EDITIONS MEGO - Forced Exposure

$40.00 IN STOCK

Dismantling the acoustic to feed the electronic, Editions Mego presents Telepath, the new album by Material Object. Born out of a single improvised recording session with a lone violinist, Telepath is a startling album of future electronic music, resulting in an LP of unique and timeless tracks that reimagine a classic sound for an endless future. Boldly departing from his previous canon of largely "ambient" work, Material Object's Telepath renders itself out as something much stranger, something more spacious, more subtle and gradual. Moments of bouncing minimalism meet moirés of delayed pure tones phasing in and out of resolution, giving way to a series of strobing foreground gestures arranged and offset in disorienting landscapes which scatter themselves asymmetrically amongst crystal pools of reverb. Reveling in the creative dismemberment of the original source material, Material Object slowly and patiently induces the violin to undergo every category of torsion, pressure and rupture. Its vivid acoustic qualities pass over and across the event horizon of the digital domain. Shattering then crystalizing into points and coordinates, intersections, disjunctions, planes and reverberant figures. An uncanny geometry perceived only between the ears, at once dissolving and reconstructing itself. A hypnotic and time-dilated recapitulation of what's gone before as if looking back from beyond a mirror. When it finally resolves in the closing moments and returns you home, you realize you haven't really moved at all. Equally abstract, haunting and daring, Material Object's Telepath is a singular work that abandons all notions of genre. Erupting with a tension of opposites that unfolds as a truly unique story, told in four dimensions and draped in deafening color. Mastered by AtomTM. Cut by Andreas at Schnittstelle Berlin. Includes download code; edition of 300.

$21.50 LOW STOCK LEVEL

In the early days of MEGO prior to its transformation into Editions MEGO, a most unexpected release appeared amongst the radical roster. Out of all the twisted hard drive activity from PITA, General Magic, Farmers Manual, etc. appeared a very different kind of release. One made from a computer, but one with a softer atmosphere, cloud-like in sonic shape and even containing discernible melodies. This was the debut release from Japanese artist Tujiko Noriko which not only launched her career to a larger audience but opened the doors of Editions Mego to a broader range of experimental musical forms. Noriko's particular synthesis of electronic abstraction, melody, voice, and atmosphere has few peers as sound gently circles her mystical words morphing into a succession of emotive aural experiments framed as songs. Noriko's evolution since her debut Mego release has seen further solo works alongside collaborations as well as a shift into cinema, both acting and as director. On Crépuscule, one can hear the influence the film medium has had on her music as visual insignia are invoked in the evocative audio at hand. Instrumental interludes further conjure a film landscape alongside the titles which also reiterate the cinematic form. This is synthetic music with a deep human presence. The mind of a human captured wandering the fantastic realms of the internal sphere is exquisitely rendered through machines which usually prompt one to disfigure such humanistic tendencies. The warmth, serenity, and dream-like environment that Noriko conjures from her tools is what makes her such a unique and outstanding artist and Crépuscule is an epic testament to these powers. The title Crépuscule perfectly encapsulates the somnambulant nature of the music where the nocturnal shifts evoke a broad sense of calm. Crépuscule I features a selection of shorter "songs" whilst Crépuscule II allows more room for these songs/moods to breathe with only three songs running at broader longer duration. Crépuscule allows the listener to view the world through Noriko's eyes. With her cunning ability to humanize machines a world of calm wonder is allowed to take focus in the frame. Double-CD version comes in heavy cardboard mini-gatefold; edition of 300.

$24.00 LOW STOCK LEVEL

On her third album, Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, asks what guiding forces might be driving, enticing, and affecting us. All Above is rooted in her deeply personal philosophy as an artist, blurring the boundaries between electronic music and acoustic music and sculpting familiar ambient forms into personal themes painted with rich emotional colors. Written painstakingly over the last two years, the album is the most ambitious and divergent set of music Portioli has assembled so far, with a wide variety of instrumentation (including voices, strings, organs, guitars, and synthesizers) focused around the piano. When the music blooms into abstraction and processed electronics, it's almost imperceptible: reverb mutates into ghostly vapor trails, and distortion forms the keys into another instrument entirely. All Above follows 2020's acclaimed Blink A Few Times To Clear Your Eyes (EMEGO 290LP) and 2018's Pineapple released on Donato Dozzy and Neel's Spazio Disponibile imprint. Portioli operates in a unique space within the electronic music scene, straddling the art world and the wider electronic music scene. In addition to providing A/V accompaniment, Marco Ciceri also maintains the visual identity of Portioli's label One Instrument, a concept imprint that asks artists to create music only using a single device. All this experience is poured into All Above, a richly visual album that's far more than just an imaginary film score. While on "Human", her piano punctuates a rhythmic synthesized bassline and smudged choirs that can't help but trace out the silver screen. The composer is keen to clarify that she doesn't think of her music (or sound in general) in visual terms. Portioli studied as a linguist and used her art to develop an emotional language that's not bound by expected cultural constraints. When she adds a different instrument or process, it's not to reference a visual cue but to mark a journey through different states of being. The tracks are like meditative poems rather than cinematic vignettes: "The World At Number XX" is seemingly centered around a chugging synthesized arpeggio, but the cosmic, Klaus Schulze-esque pads, strangled guitar and evocative organ tones hint at the open-hearted, literate psychedelia of the 1970s; "In The Present As The Future" meanwhile is breathy and windswept, juxtaposing urgent rhythmic phrases with light, flute-like gusts of harmony. Dedicated to Editions Mego founder Peter Rehberg, who died suddenly in 2021, All Above demands engagement and refuses to evaporate into the background. The album asks listeners not just to absorb the album as a whole but notice the cracks in the structure and discern the tension they cause. Edition of 500; includes download code.

$33.00 IN STOCK

Editions Mego presents The Psychologist, the sophomore album by the Istanbul born and raised, Berlin based electronic music composer and sound artist Hüma Utku. As the title suggests, The Psychologist, is a series of sonic essays based around themes of psychological phenomena and can be read as a musical enquiry into the human condition. With Utku's background as a graduate of Psychology and her current practice as a conceptual music composer we see the two main threads in her professional career intertwine on this unique and ambitious release. Including recordings of Buchla 200 from Utku's Elektronmusikstudion residency in October 2020, The Psychologist is a genre aversive work that embodies elements of synthesizer music, electroacoustic, experimental techno, industrial, modern composition, and spoken word. Piano, string compositions, and vocals hold weight throughout a number of pieces providing a dramatic acoustic edge to the psychological explorations contained within. The foreboding mood of much of this release is the product of investigation that lends the unsettling theme of anticipatory grief to the mood of the tracks "Light of All Lights" and "Continuing Bonds". "Islands of Consciousness" refers to Jungian metaphor for consciousness whilst the unnerving Rüya twists around dream analysis in Gestalt psychology. "Fuel For The Flames" proceeds as a buzzing and swirling representation of alchemy and psychological symbolism. "Dissolution of I" is haunted by a strange sensation of dissociation whilst defense mechanisms support the sublime Sublimation. The bright shapes of "Chironian Wound" represent archetypes and analytical psychology whilst the fried soundscapes and rhythms of "Ataxia" encapture neurological states. The results unravel with both the clockwork rhythms of the human body and the unpredictable nature of the psyche, the pieces follow arrhythmic patterns in a harmonious way. It tells the raw and intimate story of the human experience with a new work whereby the predictable operates in parallel with the unexpected and like human experience itself, is dark and complex. The Psychologist follows Utku's debut on Karlrecords in 2019. Double LP; glossy print; includes download code; edition of 500.

$21.50 PREORDER RELEASE DATE: 2/3/2023

Sold out, will not receive. Double cassette version. Edition of 100. In the early days of MEGO prior to its transformation into Editions MEGO, a most unexpected release appeared amongst the radical roster. Out of all the twisted hard drive activity from PITA, General Magic, Farmers Manual, etc. appeared a very different kind of release. One made from a computer, but one with a softer atmosphere, cloud-like in sonic shape and even containing discernible melodies. This was the debut release from Japanese artist Tujiko Noriko which not only launched her career to a larger audience but opened the doors of Editions Mego to a broader range of experimental musical forms. Noriko's particular synthesis of electronic abstraction, melody, voice, and atmosphere has few peers as sound gently circles her mystical words morphing into a succession of emotive aural experiments framed as songs. Noriko's evolution since her debut Mego release has seen further solo works alongside collaborations as well as a shift into cinema, both acting and as director. On Crépuscule, one can hear the influence the film medium has had on her music as visual insignia are invoked in the evocative audio at hand. Instrumental interludes further conjure a film landscape alongside the titles which also reiterate the cinematic form. This is synthetic music with a deep human presence. The mind of a human captured wandering the fantastic realms of the internal sphere is exquisitely rendered through machines which usually prompt one to disfigure such humanistic tendencies. The warmth, serenity, and dream-like environment that Noriko conjures from her tools is what makes her such a unique and outstanding artist and Crépuscule is an epic testament to these powers. The title Crépuscule perfectly encapsulates the somnambulant nature of the music where the nocturnal shifts evoke a broad sense of calm. Crépuscule I features a selection of shorter "songs" whilst Crépuscule II allows more room for these songs/moods to breathe with only three songs running at broader longer duration. Crépuscule allows the listener to view the world through Noriko's eyes. With her cunning ability to humanize machines a world of calm wonder is allowed to take focus in the frame.

$24.00 IN STOCK

Melvin Gibbs is the renowned bass player and producer from Brooklyn whose vast resume includes playing with Sonny Sharrock, John Zorn, The Rollins Band, Dead Prez, Caetano Veloso, and Femi Kuti, amongst others. Behind the scenes, those who know Gibbs knew that amongst all this he was also tinkering away at another form of music, one which skirts around the border between music and sound design. The Wave is the first release that reveals this side of Gibbs's creative output to those outside his inner circle. The driving force for this output is Gibbs's multi-decade friendship with acclaimed American video artist and cinematographer, Arthur Jafa. Over the course of time Gibbs and Jafa have had many conversations about music and the connection between film and music. Jafa's desire to make film that worked the way Black (as in Black/African-American/Afro-diasporic peoples) music worked inspired Gibbs to study the filmmakers Serge Eisenstein and Dziga Vertov and incorporate their philosophies and tactics when recording his own music. The two discussed sound design which directly informed Gibbs's choice of music making tools and led to him acquiring Symbolic Systems Kyma software and hardware, incorporating this as a composition tool and sound design and component in his work. These conversations bore concrete fruit through Gibbs' work for TNEG, the film studio Jafa ran with filmmakers Malik Sayeed and Elissa Blount Moorhead. Gibbs created the soundtrack for their very first project, the short film Deshotten 1.0 (2009) as well as their Martin Luther King-inspired meditation on Black life Dreams Are Colder Than Death (2013). The bass-forward music, or "sonics" as Gibbs calls it, emerged from an alternative mode of contemplation, a mode that he sees as closer to the mindset of a rootworker, an African-American herbal doctor who cures psychic ailments using means derived from African spiritual practice. In 2020, Jafa asked Gibbs to work on the soundtrack for a work in progress called The Wave. When they got together to work on the soundtrack, Jafa played Gibbs a selection of sounds that included random moments of (probably unwanted) feedback on '70s Miles Davis records, Pop Smoke's Brooklyn drill, the music of Bernard Gunter and Darmstadt-style compositions made with test equipment. Those sounds, filtered through years of conversation with Jafa about Black creativity and the possible evolution of Black music, formed the sonic vocabulary of The Wave. Over time the sonics evolved and The Wave became the piece Jafa calls "AGHDRA". Gibbs mentions although the work with Jafa has always skirted these lines of evolution, this side of his vocabulary has been generally neglected, until now, due to his current jazz musician/jazz festival-centric focus and radar. The result of this parallel exploration is a deep excursion into a nuanced sound world. Includes printed inner sleeve and download code; edition of 500.

$33.00 IN STOCK

Hotel Paral.lel, originally released by MEGO in 1997, marks the full-length debut release from Austrian Christian Fennesz. The album followed the twitching drone as found on the 1995 EP Instrument, also included in this deluxe double-LP reissue. Once launched, Hotel Paral.lel was to instigate a sublime exploration of a wide variety of forms, from formal abstraction to shimmering drone around to ground zero glitch pop. Recorded just before mobile computing devices became omnipresent it was an investigation into the sonic possibilities residing in guitar based digital music. "Sz" launches the career with a constantly buzzing sound that resembles a fax machine encountering a G3 laptop for the first time, realizing the game is up. "Nebenraum" is the first foray into the style for which one would attribute to Fennesz. A glacial drone unexpectedly morphs into a gorgeous melody and microscopic groove. Adding pulse and melody was hearsay in the radical end of experimental music up until this point and with this single gesture, everything changed, for everyone. "Blok M" nails this trajectory home with a straight up 4/4 beat. Such rhythm also features on "Fa" with a euphoric mix of a thudding beat, sharp splinters of noise and a devastating exploding melody. Repetition plays heavily through this album as the hyper metronomic beat on traxdata lays a bed for all manner of buzzing electronics. On the closing "Aus" we see a glimpse of what was to come in the future works of Fennesz, an experiment in popping, bubbling pulse pop. A far more darker and experimental work than Fennesz's subsequent work. This is an exquisite radical field of freeform noise, sliced techno beats and subtle ambient texture all coming together to create a timeless work. There's little out there in the world of music, still to this day, that sounds remotely like Hotel Paral.lel. With a radical reinvention of music Hotel Paral.lel is an essential addition to collectors of pioneering music in the late 20th century and sounds as enthralling today as it did to the shocked ears occupying 1997. Remastered by Stephan Mathieu. Vinyl cut by Andreas Kauffelt at Schnittstelle. Artwork by Tina Frank. First time on vinyl. Gatefold sleeve; includes download code.

$17.50 IN STOCK

Editions Mego presents The Psychologist, the sophomore album by the Istanbul born and raised, Berlin based electronic music composer and sound artist Hüma Utku. As the title suggests, The Psychologist, is a series of sonic essays based around themes of psychological phenomena and can be read as a musical enquiry into the human condition. With Utku's background as a graduate of Psychology and her current practice as a conceptual music composer we see the two main threads in her professional career intertwine on this unique and ambitious release. Including recordings of Buchla 200 from Utku's Elektronmusikstudion residency in October 2020, The Psychologist is a genre aversive work that embodies elements of synthesizer music, electroacoustic, experimental techno, industrial, modern composition, and spoken word. Piano, string compositions, and vocals hold weight throughout a number of pieces providing a dramatic acoustic edge to the psychological explorations contained within. The foreboding mood of much of this release is the product of investigation that lends the unsettling theme of anticipatory grief to the mood of the tracks "Light of All Lights" and "Continuing Bonds". "Islands of Consciousness" refers to Jungian metaphor for consciousness whilst the unnerving Rüya twists around dream analysis in Gestalt psychology. "Fuel For The Flames" proceeds as a buzzing and swirling representation of alchemy and psychological symbolism. "Dissolution of I" is haunted by a strange sensation of dissociation whilst defense mechanisms support the sublime Sublimation. The bright shapes of "Chironian Wound" represent archetypes and analytical psychology whilst the fried soundscapes and rhythms of "Ataxia" encapture neurological states. The results unravel with both the clockwork rhythms of the human body and the unpredictable nature of the psyche, the pieces follow arrhythmic patterns in a harmonious way. It tells the raw and intimate story of the human experience with a new work whereby the predictable operates in parallel with the unexpected and like human experience itself, is dark and complex. The Psychologist follows Utku's debut on Karlrecords in 2019.

$24.00 IN STOCK

LP version. Editions Mego welcomes Powell to its roster with a bizarre and strangely emotive new album of synthetic computer works entitled Piano Music 1-7. Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the last year alone he has released four albums of hi-def abstractions, each inspired by a formalization of music proposed by Iannis Xenakis. As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work. Piano Music 1-7, subtitled Music for Synthetic Piano and Assorted Electronics, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. This interplay of the [artifical] acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker. Recorded in late 2020.

$29.50 NOT IN STOCK

Special mirrored silver foil gatefold cover with banderole. Pressed on crystal clear vinyl; one time pressing. Returnal is the fourth album from Daniel Lopatin's Oneohtrix Point Never project, after Betrayed In The Octagon (Deception Island, 2007), Zones Without People (Arbor, 2009) and Russian Mind (No Fun, 2009). All three albums being superbly compiled on the Rifts double CD set (No Fun, 2009). It sees Lopatin fine-tune his craft for the creation of deep atmospheres and textures even further. Starting off with the mind-blowing triptych of "Nil Admiari"/"Describing Bodies"/"Stress Waves," which fires off into a noise/rhythm excess before entering a zone of relative calm, building to the melancholy of the final part. This sets the tone perfectly for the album's title track, a stunning, out-of-this-world ballad featuring Lopatin's near-desperate vocal delivery, ending what could be seen as one of his most chilling and thought-provoking sides to-date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on "Pelham Island Road" and "Where Does Time Go," with the album closing with edgy broken beats and the fourth-world possible landscapes of "Preyouandi," which fades into the distance with echoes of the "Returnal" chorus closing the loop. What's burnt into memory here is Lopatin's love affair with the long, slow path back home... the cycle... the hypnotic sector... the ghost in the machine... and whether people are making dance music or hip-hop or space head-music or metal, the ouroboros is present in every sector -- as it was in Bach's study, and in the elephant songs of the Ituri forests. Instrumentation: Akai AX-60, Roland Juno-60, Roland MSQ-700, Korg Electribe ES-1, Voice. Recorded using a personal computer. Mastered by James Plotkin. Tape-op & additional engineering by Al Carlson. Design by Stephen O'Malley.

$16.50 IN STOCK

Editions Mego welcomes Powell to its roster with a bizarre and strangely emotive new album of synthetic computer works entitled Piano Music 1-7. Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the last year alone he has released four albums of hi-def abstractions, each inspired by a formalization of music proposed by Iannis Xenakis. As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work. Piano Music 1-7, subtitled Music for Synthetic Piano and Assorted Electronics, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. This interplay of the [artifical] acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker. Recorded in late 2020.

$16.50 IN STOCK

Irreal definition is -- not real. "In order to imagine, a consciousness must be able to posit an object as irreal' -- nonexistent, absent -- Jean Paul Sartre Irreal is a selection of recordings from different situations encountered in Austria, Russia, South Korea and The Benelux. The range of sound is as wide as is the emotional impact which slides from the unnerving to the shimmering and gorgeous. Doors, bells, birds, wet snow falling from a tree, hacking of wood, water dripping in a cave are all exquisitely captured and molded into vast landscapes of sound. Human voices, string instruments, descending trains, oceans, winds, grass, trees. These diverse sonic elements are grafted around and upon each other to create a rich tapestry of sound. Electronic embellishments harness the whole to create a singular expressive canvas. The three-part suite concludes with the "Beyond pebbles, rubble and dust", a grand glacial work which serves as a masterclass in extraordinary transcendental drone. The sound of nature, the nature of sound and the effects these have on humans has been a primary focus of BJ Nilsen's investigation over the years. Irreal resounds with a level of sophisticated enquiry one would expect from one of the contemporary masters of the form. Includes 16-page booklet. All material by BJ Nilsen. Recorded and Mixed at Odd Phasing and Echoes, Amsterdam NL 2021. Source material from Austria, Russia, South Korea and The Benelux. Mastered by Stephan Mathieu. Photography Karl Lemieux. Design by Stephen O'Malley.

$34.00 IN STOCK

Double LP version. "Gonzen, uminari or retumbos. Perhaps you've heard these sounds? They're known to occur all over the world and, as one might expect, humans have strained to offer various explanations for these unsettling emissions that materialize unbidden from the sky. We like to say that we've understood what's happening so that we can move on. Tidy up the loose ends and don't scare the horses. Nothing wrong with that in good measure, but there's something to be said for the Haudenosaunee peoples' explanation. They pointed out that the Great Spirit hasn't finished their work of shaping the earth and is making a fair bit of noise while they're at it. If you accept that many questions never truly get answered, in fact can or should never truly be answered, you may be able to tune your mind to this collection of lingering sonic detonations. If you accept that the work is ongoing, our labors seldom done, that there's not much point talking about the end of anything, you may be ready to join us. It's not our task to finish it, nor are we free to desist." Written and produced by Anthony Child and Daniel Bean. Mastered by Stephan Mathieu at Schwebung Mastering, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, April 2021.

$17.50 IN STOCK

Klara Lewis returns to Editions Mego with a surprising live set recorded in 2018. Expanding her exploratory vision into haunted realms of unheimlich sound, Live in Montreal 2018 consists of a single piece with three distinct discernible sections. The set opens with a crude rhythm churning away under a choral loop from which a diverse array of rhythm and noise appear and disappear. Despite its foreboding tone this sequence still retains a foot in the club, as damaged as that may be. A state of permanent collapse is a thread throughout. In this opening sequence an array of strange sonic elements is introduced, rise to the fore, threaten the fundamental discourse only to recede on the brink of destroying the work itself. It's this fascinating construct, this perpetual threat to the music itself that makes the listening experience so captivating. Midway the storm subsides laying bare a more static emotional framework rendered unrecognizable prior. Electronic phantoms swirl in a gentle fashion as ghostly voices come to the fold looping into an uneasy landscape shifting into a blurry utopian finale. Finding itself between decay and hope, Live in Montreal 2018 is another stunning addition to the consistently solid output from Klara Lewis. Digipak; edition of 300.

$25.00 IN STOCK

2023 repress, black vinyl. Nik Colk Void is well established with her work -- using modular systems, voice and guitar -- as one half of Factory Floor, one third of Carter Tutti Void (alongside Chris Carter and Cosey Fanni Tutti) and with the late Peter Rehberg as NPVR, but perhaps surprisingly, Bucked Up Space is her first solo album release. Void explains, "When Peter Rehberg initially asked me to produce a record for Editions Mego, I didn't feel quite ready and asked if we could make a record together instead. Collaboration is so ingrained into what I do, I only felt ready to make this album after working through ideas live, using the audience in place of the collaborator." Bucked Up Space combines Void's love of improvisation with the driving force of beat-driven music absorbed from performing in galleries, residencies, and clubs across the UK and Europe. She goes on to say, "You find out more about yourself when you explain your ideas to others, and that's how I felt the live performance worked for me." The process steadily teased out a language and Void employed a variety of tactics in the recording process including a methodical approach of collecting data at her home studio in a manner not dissimilar to keeping a diary. Her microscopic focus on raw instrumental noise, layered and reformulated, resulted in a sound catalog that Void divided into groups for their tone, density, and texture. These initial pieces were taken to a studio in Margate to put them into a more cohesive compositional context. Something that pragmatically started as cold and detached was given warmth, unity, and emotion in the studio. Via improvised repetition co-existing alongside organized production, Void conjures new sonic muscle with tracks such as "Interruption Is Good" and "FlatTime". Initial recordings are rendered into sequences initiating the organic rhythms, triggering awkward jerks of hi-hats and percussion, or used to activate the margins of post effects detectable in the tracks like "Demna", "Big Breather", and "Oversized". Void explains: "It was important to me that the simplicity in the work disguised a lot of complexity, I want this work to be absorbed instinctively." The sleeve image is a still from We Are City by Brazilian artist Maria de Lima. Engineered by James Greenwood, mastered by Rashad Becker. Tracks 1, 4, 5, 7 and 9 were mixed by Marta Salogni. Bucked Up Space is the result of the ideas and resulting sounds of free exploration morphing into a personal structured album that fearlessly molds patience, listening, and restraint.

$34.00 IN STOCK

First time vinyl issue of this 1997 Mego classic. General Magic, the duo of Ramon Bauer and Andi Pieper, who, alongside Pita, first pioneered the classic Mego sound on the Fridge Trax 12" in 1995 (EMEGO 001LP). The following year proved to be formulative when Mego released Frantz alongside a slew of game changing releases from Farmers Manuel, Pita, and Fennesz. Originally released as MEGO 010 Frantz presented a thrilling digression from what was in vogue in music at the time. This was the advent of portable computing and the Vienna based label was at the forefront of harnessing the potential of audio within this new technology. At once smart and playful these releases reconfigured once disparate genres such as industrial, techno, glitch, and the avant-garde, folding them into a bright, audacious and euphoric new system of sound. The music on Frantz (named after the Austrian skier, Franz Klammer) still pushes the boundaries of acceptable audio constructions with its startling fried electricity and twisted sensibility. The sense of joy in the audio discovery is palatable as techno laced explorations unfold a variety of unexpected and unprecedented sonic maneuvers. Tyrell launches proceedings as schizophrenic stuttering handclaps simultaneously slice into pieces as it propels forward. The bending of the brain is on display with the likes of "Obvious" and "Close, But Not Quien". Temko skewers digital debris in which a ghost melody comes to the fore. Brazen rhythms mobilize the tracks "No Ketting" and "Bonden" whilst "The Official GM Ski-WM Theme" is a short stab of priceless pop wizardry skittering about a strange exhilarating melody in homage to the finest of winter activities. This reissue also includes "Die Mondlandung" which was released as a 12" in 1995, and has never been released anywhere, physical or digital, since. This track is based on the live German TV coverage of the moon landing. An apt theme for the abundance of exploration contained within this classic release. Double-LP; includes download code; edition of 500.

$17.00 IN STOCK

KMRU is the moniker of Joseph Kamaru, a sound artist and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond, he was listed by Resident Advisor as one of "15 East African Artists You Need To Hear" in 2018 and is a regular performer at the fabled Nyege Nyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. An exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound, revered for its ability to cross borders with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient music both captivating through its textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: "Why Are You Here", "Well", "Solace", "Klang", "Insubstantial", and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens. All tracks written and produced by KMRU. Recorded and produced in Rimpa, (Nairobi, KE). Mastered by Stephan Mathieu at Schwebung Mastering, June 2020. Photography: Claudia Mock; Layout/Design: Nik Void.

$24.00 IN STOCK

Marcus Schmickler's music is designed for multi-channel sound projections and references German electronic music tradition, spectral music, experimentalism as well as 1990s club music. His artistic practice explores avant-garde trajectories in electronic music composition, formal systems, sonification and psychoacoustics. This release features two new major works from this audacious sound explorer. Sky Dice / Mapping the Studio premiered at Donaueschinger Tage fur Neue Musik 10.20.2018 having being commissioned by SWR and realized at the Experimentalstudio (EXP) in Freiburg. This is a work for ARP 2500, Publison DHM89B, Publison Infernal Machine and Computer. Taking cues from Bruce Nauman's Mapping the Studio I (Fat Chance John Cage) (2001) the piece draws a fragmented acoustic map of the SWR facility itself; the studio serves as a source-model for the sonic display of historical signal flow graphs. Various acoustic and psychoacoustic effects come into play including the Larsen effect, as well as Style Transfer and Topological Sonification. The result is a daring and dizzying display of disorientating audio. Sound moves in most unusual ways, rising and falling simultaneously, appearing and disappearing like apparitions, nothing here behaves in expected ways. To paraphrase Albert Einstein's now famous quote regarding quantum mechanics, this is spooky audio at a distance. "Fortuna Ribbon" is a selection of sonic material that emerged from a research based on how DPOAEs (Distortion Product Otoacoustic Emission) can be designed in the context of musical frameworks, augmenting the compositional pallets in regard to spatial hearing. In this manifestation, the materials are presented without context. The resulting emissions from the ear that are excited in varying ways from the six examples on display here. Playback in undisturbed acoustic environments is recommended at >82 dB/A. Schmickler's ongoing investigation of sound matter conjures impossible audio that delights in the extremity of form and resulting effects on the listener. Schmickler's audio invocations explore the capabilities of contemporary technology resulting in dizzying new worlds of sound. Cut 01/2021 by Andreas Kauffelt at Schnittstelle, Berlin. Artwork by Neo-Metabolism.

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"Gonzen, uminari or retumbos. Perhaps you've heard these sounds? They're known to occur all over the world and, as one might expect, humans have strained to offer various explanations for these unsettling emissions that materialize unbidden from the sky. We like to say that we've understood what's happening so that we can move on. Tidy up the loose ends and don't scare the horses. Nothing wrong with that in good measure, but there's something to be said for the Haudenosaunee peoples' explanation. They pointed out that the Great Spirit hasn't finished their work of shaping the earth and is making a fair bit of noise while they're at it. If you accept that many questions never truly get answered, in fact can or should never truly be answered, you may be able to tune your mind to this collection of lingering sonic detonations. If you accept that the work is ongoing, our labors seldom done, that there's not much point talking about the end of anything, you may be ready to join us. It's not our task to finish it, nor are we free to desist." Written and produced by Anthony Child and Daniel Bean. Mastered by Stephan Mathieu at Schwebung Mastering, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, April 2021.

$31.00 IN STOCK

"Fantas" is the epic opening track on Caterina Barbieri's acclaimed 2019 release Ecstatic Computation (EMEGO 259LP, 2019). The original "Fantas" laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long-time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender, and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic. Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritized over the traditional model of remixes, which is often strategic, functional and more passive. Longtime friend and collaborator Kali Malone rearranged "Fantas" to a slowed-down, austere and eerie version for two organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin, and Annie Garlid, joining forces to express the choral, psychedelic and vital nature of the piece. Barbieri's former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes "Fantas" for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske's reinterpretation for saxophone and voice captures the atmospheric essence of "Fantas" and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes "Fantas" for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta's Singeli reinterpretation of "Fantas" transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck's variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale's take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone. Mastered by Rashad Becker, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2021. Artwork and typography by Ruben Spini. Lettering by Alice Fiorelli.

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Syn is the second album by Innode, a trio featuring Steven Hess and Bernhard Breuer on drums as well as Stefan Németh on synthesizers and sampler. Initiated as a solo project by Németh, Innode transformed into a band while working on the live presentation of Gridshifter (EMEGO 168LP, 2013), the debut recording on Editions MEGO, which was centered around electronic pieces with contributions by Breuer and Hess on separate tracks. On Syn, all three musicians provided creative input on the album's development from inception to completion. Sounds, fragments, and arrangements were exchanged and reshaped to form preliminary versions of the compositions, which were subsequently recorded by the trio in the studio. More space was given to the spontaneous interaction between individual band members. The music of Innode has been described as rhythm and noise, with electronic and acoustic elements assembled into precise, quasi-minimalist constructions. With Syn, the band expands on this basic idea in terms of form and sonic palette. There is a clear shift away from programmed drum patterns toward acoustic or electronic drums played live. Synthesizer sounds are still pure, and the arrangement remains controlled, but Innode has broadened their musical investigations to include more expressive passages and micro-melodies. In contrast to previous works, the tracks represent an integration of material coming from three musicians, finally merging into a single unit. Personnel: Bernhard Breuer - drums, drum synthesizer; Steven Hess - drums; Stefan Németh - synths, sampler. Recorded by Nik Hummer and Brigitta Bödenauer (recording assistant) at Minusgroundzero, Vienna, AT Additional drums on "Odessa" and "Moon" recorded by Doug Malone at Jamdek Recording Studio, Chicago, IL. Drums in "PTMKN" recorded by Bernard Breuer. Modular synth on "L" by Nik Hummer. Mixed by Nik Hummer at Minusgroundzero, Vienna, AT. Mastered by Stephan Mathieu at Schwebung Mastering, Bonn, DE. Cut by Andreas Kauffelt at Schnittstelle, Berlin, DE. Artwork by Nik Thoenen.

$23.50 IN STOCK

LP version. Schneider TM is the multidimensional music project of Dirk Dresselhaus which has been operating since the mid '90s. His latest opus is also his first for release for Editions Mego. With an extensive catalogue under his belt, one may wonder where this one takes us" The 8 Of Space orbits the realm of "pop" more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with Skoda Mluvit from 2006. In the age of scattered streaming listening habits, The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an "audio-movie". The "plot" revolves around a post-dystopian landscape which posits the make-up of reality in the future. The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological and technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic and digital possibilities that range from heavily processed acoustic and electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog and digital drum machines and effect units, hardware and software processing. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms and cascades based on the concept of chance attributed to the service of the song. The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the "I" or "me" is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalized voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. All the elements on The 8 Of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it's own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.

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Throughout his vast career, the New York based Australian composer JG Thirlwell has adopted many masks as a means of infiltrating and subsequently subverting a wide range of cultural forms. His work under the Foetus moniker has taken on everything from big band to opera to noise-rock. Steroid Maximus embraced exotica and the world of soundtracks, while his Manorexia project continued his quest to the outer limits of contemporary composition and musique concrete. Thirlwell has also carved out a significant output in the field of the soundtrack via the large body of work created for the animated television shows Archer and The Venture Bros. In addition, he has been commissioned to create compositions by such notables as Kronos Quartet, Bang On A Can, Alarm Will Sound, String Orchestra of Brooklyn, and many others. Now there is Omniverse, the second release under the moniker Xordox. Xordox is a synthesizer-based project, and on this evocative album we see the project branch into many new avenues. Science fiction elements brush up against crime noir and the epic film scores. With an audacious attitude and an arsenal of machines Thirlwell serves up a selection of thrilling retro-future mind capsules. This is music made from a life saturated in culture, both underground and mainstream, high and low. Fully formed compositions, tense sequencing and noir-tinged keyboard lines invoke a powerful visual image of films and memory, of screens and speakers, of sound and space, all entering the cosmos and the subsequent galactic race. Thirlwell's decades long exploration of sampling and sequencing, composing and ingesting a daunting amount of audio and visual artworks speaks volumes for the bold assimilations exposed here. "Between Dimensions" lays out a tense theme which starts off suspensefully before morphing into a simulacra of sci-fi dystopia; "Oil Slick" permeates wormholes, updating lifeforms with its stealth sequencing and tense momentum, and "Argonia" appears to herald the creation of a new sonic civilization. Omniverse is a synthesized soundtrack journey, one which embraces past forms whilst reshaping them for the new unknown. Omniverse is a thrilling liquid ride through fear and hope, and like all the best of Thirlwell's output, is simply one hell of an enjoyable journey to take.

$31.00 IN STOCK

Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife. This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight. Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are "Sooty Wing Flecks" a minuscule species of half keyboard half vocoder chatter? Is "Gleitende Liebe" to be trusted or simply laying out a guide for disorientation? "Pearling Woes" is a queasy ballad sung by a robot on a very special comedown. "Keloid" knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporize. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop, and experimental forms. On Feather and Wire is a deep absorbing trip through multiple moods, genres, and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is "Ordine Kadmia"? What are they saying to me, here we go, on and on... With its haunted vocals, coded linguistics, and dark sensual propulsive atmosphere, On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive. Images by Dimitrios Bizios; Artwork by Nik Void. Written and produced by Mika Hallbäck Vuorenpää; Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö; Mixed by Oscar Mulero at Dead Souls Studio Gijón; Mastered by Stephan Mathieu.

$25.00 IN STOCK

What you hear in Synopsis Seriation, Hecker's latest album with Editions Mego, draws upon current research in machine listening and music information retrieval, where the "ghosts in the machine" are unsupervised convolutional operators designed to extract auditory features from a signal. Experimental deployment of these virtual listening agents has only just begun, and Synopsis Seriation advances a general research program Hecker initiated through a series of publications, performances and installations since 2013. In A Script for Machine Synthesis (EMEGO 226CD, 2017), the third chapter in the trilogy of text-sound pieces in collaboration with the philosopher Reza Negarestani, both a resynthesized and a computer-generated voice modelled after the narrators's voice, reflecting on systems of language, automatons and chimerized synthesis. Articulação Sintetico (2017) -- a complete resynthesis of Hecker's album Articulação (EMEGO 180CD, 2014) -- features synthetic voice models of Joan La Barbara, Sugata Bose and Anna Kohler. Central to Inspection II (EMEGO 268CD, 2019) is a bespoke computer-generated voice, reciting Robin Mackay's libretto -- by means of deep neural networks and machine listening computation, perpetually crossing formal anticipations of sound analysis to the unexpected artefacts of synthesis. Synopsis Seriation does away with such staging of computer-generated speech. It dramatizes synthetic sound in all its unnamable intensities and detail by transforming four multichannel pieces Hecker produced since 2015. These have been analyzed, dissected and reconstructed utilizing information geometry, a subfield of mathematics at the interaction between statistics and differential geometry, designed by Vincent Lostanlen. His scientific work is at the forefront of the movement of computational auditory analysis out of the frequency domain model toward a more complex understanding of the auditory landscape and perceptual processing. Written and produced by Florian Hecker, 2015-2020. Information geometry and sound computation by Vincent Lostanlen. Mastering by Rashad Becker.