released on CD in 1989 that have never been pressed to vinyl before. The album is a lost medieval collection of pagan tunes for private ceremonies. Played on echoey pipe organ backed by saw-like rhythmic cello lines and melodic woodwind recorder, driven by the beats of rattles, bells, and drums. These simple, cyclical layered instrumental rounds owe much to the inspiration of Moondog as well as the efforts of the Penguin Cafe Orchestra and Dead Can Dance. The original press release stated, “Serious gothic organ works which cross Captain Nemo's Nautilus pipe organ with the standing stones of Stonehenge and reminisce Babylonian battle hymns and Egyptian burial ceremonies.” All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket featuring illustrations from Thomas Bewick’s ‘Vignettes’ and includes a double sided insert with photos and note
BUY VINYL: https://darkentriesrecords.bandcamp.com/album/v-a-tens-across-the-board Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased. The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval. On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell. All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lp/various-artists-tens-across-the-board/ Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased. The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval. On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell. All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lp/various-artists-tens-across-the-board/ Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased. The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval. On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell. All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/patrick-cowley-mechanical-fantasy-box Patrick Cowley was one of the most revolutionary and influential figures in the canon of electronic dance music. Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study music at the City College of San Francisco. By the mid ’70s, Patrick’s synthesizer techniques landed him a job composing and producing songs for disco diva Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance (Disco Heat)” and “I Need Somebody To Love Tonight.” This helped Patrick obtain more work as a remixer and producer. Cowley created his own brand of peak time party music known as Hi-NRG, also dubbed “The San Francisco Sound.” By 1981, Patrick had released a string of his own dance 12″ singles, like “Menergy” and “Megatron Man”. He also co-founded Megatone Records, the label upon which he released his debut album, Megatron Man. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he composed two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album Mind Warp. His life was cut short on November 12, 1982, when he passed away 24 days after his 32nd birthday from AIDS-related illness. Mechanical Fantasy Box is a new collection of 13 unreleased songs recorded between 1973-80 released in tandem with Cowley’s homoerotic journal of the same title. Featuring Patrick’s first electronic compositions in the Electronic Music Lab at CCSF when synthesizers were new technology to songs made at his semi-professional studio on Minna Street equipped with an Oberheim DS-2 digital sequencer. The sounds flows from funk to kraut to psychedelic ambient electronics inspired by Tomita and Krafterwerk. As Maurice Tani wrote in the liner notes that accompany this release, “What you hold in your hand is a collection of Cowley's work from the years preceding his meteoric rise as a pioneer of Hi-NRG dance music. This was before drum machines. Before programmable, polyphonic digital synthesis. This was before “cutting edge”. This was experimental music in every sense.” Some songs were mixed from 4-track stems by Joe Tarantino and all songs have been remastered by George Horn at Fantasy Studio in Berkeley, CA. The vinyl comes housed in a black and white gatefold jacket designed by Gwenaël Rattke featuring a photograph by Susan Middleton and include an essay from music partner Maurice Tani and an 8.5x11 insert with notes. Proceeds from Mechanical Fantasy Box will be donated to the San Francisco AIDS Foundation, who have been committed to ending the pandemic and human suffering caused by HIV since 1982.
LENA PLATONOS- Τα Γενέθλια Ή Aporia Maturna (@morah-l Remix) LORD METAL - Ga Duum Blitzfonika @eric-random & THE BEDLAMITES - Subliminal Seduction BJÖRK - Features Creatures (Fever Ray Remix) @borusiade- Hands Watch @photonz - No Body @billconverse - Identical To Nothing CYRNAI - Climb The Sun @carolyn-fok KONSTRUKTIVITS - New York @sarinvx IMPERIAL BLACK UNIT Malfunction @bitelabel @linea-aspera - Vultures VELODROME - Capataz SYLVESTER - Someone Like You @vin-sol - Crumbling @violet - Bed Of Roses Part II
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/photonz-nuit-2xlp/ Photonz @photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations. Nuit is Photonz’s debut album and a simultaneous reference the Egyptian Goddess of the Stars or Night. Marco was really swept away by the concept of ‘freedom of form under the night sky’, the accepting embrace of Nuit. Ancestral, but also socially advanced and utopian; a deification of the night time. These ideas manifest themselves as eleven songs spread across two LPs that wax and wane like the moon. Photonz channels early techno, Drexciyan rhythms, balearic & atmospheric house; layering sounds, creating moments. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a royal blue and neon yellow jacket with duality/birth symbolism and trance-hieroglyphs designed by Eloise Leigh. Each copy includes a glow-in-the-dark sticker and a postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/patrick-cowley-mechanical-fantasy-box Patrick Cowley was one of the most revolutionary and influential figures in the canon of electronic dance music. Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study music at the City College of San Francisco. By the mid ’70s, Patrick’s synthesizer techniques landed him a job composing and producing songs for disco diva Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance (Disco Heat)” and “I Need Somebody To Love Tonight.” This helped Patrick obtain more work as a remixer and producer. Cowley created his own brand of peak time party music known as Hi-NRG, also dubbed “The San Francisco Sound.” By 1981, Patrick had released a string of his own dance 12″ singles, like “Menergy” and “Megatron Man”. He also co-founded Megatone Records, the label upon which he released his debut album, Megatron Man. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he composed two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album Mind Warp. His life was cut short on November 12, 1982, when he passed away 24 days after his 32nd birthday from AIDS-related illness. Mechanical Fantasy Box is a new collection of 13 unreleased songs recorded between 1973-80 released in tandem with Cowley’s homoerotic journal of the same title. Featuring Patrick’s first electronic compositions in the Electronic Music Lab at CCSF when synthesizers were new technology to songs made at his semi-professional studio on Minna Street equipped with an Oberheim DS-2 digital sequencer. The sounds flows from funk to kraut to psychedelic ambient electronics inspired by Tomita and Krafterwerk. As Maurice Tani wrote in the liner notes that accompany this release, “What you hold in your hand is a collection of Cowley's work from the years preceding his meteoric rise as a pioneer of Hi-NRG dance music. This was before drum machines. Before programmable, polyphonic digital synthesis. This was before “cutting edge”. This was experimental music in every sense.” Some songs were mixed from 4-track stems by Joe Tarantino and all songs have been remastered by George Horn at Fantasy Studio in Berkeley, CA. The vinyl comes housed in a black and white gatefold jacket designed by Gwenaël Rattke featuring a photograph by Susan Middleton and include an essay from music partner Maurice Tani and an 8.5x11 insert with notes. Proceeds from Mechanical Fantasy Box will be donated to the San Francisco AIDS Foundation, who have been committed to ending the pandemic and human suffering caused by HIV since 1982.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/violet-bed-of-roses/ We are honored to release the debut album from @Violet, the alias of Inês Coutinho, Lisbon born and raised DJ, producer boss of Naive records, co-founder of Rádio Quântica, and mina resident. Violet began producing music in 2012 and has released music on One Eyed Jacks, Love on the Rocks, Paraíso and Naive. Inês uses her seemingly boundless energy to amplify other artists all the while progressing her own creative practice. ‘Bed of Roses’ contains 10 songs made as a sort of childhood-teenage memories diary, a return to things Inês liked then and also the difficult things she’s been through. The feeling behind the album is self forgiveness in an optimistic way but also in an adult way, aware of the bruises (thorns) but also of the invaluable love and life experiences (roses). The title comes from the Bon Jovi song that Inês loved as a 9-year old and doubles as an intent of positivity paired with the inescapable darkness of life. Inês says, “I wrote this music as a healing device that I hope can somehow help heal others too.” All songs have been mastered by George Horn at Fantasy Studios. The jacket features an original design by Eloise Leigh that incorporates themes of self-inspection and hope mixing a teen bedroom girly vintage scrapbook aesthetic with contemporary 3D mapping techniques. Each LP contains a postcard featuring a childhood photo of Inês with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/violet-bed-of-roses/ We are honored to release the debut album from @Violet, the alias of Inês Borges Coutinho, Lisbon born and raised DJ, producer boss of Naive records, co-founder of Rádio Quântica, and mina resident. Violet began producing music in 2012 and has released music on One Eyed Jacks, Love on the Rocks, Paraíso and Naive. Inês uses her seemingly boundless energy to amplify other artists all the while progressing her own creative practice. ‘Bed of Roses’ contains 10 songs made as a sort of childhood-teenage memories diary, a return to things Inês liked then and also the difficult things she’s been through. The feeling behind the album is self forgiveness in an optimistic way but also in an adult way, aware of the bruises (thorns) but also of the invaluable love and life experiences (roses). The title comes from the Bon Jovi song that Inês loved as a 9-year old and doubles as an intent of positivity paired with the inescapable darkness of life. Inês says, “I wrote this music as a healing device that I hope can somehow help heal others too.” All songs have been mastered by George Horn at Fantasy Studios. The jacket features an original design by Eloise Leigh that incorporates themes of self-inspection and hope mixing a teen bedroom girly vintage scrapbook aesthetic with contemporary 3D mapping techniques. Each LP contains a postcard featuring a childhood photo of Inês with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/konstruktivists-glennascaul-2xlp/ Konstruktivists is the Industrial project of Glenn Michael Wallis from Kent, England. In the late ’70s Wallis was a “control agent” for Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, and SPK, Glenn began to record his own material. After several cassette releases, Konstruktivists’ first LP ‘A Dissembly’ was released in 1982 followed by ‘Psykho Genetika’ in 1983 and ‘Black December’ in 1984. That same year Wallis collaborated with his friend Chris Carter, of Throbbing Gristle and Chris and Cosey fame, on CTI’s ‘Conspiracy International One’. In 1985, Glenn spent a week at Chris and Cosey’s studio recording 11 tracks that would become the ’Glennascaul’ album originally released on Nigel Ayers' Sterile Records. Produced and mixed by Chris Carter, it marked a complete change in style for the band towards a beat-orientated rhythmic sound. ‘Glennascaul’ is proto electro at its very best, with Glenn’s hallucinogenic vocals on top. A musical collage designed to invoke images in the mind. The back cover clearly states “No guitars. No Fairlights.” For this deluxe reissue we’ve added two bonus tracks recorded around the same time, now vinyl for the first time ever. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring cover art, which is a co-production of Trevor Brown, Nigel Ayers and an image Glenn Wallis supplied. Each copy includes a double-sided 8x11 insert with liner notes by Nigel Ayers, press clippings, and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/mekanik-kommando-dancing-elephants/ Mekanik Kommando was a post punk / New Wave band from Nijmegen, the Netherlands founded in 1979 by Peter van Vliet and Laszlo Panyigay. The duo became a quartet with the addition of Simon van Vliet and Mirjam van Hout. The name Mekanik Kommando comes from the album ‘Mekanïk Destruktïw Kommandöh’ by the French progressive rock band Magma. Inspired by a DIY ethos, Kraftwerk and Magma, the band began recording songs at home using two tape recorders. Their demo cassette was discovered by Wally van Middendorp of Minny Pops and owner of Plurex Records, who booked them for a gig at Paradiso in Amsterdam. In 1981 they were asked to contribute music on a flexidisc for the first issue of newly established magazine Vinyl. In the summer of that year the band recorded their debut album ‘It Would Be Quiet In The Woods If Only A Few Birds Sing’ released on Torso. In February 1982 the band secured five days of studio time at Salisbury Sound in Dordrecht. The end result was the mini-album ‘Dancing Elephants’ released on Torso later that year. Musically, the five songs are a mix between cold wave, experimental electronic and industrial pop. The band utilized two bass guitars plus a Korg 770, KR-55 drum machine, violin, effects, metals and plastics. Lyrics explore themes of decay and morality, hypnotically spoken on top of playfully metallic sounds. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a replica of the original jacket, which features artwork by the group members, and includes a 4-page booklet with lyrics and notes designed by Eloise Leigh.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/velodrome-au-velodrome-141/ We have been working on this reissue since we began the label 10 years ago, and finally its ready to share with the world. Velodrome need no introduction to most, but for the uninitiated, they are the duo of Krishna Goineau (Electronics + Vocals) and Jordi Guber (Electronics + Programming). At age 15, Jordi played guitar in Barcelona punk band Ultimo Resorte, and formed Líneas Aereas with Frank Palomo after becoming interested in electronics. Krishna had been performing with Chrislo Haas and Beate Bartel in Liaisons Dangereuses. Krishna and Jordi met in 1979 through Jordi’s brother Raul, who was in the no wave group Xeerox. The idea of collaborating came when Krishna paid a visit to the rehearsal studio that Xeerox shared with Líneas Aereas. After dissolving Liaisons Dangereuses in 1983, Krishna, who was impressed by Jordi's synthesizer skills, decided they should move to Brussels. There they formed the short lived Metropakt, releasing two songs on various compilations in 1985. Not long after, they re-named their project Velodrome and began to rehearse with greater discipline. Experimenting with the latest Roland machines, which were equipped with MIDI, was an exciting challenge for the duo. In November 1987 they recorded three songs, “Au Velodrome 141”, “Glassfabrik” and “Capataz” at ICP Studios in Brussels, with additional vocals from Annemie Gers. They found a home on German label Animalized, and the songs were released in 1988 as the ‘На Велодроме 141’ EP. The record is striking, dynamic, challenging yet accessible, with Krishna's frenzied vocals sharply contrasting with the cool, angular production. In more recent years, the release has become much sought after by fans of techno, electro, minimal synth, and avant-garde music. Each song has been remastered by George Horn at Fantasy Studios. The vinyl comes with a postcard and features the original jacket art with a photo of the rings of Saturn, echoing Krishna’s words, "we slide very well through the velodrome, there are no limits, only ice."
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/angela-fantasy-ep/ Angela was the studio project of husband/wife duo Angela and Ingo Werner formed in 1981 in Rüsselsheim, Germany. Ingo had classical training in bassoon and piano at the Akademie für Tonkunst in Darmstadt from 1966-70. He joined Krautrock band My Solid Ground in 1971 before going on to form his own project Baba Yaga in 1974. In the late 70s he formed the ensemble AIR with Armin Stöwe and Reinhard Karwatky. The project debuted with a a concert at ARS Electronica Competition in Linz, Austria 1980, which they won. Klaus Schulze was on the jury with Wendy Carlos and Robert Moog - but more importantly, Angela was in the audience. Two days later, Ingo told the band he needed a singer, so they asked Angela, and recorded two albums for RCA between 1981-82 before being dropped. Ingo wanted to work on a new project that involved dancers and live video. They recruited American performance artist Jyl Porch, who was living in Munich, to assist with choreography with her friend Kirsten McKenley. Jyl ended up recording her own album first, which gained interest from Klaus Schulze, who helped them secure a deal with EMI in 1983. Later that year, the trio recorded 4 songs that would be released on Angela ‘Fantasy’ single on 7” and 12” formats in 1984. The music on ‘Fantasy’ was completely created with computer software of Ingo’s own design. The concept of a polyrhythmic, polyphonic, and polydynamic sequencer was realized by Ingo after a visit to Wolfgang Palm in Hamburg. He paired his sequencer with Palm’s legendary PPG Wave Computer System, allowing for more dynamic and nuanced programming. Angela programmed the music, sang, and wrote the lyrics to “Painted Love”, while Ingo arranged and played all electronics and keyboards. Jyl wrote the lyrics for “Fantasy” and the slow and sleazy, electronic disco B-side “I Gotta Little Love”, where she also sings background vocals and the “hot little flame” rap. The original B-side to the 7” version was a cover of the 1967 Hal Hackady and Lee Pockriss song “Kites”, made famous by Simon Dupree and the Big Sound. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The EP features the original 1984 cover artwork with a striking photo of Angela styled by Jyl in severe Neue Deutsche Welle fashion, and includes an insert with lyrics and and photos designed by Maycec.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/suzanne-doucet-new-age-box/ We are honored to release a 5-LP Vinyl Box Set from one of the key figures of New Age music, Suzanne Doucet from her incredible run of cassette only albums from 1982-84. Suzanne was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.
In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’, which was inspired by a visit to Findhorn, Scottland. Suzanne and Christian recorded acoustic sounds such as waterdrops and vocals using sophisticated sound manipulation devices and muli-track recording techniques. The only electronic instruments used were the Jupiter 8 and the Roland TR-808 drum machine. The next year the duo began work on the follow-up ‘Transmission’, which released on cassette in 1983. After this release, Bühner and Doucet moved to Los Angeles, hoping to find more kindred spirits in the burgeoning New Age scene there. Doucet met Tajalli (William Wichman) whom with she would collaborate with on the 1984 cassette ‘Brilliance’. That same year Doucet married Video Artist and Yoga instructor James Bell. Together they recorded two albums, ‘Reflecting Light Vol. 1’ and ‘Reflecting Light Vol. 2’, using a Roland JX-3P, TR-909 and a Steinway Grand Piano. Both cassettes had mirrored covers, a reference to the Zweistein jacket 14 years prior.
For the first time Suzanne’s cassette music is available on vinyl, in a limited run of 300 box sets. Each is stamped with a rainbow foil of the goddess Isis and includes an 8-page full color magazine designed by Eloise Leigh with liner notes, photos and reflections by Suzanne. We also have a small amount of stand alone albums available housed in jackets using the original cassette artwork. All albums have been remastered by George Horn at Fantasy Studios. Doucet's career placed her at the forefront of blossoming New Age Music movement. "People all over the world become more and more inner directed", she says, "New Age Music is the music of the new millennium. We are all pioneers, our work is on the vibrational level, which is the essence of all being. Our inner environment and the outer environment are co-dependent. This is the reason why music is so important for our lives. Whatever I can do to bring consciousness expanding music to as many people as possible, I'll do... and I'll devote my total being to whatever I am doing!"
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/algebra-suicide-still-life/ Algebra Suicide was a Chicago poetry-music duo consisting of poet and visual artist Lydia Tomkiw and musician Don Hedeker. They formed in 1982 and self-released a 4-song EP that year. It featured a 60's Vox Guitar Organ, a precursor to the synthesizer guitar, and a Multivox Rhythm Ace drum machine. In 1984 they released their 2nd EP ditching the guitar organ for a Casiotone MT-40. Their debut album ‘Big Skin’ was released in 1986 on cassette and featured 13 new compositions with more complex arrangements. A vinyl compilation album, "The Secret Like Crazy", was released in 1988. It collected 20 tracks picked from ‘Big Skin’ and the first two EPs plus unreleased songs. In 2012 we released an 18-track compilation of their first 3 singles with bonus tracks. “Still Life” is a 16 track compilation that collects the 9 remaining songs from ‘Big Skin’, 3 songs from ‘The Secret Like Crazy’, and 4 songs from various compilations. Lydia and Don call their approach "Avant Garage" citing inspiration from Patti Smith, Frank O'Hara, Leonard Cohen and Lou Reed. Don plays guitar in a hauntingly stark style like Glenn Branca, Tom Verlaine, or Vini Reilly. He then adds Casio keyboards and minimal electronic percussion, creating a moody, atmospheric backdrop for Lydia's poems. Lydia's words span a broad range of twisted real-life observations, and are delivered in a deadpan fashion with her distinct Midwestern accent. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a jacket designed by Eloise Leigh and a 16-page booklet with lyrics, press clippings and photos. Though Lydia passed away in 2007, her genius lives on in these recordings. Please respect her decadence.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/linea-aspera-preservation-bias-lp/ Dark Entries is celebrating our 10 year anniversary with ‘Preservation Bias’, a compilation of lost songs and rarities from Linea Aspera. The group formed in London in November 2011 by Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for producing, recording and mixing the electronics. We released their debut self titled album in June 2012 that was followed by a posthumous vinyl reissue of their tour cassette “II” on Weyrd Son Records in 2013. For all recordings Ryan utilizes an analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from 1980s electronic body music, synth-pop, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera is the muscle attachment on the back of the femur and translates to 'rough line' in Latin. ‘Preservation Bias’ features all three songs from the limited ‘II’ tour cassette EP, four songs from the 2012 self-titled limited cassette EP and one song from the Desire Records 2013 compilation ‘And You Will Find Them In The Basement’. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in jacket designed by Niall Greaves and includes a double-sided insert with lyrics.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/zru-vogue-zru-vogue-lp/ Zru Vogue is a two man post punk avant-pop group from Palo Alto, California, combining the talents of Andrew Finkle and Rick Cuevas. The band began in 1980 as a four member group: Rick, Andy, Tom Sanders and Nancy Miller. Tom and Nancy left the group shortly after the first single, "Nakweda Dream", was released by independent San Francisco label Adolescent Records in February 1981. Inspired by rave reviews and heavy airplay on alternative radio stations, Andy and Rick went back into the studio, now as a duo, to record some new ZRU tracks. The self-tilted LP was released on the band’s Zero Risk Records in 1982. It contains eight compositions blending African tribal and Middle Eastern rhythms, avant-garde rock, minimal electronics, and funk-rock guitars. The duo’s sound is inspired by the art and anti-art movements of Dada and Surrealism. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a replica of the original jacket, which features artwork by the group members, and includes the original 2-sided lyric sheet.
BUY VINYL: https://billconverse.bandcamp.com/album/hallways We are pleased to present ‘Hallways’ the third full length from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. ‘Hallways’ is an 80 minute journey spread across 12 tracks and 2 slabs of vinyl. All tracks were recorded directly to tape with no overdubs, made at Converse's home studio over the past 2 years. Bill says, “One idea for this album is 'through bardos’, the gap or moment of transition between two things according to Buddhism. Like an experience in meditation and attempting to find realization/s on the way through the illusory and interdependent nature of good old fashioned REALITY.” Built around crunchy synthesizers, harsh drum machines and jarring acid lines, the tracks share a darker tone than Bill’s previous albums and one song features guest vocals by music gourmet Carlos Souffront, a true DJ's DJ from Detroit. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each 2xLP is housed in a jacket designed by Eloise Leigh with rich purple and smokey turquoise kaleidoscopic patterns.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bill-converse-hallways-2xlp/ We are pleased to present ‘Hallways’ the third full length from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. ‘Hallways’ is an 80 minute journey spread across 12 tracks and 2 slabs of vinyl. All tracks were recorded directly to tape with no overdubs, made at Converse's home studio over the past 2 years. Bill says, “One idea for this album is 'through bardos’, the gap or moment of transition between two things according to Buddhism. Like an experience in meditation and attempting to find realization/s on the way through the illusory and interdependent nature of good old fashioned REALITY.” Built around crunchy synthesizers, harsh drum machines and jarring acid lines, the tracks share a darker tone than Bill’s previous albums and one song features guest vocals by music gourmet Carlos Souffront, a true DJ's DJ from Detroit. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each 2xLP is housed in a jacket designed by Eloise Leigh with rich purple and smokey turquoise kaleidoscopic patterns.
BUY VINYL: https://doc-sleep.bandcamp.com/album/cr-me-fra-che-ep We are proud to showcase more Bay Area family with the release of a new EP by Doc Sleep @docsleep who cut her chops as a DJ in San Francisco’s vibrant scene the past decade. In 2016 she made the move to Berlin and became a resident of Room 4 Resistance. Since 2013, she's been the co-owner of @jacktonerecords which specializes in techno, ambient, and experimental electronics. In 2016/2017 she released her first 12's on the Hot Mass-affiliated Detour Records and Bottom Forty. She also co-wrote a track with Bezier and Nicole Ginelli, titled “Stranger,” that we released on the ‘Primes’ EP in 2017. Her latest release, ‘Your Ruling Planet’, was released on Jacktone in March 2019. We first heard “Creme Fraiche” on Doc’s soundcloud page and begged to release it. The track has the feel-good vibes you get on early morning dancefloors as things are winding down or up. Paired on the A-side is an updated version of the pulsating dark jam “Never Eating Again” that originally appeared on ‘Run The Length Of Your Wildness V.2’ and, like that compilation, proceeds from this track will be donated to Ghost Ship Fire victim Cherushii's family. On the B-side are two remixes from close friends of Doc. First up is a fresh breakbeat remix from Violet @violet : DJ, producer, boss of Naive records, co-founder of Rádio Quântica, and mina resident shaking up Lisbon's nightlife. Second is Berlin-based producer and fellow R4R resident, rRoxymore @rroxymore who presents an innovative remix of future-facing techno and bass variations adding her own vocals on top. For this release we’ve teamed up with Jacktone to release a cassette version, our first in this format, featuring two peak-time bonus tracks. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in jacket designed by Eloise Leigh with neon pink and lavender gradients echo morning sunrises with a collage of dreamy elements using a photo by Doc of Club Toilet in Detroit.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/vin-sol-planet-trash-2xlp/ We are honored to announce the debut album from Vin Sol, who’s taken club-goers on a trip with his tracks and sets for the past two decades. @vin-sol is a third-generation San Franciscan of Salvadorean descent who has released on Unknown to the Unknown, Clone, Delft, Honey Soundsystem, and Ultramajic. His DJ sets expertly span the genres of house, electro, techno, italo, disco, soul, funk, and whatever other finds he digs up. He’s also a musical partner of Matrixxman, AKA Charlie Duff, with whom he started the Soo Wavey label. His current focus is on the wild monthly party and label Club Lonely, which he runs with Primo Pitino and Jeremy Castillo. ‘Planet Trash’ consists of 10 tracks spread across 2 slabs of vinyl and a bonus flexi disc. Vin started working on the album in the winter of 2017 while taking a break from making club tracks. Simultaneously he also wanted to disconnect from the grip of the internet and 24 hour news cycle. Spending more time outside, he became entranced by the Bay Area fog. Sutro Tower wholly enveloped in mist is a view that inspired the ambient tracks on the album. You will also hear hints of the Latin freestyle and classic acid that informed Vin's youth. By spring of 2018 Vin headed to Berlin to finish the album and work on a collaboration with Matrixxman, an homage to SF musical institution Bottom of the Hill that kicks off side C. Vin's musical approach is honest, using the tools of the trade to both innovate upon and pay respect to classic forms. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket using photos by Vin Sol, and designed by Kevin McCaughey of Boot Boyz Biz. It includes a 4-color giant newsprint fold-out poster and golden flexi disc.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/de-bons-en-pierre-ep-bundle/ We are proud to present two new EPs from De Bons en Pierre, the duo of Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. His sonic vision is one which constantly straddles the line between wild experimentation and rhythmic compatibility, drawing influence from early concrète, 80's tape scene and Birmingham school techno. After working together on the ‘Crepes’ EP that we released in 2017, De Bons en Pierre reunited for a two day recording session in Brussels. The duo recorded 13 tracks that we’ve split across 2 EPs with 6 tracks on ‘EP No. 1’ and 7 tracks on ‘EP No. 2’. Beau says, “We hooked everything up and just pushed play. We didn’t really discuss much about the process….it was very ‘spur of the moment’.” The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms. All songs are mastered by George Horn at Fantasy Studios in Berkeley. ‘EP No. 1’ is housed in a sewage green jacket featuring a monster mask duo and spiky motifs designed by Florent Mazzocchetti, and ‘EP No. 2’ is radioactive orange with a different pair of monster masks.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/de-bons-en-pierre-ep-no-1/
We are proud to present two new EPs from De Bons en Pierre, the duo of Beau Wanzer @bwanz & Maoupa Mazzocchetti @maoupa-mazzocchetti . Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. His sonic vision is one which constantly straddles the line between wild experimentation and rhythmic compatibility, drawing influence from early concrète, 80's tape scene and Birmingham school techno. After working together on the ‘Crepes’ EP that we released in 2017, De Bons en Pierre reunited for a two day recording session in Brussels. The duo recorded 13 tracks that we’ve split across 2 EPs with 6 tracks on ‘EP No. 1’ and 7 tracks on ‘EP No. 2’. Beau says, “We hooked everything up and just pushed play. We didn’t really discuss much about the process….it was very ‘spur of the moment’.” The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms. All songs are mastered by George Horn at Fantasy Studios in Berkeley. ‘EP No. 1’ is housed in a sewage green jacket featuring a monster mask duo and spiky motifs designed by Florent Mazzocchetti, and ‘EP No. 2’ is radioactive orange with a different pair of monster masks.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/de-bons-en-pierre-ep-no-2/ We are proud to present two new EPs from De Bons en Pierre, the duo of Beau Wanzer @bwanz & Maoupa Mazzocchetti @maoupa-mazzocchetti . Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. His sonic vision is one which constantly straddles the line between wild experimentation and rhythmic compatibility, drawing influence from early concrète, 80's tape scene and Birmingham school techno. After working together on the ‘Crepes’ EP that we released in 2017, De Bons en Pierre reunited for a two day recording session in Brussels. The duo recorded 13 tracks that we’ve split across 2 EPs with 6 tracks on ‘EP No. 1’ and 7 tracks on ‘EP No. 2’. Beau says, “We hooked everything up and just pushed play. We didn’t really discuss much about the process….it was very ‘spur of the moment’.” The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms. All songs are mastered by George Horn at Fantasy Studios in Berkeley. ‘EP No. 1’ is housed in a sewage green jacket featuring a monster mask duo and spiky motifs designed by Florent Mazzocchetti, and ‘EP No. 2’ is radioactive orange with a different pair of monster masks.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/ghosts-of-dance-walking-through-gardens-lp/ We are proud to release a compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981. The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time. Our compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. We call it melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/body-without-organs-isis-and-thoth-2xlp/ Body Without Organs were a duo from New York City consisting of Richard Behrens (lyrics, vocals, guitar) and Carl Howard (electronics, effects) formed in 1982. The pair brought together skill and ideas from such diverse areas as writing, poetry, ceremonial magic, studio technology, and mass media sounds and images. The name Body Without Organs could mean several things: a body, being an organization, without organs, or hierarchy; a form of anarchy, certainly opposed to the capitalist system, and if not directly opposed, then deeply skeptical of its effects on society. Richard was interested in anthropology and mythology and the Golden Dawn System of Magick as a meditative tool. Sort of aural performance artists doing their performance work who released four cassette albums through Howard’s Audiofile Tapes between 1985 and 1987. We are proud to reissue their debut album “Isis and Thoth” from 1985 on vinyl for the first time. The album’s title pays homage to Isis: the protectress of the dead whose mournful tears for her husband/brother Osiris [the god of the dead who was murdered by his brother Set] were said to flood thee Nile annually, and unto the ibis or baboon headed Thoth: the heart [intelligence] and tongue [voice] of the sun god Ra. The nine compositions were created as scenes or moods with taped effects, delay pedals and found vocals. The duo employed droning synth syncopated with sparse percussive accents, esoteric vocal chanting, looping delayed beats, dissonant guitar and stuttering bass lines. Richard sadly passed away in 2017 and his widow Anna sent us the entire BwO cassette archive and we discovered a previously unreleased track “Scrap” included here. All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy includes an 8.5x11 insert with photos and interview with Richard Behrens. “When you will have made him a body without organs, then you will have delivered him from all his automatic reactions and restored him to his true freedom" - excerpt from the radio play by Antonin Artaud: "To Have Done with the Judgment of God" (1947)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lhasa-acetabularia-12-ep/ Lhasa is the brainchild of Alain Raes from Siegen, Germany. As a teenager he was inspired by Tubeway Army's “Are Friends Electric” and Art Of Noise’s “Beatbox”. In 1985 he began collecting analog equipment (Prophet-5; Oberheim OB-X; Linn LM-1) as digital synthesizers had started to become more popular. In 1986, New Beat was born in Belgium. Dancers tapped into the darker side of synth pop, and DJs would play 45 rpm records at 33 with the pitch control set to +8. Alain was playing in New Wave bands and had started production work and synth programming for other acts. In 1988 he self-released the debut Lhasa single ‘Acetabularia’ / ‘Acetatechno’, with help from Kris Tremmery on vocals and concept. The record combined the icy melodies of Gary Numan and John Foxx with with the mechanical rhythms of Detroit techno and EBM. Thematically, both tracks revolve around the end of life on Earth, and include samples from ‘Dr. Strangelove’. For this first time reissue, we’ve added 4 bonus tracks rescued from a 1990 recording session DAT tape. These demos show further development of the Lhasa sound with updated instruments (Roland D-20, Yamaha TX16W, Korg 707), faster tempos, and menacing proto-rave energy. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy includes an 11x11 poster with photos and liner notes by Alain.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lhasa-acetabularia-12-ep/ Lhasa is the brainchild of Alain Raes from Siegen, Germany. As a teenager he was inspired by Tubeway Army's “Are Friends Electric” and Art Of Noise’s “Beatbox”. In 1985 he began collecting analog equipment (Prophet-5; Oberheim OB-X; Linn LM-1) as digital synthesizers had started to become more popular. In 1986, New Beat was born in Belgium. Dancers tapped into the darker side of synth pop, and DJs would play 45 rpm records at 33 with the pitch control set to +8. Alain was playing in New Wave bands and had started production work and synth programming for other acts. In 1988 he self-released the debut Lhasa single ‘Acetabularia’ / ‘Acetatechno’, with help from Kris Tremmery on vocals and concept. The record combined the icy melodies of Gary Numan and John Foxx with with the mechanical rhythms of Detroit techno and EBM. Thematically, both tracks revolve around the end of life on Earth, and include samples from ‘Dr. Strangelove’. For this first time reissue, we’ve added 4 bonus tracks rescued from a 1990 recording session DAT tape. These demos show further development of the Lhasa sound with updated instruments (Roland D-20, Yamaha TX16W, Korg 707), faster tempos, and menacing proto-rave energy. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy includes an 11x11 poster with photos and liner notes by Alain.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-lepidoptera-remixes-ep/
SIDE A Cyaniris (Anatolian Weapons 6 a.m. Eternal) @anatolianweapons Araschnia Levana (Pasiphae Remix)@pasiphax
SIDE B Cyaniris (June Remix)@june Τα Γενέθλια Ή Aporia Maturna (Morah Remix)@morah-l
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. Her third solo album, ‘Lepidoptera’ was produced in 1986 and reissued by Dark Entries in 2018. Inspired by a scientific book on butterflies she found in a trashcan one day, the compositions follow minimalistic motifs and carefully-staged soundscapes. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry.
We’ve recruited 4 contemporary Greek producers to remix their favorite tracks from ‘Lepidoptera’. First up is “Cyaniris” remixed by Anatolian Weapons who delivers an enchanted late-night journey through the New Wave forest. Next is “Araschnia Levana” remixed by Pasiphae who speeds up the pace with machine driven melodic electro pulses. On the B-side we have June remixing “Cyaniris” twirling the track into a complex deep sea dive with lush drum kicks and pads. Closing out the EP is a remix of “Τα Γενέθλια Ή Aporia Maturna” by Morah who leads us to the underworld of Hades via sinister squelches and full-on apocalyptic rave breakdown. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original ‘Lepidoptera’ cover, isolating the illustration of the butterfly/woman designed by Eloise Leigh.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/stratis-new-face-lp/ Stratis is an electronic duo from Cologne, Germany, formed by Antonios Stratis and Albert Klein in 1981. They took inspiration from the progressive electronic synthscapes of Tangerine Dream & Vangelis and the proto-techno of Chris & Cosey and Yello, as well as jazz and funk. The duo recorded 5 cassette-only albums between 1982 and 1986 - Exotic, New Face, Musica da Ballo, Film Musik, and Raging Beauty - which were released on their own label Creative Tapes (later called Temporary Music), and which were also licensed to Colin Potter's Integrated Circuit Records (ICR) label.
We are pleased to announce the first ever standalone vinyl reissue of their sophomore album “New Face’, which was recorded and released in 1983. It consists of eight future-fixated tracks that could have been composed for movies like Blade Runner or Tron. A wide range of minimal electronics are presented, from robotic synth pop to melancholic cold wave to Neue Deutsche Welle electro. The masters for this reissue came from a new transfer made by Colin Potter at ICR in May 2018, and each song has been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket designed by Eloise Leigh using motifs of the cassette artwork on a neon red background, and includes an insert with lyrics and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/victrola-born-from-the-water-2xlp/ Victrola is the duo of Antonio "Eze" Cuscinà and Carlo Smeriglio from Messina, Italy. The band formed in 1979 but shortly thereafter relocated to Florence take part in a rich musical scene alongside Neon, Pankow, Alexander Robotnick, and Diaframma. Beginning as a 4-piece (two guitarists, bassist, drummer) they slimmed down to a synthesizer and guitar-based duo by 1982. Their sole release was the now classic ”Maritime Tatami"/"A Game Of Despair" EP from 1983, which we reissued in 2012.
‘Born From The Water’ is a 12 song collection of unreleased demos recorded between 1983 and 1985. The band sent us over 100 cassettes, through which we dug to compile the first volume of their archival darkwave ballads. They used an array of Roland synthesizers (TR-606, TB-303, TR-909, Juno 6) plus a Korg Polysix, Yamaha DX7, Casio VL-Tone VL-1, DR-55 Dr. Rhythm, and Fender Stratocaster and Jazz Bass. Some of the songs would later appear on various compilations, but the versions presented here are unique. Victrola engulfs the listener with trance-inducing synth lines, oblique minor-key bass lines, angular guitar riffs, and melancholic vocals. The songs tell tales of youth, love, karma, and the decline of civilization in modern times. Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The records come housed in a jacket designed by Eloise Leigh, which uses motifs from the band’s sole release and includes an insert with liner notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/roy-garrett-hot-rod-to-hell-lp/ Roy Garrett born Roy Samber in Newark, New Jersey arrived in New York City hungry to explore the sex and porn scenes he’d seen advertised in the Village Voice’s classified section. He danced in Times Square theaters The Gaiety, Ramrod, and Big Top before moving into adult film. From 1979 through 1983 Garret starred in ten films, five of them for Joe Gage, including his lead role in 'Heatstroke'. Throughout this period of self-discovery, he wrote the suite of 48 poems that became ‘Hot Rod to Hell’. In 1982 he recorded and self-released the poems on cassette with haunting, atmospheric score by Man Parrish, who also did several soundtracks for Gage. The project was produced for the stage by Manhattan illustrator Robert W. Richards who calls 'Hot Rod', "a searing voyage through the labyrinths of modern male sexuality; its geography ranging from porn theaters to back room bars to the intimacy of shared beds. Only a man born at exactly the moment in gay history that Garrett was could have lived through and conceived this work.” Roy Garrett tells his stories of sex, violence, truth, and illusion, as visceral and personal a record as any of that moment in gay history pre-AIDS. Joe Gage, describes 'Hot Rod' as, “…sweet danger. This is a perceptive look at the underside of love. It is funny, scary, surprisingly moving and best of all, extremely acute in observing the specifics of the human condition.” By April 1992, Garrett would succumb to AIDS-related illness, aged just 37. All poems have been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The records come housed in a jacket designed by Gwenael Rattke and includes an 44-page full color magazine with all 48 ‘Hot Rod’ poems plus 44 previously unpublished poems from Garrett’s archive. All proceeds from ‘Hot Rod’ will be donated to Housing Works, a New York City based non-profit fighting the twin crises of AIDS and homelessness.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/process-blue-control-panel-lp/ Process Blue was formed in the fall of 1981, at Antioch College near Dayton, Ohio. The group essentially consists of Chel White (tapes, keyboards, percussion) and Dan Gediman (keyboards, vocals, bass). Additional members contributed at various points to both recorded works and live performance. Process Blue's original interest was in electronic music and the interfacing of electronic sounds with acoustic instruments, non-musical instruments, and tape-manipulated sounds. The group's primary objective has been to strive for creative experimentation within the format of contemporary pop music.
We are proud to release a 12-song LP featuring music recorded between 1981 and 1982. 7 of the tracks were originally self released on a cassette album in 1982. The only song in this batch to ever appear on vinyl is “Control Panel” released on a French LP compilation called “Folie Distinguee Alternative Funk.” The songs range from experimental dance music to quieter, more melodically-oriented pieces. They used an array of synthesizers used were Moog Sonic-Six, Casiotone MT-30, Korg MS10, Roland SH 101, Casio VL Tone. Analog instruments included electric guitar and bass, and drums. Guest musicians included Gil Belton (melodic rototoms percussion and synthesizer bird sounds) on Industrial Park, Eric Zimmerman (Korg synthesizer) on Up to $100 and Subterrania, Patricia Yarborough (vocals) on Pink Razor and Air, Mike Pummel (engineer) on Control Panel, and John Flansburgh (of They Might Be Giants) engineer on Up to $100. All songs have been remastered by George Horn at Fantasy Studios. Each LP is housed in a jacket designed by Maycec featuring original drawings by Chel White and include a double-sided insert with photos and lyrics.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-some-experiences-with-shock-lp/ Die Form is a French post-industrial and electronic band formed in 1977 as the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed).
With ‘Some Experiences with Shock’, originally issued in 1984, Die Form return to sadistic pleasures. The album is a rare example of medical music, horribly sordid moreover, adding a more extreme dimension to their work. The first side, “Survival & Determination”, contains 7 tracks recorded in studio with analog equipment are the direct realization of previous works. In contrast the second side, “Lacerations & Immolation”, contains 5 songs improvised in the fever of paramedical oppression, with aggressive sonorities from new digital synthesizers. Devoted to the madness (the phantom of Antonin Artaud is not far) and handling the machines with instinct, Die Form advance on the way of industrial electronic creation, without concession. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy comes is housed in a replica of the original jacket designed by Philipe Fichot and includes a long post card insert with liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/drama-loneliness-2xlp/ Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP ‘Loneliness’ on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7” later that year featuring live drums and additional guitar.
Seance Centre says it best, “On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad “Anna King” and the charming “Feable”. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.” For this first time vinyl reissue we’ve expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7” and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cardopusher-muscle-memory-12-ep/ Born in Venezuela and based in Barcelona, Luis Garban aka Cardopusher has spent the last decade creating a wide variety of noisy dancefloor assaults. Although his roots lie in the breakcore scene, he’s slowly gravitated toward a raw, electro-infused take on techno that is no less compelling. Along the way, he’s released music via labels like Terminal Dusk, Murder Channel, Hyperdub, and Tigerbeat 6, and has also found the time to launch his own Classicworks imprint, which he continues to run alongside co-founder Nehuen. Cardopusher has also forged a relationship with German bass enthusiast Boys Noize, issuing a pair of EPs as well as two full length albums.
We are proud to present a new 6-track EP titled ‘Muscle Memory’ that takes the listener on a deep and gritty ride through his diverse sound, from techno to electro, acid, rave, and house. Luis is inspired by labels like Warp, Schematic, Planet Mu, Rephlex, as well as EBM and New Beat. Hard-smacking claps and raw TB-303 sequences merge with robotic vocals, solid and perfect for dark dance floors. The B-side features one track with haunting guest vocals by fellow Barcelona musician, Ivy Barkakati. Luis says the main themes of this EP are obscurity, desperation, confusion, nostalgia, escaping the world’s indifference. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Housed in a workout themed die-cut jacket designed by Eloise Leigh with raw acid-style mixed bold type and sporty graphics.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cardopusher-muscle-memory-12-ep/ Born in Venezuela and based in Barcelona, Luis Garban aka Cardopusher @cardopusher has spent the last decade creating a wide variety of noisy dancefloor assaults. Although his roots lie in the breakcore scene, he’s slowly gravitated toward a raw, electro-infused take on techno that is no less compelling. Along the way, he’s released music via labels like Terminal Dusk, Murder Channel, Hyperdub, and Tigerbeat 6, and has also found the time to launch his own Classicworks imprint, which he continues to run alongside co-founder Nehuen. Cardopusher has also forged a relationship with German bass enthusiast Boys Noize, issuing a pair of EPs as well as two full length albums.
We are proud to present a new 6-track EP titled ‘Muscle Memory’ that takes the listener on a deep and gritty ride through his diverse sound, from techno to electro, acid, rave, and house. Luis is inspired by labels like Warp, Schematic, Planet Mu, Rephlex, as well as EBM and New Beat. Hard-smacking claps and raw TB-303 sequences merge with robotic vocals, solid and perfect for dark dance floors. The B-side features one track with haunting guest vocals by fellow Barcelona musician, Ivy Barkakati. Luis says the main themes of this EP are obscurity, desperation, confusion, nostalgia, escaping the world’s indifference. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Housed in a workout themed die-cut jacket designed by Eloise Leigh with raw acid-style mixed bold type and sporty graphics.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/photonz-etheric-body-music-ep/ Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno for labels such as Créme Organization, 20:20 Vision, Don't Be Afraid, Skylax, Unknown To The Unknown and his own One Eyed Jacks. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.
Etheric Body Music is Photonz’s debut 6-track EP for Dark Entries and a simultaneous reference to hermeticism and EBM (Electronic Body Music). Marco loves that “aesthetic when 80s industrial and EBM bands split up and start to make trance in the early 90s and all the ritual magick pushes them to zen stuff and they do ecstasy.” There's this concept in theosophy and hermetic philosophy of the Etheric Body, which is an energy body superimposed and connected to the physical body, similar to the acupuncture idea of an energetic body. That idea manifests itself as six primal club cuts, which also channel early techno, Drexciyan rhythms, balearic & old school jack. Raw arpeggiated synth lines and bass blast jut against metallic stabs and highly percussive shakedowns to create mournful atmospheric warped house. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a psychedelic jacket with snakey green and purple velvet in an electric acid spewing weird biological alien energy form designed by Eloise Leigh.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/photonz-etheric-body-music-ep/ Photonz @photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno for labels such as Créme Organization, 20:20 Vision, Don't Be Afraid, Skylax, Unknown To The Unknown and his own One Eyed Jacks. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.
Etheric Body Music is Photonz’s debut 6-track EP for Dark Entries and a simultaneous reference to hermeticism and EBM (Electronic Body Music). Marco loves that “aesthetic when 80s industrial and EBM bands split up and start to make trance in the early 90s and all the ritual magick pushes them to zen stuff and they do ecstasy.” There's this concept in theosophy and hermetic philosophy of the Etheric Body, which is an energy body superimposed and connected to the physical body, similar to the acupuncture idea of an energetic body. That idea manifests itself as six primal club cuts, which also channel early techno, Drexciyan rhythms, balearic & old school jack. Raw arpeggiated synth lines and bass blast jut against metallic stabs and highly percussive shakedowns to create mournful atmospheric warped house. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a psychedelic jacket with snakey green and purple velvet in an electric acid spewing weird biological alien energy form designed by Eloise Leigh.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/sepehr-body-mechanics-ep/ We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.
"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/sepehr-body-mechanics-ep/ We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.
"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/kittin-cosmos-lp/ Reclaiming her original moniker of Kittin, electroclash pioneer - formerly known as Miss Kittin - presents Cosmos, a continuous twelve-track LP of organic, leftfield electronica due 2 November on Dark Entries. Throughout her illustrious career, Kittin has carved a considerable niche for herself, assimilating references from New Wave and 90s techno to form an inimitable sound that resonates with electronic music fans the world over. Despite being most recognizable with ‘Miss’ before it, Kittin was in fact her original artist name - the prefix often added without her consent at promoter’s will and eventually becoming the norm. Cosmos is her most spiritual release yet, influenced by her time in the French countryside after a bout of touring exhaustion. She gives up any formulas from her past; verses/chorus, pop or club beats, to come to the essence of chords and textures, peeling away the non-essential to find joy in music yet again. In retrieving her chosen name from more than 20 years ago, Kittin also returns to the essence of her musical journey. By liberating herself from the constraints of formal structure she opens the door to a new set of aesthetics, exploring her influences without restraint. Sonically, the voice acts a central instrument, whilst the album drives continuously forward with no breaks, paying homage to her love for ambient and electronica whilst wandering calmly into the unknown. “With Cosmos everything is energy. We go back to the core with curiosity and freedom.” - Kittin
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/david-javelosa-baby-buddha-everyone-is-my-age/ Baby Buddha is the experimental new wave duo of Charles Hornaday (vocals, guitar, electronics, drums) and David Javelosa (vocals, electronics, clarinet). Born from late night improvisations of San Francisco synth-punks Los Microwaves with a rotating cast of musicians. Live shows would include music, projections, dance and performance art in both clubs and gallery spaces. In 1980, Howie Klein's 415 Records released their first single of Tammy Wynette's “Stand By Your Man”. In 1981, ‘Music For Teenage Sex’ was their first full length album released via Poshboy Records. It featured Los Microwaves’ Meg Brazill, Poshboy boss Robbie Fields, and Kathy Peck as "Tammy Why-not", who later went on to found H.E.A.R (Hearing Education and Awareness for Rockers). In January 1983 Kathy, Charles and David went into the studio with a couple of Kathy's original “country” songs and began working on a sophomore album. They also incorporated songs from a live multi-track recording of a concert at the Graffiti Club on June 6th 1984. The album titled ’Everyone Is My Age’ sat unreleased until 1987 due to relocation to Los Angeles and eventually found a home on David’s Hyperspace Communications, the original label for the first Los Microwaves singles. For this first time reissue we’ve added a previously unreleased bonus song “What’s Going On,” a Kathy Peck original. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in the original jacket featuring a collage by David Javelosa and includes an insert with lyrics, photos and liner notes.
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Hans P. and Ernst Ströer are the Ströer Bros. Based close to Munich, Bavaria, they work as composers, arrangers, musicians, producers and authors, traveling between many different musical worlds. Hans plays bass, guitars and piano, Ernst plays all kinds of drums and percussion. The two of them descended from the wildly expanded jazz brew of the ’70s. In early 1979 Hans went on a six week tour through eleven African countries as a bass player in Jazz guitarist Volker Kriegel’s group Mild Maniac Orchestra. Inspired by his experiences on tour, Hans suggested to do a freestyle album together with Ernst. Avantgarde pianist Wolfgang Dauner’s Jazz label Mood Records offered them one week of studio time in the well equipped rooms of an old sugar factory between Christmas and New Years Eve 1981. They spent every minute in the studio, sleeping in the recording room, switching between mixing console and musical instruments. The brothers recorded their own performances and engineered the mixes, drumming, playing bass, guitars, all kinds of percussion and keyboards, singing and yelling. The result was the album ‘Fluchtweg Madagaskar’ (“escape route to Madagascar”) released in 1982. The contrast between African and German lifestyles, underlined by the early 80s tensions between nuclear warheads and the peace movement can be felt at the very core of this album. The fear that Germany could become an atomic battlefield made many young Germans think about emigration. Using a walkman hidden in their pocket, the brothers took numerous field recordings sampled over gripping, heavily accented rhythms. A true independent album, music and early sound design without boundaries nor limits. All songs are remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes double sided insert with lyrics, photos and liner notes by the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/raw-fragments-ep/ Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrète with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album ‘Land’ in December 1991 on Elfish Records. In 1992 they recruited the band’s sound engineer, Coti K., as a third member, both on stage and studio sessions. ‘City’ was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens. ‘City’ was released on CD only by Elfish Records in 1994. ‘Fragments’ is a collection of 4 songs from ‘City’ presented on vinyl for the first time plus bonus track recorded during the “City’ sessions previously released on a compilation in 1992. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided postcard with photos and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/jon-krocker-monolog-lp/ We are proud to present the first ever vinyl issue of Jon Krocker’s debut album ‘Monolog’ originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon's music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bill-converse-hulled-ep/ We are pleased to present a 4-track EP from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release on Dark Entries in 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year. In 2017 Converse released his second album ‘The Shape Of Things To Come’ followed by the double EP ‘Salt Of Mars’.
‘Hulled’ is a 25 minute journey spread across 4 tracks of glacial abandon. All tracks were recorded directly to tape with no overdubs, made at Converse's home studio. Bill says these tracks represent “ocean waves in stormy conditions, dark grey blue water, or more generally speaking something ominous and beautiful.” The songs on this album reveal a sublime influence from Detroit techno, IDM, and Acid. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks ebb and flow like the effect of sun shimmering on water, woozy, gauzy and ephemeral. All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a die-cute jacket designed by Eloise Leigh with peachy pink patterns landing on an alien water planet and seeing mysterious playing forms under the turquoise water. and the. Each copy includes a postcard featuring photo of Bill with notes.
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We are honored to reissue the 4th full-length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn’s adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.
By 1988 Carolyn’s recording gear had many changes and upgrades, from cassette 4-tracks, 8-track reel-to-reel 1/2 inch, a TASCAM 388 to DAT, to floppy disk sampling. She spent three to four nights a week developing sequences for 14 hours from 10pm onwards. Samples would sometimes begin on a Synclavier keyboard with its sophisticated sequencing capabilities. Her fourth album, ‘To Subtle-Drive’, was self-released in 1988 as 8 untitled songs spread across a 30-minute cassette. Then in 1989 Carolyn discovered the first Digidesign digital recording software and changed the project to have more ethnic sounds and samples stemming from tapes collected during a trip to Egypt. In 1990 ‘To Subtle-Drive’ was re-released with 2 songs from the 1988 release and 4 new compositions. This reissue adds 5 bonus tracks recorded during the same period spread across a double LP set. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios. "Old-soul beat tracks on cassette with time and techno-guilotine songs."
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cyrnai-parts-of-the-insomnic-wheel-%e2%80%8e2xlp/ We are honored to reissue the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn’s adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.
In 1986 Carolyn moved into her family’s building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, ‘Parts of The Insomnic Wheel,’ 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go. It was a journey to unravel the ‘dark night of the soul’. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials. Originally released by Ladd-Frith in 1986, this reissue adds 4 unreleased bonus tracks recorded during the same period. Each copy includes a 16-page zine with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/eric-random-a-boy-alone-2xlp/ We are honored to release ‘A Boy Alone’, a double LP set from Manchester electronic music pioneer Eric Random. Best known for his early recordings for New Hormones and Les Disques du Crépuscule and collaborations with Pete Shelley (Buzzcocks), Cabaret Voltaire and Nico. As an original member of The Tiller Boys with Shelley, Random injected a healthy dose of Krautrock into the dour Manchester post-punk scene in 1978/79 before going solo the following year. Random’s first 7” “Subliminal”/“23 Skidoo” was released in 1981 via Les Disques du Crépuscule and explored ominous sonic surrounds. That same year also saw the release of a second 7" single on New Hormones, “Dow Chemical Company”/ “Skin Deep”. Both tracks offered bubbling, rhythmic sound patterns, and were the first to feature other musicians that would become know as The Bedlamites. Consisting of Lynn Walton on vocals, Ian Runacres and Andy Diagram of Dislocation Dance, and bassist Wayne Worm, aka Wayne Sedgeman. Their debut 12” single “Subliminal Seduction”/“Bedlam-a-Go-Go” was released in 1982 through Plurex, mixing arid funk textures and sparse melodies. That same year the group contributed proto chill-out track “6.55” to Plurex compilation ‘Hours’ and the highly filmic track “In Cassette Conference” to the Touch cassette package ‘Feature Mist’. In 1983, Random spent several months in the Himalayas with a group of musicians from the Kulu Valley and studied non-Western instruments such as tabla. On returning to Manchester, Random convened a new group of Belamites including Walton, Sedgeman and drummer Graham Dowdall aka Dids of Ludus. They released the 12” single “Mad As Mankind”/“Dream Web Of Maya” in 1984 on Cabaret Voltaire’s Doublevision, embracing electronic, industrial and dub styles. In 1985 they contributed the soothing “Pure Power” to Food Records’ “Imminent Episode One” compilation. Our reissue also includes 4 unreleased bonus tracks from Eric’s archives recorded between 1981-1984. The whole set adds up to 115 minutes of sinister, somnambulant Random music. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a gatefold jacket designed by Eloise Leigh featuring a spread of ephemera, photos with liner notes by James Nice of LTM.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/talking-drums-courage-ep/ Dark Entries is honored to reissue the debut 12” single ‘Courage’ from Scottish band Talking Drums. Formed in Glasgow in 1981 when Charlie and Dot lived above a pub and discovered their downstairs neighbor, Carol, was a sensational singer. They quickly recruited Stewart on bass and Derek on drums and started gigging. Scotland in the early 80s had a live music scene where unsigned bands could gather a serious following and the band played every major city, helped by catchy, indie-pop tunes and Carol's explosive performances. The recorded their debut album 'Fighting To The Finish' all in a week in March 1982 and released it on cassette. 'Courage' was their first vinyl outing in the independent, cottage-industry spirit of the times, originally released on Sticky Music in late 1982. The group added a horn section and congas extending the song to 8 sprawling minutes of dubby disco funk in the vein of ESG and William Onyeabor. The studio owner, Ian, had just bought a new piece of equipment called an Aphex Aural Exciter and put the whole mix through it - maybe one reason why “Courage” sounds strangely ahead of its time. For this first time vinyl reissue we’ve added bonus track “Lost in the 20th Century” from 1982, previously available only on their debut cassette album. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided insert with ephemera, photos and liner notes by the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/billy-nightmare-reality-check-ep/ Digging deep into the Chicago Rave vaults to re-issue the debut EP from Billy Nightmare aka “Mystic Bill” Torres. Growing up in Miami, Bill was involved in various parts of the music industry, from working at Flamingo Record Pool, to playing guitar for the band Life In Sodom (80’s Synth/Goth band). His interest in both House & Industrial music inspired him to make his move to the Windy City. Bill quickly became involved in the night scene with residencies at clubs like Shelter, Crobar, & Smart Bar. His studio work began with a remix of Kay Ladrae's “Lack Of Love” with Vince Lawrence, followed by a string of releases, including an LP on Trax Records. He has recently relaunched two record labels and several releases and remixes out each year.
‘Reality Check’ was released in 1996 on Woody McBride’s label Sounds. Originally the project was to be titled " Billy's Nightmare", but to avoid being jinxed for life, Torres decided to switch it to Billy Nightmare. He put the Mystic Bill alias aside, got a hair cut, changed his sound and became this new persona. ‘Reality Check’ consists of 4 tracks, recorded at Mirage Studios in Chicago in 1996. Two tracks on the A-side are dark thumpers and will haunt your head for days. Side B has 2 versions of the same song, lighter and funkier in mood both show the diversity Mystic Bill is capable of producing. All songs have been remastered by George Horn at Fantasy Studios. Each EP is housed in a custom designed jacket by Eloise Leigh featuring a 90s photo of Billy Nightmare staring into TV static and includes a postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cyrnai-charred-blossoms-lp/ We are honored to reissue the debut album from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn’s adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.
In 1983 Carolyn met vegetarian peace punks who changed her course a bit, and which influenced the political aspect of her first release, ‘Charred Blossoms.’ Although ‘Charred Blossoms’ was referring to the destruction of war, it was really about the indoctrination process of the human mind. All songs were recorded at her parent’s house in the suburbs using her brother’s Moog Opus 3, her father’s PAiA, Drummer Boy, synths, flute, saxophone and a Rhodes piano. She positioned microphones against amps to get frequency changes. While never physically cutting tape, Carolyn would try and get as many tracks of sound into 4 tracks via many starts and stops. Thus began the CYRNAI sound: music and sound layered, combined snapped together, creating an unintentional new form referred to as ‘experimental’, though it had no particular intention of experimenting. Rather, it was naturally composing sound almost in a vacuum. The 6-track 12” EP was released in 1985 by Mind Matter Records with a 48-page zine featuring Carolyn’s poetry and drawings, re-printed here. For this reissue we’ve added 8 unreleased bonus tracks recorded between 1980-1984 and included a 6-page press kit with photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cyrnai-hypno-seizure-%e2%80%8e-lp/ We are honored to reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn’s adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.
In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled ‘Hypno-Seizure’. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.
BUY VINYL: https://coldbeatsf.bandcamp.com/album/a-simple-reflection-4 OUT AUGUST 24TH: Cold Beat is a San Francisco-based quartet fronted by Hannah Lew (synths, vocals) with Kyle King (synths, guitar), Luciano Talpini Aita (synths) and Sean Monaghan (guitar). Formed in 2013 the band has released three albums and two EPs. ‘A Simple Reflection’ is a 7-song collection of Eurythmics covers, yet feels just as personal as any of their original material. While digging through a collection of 12"s for her record shop Contact Records, Lew stumbled across the earliest Eurythmics B-sides and was floored. This lead to the discovery of their debut album ‘In The Garden'. Annie Lennox’s abstract and poetic lyrics really struck a chord with Hannah. What had started out as a single cover quickly snowballed into a full blown obsession. The synth and drum programming resonated with her songwriting process, so reimagining them was very creatively fulfilling. The covers on this EP are simultaneously dynamic and atmospheric post-punk that plays to Lew's ethereal vocals and King’s crystalline guitar. All songs have been mixed by Mikey Young (Total Control) and mastered by George Horn at Fantasy Studios. The record is housed in a jacket designed by Eloise Leigh, which features pink and purple clouds that evoke a dreamy softness and DIY playfulness and photos Lew in her best Lennox-inspired drag. Each copy includes a postcard with photos and notes. “Sometimes a song seems to sing just for you, as if someone knows your most inner thoughts and feelings and has found a way to describe them effortlessly” - Hannah Lew
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/el-deux-martin-kraft-nur-fur-madchen-lp/ El Deux is the Swiss electro-pop trio of Gutze Gautschi (guitar, vocals), Steno Onetz (bass), Martin Kraft (vocals, drum machine). Formed circa 1981 in Aarau by Gutze and Steno who played together in punk/New Wave band Fresh Color aka Frische Farbe featuring a pre-Yello Dieter Meier. Gutze’s minimal electronic compositions did not fit the concept of Fresh Color, so they formed a new project with their live mixer, Martin Kraft, on vocals. The group was quite successful with many concerts, mainly in southern Germany and various TV appearances in Germany and abroad. Between April/September 1982 they recorded and mixed their debut album ‘Nur Für Mädchen’ in 15 days at Powerplay Studios, Zurich. The LP was released later that year on Gold Records. Influences at that time were of course the NDW “Neue Deutsche Welle'' movement and also from Gutze’s time as a musician & guitarist since 1965. Their step up for recording was a Moog Prodigy, Korg Rhythm 55 (KR-55), Simmons Drums, Casiotone 202, Guitar and Bass. We’ve added a bonus track “Video King” that was originally released as a follow up single in 1984 before the group disbanded. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an insert with photos and lyrics.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/polaroid-senza-respiro-lp/ Polaroid were an Italian post-punk/new wave band, formed in Turin in 1981. The original lineup of the band consisted of Marcello Zavatto (voice, guitar), Massimo Vagnarelli (bass, drum-machine), Evandro Fornasier (guitar), Claudio Vagnarelli (synthersizer) and Marco Farano (Drums). Polaroid made their debut with the cassette 6-track EP ‘Senza Respiro’, self-released in 1984. Influenced by Bauhaus, Joy Division, The Cure, Pere Ubu as well as Chic and Talking Heads. The music was dark and cold, but also melodic especially with regards to guitars and voices. At the end of 1984 the band added vocalist Michele Cantoblundo while drummer Marco left and was replaced by a Roland TR-909. With Michele began a period of very dark and poetic music, influenced also by bands like Red Lorry Yellow Lorry and The Sisters of Mercy. The band peacefully broke-up in 1987. This vinyl re-issue of ‘Senza Respiro’ contains all 6 original songs with 4 bonus tracks from the band’s later period. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in custom jacket designed by Eloise Leigh and includes 4 polaroid sized postcards with photos notes and lyrics.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/umo-vogue-just-my-love-ep/ Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit ‘The AT’s’, along with Bristol based singer Debbie Marlow. Neil’s Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine ‘L’Uomo Vogue’. After winning the Bristol ‘Battle of the Bands’ in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in ’83 and released their first single ‘Just My Love’ released in early 1984. The second single was ‘Make It Real’ and was never released as the band were culled from the EMI roster in late ’84. For this reissue of their debut single we’ve added 3 bonus tracks, a demo of “Just My Love”, the unreleased follow single “Make It Real” and a bedroom demo “Erotica.” Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band’s archive. “We’re synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.” - Umo Vogue
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cold-beat-a-simple-reflection-ep/ Cold Beat is a San Francisco-based quartet fronted by Hannah Lew (synths, vocals) with Kyle King (synths, guitar), Luciano Talpini Aita (synths) and Sean Monaghan (guitar). Formed in 2013 the band has released three albums and two EPs. ‘A Simple Reflection’ is a 7-song collection of Eurythmics covers, yet feels just as personal as any of their original material. While digging through a collection of 12"s for her record shop Contact Records, Lew stumbled across the earliest Eurythmics B-sides and was floored. This lead to the discovery of their debut album ‘In The Garden'. Annie Lennox’s abstract and poetic lyrics really struck a chord with Hannah. What had started out as a single cover quickly snowballed into a full blown obsession. The synth and drum programming resonated with her songwriting process, so reimagining them was very creatively fulfilling. The covers on this EP are simultaneously dynamic and atmospheric post-punk that plays to Lew's ethereal vocals and King’s crystalline guitar. All songs have been mixed by Mikey Young (Total Control) and mastered by George Horn at Fantasy Studios. The record is housed in a jacket designed by Eloise Leigh, which features pink and purple clouds that evoke a dreamy softness and DIY playfulness and photos Lew in her best Lennox-inspired drag. Each copy includes a postcard with photos and notes. “Sometimes a song seems to sing just for you, as if someone knows your most inner thoughts and feelings and has found a way to describe them effortlessly” - Hannah Lew
Listen back to Josh Cheon's Dark Entries Records pride special TRACKLIST TOMMY PACE - Wild Susan James PATRICK COWLEY - Mocking Bird Dream BORGHESIA -Secret Affair No. 3 3 TEENS KILL 4 - Desire KROOTCHEY -Qu Est Ce Qu Il A (D Plus Que Moi Ce Negro La?) NIGHT MOVES - Transdance (GC1 Version) DEUX FILLES - Our English Friends BILL CONVERSE - Landing LOOKY LOOKY - Nurse Coven Rides Again LEATHERSTRIP - Way Out In The Blue BILLY NIGHTMARE - Dance,Shake,Swing LENA PLATONOS - Hoping By Shopping (Kim Ann Foxman Remix) BÉZIER - Téléconférence PATRICK COWLEY, JORGE SOCARRAS - Burn Brighter Flame DANNY BOY AND THE SERIOUS PARTY GODS - Castro Boy DARK DAY- Hands In The Dark FLESH WORLD - Destination Moon
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/colin-potter-the-where-house-2xlp/ Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 35 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Recordings) label in 1981 releasing a clutch of wonderful home recordings of his own, over half a dozen small run cassette only releases.
‘The Where House?’ was recorded in 1981 at IC Studio, a converted wash house in Sutton on the Forest in North Yorkshire. The album was self-released on cassette that same year via ICR. This expanded double LP edition features all 13 tracks from the original tape on vinyl for the first time plus 4 bonus tracks. ‘The Where House?’ is a prime example of early UK post-punk/industrial electronic music. “Combining dub, electro, and krautrock rhythms with psychedelic, kosmische noise in multiple mutations ranging from almost pop-wise songcraft to horizon-scanning motorik flights,” says Boomkat. Most of the damage was done by Colin using guitars, synths, sequencers, drum machines, percussion, and modified toy keyboards with fairly primitive 4-track recording equipment. He was assisted on some of the tracks by Stephan Jadd-Parry (guitar, percussions), Jon Caffery (guitar, bass, e-bow, percussion) and Nick Jackson (synth). All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the original cassette artwork by Jonathan Coleclough. Every copy includes a double sided postcard insert with notes from Colin.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-lepidoptera-lp/
Lena Platonos is a Greek musician, pianist and music composer. She was one of the pioneers in the Greek electronic music scene of the 1980s, and she remains active today. Lena was born on the island of Crete and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in Vienna and Berlin, where she was exposed to jazz, rock, and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation. She released three collaborative albums between 1981 and 1983, but it was her “triptych” of solo albums, Sun Masks (1984), Gallop (1985), and Lepidoptera (1986) that would lead many to call her the “Greek Laurie Anderson” or “mother of Greek electronica”.
Released in 1986, Lepidoptera was Lena’s third solo album, which was inspired by a scientific book on butterflies she found in a trashcan one day. The Latin genus and species names were mysterious and paralleled the changes in Lena’s personal life. “My concern in this work is transformation as a metaphor, or transcendence as an existential condition,” says Lena. Compositions follow minimalistic motifs and carefully-staged soundscapes. Vocals are processed through electronic filters, and at times plays a central role. Lena’s surrealistic verses are delivered in a direct fashion, touching on themes of metamorphosis, rebirth, love, and alienation. At times, she expresses tenderness; at others, a childlike innocence.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1986 edition, featuring an original collage by Lena and photography by Spyros Stateris. Each copy includes a two-sided 11”x11” insert with lyrics, photos and liner notes by Lena, with English translations by Stathis Gourgouris.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/v-a-outer-himmalayan-presents-lp/
Dark Entries and Sacred Bones team up to release the early discography of UK synth-punk and Deathrock label Outer Himmalayan Records. Between 1979 and 1982, Nick Blinko and Martin Cooper’s Outer Himmalayan Records released 7-inches by three short-lived bands – The Magits, Soft Drinks, and S-Haters – who would nonetheless cast a massive shadow on the UK’s burgeoning post-punk/anarcho punk scene. Outer Himmalayan Presents collects all of the music found on those original records, along with rare and unreleased tracks by all three bands. It’s a snapshot of a period of frenzied creativity by some of the UK’s most thrilling experimental punks.
Before Blinko went on to found the essential anarcho band Rudimentary Peni, whose storied body of work also appeared on Outer Himmalayan, he and label co-founder Cooper were The Magits. The lone release by the minimal synth-and-vocals duo, Fully Coherent, was the inaugural release on Outer Himmalayan — and, in fact, Blinko and Cooper’s impetus for starting the label. The four tracks on Fully Coherent are short, sharp bursts, comprising a total of four minutes. Here, they’re presented alongside the five-and-a-half minute “A Pawn in the Game,” a song that sees Blinko and Cooper get truly weird with the extra space the longer runtime afforded them.
The next release on Outer Himmalayan was S-Haters’ Death of a Vampire 7", which the quartet quickly followed with Stories as Cold as the Irish Sea. The band was recognizably a deathrock act, their gothic punk in the same lineage as Joy Division and PIL’s Metal Box, but it showed the same sonic adventurousness that characterized the rest of Outer Himalayan’s output. “1980,” an oddity taken from the rare Another Bouquet on the Grave of Free Enterprise cassette comp, shows the most experimental flourish, with dueling male/female vocals and a prominent acoustic guitar.
The final Outer Himmalayan release before it became strictly a Rudimentary Peni label was Soft Drinks’ Popstars in Their Pyjamas 7". Popstars ended up being the tongue-in-cheek synth-punk trio’s only release before their breakup, though they would also record “Dangers of Drink,” for the Bouquet of Barbed Wire comp and included here, as well as the one-off track “Misconception,” previously unreleased but now available exclusively on Outer Himmalayan Presents.
All songs have been mastered for vinyl by George Horn at Fantasy Studios. Cover artwork features a collage by Eloise Leigh and each copy includes a 20-page zine featuring liner notes and ephemera associated with the original pressings plus never before seen photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/colin-potter-the-where-house-2xlp/ Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 35 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Recordings) label in 1981 releasing a clutch of wonderful home recordings of his own, over half a dozen small run cassette only releases.
‘The Where House?’ was recorded in 1981 at IC Studio, a converted wash house in Sutton on the Forest in North Yorkshire. The album was self-released on cassette that same year via ICR. This expanded double LP edition features all 13 tracks from the original tape on vinyl for the first time plus 4 bonus tracks. ‘The Where House?’ is a prime example of early UK post-punk/industrial electronic music. “Combining dub, electro, and krautrock rhythms with psychedelic, kosmische noise in multiple mutations ranging from almost pop-wise songcraft to horizon-scanning motorik flights,” says Boomkat. Most of the damage was done by Colin using guitars, synths, sequencers, drum machines, percussion, and modified toy keyboards with fairly primitive 4-track recording equipment. He was assisted on some of the tracks by Stephan Jadd-Parry (guitar, percussions), Jon Caffery (guitar, bass, e-bow, percussion) and Nick Jackson (synth). All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the original cassette artwork by Jonathan Coleclough. Every copy includes a double sided postcard insert with notes from Colin.
BUY VINYL http://www.darkentriesrecords.com/store/vinyl/inhalt-commerce-ep/ Dark Entries is proud to release ‘Commerce’, the third EP from San Francisco-based trio INHALT, German for “content”. The group was founded in 2009, and for the purposes of this recording are Matia Simovich, Philip Winiger and Steven Campodonico. INHALT’s core operative strategy is of sonic fidelity and integrity rather than nostalgia. Their first release was a split 12" on World Unknown in 2011 followed by two EPs on Dark Entries, a remix EP on Emotional Especial and a Part Time Punks Session on Cleopatra.
‘Commerce’ is a close examination of the self destructive tendency of the ego in relation to the allure of negativity and mass tragedy. The EP details the psychopathy of relentless thirst mandated by neo-liberalism and traverses through the adoption of social and economic technologies that strengthen domination vis a vis self enslavement to disempowerment. Employing the best of both modern and vintage techniques, the four songs on the EP utilize dense production, big snares, and powerful German vocals from Philip. INHALT are informed by the brooding soundtracks of John Carpenter as much as the vastness and sheen of Trevor Horn, and set out to explore the borders between the vocal-driven pop song and the expansive dancefloor 12″ arrangement. The record was produced over four years at the bands own Black Sun Loft recording studio and Different Fur Studios. Paul Lavigne mastered the EP in London, England at Kontrast Mastering and George Horn handled the vinyl EQ curve at Fantasy Studios, Berkeley. Each EP is housed in a specially designed jacket by Leo Merz and includes a lyric sheet with English translations.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/richard-wahnfried-time-actor-2xlp/ Dark Entries is honored to re-issue one of the greatest and most overlooked albums of the 1970s. "Time Actor" was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German synthesizer and ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. "Richard" is the name of Klaus’ son born in 1979, and the first name of the German composer Wagner. "Wahnfried" is the name of Richard Wagner's house, from the German "wähnen Frieden fand" (that his search and hopes will find peace). The album was a unique fusion of Brown's eccentric musical vision and Schulze's mastery of synthesis. The album was originally released in 1979 on the German Innovative Communication label. Time Actor stands out amongst Schulze's massive catalog as a masterwork of avant garde new age. Schulze helms the project on electronics, and guests include Michael Shrieve on percussion, Vincent Crane on keyboards, and vocalist Arthur Brown, who sings – or should we say, speaks – on top of it all. Schulze describes the Wahnfried project in the liner notes as “the collective pseudonym of an idea: Time-Electronic, an experiment between avantgarde and muzak: Utility-music for sound-covered environment, in which a new generation grows up: Richard Wahnfried is this generation: Music between genius and nonsense: New ideas transported by an old medium to your ear.”
This newly re-mastered reissue expands the original 60 minutes of music across a double LP to help with playback and distortion experienced on original pressings. We’ve added a bonus track in the form of a Cosmic 12-minute extended remix by Italian producer and DJ Maurizio Delvecchio from 1983. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a gatefold jacket with original album artwork featuring a surreal painting by German artist Peter Nagel plus lyrics and notes. “I wish you plenty of TIME” - Klaus Schulze
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/miss-kittin-the-hacker-lost-tracks-vol-2-ep/ Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album ”First Album" was released in 2001 followed by “Two” in 2009.
“Lost Tracks Vol. 2” contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80’s European New Wave/Italo Disco with 90’s Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent. All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, “We were naive, innocent, adventurous and we didn’t expect anything in return”.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/instant-music--instant-music-lp/ Instant Music 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. Inspired by the Velvet Underground, Kraftwerk, and Giorgio Moroder, 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.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the original jacket design, which features a neon red screen-printed drawing of a cut-out doll family on a stark white background. Each LP includes a postcard insert with lyrics.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/aria-rostami-daniel-blomquist-distant-companion-lp/ Aria Rostami and Daniel Blomquist are from San Francisco, CA, though Rostami has recently moved to Brooklyn, NY. Rostami and Blomquist's work occurs in two stages: the gathering/preparation of source material and the live performance. Rostami and Blomquist's source material primarily focuses on the exchange of information, repetition and decay, and surrendering aspects of creative control. The source material is either sampled and altered by Blomquist or composed and recorded by Rostami. Sometimes this material is repeatedly passed back and forth to be altered, others, it’s barely touched.
Following prior albums on Glacial Movements and Jacktone, the duo return with their third full length, "Distant Companion" named after the multiple star Polaris. Comprised of Polaris Aa in orbit with Polaris Ab which in turn, are in orbit with a distant companion, Polaris B. Polaris, aka The North Star, was the star that American slaves followed to freedom. It carries with it a history of Civil Rights, a cosmic history of our origins, as all stars do, and a glimpse into the past as it floats light years away. The first two songs of "Distant Companion" were recorded during a protest performance at Grey Area Foundation of the Arts in San Francisco that featured artists representing communities, cultures and countries on the travel ban list (Executive Order 13769.) For this performance they sampled voice recordings of Persian poets Rumi, Hafez and Forough Farakhzad. Every generation seems to find, in their own way, that the pursuit for equality is not linear, but that we must know our pasts, be in tune with the present and have a will for a better future. This record stands on the shoulders of communities, artists and movements that have made art in protest of oppression, and we hope, in some way, to make a contribution to this conversation. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Cover artwork features a collage by London-based artist Anthony Gerace, and each copy includes a postcard featuring a photo of the duo.
BUY VINYL: https://ariarostamidanielblomquist.bandcamp.com/
Aria Rostami and Daniel Blomquist are from San Francisco, CA, though Rostami has recently moved to Brooklyn, NY. Rostami and Blomquist's work occurs in two stages: the gathering/preparation of source material and the live performance. Rostami and Blomquist's source material primarily focuses on the exchange of information, repetition and decay, and surrendering aspects of creative control. The source material is either sampled and altered by Blomquist or composed and recorded by Rostami. Sometimes this material is repeatedly passed back and forth to be altered, others, it’s barely touched.
Following prior albums on Glacial Movements and Jacktone, the duo return with their third full length, "Distant Companion" named after the multiple star Polaris. Comprised of Polaris Aa in orbit with Polaris Ab which in turn, are in orbit with a distant companion, Polaris B. Polaris, aka The North Star, was the star that American slaves followed to freedom. It carries with it a history of Civil Rights, a cosmic history of our origins, as all stars do, and a glimpse into the past as it floats light years away. The first two songs of "Distant Companion" were recorded during a protest performance at Grey Area Foundation of the Arts in San Francisco that featured artists representing communities, cultures and countries on the travel ban list (Executive Order 13769.) For this performance they sampled voice recordings of Persian poets Rumi, Hafez and Forough Farakhzad. Every generation seems to find, in their own way, that the pursuit for equality is not linear, but that we must know our pasts, be in tune with the present and have a will for a better future. This record stands on the shoulders of communities, artists and movements that have made art in protest of oppression, and we hope, in some way, to make a contribution to this conversation. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Cover artwork features a collage by London-based artist Anthony Gerace, and each copy includes a postcard featuring a photo of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dsordne-e-un-sole-lp/
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.
È Un Sole (It’s a Sun) was the group’s only vinyl full length originally released in 1990 on HAX. It’s 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. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white drawing with silver metallic spot color housed in a clear PVC plastic cover with a three color screen-printed design. Each copy includes a 11x11” double-sided lyrics sheet with English translations as well an 8x11” sheet with original press notes from 1990 by Marco Pustianaz. Limited to 800 copies.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bezier-parler-musique-2xlp/ Dark Entries is proud to 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. The track titles for ‘Parler Musique’ zoom in on Romantic preoccupations with mystery, unknowns, depths--where themes combine to form an occult revelatory experience.
All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a surreal circuit board pattern with pink bubbles flickering on an abstract horizon of water designed by Eloise Leigh. Each copy includes a postcard risograph-printed in fluorescent pink and dark blue with Dadaist text by Justin Aulis Long.
“Is the drum the successor of human sacrifice or does it still sound the command to kill?” Adorno, Motifs (1951)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/fantasy-life-over-and-over-12/ Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single “Over and Over” at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12”s. “Over and Over” is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth. The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals. Both songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a painting by Andrea Franzoso and includes a double sided postcard with lyrics and notes.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/cute-heels-featuring-aga-wilk-state-of-mind-12/ Cute Heels is the project of Victor Lenis, a contemporary electronic artist living in Berlin, Germany. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in his debut album “Spiritual" for Dark Entries in 2014 as well as the “Third Skin” EP in 2016. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club, Cute Heels connects the dots between Detroit techno, early Chicago house and Belgium electronic body music.
“State of Mind” is a 4-track EP featuring the vocal talents of Berlin artist Aga Wilk aka Romance Disaster on the the title track. On the A-side are two fresh compositions recorded in New York and Bogota between 2016 and 2017. Victor says, “State of Mind refers to the subconscious as dominated by real facts, natural, unnatural, metaphysical or virtual and dynamism of the body as physical shield.” The track is a slow building foray into techno, elegantly suited for intangible moments. “Golden Tears” kicks off with Cute Heels’ signature metallic EBM funk played with punchy, percussive analog synths. On the flip we present two banging club remixes. The first is from LA-4A, techno DJ and producer Kevin McHugh aka Ambivalent, who adds a strong kick drum and lacerating hi-hats that build up to a mind melting breakdown with a full on acid squelch attack. The second remix comes from Noncompliant, Midwest US-based producer Lisa Smith aka DJ Shiva, who creates a raw, thumping exercise though off-kilter mechanics and punishing percussion. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/intense-molecular-activity-i-m-a-lp/ 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. We’ve added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed “Do Not Enter” sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.
BUY VINYL/DIGITAL: https://cuteheels.bandcamp.com/album/state-of-mind Cute Heels is the project of Victor Lenis, a contemporary electronic artist living in Berlin, Germany. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in his debut album “Spiritual" for Dark Entries in 2014 as well as the “Third Skin” EP in 2016. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club, Cute Heels connects the dots between Detroit techno, early Chicago house and Belgium electronic body music.
“State of Mind” is a 4-track EP featuring the vocal talents of Berlin artist Aga Wilk aka Romance Disaster on the the title track. On the A-side are two fresh compositions recorded in New York and Bogota between 2016 and 2017. Victor says, “State of Mind refers to the subconscious as dominated by real facts, natural, unnatural, metaphysical or virtual and dynamism of the body as physical shield.” The track is a slow building foray into techno, elegantly suited for intangible moments. “Golden Tears” kicks off with Cute Heels’ signature metallic EBM funk played with punchy, percussive analog synths. On the flip we present two banging club remixes. The first is from LA-4A, techno DJ and producer Kevin McHugh aka Ambivalent, who adds a strong kick drum and lacerating hi-hats that build up to a mind melting breakdown with a full on acid squelch attack. The second remix comes from Noncompliant, Midwest US-based producer Lisa Smith aka DJ Shiva, who creates a raw, thumping exercise though off-kilter mechanics and punishing percussion. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made die-cut jacket designed by Eloise Leigh featuring suggestive rope bondage graphic printed spot black matte on black hi-gloss finish. Each copy includes a postcard.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cute-heels-featuring-aga-wilk-state-of-mind-12/ Cute Heels is the project of Victor Lenis, a contemporary electronic artist living in Berlin, Germany. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in his debut album “Spiritual" for Dark Entries in 2014 as well as the “Third Skin” EP in 2016. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club, Cute Heels connects the dots between Detroit techno, early Chicago house and Belgium electronic body music.
“State of Mind” is a 4-track EP featuring the vocal talents of Berlin artist Aga Wilk aka Romance Disaster on the the title track. On the A-side are two fresh compositions recorded in New York and Bogota between 2016 and 2017. Victor says, “State of Mind refers to the subconscious as dominated by real facts, natural, unnatural ,metaphysical or virtual and dynamism of the body as physical shield.” The track is a slow building foray into techno, elegantly suited for intangible moments. “Golden Tears” kicks off with Cute Heels’ signature metallic EBM funk played with punchy, percussive analog synths. On the flip we present two banging club remixes. The first is from LA-4A, techno DJ and producer Kevin McHugh aka Ambivalent, who adds a strong kick drum and lacerating hi-hats that build up to a mind melting breakdown with a full on acid squelch attack. The second remix comes from Noncompliant, Midwest US-based producer Lisa Smith aka DJ Shiva, who creates a raw, thumping exercise though off-kilter mechanics and punishing percussion. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made die-cut jacket designed by Eloise Leigh featuring suggestive rope bondage graphic printed spot black matte on black hi-gloss finish. Each copy includes a postcard.
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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. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.
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. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11” insert with lyrics, notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/villa-abo-magnetic-moves-2xlp/ Villa Åbo in the alternative solo project of Swedish musician and producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12″ in 2014. Jan has since followed with a steady stream of 12” singles for Kontra-Musik, Noise In My Head and Radio Lundberg.
“Magnetic Moves” is Villa Åbo’s debut album, originally released in an limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in at over 46 minutes, this first-ever vinyl edition spreads the 8 ragged techno tracks across four sides for maximum loudness. Some songs are aggressively potent, with cyclical synth riffs and razor-sharp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan’s mother’s house, the meaning behind “Villa Åbo”. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/trisomie-21-passions-divisees-lp/ Trisomie 21 is a post punk band formed in 1981 by Phillipe Lomprez (vocals, drums) and Hervé Lomprez (guitar, electronics), two brothers from Abscon, in the North of France. They began composing songs at the age of 16 while studying at school. The brothers were influenced by Kraftwerk, The Residents, Yello, P.I.L as well as the films of George A. Romero. Their music consists of lush soundscapes that do not easily fit into any one category. Lyrics are sung in English because in the north of France the duo sought to contradict the trend at the time for everything to be sung in French. Musically their mood is melancholic and one can hear traces of Joy Division, Durutti Column and The Cure. Since 1983 they’ve recorded 15 albums and appeared on numerous compilations and remain active to this day.
After the success of the debut mini-LP the band returned to the studio and spent October 1983 to March 1984 recording their sophomore album. ‘Passions divisées’ was released by Stechak Products in October 1984. Pascal Tison was replaced by Laurent Dagnicourt on bass guitar. Featuring eight cold wave compositions including the instrumental funeral waltz “La fête triste”. Songs cross genres, moving from post-punk to synthetic electronics. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a replica of the original jacket featuring a artwork by Sourdeval and includes a photo postcard featuring lyrics and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/trisomie-21-wait-and-dance-lp/
Trisomie 21 is a post punk band formed in 1981 by Phillipe Lomprez (vocals, drums) and Hervé Lomprez (guitar, electronics), two brothers from Abscon, in the North of France. They began composing songs at the age of 16 while studying at school. The brothers were influenced by Kraftwerk, The Residents, Yello, P.I.L as well as the films of George A. Romero. Their music consists of lush soundscapes that do not easily fit into any one category. Lyrics are sung in English because in the north of France the duo sought to contradict the trend at the time for everything to be sung in French. Musically their mood is melancholic and one can hear traces of Joy Division, Durutti Column and The Cure. Since 1983 they’ve recorded 15 albums and appeared on numerous compilations and remain active to this day.
In Spring 1985 the group went back into the studio to record a new batch of songs. Trisomie 21’s notoriety had increased following two concerts in Belgium and the Brussels recording label Play It Again Sam decided to sign them. In September 1985 the 5-song mini-LP ‘Wait & Dance’ was released by PIAS sub-label Scarface. It contained the band’s first female guest vocals on two of the tracks. Sadly some of the songs had phase related problems and caused partial cancelation playing back monophonically, so the band remixed the songs and reissued them on CD only in 1987. We have added the 5 remixes as bonus tracks here presented for the first time ever on vinyl. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a replica of the original jacker featuring a artwork by Sourdeval and includes a photo postcard featuring lyrics and notes.
BUY VINYL http://www.darkentriesrecords.com/store/vinyl/trisomie-21-chapter-iv-2xlp/
Trisomie 21 is a post punk band formed in 1981 by Phillipe Lomprez (vocals, drums) and Hervé Lomprez (guitar, electronics), two brothers from Abscon, in the North of France. They began composing songs at the age of 16 while studying at school. The brothers were influenced by Kraftwerk, The Residents, Yello, P.I.L as well as the films of George A. Romero. Their music consists of lush soundscapes that do not easily fit into any one category. Lyrics are sung in English because in the north of France the duo sought to contradict the trend at the time for everything to be sung in French. Musically their mood is melancholic and one can hear traces of Joy Division, Durutti Column and The Cure. Since 1983 they’ve recorded 15 albums and appeared on numerous compilations and remain active to this day.
For their fourth album the Lomprez brothers spent September and October of 1985 recording nine new compositions. In January 1986 ‘Chapter IV, Le Je-ne-sais quoi et le presque-rien’ was released by PIAS sub-label Scarface. The title came from a 1957 book by French philosopher and musicologist Vladimir Jankélévitch. The songs on the album, including the emblematic “The Last Song”, were captivating, original and without concession. This record further opened the door to new opportunities, and the band’s music spread further internationally. Sadly some of the songs had phase related problems and caused partial cancelation playing back monophonically, so the band remixed and re-recorded the songs and reissued them on CD only in 1987. We have added the nine remixes/re-recordings as bonus tracks here as a double LP. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a replica of the original jacket featuring artwork by Stephan Barbery from a Goya painting and includes a double sided insert with lyrics, notes and photos. “This record is dedicated to nobody”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/trisomie-21-le-repos-des-enfants-heureux-lp/ Trisomie 21 is a post punk band formed in 1981 by Phillipe Lomprez (vocals, drums) and Hervé Lomprez (guitar, electronics), two brothers from Abscon, in the North of France. They began composing songs at the age of 16 while studying at school. The brothers were influenced by Kraftwerk, The Residents, Yello, P.I.L as well as the films of George A. Romero. Their music consists of lush soundscapes that do not easily fit into any one category. Lyrics are sung in English because in the north of France the duo sought to contradict the trend at the time for everything to be sung in French. Musically their mood is melancholic and one can hear traces of Joy Division, Durutti Column and The Cure. Since 1983 they’ve recorded 15 albums and appeared on numerous compilations and remain active to this day.
In early 1982 they set out to record their first album joined by Jean Michel Matuszak (keyboards) and Pascal Tison (bass). Soon after that they sent out a demo tape and the Amiens-based record company Stechak offered them a deal. The mini-LP "Le Repos des Enfants Heureux" was released in January 1983. It was received well by both the public and the media, especially outside of France. Originally featuring 5 compositions, we’ve added 4 demos never before released on vinyl. All compositions, lyrics and music were made collectively from shared experiences bonding over travels, literature and cinema. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a replica of the original jacket featuring a black and white collage by Nadia Zibirskaïa and each copy includes a photo postcard featuring lyrics and notes.
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Dark Entries is honored to finally present 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. Dan and Matthew met at the age of 11 while attending school in north London. In late 1978 at at the age of 14, they formed Exhibit 'A' with Paul “Platypus” and Andrew “Lunchbox” Bynghall. They recorded two EPs in 1979 and 1980, self-released on Irrelevant Wombat Records and appeared on 'The Thing From The Crypt' compilation. After the dissolution of the group, Mathew started taking his guitar over to Dan’s house where he’d play his Casio MT-30 and they would record songs. Eventually a second hand drum machine and Wasp synthesizer were acquired from classified ads in Melody Maker and the Solid Space sound was born. By this time they were just turning 18 and finally found the freedom to make the music they’d had in their heads.
Over the course of the next two years the band assembled eleven bedroom recordings that would become one of the most cherished DIY obscurities of its kind. Their debut album ‘Space Museum’ was released in 1982 on cassette by In Phaze Records. All of the songs were mixed by label boss Pat Bermingham on 8-track tape at The Shed, in Ilford, which was literally a garden shed. The band's music and lyrics were heavily indebted to science fiction, in particular the 1960s television series Doctor Who. ‘Space Museum’ is an unveiling of atmospheric, minimalist post punk supported by bright melodies. The music combines drum machines and synths with acoustic guitar and toy drums whilst also experimenting with samples between tracks. Lyrics deal with space travel and a general sense of dejection. Representing a bubbling spirit within the underground, they foreshadowed an entire world of independent music which would emerge across the 80’s and well into the 90’s. For this reissue we’ve included two bonus tracks from the band’s archive, “Platform 6” originally released on the B-side of the second single by Exhibit ‘A’, this song features only Dan and Matthew and is the first Solid Space track ever recorded. “Tutti Lo Sanno” is a cover of In Phaze label mates Marine Girls, though the lyrics have been changed to suit the gender of the new singer.
Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the cassette artwork featuring the Cybermen and Zoe from the Doctor Who episode "The Wheel in Space". Every copy includes a double sided 11x11 insert with lyrics, notes and never before seen photographs of the band taken by Maf as well as a postcard featuring an original advert for the cassette.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/e-myers-lovehate-12/ Contemporary producer E. Myers has self released four limited edition white label 12”s since 2015, whilst managing to remain low profile. Whoever they are, we guess they’re huge fans of late 1980s Chicago House, Shep Pettibone, Colourbox and most of our reissues. So much that they asked us to re-release their second 12” ‘Hate / Love’ from 2016 backed with new remix of “Hate” made for Dark Entries. “Love” kicks off the A-side “beats out a wood-cut tattoo of tuff drums rubbed with balloon-squeak synths to sound like Gesloten Cirkel meets Helena Hauff,” said Boomkat. “Hate” is a dreamy house number that ultilzes a Roland TR-707 drum machine with a rounded bassline, horns and strings that lift it into the stratosphere. For the new remix of “Hate” Myers subtly shifts the pace and deepens the groove, stretching out the song to over 7 minutes of dubbed out New Beat phantasia. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in a die cut disco jacket that features an original design by Eloise Leigh.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/red-axes-nyx-tape-ep/ Dark Entries is honored to release a 4-track EP by Red Axes, the prolific production duo of Dori Sadovnik and Niv Arzi from Tel Aviv. The pair were raised on a diet of post-punk, new-wave, and Italo-disco at fogged out warehouse and basement parties. Their own productions and remixes have appeared on labels such as I’m a Cliché, Correspondant, and Hivern Discs. ‘Nyx Tape’ features two new compositions backed with two edits from our catalog. First up is the slick electro anthem “5 Min” another collaboration with French-Canadian born singer Chloé Raunet aka C.A.R. Followed by “Nyx Tape” featuring charismatic singer-lyricist Gina Kikoine aka Gina X, who reached out after hearing their remix of her classic single “No GDM” that was a huge anthem on the Tel Aviv 80s underground scene. The track is an ecstatic dance to the rhythm in the darkness with Gina’s ice cold Teutonic spoken word taking creative inspiration from the Jewish Mourners’ Prayer – The Kaddish. On the B-side “Destination Moon” by Solid Space from 1982 has been given a dancefloor makeover with moody synths and a haunting guitar line reminiscent of an Adrian Sherwood dub. Closing this EP is a hypnotic edit of “La Machine á Rêver” by French bedroom synth freaks X-Ray Pop from 1984 slowed down to a 4/4 groove that takes the original to outer space and back. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The EP is housed in a custom made jacket that features an original collage by Eloise Leigh representing Nyx, the Greek goddess of the night. Each copy included a postcard with notes and lyrics.
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Robert Rental was the stage name of Robert Donnachie (1952–2000), a British pioneer of post-punk, DIY, and industrial music. Originally from Port Glasgow, Scotland, he moved to the south of England with Thomas Leer in the late 1970s where he met Glenn Michael Wallis. Glenn was recording music with the group Heute and leaving to start his solo projects NKVD and Konstruktivists. Both were heavily involved with Throbbing Gristle and the Industrial Records crew.
In the Summer of 1979, Robert invited Glenn to his studio in Battersea to jam. Robert on guitar and Glenn on an EDP Wasp synthesizer. For each session that summer they would play for about 40 minutes, maybe longer, stoned. Robert suggested they record it, many times erasing and over recording one session for the next. The music had no titles, as they were never intended to be released. On these recordings, Robert enjoyed playing like Robert Fripp of King Crimson, while Glenn channeled Wolfgang Flur of Kraftwerk. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia, as well as Terry Riley and Brian Eno the duo forged a unqiue brand of Industrial music. Tape loops and synthesizer sounds played backward conjure dark ambient moods.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a jacket that features a drawing by Robert Rental as well as a handwritten note from Robert to Glenn. Each copy includes 2 photo postcards featuring a transcription of Robert’s letter and liner notes from Glenn Wallis.
BUY VINYL: https://the--hacker.bandcamp.com/album/le-th-tre-des-op-rations We are honored to announce the latest album from Michel Amato aka The Hacker, ‘Le Théâtre des Opérations’. Michel began making music in 1989 a the age of 17 in Grenoble, France. He grew up listening to New Wave bands like Duran Duran, The Cure and Depeche Mode as well as the darker side of electro Kraftwerk, Cabaret Voltaire and D.A.F. In 1990s he released a series of 12” singles and an album of cold, calculating and relentless techno. In 1997 he teamed up with Caroline Herve aka Miss Kittin and to release landmark singles and albums that effortlessly channeled the carefree spirit of 80s electro pop (of which we released an EP of lost demos back in 2015). Michel’s new live project sees the enigmatic artist go back to his roots, performing a 100% analogue set directly inspired by his first true loves of New Wave and dark, powerful techno.
‘Le Théâtre des Opérations’ features 8 new tracks spread evenly across 2x12”s cut at 45rpm for maximum sound quality and DJ utility. The title comes from a metaphysical journal by French-born Canadian science fiction writer Maurice G Dantec. Passionate about avant-garde techno, The Hacker has taken his influences and crafted a potent homage to the power of the synthesizer. Songs veer from gritty, raw EBM to dark, subterranean electro, effortlessly channeling the strains of the Michel’s musical DNA: Front 242, Jeff Mills, Dopplereffekt, Drexciya. The only vocal track features an appearance by longtime friend and collaborator Miss Kittin, named “Time X” after the French science fiction television series Temps X. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Cover artwork features a collage by London-based artist Anthony Gerace, and each copy includes a postcard featuring a photo of a young Michel from 1989.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-hacker-le-theatre-des-operations-2xlp/ We are honored to announce the latest album from Michel Amato aka The Hacker, ‘Le Théâtre des Opérations’. Michel began making music in 1989 a the age of 17 in Grenoble, France. He grew up listening to New Wave bands like Duran Duran, The Cure and Depeche Mode as well as the darker side of electro Kraftwerk, Cabaret Voltaire and D.A.F. In 1990s he released a series of 12” singles and an album of cold, calculating and relentless techno. In 1997 he teamed up with Caroline Herve aka Miss Kittin and to release landmark singles and albums that effortlessly channeled the carefree spirit of 80s electro pop (of which we released an EP of lost demos back in 2015). Michel’s new live project sees the enigmatic artist go back to his roots, performing a 100% analogue set directly inspired by his first true loves of New Wave and dark, powerful techno.
‘Le Théâtre des Opérations’ features 8 new tracks spread evenly across 2x12”s cut at 45rpm for maximum sound quality and DJ utility. The title comes from a metaphysical journal by French-born Canadian science fiction writer Maurice G Dantec. Passionate about avant-garde techno, The Hacker has taken his influences and crafted a potent homage to the power of the synthesizer. Songs veer from gritty, raw EBM to dark, subterranean electro, effortlessly channeling the strains of the Michel’s musical DNA: Front 242, Jeff Mills, Dopplereffekt, Drexciya. The only vocal track features an appearance by longtime friend and collaborator Miss Kittin, named “Time X” after the French science fiction television series Temps X. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Cover artwork features a collage by London-based artist Anthony Gerace, and each copy includes a postcard featuring a photo of a young Michel from 1989.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-hacker-le-theatre-des-operations-2xlp We are honored to announce the latest album from Michel Amato aka The Hacker, ‘Le Théâtre des Opérations’. Michel began making music in 1989 a the age of 17 in Grenoble, France. He grew up listening to New Wave bands like Duran Duran, The Cure and Depeche Mode as well as the darker side of electro Kraftwerk, Cabaret Voltaire and D.A.F. In 1990s he released a series of 12” singles and an album of cold, calculating and relentless techno. In 1997 he teamed up with Caroline Herve aka Miss Kittin and to release landmark singles and albums that effortlessly channeled the carefree spirit of 80s electro pop (of which we released an EP of lost demos back in 2015). Michel’s new live project sees the enigmatic artist go back to his roots, performing a 100% analogue set directly inspired by his first true loves of New Wave and dark, powerful techno.
‘Le Théâtre des Opérations’ features 8 new tracks spread evenly across 2x12”s cut at 45rpm for maximum sound quality and DJ utility. The title comes from a metaphysical journal by French-born Canadian science fiction writer Maurice G Dantec. Passionate about avant-garde techno, The Hacker has taken his influences and crafted a potent homage to the power of the synthesizer. Songs veer from gritty, raw EBM to dark, subterranean electro, effortlessly channeling the strains of the Michel’s musical DNA: Front 242, Jeff Mills, Dopplereffekt, Drexciya. The only vocal track features an appearance by longtime friend and collaborator Miss Kittin, named “Time X” after the French science fiction television series Temps X. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Cover artwork features a collage by London-based artist Anthony Gerace, and each copy includes a postcard featuring a photo of a young Michel from 1989.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/alesia-cosmos-exclusivo-lp/ Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.
Exclusivo! was the group’s debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tranceonic-new-crime-lp/ Tranceonic is the duo of Carlos Perón and Boris Blank of Yello who met in 1971 in their hometown of Zürich, Switzerland. At this time Carlos studied Free Jazz while Boris listened to bands like Pink Floyd and Queen. The two bonded over a conversation about The Mahavishnu Orchestra album ‘The Inner Mounting Flame’ and became musical friends. From 1973 to 1976 they played in the New Wave group Urland. After the split of the group Perón founded the Tranceonic studio with his equipment in his private flat. Carlos invited Boris over to his studio and a concentrated work began. The idea was to make experimental new music with the hopes of having a hit in the United States. Everybody at this time was into punk, but Tranceonic loved industrial and electronic sounds. Their foresight and innovation created new ideas. Perón and Blank made electronic avant-garde music informed by the Berlin and Cologne schools. By 1978 the two had enough material to record an album and made a trip to San Francisco to visit Ralph Records. The Residents promised to release the music if the duo removed all the tape hiss, which never materialized.
‘New Crime’ is the first ever vinyl compilation of material produced, recorded, performed and mixed at Tranceonic Studio between 1976-1979. The equipment set up at the studio included a Farfisa Synth Orchestra, WERSI string ensemble, ARP Odyssey with Sequencer, ARP Quadra, Roland SH 3A, CR-78, Space Echo and Korg Minipops 120P and many effect boxes normally used for guitars. Samples were self-recorded using a Revox cassette deck and turntables. Blank and Perón experimented with manipulated tape loops, echo effects and snippets of found sounds. Blank also explored foreign near-equator exotics playing Arabesque percussion and a homemade bamboo flute. Perón experimented with CV triggering and dubbing super 8 film effects from vinyl. Both members took turns singing Carlos’ lyrics. Stylistically the songs anticipate the feeling of Yello’s ‘Solid Pleasure’ album and included here is the first instrumental mix of “Bostich”. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Cover artwork features a photo of Carlos in Los Angeles taken by Boris in 1978 and design by Maycec. Each copy includes an insert featuring photos and liner notes by Carlos Perón.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/smersh-sideways-12/ Dark Entries returns to the New Jersey basement studio of Smersh to unearth an 18-minute jam session from 1989, backed with two contemporary remixes. Smersh was the duo of Mike Mangino and Chris Shepard from Piscataway, NJ who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Between 1981 and 1993 they released over 40 cassette albums on their own Atlas King imprint. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond New Jersey, leading to releases on dozens of other labels from around the globe.
“Sideways” was taken from a cassette titled ‘100’, which refers to a 100-minute jam session the band recorded to tape on June 12, 1989 in Piscataway. The track was composed and performed by Mike, utilizing a Roland TB-303, TR-606, SH-09 and an ARP 2600. A frenetic hybrid of techno and acid with driving EBM style beats, “Sideways” weaves intricate industrial noises with synth melodies that drift in and out of phase. On the flip are two fresh remixes by different aliases of prolific Ann Arbor producer Tadd Mullinix. As JTC, he expands the sound palette, adding organ stabs and lush pads, drawing on Detroit deep house and UK garage.The Charles Manier remix features chanted vocals on top of an array of pulsating synths, stark percussion, and post-punky guitar effects. Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the ‘100’ artwork, which designer Eloise Leigh modified using motifs and textures sourced from the original cassette. Also included is an oversized postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tom-ware-tom-ware-lp/ Tom Ware is a Grammy nominated engineer, producer and musician from Omaha Nebraska. Throughout the 70s and 80s Tom was the drummer for many bands, including Norman & The Rockwells, Toy boat Toy boat Toy boat, and Hit N Run. Because of his love for electronics, mechanics, and machines of any kind, he was always the only one who truly knew how pa systems worked. Tom got an entry level job at a Rainbow Studios and would work at the recording studio during the day, play evening gigs till 2 in the morning, then go back to the studio and work on new ideas all night. During these teeth cutting sessions, Tom worked by himself, following his instincts and creating sounds he loved to listen to.
His reckless abandon approach and thrill to learn was a high octane fuel that resulted in his first solo self-titled album. The album’s 10 songs were recorded and mixed between August & December of 1983 and self-released in early 1984. The album would be re-released in 1985 by independent Krautrock/Kosmische Musik label Sky Records in Germany and re-titled ‘The Fourth Circle’. Some of the instruments used on the LP were a Sequential Circuits Prophet 5, & Pro One, Simmons SDSV electronic drums, Roland TR-606 drum machine, & Hammond B3 organ. While recording this album Tom was influenced by new wave sounds of Yellow Magic Orchestra, the Berlin and Düsseldorf schools of pulsing synth music and the celestial realms of Jean Michel Jarre. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica cover with computer graphics by Lars Erickson and photos by Ken Mayer and includes a postcard with liner notes by Tom Ware.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/peppermint-lounge-perfect-high-12/ Dark Entries Editions is proud to reissue "Perfect High" the 1983 debut 12” by Peppermint Lounge from Germany. The group consisted of Matthias Elvers (synthesizers, bass), Regina Petersen (vocals) and Jorg Burckhardt (drums, strings). They took their name from a popular 1960s discotheque in New York City. Treading the lines between Italo Disco, Electro, and New Wave, the trio crafted a unique sound difficult to classify. Regina’s powerful vocals command attention as they tell the sad tale of a boy searching for the perfect high. The lyrics are based on the poem “The Perfect High” by Shel Silverstein. Melancholic arpeggiators, a throbbing baseline, stuttering samples, vocoder and the classic Roland TR-808 drum machine run throughout the track, which builds to a majestic crescendo, ala Klaus Schulze or Jean-Michel Jarre. This reissue includes the original vocal version, backed with a shorter instrumental version.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in an exact replica of the original sleeve with black and white Dali-esque drawing. Each copy also includes a 2-sided postcard lyrics and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/smersh-sideways-12/ Dark Entries returns to the New Jersey basement studio of Smersh to unearth an 18-minute jam session from 1989, backed with two contemporary remixes. Smersh was the duo of Mike Mangino and Chris Shepard from Piscataway, NJ who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Between 1981 and 1993 they released over 40 cassette albums on their own Atlas King imprint. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond New Jersey, leading to releases on dozens of other labels from around the globe.
“Sideways” was taken from a cassette titled ‘100’, which refers to a 100-minute jam session the band recorded to tape on June 12, 1989 in Piscataway. The track was composed and performed by Mike, utilizing a Roland TB-303, TR-606, SH-09 and an ARP 2600. A frenetic hybrid of techno and acid with driving EBM style beats, “Sideways” weaves intricate industrial noises with synth melodies that drift in and out of phase. On the flip are two fresh remixes by different aliases of prolific Ann Arbor producer Tadd Mullinix. As JTC, he expands the sound palette, adding organ stabs and lush pads, drawing on Detroit deep house and UK garage.The Charles Manier remix features chanted vocals on top of an array of pulsating synths, stark percussion, and post-punky guitar effects. Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the ‘100’ artwork, which designer Eloise Leigh modified using motifs and textures sourced from the original cassette. Also included is an oversized postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/virginia-blue-pyramid-12/ Dark Entries and Emotional Rescue team up to further explore Psychic TV’s Acid House years. Psychic TV was formed by Genesis P-Orridge and Peter Christopherson of Throbbing Gristle with Alex Fergusson of Alternative TV in 1981. After various line up changes, the band shifted direction to dance oriented songs influenced by the House and Techno scenes of Detroit and Chicago. By 1988 the group included Dave Ball of Soft Cell, Fred Giannelli of Turning Shrines and Matthew Best of Carcrash International. During the summer of 1988 the group recorded a batch of songs at Time Square Studios in London that would appear under the guise of various artists compilations Jack The Tab’ and ‘Tekno Acid Beat’. The idea behind these ‘compilations' of imaginary artists was creating a sense that a healthy acid house scene existed in the UK.
Virginia was the studio project of Dave “Mista Luv” Ball and then-wife Virginia “Gini” Ball, a classical violinist who toured and recorded with Siouxsie and the Banshees and Marc Almond. The duo had previous collaborated on Dave’s solo album ‘In Strict Tempo’ in 1983 and with the group Other People in 1984. The name "Blue Pyramid" was inspired by a photograph from Pink Floyd's album ‘Dark Side of The Moon’. Also at the time Dave was taking quite a lot of acid and came across some stuff ironically called "Blue Pyramid". Gini’s violin has an arabic feel, adding to the already bright and hypnotic dance rhythms. For this reissue we’ve backed the A-side with a remix from Bucharest DJ and producer duo Khidja who add more acoustic instrumentation for a world-beat psych-out. On the flip is San Francisco analog wizard Bézier who ups the tempo for some late-night peak NRG. The final remix comes from San Francisco producer and engineer Mark Pistel of Consolidated, Hercules & Love Affair, and Meat Beat Manifesto, who offers a slice of non-stop ecstatic dancing. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in a trippy, majorelle blue and purple die-cut sleeve with classic yellow Psychic TV skull label, all designed by Eloise Leigh. Each copy also includes a 2-sided 6x6” square insert with a photograph by Fred Giannelli of the Emax disc for Blue Pyramid, and liner notes by Dave and Gini Ball.
Mystic Bill opening DJ set from the Front 242 and Nina Belief concert at the Ground Miami on September 21, 2017. Happy Halloween!
patrickcowley.bandcamp.com/album/afternooners
Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, “The San Francisco Sound.” Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.
By the mid-70’s, Patrick’s synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance Disco Heat” and “Stars.” This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer’s “I Feel Love” and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12″ singles, like “Menergy” and “Megatron Man”. He also had founded Megatone Records, the label upon which he released his debut album, “Menergy”. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album “Mind Warp”. On November 12, 1982, he passed away.
In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scenes. The result was the VHS collections “Muscle Up” and “School Daze” released in 1979 and 1980. “Afternooners” is the third collection of Cowley’s instrumental songs, recorded in between 1979 and 1982. Some of these recordings are demos from the album "Mind Warp". All songs were originally untitled, so we’ve used the titles from Fox Studio’s 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick’s time spent in the bathhouses of San Francisco. The songs on “Afternooners” reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.
Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.
PRE-ORDER: patrickcowley.bandcamp.com/album/afternooners
Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, “The San Francisco Sound.” Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.
By the mid-70’s, Patrick’s synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance Disco Heat” and “Stars.” This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer’s “I Feel Love” and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12″ singles, like “Menergy” and “Megatron Man”. He also had founded Megatone Records, the label upon which he released his debut album, “Menergy”. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album “Mind Warp”. On November 12, 1982, he passed away.
In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scenes. The result was the VHS collections “Muscle Up” and “School Daze” released in 1979 and 1980. “Afternooners” is the third collection of Cowley’s instrumental songs, recorded in between 1979 and 1982. Some of these recordings are demos from the album "Mind Warp". All songs were originally untitled, so we’ve used the titles from Fox Studio’s 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick’s time spent in the bathhouses of San Francisco. The songs on “Afternooners” reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.
Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.
patrickcowley.bandcamp.com/album/afternooners
Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, “The San Francisco Sound.” Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.
By the mid-70’s, Patrick’s synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance Disco Heat” and “Stars.” This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer’s “I Feel Love” and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12″ singles, like “Menergy” and “Megatron Man”. He also had founded Megatone Records, the label upon which he released his debut album, “Menergy”. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album “Mind Warp”. On November 12, 1982, he passed away.
In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scenes. The result was the VHS collections “Muscle Up” and “School Daze” released in 1979 and 1980. “Afternooners” is the third collection of Cowley’s instrumental songs, recorded in between 1979 and 1982. Some of these recordings are demos from the album "Mind Warp". All songs were originally untitled, so we’ve used the titles from Fox Studio’s 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick’s time spent in the bathhouses of San Francisco. The songs on “Afternooners” reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.
Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.
Dark Entries present a 2 hour special on Patrick Cowley for NTS Radio of all the songs that actually appear in the Fox Studio films School Daze, Muscle Up, Afternooners. TRACKLIST: Zygote (School Daze) Surfside Sex (Afternooners) Big Shot (Afternooners) Cycle Tuff (Afternooners) Furlough (Afternooners) Seven Sacred Pools (Muscle Up) Bore & Stroke (Afternooners) Leather Bound (Afternooners) Pigfoot (Muscle Up) Somebody To Love Tonight (School Daze) Journey Home (School Daze) Primordial Landscape (Muscle Up) The Runner (Afternooners) Mocking Bird Dream (School Daze) Hot Beach (Afternooners) School Daze (School Daze) Deep Inside You (Muscle Up) Cat's Eye (Muscle Up) One Hot Afternoon (Afternooners) Tides Of Man (Muscle Up) Nightcrawler (School Daze)
PREORDER: https://grouprhoda.bandcamp.com/album/wilderless Group Rhoda is the solo electronic music project of Mara Barenbaum, based out of Oakland, California. The project started around 2009 with a debut album ‘Out of Time, Out of Touch’ in 2012 on Night School Records and ‘12th House’ in 2013 on Not Not Fun. She is also one half of Max and Mara who released the album ‘Less Ness’ in 2013 on Dark Entries Records. She is committed to live performance, situated within the analog synthesizer and drum machine medium.
‘Wilderless’ is Group Rhoda’s third full length and first for Dark Entries Records. Each of the these 7 songs draw forth tones of tropical darkwave and soft industrial; while negating the sound of conformity and control. The album explore themes of societal and spiritual displacement, contemporary serfdom, the depths of empathy, regeneration through destruction, and the tyranny of claiming recognition and power. Lyrics are poetically expressed through allegory and explore archetypes rooted more in abstract observation rather than hard line experience. Through transgression and imagination, Group Rhoda explores the arc of songwriting interwoven into stark electronic environments; and creates a bridge between the corporeal and the dream worlds.
Each song was mixed by Mark Pistel at Room 5 in San Francisco and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a jacket featuring a colorful custom made collage by Hugo Barros and includes a full color sticker and digital download card.
BUY VINYL: grouprhoda.bandcamp.com/album/wilderless Group Rhoda is the solo electronic music project of Mara Barenbaum, based out of Oakland, California. The project started around 2009 with a debut album ‘Out of Time, Out of Touch’ in 2012 on Night School Records and ‘12th House’ in 2013 on Not Not Fun. She is also one half of Max and Mara who released the album ‘Less Ness’ in 2013 on Dark Entries Records. She is committed to live performance, situated within the analog synthesizer and drum machine medium.
‘Wilderless’ is Group Rhoda’s third full length and first for Dark Entries Records. Each of the these 7 songs draw forth tones of tropical darkwave and soft industrial; while negating the sound of conformity and control. The album explore themes of societal and spiritual displacement, contemporary serfdom, the depths of empathy, regeneration through destruction, and the tyranny of claiming recognition and power. Lyrics are poetically expressed through allegory and explore archetypes rooted more in abstract observation rather than hard line experience. Through transgression and imagination, Group Rhoda explores the arc of songwriting interwoven into stark electronic environments; and creates a bridge between the corporeal and the dream worlds.
Each song was mixed by Mark Pistel at Room 5 in San Francisco and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a jacket featuring a colorful custom made collage by Hugo Barros and includes a full color sticker and digital download card.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/keine-ahnung--keine-ahnung-lp/ Keine Ahnung was a quartet from Wörth am Rhein, Germany formed in 1980. The original line up was Rolf Schmuck, Franz H. Rodenkirchen, Elke Fuchs and Olaf Schumacher. Hermann Kopp from Stuttgart, a friend of the band, contributed a composition on their first LP and became a full member in 1985. Taking cues from Conrad Schnitzler, Tuxedomoon and Dome, the band members shared a common interest in industrial, pop, avant garde literature and cinema. Their controversial name translates to “Don’t know” or “Haven’t got a clue” in German. The quartet would record three LPs in 6 years, two of which remain unreleased.
In March 1983, Keine Ahnung recorded their self-produced and financed debut LP in two days in a small studio in Stuttgart (12 hours total). The mixing was done in one day in a studio in Karlsruhe, April 1983. The self-titled LP was released later that summer on their own PASSIV label in an edition of 1000 copies. This record obtained recognition far beyond the German borders. Keine Ahnung in the studio and live were completely different. Studio time was expensive in these days, so the music was minimal electronic pop, expertly crafted and razor sharp man machine music. The live sound utilized more complex synthesizers, tapes, guitars, metal percussion and custom built electronics. The beats and bass lines came from the Roland 606/303 duo triggering a KORG MS-20 for the bass drum. The track "Funkbild DPA" is a spontaneous "live in the studio" recording, that gives a hint of what the live sound was like. All four members would take turns singing and playing the instruments.
The original master tape was transferred by Frieder Butzmann in Berlin. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in an exact replica jacket designed by Rolf Schmuck, featuring black and white texture and cartoon drawings the band members. Each copy includes a double sided insert featuring lyrics, notes and photos of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/sumerian-fleet-pendulum-lp/
Sumerian Fleet is a trio formed by Dutch producers Alden Tyrell and Mr Pauli, joined by Zarkoff after their 2010 debut EP. Their second EP came out in 2012 followed by their debut album ‘Just Pressure’ on Dark Entries in 2014. Sumerian Fleet have returned to release their sophomore LP ‘Pendulum’ of all new material as well as a remixed version of “This Game Has No Name” from Zarkoff’s other band, FFFC.
‘Pendulum’ contains 80’s Dark Wave/EBM inspired tracks with an industrial tinge. The band cites inspiration from musical acts Fad Gadget, Front 242, Bauhaus and Sisters of Mercy. Literary references come from Poe's ‘The Pit and the Pendulum’, Pelevin's ‘Generation P’ and ‘Life of Bugs’, as well as classic Cyberpunk like Gibson's ‘Sprawl’ trilogy. Sumerian Fleet deliver 8 songs of vintage dark electro with a Gothic tinge and a touch of bass guitar. The album's been put together in a way that the listener can connect the dots, create a narrative, and become immersed in this attitude that the band’s trying to convey, such as Vigny's idea of accepting despair: "A calm despair, without angry convulsions or reproaches directed at heaven, is the essence of wisdom."
All songs were initially recorded at Mr Pauli’s studio in Den Haag, with overdubs and additional recordings at Zarkoff’s Sensorium Studio in Croatia, and then final mix downs at Alden Tyrell's studio in Rotterdam. The album has been mastered by Alden Tyrell and EQed for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a copper foil stamped jacket designed by Eloise Leigh, with abstract squares in varied rhythmic repetitions to indicate motion, and included a double sided 10”x10” insert with lyrics and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/hypnobeat-prototech-2xlp/
Dark Entries and Serendip Lab have teamed up to release ‘Prototech’, the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind’s tribal music roots. Two cassette releases surfaced – 1985’s "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006.
For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind?" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown’s least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then…" states Brown, but this accidental magic is in fact the raison d’etre of Hypnobeat. They weren’t the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren’t many artists stumbling across modes of expression that sound so relevant today.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.
BUY VINYL :http://www.darkentriesrecords.com/store/vinyl/severed-heads-come-visit-the-big-bigot-2xlp/
Dark Entries is proud to present the deluxe 2xLP reissue of ‘Come Visit The Big Bigot’ by Severed Heads, one of the longest surviving bands to emerge from the Australian post-punk independent music scene. They began in Sydney in 1979, incorporating elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. After many line-up changes featuring Garry Bradbury and psychedelic guitarist Simon Knuckey, Severed Heads was the vehicle for composer Tom Ellard.
‘Come Visit The Big Bigot’ was Severed Heads’ first record to be released commercially simultaneously in Australia, North America and Europe in 1986. It was a prime period for this 'industrial dance music' and Bigot was a respected album that did well from the tour they did with Skinny Puppy that same year. Quite a few people still define the band by this period. ‘Come Visit The Big Bigot’ was made on a Fostex 16 track recorder in Tom’s bedroom, employing the newly acquired AKAI S612 sampler and Roland SH-101 to create most of the drum sounds. The album signaled a new direction, flirting with the dance floor and the pop song. Presenting the Heads at their most cohesive, while retaining their distinctive musical stamp. Tom’s vocals are harmonized, slowed down, sped up, run through fuzz boxes, backwards, drum machine rolls, sampled guitars, horn sections, and voices but with a subversive rather than malevolent intention. Tape loops are more subtle and define their own space and texture. Like the original Australian version of the album, we’ve included a bonus disc featuring three extended remixes by Sydney DJ Robert Racic (who produced the edited 7” version of “Petrol” we reissued in 2015), plus three B-sides from the ‘Twenty Deadly Diseases’12” and two additional tracks from the same recording sessions.
All songs have been remastered by Tom Ellard, who worked very slowly and methodically with much better equipment over two years, letting each track have its own breath. Final vinyl EQ and lacquer cutting by George Horn at Fantasy Studios in Berkeley. Housed in a gatefold jacket featuring brightly colored, distorted, VHS graphics output by Stephen Jones' video synthesizer, from the first vinyl edition on Ink Records with layout by Eloise Leigh. Inside the gatefold are liner notes, lyrics and song meanings by Tom Ellard plus an 3-page booklet with photos, interviews and press clippings from the period. “On ‘Bigot’ we finally achieved the sound of a watermelon thrown out of a top story window and smashing, recorded from the inside” Tom Ellard, 1986
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/flesh-world-into-the-shroud-lp/
Flesh World is a dream punk group formed in the summer of 2012 in San Francisco. The quartet includes Scott Moore (Guitar, Synths) Jess Scott (Vocals, Guitar) Andrew Luttrell (Bass, Backing Vocals) Sam Lefebvre (Drums). Jess and Scott met while loitering around the Panhandle district, listening to records, gossiping, and playing live shows around town with their bands (Scott plays in hardcore group Limp Wrist and Jess played in the indie pop band Brilliant Colors). The pair immediately bonded over a shared love of The Velvets and The Mary Chain. They began writing songs in Scott’s lofted bedroom in the City and took their name from a XXX magazine. The fully formed band released their first self-titled 6-song EP in December 2013 for London punk imprint La Vida Es Un Mus Discos. Two 7” singles were followed by their debut album ‘The Wild Animals In My Life’ released in 2015 on Iron Lung Records.
‘Into The Shroud’ is Flesh World’s fifth release and sophomore album, and their first for Dark Entries Records. Each of these songs speak to a chaotic or sometimes eclectic period of influence of different books, ideas, drawings, saints, stories, and aims gathered in the two year writing process since the previous album. Themes of this record include writer, advice columnist, and Dreamland actress Cookie Mueller, the youth's effect on the general political psychosis of nostalgia, icon Billy Fury, and the writings and drawings of Jean Cocteau as a hovering guide for living with less rules. The record is a topological map showing the cities of the Bay Area and Los Angeles in rapid change, looking to the books, records, and artists paid study to in order to create continuity in the constant flux of the city, the punk show, the gay world, and the rest of the environments Flesh World insulate themselves in for survival.
The group’s dynamic has greatly solidified on this album with a brilliant new rhythm section. Flesh World find it easy to be influenced by a range of musicians from the guitar flourishes of Alan Rankine of the Associates, the swinging notes Johnny Marr of the Smiths, to the romantically desperate vibe of Roland S. Howard and Nikki Sudden, to the razor thin vocals of Jenny Ross from Section 25, the androgynous vocals of Roy Orbison, to the structured synths of OMD. Imagine bodied guitar hooks blending into desaturated pop vocals, injections of synthesizer melodies and anxious drum builds, peaking into a pure punk-driven dream.
‘Into the Shroud’ was recorded with Jack Shirley at The Atomic Garden in East Palo Alto, California. There always seem to be incidental forces at work in gathering characters for a Flesh World record: during the previous LP, Scott had just finished reading The Secret Historian which profiles gay lifestyle photographer and pornographer J. Brian, and when the group found the LP cover photo at a garage sale they realized it was also taken by J. Brian. This time around Cookie Mueller seems to be watching over the process; Scott recently saw two art shows in one day in New York; one that was imagined merchandise that would have been produced if John Waters films were marketed to children and the other about AIDS, the common thread was Cookie, whom Jess wrote about in “This Great Cheap Face” on the current record. Each copy includes a double sided fold-out poster with lyrics, a collage of video stills of the band, and photos pulled from queer literature and arts.
BUY VINYL: http://fleshworldusa.bandcamp.com/album/into-the-shroud
Flesh World is a dream punk group formed in the summer of 2012 in San Francisco. The quartet includes Scott Moore (Guitar, Synths) Jess Scott (Vocals, Guitar) Andrew Luttrell (Bass, Backing Vocals) Sam Lefebvre (Drums). Jess and Scott met while loitering around the Panhandle district, listening to records, gossiping, and playing live shows around town with their bands (Scott plays in hardcore group Limp Wrist and Jess played in the indie pop band Brilliant Colors). The pair immediately bonded over a shared love of The Velvets and The Mary Chain. They began writing songs in Scott’s lofted bedroom in the City and took their name from a XXX magazine. The fully formed band released their first self-titled 6-song EP in December 2013 for London punk imprint La Vida Es Un Mus Discos. Two 7” singles were followed by their debut album ‘The Wild Animals In My Life’ released in 2015 on Iron Lung Records.
‘Into The Shroud’ is Flesh World’s fifth release and sophomore album, and their first for Dark Entries Records. Each of these songs speak to a chaotic or sometimes eclectic period of influence of different books, ideas, drawings, saints, stories, and aims gathered in the two year writing process since the previous album. Themes of this record include writer, advice columnist, and Dreamland actress Cookie Mueller, the youth's effect on the general political psychosis of nostalgia, icon Billy Fury, and the writings and drawings of Jean Cocteau as a hovering guide for living with less rules. The record is a topological map showing the cities of the Bay Area and Los Angeles in rapid change, looking to the books, records, and artists paid study to in order to create continuity in the constant flux of the city, the punk show, the gay world, and the rest of the environments Flesh World insulate themselves in for survival.
The group’s dynamic has greatly solidified on this album with a brilliant new rhythm section. Flesh World find it easy to be influenced by a range of musicians from the guitar flourishes of Alan Rankine of the Associates, the swinging notes Johnny Marr of the Smiths, to the romantically desperate vibe of Roland S. Howard and Nikki Sudden, to the razor thin vocals of Jenny Ross from Section 25, the androgynous vocals of Roy Orbison, to the structured synths of OMD. Imagine bodied guitar hooks blending into desaturated pop vocals, injections of synthesizer melodies and anxious drum builds, peaking into a pure punk-driven dream.
‘Into the Shroud’ was recorded with Jack Shirley at The Atomic Garden in East Palo Alto, California. There always seem to be incidental forces at work in gathering characters for a Flesh World record: during the previous LP, Scott had just finished reading The Secret Historian which profiles gay lifestyle photographer and pornographer J. Brian, and when the group found the LP cover photo at a garage sale they realized it was also taken by J. Brian. This time around Cookie Mueller seems to be watching over the process; Scott recently saw two art shows in one day in New York; one that was imagined merchandise that would have been produced if John Waters films were marketed to children and the other about AIDS, the common thread was Cookie, whom Jess wrote about in “This Great Cheap Face” on the current record. Each copy includes a double sided fold-out poster with lyrics, a collage of video stills of the band, and photos pulled from queer literature and arts.
Buy Vinyl: http://www.darkentriesrecords.com/store/vinyl/hypnobeat-prototech-2xlp/
Dark Entries and Serendip Lab have teamed up to release ‘Prototech’, the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind’s tribal music roots. Two cassette releases surfaced – 1985’s "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006.
For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind?" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown’s least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then…" states Brown, but this accidental magic is in fact the raison d’etre of Hypnobeat. They weren’t the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren’t many artists stumbling across modes of expression that sound so relevant today.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/savage-hymn-la-vida-sigue-igual-ep/
Dark Entries is proud to present ‘La Vida Sigue Igual’, the sophomore EP from Savage Hymn. The project is a collaboration between Miami born-and-bred Mystic Bill Torres (Trax, Relief, Classic) and native New Yorker Jake Reif (Device Control, Upsetting Keys). Jake spent some musically formative years in the Midwest, drawing influence from the cultures of Chicago and Detroit. Fueled by the underground energy of warehouse and loft parties of the era, he began his DJ career in the early 1990s. Bill grew up going to goth and industrial clubs in Miami before moving to Chicago where he held residencies at clubs with Johnny Fiasco, Derrick Carter, Mark Farina, and Ralphi Rosario. The duo is heavily influenced by the early Chicago house and Detroit techno sounds as well as European electronic body music like Front 242 and Liaisons Dangereuses. Their first release “Indecision” was a white label for Rong Music in 2015.
‘La Vida Sigue Igual’ is immediately a more physical affair than its predecessor, kicking off with the title track, a hard hitting percussive monster. The sparse simplicity of the machine gun synth work & monotone Spanish vocals by Mystic Bill evoke classic 80's industrial and art house dance tracks. We’ve included the instrumental version for adventurous DJs who want play doubles. On the B-side are two versions of the track “Animals”. Version 1 explores the underbelly of NY with maniacal industrial rhythms and samples from Diamanda Galas and Travis Bickle (Robert DeNiro) in Taxi Driver. Version 2 ventures into dark freestyle territory, fueled by the underground energy of Chicago’s Warehouse and Medusas clubs.
All songs have been mastered by George Horn at Fantasy Studios. The vinyl comes housed in a jacket with hand drawn illustration of night time jungle themes designed by Eloise Leigh and screen printed in muted teal pantone on french environment paper by Stumptown Printers. Each EP includes a postcard with a black and white photograph of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-remixes-ep/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. Her debut solo album, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was produced in 1984 and reissued by Dark Entries in 2016. The album featured experiments with different sounds and a new batch of electronic equipment, such as the Roland TR 808 drum machine and Yamaha C60 synthesizer. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
We’ve recruited four of our favorite contemporary producers to remix their favorite tracks from ‘Sun Masks’. First up is “Lego” remixed by triple scorpio supernova Avalon Emerson, who is based in Berlin. Her remix morphs the track into a solid dancefloor twister. Next is “Lego” remixed by Lena Willikens, Cologne based DJ and resident at Salon Des Amateurs in Düsseldorf. She provides a deep and psychedelic journey through the darker shadows of the early night or morning. On the B-side is New Yorker and Firehouse Recordings boss Kim Ann Foxman remixing “Hoping By Shopping”. She transforms the spacey robotic vocoder track into a dynamic deep house workout, tough and dreamy all at once. Closing out the EP is a remix of “Wrong Love” by Berlin via Bucharest producer Borusiade aka Miruna Boruzescu. Enhancing the original melancholic piano ballad to a cosmic processional with poignant bass lines that build and recess like the ocean tides.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original ‘Sun Masks’ cover, isolating the photograph of Lena wearing sunglasses designed by Eloise Leigh. Each copy includes a two-sided postcard with a manipulated film still from one of Lena’s music videos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/savage-hymn-la-vida-sigue-igual-ep/
Dark Entries is proud to present ‘La Vida Sigue Igual’, the sophomore EP from Savage Hymn. The project is a collaboration between Miami born-and-bred Mystic Bill Torres (Trax, Relief, Classic) and native New Yorker Jake Reif (Device Control, Upsetting Keys). Jake spent some musically formative years in the Midwest, drawing influence from the cultures of Chicago and Detroit. Fueled by the underground energy of warehouse and loft parties of the era, he began his DJ career in the early 1990s. Bill grew up going to goth and industrial clubs in Miami before moving to Chicago where he held residencies at clubs with Johnny Fiasco, Derrick Carter, Mark Farina, and Ralphi Rosario. The duo is heavily influenced by the early Chicago house and Detroit techno sounds as well as European electronic body music like Front 242 and Liaisons Dangereuses. Their first release “Indecision” was a white label for Rong Music in 2015.
‘La Vida Sigue Igual’ is immediately a more physical affair than its predecessor, kicking off with the title track, a hard hitting percussive monster. The sparse simplicity of the machine gun synth work & monotone Spanish vocals by Mystic Bill evoke classic 80's industrial and art house dance tracks. We’ve included the instrumental version for adventurous DJs who want play doubles. On the B-side are two versions of the track “Animals”. Version 1 explores the underbelly of NY with maniacal industrial rhythms and samples from Diamanda Galas and Travis Bickle (Robert DeNiro) in Taxi Driver. Version 2 ventures into dark freestyle territory, fueled by the underground energy of Chicago’s Warehouse and Medusas clubs.
All songs have been mastered by George Horn at Fantasy Studios. The vinyl comes housed in a jacket with hand drawn illustration of night time jungle themes designed by Eloise Leigh and screen printed in muted teal pantone on french environment paper by Stumptown Printers. Each EP includes a postcard with a black and white photograph of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/savage-hymn-la-vida-sigue-igual-ep/
Dark Entries is proud to present ‘La Vida Sigue Igual’, the sophomore EP from Savage Hymn. The project is a collaboration between Miami born-and-bred Mystic Bill Torres (Trax, Relief, Classic) and native New Yorker Jake Reif (Device Control, Upsetting Keys). Jake spent some musically formative years in the Midwest, drawing influence from the cultures of Chicago and Detroit. Fueled by the underground energy of warehouse and loft parties of the era, he began his DJ career in the early 1990s. Bill grew up going to goth and industrial clubs in Miami before moving to Chicago where he held residencies at clubs with Johnny Fiasco, Derrick Carter, Mark Farina, and Ralphi Rosario. The duo is heavily influenced by the early Chicago house and Detroit techno sounds as well as European electronic body music like Front 242 and Liaisons Dangereuses. Their first release “Indecision” was a white label for Rong Music in 2015.
‘La Vida Sigue Igual’ is immediately a more physical affair than its predecessor, kicking off with the title track, a hard hitting percussive monster. The sparse simplicity of the machine gun synth work & monotone Spanish vocals by Mystic Bill evoke classic 80's industrial and art house dance tracks. We’ve included the instrumental version for adventurous DJs who want play doubles. On the B-side are two versions of the track “Animals”. Version 1 explores the underbelly of NY with maniacal industrial rhythms and samples from Diamanda Galas and Travis Bickle (Robert DeNiro) in Taxi Driver. Version 2 ventures into dark freestyle territory, fueled by the underground energy of Chicago’s Warehouse and Medusas clubs.
All songs have been mastered by George Horn at Fantasy Studios. The vinyl comes housed in a jacket with hand drawn illustration of night time jungle themes designed by Eloise Leigh and screen printed in muted teal pantone on french environment paper by Stumptown Printers. Each EP includes a postcard with a black and white photograph of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-remixes-ep/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. Her debut solo album, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was produced in 1984 and reissued by Dark Entries in 2016. The album featured experiments with different sounds and a new batch of electronic equipment, such as the Roland TR 808 drum machine and Yamaha C60 synthesizer. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
We’ve recruited four of our favorite contemporary producers to remix their favorite tracks from ‘Sun Masks’. First up is “Lego” remixed by triple scorpio supernova Avalon Emerson, who is based in Berlin. Her remix morphs the track into a solid dancefloor twister. Next is “Lego” remixed by Lena Willikens, Cologne based DJ and resident at Salon Des Amateurs in Düsseldorf. She provides a deep and psychedelic journey through the darker shadows of the early night or morning. On the B-side is New Yorker and Firehouse Recordings boss Kim Ann Foxman remixing “Hoping By Shopping”. She transforms the spacey robotic vocoder track into a dynamic deep house workout, tough and dreamy all at once. Closing out the EP is a remix of “Wrong Love” by Berlin via Bucharest producer Borusiade aka Miruna Boruzescu. Enhancing the original melancholic piano ballad to a cosmic processional with poignant bass lines that build and recess like the ocean tides.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original ‘Sun Masks’ cover, isolating the photograph of Lena wearing sunglasses designed by Eloise Leigh. Each copy includes a two-sided postcard with a manipulated film still from one of Lena’s music videos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-remixes-ep/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. Her debut solo album, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was produced in 1984 and reissued by Dark Entries in 2016. The album featured experiments with different sounds and a new batch of electronic equipment, such as the Roland TR 808 drum machine and Yamaha C60 synthesizer. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
We’ve recruited four of our favorite contemporary producers to remix their favorite tracks from ‘Sun Masks’. First up is “Lego” remixed by triple scorpio supernova Avalon Emerson, who is based in Berlin. Her remix morphs the track into a solid dancefloor twister. Next is “Lego” remixed by Lena Willikens, Cologne based DJ and resident at Salon Des Amateurs in Düsseldorf. She provides a deep and psychedelic journey through the darker shadows of the early night or morning. On the B-side is New Yorker and Firehouse Recordings boss Kim Ann Foxman remixing “Hoping By Shopping”. She transforms the spacey robotic vocoder track into a dynamic deep house workout, tough and dreamy all at once. Closing out the EP is a remix of “Wrong Love” by Berlin via Bucharest producer Borusiade aka Miruna Boruzescu. Enhancing the original melancholic piano ballad to a cosmic processional with poignant bass lines that build and recess like the ocean tides.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original ‘Sun Masks’ cover, isolating the photograph of Lena wearing sunglasses designed by Eloise Leigh. Each copy includes a two-sided postcard with a manipulated film still from one of Lena’s music videos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bezier-primes-ep/
Dark Entries is proud to release the latest offering from Bézier, a 3-track EP titled ‘Primes’. Bézier is the moniker of San Francisco based musician Robert Yang, who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert 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.
‘Primes’ represents the theme of primordial origins and creation with three tracks that explore disparate, sonic environments in each song. The title track flows and ebbs like currents in an oil slick. Out of something messy (like primordial ooze) arises organized chaos. “Stranger” is a moody dark electro/wave track for a sweaty night cruising on the west coast of Holland. Set against an underwater sound canvas the song features seductive guest vocals and lyrics by Nicole Ginelli. Doc Sleep of Jacktone Records provides additional production duties. The final track, “Imperial Tranz Am”, is an airy, ethereal slow burner clocking in at over 13 minutes. It originally appeared as the soundtrack to an experimental queer fantasy film of the same name by SF film maker Aron Kantor.
All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a Quadtone pastel earthtone of pixelated celluar ooze designed by Eloise Leigh. Each EP includes a postcard with an image still from the 'Imperial Tranz-Am’ movie. “Do I hear what I see, is it real or just a feeling, a vibration of N-R-G.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bezier-primes-ep/
Dark Entries is proud to release the latest offering from Bézier, a 3-track EP titled ‘Primes’. Bézier is the moniker of San Francisco based musician Robert Yang, who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert 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.
‘Primes’ represents the theme of primordial origins and creation with three tracks that explore disparate, sonic environments in each song. The title track flows and ebbs like currents in an oil slick. Out of something messy (like primordial ooze) arises organized chaos. “Stranger” is a moody dark electro/wave track for a sweaty night cruising on the west coast of Holland. Set against an underwater sound canvas the song features seductive guest vocals and lyrics by Nicole Ginelli. Doc Sleep of Jacktone Records provides additional production duties. The final track, “Imperial Tranz Am”, is an airy, ethereal slow burner clocking in at over 13 minutes. It originally appeared as the soundtrack to an experimental queer fantasy film of the same name by SF film maker Aron Kantor.
All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a Quadtone pastel earthtone of pixelated celluar ooze designed by Eloise Leigh. Each EP includes a postcard with an image still from the 'Imperial Tranz-Am’ movie. “Do I hear what I see, is it real or just a feeling, a vibration of N-R-G.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-remixes-ep/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. Her debut solo album, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was produced in 1984 and reissued by Dark Entries in 2016. The album featured experiments with different sounds and a new batch of electronic equipment, such as the Roland TR 808 drum machine and Yamaha C60 synthesizer. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
We’ve recruited four of our favorite contemporary producers to remix their favorite tracks from ‘Sun Masks’. First up is “Lego” remixed by triple scorpio supernova Avalon Emerson, who is based in Berlin. Her remix morphs the track into a solid dancefloor twister. Next is “Lego” remixed by Lena Willikens, Cologne based DJ and resident at Salon Des Amateurs in Düsseldorf. She provides a deep and psychedelic journey through the darker shadows of the early night or morning. On the B-side is New Yorker and Firehouse Recordings boss Kim Ann Foxman remixing “Hoping By Shopping”. She transforms the spacey robotic vocoder track into a dynamic deep house workout, tough and dreamy all at once. Closing out the EP is a remix of “Wrong Love” by Berlin via Bucharest producer Borusiade aka Miruna Boruzescu. Enhancing the original melancholic piano ballad to a cosmic processional with poignant bass lines that build and recess like the ocean tides.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original ‘Sun Masks’ cover, isolating the photograph of Lena wearing sunglasses designed by Eloise Leigh. Each copy includes a two-sided postcard with a manipulated film still from one of Lena’s music videos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bezier-primes-ep/
Dark Entries is proud to release the latest offering from Bézier, a 3-track EP titled ‘Primes’. Bézier is the moniker of San Francisco based musician Robert Yang, who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert 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.
‘Primes’ represents the theme of primordial origins and creation with three tracks that explore disparate, sonic environments in each song. The title track flows and ebbs like currents in an oil slick. Out of something messy (like primordial ooze) arises organized chaos. “Stranger” is a moody dark electro/wave track for a sweaty night cruising on the west coast of Holland. Set against an underwater sound canvas the song features seductive guest vocals and lyrics by Nicole Ginelli. Doc Sleep of Jacktone Records provides additional production duties. The final track, “Imperial Tranz Am”, is an airy, ethereal slow burner clocking in at over 13 minutes. It originally appeared as the soundtrack to an experimental queer fantasy film of the same name by SF film maker Aron Kantor.
All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a Quadtone pastel earthtone of pixelated celluar ooze designed by Eloise Leigh. Each EP includes a postcard with an image still from the 'Imperial Tranz-Am’ movie. “Do I hear what I see, is it real or just a feeling, a vibration of N-R-G.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/savage-hymn-la-vida-sigue-igual-ep/
Dark Entries is proud to present ‘La Vida Sigue Igual’, the sophomore EP from Savage Hymn. The project is a collaboration between Miami born-and-bred Mystic Bill Torres (Trax, Relief, Classic) and native New Yorker Jake Reif (Device Control, Upsetting Keys). Jake spent some musically formative years in the Midwest, drawing influence from the cultures of Chicago and Detroit. Fueled by the underground energy of warehouse and loft parties of the era, he began his DJ career in the early 1990s. Bill grew up going to goth and industrial clubs in Miami before moving to Chicago where he held residencies at clubs with Johnny Fiasco, Derrick Carter, Mark Farina, and Ralphi Rosario. The duo is heavily influenced by the early Chicago house and Detroit techno sounds as well as European electronic body music like Front 242 and Liaisons Dangereuses. Their first release “Indecision” was a white label for Rong Music in 2015.
‘La Vida Sigue Igual’ is immediately a more physical affair than its predecessor, kicking off with the title track, a hard hitting percussive monster. The sparse simplicity of the machine gun synth work & monotone Spanish vocals by Mystic Bill evoke classic 80's industrial and art house dance tracks. We’ve included the instrumental version for adventurous DJs who want play doubles. On the B-side are two versions of the track “Animals”. Version 1 explores the underbelly of NY with maniacal industrial rhythms and samples from Diamanda Galas and Travis Bickle (Robert DeNiro) in Taxi Driver. Version 2 ventures into dark freestyle territory, fueled by the underground energy of Chicago’s Warehouse and Medusas clubs.
All songs have been mastered by George Horn at Fantasy Studios. The vinyl comes housed in a jacket with hand drawn illustration of night time jungle themes designed by Eloise Leigh and screen printed in muted teal pantone on french environment paper by Stumptown Printers. Each EP includes a postcard with a black and white photograph of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lives-of-angels-hole-in-the-sky-lp/
Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy comes in custom made jacket designed by Eloise Leigh and includes an 11x11 double-sided insert with liner notes, lyrics and photos. “You have no idea how rewarding it is that people are interested in what we did all those years ago,” says O’Connell. “Catherine had a very happy time doing all that stuff, it was brilliant, and I felt that it was a success artistically. It deserved more attention. Better late than never.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/shoc-corridor-a-blind-sign-ep/
Shoc Corridor was the London post-punk quartet of Paul O’Carroll (Voice, Synth), Andy Garnham (Synth, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Chris met Nogi shortly after moving to London in 1979 – they started playing music together, fell madly in love, and decided to form a band. They recruited Andy, who had previously played in a band with Stephen Luscombe of Blancmange, and lyricist and vocalist Paul. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Brian Eno, PIL, and Joy Division.
The group recorded a 4-song demo during 1981 in a tiny flat Chris shared with Nogi in Notting Hill. As their collection of instruments grew they set up studio a few blocks away in Andy’s flat at 20 All Saints Road. There they re-recorded “Sargasso Sea” along with “On Reflexion” on a TEAC reel-to-reel 4-track machine. In the summer of ’82, the band was booked into Decibel Studios in Stoke Newington for two and a half days with Mark Easton of Shout Records, where they reworked the two songs. The group usually worked through studio experimentation rather than constructing their songs in a conventional way. Their equipment list included a Korg MS-20, Wasp, Pro-One, Roland TR-808, WEM Copicat, guitars, bass, e-bow and an assortment of effects pedals. “On Reflexion” began as a Blancmange backing track, since Stephen Luscombe would sometimes use Andy’s 4-track, Korg MS-20 and drum machine. Chris has memories of Paul disappearing from time to time to the neighboring graveyard for inspiration, where they had to procure him from to lay down vocals. Their debut 3-song 12” single, “A Blind Sign”, was released in October 1982 on Shout Records. For this re-issue we’ve included the original skeletal “Sargasso Sea” 4-track demo from 1981. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul’s rich vocals guiding the way.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each EP comes in an exact replica of the original jacket, designed by Chris Davis with artwork by Paul and Jerry Neal. Each copy includes an 8x11” 2-sided insert with liner notes, lyrics and photos designed by Eloise Leigh
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/shoc-corridor-a-blind-sign-ep/
Shoc Corridor was the London post-punk quartet of Paul O’Carroll (Voice, Synth), Andy Garnham (Synth, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Chris met Nogi shortly after moving to London in 1979 – they started playing music together, fell madly in love, and decided to form a band. They recruited Andy, who had previously played in a band with Stephen Luscombe of Blancmange, and lyricist and vocalist Paul. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Brian Eno, PIL, and Joy Division.
The group recorded a 4-song demo during 1981 in a tiny flat Chris shared with Nogi in Notting Hill. As their collection of instruments grew they set up studio a few blocks away in Andy’s flat at 20 All Saints Road. There they re-recorded “Sargasso Sea” along with “On Reflexion” on a TEAC reel-to-reel 4-track machine. In the summer of ’82, the band was booked into Decibel Studios in Stoke Newington for two and a half days with Mark Easton of Shout Records, where they reworked the two songs. The group usually worked through studio experimentation rather than constructing their songs in a conventional way. Their equipment list included a Korg MS-20, Wasp, Pro-One, Roland TR-808, WEM Copicat, guitars, bass, e-bow and an assortment of effects pedals. “On Reflexion” began as a Blancmange backing track, since Stephen Luscombe would sometimes use Andy’s 4-track, Korg MS-20 and drum machine. Chris has memories of Paul disappearing from time to time to the neighboring graveyard for inspiration, where they had to procure him from to lay down vocals. Their debut 3-song 12” single, “A Blind Sign”, was released in October 1982 on Shout Records. For this re-issue we’ve included the original skeletal “Sargasso Sea” 4-track demo from 1981. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul’s rich vocals guiding the way.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each EP comes in an exact replica of the original jacket, designed by Chris Davis with artwork by Paul and Jerry Neal. Each copy includes an 8x11” 2-sided insert with liner notes, lyrics and photos designed by Eloise Leigh
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/codek-%e2%80%8e-closer-tam-tam/
Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS alongside Gregory Davidow and recorded two singles. Diving into the Paris post punk scene he met Claude Arto and designed the artwork for Claude’s single on Celluloid “Kwai Systeme / Betty Boop.” Robin Scott (M “Pop Music”) had produced the SpionS first single and wanted to collaborate further. With Claude, Jean-Marie wrote “Me Me Me”, intended for a choir, for M. Then SpionS split and Robin was off to Switzerland to record an album to follow-up his hit single. That left Jean-Marie alone in London, where he began working as Codek, a play on the brand name Kodak The “Me Me Me” single was released by MCA Records in 1980. Back in Paris, now with some studio experience, Celluloid Records hired Jean-Marie to produce records for Artefact and Les Orphelins. Over the next 2 years he began working on ideas for the next Codek single “Closer / “Tam Tam”
“Closer” started its life as an electric baseline played by Jean-Marie. Claude Arto sequenced the floating synthesizers. Laurent Grangier and Frédéric Lapierre of reggae band Immigration Act played the horns. The lyrics “Hard to say. Easy to do. We don’t need to say what we do” were a statement on creation as narration expressed Jean-Marie’s ennui, “I’m tired with it.” “Tam Tam” was inspired by Burundi drummers playing on the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. JM was part of the the African night scene in Paris, remixing Xalam’s “Kanu” and Touré Kunda's “Salaly Muhamed.” Claude achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of “Tam Tam” and “Closer” spanned over two years. They started on 16-track in Studio d'Auteuil, where JM blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder. Jean-Marie was producing other bands, and a lot of this was recorded on "borrowed" studio time. The single was released in 1981 on West African Music, a tiny label from the Ivory Coast, and was re-released a year later by Island Records in the UK (where the B-side was re-named “Tim Toum”). Both tracks were staples in the DJ sets of Beppe Loda and Daniele Baldelli, finding a spiritual home in the Cosmic scene of Italy.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1981 edition with artwork by Angela Boy, inspired by primitive electronics and African paintings. Each copy includes an doubles-sided insert with photos and liner notes by Jean-Marie Salaun.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/shoc-corridor-a-blind-sign-ep/
Shoc Corridor was the London post-punk quartet of Paul O’Carroll (Voice, Synth), Andy Garnham (Synth, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Chris met Nogi shortly after moving to London in 1979 – they started playing music together, fell madly in love, and decided to form a band. They recruited Andy, who had previously played in a band with Stephen Luscombe of Blancmange, and lyricist and vocalist Paul. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Brian Eno, PIL, and Joy Division.
The group recorded a 4-song demo during 1981 in a tiny flat Chris shared with Nogi in Notting Hill. As their collection of instruments grew they set up studio a few blocks away in Andy’s flat at 20 All Saints Road. There they re-recorded “Sargasso Sea” along with “On Reflexion” on a TEAC reel-to-reel 4-track machine. In the summer of ’82, the band was booked into Decibel Studios in Stoke Newington for two and a half days with Mark Easton of Shout Records, where they reworked the two songs. The group usually worked through studio experimentation rather than constructing their songs in a conventional way. Their equipment list included a Korg MS-20, Wasp, Pro-One, Roland TR-808, WEM Copicat, guitars, bass, e-bow and an assortment of effects pedals. “On Reflexion” began as a Blancmange backing track, since Stephen Luscombe would sometimes use Andy’s 4-track, Korg MS-20 and drum machine. Chris has memories of Paul disappearing from time to time to the neighboring graveyard for inspiration, where they had to procure him from to lay down vocals. Their debut 3-song 12” single, “A Blind Sign”, was released in October 1982 on Shout Records. For this re-issue we’ve included the original skeletal “Sargasso Sea” 4-track demo from 1981. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul’s rich vocals guiding the way.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each EP comes in an exact replica of the original jacket, designed by Chris Davis with artwork by Paul and Jerry Neal. Each copy includes an 8x11” 2-sided insert with liner notes, lyrics and photos designed by Eloise Leigh
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/codek-%e2%80%8e-closer-tam-tam/
Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS alongside Gregory Davidow and recorded two singles. Diving into the Paris post punk scene he met Claude Arto and designed the artwork for Claude’s single on Celluloid “Kwai Systeme / Betty Boop.” Robin Scott (M “Pop Music”) had produced the SpionS first single and wanted to collaborate further. With Claude, Jean-Marie wrote “Me Me Me”, intended for a choir, for M. Then SpionS split and Robin was off to Switzerland to record an album to follow-up his hit single. That left Jean-Marie alone in London, where he began working as Codek, a play on the brand name Kodak The “Me Me Me” single was released by MCA Records in 1980. Back in Paris, now with some studio experience, Celluloid Records hired Jean-Marie to produce records for Artefact and Les Orphelins. Over the next 2 years he began working on ideas for the next Codek single “Closer / “Tam Tam”
“Closer” started its life as an electric baseline played by Jean-Marie. Claude Arto sequenced the floating synthesizers. Laurent Grangier and Frédéric Lapierre of reggae band Immigration Act played the horns. The lyrics “Hard to say. Easy to do. We don’t need to say what we do” were a statement on creation as narration expressed Jean-Marie’s ennui, “I’m tired with it.” “Tam Tam” was inspired by Burundi drummers playing on the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. JM was part of the the African night scene in Paris, remixing Xalam’s “Kanu” and Touré Kunda's “Salaly Muhamed.” Claude achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of “Tam Tam” and “Closer” spanned over two years. They started on 16-track in Studio d'Auteuil, where JM blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder. Jean-Marie was producing other bands, and a lot of this was recorded on "borrowed" studio time. The single was released in 1981 on West African Music, a tiny label from the Ivory Coast, and was re-released a year later by Island Records in the UK (where the B-side was re-named “Tim Toum”). Both tracks were staples in the DJ sets of Beppe Loda and Daniele Baldelli, finding a spiritual home in the Cosmic scene of Italy.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1981 edition with artwork by Angela Boy, inspired by primitive electronics and African paintings. Each copy includes an doubles-sided insert with photos and liner notes by Jean-Marie Salaun.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/greyhouse-new-beats-the-house/
Greyhouse was the first of many aliases adopted by Dutch DJ/producer Marcel Hol. In the late 80's the first signs of 90's optimism and euphoria started. Marcel was young, creative and ambitious because he got his hands on some new equipment like the sampler. Electronic music was within reach. Greyhouse landed a recording contract with Hip Hop Records, a dance label founded by Erik Van Vliet based in Rotterdam. In 1989 he released his debut single “Move To The Groove / New Beats The House.” Renaat Vandepapeliere from R & S Records cleverly spotted the record's potential. re-releasing it with “New Beats The House” as the A-side With this new exposure the song became one of the biggest hits of a New Beat sub-genre called Hard Beat.
“New Beats the House” is peak sampledelia, based on a synthesizer line taken from Kraftwerk “It's More Fun To Compute” and vocal samples from Kraze “The Party” (Gimme a fat beat), Art of Noise “Opus 4” (No sun, no shade), Ice-T “The Hunted Child” (Bangin' for the thrill, man), and Ian McShane reading an excerpt from Ian Penman's essay ”The Annihilation of Rhythm". Weaved throughout is the TB-303 line that made this song an Acid House anthem. The song also features one of the very first appearances of Jochem Paap aka Speedy J, credited for scratches. This reissue is backed with a 1989 remix by Marcel Hol that adds additional synthesizers and removes some of the vocal samples. On the B-side is Detroit’s Jared Wilson with his 7777 Acid Remix full of modulated 303, reverberated snap-claps, and a sample from Jesse Jackson’s speech 'I Am Somebody' from Wattstax Music Festival in 1972. Also included is “Move Your Assit” (Acid Version), the second single by Greyhouse. The track was originally released in 1989, and showcases a searing acid line over a beat from Stock, Aitken, & Waterman's “S.S. Paparazzi”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1989 R & S Records edition, featuring a drawing of figures dancing on a yellow vinyl record set against a bright pink background. Each copy includes a neon pink and yellow sticker and a postcard with liner notes by Marcel Hol.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/greyhouse-new-beats-the-house/
Greyhouse was the first of many aliases adopted by Dutch DJ/producer Marcel Hol. In the late 80's the first signs of 90's optimism and euphoria started. Marcel was young, creative and ambitious because he got his hands on some new equipment like the sampler. Electronic music was within reach. Greyhouse landed a recording contract with Hip Hop Records, a dance label founded by Erik Van Vliet based in Rotterdam. In 1989 he released his debut single “Move To The Groove / New Beats The House.” Renaat Vandepapeliere from R & S Records cleverly spotted the record's potential. re-releasing it with “New Beats The House” as the A-side With this new exposure the song became one of the biggest hits of a New Beat sub-genre called Hard Beat.
“New Beats the House” is peak sampledelia, based on a synthesizer line taken from Kraftwerk “It's More Fun To Compute” and vocal samples from Kraze “The Party” (Gimme a fat beat), Art of Noise “Opus 4” (No sun, no shade), Ice-T “The Hunted Child” (Bangin' for the thrill, man), and Ian McShane reading an excerpt from Ian Penman's essay ”The Annihilation of Rhythm". Weaved throughout is the TB-303 line that made this song an Acid House anthem. The song also features one of the very first appearances of Jochem Paap aka Speedy J, credited for scratches. This reissue is backed with a 1989 remix by Marcel Hol that adds additional synthesizers and removes some of the vocal samples. On the B-side is Detroit’s Jared Wilson with his 7777 Acid Remix full of modulated 303, reverberated snap-claps, and a sample from Jesse Jackson’s speech 'I Am Somebody' from Wattstax Music Festival in 1972. Also included is “Move Your Assit” (Acid Version), the second single by Greyhouse. The track was originally released in 1989, and showcases a searing acid line over a beat from Stock, Aitken, & Waterman's “S.S. Paparazzi”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1989 R & S Records edition, featuring a drawing of figures dancing on a yellow vinyl record set against a bright pink background. Each copy includes a neon pink and yellow sticker and a postcard with liner notes by Marcel Hol.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/greyhouse-new-beats-the-house/
Greyhouse was the first of many aliases adopted by Dutch DJ/producer Marcel Hol. In the late 80's the first signs of 90's optimism and euphoria started. Marcel was young, creative and ambitious because he got his hands on some new equipment like the sampler. Electronic music was within reach. Greyhouse landed a recording contract with Hip Hop Records, a dance label founded by Erik Van Vliet based in Rotterdam. In 1989 he released his debut single “Move To The Groove / New Beats The House.” Renaat Vandepapeliere from R & S Records cleverly spotted the record's potential. re-releasing it with “New Beats The House” as the A-side With this new exposure the song became one of the biggest hits of a New Beat sub-genre called Hard Beat.
“New Beats the House” is peak sampledelia, based on a synthesizer line taken from Kraftwerk “It's More Fun To Compute” and vocal samples from Kraze “The Party” (Gimme a fat beat), Art of Noise “Opus 4” (No sun, no shade), Ice-T “The Hunted Child” (Bangin' for the thrill, man), and Ian McShane reading an excerpt from Ian Penman's essay ”The Annihilation of Rhythm". Weaved throughout is the TB-303 line that made this song an Acid House anthem. The song also features one of the very first appearances of Jochem Paap aka Speedy J, credited for scratches. This reissue is backed with a 1989 remix by Marcel Hol that adds additional synthesizers and removes some of the vocal samples. On the B-side is Detroit’s Jared Wilson with his 7777 Acid Remix full of modulated 303, reverberated snap-claps, and a sample from Jesse Jackson’s speech 'I Am Somebody' from Wattstax Music Festival in 1972. Also included is “Move Your Assit” (Acid Version), the second single by Greyhouse. The track was originally released in 1989, and showcases a searing acid line over a beat from Stock, Aitken, & Waterman's “S.S. Paparazzi”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1989 R & S Records edition, featuring a drawing of figures dancing on a yellow vinyl record set against a bright pink background. Each copy includes a neon pink and yellow sticker and a postcard with liner notes by Marcel Hol.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/shoc-corridor-a-blind-sign-ep/
Shoc Corridor was the London post-punk quartet of Paul O’Carroll (Voice, Synth), Andy Garnham (Synth, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Chris met Nogi shortly after moving to London in 1979 – they started playing music together, fell madly in love, and decided to form a band. They recruited Andy, who had previously played in a band with Stephen Luscombe of Blancmange, and lyricist and vocalist Paul. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Brian Eno, PIL, and Joy Division.
The group recorded a 4-song demo during 1981 in a tiny flat Chris shared with Nogi in Notting Hill. As their collection of instruments grew they set up studio a few blocks away in Andy’s flat at 20 All Saints Road. There they re-recorded “Sargasso Sea” along with “On Reflexion” on a TEAC reel-to-reel 4-track machine. In the summer of ’82, the band was booked into Decibel Studios in Stoke Newington for two and a half days with Mark Easton of Shout Records, where they reworked the two songs. The group usually worked through studio experimentation rather than constructing their songs in a conventional way. Their equipment list included a Korg MS-20, Wasp, Pro-One, Roland TR-808, WEM Copicat, guitars, bass, e-bow and an assortment of effects pedals. “On Reflexion” began as a Blancmange backing track, since Stephen Luscombe would sometimes use Andy’s 4-track, Korg MS-20 and drum machine. Chris has memories of Paul disappearing from time to time to the neighboring graveyard for inspiration, where they had to procure him from to lay down vocals. Their debut 3-song 12” single, “A Blind Sign”, was released in October 1982 on Shout Records. For this re-issue we’ve included the original skeletal “Sargasso Sea” 4-track demo from 1981. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul’s rich vocals guiding the way.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each EP comes in an exact replica of the original jacket, designed by Chris Davis with artwork by Paul and Jerry Neal. Each copy includes an 8x11” 2-sided insert with liner notes, lyrics and photos designed by Eloise Leigh
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/greyhouse-new-beats-the-house/
Greyhouse was the first of many aliases adopted by Dutch DJ/producer Marcel Hol. In the late 80's the first signs of 90's optimism and euphoria started. Marcel was young, creative and ambitious because he got his hands on some new equipment like the sampler. Electronic music was within reach. Greyhouse landed a recording contract with Hip Hop Records, a dance label founded by Erik Van Vliet based in Rotterdam. In 1989 he released his debut single “Move To The Groove / New Beats The House.” Renaat Vandepapeliere from R & S Records cleverly spotted the record's potential. re-releasing it with “New Beats The House” as the A-side With this new exposure the song became one of the biggest hits of a New Beat sub-genre called Hard Beat.
“New Beats the House” is peak sampledelia, based on a synthesizer line taken from Kraftwerk “It's More Fun To Compute” and vocal samples from Kraze “The Party” (Gimme a fat beat), Art of Noise “Opus 4” (No sun, no shade), Ice-T “The Hunted Child” (Bangin' for the thrill, man), and Ian McShane reading an excerpt from Ian Penman's essay ”The Annihilation of Rhythm". Weaved throughout is the TB-303 line that made this song an Acid House anthem. The song also features one of the very first appearances of Jochem Paap aka Speedy J, credited for scratches. This reissue is backed with a 1989 remix by Marcel Hol that adds additional synthesizers and removes some of the vocal samples. On the B-side is Detroit’s Jared Wilson with his 7777 Acid Remix full of modulated 303, reverberated snap-claps, and a sample from Jesse Jackson’s speech 'I Am Somebody' from Wattstax Music Festival in 1972. Also included is “Move Your Assit” (Acid Version), the second single by Greyhouse. The track was originally released in 1989, and showcases a searing acid line over a beat from Stock, Aitken, & Waterman's “S.S. Paparazzi”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1989 R & S Records edition, featuring a drawing of figures dancing on a yellow vinyl record set against a bright pink background. Each copy includes a neon pink and yellow sticker and a postcard with liner notes by Marcel Hol.
We are pleased to present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year.
‘The Shape Of Things To Come’ is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke “how things have changed and how they have come to be.”
All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill’s sister with notes.
We are pleased to present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year.
‘The Shape Of Things To Come’ is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke “how things have changed and how they have come to be.”
All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill’s sister with notes.
We are pleased to present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year.
‘The Shape Of Things To Come’ is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke “how things have changed and how they have come to be.”
All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill’s sister with notes.
We are pleased to present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year.
‘The Shape Of Things To Come’ is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke “how things have changed and how they have come to be.”
All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill’s sister with notes.
We are pleased to present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year.
‘The Shape Of Things To Come’ is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke “how things have changed and how they have come to be.”
All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill’s sister with notes.
We are pleased to present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year.
‘The Shape Of Things To Come’ is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke “how things have changed and how they have come to be.”
All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill’s sister with notes.
We are pleased to present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album ‘Meditations/Industry’ was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12” singles ‘Warehouse Invocation’ and ‘7 of 9’ the same year.
‘The Shape Of Things To Come’ is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke “how things have changed and how they have come to be.”
All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill’s sister with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/krootchey-quest-cquil-a-dplus-que-moi-ce-negro-la-12/
Philippe Krootchey was a musician, DJ, radio and television host born in Versailles, France in 1954. In the early 1970s he joined political gay liberation movement Revolutionary Homosexual Action Front (Front Homosexuel d'Action Révolutionnaire) that gave radical visibility to homosexuals. Turning to the decadent nightclub scene of Paris, Philippe became one of the most important disc jockeys of the late 70s and early 80s holding residencies at les Bains-Douches and the Privilège. Philippe’s look was striking and his elegance and charisma massive. In 1981 he formed the band Love International with Philippe Chany and Fred Versailles and released the hit disco single “Dance On The Groove (And Do The Funk)”. He also sang back up on both “Jungle Hurt” by Mathematiques Modernes and “ Les Baisers D'amants” by Lizzy Mercier Descloux in 1981. Between 1984 and 1988 he released three maxi 12” singles under his surname ‘Whatazzy’ (1984), ‘I Hear My Ears’ (1986), ‘Cruel Justifier’ (1988).
In 1984 Krootchey released his debut single “Qu'est c'qu'il a (d'plus que moi ce négro là?)” on disco label Casablanca Records. Subsequently the single was re-released the same year but sung in English as “Whatazzy”. For this release he teamed up with former Love International bandmate Fred Versailles, who shared his love for Kraftwerk and Yellow Magic Orchestra as well as glam rock and 70’s black American soul music. Fred remembers, “The idea was to send a message about racism against black people with a humorous tone. The French title translates to “What has this nigger got, that I do not have?” Reversing the racial scales, Philippe (who is black) would get the girls and the fame, making white people jealous. It was Philippe’s tactful way to joke about racism he had experienced and overcame.” The result is a slick synthetic funk and electro boogie reminiscent of Grandmaster Flash and Afrika Bambata. Philippe rap and subverting racism at the same time. On the B-side is “Voodoo” a slowed down instrumental dub version that stretches out the original to over 7-minutes. Sadly on September 2, 2004 Philippe Krootchey died of a cerebral aneurysm, just short of celebrating his 50th birthday.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Philippe asked his friends Pierre et Gilles to do the cover artwork. They made a portrait of Philippe as chocolate powder mascot "Banania" inspired advertisement with a wide grin and red fez cap. This was a radical criticism on the embodiment of racism still present in the 1980s from the colonial Era in France. Each copy includes two postcards with lyrics, photos and liner notes by Fred Versailles. “He belonged to nothing, no clan, he was light in the good sense of the word and his supple resistance persisted.” - Jean-Baptiste Mondino
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/krootchey-quest-cquil-a-dplus-que-moi-ce-negro-la-12/
Philippe Krootchey was a musician, DJ, radio and television host born in Versailles, France in 1954. In the early 1970s he joined political gay liberation movement Revolutionary Homosexual Action Front (Front Homosexuel d'Action Révolutionnaire) that gave radical visibility to homosexuals. Turning to the decadent nightclub scene of Paris, Philippe became one of the most important disc jockeys of the late 70s and early 80s holding residencies at les Bains-Douches and the Privilège. Philippe’s look was striking and his elegance and charisma massive. In 1981 he formed the band Love International with Philippe Chany and Fred Versailles and released the hit disco single “Dance On The Groove (And Do The Funk)”. He also sang back up on both “Jungle Hurt” by Mathematiques Modernes and “ Les Baisers D'amants” by Lizzy Mercier Descloux in 1981. Between 1984 and 1988 he released three maxi 12” singles under his surname ‘Whatazzy’ (1984), ‘I Hear My Ears’ (1986), ‘Cruel Justifier’ (1988).
In 1984 Krootchey released his debut single “Qu'est c'qu'il a (d'plus que moi ce négro là?)” on disco label Casablanca Records. Subsequently the single was re-released the same year but sung in English as “Whatazzy”. For this release he teamed up with former Love International bandmate Fred Versailles, who shared his love for Kraftwerk and Yellow Magic Orchestra as well as glam rock and 70’s black American soul music. Fred remembers, “The idea was to send a message about racism against black people with a humorous tone. The French title translates to “What has this nigger got, that I do not have?” Reversing the racial scales, Philippe (who is black) would get the girls and the fame, making white people jealous. It was Philippe’s tactful way to joke about racism he had experienced and overcame.” The result is a slick synthetic funk and electro boogie reminiscent of Grandmaster Flash and Afrika Bambata. Philippe rap and subverting racism at the same time. On the B-side is “Voodoo” a slowed down instrumental dub version that stretches out the original to over 7-minutes. Sadly on September 2, 2004 Philippe Krootchey died of a cerebral aneurysm, just short of celebrating his 50th birthday.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Philippe asked his friends Pierre et Gilles to do the cover artwork. They made a portrait of Philippe as chocolate powder mascot "Banania" inspired advertisement with a wide grin and red fez cap. This was a radical criticism on the embodiment of racism still present in the 1980s from the colonial Era in France. Each copy includes two postcards with lyrics, photos and liner notes by Fred Versailles. “He belonged to nothing, no clan, he was light in the good sense of the word and his supple resistance persisted.” - Jean-Baptiste Mondino
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tobias-bernstrup-27-12/
Tobias Bernstrup is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998. Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias’ external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album ‘Re-Animate Me’ was released by Tonight Records followed by two limited 12” singles for the song “27” and the Italian version “Ventisette”.
“27” is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the ‘Re-Animate Me’ recording sessions. The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup’s music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of “Ventisette”, the Italian translation of the song “27.” Both versions of “Ventisette” are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo “Dirty Money” a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Eloise Leigh transformed the original portrait of Tobias into a Warhol-like painted polaroid with a striking likeness to Liza Minelli with blue eye shadow and red lipstick. Each copy includes a photo postcard with lyrics and notes. “I would rather create alternative routes to experiencing and understanding the world, understanding what it means to be human today,” says Bernstrup. “We are more artificial than we want to admit.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/krootchey-quest-cquil-a-dplus-que-moi-ce-negro-la-12/
Philippe Krootchey was a musician, DJ, radio and television host born in Versailles, France in 1954. In the early 1970s he joined political gay liberation movement Revolutionary Homosexual Action Front (Front Homosexuel d'Action Révolutionnaire) that gave radical visibility to homosexuals. Turning to the decadent nightclub scene of Paris, Philippe became one of the most important disc jockeys of the late 70s and early 80s holding residencies at les Bains-Douches and the Privilège. Philippe’s look was striking and his elegance and charisma massive. In 1981 he formed the band Love International with Philippe Chany and Fred Versailles and released the hit disco single “Dance On The Groove (And Do The Funk)”. He also sang back up on both “Jungle Hurt” by Mathematiques Modernes and “ Les Baisers D'amants” by Lizzy Mercier Descloux in 1981. Between 1984 and 1988 he released three maxi 12” singles under his surname ‘Whatazzy’ (1984), ‘I Hear My Ears’ (1986), ‘Cruel Justifier’ (1988).
In 1984 Krootchey released his debut single “Qu'est c'qu'il a (d'plus que moi ce négro là?)” on disco label Casablanca Records. Subsequently the single was re-released the same year but sung in English as “Whatazzy”. For this release he teamed up with former Love International bandmate Fred Versailles, who shared his love for Kraftwerk and Yellow Magic Orchestra as well as glam rock and 70’s black American soul music. Fred remembers, “The idea was to send a message about racism against black people with a humorous tone. The French title translates to “What has this nigger got, that I do not have?” Reversing the racial scales, Philippe (who is black) would get the girls and the fame, making white people jealous. It was Philippe’s tactful way to joke about racism he had experienced and overcame.” The result is a slick synthetic funk and electro boogie reminiscent of Grandmaster Flash and Afrika Bambata. Philippe rap and subverting racism at the same time. On the B-side is “Voodoo” a slowed down instrumental dub version that stretches out the original to over 7-minutes. Sadly on September 2, 2004 Philippe Krootchey died of a cerebral aneurysm, just short of celebrating his 50th birthday.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Philippe asked his friends Pierre et Gilles to do the cover artwork. They made a portrait of Philippe as chocolate powder mascot "Banania" inspired advertisement with a wide grin and red fez cap. This was a radical criticism on the embodiment of racism still present in the 1980s from the colonial Era in France. Each copy includes two postcards with lyrics, photos and liner notes by Fred Versailles. “He belonged to nothing, no clan, he was light in the good sense of the word and his supple resistance persisted.” - Jean-Baptiste Mondino
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/looky-looky-flamingo-boots-ep/
Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as SFIRE on CockTail d'Amore Music and Ultramajic.
The duo released their 8-track debut album ‘Part Flamingo’ in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP’s: ‘Part Flamingo’ and ‘Nurse Coven’. They’re loose, fun pastiches of 80’s movie soundtracks with accompanying imagery. For the ‘Flamingo Boots’ EP we chose 4 songs from the album which the pair extended for maxi 12” throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright ‘80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.
All songs have been mastered for vinyl by George Horn at Fantasy Studios. Each jacket features a collage by Chicago-based artist Nicole Ginelli of a Nagel-esque face with a mauve/grey color scheme with fuchsia and green accents. Also included is a postcard with notes and a photo of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/looky-looky-flamingo-boots-ep/
Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as SFIRE on CockTail d'Amore Music and Ultramajic.
The duo released their 8-track debut album ‘Part Flamingo’ in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP’s: ‘Part Flamingo’ and ‘Nurse Coven’. They’re loose, fun pastiches of 80’s movie soundtracks with accompanying imagery. For the ‘Flamingo Boots’ EP we chose 4 songs from the album which the pair extended for maxi 12” throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright ‘80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.
All songs have been mastered for vinyl by George Horn at Fantasy Studios. Each jacket features a collage by Chicago-based artist Nicole Ginelli of a Nagel-esque face with a mauve/grey color scheme with fuchsia and green accents. Also included is a postcard with notes and a photo of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/looky-looky-flamingo-boots-ep/
Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as SFIRE on CockTail d'Amore Music and Ultramajic.
The duo released their 8-track debut album ‘Part Flamingo’ in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP’s: ‘Part Flamingo’ and ‘Nurse Coven’. They’re loose, fun pastiches of 80’s movie soundtracks with accompanying imagery. For the ‘Flamingo Boots’ EP we chose 4 songs from the album which the pair extended for maxi 12” throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright ‘80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.
All songs have been mastered for vinyl by George Horn at Fantasy Studios. Each jacket features a collage by Chicago-based artist Nicole Ginelli of a Nagel-esque face with a mauve/grey color scheme with fuchsia and green accents. Also included is a postcard with notes and a photo of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/looky-looky-flamingo-boots-ep/
Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as SFIRE on CockTail d'Amore Music and Ultramajic.
The duo released their 8-track debut album ‘Part Flamingo’ in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP’s: ‘Part Flamingo’ and ‘Nurse Coven’. They’re loose, fun pastiches of 80’s movie soundtracks with accompanying imagery. For the ‘Flamingo Boots’ EP we chose 4 songs from the album which the pair extended for maxi 12” throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright ‘80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.
All songs have been mastered for vinyl by George Horn at Fantasy Studios. Each jacket features a collage by Chicago-based artist Nicole Ginelli of a Nagel-esque face with a mauve/grey color scheme with fuchsia and green accents. Also included is a postcard with notes and a photo of the duo.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tobias-bernstrup-27-12/
Tobias Bernstrup is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998. Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias’ external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album ‘Re-Animate Me’ was released by Tonight Records followed by two limited 12” singles for the song “27” and the Italian version “Ventisette”.
“27” is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the ‘Re-Animate Me’ recording sessions. The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup’s music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of “Ventisette”, the Italian translation of the song “27.” Both versions of “Ventisette” are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo “Dirty Money” a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Eloise Leigh transformed the original portrait of Tobias into a Warhol-like painted polaroid with a striking likeness to Liza Minelli with blue eye shadow and red lipstick. Each copy includes a photo postcard with lyrics and notes. “I would rather create alternative routes to experiencing and understanding the world, understanding what it means to be human today,” says Bernstrup. “We are more artificial than we want to admit.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tobias-bernstrup-27-12/
Tobias Bernstrup is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998. Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias’ external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album ‘Re-Animate Me’ was released by Tonight Records followed by two limited 12” singles for the song “27” and the Italian version “Ventisette”.
“27” is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the ‘Re-Animate Me’ recording sessions. The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup’s music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of “Ventisette”, the Italian translation of the song “27.” Both versions of “Ventisette” are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo “Dirty Money” a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Eloise Leigh transformed the original portrait of Tobias into a Warhol-like painted polaroid with a striking likeness to Liza Minelli with blue eye shadow and red lipstick. Each copy includes a photo postcard with lyrics and notes. “I would rather create alternative routes to experiencing and understanding the world, understanding what it means to be human today,” says Bernstrup. “We are more artificial than we want to admit.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tobias-bernstrup-27-12/
Tobias Bernstrup is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998. Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias’ external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album ‘Re-Animate Me’ was released by Tonight Records followed by two limited 12” singles for the song “27” and the Italian version “Ventisette”.
“27” is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the ‘Re-Animate Me’ recording sessions. The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup’s music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of “Ventisette”, the Italian translation of the song “27.” Both versions of “Ventisette” are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo “Dirty Money” a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Eloise Leigh transformed the original portrait of Tobias into a Warhol-like painted polaroid with a striking likeness to Liza Minelli with blue eye shadow and red lipstick. Each copy includes a photo postcard with lyrics and notes. “I would rather create alternative routes to experiencing and understanding the world, understanding what it means to be human today,” says Bernstrup. “We are more artificial than we want to admit.”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/3-teens-kill-4-no-motive-lp/
3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.
Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”
All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We’ve also printed a special 12”x24” fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to. “We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka’s diner. Drugs and no-drugs. Gay and not-gay. New York.” - Jesse Hultberg
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tobias-bernstrup-27-12/
Tobias Bernstrup is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998. Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias’ external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album ‘Re-Animate Me’ was released by Tonight Records followed by two limited 12” singles for the song “27” and the Italian version “Ventisette”.
“27” is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the ‘Re-Animate Me’ recording sessions. The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup’s music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of “Ventisette”, the Italian translation of the song “27.” Both versions of “Ventisette” are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo “Dirty Money” a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Eloise Leigh transformed the original portrait of Tobias into a Warhol-like painted polaroid with a striking likeness to Liza Minelli with blue eye shadow and red lipstick. Each copy includes a photo postcard with lyrics and notes. “I would rather create alternative routes to experiencing and understanding the world, understanding what it means to be human today,” says Bernstrup. “We are more artificial than we want to admit.”
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.
Rich released his debut solo album ‘Mayan Canals’ in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/dzeltenie-pastnieki-lentu-gabalini-lp/ Dzeltenie Pastnieki are a Latvian new wave band formed in 1979 in Riga, Latvia. Their name means “The Yellow Postmen" in Latvian. The constant core members of the band have remained Ingus Baušķenieks (bass, keyboards, vocals) and Viesturs Slava (guitar, keyboards, vocals), with Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums). They released six albums between 1981 and 1987. All were recorded at the band’s home studio and distributed on 1/4" reel-to-reel tape and compact cassette, with no artwork. Their sound ranges from electronic post-punk to experimental tape manipulation all sung in Latvian.
‘Lentu Gabaliņi’ is a 10-track compilation featuring songs from each of the band’s six albums, all songs appearing on the vinyl for the first time. In Fall 1981 the band recorded their debut album, ‘Bolderājas dzelzceļš’ (The Railroad of Bolderāja) a mix of dubbed out guitar/bass/drums. For their second album ‘Man ļoti patīk jaunais vilnis’ (I Really Like New Wave, 1982) the band used a Estradin Pulsar drum machine made in Russia and adopted a synthesizer-based sound. Following a period of inactivity, the band were asked to compose the music for an amateur stage adaptation of Lewis Carroll's ‘Alice's Adventures in Wonderland’ and ‘Through the Looking-Glass’. The resulting album, 1984's ‘Alise’ (Alice) adopted a colder minimal electronic sound, largely due to its modest recording circumstances. Leftovers from ‘Alise’ as well as even earlier sessions formed the basis for the fourth album, ‘Vienmēr klusi’ (Always Quiet) also released in 1984. ‘Depresīvā pilsēta’ (The Depressing City) was assembled from out-takes, alternate versions, and solo tracks by individual members of the band in 1986. ‘Naktis’ (Nights, 1987) could be seen as a 'back to the roots' effort that made use of the progress of home studio advances made by Baušķenieks over the previous years.
All songs have been mastered from original tapes at Bicycle Systems, Rīga, by Ingus Baušķenieks and remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an photo of the group from 1981 with textured wallpaper designed by Eloise Leigh to represent tape pieces. Each copy includes a double sides 11x11” insert with never before seen photos and liner notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/thomas-leer-1979-2xlp/ Thomas Leer is an innovative electronic musician from Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can. In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records that we reissued in 2015.
“1979” is a 14-song collection spread across two pieces of vinyl clocking in at 70 minutes. Leer says, “1979 was a great year for making music. The punk explosion two years earlier, cleansed the palate and opened up minds to new sonic possibilities. It was in this spirit I took to exploring electronics and set up my first little home studio. Bearing in mind this was before such luxuries as Portastudios or affordable multi-tracks, I decided sound quality was less important than experimentation and innovation, so I pressed on with the meager equipment I had. My tabletop studio in Crouch End, North London, consisted of two cassette machines, a copycat tape echo, some FX pedals, Ring Modulator, Guitar, Bass & Wasp Synthesizer.” Songs range from half serene atmospheres, to minimal rhythmic workouts, to tape loops layered behind distorted guitars, to cold layered singing, all with a psychedelic lo-fi attitude.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features an industrial photo of a man standing on an overpass with a passing truck taken by Thomas’ brother Andy Wishart in 1980. Each copy includes a two-sided black and white postcard with liner notes by Thomas. 38 years later this is fresh UK D.I.Y. post-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.
From Dark Entries label boss Josh Cheon, the second in the series of Wire 400 mixes has a special 1982 theme to mark the year The Wire was founded. “In 1982 I was only a year old,” explains Cheon, talking about the mix. “But somehow I've managed to reissue (or about to reissue) 28 different artists who recorded and/or released songs in 1982. This mix was made using only records from the Dark Entries catalogue and features some exclusives and unreleased tracks. Covering countries from Iceland to Australia and back to Germany, Italy, Spain, Sweden, Belgium, Finland, UK, and landing home in San Francisco, California.The songs crisscross and padlock not one uniform sound, but multiple visions and dreams.”
Tracklist:
- Deux Filles “The Draw In Room”
- Shoc Corridor “Sargasso Sea”
- Algebra Suicide “Recalling The Last Encounter”
- Dark Day “Nudes In The Forest”
- Portion Control “He Is Patriotic”
- Tom Ellard “Babies”
- Lunapark “Worte”
- Joe Crow “Compulsion”
- Silvia “Wintergarten”
- Konstruktivits “Semi Sex Act”
- Executive Slacks “The Bus”
- Informatics “Proximity Switch”
- The Neon Judgement “TV Treated”
- Wanexa “The Man From Colours”
- Die Form “Automatic Death”
- Severed Heads “Lamborghini”
- Belaboris “Kuolleet Peilit”
- The Pool “Dance It Down”
- 3 Teens Kill 4 “Hold Up”
- ADN Ckrystall “Cocaïna Vitamina”
- Kitchen And The Plastic Spoons “Filmen”
- Parade Ground “I Shut My Eyes”
- Diseño Corbusier “Harakiri”
- Los Microwaves “Silent Screamers”
- Sad Lovers And Giants “The Tightrope Touch”
- Rubella Ballet “Me (Peel Session)”
- Q4U “Why”
- Those Attractive Magnets “We Fade Into (Secret Silence)”
- Patrick Cowley “Soundtracks May 1982”
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tony-more-tonight-12/ Tony More was the Italo Disco project of Marzio Benelli and Andrea Venturoli from Firenze, Italy. Marzio specialized in sound engineering at various recording studios in Milan throughout the early 1980s. He opened Emme Studio where we worked with major national and international artists. In 1984 he met Andrea, a sound programmer who knew his way around analog synthesizers. Their first collaboration was that same year on the song “Computer Sourire” for Alexander Robotnick debut album.
In 1985 the duo recorded ‘Tonight’, the debut single for the vocalist Tony More that was released the same year on Sensation Records Their basic set up for recording was a PPG Wave 2.3 Synthesizer, Elka Synthex, Roland TB-303, TR-808, TR-909 and Fender 4 String Electric Bass. The song written by Marzio and his sister-in-law, Antonella Bianchi from Italo Disco group Plustwo, who also sings back up vocals. The song features dark, driving bass, solid drums and melodic synthesizers that Tony’s deep vocals float over. Lyrically the song is a romantic dream where the singer falls in love forgetting the bittersweet disappointment of day to day reality. On the B-side is the slightly shorter instrumental version with extended breaks, drum claps and dubbed out bass lines. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original iconic blue portrait of Tony with the same misspelling of his surname plus a postcard with lyrics and with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/joe-garrasco-m-m-action-ep/
We are proud to present a 4-song EP of songs by the Italo Disco duo of Domenico Ricchini and Joe Garrasco. Domenico formed his first rock band in 1974, and four years later his first Disco band. During the early 80's he produced records under various names like Delanua, Bob Salton and Sylvi Foster. In 1983 he took the alias Joe Yellow and started recording with the producers Roberto Turatti and Miki Chieregato to release one of the biggest Italo Disco singles "Lover To Lover". In 1985 he teamed up with Joe Garrasco, a DJ at Free Club a Super Dancing Discotheque in Braone, Italy. Their first composition together was another hit single for Joe Yellow, “I’m Your Lover” released in 1986.
In Spring 1986 the duo began working on a new song for a yet unnamed side project. They spent a few days at 33 Studio in Milan and recorded “Love Sex For Sale” with Jimmy Mc Foy on vocals. This project was titled Garrasco’s and the single was released in 1986 on Fuori Di Testi. Unsatisfied with the mix, they booked a fresh session at Regson Studio in Milan to re-record the song. The result was re-naming the projecting Joe Garrasco & M.M. (for the band Marita - Marillena) and the song as “Action” released on Out Records in 1986. All four mixes display dark, driving melodies with surging synthesizers that build to a climax for the chorus. Jimmy sings back and forth between English and French about a finding love after a night of dancing under the moon. Both instrumental mixes display more adventurous electronic arrangements than their vocal counterparts. The Other Mix of “Love Sex For Sale” employs a vocoder spoken introduction that sounds like Vincent Price narrating a horror movie and showcases a female freestyle rap by backup singers Lidia Salvetti and Cristina Scara. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original cover art from both singles on the front and back plus a postcard with a photo and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/mg-when-i-let-you-down-12/
M&G was the duo of Maurizio “Sangy” Sangineto and Mirko Galli from Vicenza, Italy. Sangy began his music career in 1979 with Italian disco group Firefly and recorded a solo album "Steps" in 1980. Two years later he co-founded Italo-disco band The Creatures and synth-funk crossover act The Armed Gang. He met young DJ Mirko Galli at L'Altro Mondo Studios in Rimini. Their first collaboration was the song “Baila Bahiana” from the Cosmic LP by Daniele Baldelli in 1984. The duo was urged to create a new production for the dance clubs by Guerrino Galli, manager of L'Altro Mondo Studios.
In 1986 the pair spent a few days at Sandy Dian’s Recording Studio working on what would become their sole 12” maxi single “When I Let You Down”/ “Boogie Tonight” released on Sensation Records. Their basic set up for recording was various Korg synthesizers, Yamaha DX7, Fender piano, Lynn and Oberheim drums. Sangy wrote the lyrics, while Mirko sang both of the songs, which tell of looking for love and dancing all night. “Often discussed in hushed tones among Italo and disco enthusiasts Mirko Galli's most successful release tapped into the British songwriting/pop dynamics with both tracks while retaining full focus on the dancefloor with heavily synthetic grooves that refuse to quit. “When I Let You Down” is a Visage-style love story blessed with intricate melodic layers and big catchy vocals. Meanwhile “Boogie Tonight” is all about the metallic arpeggio, a nagging hook and future-minded arrangement twists that foretold the drama of house music before it even happened.” - Clone Records
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original cover art plus a postcard with lyrics and with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/tony-more-tonight-12/ Tony More was the Italo Disco project of Marzio Benelli and Andrea Venturoli from Firenze, Italy. Marzio specialized in sound engineering at various recording studios in Milan throughout the early 1980s. He opened Emme Studio where we worked with major national and international artists. In 1984 he met Andrea, a sound programmer who knew his way around analog synthesizers. Their first collaboration was that same year on the song “Computer Sourire” for Alexander Robotnick debut album.
In 1985 the duo recorded ‘Tonight’, the debut single for the vocalist Tony More that was released the same year on Sensation Records Their basic set up for recording was a PPG Wave 2.3 Synthesizer, Elka Synthex, Roland TB-303, TR-808, TR-909 and Fender 4 String Electric Bass. The song written by Marzio and his sister-in-law, Antonella Bianchi from Italo Disco group Plustwo, who also sings back up vocals. The song features dark, driving bass, solid drums and melodic synthesizers that Tony’s deep vocals float over. Lyrically the song is a romantic dream where the singer falls in love forgetting the bittersweet disappointment of day to day reality. On the B-side is the slightly shorter instrumental version with extended breaks, drum claps and dubbed out bass lines. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original iconic blue portrait of Tony with the same misspelling of his surname plus a postcard with lyrics and with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/joe-garrasco-m-m-action-ep/
We are proud to present a 4-song EP of songs by the Italo Disco duo of Domenico Ricchini and Joe Garrasco. Domenico formed his first rock band in 1974, and four years later his first Disco band. During the early 80's he produced records under various names like Delanua, Bob Salton and Sylvi Foster. In 1983 he took the alias Joe Yellow and started recording with the producers Roberto Turatti and Miki Chieregato to release one of the biggest Italo Disco singles "Lover To Lover". In 1985 he teamed up with Joe Garrasco, a DJ at Free Club a Super Dancing Discotheque in Braone, Italy. Their first composition together was another hit single for Joe Yellow, “I’m Your Lover” released in 1986.
In Spring 1986 the duo began working on a new song for a yet unnamed side project. They spent a few days at 33 Studio in Milan and recorded “Love Sex For Sale” with Jimmy Mc Foy on vocals. This project was titled Garrasco’s and the single was released in 1986 on Fuori Di Testi. Unsatisfied with the mix, they booked a fresh session at Regson Studio in Milan to re-record the song. The result was re-naming the projecting Joe Garrasco & M.M. (for the band Marita - Marillena) and the song as “Action” released on Out Records in 1986. All four mixes display dark, driving melodies with surging synthesizers that build to a climax for the chorus. Jimmy sings back and forth between English and French about a finding love after a night of dancing under the moon. Both instrumental mixes display more adventurous electronic arrangements than their vocal counterparts. The Other Mix of “Love Sex For Sale” employs a vocoder spoken introduction that sounds like Vincent Price narrating a horror movie and showcases a female freestyle rap by backup singers Lidia Salvetti and Cristina Scara. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original cover art from both singles on the front and back plus a postcard with a photo and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/joe-garrasco-m-m-action-ep/
We are proud to present a 4-song EP of songs by the Italo Disco duo of Domenico Ricchini and Joe Garrasco. Domenico formed his first rock band in 1974, and four years later his first Disco band. During the early 80's he produced records under various names like Delanua, Bob Salton and Sylvi Foster. In 1983 he took the alias Joe Yellow and started recording with the producers Roberto Turatti and Miki Chieregato to release one of the biggest Italo Disco singles "Lover To Lover". In 1985 he teamed up with Joe Garrasco, a DJ at Free Club a Super Dancing Discotheque in Braone, Italy. Their first composition together was another hit single for Joe Yellow, “I’m Your Lover” released in 1986.
In Spring 1986 the duo began working on a new song for a yet unnamed side project. They spent a few days at 33 Studio in Milan and recorded “Love Sex For Sale” with Jimmy Mc Foy on vocals. This project was titled Garrasco’s and the single was released in 1986 on Fuori Di Testi. Unsatisfied with the mix, they booked a fresh session at Regson Studio in Milan to re-record the song. The result was re-naming the projecting Joe Garrasco & M.M. (for the band Marita - Marillena) and the song as “Action” released on Out Records in 1986. All four mixes display dark, driving melodies with surging synthesizers that build to a climax for the chorus. Jimmy sings back and forth between English and French about a finding love after a night of dancing under the moon. Both instrumental mixes display more adventurous electronic arrangements than their vocal counterparts. The Other Mix of “Love Sex For Sale” employs a vocoder spoken introduction that sounds like Vincent Price narrating a horror movie and showcases a female freestyle rap by backup singers Lidia Salvetti and Cristina Scara. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original cover art from both singles on the front and back plus a postcard with a photo and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/flying-marilyn-12/ Flying was the Italo Disco project of Marzio Benelli and Andrea Venturoli from Firenze, Italy. Marzio specialized in sound engineering at various recording studios in Milan throughout the early 1980s. He opened Emme Studio where we worked with major national and international artists as Claudio Baglioni, Renato Zero, Venditti, Marco Masini, Pieces, Mia Martini, Litfiba, Mick Ronson. In 1984 he met Andrea, a sound programmer who knew his way around analog synthesizers. Their first collaboration was that same year on the song “Computer Sourire” for Alexander Robotnick debut album.
In 1985 the duo recorded ‘Marilyn’, the debut single for the project Flying that was released the same year on Sound Of Italy. Their basic set up for recording was a PPG Wave 2.3 Synthesizer, Elka Synthex, Roland Jupiter-8, Roland TB-808 and TR-909 and a Gibson Les Paul guitar. They recruited producer Nicola Serena to program the DMX Oberheim drum machine. On vocals was Stefano “Fly” Matteoli, a DJ at discoteques Concorde and Sombrero in Tuscany. Backup Vocals were sisters Antonella Bianchi (Plustwo, Belen Thomas) and Marina Bianchi (Plustwo, Sue Sadlow), who was Marzio’s wife. Stefano confidently sings a haunting love story, full of tragic doubts and cruel dreams. Hand played percussion leads the song complemented by the keyboards that complete the infectious melody, with catchy hooks, and 4/4 beats that clock in at 100 beats per minute. On the B-side, the dubbed out 8 minute “Remix Version” makes use of the Publison Infernal Machine, an innovative multi-FX processor that was the first sampler to change the speed of a song without affecting pitch. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original iconic cover with misspelling of the title art plus a postcard with lyrics and with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/flying-marilyn-12/ Flying was the Italo Disco project of Marzio Benelli and Andrea Venturoli from Firenze, Italy. Marzio specialized in sound engineering at various recording studios in Milan throughout the early 1980s. He opened Emme Studio where we worked with major national and international artists as Claudio Baglioni, Renato Zero, Venditti, Marco Masini, Pieces, Mia Martini, Litfiba, Mick Ronson. In 1984 he met Andrea, a sound programmer who knew his way around analog synthesizers. Their first collaboration was that same year on the song “Computer Sourire” for Alexander Robotnick debut album.
In 1985 the duo recorded ‘Marilyn’, the debut single for the project Flying that was released the same year on Sound Of Italy. Their basic set up for recording was a PPG Wave 2.3 Synthesizer, Elka Synthex, Roland Jupiter-8, Roland TB-808 and TR-909 and a Gibson Les Paul guitar. They recruited producer Nicola Serena to program the DMX Oberheim drum machine. On vocals was Stefano “Fly” Matteoli, a DJ at discoteques Concorde and Sombrero in Tuscany. Backup Vocals were sisters Antonella Bianchi (Plustwo, Belen Thomas) and Marina Bianchi (Plustwo, Sue Sadlow), who was Marzio’s wife. Stefano confidently sings a haunting love story, full of tragic doubts and cruel dreams. Hand played percussion leads the song complemented by the keyboards that complete the infectious melody, with catchy hooks, and 4/4 beats that clock in at 100 beats per minute. On the B-side, the dubbed out 8 minute “Remix Version” makes use of the Publison Infernal Machine, an innovative multi-FX processor that was the first sampler to change the speed of a song without affecting pitch. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original iconic cover with misspelling of the title art plus a postcard with lyrics and with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/joe-garrasco-m-m-action-ep/ We are proud to present a 4-song EP of songs by the Italo Disco duo of Domenico Ricchini and Joe Garrasco. Domenico formed his first rock band in 1974, and four years later his first Disco band. During the early 80's he produced records under various names like Delanua, Bob Salton and Sylvi Foster. In 1983 he took the alias Joe Yellow and started recording with the producers Roberto Turatti and Miki Chieregato to release one of the biggest Italo Disco singles "Lover To Lover". In 1985 he teamed up with Joe Garrasco, a DJ at Free Club a Super Dancing Discotheque in Braone, Italy. Their first composition together was another hit single for Joe Yellow, “I’m Your Lover” released in 1986.
In Spring 1986 the duo began working on a new song for a yet unnamed side project. They spent a few days at 33 Studio in Milan and recorded “Love Sex For Sale” with Jimmy Mc Foy on vocals. This project was titled Garrasco’s and the single was released in 1986 on Fuori Di Testi. Unsatisfied with the mix, they booked a fresh session at Regson Studio in Milan to re-record the song. The result was re-naming the projecting Joe Garrasco & M.M. (for the band Marita - Marillena) and the song as “Action” released on Out Records in 1986. All four mixes display dark, driving melodies with surging synthesizers that build to a climax for the chorus. Jimmy sings back and forth between English and French about a finding love after a night of dancing under the moon. Both instrumental mixes display more adventurous electronic arrangements than their vocal counterparts. The Other Mix of “Love Sex For Sale” employs a vocoder spoken introduction that sounds like Vincent Price narrating a horror movie and showcases a female freestyle rap by backup singers Lidia Salvetti and Cristina Scara. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each record comes in a full color sleeve featuring the original cover art from both singles on the front and back plus a postcard with a photo and notes.
We are honored to release 'Dualism', the sophomore E.P. from contemporary Montreal-based duo, Solitary Dancer. They released an eponymously titled debut E.P. on Midland's label Graded in late 2016 after their track ‘Desire & Apathy’ was featured in his Essential Mix. They are known for their elegant, richly-sculpted sound design and knack for propulsive club rhythms that eschew rigid 4/4 drum patterns.
‘Dualism’ opens with “Anything”, equal parts Drexciya and Dopplereffekt — full of low-end bass stabs, blipping synths; swelling and washing to a cinematic close. For the first time on a Solitary Dancer record, vocals make an appearance in the guise of a male companion who’s lamenting a lost lover. “Losing Touch” takes a classic electro beat, and through the use of elegiac pad washes, distorted bass and menacing vocals, morphs into persistently engaging shapes. The B-side's "Emails 2 Myself" is a suspenseful corralling of intriguing sonic elements. Its fractured 707 beats combine with melancholic strings and features vocals by Marie Davidson, another core member of Montreal's creative electronic scene. “I can’t turn off my brain”, she delivers with deadpan accuracy about head games in the age of computer communication, before harmonizing octaves into majestic elegance. Also included is the instrumental version of “Emails”, accentuating the bass drum, snare, hi-hat and melodic synth tones, sailing into the subdued evening sun of the future.
All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring photographs by Scott Pilgrim, which explores themes of duality— an individual looking into a mirror, conjuring the image of a mannequin. A juxtaposition highlighting the ideal as the female self. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
We are honored to release 'Dualism', the sophomore E.P. from contemporary Montreal-based duo, Solitary Dancer. They released an eponymously titled debut E.P. on Midland's label Graded in late 2016 after their track ‘Desire & Apathy’ was featured in his Essential Mix. They are known for their elegant, richly-sculpted sound design and knack for propulsive club rhythms that eschew rigid 4/4 drum patterns.
‘Dualism’ opens with “Anything”, equal parts Drexciya and Dopplereffekt — full of low-end bass stabs, blipping synths; swelling and washing to a cinematic close. For the first time on a Solitary Dancer record, vocals make an appearance in the guise of a male companion who’s lamenting a lost lover. “Losing Touch” takes a classic electro beat, and through the use of elegiac pad washes, distorted bass and menacing vocals, morphs into persistently engaging shapes. The B-side's "Emails 2 Myself" is a suspenseful corralling of intriguing sonic elements. Its fractured 707 beats combine with melancholic strings and features vocals by Marie Davidson, another core member of Montreal's creative electronic scene. “I can’t turn off my brain”, she delivers with deadpan accuracy about head games in the age of computer communication, before harmonizing octaves into majestic elegance. Also included is the instrumental version of “Emails”, accentuating the bass drum, snare, hi-hat and melodic synth tones, sailing into the subdued evening sun of the future.
All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring photographs by Scott Pilgrim, which explores themes of duality— an individual looking into a mirror, conjuring the image of a mannequin. A juxtaposition highlighting the ideal as the female self. Each copy includes a double-sided postcard with notes.
We are honored to release 'Dualism', the sophomore E.P. from contemporary Montreal-based duo, Solitary Dancer. They released an eponymously titled debut E.P. on Midland's label Graded in late 2016 after their track ‘Desire & Apathy’ was featured in his Essential Mix. They are known for their elegant, richly-sculpted sound design and knack for propulsive club rhythms that eschew rigid 4/4 drum patterns.
‘Dualism’ opens with “Anything”, equal parts Drexciya and Dopplereffekt — full of low-end bass stabs, blipping synths; swelling and washing to a cinematic close. For the first time on a Solitary Dancer record, vocals make an appearance in the guise of a male companion who’s lamenting a lost lover. “Losing Touch” takes a classic electro beat, and through the use of elegiac pad washes, distorted bass and menacing vocals, morphs into persistently engaging shapes. The B-side's "Emails 2 Myself" is a suspenseful corralling of intriguing sonic elements. Its fractured 707 beats combine with melancholic strings and features vocals by Marie Davidson, another core member of Montreal's creative electronic scene. “I can’t turn off my brain”, she delivers with deadpan accuracy about head games in the age of computer communication, before harmonizing octaves into majestic elegance. Also included is the instrumental version of “Emails”, accentuating the bass drum, snare, hi-hat and melodic synth tones, sailing into the subdued evening sun of the future.
All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring photographs by Scott Pilgrim, which explores themes of duality— an individual looking into a mirror, conjuring the image of a mannequin. A juxtaposition highlighting the ideal as the female self. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
We are honored to release 'Dualism', the sophomore E.P. from contemporary Montreal-based duo, Solitary Dancer. They released an eponymously titled debut E.P. on Midland's label Graded in late 2016 after their track ‘Desire & Apathy’ was featured in his Essential Mix. They are known for their elegant, richly-sculpted sound design and knack for propulsive club rhythms that eschew rigid 4/4 drum patterns.
‘Dualism’ opens with “Anything”, equal parts Drexciya and Dopplereffekt — full of low-end bass stabs, blipping synths; swelling and washing to a cinematic close. For the first time on a Solitary Dancer record, vocals make an appearance in the guise of a male companion who’s lamenting a lost lover. “Losing Touch” takes a classic electro beat, and through the use of elegiac pad washes, distorted bass and menacing vocals, morphs into persistently engaging shapes. The B-side's "Emails 2 Myself" is a suspenseful corralling of intriguing sonic elements. Its fractured 707 beats combine with melancholic strings and features vocals by Marie Davidson, another core member of Montreal's creative electronic scene. “I can’t turn off my brain”, she delivers with deadpan accuracy about head games in the age of computer communication, before harmonizing octaves into majestic elegance. Also included is the instrumental version of “Emails”, accentuating the bass drum, snare, hi-hat and melodic synth tones, sailing into the subdued evening sun of the future.
All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring photographs by Scott Pilgrim, which explores themes of duality— an individual looking into a mirror, conjuring the image of a mannequin. A juxtaposition highlighting the ideal as the female self. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/helena-hauff-a-tape-2xlp/
We are honored to present ‘A Tape’, a double LP of early work by Helena Hauff, a DJ and record producer based in Hamburg, Germany. At university she studied fine art, physics, and systematic music science. She previously was a resident at Hamburg's Golden Pudel Club, where she hosted a night called Birds and Other Instruments. As a selector she weaves energetically between electro, new wave, and EBM. Her music, often recorded live in one take, has a raw intensity to it. She debuted with an EP on Werkdiscs back in 2013 followed by records for Lux_Rec and Bunker sublabel Panzerkreuz as well as two collaborative EPs for PAN, produced under the name Black Sites with fellow Pudel resident f#x.
‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
All songs have been mastered by James Plotkin with vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a checkered graphic and black lines, highlighted by yellow and green for maximum visual tension. Each copy includes a double-sided postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/from-nursery-to-misery-pixies-in-the-woods-lp/
From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens. Lee invited the twins to over to record some music with him, suggesting they try singing over some instrumentals he had written and recorded on a newly purchased 4-track. They played a sum total of four gigs before splitting in 1991. Their recorded output, however, was relatively prodigious, with the band appearing on over 22 compilations, as well as self-releasing two album-length tapes ‘The Oak Tree’ (1989), and ‘Equilibrium’ (1990), and a split EP with Germany’s Nostalgie Eternelle, ‘Art is the Tool’ (1990). All these releases were home-produced, hand-made cassettes distributed and swapped via the Mail Art scene.
‘Pixies In The Woods’ is a 13-track career spanning compilation including three previously unreleased tracks. Tracks range from no-fi synth pop overlaid with ethereal, child-like vocals, to audio collages of animal noises and harrowing, double-speed monologues. Lee’s expansive synth productions, informed by the Blade Runner soundtrack, early electro records, and 4AD acts like Dead Can Dance, provided a rich, spacious platform for Gina and Tina’s sung-spoken introspective lyrics. Their songs are disarmingly direct and unfiltered, the product of three self-confessed misfits exploring difficult, often intensely personal issues. As the band says, they just wanted to make pop music and FNTM is what came out.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a lavender tinted photograph of Gina and Tina. Each copy includes a glossy 8x11” photo of the twins as well as a 2-sided 18 x 24” fold-out poster with lyrics, artwork, and press clippings from the band’s archive. Also included is an essay by filmmaker Matthew Reed, who made a short film on FNTM in 2015.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/beranek-sound-of-danger-lp/
Espen Beranek Holm is a Norwegian musician and comedian, born in 1960 he began his music career as a clarinetist. Beranek was inspired by early synthesizer bands Kraftwerk and The Residents, leading him to create his own experimental music. His debut single “Dra te’ hælvete” was released in 1981 and immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, “Sound of Danger”, was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single’s fun, kitsch pop, the album is cool and static. Driven by metallic rhythm boxes, cold synths and stinging guitar. All of the songs are sung in English, in his best David Bowie accent, a rare occurrence in Norway at the time. Lyrics paint paranoid stories, full of melancholic, lingering emotions. There are also upbeat tracks that evoke a Prog Rock or Glam sensibility a la King Crimson, Alan Parsons or Roxy Music, creating a certain degree of balance.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black and white lines that evoke a Richter Scale drawing measuring and earthquake designed by Monica Moltzau. Each copy includes a 2-sided 8x11” insert with lyrics, and an autographed press photo of Beranek.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: www.darkentriesrecords.com/store/vinyl/silvia-silvia-lp/
Silvia is the name of a Neue Deutsche Welle (NDW "New German Wave”) project created Tommi Stumpff and Silvia Nemanic. The pair met in Düsseldorf in the late 1970s and started dating when Tommi was the singer of punk band Der KFC. Silvia was absolutely inexperienced in musical things, she said, “I’ve played the recorder.” Tommi rented Klangwerkstatt studio for a few days in January 1982 to record his an album with his bandmate Ferdinand Mackenthun aka Käpt’n Nuss of Der KFC, but finished earlier than expected. With one extra day that was already paid for, they quickly wrote some more songs and recorded them. All they needed was a singer, so they asked Silvia.
Simply titled “Silvia”, the record was released in mid-1982 on cult label Schallmauer Records, which had released many German punk, NDW, and New Wave records in the 80’s. Tommi and Käpt’n Nuss played all instruments and wrote the lyrics. Since Silvia had a very deep voice, Tommi slightly pitched up her vocals to sound higher on the recordings. The album displays Tommi’s transition from punk rock to cold electronics, EBM and eventually Techno. Tommi’s instrument set up was a Sequential Circuits Pro One and Moog Prodigy controlled by a Fricke sequencer and a Korg SQ-10 Analog Sequencer. Silvia urges the listener to save themselves and says “No miracle will happen You die tomorrow, young and guilty” evoking the urban Zeitgeist of the Cold War.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a full color of Silvia on the front with hand drawn magenta type. Each copy includes a replica insert of the original lyrics sheet in German and a postcard featuring a black and white photo of Tommi and Silvia. Sadly Silvia passed away in 2009 and this reissue is dedicated to her.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/night-moves-transdance-ep/
Dark Entries is proud to present all four mixes of “Transdance” by Night Moves as a tribute dedicated to the lives lost in the Oakland Ghost Ship fire on December 2, 2016. Night Moves was the brainchild of Michael Guihen, from South London. Inspired by seeing Tubeway Army perform on Top of the Pops in 1979 he placed an ad to form a synth-based band in the NME. In November 1980 he was introduced to Denis Haines, formerly Gary Numan’s keyboardist on the ‘Telekon’ album. Denis and Michael worked closely together, writing a number of backing tracks. One of these was the farewell song from Gary Numan to his band Tubeway Army, "Love Needs No Disguise”. In exchange for this backing track, Denis gave Michael the studio time needed to develop "Transdance".
The first version of "Transdance" was recorded in late Spring 1981 at Ridge Farm Studio in Surrey and within the week Michael had a recording deal with GC Recordings. This mix of "Transdance" was pressed onto a white label GC1 and was sent to clubs around Britain and Europe. In Summer 1981 he met John Davis aka John Darc also part West London’s New Romantic scene. They recorded the second mix of "Transdance" at Matrix Studios in London early 1982, and John added the new bass line. This was titled “U.K. Disco Mix” and released by GC Records. On this mix the backing vocals were sung by Eve Goddard, Adam Ant's ex-wife. In March 1983 Michael and John turned to New York's budding Electro & Hip Hop scenes to have Jay Burnett remix the “New York Disco Mix”. Back in London, the duo disappeared into the cutting rooms at Utopia studios with Francis Usmar and emerged with the final dub edit “Robot Rock”. All three later mixes were programmed with a Roland TR-808, some live drums, and one homemade handclap machine. "Transdance" was embraced by Chicago’s WBMX, Hot Mix 5 and Ron Hardy as well in New York at Larry Levan’s Paradise Garage and Tony Humphries’ Club Zanzibar in New Jersey. It is considered a blueprint that traces the line from UK Synthpop to Chicago House and Detroit Techno.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photograph of two mannequins dancing set against a cantaloupe hue. Each copy includes a 2-sided 11” square insert with lyrics and drawings of all 36 victims of the Oakland Ghost Ship fire. Also included is a 6 page booklet with liner notes, original press kit sheets and photographs from the band’s archive. 100% of all profits will be donated to the Oakland Fire Immediate Relief Fund.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/night-moves-transdance-ep/
Dark Entries is proud to present all four mixes of “Transdance” by Night Moves as a tribute dedicated to the lives lost in the Oakland Ghost Ship fire on December 2, 2016. Night Moves was the brainchild of Michael Guihen, from South London. Inspired by seeing Tubeway Army perform on Top of the Pops in 1979 he placed an ad to form a synth-based band in the NME. In November 1980 he was introduced to Denis Haines, formerly Gary Numan’s keyboardist on the ‘Telekon’ album. Denis and Michael worked closely together, writing a number of backing tracks. One of these was the farewell song from Gary Numan to his band Tubeway Army, "Love Needs No Disguise”. In exchange for this backing track, Denis gave Michael the studio time needed to develop "Transdance".
The first version of "Transdance" was recorded in late Spring 1981 at Ridge Farm Studio in Surrey and within the week Michael had a recording deal with GC Recordings. This mix of "Transdance" was pressed onto a white label GC1 and was sent to clubs around Britain and Europe. In Summer 1981 he met John Davis aka John Darc also part West London’s New Romantic scene. They recorded the second mix of "Transdance" at Matrix Studios in London early 1982, and John added the new bass line. This was titled “U.K. Disco Mix” and released by GC Records. On this mix the backing vocals were sung by Eve Goddard, Adam Ant's ex-wife. In March 1983 Michael and John turned to New York's budding Electro & Hip Hop scenes to have Jay Burnett remix the “New York Disco Mix”. Back in London, the duo disappeared into the cutting rooms at Utopia studios with Francis Usmar and emerged with the final dub edit “Robot Rock”. All three later mixes were programmed with a Roland TR-808, some live drums, and one homemade handclap machine. "Transdance" was embraced by Chicago’s WBMX, Hot Mix 5 and Ron Hardy as well in New York at Larry Levan’s Paradise Garage and Tony Humphries’ Club Zanzibar in New Jersey. It is considered a blueprint that traces the line from UK Synthpop to Chicago House and Detroit Techno.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photograph of two mannequins dancing set against a cantaloupe hue. Each copy includes a 2-sided 11” square insert with lyrics and drawings of all 36 victims of the Oakland Ghost Ship fire. Also included is a 6 page booklet with liner notes, original press kit sheets and photographs from the band’s archive. 100% of all profits will be donated to the Oakland Fire Immediate Relief Fund.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/night-moves-transdance-ep/
Dark Entries is proud to present all four mixes of “Transdance” by Night Moves as a tribute dedicated to the lives lost in the Oakland Ghost Ship fire on December 2, 2016. Night Moves was the brainchild of Michael Guihen, from South London. Inspired by seeing Tubeway Army perform on Top of the Pops in 1979 he placed an ad to form a synth-based band in the NME. In November 1980 he was introduced to Denis Haines, formerly Gary Numan’s keyboardist on the ‘Telekon’ album. Denis and Michael worked closely together, writing a number of backing tracks. One of these was the farewell song from Gary Numan to his band Tubeway Army, "Love Needs No Disguise”. In exchange for this backing track, Denis gave Michael the studio time needed to develop "Transdance".
The first version of "Transdance" was recorded in late Spring 1981 at Ridge Farm Studio in Surrey and within the week Michael had a recording deal with GC Recordings. This mix of "Transdance" was pressed onto a white label GC1 and was sent to clubs around Britain and Europe. In Summer 1981 he met John Davis aka John Darc also part West London’s New Romantic scene. They recorded the second mix of "Transdance" at Matrix Studios in London early 1982, and John added the new bass line. This was titled “U.K. Disco Mix” and released by GC Records. On this mix the backing vocals were sung by Eve Goddard, Adam Ant's ex-wife. In March 1983 Michael and John turned to New York's budding Electro & Hip Hop scenes to have Jay Burnett remix the “New York Disco Mix”. Back in London, the duo disappeared into the cutting rooms at Utopia studios with Francis Usmar and emerged with the final dub edit “Robot Rock”. All three later mixes were programmed with a Roland TR-808, some live drums, and one homemade handclap machine. "Transdance" was embraced by Chicago’s WBMX, Hot Mix 5 and Ron Hardy as well in New York at Larry Levan’s Paradise Garage and Tony Humphries’ Club Zanzibar in New Jersey. It is considered a blueprint that traces the line from UK Synthpop to Chicago House and Detroit Techno.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photograph of two mannequins dancing set against a cantaloupe hue. Each copy includes a 2-sided 11” square insert with lyrics and drawings of all 36 victims of the Oakland Ghost Ship fire. Also included is a 6 page booklet with liner notes, original press kit sheets and photographs from the band’s archive. 100% of all profits will be donated to the Oakland Fire Immediate Relief Fund.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/night-moves-transdance-ep/
Dark Entries is proud to present all four mixes of “Transdance” by Night Moves as a tribute dedicated to the lives lost in the Oakland Ghost Ship fire on December 2, 2016. Night Moves was the brainchild of Michael Guihen, from South London. Inspired by seeing Tubeway Army perform on Top of the Pops in 1979 he placed an ad to form a synth-based band in the NME. In November 1980 he was introduced to Denis Haines, formerly Gary Numan’s keyboardist on the ‘Telekon’ album. Denis and Michael worked closely together, writing a number of backing tracks. One of these was the farewell song from Gary Numan to his band Tubeway Army, "Love Needs No Disguise”. In exchange for this backing track, Denis gave Michael the studio time needed to develop "Transdance".
The first version of "Transdance" was recorded in late Spring 1981 at Ridge Farm Studio in Surrey and within the week Michael had a recording deal with GC Recordings. This mix of "Transdance" was pressed onto a white label GC1 and was sent to clubs around Britain and Europe. In Summer 1981 he met John Davis aka John Darc also part West London’s New Romantic scene. They recorded the second mix of "Transdance" at Matrix Studios in London early 1982, and John added the new bass line. This was titled “U.K. Disco Mix” and released by GC Records. On this mix the backing vocals were sung by Eve Goddard, Adam Ant's ex-wife. In March 1983 Michael and John turned to New York's budding Electro & Hip Hop scenes to have Jay Burnett remix the “New York Disco Mix”. Back in London, the duo disappeared into the cutting rooms at Utopia studios with Francis Usmar and emerged with the final dub edit “Robot Rock”. All three later mixes were programmed with a Roland TR-808, some live drums, and one homemade handclap machine. "Transdance" was embraced by Chicago’s WBMX, Hot Mix 5 and Ron Hardy as well in New York at Larry Levan’s Paradise Garage and Tony Humphries’ Club Zanzibar in New Jersey. It is considered a blueprint that traces the line from UK Synthpop to Chicago House and Detroit Techno.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photograph of two mannequins dancing set against a cantaloupe hue. Each copy includes a 2-sided 11” square insert with lyrics and drawings of all 36 victims of the Oakland Ghost Ship fire. Also included is a 6 page booklet with liner notes, original press kit sheets and photographs from the band’s archive. 100% of all profits will be donated to the Oakland Fire Immediate Relief Fund.
As the owner of Dark Entries, one of the most prolific reissue labels around, Josh Cheon has cemented himself as one of the world’s most knowledgeable experts of italo disco, industrial, post-punk and oddball early electronics. The San Francisco resident is also a key member of Honey Soundsystem, the label and party who celebrates the true roots of disco and house, without resorting to pastiche or imitation. We spoke to Cheon about where his unconventional tastes emerged from, life in San Francisco and what we can look forward to from Dark Entries in 2017. He's also put together an 80 minute, vinyl-only mix of some wonderfully outlandish music. Read more: https://www.mixcloud.com/stampthewax/diggers-directory-josh-cheeon/
Rich La Bonte - Chance Circumstance Magnus II - Roctronic Virna Lindt - Groom Flying - Marylin Krootchy - Hot Voodoo Dub Takis - Takis Beat Shohreh - Rosva Two - Regime Angela - I Gotta Little Love Wax - Wax Dance Process Blue - Control Panel Aaron-Carl - Wash It! Rupaul - Mr. Totally Alesia Cosmos - So Far The Body Electric - Zanzibar Stano - Seance of a Klondike Raw - Desertland The Arms of Someone New - The Turning Beranek - Search Animation - Genevieve S- Haters - Industry & Nature
De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He’s released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.
While Beau was visiting Brussels he stopped by Maoupa’s house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.“Crepes” is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.
All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.
De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He’s released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.
While Beau was visiting Brussels he stopped by Maoupa’s house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.“Crepes” is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.
All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.
De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He’s released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.
While Beau was visiting Brussels he stopped by Maoupa’s house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.“Crepes” is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.
All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-neon-judgement-cockerill-sombre-ep/
The Neon Judgement hail from the small town of Leuven near Brussels, Belgium and gave birth to the New Beat and EBM scenes worldwide with the release of their first two cassettes ‘Suffering’ (1981) and ‘TV Treated’ (1982). Always a consistent duo of Dirk Da Davo (synthesizers, vocals) and TB Frank (guitar, drum machine, vocals) The Neon Judgment worked in a parallel world alongside Suicide, Cabaret Voltaire, and the Deutsche Neue Welle.
In 1983 they released the infamous 4-song ‘Cockerill-Sombre’ EP containing the dance-floor smash “The Fashion Party” on Anything But Records. Dirk Da Davo says, “First we recorded and mixed the drum parts and effects on 4-track, then we bounced this mix to 2 tracks again what left us with 2 more channels to use for vocals and additional instruments.” Veering between minimalistic industrial drones, odd new wave-ish synth pop and dance music, underlain by cold, mechanical rhythms. The band combine brash and seedy lyrics, with raw synthesizer stabs and repetitive drum machine beats both aggressive and danceable. ‘Cockerill-Sombre’ was recorded in a small basement room under the watchful eyes of Ludo Camerberlin from A Blaze Colour.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photo of the duo performing live. Each copy includes a 2-sided 11” square insert with photos of the band, lyrics, and liner notes by Dirk Da Davo.
De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He’s released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.
While Beau was visiting Brussels he stopped by Maoupa’s house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.“Crepes” is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.
All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.
De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He’s released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.
While Beau was visiting Brussels he stopped by Maoupa’s house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.“Crepes” is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.
All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.
De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He’s released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.
While Beau was visiting Brussels he stopped by Maoupa’s house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.“Crepes” is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.
All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-eyes-of-glass-12/
East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single “Eyes Of Glass”, which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. “Eyes Of Glass” is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari’s coy vocals cast a spell on the listener as she weaves a story about lost love and “bitter tears”. Included here are the original extended 12” mix and instrumental version with mid-song breakdown and dubbed out chorus.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a photo of a boy by Pushe 27. Each copy includes a 2-sided postcard with photos of the band, lyrics, and liner notes by Flemming Dalum.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/kirlian-camera-helden-platz-12/
Dark Entries is proud to release “Helden Platz”, a long out of print 12” maxi single from seminal Italian electronic act Kirlian Camera. Keyboardist/vocalist Angelo Bergamini founded the project in Parma in 1979 and named it after an electronic device that photographs the electromagnetic halo around objects and living beings. By 1980, Angelo had recruited singer Simona Buja, keyboardist Fabrizio Chiari, and bassist Mauro Montacchini. Their demo cassette, “Dawn”, attracted the attention of Italian Records, a popular independent label. Over the next few years the band would release their first mini-LP, “Kirlian Camera”, the full length “ It Doesn't Matter, Now”, and the singles “Communicate,” “Edges,” and “Blue Room”. The latter was a significant hit, eventually landing them a deal with Virgin Records.
By 1987 the line up consisted of Angelo Bergamini on all instruments, Charlie Mallozzi on electronic drums and Simona Buja on vocals. Virgin wanted the band to provide another hit single in order to exploit the success of “Blue Room", refusing to release the band's less commercial material. In 1987 the band went Lark Studio at Carimate Castle, Italy to record with Italo disco producer Oderso Rubini. Thanks to the insistence of Bergamini, the label agreed to release “Helden Platz”, German for “Heroes' Square,” in 1987. The song features Kirlian Camera’s brand of dark wave, marked by haunting melodies, slow moving synth washes, and orchestral strings. The song features the stark, dramatic vocals of Simona Buja, who sings about the “Blue blood of Winter” in a tale of Germany and Austria during World War II. Included here is the extended 12” mix, the 7" edit, plus the original B-side “Burial”, an instrumental that evokes a funeral procession soundtrack.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a photo of a headstone from Zentralfriedhof Cemetery in Vienna. Each copy includes a 2-sided postcard with lyrics and photos of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-eyes-of-glass-12/
East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single “Eyes Of Glass”, which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. “Eyes Of Glass” is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari’s coy vocals cast a spell on the listener as she weaves a story about lost love and “bitter tears”. Included here are the original extended 12” mix and instrumental version with mid-song breakdown and dubbed out chorus.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a photo of a boy by Pushe 27. Each copy includes a 2-sided postcard with photos of the band, lyrics, and liner notes by Flemming Dalum.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/kirlian-camera-helden-platz-12/
Dark Entries is proud to release “Helden Platz”, a long out of print 12” maxi single from seminal Italian electronic act Kirlian Camera. Keyboardist/vocalist Angelo Bergamini founded the project in Parma in 1979 and named it after an electronic device that photographs the electromagnetic halo around objects and living beings. By 1980, Angelo had recruited singer Simona Buja, keyboardist Fabrizio Chiari, and bassist Mauro Montacchini. Their demo cassette, “Dawn”, attracted the attention of Italian Records, a popular independent label. Over the next few years the band would release their first mini-LP, “Kirlian Camera”, the full length “ It Doesn't Matter, Now”, and the singles “Communicate,” “Edges,” and “Blue Room”. The latter was a significant hit, eventually landing them a deal with Virgin Records.
By 1987 the line up consisted of Angelo Bergamini on all instruments, Charlie Mallozzi on electronic drums and Simona Buja on vocals. Virgin wanted the band to provide another hit single in order to exploit the success of “Blue Room", refusing to release the band's less commercial material. In 1987 the band went Lark Studio at Carimate Castle, Italy to record with Italo disco producer Oderso Rubini. Thanks to the insistence of Bergamini, the label agreed to release “Helden Platz”, German for “Heroes' Square,” in 1987. The song features Kirlian Camera’s brand of dark wave, marked by haunting melodies, slow moving synth washes, and orchestral strings. The song features the stark, dramatic vocals of Simona Buja, who sings about the “Blue blood of Winter” in a tale of Germany and Austria during World War II. Included here is the extended 12” mix, the 7" edit, plus the original B-side “Burial”, an instrumental that evokes a funeral procession soundtrack.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a photo of a headstone from Zentralfriedhof Cemetery in Vienna. Each copy includes a 2-sided postcard with lyrics and photos of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/kirlian-camera-helden-platz-12/
Dark Entries is proud to release “Helden Platz”, a long out of print 12” maxi single from seminal Italian electronic act Kirlian Camera. Keyboardist/vocalist Angelo Bergamini founded the project in Parma in 1979 and named it after an electronic device that photographs the electromagnetic halo around objects and living beings. By 1980, Angelo had recruited singer Simona Buja, keyboardist Fabrizio Chiari, and bassist Mauro Montacchini. Their demo cassette, “Dawn”, attracted the attention of Italian Records, a popular independent label. Over the next few years the band would release their first mini-LP, “Kirlian Camera”, the full length “ It Doesn't Matter, Now”, and the singles “Communicate,” “Edges,” and “Blue Room”. The latter was a significant hit, eventually landing them a deal with Virgin Records.
By 1987 the line up consisted of Angelo Bergamini on all instruments, Charlie Mallozzi on electronic drums and Simona Buja on vocals. Virgin wanted the band to provide another hit single in order to exploit the success of “Blue Room", refusing to release the band's less commercial material. In 1987 the band went Lark Studio at Carimate Castle, Italy to record with Italo disco producer Oderso Rubini. Thanks to the insistence of Bergamini, the label agreed to release “Helden Platz”, German for “Heroes' Square,” in 1987. The song features Kirlian Camera’s brand of dark wave, marked by haunting melodies, slow moving synth washes, and orchestral strings. The song features the stark, dramatic vocals of Simona Buja, who sings about the “Blue blood of Winter” in a tale of Germany and Austria during World War II. Included here is the extended 12” mix, the 7" edit, plus the original B-side “Burial”, an instrumental that evokes a funeral procession soundtrack.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a photo of a headstone from Zentralfriedhof Cemetery in Vienna. Each copy includes a 2-sided postcard with lyrics and photos of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-silence-2xlp/
East Wall was an Italian electronic dark wave band started by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. They released their debut single “Eyes Of Glass” in 1985 which had huge success in Germany, leading to a deal with ZYX.
By 1991 the band consisted of Fabrizio Chiari (Synthesizer, Electronics, Keyboards), Tiziana Wells (Vocals, Synthesizer) and Angelo Bergamini (Synthesizer, Piano, Arrangement). At the beginning of the year, they recorded their next batch of songs at Prominence Studio in Cremona and A Love Sound Studio in Piacenza. "Silence" was self released by the band in 1991. The lead track “Silence” was a left-over song by Kirlian Camera recorded in 1985 with vocals by Simona Buja under the alias Lorenza Larini. It was recorded largely using a variety of now-classic Roland, Yamaha, and Oberheim synthesizers. The album displays East Wall’s maturity and unique aesthetics, with instrumental pieces reminiscent of Angelo Badalamenti’ Twin Peaks score. Tiziana Wells sings with pure emotion, hypnotic at times, upbeat and carefree at others. Frankie Teardrop (of the Wierd party and the Systems of Romance blog) describes this album as "possibly the closest thing to darkwave freestyle that exists.” We decided to expand the album, releasing it as a deluxe double LP cut louder at 45 RPM. We have also included an unreleased extended version of “Ice Of Fire” and the bonus track “Intro”, found on the DAT tapes Fabrizio Chiari sent us.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a dramatically lit photograph of the band by Andrea Gambetta. Each copy includes an 11x11 double-sided insert with photos of the band, lyrics, and liner notes by Intergalactic Gary, who’s Despair Mix turned us onto to this album.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-eyes-of-glass-12/
East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single “Eyes Of Glass”, which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. “Eyes Of Glass” is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari’s coy vocals cast a spell on the listener as she weaves a story about lost love and “bitter tears”. Included here are the original extended 12” mix and instrumental version with mid-song breakdown and dubbed out chorus.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a photo of a boy by Pushe 27. Each copy includes a 2-sided postcard with photos of the band, lyrics, and liner notes by Flemming Dalum.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/east-wall-eyes-of-glass-12/
East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single “Eyes Of Glass”, which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. “Eyes Of Glass” is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari’s coy vocals cast a spell on the listener as she weaves a story about lost love and “bitter tears”. Included here are the original extended 12” mix and instrumental version with mid-song breakdown and dubbed out chorus.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a photo of a boy by Pushe 27. Each copy includes a 2-sided postcard with photos of the band, lyrics, and liner notes by Flemming Dalum.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL http://www.darkentriesrecords.com/store/vinyl/smersh-selected-deep-house-anthems-ep/
Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the ‘Deep House Anthems’ cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again.
By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. “Some of those [subsequent] tapes there were less than 10 copies that got made because nobody wanted them. They couldn’t get reviewed,” says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh’s sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For ‘Selected Deep House Anthems’ we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.
Each song has been carefully remastered from the cassette originals for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the ‘Deep House Anthems’ sleeve which designer Eloise Leigh modified using art motifs and textures sourced from the original cassette, plus an oversized postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cupol-like-this-for-ages-ep/
Cupol was an English post-punk band that formed during Wire's 1980-1984 hiatus. The duo consisted of Bruce Gilbert (guitar, vocals, synthesizer) and Graham Lewis (bass, vocals, synthesizer). Building on Wire’s more experimental work, their dark, minimal pieces were devoid of pop structure and filled with atmospheric twists. Having already established the side project Dome, the name Cupol came from "cupola”, following an architectural theme.
The "Like This For Ages” EP was an homage to the Master Musicians of Joujouka, released in 1980 on 4AD. The A-side, "Like This For Ages", is a concise four and a half minutes of crunchy synth sounds, pained vocals, and eerie atmospheres. The B-side, "Kluba Cupol" is an instrumental percussion-driven companion piece full of trance-inducing rhythms that stretches over 20 minutes. “What sounded oddly danceable on the A-side becomes bleak and cold, putting this more in line with Current 93, Sleep Chamber, and other purveyors of ritual industrial and dark ambient. "Kluba Cupol" can even be considered the first example of isolationist music.”, Richie Troughton describes. The title 'Kluba Cupol' was inspired by current affairs. "It was an anagram of Kabul,” says Graham Lewis. We’ve included three bonus tracks to the A-side for the first time on vinyl, Gilbert and Lewis’ sole John Peel session from 1980.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of of the original jacket featuring a painting of Bruce Gilbert’s, inspired by Arabic mosaic. Each copy includes a double sided insert designed by Eloise Leigh with with liner notes by Graham Lewis and Cupol collaborator and photographer Russell Mills. Also included are two color postcards of Cupol performing live at Notre Dame Hall in 1980 taken by Mills.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL http://www.darkentriesrecords.com/store/vinyl/smersh-selected-deep-house-anthems-ep/
Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the ‘Deep House Anthems’ cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again.
By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. “Some of those [subsequent] tapes there were less than 10 copies that got made because nobody wanted them. They couldn’t get reviewed,” says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh’s sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For ‘Selected Deep House Anthems’ we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.
Each song has been carefully remastered from the cassette originals for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the ‘Deep House Anthems’ sleeve which designer Eloise Leigh modified using art motifs and textures sourced from the original cassette, plus an oversized postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL http://www.darkentriesrecords.com/store/vinyl/smersh-selected-deep-house-anthems-ep/
Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the ‘Deep House Anthems’ cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again.
By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. “Some of those [subsequent] tapes there were less than 10 copies that got made because nobody wanted them. They couldn’t get reviewed,” says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh’s sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For ‘Selected Deep House Anthems’ we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.
Each song has been carefully remastered from the cassette originals for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the ‘Deep House Anthems’ sleeve which designer Eloise Leigh modified using art motifs and textures sourced from the original cassette, plus an oversized postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL http://www.darkentriesrecords.com/store/vinyl/smersh-selected-deep-house-anthems-ep/
Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the ‘Deep House Anthems’ cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again.
By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. “Some of those [subsequent] tapes there were less than 10 copies that got made because nobody wanted them. They couldn’t get reviewed,” says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh’s sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For ‘Selected Deep House Anthems’ we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.
Each song has been carefully remastered from the cassette originals for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the ‘Deep House Anthems’ sleeve which designer Eloise Leigh modified using art motifs and textures sourced from the original cassette, plus an oversized postcard with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cupol-like-this-for-ages-ep/
Cupol was an English post-punk band that formed during Wire's 1980-1984 hiatus. The duo consisted of Bruce Gilbert (guitar, vocals, synthesizer) and Graham Lewis (bass, vocals, synthesizer). Building on Wire’s more experimental work, their dark, minimal pieces were devoid of pop structure and filled with atmospheric twists. Having already established the side project Dome, the name Cupol came from "cupola”, following an architectural theme.
The "Like This For Ages” EP was an homage to the Master Musicians of Joujouka, released in 1980 on 4AD. The A-side, "Like This For Ages", is a concise four and a half minutes of crunchy synth sounds, pained vocals, and eerie atmospheres. The B-side, "Kluba Cupol" is an instrumental percussion-driven companion piece full of trance-inducing rhythms that stretches over 20 minutes. “What sounded oddly danceable on the A-side becomes bleak and cold, putting this more in line with Current 93, Sleep Chamber, and other purveyors of ritual industrial and dark ambient. "Kluba Cupol" can even be considered the first example of isolationist music.”, Richie Troughton describes. The title 'Kluba Cupol' was inspired by current affairs. "It was an anagram of Kabul,” says Graham Lewis. We’ve included three bonus tracks to the A-side for the first time on vinyl, Gilbert and Lewis’ sole John Peel session from 1980.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of of the original jacket featuring a painting of Bruce Gilbert’s, inspired by Arabic mosaic. Each copy includes a double sided insert designed by Eloise Leigh with with liner notes by Graham Lewis and Cupol collaborator and photographer Russell Mills. Also included are two color postcards of Cupol performing live at Notre Dame Hall in 1980 taken by Mills.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cupol-like-this-for-ages-ep/
Cupol was an English post-punk band that formed during Wire's 1980-1984 hiatus. The duo consisted of Bruce Gilbert (guitar, vocals, synthesizer) and Graham Lewis (bass, vocals, synthesizer). Building on Wire’s more experimental work, their dark, minimal pieces were devoid of pop structure and filled with atmospheric twists. Having already established the side project Dome, the name Cupol came from "cupola”, following an architectural theme.
The "Like This For Ages” EP was an homage to the Master Musicians of Joujouka, released in 1980 on 4AD. The A-side, "Like This For Ages", is a concise four and a half minutes of crunchy synth sounds, pained vocals, and eerie atmospheres. The B-side, "Kluba Cupol" is an instrumental percussion-driven companion piece full of trance-inducing rhythms that stretches over 20 minutes. “What sounded oddly danceable on the A-side becomes bleak and cold, putting this more in line with Current 93, Sleep Chamber, and other purveyors of ritual industrial and dark ambient. "Kluba Cupol" can even be considered the first example of isolationist music.”, Richie Troughton describes. The title 'Kluba Cupol' was inspired by current affairs. "It was an anagram of Kabul,” says Graham Lewis. We’ve included three bonus tracks to the A-side for the first time on vinyl, Gilbert and Lewis’ sole John Peel session from 1980.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of of the original jacket featuring a painting of Bruce Gilbert’s, inspired by Arabic mosaic. Each copy includes a double sided insert designed by Eloise Leigh with with liner notes by Graham Lewis and Cupol collaborator and photographer Russell Mills. Also included are two color postcards of Cupol performing live at Notre Dame Hall in 1980 taken by Mills.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cupol-like-this-for-ages-ep/
Cupol was an English post-punk band that formed during Wire's 1980-1984 hiatus. The duo consisted of Bruce Gilbert (guitar, vocals, synthesizer) and Graham Lewis (bass, vocals, synthesizer). Building on Wire’s more experimental work, their dark, minimal pieces were devoid of pop structure and filled with atmospheric twists. Having already established the side project Dome, the name Cupol came from "cupola”, following an architectural theme.
The "Like This For Ages” EP was an homage to the Master Musicians of Joujouka, released in 1980 on 4AD. The A-side, "Like This For Ages", is a concise four and a half minutes of crunchy synth sounds, pained vocals, and eerie atmospheres. The B-side, "Kluba Cupol" is an instrumental percussion-driven companion piece full of trance-inducing rhythms that stretches over 20 minutes. “What sounded oddly danceable on the A-side becomes bleak and cold, putting this more in line with Current 93, Sleep Chamber, and other purveyors of ritual industrial and dark ambient. "Kluba Cupol" can even be considered the first example of isolationist music.”, Richie Troughton describes. The title 'Kluba Cupol' was inspired by current affairs. "It was an anagram of Kabul,” says Graham Lewis. We’ve included three bonus tracks to the A-side for the first time on vinyl, Gilbert and Lewis’ sole John Peel session from 1980.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of of the original jacket featuring a painting of Bruce Gilbert’s, inspired by Arabic mosaic. Each copy includes a double sided insert designed by Eloise Leigh with with liner notes by Graham Lewis and Cupol collaborator and photographer Russell Mills. Also included are two color postcards of Cupol performing live at Notre Dame Hall in 1980 taken by Mills.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cupol-like-this-for-ages-ep/
Cupol was an English post-punk band that formed during Wire's 1980-1984 hiatus. The duo consisted of Bruce Gilbert (guitar, vocals, synthesizer) and Graham Lewis (bass, vocals, synthesizer). Building on Wire’s more experimental work, their dark, minimal pieces were devoid of pop structure and filled with atmospheric twists. Having already established the side project Dome, the name Cupol came from "cupola”, following an architectural theme.
The "Like This For Ages” EP was an homage to the Master Musicians of Joujouka, released in 1980 on 4AD. The A-side, "Like This For Ages", is a concise four and a half minutes of crunchy synth sounds, pained vocals, and eerie atmospheres. The B-side, "Kluba Cupol" is an instrumental percussion-driven companion piece full of trance-inducing rhythms that stretches over 20 minutes. “What sounded oddly danceable on the A-side becomes bleak and cold, putting this more in line with Current 93, Sleep Chamber, and other purveyors of ritual industrial and dark ambient. "Kluba Cupol" can even be considered the first example of isolationist music.”, Richie Troughton describes. The title 'Kluba Cupol' was inspired by current affairs. "It was an anagram of Kabul,” says Graham Lewis. We’ve included three bonus tracks to the A-side for the first time on vinyl, Gilbert and Lewis’ sole John Peel session from 1980.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of of the original jacket featuring a painting of Bruce Gilbert’s, inspired by Arabic mosaic. Each copy includes a double sided insert designed by Eloise Leigh with with liner notes by Graham Lewis and Cupol collaborator and photographer Russell Mills. Also included are two color postcards of Cupol performing live at Notre Dame Hall in 1980 taken by Mills.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lena-platonos-sun-masks-lp/
Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation.
Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or “sun masks”. Each copy includes a two-sided 11”x11” insert with lyrics in both Greek with English, and liner notes by Lena.
A mix made entirely of songs featuring deceased musicians in remembrance of their talents. Alegebra Suicide -Lethargy (demo version) Dead Or Alive - The Stranger Ski Patrol - Extinguish (Dub) 3 Teens Kill 4 - Circumscript Big Ben Tribe Tarzan Loves the Summer Nights Psyche - Eye Of The Hurricane Smersh - Out Demon Out Severed Heads - Petrol (Version 1985) Boytronic You (12" Dance Floor Remix) xex - Fun In The Sun Los Microwaves - Postponed Is Not Forgotten Shoc Corridor - In An Empty Room Moral -On Serial Rendau Patrick Cowley feat. Candida Royalle - Elementals Second Layer - Black Flowers
RIP: Adrian Borland, Ingolf Brown, Lydia Tomkiw ,Todd Rosa, Pete Burns, David Wojnarowicz, Doug Bressler, Patrick Cowley, Candida Royalle, Ian Lowery, Stefano Previsti, Dwayne Goettel , Chris Sheppard, Robert Racic, Peter Sawatzki, Andy Garnham, Larry Baczeski
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Patrick Cowley is an electronic music trailblazer and a revolutionary in the canon of disco music. He created his an original brand of Hi-NRG dance music, "The San Francisco Sound." Born in Buffalo, NY Patrick moved to San Francisco in 1971 at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. The Lab was interested in creating sounds that mimicked nature, like drops or birds, and also very unnatural sounds unattainable any other way. Patrick was a young alchemist discovering new elements all around him. He would layer experimental soundtracks by blending various types of music and adapting them to the synthesizer.
In 1972 Patrick was living in the Haight-Ashbury neighborhood with some friends from back east. Through these roommates he met Candice Vadalla, a singer, actress and art student from Queens, NY. Candice would later take the stage name Candida Royalle becoming a pornographic film actress, a producer and director of feminist erotic films, and a sex educator actress before passing away on September 7, 2015. Candice was performing in shows with Cockettes splinter troupe The Angels of Light as well as performance projects Warped Floors and White Trash Boom Boom she formed with friends. Patrick arranged, embellished and recorded music pieces for these theatrical performances in his bedroom studio. Candice, meanwhile, played both musical muse and sex goddess to Patrick. Playfully enamored with each other, the pair became occasional lovers, the sexual energy fueling their musical collaborations and improvisations. In the collection of pieces compiled here, Candice’s sweet, melodic and playful voice hints at the more public persona she would cultivate as Candida Royalle. Influenced by Tomita and Wendy Carlos, Patrick crafted his electronic sound from synthesizers (Serge modular, Electrocomp system, Arp 2600), percussion, modified guitars, and hand-built equipment. Candice’s multi-octave range chirps, soars, and growls, going into operatic staccato runs a la Yma Sumac and ‘Illuminations’ era Buffy Sainte-Marie. The vocals add an organic, human element and at times lyrics can be deciphered such as in alchemic adaptation of the Latin hymn “Tantum Ergo.” As a bonus included is the sultry, jazzy “Tomato Song” that Candice sang a capella for the Angels of Light ‘Kitsch-On Show’ in 1973.
Featuring over 30 minutes of music recorded between 1973-75 found on tapes in Maurice Tani’s attic. All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features an alluring photo of Candida seductively sprawled with a broken Virgin Mary statue around her head, originally commissioned by Jorge Socarras for an Indoor Life single, and shot by Arne Svenson. Each copy includes a 16-page booklet with never-seen-before photos, interviews and liner notes from Patrick and Candida’s friends, roommates and musical collaborators. Released on the week of Patrick (Oct 19) and Candida’s (Oct 15) 66th birthday, “Candida Cosmica” presents a glimpse into the liberated, playful wonderland that San Francisco was at the time. These recordings shine a new light on the early experimental collaborations of a disco legend and of a feminist pioneer who were taken too soon.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/patrick-cowley-candida-royalle-candida-cosmica-ep/
Patrick Cowley is an electronic music trailblazer and a revolutionary in the canon of disco music. He created his an original brand of Hi-NRG dance music, "The San Francisco Sound." Born in Buffalo, NY Patrick moved to San Francisco in 1971 at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. The Lab was interested in creating sounds that mimicked nature, like drops or birds, and also very unnatural sounds unattainable any other way. Patrick was a young alchemist discovering new elements all around him. He would layer experimental soundtracks by blending various types of music and adapting them to the synthesizer.
In 1972 Patrick was living in the Haight-Ashbury neighborhood with some friends from back east. Through these roommates he met Candice Vadalla, a singer, actress and art student from Queens, NY. Candice would later take the stage name Candida Royalle becoming a pornographic film actress, a producer and director of feminist erotic films, and a sex educator actress before passing away on September 7, 2015. Candice was performing in shows with Cockettes splinter troupe The Angels of Light as well as performance projects Warped Floors and White Trash Boom Boom she formed with friends. Patrick arranged, embellished and recorded music pieces for these theatrical performances in his bedroom studio. Candice, meanwhile, played both musical muse and sex goddess to Patrick. Playfully enamored with each other, the pair became occasional lovers, the sexual energy fueling their musical collaborations and improvisations. In the collection of pieces compiled here, Candice’s sweet, melodic and playful voice hints at the more public persona she would cultivate as Candida Royalle. Influenced by Tomita and Wendy Carlos, Patrick crafted his electronic sound from synthesizers (Serge modular, Electrocomp system, Arp 2600), percussion, modified guitars, and hand-built equipment. Candice’s multi-octave range chirps, soars, and growls, going into operatic staccato runs a la Yma Sumac and ‘Illuminations’ era Buffy Sainte-Marie. The vocals add an organic, human element and at times lyrics can be deciphered such as in alchemic adaptation of the Latin hymn “Tantum Ergo.” As a bonus included is the sultry, jazzy “Tomato Song” that Candice sang a capella for the Angels of Light ‘Kitsch-On Show’ in 1973.
Featuring over 30 minutes of music recorded between 1973-75 found on tapes in Maurice Tani’s attic. All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features an alluring photo of Candida seductively sprawled with a broken Virgin Mary statue around her head, originally commissioned by Jorge Socarras for an Indoor Life single, and shot by Arne Svenson. Each copy includes a 16-page booklet with never-seen-before photos, interviews and liner notes from Patrick and Candida’s friends, roommates and musical collaborators. Released on the week of Patrick (Oct 19) and Candida’s (Oct 15) 66th birthday, “Candida Cosmica” presents a glimpse into the liberated, playful wonderland that San Francisco was at the time. These recordings shine a new light on the early experimental collaborations of a disco legend and of a feminist pioneer who were taken too soon.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/patrick-cowley-candida-royalle-candida-cosmica-ep/
Patrick Cowley is an electronic music trailblazer and a revolutionary in the canon of disco music. He created his an original brand of Hi-NRG dance music, "The San Francisco Sound." Born in Buffalo, NY Patrick moved to San Francisco in 1971 at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. The Lab was interested in creating sounds that mimicked nature, like drops or birds, and also very unnatural sounds unattainable any other way. Patrick was a young alchemist discovering new elements all around him. He would layer experimental soundtracks by blending various types of music and adapting them to the synthesizer.
In 1972 Patrick was living in the Haight-Ashbury neighborhood with some friends from back east. Through these roommates he met Candice Vadalla, a singer, actress and art student from Queens, NY. Candice would later take the stage name Candida Royalle becoming a pornographic film actress, a producer and director of feminist erotic films, and a sex educator actress before passing away on September 7, 2015. Candice was performing in shows with Cockettes splinter troupe The Angels of Light as well as performance projects Warped Floors and White Trash Boom Boom she formed with friends. Patrick arranged, embellished and recorded music pieces for these theatrical performances in his bedroom studio. Candice, meanwhile, played both musical muse and sex goddess to Patrick. Playfully enamored with each other, the pair became occasional lovers, the sexual energy fueling their musical collaborations and improvisations. In the collection of pieces compiled here, Candice’s sweet, melodic and playful voice hints at the more public persona she would cultivate as Candida Royalle. Influenced by Tomita and Wendy Carlos, Patrick crafted his electronic sound from synthesizers (Serge modular, Electrocomp system, Arp 2600), percussion, modified guitars, and hand-built equipment. Candice’s multi-octave range chirps, soars, and growls, going into operatic staccato runs a la Yma Sumac and ‘Illuminations’ era Buffy Sainte-Marie. The vocals add an organic, human element and at times lyrics can be deciphered such as in alchemic adaptation of the Latin hymn “Tantum Ergo.” As a bonus included is the sultry, jazzy “Tomato Song” that Candice sang a capella for the Angels of Light ‘Kitsch-On Show’ in 1973.
Featuring over 30 minutes of music recorded between 1973-75 found on tapes in Maurice Tani’s attic. All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features an alluring photo of Candida seductively sprawled with a broken Virgin Mary statue around her head, originally commissioned by Jorge Socarras for an Indoor Life single, and shot by Arne Svenson. Each copy includes a 16-page booklet with never-seen-before photos, interviews and liner notes from Patrick and Candida’s friends, roommates and musical collaborators. Released on the week of Patrick (Oct 19) and Candida’s (Oct 15) 66th birthday, “Candida Cosmica” presents a glimpse into the liberated, playful wonderland that San Francisco was at the time. These recordings shine a new light on the early experimental collaborations of a disco legend and of a feminist pioneer who were taken too soon.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/patrick-cowley-candida-royalle-candida-cosmica-ep/
Patrick Cowley is an electronic music trailblazer and a revolutionary in the canon of disco music. He created his an original brand of Hi-NRG dance music, "The San Francisco Sound." Born in Buffalo, NY Patrick moved to San Francisco in 1971 at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. The Lab was interested in creating sounds that mimicked nature, like drops or birds, and also very unnatural sounds unattainable any other way. Patrick was a young alchemist discovering new elements all around him. He would layer experimental soundtracks by blending various types of music and adapting them to the synthesizer.
In 1972 Patrick was living in the Haight-Ashbury neighborhood with some friends from back east. Through these roommates he met Candice Vadalla, a singer, actress and art student from Queens, NY. Candice would later take the stage name Candida Royalle becoming a pornographic film actress, a producer and director of feminist erotic films, and a sex educator actress before passing away on September 7, 2015. Candice was performing in shows with Cockettes splinter troupe The Angels of Light as well as performance projects Warped Floors and White Trash Boom Boom she formed with friends. Patrick arranged, embellished and recorded music pieces for these theatrical performances in his bedroom studio. Candice, meanwhile, played both musical muse and sex goddess to Patrick. Playfully enamored with each other, the pair became occasional lovers, the sexual energy fueling their musical collaborations and improvisations. In the collection of pieces compiled here, Candice’s sweet, melodic and playful voice hints at the more public persona she would cultivate as Candida Royalle. Influenced by Tomita and Wendy Carlos, Patrick crafted his electronic sound from synthesizers (Serge modular, Electrocomp system, Arp 2600), percussion, modified guitars, and hand-built equipment. Candice’s multi-octave range chirps, soars, and growls, going into operatic staccato runs a la Yma Sumac and ‘Illuminations’ era Buffy Sainte-Marie. The vocals add an organic, human element and at times lyrics can be deciphered such as in alchemic adaptation of the Latin hymn “Tantum Ergo.” As a bonus included is the sultry, jazzy “Tomato Song” that Candice sang a capella for the Angels of Light ‘Kitsch-On Show’ in 1973.
Featuring over 30 minutes of music recorded between 1973-75 found on tapes in Maurice Tani’s attic. All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features an alluring photo of Candida seductively sprawled with a broken Virgin Mary statue around her head, originally commissioned by Jorge Socarras for an Indoor Life single, and shot by Arne Svenson. Each copy includes a 16-page booklet with never-seen-before photos, interviews and liner notes from Patrick and Candida’s friends, roommates and musical collaborators. Released on the week of Patrick (Oct 19) and Candida’s (Oct 15) 66th birthday, “Candida Cosmica” presents a glimpse into the liberated, playful wonderland that San Francisco was at the time. These recordings shine a new light on the early experimental collaborations of a disco legend and of a feminist pioneer who were taken too soon.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/patrick-cowley-candida-royalle-candida-cosmica-ep/
Patrick Cowley is an electronic music trailblazer and a revolutionary in the canon of disco music. He created his an original brand of Hi-NRG dance music, "The San Francisco Sound." Born in Buffalo, NY Patrick moved to San Francisco in 1971 at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. The Lab was interested in creating sounds that mimicked nature, like drops or birds, and also very unnatural sounds unattainable any other way. Patrick was a young alchemist discovering new elements all around him. He would layer experimental soundtracks by blending various types of music and adapting them to the synthesizer.
In 1972 Patrick was living in the Haight-Ashbury neighborhood with some friends from back east. Through these roommates he met Candice Vadalla, a singer, actress and art student from Queens, NY. Candice would later take the stage name Candida Royalle becoming a pornographic film actress, a producer and director of feminist erotic films, and a sex educator actress before passing away on September 7, 2015. Candice was performing in shows with Cockettes splinter troupe The Angels of Light as well as performance projects Warped Floors and White Trash Boom Boom she formed with friends. Patrick arranged, embellished and recorded music pieces for these theatrical performances in his bedroom studio. Candice, meanwhile, played both musical muse and sex goddess to Patrick. Playfully enamored with each other, the pair became occasional lovers, the sexual energy fueling their musical collaborations and improvisations. In the collection of pieces compiled here, Candice’s sweet, melodic and playful voice hints at the more public persona she would cultivate as Candida Royalle. Influenced by Tomita and Wendy Carlos, Patrick crafted his electronic sound from synthesizers (Serge modular, Electrocomp system, Arp 2600), percussion, modified guitars, and hand-built equipment. Candice’s multi-octave range chirps, soars, and growls, going into operatic staccato runs a la Yma Sumac and ‘Illuminations’ era Buffy Sainte-Marie. The vocals add an organic, human element and at times lyrics can be deciphered such as in alchemic adaptation of the Latin hymn “Tantum Ergo.” As a bonus included is the sultry, jazzy “Tomato Song” that Candice sang a capella for the Angels of Light ‘Kitsch-On Show’ in 1973.
Featuring over 30 minutes of music recorded between 1973-75 found on tapes in Maurice Tani’s attic. All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features an alluring photo of Candida seductively sprawled with a broken Virgin Mary statue around her head, originally commissioned by Jorge Socarras for an Indoor Life single, and shot by Arne Svenson. Each copy includes a 16-page booklet with never-seen-before photos, interviews and liner notes from Patrick and Candida’s friends, roommates and musical collaborators. Released on the week of Patrick (Oct 19) and Candida’s (Oct 15) 66th birthday, “Candida Cosmica” presents a glimpse into the liberated, playful wonderland that San Francisco was at the time. These recordings shine a new light on the early experimental collaborations of a disco legend and of a feminist pioneer who were taken too soon.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/die-form-zoo-lp/
Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.
In 1982 Die Form released their debut vinyl album, “Die Puppe” in a limited edition of 1,000 copies. “Zoo” is a compilation of 10 tracks recorded during the “Die Puppe” sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7” to accompany the 1989 vinyl reissue of “Die Puppe” but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/diseno-corbusier-stadia-lp/
Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”.
The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/bocal-5-musique-electronique-lp/
Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."
“Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-pool-dance-it-downjamaica-running-ep
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960’s in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.
In 1983, “Dance It Down/Jamaica Running” 12” EP was released on Moment Productions. Based on response from D.J.’s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of “Dance It Down” came out of the studio as “Dance In Dub”, with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we’ve added two bonus European remixes from the 1984 12” of “Dance It Down/Jamaica Running”, released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-pool-dance-it-downjamaica-running-ep
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960’s in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.
In 1983, “Dance It Down/Jamaica Running” 12” EP was released on Moment Productions. Based on response from D.J.’s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of “Dance It Down” came out of the studio as “Dance In Dub”, with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we’ve added two bonus European remixes from the 1984 12” of “Dance It Down/Jamaica Running”, released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-pool-dance-it-downjamaica-running-ep
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960’s in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.
In 1983, “Dance It Down/Jamaica Running” 12” EP was released on Moment Productions. Based on response from D.J.’s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of “Dance It Down” came out of the studio as “Dance In Dub”, with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we’ve added two bonus European remixes from the 1984 12” of “Dance It Down/Jamaica Running”, released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-pool-dance-it-downjamaica-running-ep
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960’s in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.
In 1983, “Dance It Down/Jamaica Running” 12” EP was released on Moment Productions. Based on response from D.J.’s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of “Dance It Down” came out of the studio as “Dance In Dub”, with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we’ve added two bonus European remixes from the 1984 12” of “Dance It Down/Jamaica Running”, released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-pool-dance-it-downjamaica-running-ep
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960’s in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.
In 1983, “Dance It Down/Jamaica Running” 12” EP was released on Moment Productions. Based on response from D.J.’s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of “Dance It Down” came out of the studio as “Dance In Dub”, with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we’ve added two bonus European remixes from the 1984 12” of “Dance It Down/Jamaica Running”, released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/the-pool-dance-it-downjamaica-running-ep
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960’s in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.
In 1983, “Dance It Down/Jamaica Running” 12” EP was released on Moment Productions. Based on response from D.J.’s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of “Dance It Down” came out of the studio as “Dance In Dub”, with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we’ve added two bonus European remixes from the 1984 12” of “Dance It Down/Jamaica Running”, released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/jago-im-going-to-go-12/
Jago was the studio project of Michele Violante created in Milan, Italy in 1983. The line-up also included Luciana Cirrillo aka Kynsha, who wrote lyrics and sang back up vocals. The name Jago comes from Iago, the main antagonist in Shakespeare's ‘Othello’. In those years, Michele produced a lot of songs and published material for Full Time Records.
“I’m Going To Go” was recorded at Forum Studio in Rome in 1983 and released on Full Time the same year. He made an electro-funk demo with a Gibson Les Paul, but during practice the song became soulful funk but arranged with new wave electronics. The song revolves around a slick atmospheric bassline, driving electronic percussion, and tight rhythm guitar and synths. The setup for the recording was a Casiotone MT-40 keyboard, Boss DR-55 and Sequential Circuits Drumtraks drum machines, an Akai cassette recorder, and a Revox A77 for multi-tracking. Lead vocals were done by session musician Bruno Kassar, delivering Kynsha’s playful lyrics along to the lead melody. Also on the A-side is the Instrumental Version which became a hit in New York after Larry Levan played it repeatedly at the Paradise Garage. Full Time asked Levan's long time friend Frankie Knuckles to make a remix. It was released in 1985 as the “Plant Mix”, and is included here on the B-side. This was Frankie’s first released remix, although the record label misspelled his name as ’Frankye'. The remix clocks in at over 8 minutes, and is a dub edit made using the stereo master of the instrumental track.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the purple and blue color scheme of the original Full Time label. Each copy includes a double-sided postcard insert with lyrics, notes, and a never seen before photo of Kynsha from 1982.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/jago-im-going-to-go-12/
Jago was the studio project of Michele Violante created in Milan, Italy in 1983. The line-up also included Luciana Cirrillo aka Kynsha, who wrote lyrics and sang back up vocals. The name Jago comes from Iago, the main antagonist in Shakespeare's ‘Othello’. In those years, Michele produced a lot of songs and published material for Full Time Records.
“I’m Going To Go” was recorded at Forum Studio in Rome in 1983 and released on Full Time the same year. He made an electro-funk demo with a Gibson Les Paul, but during practice the song became soulful funk but arranged with new wave electronics. The song revolves around a slick atmospheric bassline, driving electronic percussion, and tight rhythm guitar and synths. The setup for the recording was a Casiotone MT-40 keyboard, Boss DR-55 and Sequential Circuits Drumtraks drum machines, an Akai cassette recorder, and a Revox A77 for multi-tracking. Lead vocals were done by session musician Bruno Kassar, delivering Kynsha’s playful lyrics along to the lead melody. Also on the A-side is the Instrumental Version which became a hit in New York after Larry Levan played it repeatedly at the Paradise Garage. Full Time asked Levan's long time friend Frankie Knuckles to make a remix. It was released in 1985 as the “Plant Mix”, and is included here on the B-side. This was Frankie’s first released remix, although the record label misspelled his name as ’Frankye'. The remix clocks in at over 8 minutes, and is a dub edit made using the stereo master of the instrumental track.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the purple and blue color scheme of the original Full Time label. Each copy includes a double-sided postcard insert with lyrics, notes, and a never seen before photo of Kynsha from 1982.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/jago-im-going-to-go-12/
Jago was the studio project of Michele Violante created in Milan, Italy in 1983. The line-up also included Luciana Cirrillo aka Kynsha, who wrote lyrics and sang back up vocals. The name Jago comes from Iago, the main antagonist in Shakespeare's ‘Othello’. In those years, Michele produced a lot of songs and published material for Full Time Records.
“I’m Going To Go” was recorded at Forum Studio in Rome in 1983 and released on Full Time the same year. He made an electro-funk demo with a Gibson Les Paul, but during practice the song became soulful funk but arranged with new wave electronics. The song revolves around a slick atmospheric bassline, driving electronic percussion, and tight rhythm guitar and synths. The setup for the recording was a Casiotone MT-40 keyboard, Boss DR-55 and Sequential Circuits Drumtraks drum machines, an Akai cassette recorder, and a Revox A77 for multi-tracking. Lead vocals were done by session musician Bruno Kassar, delivering Kynsha’s playful lyrics along to the lead melody. Also on the A-side is the Instrumental Version which became a hit in New York after Larry Levan played it repeatedly at the Paradise Garage. Full Time asked Levan's long time friend Frankie Knuckles to make a remix. It was released in 1985 as the “Plant Mix”, and is included here on the B-side. This was Frankie’s first released remix, although the record label misspelled his name as ’Frankye'. The remix clocks in at over 8 minutes, and is a dub edit made using the stereo master of the instrumental track.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the purple and blue color scheme of the original Full Time label. Each copy includes a double-sided postcard insert with lyrics, notes, and a never seen before photo of Kynsha from 1982.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/zwischenfall-sandy-eyes-ep/
Zwischenfall formed in Belgium in 1982 with Michael Sass (synths), Martin Urban (bass/vocals) and Stephan Kraemer (guitar/drums). They were united by their interest in combining electronic and traditional instruments, which developed the basis for 1982 demo recordings. By chance Patrick Codenys of the Belgian electro pioneers Front 242, heard two songs and decided to record a 4-song EP. The “Heute” EP was released in 1983 after a week of recording in Front 242's private studio under the direction of sound-whiz Daniel B.
In 1984 Martin Urban left the band and was replaced by vocalist Iben Larssen and bassist Thomas Kürsten. They recorded their second 12” single, “Sandy Eyes”, which contained a remake of their song “Flucht”, sung in the English this time. Some fairly revolutionary techniques were used, including the introduction of sampling (with an Emulator I and Ensoniq Mirage), and ‘gated reverb’, in which the sound of a large reverb room was processed through a Yamaha CS15's envelope follower. This record was originally released in 1984 on both Les Disques du Crépuscule and Fuzz Dance, packaged in three different covers. Our reissue EP features two bonus tracks from the 1984 recording sessions previously unreleased on vinyl: the saxophone drenched instrumental “Polar Magazine” and street beat dance track “Sacred Time”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the magenta and yellow color scheme of the Fuzz Dance release. Each copy includes a double-sided insert with lyrics, notes, and never seen before photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/wanexa-the-man-from-colours-12/
Gianluigi “Gigi” Farina and Francesco Rago are to be counted among Italo disco's true originators. Operating as a duo under many monikers, they brought us masterpieces such as Wanexa's “The Man From Colours”, ‘Lectric Workers' “Robot Is Systematic”, and Decadance's “On And On”. Their sound is propulsive and ethereal in equal measure - dense, psychedelic, and tinged with melancholy.
“The Man From Colours” was recorded in Milan in 1982 and released on Discomagic Records the same year. The song’s music was composed by Rago and Farina, with lyrics written by Xenia Monneret who was only 16 at the time. Mournful synth pads are buoyed by an 808 groove, while Lyana Galis provides haunting vocals, singing of a man who will bring color to this grey world. “The Man From Colours” was influential on early House and Techno music thanks to support from WBMX in Chicago and and WJLB in Detroit. It was later a cornerstone in the 90's Hague electro scene, frequently appearing in DJ sets by I-F and Intergalactic Gary. On the B-side is the instrumental version with extended breaks, drum claps and additional vocoder verses. There is a slight warble in the beginning of each version that was due to the band re-recording multiple takes on the same reel of tape.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the pink and green color scheme of the original Discomagic Records label. Each copy includes a double-sided postcard insert with lyrics, notes, and a never seen before photo from a fashion show.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/zwischenfall-sandy-eyes-ep/
Zwischenfall formed in Belgium in 1982 with Michael Sass (synths), Martin Urban (bass/vocals) and Stephan Kraemer (guitar/drums). They were united by their interest in combining electronic and traditional instruments, which developed the basis for 1982 demo recordings. By chance Patrick Codenys of the Belgian electro pioneers Front 242, heard two songs and decided to record a 4-song EP. The “Heute” EP was released in 1983 after a week of recording in Front 242's private studio under the direction of sound-whiz Daniel B.
In 1984 Martin Urban left the band and was replaced by vocalist Iben Larssen and bassist Thomas Kürsten. They recorded their second 12” single, “Sandy Eyes”, which contained a remake of their song “Flucht”, sung in the English this time. Some fairly revolutionary techniques were used, including the introduction of sampling (with an Emulator I and Ensoniq Mirage), and ‘gated reverb’, in which the sound of a large reverb room was processed through a Yamaha CS15's envelope follower. This record was originally released in 1984 on both Les Disques du Crépuscule and Fuzz Dance, packaged in three different covers. Our reissue EP features two bonus tracks from the 1984 recording sessions previously unreleased on vinyl: the saxophone drenched instrumental “Polar Magazine” and street beat dance track “Sacred Time”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the magenta and yellow color scheme of the Fuzz Dance release. Each copy includes a double-sided insert with lyrics, notes, and never seen before photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/wanexa-the-man-from-colours-12/
Gianluigi “Gigi” Farina and Francesco Rago are to be counted among Italo disco's true originators. Operating as a duo under many monikers, they brought us masterpieces such as Wanexa's “The Man From Colours”, ‘Lectric Workers' “Robot Is Systematic”, and Decadance's “On And On”. Their sound is propulsive and ethereal in equal measure - dense, psychedelic, and tinged with melancholy.
“The Man From Colours” was recorded in Milan in 1982 and released on Discomagic Records the same year. The song’s music was composed by Rago and Farina, with lyrics written by Xenia Monneret who was only 16 at the time. Mournful synth pads are buoyed by an 808 groove, while Lyana Galis provides haunting vocals, singing of a man who will bring color to this grey world. “The Man From Colours” was influential on early House and Techno music thanks to support from WBMX in Chicago and and WJLB in Detroit. It was later a cornerstone in the 90's Hague electro scene, frequently appearing in DJ sets by I-F and Intergalactic Gary. On the B-side is the instrumental version with extended breaks, drum claps and additional vocoder verses. There is a slight warble in the beginning of each version that was due to the band re-recording multiple takes on the same reel of tape.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the pink and green color scheme of the original Discomagic Records label. Each copy includes a double-sided postcard insert with lyrics, notes, and a never seen before photo from a fashion show.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/zwischenfall-sandy-eyes-ep/
Zwischenfall formed in Belgium in 1982 with Michael Sass (synths), Martin Urban (bass/vocals) and Stephan Kraemer (guitar/drums). They were united by their interest in combining electronic and traditional instruments, which developed the basis for 1982 demo recordings. By chance Patrick Codenys of the Belgian electro pioneers Front 242, heard two songs and decided to record a 4-song EP. The “Heute” EP was released in 1983 after a week of recording in Front 242's private studio under the direction of sound-whiz Daniel B.
In 1984 Martin Urban left the band and was replaced by vocalist Iben Larssen and bassist Thomas Kürsten. They recorded their second 12” single, “Sandy Eyes”, which contained a remake of their song “Flucht”, sung in the English this time. Some fairly revolutionary techniques were used, including the introduction of sampling (with an Emulator I and Ensoniq Mirage), and ‘gated reverb’, in which the sound of a large reverb room was processed through a Yamaha CS15's envelope follower. This record was originally released in 1984 on both Les Disques du Crépuscule and Fuzz Dance, packaged in three different covers. Our reissue EP features two bonus tracks from the 1984 recording sessions previously unreleased on vinyl: the saxophone drenched instrumental “Polar Magazine” and street beat dance track “Sacred Time”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the magenta and yellow color scheme of the Fuzz Dance release. Each copy includes a double-sided insert with lyrics, notes, and never seen before photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/zwischenfall-sandy-eyes-ep/
Zwischenfall formed in Belgium in 1982 with Michael Sass (synths), Martin Urban (bass/vocals) and Stephan Kraemer (guitar/drums). They were united by their interest in combining electronic and traditional instruments, which developed the basis for 1982 demo recordings. By chance Patrick Codenys of the Belgian electro pioneers Front 242, heard two songs and decided to record a 4-song EP. The “Heute” EP was released in 1983 after a week of recording in Front 242's private studio under the direction of sound-whiz Daniel B.
In 1984 Martin Urban left the band and was replaced by vocalist Iben Larssen and bassist Thomas Kürsten. They recorded their second 12” single, “Sandy Eyes”, which contained a remake of their song “Flucht”, sung in the English this time. Some fairly revolutionary techniques were used, including the introduction of sampling (with an Emulator I and Ensoniq Mirage), and ‘gated reverb’, in which the sound of a large reverb room was processed through a Yamaha CS15's envelope follower. This record was originally released in 1984 on both Les Disques du Crépuscule and Fuzz Dance, packaged in three different covers. Our reissue EP features two bonus tracks from the 1984 recording sessions previously unreleased on vinyl: the saxophone drenched instrumental “Polar Magazine” and street beat dance track “Sacred Time”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the magenta and yellow color scheme of the Fuzz Dance release. Each copy includes a double-sided insert with lyrics, notes, and never seen before photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/expansives-life-with-you-12/
Gianluigi “Gigi” Farina and Francesco Rago are to be counted among Italo disco's true originators. Operating as a duo under many monikers, they brought us masterpieces such as Wanexa's “The Man From Colours”, ‘Lectric Workers' “Robot Is Systematic”, and Decadance's “On And On”. Their sound is propulsive and ethereal in equal measure - dense, psychedelic, and tinged with melancholy. Their first composition was under the name Expansives.
“Life With You” was recorded in Milan in 1981 and released on Leader Records in 1982, and features then 16-year old Xenia Monneret on lyric-writing duties. They wanted to incorporate a more electronic sound to break the classic disco mold, and in the process, they created an early, raw example of what would come to be known as Italo Disco. A thumping bass synth and processed drums set the groove, while Francesco sings of his loneliness. Tension is released when he later breaks into a Bee Gees-esque falsetto, but in the context of such an unusual song, the uncanny becomes familiar, the familiar becomes uncanny. Unfortunately they were not able to afford a professional recording studio and had to re-record each take over the same reel of tape. This caused a subtle surface noise buzz that adds to the warm analog feel of the song. On the B-side is the instrumental version with extended breaks, drum claps and dubbed out bass lines.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the orange and green color scheme of the original. Each copy includes a double-side postcard insert with lyrics, notes, and a never seen before photo from a fashion show.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/expansives-life-with-you-12/
Gianluigi “Gigi” Farina and Francesco Rago are to be counted among Italo disco's true originators. Operating as a duo under many monikers, they brought us masterpieces such as Wanexa's “The Man From Colours”, ‘Lectric Workers' “Robot Is Systematic”, and Decadance's “On And On”. Their sound is propulsive and ethereal in equal measure - dense, psychedelic, and tinged with melancholy. Their first composition was under the name Expansives.
“Life With You” was recorded in Milan in 1981 and released on Leader Records in 1982, and features then 16-year old Xenia Monneret on lyric-writing duties. They wanted to incorporate a more electronic sound to break the classic disco mold, and in the process, they created an early, raw example of what would come to be known as Italo Disco. A thumping bass synth and processed drums set the groove, while Francesco sings of his loneliness. Tension is released when he later breaks into a Bee Gees-esque falsetto, but in the context of such an unusual song, the uncanny becomes familiar, the familiar becomes uncanny. Unfortunately they were not able to afford a professional recording studio and had to re-record each take over the same reel of tape. This caused a subtle surface noise buzz that adds to the warm analog feel of the song. On the B-side is the instrumental version with extended breaks, drum claps and dubbed out bass lines.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the orange and green color scheme of the original. Each copy includes a double-side postcard insert with lyrics, notes, and a never seen before photo from a fashion show.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/executive-slacks-seams-ruff-lp-flexi-disc/
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s.
In 2014 we reissued their 4-song debut EP from 1982 and asked the band if they had any demos. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. "Seams Ruff" is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire, SPK and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks' unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by John Young and features an xeroxed black and white photo of the group taken by Daniel Perry. Each copy includes an 11x11 double sided hand-drawn insert by Matt Marello with lyrics, photos and a collage from the band’s archives.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/nagamaztu-above-this-noise-lp/
Nagamatzu were the British duo of Andrew Lagowski (SETI, Legion, Terror Against Terror) on synths, guitar, and programming and Stephen Jarvis (Pure Motorised Instinct, Terraform) on synths and bass. Formed in 1982 after messing around with old tape machines and drum boxes, making numerous contributions to international compilations and erratically releasing their own cassettes. Their name comes from a character in JG Ballard‘s “Atrocity Exhibition” and their music reflects his influence. Nagamatzu self-released their debut cassette “Shatter Days” in 1983 after messing around with old tape machines, drum boxes and effects.
“Above This Noise” is a compilation of 9 songs recorded in the period between the release of ‘Sacred Islands of the Mad’ in 1986 and ‘Igniting the Corpse’ in 1991. It gathers tracks which surfaced on some of the international compilation cassette releases that the band were invited to contribute to in the 1980s as well as some previously unreleased songs. The band’s working method was for Andrew to first record a backing track, usually rhythm, sequence, samples. Then both members would layer more electronics, samples, guitar and bass over the top, recording the whole piece in one take. These instrumentals combine stuttering bass, guitar bursts and funeral keyboards draped over a dragging drum machine beat, calling to mind Clock DVA, early New Order or Cocteau Twins. Their sound is full of complex rhythm patterns and dark electronics.
All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket silver and black designed by Eloise Leigh. Each LP includes a fold out poster with liner notes by Stephen Jarvis and an early gig flyer. Finally rescued from the UK D.I.Y. cassette underground and restored, “Above This Noise” presents 9 Nagamaztu tracks for the first time ever on vinyl.
BUY VINYL: http://www.darkentriesrecords.com/store/dark-entries/bill-converse-warehouse-invocation-12-ep/
Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. “Warehouse Invocation” is Converse’s debut 12″ release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, “Warehouse Invocation”, “Senys Magick” and “Consulted Acid”, were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. “Riverbank” was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala.
BUY VINYL: http://www.darkentriesrecords.com/store/dark-entries/bill-converse-warehouse-invocation-12-ep/
Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. “Warehouse Invocation” is Converse’s debut 12″ release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, “Warehouse Invocation”, “Senys Magick” and “Consulted Acid”, were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. “Riverbank” was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala.
BUY VINYL: http://www.darkentriesrecords.com/store/dark-entries/bill-converse-warehouse-invocation-12-ep/
Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. “Warehouse Invocation” is Converse’s debut 12″ release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, “Warehouse Invocation”, “Senys Magick” and “Consulted Acid”, were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. “Riverbank” was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala.
BUY VINYL: http://www.darkentriesrecords.com/store/dark-entries/bill-converse-warehouse-invocation-12-ep/
Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. “Warehouse Invocation” is Converse’s debut 12″ release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, “Warehouse Invocation”, “Senys Magick” and “Consulted Acid”, were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. “Riverbank” was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala.
BUY VINYL: http://www.darkentriesrecords.com/store/dark-entries/bill-converse-warehouse-invocation-12-ep/
Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. “Warehouse Invocation” is Converse’s debut 12″ release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, “Warehouse Invocation”, “Senys Magick” and “Consulted Acid”, were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. “Riverbank” was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/series-a-evolution-%E2%81%B5-technology-12/
Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.
In 1987, Series-A recorded the single “Evolution ⁵ Technology” at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7” Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/series-a-evolution-%E2%81%B5-technology-12/
Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.
In 1987, Series-A recorded the single “Evolution ⁵ Technology” at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7” Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/series-a-evolution-%E2%81%B5-technology-12/
Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.
In 1987, Series-A recorded the single “Evolution ⁵ Technology” at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7” Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/axodry-you-12/
Axodry was the duo of Andreas “Talla 2XLC" Tomalla and Ralf "Ra/Hen" Henrich formed in Frankfurt, Germany in 1982. The two met at City Music record store where Talla 2XLC worked and supplied the local DJ scene with dance 12”s. From 1984 to 1991 they released six maxi 12” singles. Both members were leading figures in the European electronic scene during the 80's and 90’s, forming bands like Bigod 20, Tribantura, Micro Chip League, Moskwa TV, Pluuto and Robotiko Rejekto.
In 1988 they released the maxi 12” single “You” on ZYX Records/Combeat. Influenced by Depeche Mode, Gary Numan and John Foxx, the duo crafted their own brand of Industrial, Synth Pop and Electronic Body Music. Their basic set up for recording songs at RaHen’s home studio was a Moog Rouge, Roland SH-101, Teisco synthesizer, Linn Drum and Fricke sequencer. Ra/Hen tackles vocal duties and sings about longing for a lost love. Included on this reissue are the Beauty & The Beat Mix and Beasty Dub Mix from the 1988 single. On the flip is the slightly sped up Razormaid Remix, performed by Art Maharg and Joseph Watt, that originally appeared on the "Welcome To The Technodrome” compilation in 1989. Also included is “Mechanic”, originally released in 1991 as the B-side for their final single “Losing You”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original black and blue cover art with hand-painted typography by Dr. Draw, The Gruesome Grapholoic. Each copy includes a postcard with with notes. What Else Is There To Say?
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/axodry-you-12/
Axodry was the duo of Andreas “Talla 2XLC" Tomalla and Ralf "Ra/Hen" Henrich formed in Frankfurt, Germany in 1982. The two met at City Music record store where Talla 2XLC worked and supplied the local DJ scene with dance 12”s. From 1984 to 1991 they released six maxi 12” singles. Both members were leading figures in the European electronic scene during the 80's and 90’s, forming bands like Bigod 20, Tribantura, Micro Chip League, Moskwa TV, Pluuto and Robotiko Rejekto.
In 1988 they released the maxi 12” single “You” on ZYX Records/Combeat. Influenced by Depeche Mode, Gary Numan and John Foxx, the duo crafted their own brand of Industrial, Synth Pop and Electronic Body Music. Their basic set up for recording songs at RaHen’s home studio was a Moog Rouge, Roland SH-101, Teisco synthesizer, Linn Drum and Fricke sequencer. Ra/Hen tackles vocal duties and sings about longing for a lost love. Included on this reissue are the Beauty & The Beat Mix and Beasty Dub Mix from the 1988 single. On the flip is the slightly sped up Razormaid Remix, performed by Art Maharg and Joseph Watt, that originally appeared on the "Welcome To The Technodrome” compilation in 1989. Also included is “Mechanic”, originally released in 1991 as the B-side for their final single “Losing You”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original black and blue cover art with hand-painted typography by Dr. Draw, The Gruesome Grapholoic. Each copy includes a postcard with with notes. What Else Is There To Say?
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/axodry-you-12/
Axodry was the duo of Andreas “Talla 2XLC" Tomalla and Ralf "Ra/Hen" Henrich formed in Frankfurt, Germany in 1982. The two met at City Music record store where Talla 2XLC worked and supplied the local DJ scene with dance 12”s. From 1984 to 1991 they released six maxi 12” singles. Both members were leading figures in the European electronic scene during the 80's and 90’s, forming bands like Bigod 20, Tribantura, Micro Chip League, Moskwa TV, Pluuto and Robotiko Rejekto.
In 1988 they released the maxi 12” single “You” on ZYX Records/Combeat. Influenced by Depeche Mode, Gary Numan and John Foxx, the duo crafted their own brand of Industrial, Synth Pop and Electronic Body Music. Their basic set up for recording songs at RaHen’s home studio was a Moog Rouge, Roland SH-101, Teisco synthesizer, Linn Drum and Fricke sequencer. Ra/Hen tackles vocal duties and sings about longing for a lost love. Included on this reissue are the Beauty & The Beat Mix and Beasty Dub Mix from the 1988 single. On the flip is the slightly sped up Razormaid Remix, performed by Art Maharg and Joseph Watt, that originally appeared on the "Welcome To The Technodrome” compilation in 1989. Also included is “Mechanic”, originally released in 1991 as the B-side for their final single “Losing You”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original black and blue cover art with hand-painted typography by Dr. Draw, The Gruesome Grapholoic. Each copy includes a postcard with with notes. What Else Is There To Say?
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/axodry-you-12/
Axodry was the duo of Andreas “Talla 2XLC" Tomalla and Ralf "Ra/Hen" Henrich formed in Frankfurt, Germany in 1982. The two met at City Music record store where Talla 2XLC worked and supplied the local DJ scene with dance 12”s. From 1984 to 1991 they released six maxi 12” singles. Both members were leading figures in the European electronic scene during the 80's and 90’s, forming bands like Bigod 20, Tribantura, Micro Chip League, Moskwa TV, Pluuto and Robotiko Rejekto.
In 1988 they released the maxi 12” single “You” on ZYX Records/Combeat. Influenced by Depeche Mode, Gary Numan and John Foxx, the duo crafted their own brand of Industrial, Synth Pop and Electronic Body Music. Their basic set up for recording songs at RaHen’s home studio was a Moog Rouge, Roland SH-101, Teisco synthesizer, Linn Drum and Fricke sequencer. Ra/Hen tackles vocal duties and sings about longing for a lost love. Included on this reissue are the Beauty & The Beat Mix and Beasty Dub Mix from the 1988 single. On the flip is the slightly sped up Razormaid Remix, performed by Art Maharg and Joseph Watt, that originally appeared on the "Welcome To The Technodrome” compilation in 1989. Also included is “Mechanic”, originally released in 1991 as the B-side for their final single “Losing You”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original black and blue cover art with hand-painted typography by Dr. Draw, The Gruesome Grapholoic. Each copy includes a postcard with with notes. What Else Is There To Say?
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/space-art-nous-savons-tout-12/
Space Art was the French electronic duo of Dominique Perrier (keyboards, vocoder) and Roger Rizzitelli (drums, percussion). Between 1977 and 1981, they released three albums of comsic synth pop, in which they laid much groundwork for French electronic music to follow. After their third album in 1981, they toured around the world with Jean Michel Jarre in support for his “Concerts in China” album.
Space Art's third single “Nous Savons Tout” was released in 1978 on IF Records. Their sound was similar to Jarre's early analog albums, but with the addition of real drums. Dominique plays an ARP Odyssey, Clavinet, Eminent, and Minimoog, maximizing their warm textures. Roger plays the drums in an intricate fashion, influenced subtly by jazz fusion. “Nous Savons Tout” features an early prototype of the Vocoder, which the band used to create the chorus. On the flip is the slower "Melodie Moderne", an electronic take on classical rock songs of the 1970s. Both tracks were recorded at Studio Ferber Paris in June 1978. Like Richard Pinhas/Heldon and Yellow Magic Orchestra, Space Art created their own brand of dark space disco, paving the way for bands like Air and Mellow.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original cover art of a firefighter in a knight-like pose, painted by Gilles Lacombe. Each LP includes a postcard with liner notes by surviving member Dominique Perrier. The sounds here evoke a Parisian noir thriller set in a discotheque circa '78 - steamy and dark, equal parts erotic and existentialist.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/space-art-nous-savons-tout-12/
Space Art was the French electronic duo of Dominique Perrier (keyboards, vocoder) and Roger Rizzitelli (drums, percussion). Between 1977 and 1981, they released three albums of comsic synth pop, in which they laid much groundwork for French electronic music to follow. After their third album in 1981, they toured around the world with Jean Michel Jarre in support for his “Concerts in China” album.
Space Art's third single “Nous Savons Tout” was released in 1978 on IF Records. Their sound was similar to Jarre's early analog albums, but with the addition of real drums. Dominique plays an ARP Odyssey, Clavinet, Eminent, and Minimoog, maximizing their warm textures. Roger plays the drums in an intricate fashion, influenced subtly by jazz fusion. “Nous Savons Tout” features an early prototype of the Vocoder, which the band used to create the chorus. On the flip is the slower "Melodie Moderne", an electronic take on classical rock songs of the 1970s. Both tracks were recorded at Studio Ferber Paris in June 1978. Like Richard Pinhas/Heldon and Yellow Magic Orchestra, Space Art created their own brand of dark space disco, paving the way for bands like Air and Mellow.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original cover art of a firefighter in a knight-like pose, painted by Gilles Lacombe. Each LP includes a postcard with liner notes by surviving member Dominique Perrier. The sounds here evoke a Parisian noir thriller set in a discotheque circa '78 - steamy and dark, equal parts erotic and existentialist.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cute-heels-third-skin-ep/
Cute Heels is the solo project of Victor Lenis, a contemporary artist living in Barcelona, Spain. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in various digital-only releases as well as his debut album “Spiritual" for Dark Entries in 2014. Cute Heels has been called ''the new blood and spirit for the next step in techno music'' by Electro/Techno pioneer Juan Atkins.
“Third Skin” is a 4-track EP that connects the dots between Detroit techno, early Chicago house and Belgium electronic body music. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club. On the A-side are two fresh compositions recorded in 2015. “Third Skin” kicks things in a metallic EBM funk with a pounding bottom end. “Lipstick Information” takes the listener on a dark, psychedelic and twisted journey through thrillingly intense arpeggiations. On the flip we present two remixes. The first is from Steffi, House and Techno DJ and producer born in The Netherlands and residing in Berlin. She picks up the pace for an uplifting, percussion-driven, DAF-eque dystopian stomper. The second remix comes from Michel Amato aka The Hacker, French born DJ and producer and frequent collaborator with Miss Kittin. His early musical influences of bands such as Cabaret Voltaire, Throbbing Gristle and Front 242 shine through on this pumping and sophisticated remix ready for any dance floor.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made jacket designed by Eloise Leigh featuring a photograph by Corinne Schiavone printed with hi-gloss finish. Each copy includes a postcard with with notes and image for fetish lovers.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cute-heels-third-skin-ep/
Cute Heels is the solo project of Victor Lenis, a contemporary artist living in Barcelona, Spain. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in various digital-only releases as well as his debut album “Spiritual" for Dark Entries in 2014. Cute Heels has been called ''the new blood and spirit for the next step in techno music'' by Electro/Techno pioneer Juan Atkins.
“Third Skin” is a 4-track EP that connects the dots between Detroit techno, early Chicago house and Belgium electronic body music. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club. On the A-side are two fresh compositions recorded in 2015. “Third Skin” kicks things in a metallic EBM funk with a pounding bottom end. “Lipstick Information” takes the listener on a dark, psychedelic and twisted journey through thrillingly intense arpeggiations. On the flip we present two remixes. The first is from Steffi, House and Techno DJ and producer born in The Netherlands and residing in Berlin. She picks up the pace for an uplifting, percussion-driven, DAF-eque dystopian stomper. The second remix comes from Michel Amato aka The Hacker, French born DJ and producer and frequent collaborator with Miss Kittin. His early musical influences of bands such as Cabaret Voltaire, Throbbing Gristle and Front 242 shine through on this pumping and sophisticated remix ready for any dance floor.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made jacket designed by Eloise Leigh featuring a photograph by Corinne Schiavone printed with hi-gloss finish. Each copy includes a postcard with with notes and image for fetish lovers.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cute-heels-third-skin-ep/
Cute Heels is the solo project of Victor Lenis, a contemporary artist living in Barcelona, Spain. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in various digital-only releases as well as his debut album “Spiritual" for Dark Entries in 2014. Cute Heels has been called ''the new blood and spirit for the next step in techno music'' by Electro/Techno pioneer Juan Atkins.
“Third Skin” is a 4-track EP that connects the dots between Detroit techno, early Chicago house and Belgium electronic body music. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club. On the A-side are two fresh compositions recorded in 2015. “Third Skin” kicks things in a metallic EBM funk with a pounding bottom end. “Lipstick Information” takes the listener on a dark, psychedelic and twisted journey through thrillingly intense arpeggiations. On the flip we present two remixes. The first is from Steffi, House and Techno DJ and producer born in The Netherlands and residing in Berlin. She picks up the pace for an uplifting, percussion-driven, DAF-eque dystopian stomper. The second remix comes from Michel Amato aka The Hacker, French born DJ and producer and frequent collaborator with Miss Kittin. His early musical influences of bands such as Cabaret Voltaire, Throbbing Gristle and Front 242 shine through on this pumping and sophisticated remix ready for any dance floor.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made jacket designed by Eloise Leigh featuring a photograph by Corinne Schiavone printed with hi-gloss finish. Each copy includes a postcard with with notes and image for fetish lovers.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/cute-heels-third-skin-ep/
Cute Heels is the solo project of Victor Lenis, a contemporary artist living in Barcelona, Spain. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in various digital-only releases as well as his debut album “Spiritual" for Dark Entries in 2014. Cute Heels has been called ''the new blood and spirit for the next step in techno music'' by Electro/Techno pioneer Juan Atkins.
“Third Skin” is a 4-track EP that connects the dots between Detroit techno, early Chicago house and Belgium electronic body music. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club. On the A-side are two fresh compositions recorded in 2015. “Third Skin” kicks things in a metallic EBM funk with a pounding bottom end. “Lipstick Information” takes the listener on a dark, psychedelic and twisted journey through thrillingly intense arpeggiations. On the flip we present two remixes. The first is from Steffi, House and Techno DJ and producer born in The Netherlands and residing in Berlin. She picks up the pace for an uplifting, percussion-driven, DAF-eque dystopian stomper. The second remix comes from Michel Amato aka The Hacker, French born DJ and producer and frequent collaborator with Miss Kittin. His early musical influences of bands such as Cabaret Voltaire, Throbbing Gristle and Front 242 shine through on this pumping and sophisticated remix ready for any dance floor.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made jacket designed by Eloise Leigh featuring a photograph by Corinne Schiavone printed with hi-gloss finish. Each copy includes a postcard with with notes and image for fetish lovers.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Paul began recording his own music after purchasing a 2-track from Oceania Sound. He formed a band with his flatmate and eventually met Lorraine through Debbie. With a shared love of Young Marble Giants and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casio-Tone VL, Boss DR-55 Dr. Rhythm, Roland TR-606 and an acoustic Yamaha bass. All original vinyl copies contained many clicks and pops and due to paper bits from previous jobs that pressing plant melted down. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/philippe-chany-rive-gauche-lp/
Philippe Chany is a French songwriter, film music composer and producer from the town of Gap in the southeastern region of the Hautes-Alpes. He formed Love International with Philippe Krootchey and Fred Versailles in 1981 and released the #1 boogie disco hit single “ Dance On The Groove And Do The Funk”. The B-side of this single featured a cover of Dave Brubeck’s “Unsquare Dance” released as a single in late 1981 credited solely to Chany.
In 1983 Philippe went into Studio O.M. to record songs for his solo project. The album titled “Rive Gauche” was released in 1983 by Polydor Records. Philippe was inspired by experimental film composers Michel Magne, Ennio Morricone, Lalo Schifrin. Songs are a fusion of Chanson synth pop, experimental Italo funk, majestic balearic disco and arabesque instrumentals. He enjoyed making blends, combining rhythms with scratches, utilizing a Roland TR-808, Jupiter 8 and various Akai samplers. All the songs are recited in French and English and revolve around themes of love and mysticism plus a passage read from Antonin Artaud’s 1925 poem “L’ombilic des Limbes”.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in an exact replica of the original jacket, which features a photo of Philippe by Jean-Baptiste Mondino on the front and a painting of him by Nadia Back on the back. Each copy includes a 11x11 insert with lyrics and archive photo. “Fiction talks right to your brain, Never the same…Be different!” (Philippe Chany, 1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/deux-filles-silence-wisdom-double-happiness-2xlp/
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's “Silence & Wisdom” and 1983's “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.
BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/phantom-forth-the-eepp-lp/
Phantom Forth were the brother sister-in-law team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Early 1980, Paul had just returned from a nationwide poetry reading tour and bought a bass guitar. He would practice as his brother’s house and Debbie suggested they form a band. Lorraine joined soon after. With a shared love of Young Marble Giants, Wire and Cabaret Voltaire they started to rehearse at LAB Studio.
‘The EEPP’ was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casiotone MT-40, Boss DR-55 Dr. Rhythm, Roland TR-606, bass, guitars and various effects pedals. Paul would EQ each string individually with the parametric, later the combination of chorus and slight delay was added. Lyrically the Lorraine and Deb tackle relationships with boys turning into men, escapism, dreams, drugs and reality. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation ‘The Last Rumba’.
All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.