KARAOKE KALK - Forced Exposure

$28.50 PREORDER RELEASE DATE: 7/11/2025

Mother Nature is the debut solo album by Berend Intelmann, a key figure in the German indie music scene since the late 1980s. Having made his name as a member of groups such as Hallelujah Ding Dong Happy Happy, Guther, and Paula, Intelmann most recently focused on his work as a producer for artists such as Jens Friebe, MissinCat, and Fotos. Mother Nature sees the multi-instrumentalist and singer navigate between pop sentiment and his penchant for classical music on these eight pieces, three of which feature additional contributions by Karaoke Kalk label mate Marla Hansen, synth pop iconoclast Der Assistent, and the versatile Mieke Miami, respectively. Mother Nature combines a sense of playfulness with cunning compositional rigor to stunning effect. Intelmann took full creative license and worked with the instruments that he feels most comfortable using: the drums, synthesizers, and his voice. While inspired by his life-long passion for pop music in all shades, he also took some cues from his more recent passion for classical music. The resulting sound isn't quite as "krauty," instead the artist prefers to call it "slow-kraut -- 1980s synth sound with 1970s George Duke-style beats." This is simply the essence of Berend Intelmann as a composer and storyteller. The lyrical matter of Mother Nature is inspired by life and death. This informs an album that masterfully creates contrasts and utilizes the friction generated between them to tell its stories. The album opener and second single "All Gone" greets its audience with the couplet "In the long run / We're all gone," but sets this to soothing sounds that form a joyful counterpoint to the fatalism of the words. These darker tones slowly give way to laid-back grooves, Intelmann's smooth vocalizations and whirling synthesizer sequences. The collaborations further enrich this album that the artist claims has been "co-produced by friends and family." Indeed, Mother Nature might be Intelmann's solo debut proper, but he remains a team player at heart.

$27.00 IN STOCK

Emmanuel Mario returns to Karaoke Kalk with his third album under his Astrobal moniker for the Berlin-based imprint. L'uomo e la natura ("Man and Nature") sees the prolific drummer and producer, who has worked with artists such as Laetitia Sadier and label mate Pink Shabab, take a different musical route than before. The French electronic music composer pays homage to the spirit of library music while also making concessions to different strains of pop and even classical music. With only two of the ten songs putting words to the music, L'uomo e la natura is a masterful exercise in the evocation of atmospheres: expressing much while saying very little outright -- show, don't tell. The album was born out of a desire to push the envelope. Taking inspiration from library music artists such as Alessandro Alessandroni or Bruno Nicolai as well as the more cosmic strains of electronic instrumental music, he strove "to create a soundtrack that would immediately bring to mind outer space." The first of the three singles released ahead of the full album, "L'abeille pourpre," captures this spirit with funky rhythms and an overjoyed interplay of different melodies, all tied together by wordless yet terminally catchy vocals. The second single, "Miami 2064," traverses through many different moods in its six-minute run-time: Starting off as neo-noir synth-wave piece, it then proceeds to pay its dues to the masters of the cosmic music tradition such as Tangerine Dream or, of course, Jean-Michel Jarre before slowly descending back to Earth with guitars and dreamy synthetic vocals, playfully punctuated by a plethora of wistful melodies. It is the perfect encapsulation of the open-ended approach Mario follows throughout the entire album, taking full creative license in regards to songwriting and arrangements. L'uomo e la natura rewards multiple listens not only emotionally, but also intellectually. "I also wanted to talk about politics and ecology, because it's impossible not to," Mario notes. Some of the track titles express this more openly than others and the two title tracks sung by Mario and Nina Savary use French and Italian lyrics, respectively. However, as a whole the album leaves things open to interpretation.

$24.00 IN STOCK

Senking and DYL team up again after first collaborating for a track on 2020's Uniformity Of Nature EP that also featured different solo productions by the two producers. Diving Saucer Attack is the first full-length record by the German artist and his Romanian collaborator, released through the Berlin-based Karaoke Kalk label, home to the former's work for more than a quarter of a century. The six pieces, two of which were produced individually, both showcase the duo's shared interests for dub-heavy, adventurous electronic music while also emphasizing the productive friction generated by the subtle differences between their respective approaches. Cluj-Napoca-based DYL, real name Eduard Costea, cites his colleague Jens Massel's work and especially his Ping EP as a crucial point of reference for his own development. Massel was already familiar with his partner's eclectic productions when he was approached by him with the idea of collaborating for a piece in 2020. They didn't stop there, as Massel explains: "It went very well and ever since we've been sending each sounds and tracks." As their first joint album, Diving Saucer Attack documents the multi-faceted results of this on-going process. Throbbing bass frequencies, haunting synth melodies and carefully placed rhythmic elements form a slow, but driving groove. Before DYL's "a7r380R" introduces the listener to his anthemic take on IDM, the collaborative second track "2024" showcases how well their respective philosophies complement one another: the two create a detailed soundscape in which an intricate interplay of percussive elements and melodies can unfold. The title track transforms rattling drums and growling bass sounds into a laid-back, spooky trip-hop tune with a live-jazz feel, while "Astral Project" sees the duo venture into the uncanny regions of dub techno. "Not Just Numbers" closes on an even more sombre note -- a fitting closing statement to an album full of twists and turns. Diving Saucer Attack is a special album on more than the musical level.

$29.50 IN STOCK

Through the folded sky to America Ten albums in three years. That's still the cosmic mission of the Berlin post-kraut trio Yelka with Daniel Meteo, Christian Obermaier, and the namesake Yelka Wehmeier. With the album For, there was a label change. After releasing three albums in 2023 with Maurice Summen, head of Fun In The Church they passed the label responsibilities to Karaoke Kalk. The trio's fourth album was also created with Arne Berger at Popschutz Studio, and the team is definitely well-rehearsed. Instead of recording the planned tracks, the band decided to improvise the session, and all tracks, except for the krauty Doors cover "The Crystal Ship," were created in five days in the studio, mostly on the first or second take, but with significantly more overdubs -- keyboards, backing vocals, second and third guitars, percussion, and piano. The sound of For has become warmer, and the album begins with a kind of '60s-Kinks feeling. Overall, the current record has become much more exuberant. In the first instrumental of the album "Is this enough?," the band reverse tracks like Jimi Hendrix in his Electric Ladyland, and listeners dive deeper and deeper into the endless sky until Yelka finally arrive on newly trodden sound paths with "MM" to their beginnings on their debut album Nowhere Jive. At the popular intersection of post-rock and jazz, where guest singer Bela Hagel also likes to linger for a moment. The guitars sound like a desert, and the reverb reminds us of the expansive space in the opening track "Skies." "Do you wanna dance?" Yelka Wehmeier finally asks, while a chorus in the best Sun Ra manner mantra-like repeats "Cold dogs, cool cats." The whole band sings. Everything sounds good.

$27.00 IN STOCK

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with Salt, her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut Dust (KK 116CD) in 2020, Salt takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. Salt features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl, and the renowned artist DM Stith. Salt is a big album. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. In this range of styles and approaches, Hansen's vision is more present than ever. For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling." Salt is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

$27.00 IN STOCK

Theresa Stroetges returns to Karaoke Kalk with her second album for the Berlin-based label, her fifth solo full-length with her Golden Diskó Ship project in total. Having released records with the Indian-German band project Hotel Kali as well as Painting, a group dedicated to audio-visual concepts, Oval Sun Patch sees her embrace influences from club culture, advanced electronic music, and pop more firmly than ever before. Over the past 15 years, Golden Diskó Ship has served a vessel with which the Berlin-based multi-instrumentalist has traversed a variety of genres and circumnavigated all conventions in the process. With Oval Sun Patch, Stroetges again sets sail into unknown waters with what is perhaps her catchiest album so far -- beat-driven, playful, atmospheric, and at times thoroughly anthemic. This is the sound of Golden Diskó Ship moving forward. The punchy beat and Moroder-like bassline that form the backbone of "Dolphins With Soft Helmets," the throbbing house and techno grooves underneath "Ephemeral Carnivores" and "Well-Oiled Machine," as well as the jittery IDM rhythms of "Google Your New Name" and her nods to trip-hop with "Tiny Island" do not so much follow established formulas as they use them as a starting point for wild experimentation instead. Stroetges juxtaposes complex rhythms with interlocking melodies and rich harmonies in ways that continue to surprise throughout and still leave enough space for the occasional wistful guitar or vocal passage. Oval Sun Patch is an album about change. The lyrics describe constant transformations of sceneries, relationships, physical and emotional states as well as the climate throughout its running time. Stroetges in the meanwhile leads the way as a singer, songwriter and producer who lets her music evolve constantly. This is sound, moving forward.

$40.00 IN STOCK

This River Only Brings Poison was released in 2002 as the sixth full-length album of Chris Hooson's Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project's vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley, and Ed Collins, This River Only Brings Poison turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

$16.00 IN STOCK

A kind of hush pervades throughout Standards Vol. VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk's musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late-night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record's lone vocalist adds to its solitary air. Vulliamy played viola on Everything's Getting Older, Wells's 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy's solo record, Spin Cycle (KK 108CD/LP, 2018). With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalog of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol. VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. Shades of Margo Guryan and Claudine Longet abound in Vulliamy's delivery over Wells's woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub's Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan's proto hippy classic, "Catch The Wind", and Dixieland miniature, "Careless Love". The eight points in between take in a first half led by The Beatles' normally jaunty "We Can Work It Out", flipping the loveable perky optimism for something more soul searching. This is followed by "I Wish You Love", Albert Beach's English language version of French songwriter Charles Trenet's evergreen, "Que reste-t-il de nos amours". The Bee Gees lost classic, "To Love Somebody", is next, with more impossible to answer questions coming in "Why Can't I?" The latter is a Rodgers and Hart composition that first appeared in the duo's 1930 Broadway musical, Spring is Here. The second half of Standards Vol. VI leads with the much-covered evocation from the 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer's showbiz staple, "Me and My Shadow". While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael's "Skylark" comes next, a song inspired by Mercer's yearning for Judy Garland. The most downbeat take on Bacharach and David's "The Look of Love" comes next, ushering in the short farewell of "Careless Love".

$26.00 IN STOCK

LP version. Edition of 300. A kind of hush pervades throughout Standards Vol. VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk's musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late-night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record's lone vocalist adds to its solitary air. Vulliamy played viola on Everything's Getting Older, Wells's 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy's solo record, Spin Cycle (KK 108CD/LP, 2018). With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalog of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol. VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. Shades of Margo Guryan and Claudine Longet abound in Vulliamy's delivery over Wells's woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub's Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan's proto hippy classic, "Catch The Wind", and Dixieland miniature, "Careless Love". The eight points in between take in a first half led by The Beatles' normally jaunty "We Can Work It Out", flipping the loveable perky optimism for something more soul searching. This is followed by "I Wish You Love", Albert Beach's English language version of French songwriter Charles Trenet's evergreen, "Que reste-t-il de nos amours". The Bee Gees lost classic, "To Love Somebody", is next, with more impossible to answer questions coming in "Why Can't I?" The latter is a Rodgers and Hart composition that first appeared in the duo's 1930 Broadway musical, Spring is Here. The second half of Standards Vol. VI leads with the much-covered evocation from the 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer's showbiz staple, "Me and My Shadow". While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael's "Skylark" comes next, a song inspired by Mercer's yearning for Judy Garland. The most downbeat take on Bacharach and David's "The Look of Love" comes next, ushering in the short farewell of "Careless Love".

$34.00 IN STOCK

LP version. Die-cut sleeve, printed inner; edition of 300. Scottish composer and multi-instrumentalist Bill Wells and virtuoso tuba player Danielle Price once more team up for Karaoke Kalk under the name The Sensory Illusions. The two further explore the affinities between their idiosyncratic musical approaches across a variety of styles and genres while also expanding their sound palette. After its predecessor (KK 110CD/LP, 2019) saw Wells working strictly with his electric guitar, on the Sensory Illusions II the piano enters the mix on two of the eleven pieces. Much like his brass-heavy collaboration album Osaka Bridge with Japanese collective Maher Shalal Hash Baz (KK 044X-LP), this album injects melancholic atmospheres with a sense of playfulness. Picking up on elements from jazz, pop, blues, and classic songwriting while acknowledging their debt to techniques from the worlds of avant-garde and improv music, The Sensory Illusions weave together disparate elements into a colorful, imaginative suite of songs. Starting with the folky chords of opener "Four Chord Dream," the track titles spell out Wells's characteristic use of ideas that literally come to him in his sleep. The National Jazz Trio Of Scotland leader then fleshes them out together with Price, who again serves as a one-woman rhythm section, as she does throughout most of the album. When Wells enters 1960s spy movie territory with a swirling rendition of John Barry's "Theme from Vendetta" and picks up on those dynamics with a rolling riff in the next song, her versatile playing provides the backdrop for that. Once Wells sits down at the piano for the tender "Flotsam Bodes," however, their roles are being reversed and Price -- a seasoned and multifaceted musician who was one of only six applicants chosen to attend Chilly Gonzales's Gonzervatory in 2019 and who is currently working with acclaimed London-based trumpet player and composer Laura Jurd -- takes the lead. "I'm the Urban Spaceman" makes it even more apparent how seamlessly these two experienced players leave each other space to showcase their respective talent and expand on their individual ideas: Marked by Wells's soloing and exploring different sonic possibilities of the guitar, it also sees Price showcasing her reduced yet agile solos before they both return to the idea at the heart of the song. As the second duo record in their six years of working together, The Sensory Illusions II proves once more how much musical ground they are able to cover with their instruments and open minds alone.

$16.00 IN STOCK

Scottish composer and multi-instrumentalist Bill Wells and virtuoso tuba player Danielle Price once more team up for Karaoke Kalk under the name The Sensory Illusions. The two further explore the affinities between their idiosyncratic musical approaches across a variety of styles and genres while also expanding their sound palette. After its predecessor (KK 110CD/LP, 2019) saw Wells working strictly with his electric guitar, on the Sensory Illusions II the piano enters the mix on two of the eleven pieces. Much like his brass-heavy collaboration album Osaka Bridge with Japanese collective Maher Shalal Hash Baz (KK 044X-LP), this album injects melancholic atmospheres with a sense of playfulness. Picking up on elements from jazz, pop, blues, and classic songwriting while acknowledging their debt to techniques from the worlds of avant-garde and improv music, The Sensory Illusions weave together disparate elements into a colorful, imaginative suite of songs. Starting with the folky chords of opener "Four Chord Dream," the track titles spell out Wells's characteristic use of ideas that literally come to him in his sleep. The National Jazz Trio Of Scotland leader then fleshes them out together with Price, who again serves as a one-woman rhythm section, as she does throughout most of the album. When Wells enters 1960s spy movie territory with a swirling rendition of John Barry's "Theme from Vendetta" and picks up on those dynamics with a rolling riff in the next song, her versatile playing provides the backdrop for that. Once Wells sits down at the piano for the tender "Flotsam Bodes," however, their roles are being reversed and Price -- a seasoned and multifaceted musician who was one of only six applicants chosen to attend Chilly Gonzales's Gonzervatory in 2019 and who is currently working with acclaimed London-based trumpet player and composer Laura Jurd -- takes the lead. "I'm the Urban Spaceman" makes it even more apparent how seamlessly these two experienced players leave each other space to showcase their respective talent and expand on their individual ideas: Marked by Wells's soloing and exploring different sonic possibilities of the guitar, it also sees Price showcasing her reduced yet agile solos before they both return to the idea at the heart of the song. As the second duo record in their six years of working together, The Sensory Illusions II proves once more how much musical ground they are able to cover with their instruments and open minds alone.

$28.00 NOT IN STOCK

2023 reissue. Bill Wells with Tori Kudo's free-spirited Japanese collective Maher Shalal Hash Baz. Originally released in May 2006 through the German label Karaoke Kalk, Osaka Bridge was an album that captured the joyful amateurism of Tori Kudo's free-spirited Japanese collective Maher Shalal Hash Baz and Bill Wells's rich, wistful, and easy sense of melody. Approaching brass band and jazz music with a knack for making playing imperfectly feel perfectly right, Osaka Bridge became nothing short of groundbreaking when it was released to critical acclaim, becoming an instant classic among musicians and fans alike. Coinciding with the release of the second LP of Wells's on-going collaboration with Danielle Price on tuba, The Sensory Illusions, Karaoke Kalk makes this highly sought-after record available again on vinyl for the first time in 16 years. The pairing of the prolific Scottish pianist and composer and the fluctuating collective active since the mid-1980s was an easy, natural one -- a union particularly apt and complementary. But this is not to say that the 15 recordings which made up Osaka Bridge were in any way seamless. The horns played by these self-taught musicians strain and struggle with Wells' luscious arrangements; each note is given all the stiff emphasis that you'd expect of a high school brass band at its first rehearsal. Songs fall in and out of rhythm, and a track like "Poxy" misses its intended swing feel by a country mile. Of course, this is all part of the magic. Maher Shalal Hash Baz take Wells's melodies and strip them back to their emotional core, disallowing all artifice and revealing a stark, serene beauty. Particularly affecting are "On The Beach Boys Bus" and "Time Takes Me So Back", the two tracks sung by Kudo's wife Reiko. Inspiration for both pieces came to Wells in dreams. The former was sung by a group of tanned Californians on the way to a Beach Boys convention, the latter by his grandmother shortly before she passed away. Reiko's voice gives each song a haunting fragility that enhances their phantasmagoric character. For the most part, the instrumentals are concise -- a melody stated once and then dispensed with -- but their brevity only heightens the impact. Even (or especially) 16 years later, Osaka Bridge continues to be an almost accidentally timeless document that captured fleeting moments and personal revelations at their most spontaneous and unaffected. Edition of 500.

$17.50 IN STOCK

This EP is more than your usual remix package. Remixed is a meeting of kindred, idiosyncratic spirits. Ricardo Villalobos, Ada, and Tolouse Low Trax each give a new spin to one track from "You're Super In Diagonal", the latest album by Ant Orange (KK 119CD/LP, 2020). Their versions of "Monogome", "Flutter", and "Cracker" are complemented by the brand-new track by the elusive artist, "FFF". Villalobos keeps it short and sweet -- at least by his standards. His rendition of "Monogome" translates the mutant jungle vibes of the original into an entirely different dialect while maintaining its psychedelic qualities. The chugging, nine-minute-long "Siebhouse Remix" is at once rhythmically intricate and positively disorientating. Ada proves to be as imaginative as ever with her first remix in three years. Her take on the album opener "Flutter" extracts the track's warmth and transplants it into a laid-back downbeat track. She also incorporates the vocals from "Monogome", but gives it a very different spin and adds a healthy dose of autotune to it in the process. Dreamy, hazy, blissful. On the flipside, Detlef Weinrich approaches things very differently. His "Bo Bo Zy Remix" of "Cracker" offers industrial at its most inebriated, dub riddims after a bottle of hard liquor instead of a spliff. Ant Orange's "FFF" then seems to mediate between those three very different approaches: danceable yet melancholic, challenging yet restrained, it picks up on the underlying concept of "You're Super In Diagonal", combining IDM's penchant for complex rhythmic structures and a directness inherent to hip-hop music since the early days of the genre up until the age of UK drill. Edition of 300.

$27.00 IN STOCK

Tableau is Rolf Hansen's second full-length album under his given name and acts as a sequel to his solo debut Elektrisk Guitar, released in 2019 through Karaoke Kalk (KK 114CD/LP). On the 14 new pieces, the Copenhagen-based composer and musician further explores the sonic possibilities of the electric guitar by opting for a radically different approach and putting great limitations on himself as a performer. Tableau is an experimental record in the truest sense of the word, eschewing conventional modes of playing the instrument and instead turning the guitar into a sound source for compositions that are at once abstract and concrete. Already on his last album, Hansen had found a different approach to playing and composing, but this time went even further and created a set-up in which the electric guitar becomes a different instrument altogether. This is also expressed in its title: a tableau is, broadly understood, an image-forming momentary bodily pause in a dramaturgical or narrative process. In the context of the album, tableau is the form and sound that emerge when the musician's usual approach to playing and the compositional practice is halted and transformed. To achieve this, the guitar is placed on a table with microphones installed around it and tuned in a static microtonal modality thanks to wooden replacement frets that have been inserted under the strings. This alters how the sounds are being generated with the instrument, which is now played from above, occasionally strummed or stroked with a tool. The opener "Begyndelse" already sets the tone by punctuating dense layers of sound with a one-note melody that provides a rough rhythmic structure and harmonic anchor for the track that still seems to mutate wildly the further it progresses. Even in moments in which Hansen opts for a more directly accessible approach like on the following "Over Grænsen" or "Tid", the pieces' emotional qualities are greatly amplified by their sonic idiosyncrasies. This is best exemplified by "Højre Hånd". Using high microphone gain to magnify the high-frequency acoustic sounds of the electric guitar, Hansen captured a rich near-symphonic changing spectrum of overtones. Tableau is full of moments marked by almost unnoticeable shifts and changes, offering a wealth of sounds that are as evocative as they come unexpectedly. The kinship between its predecessor Elektrisk Guitar and Tableau is undeniable. Both are based on self-imposed constraints, a radical form of reduction that made it possible for Hansen to broaden his sonic palette and compositional approach. Includes download code; edition of 300.

$29.50 IN STOCK

Mimsy describes himself as someone with many interests and few skills, and sure, you can put it that way. But more precisely, he is a seeker and finder who has always felt more at home in the intermediary spaces. Since his first releases on Karaoke Kalk under the names Saucer, Motel, and Wunder in 1997, he has mostly been active as Wechsel Garland, working with samples beyond recognition and thus blurring the lines between his own songwriting and the musical material he uses. In 2011, he ended the project with the album Dreams Become Things and is now opening a new chapter as Mimsy with Ormeology. The album was ten years in the making and saw the producer work with sounds, voices and text fragments that were gathered over time. The twelve pieces -- based on guitar pickings, looped textural sounds, rhythm boxes and shimmering organ sounds -- install themselves in the unconscious through sound, melody and subtle rhythmic shifts to send the listener's perception on a journey into the unknown. The name Mimsy is a nonce word coined by Lewis Carroll in his famous nonsense poem Jabberwocky, a combination of "miserable" and "flimsy", while the term "Ormeology" refers to the Italian film Le Orme (Footprints on the Moon). While this alone creates a rich thematic frame of references for the album, it does not at all define its themes. Instead, the references are reflected in the methods with which the pieces on Ormeology were designed -- sound and language orbit freely around one another, images within images are being layered, following their path unconsciously. Creative frictions emerge not out of binary decision-making patterns, but from additive layering. Mimsy followed traces forth and back through time and space, collaborating for a few tracks with set designer and musician Lydia Schmidt and letting Wolfram Wire record various lyrics based on automatic writing that were gathered by Mimsy. Furthermore, he asked the photo blogger Lilia Katherine from Brazil and the Canada-based Andrea Hernandez to translate and record his lyrics in their own respective languages. Human global coincidences resulted in collaborations which are presented as discrete and thus make the album as a whole and even more complex meditation on the interplay of the concrete and the abstract. Ormeology is an album that whirrs and flickers, seeking to mediate between the tangible world and the intangible by blurring the boundaries between words and sounds and space. Includes printed inner sleeve and download code; edition of 300.

$20.50 LOW STOCK LEVEL

"... Paula Schopf's Espacios en Soledad are acoustic walks around present-day Santiago de Chile, the city where she was born -- which she always left, had to leave and to which she always returns - but more than anything also through her own memories which resonate throughout the public places, squares, streets though still in their own way remain strange . . . In the mid-70s leaving Santiago was a flight of exile as a child with her family. Leaving in 1990 was an autonomous decision to head for Europe, Berlin, where the wall fell, where the heavens opened up all at once and electronic music became a kind of new home to so many. Paula Schopf belonged there. For her the Ocean Club at Tresor club was a central place where friends and mentors like Gudrun Gut and Thomas Fehlmann made it possible for her to get really into it. Dancing, being and feeling your body, forgetting oneself in the bass and beats, who one is and where one's from, to becoming the DJ Chica Paula. Chile was very far away during this time, Latin America was more just a code, a musical and habitual cliche to be cautious of. This was especially true for the culture of the Chilean exile, the pathos of the 'Canto Nuevo', the sound and ideologically charged instruments of the 'música andina', for example the Zampoña, Quena or Charango. Techno was the greatest thinkable alternative to this even if or perhaps because so many kids exiled from Chile became key figures in the German and European scene: Ricardo Villalobos, Dandy Jack, Cristian Vogel, Matias Aguayo and many more . . . The field recordings which were recorded in Santiago de Chile in 2016 and form the central sonic material for Espacios en Soledad represent the paradox for Schopf's return to her home country after emigrating: the inevitable drifting apart of her own lived time from that of her former home. Already the Venezuelan and Colombian hawkers are unmistakable signs of the deep change in Chilean society which has happened in recent years due to immigration. Which is in contrast to the old lady who sits on the floor in a pedestrian zone and without break sings the same three songs by Violeta Parra and then keeps falling asleep while doing so. The fragile presence of her voice is joined with a repertoire which is almost mythologically timeless in Chile in a particularly moving way. By layering, ordering and conjoining such found sounds from modern day Santiago this piece become about the urban sound of Chile's present..." --Matthias Pasdzierny 180 gram vinyl; engraving on B-side; includes printed inner sleeve; edition of 300.

$26.00 IN STOCK

Joseph Carvell returns to Karaoke Kalk with his sophomore album under the Pink Shabab moniker. Never Stopped Loving You was for the most part written between Spring and late Summer 2020 in his Camberwell home and like his 2019 debut Ema By The Sea (KK 115CD/LP) recorded in the South of France together with Emmanuel Mario, better known as Astrobal. It's a record informed by feelings of nostalgia, love, longing, romance and loss and, much like his previous album, displays Carvell's knack for making introversion sound extroverted. As a bassist, his approach to songwriting is both rhythmic and melodic, making the resulting music just as visceral as it is emotive. Managing to play only one show in Zurich in early 2020, he had to cancel his planned European tour and go back to the United Kingdom, which soon went into lockdown. He made the best out of the situation, recording electric and upright bass for Nick Krgovich, Daniel O'Sullivan and Zooey's new records while also working on tracks and demos by himself. Everything came together slowly before he boarded a train to France with his keyboard. Never Stopped Loving You is notably more electronic than its predecessor, but also full of the small melodic and harmonic details that made Ema By The Sea such an outstanding record. "I was listening to more 1990s dance and house music and 1980s pop and also a healthy amount of ambient music," explains Carvell. These influences are clearly audible on songs like the Chicago house-esque beats of "Show Your Love" or "Why Did I Leave You That Morning", the skittish rhythms on "Let Go" and the near-Balearic "San Junipero". Especially the latter makes it clear that Carvell spent much time devoting himself to movies and TV shows, but also incorporated more piano sounds in his song -- the learnt the instrument by playing along to classic Beatles and Beach Boys songs. Despite being more upbeat on a rhythmic level than before, Carvell's use of texture and his peculiar voice add another note to the music. Even an anthemic song like "Run Away", his first composition to follow a classic verse/chorus structure, is profoundly ambivalent, both overjoyed and deeply melancholic. By the same token however, even a torch song like "You Stepped Out of My Life" is enormously consoling. This, after all, has always been Carvell's strength: creating music that will cheer you up when you're down while also injecting a sense of futility into every moment of euphoria. Edition of 300.

$15.50 IN STOCK

In the past years, the multi-instrumentalist, composer, producer and music enthusiast Jeff Özdemir had been focusing on organizing the Live-Mixtape series in Berlin, inviting numerous artists to join him on stage for every single event. However, the year 2020 put an end to this. Undeterred, he instead put together the third instalment of the Jeff Özdemir & Friends series, working with singers, musicians and groups such as Knarf Rellöm & DJ Patex, F.S.Blumm, Joanna Gemma Auguri, Elke Brauweiler, and Elmer Kussiac for an 18-track album. Like its two predecessors from the years 2015 and 2017, respectively, Jeff Özdemir & Friends Vol. 3 sees the man behind Kreuzberg's 33rpm record store showcase his qualities as a people remixer, songwriter and versatile musician. He put together a collection of groovy tunes picking up on funk and Afrobeat rhythms, introspective ballads, a musically channeled punk attitude, shoegaze sentiments, spoken word passages, drones, glockenspiel sounds, seriously fun experimentation and much more. While artists like Ertan Doğancı, Désolé Léo, eng°n, F.S.Blumm and Zap have been long-term collaborators of Özdemir and were featured on previous instalments of the series, new faces and forces also enter the mix. The melancholic "Love Letters" for example marks the first (though hopefully not last) collaboration with singer Joanna Gemm Auguri, while Knarf Rellöm & DJ Patex's appearance has been dreamt of collectively but hasn't been fully realized until now. Whether it's Désolé Léo's French crooner soul, the lo-fi synth pop song "Bored" featuring former Commercial Breakup singer Elke Brauweiler or the many different sounds and styles presented under the name Jeff Özdemir: no decision is ever made between either that or this musical direction, but all are being joyfully enjoyed together. Thus, throughout its 70 minutes, the stylistic diversity of Jeff Özdemir & Friends Vol. 3 does not once border on randomness. Instead, these sometimes very different songs are marked by a shared atmosphere -- a direct result of these very different musicians approaching their studio time together less as a chance to make music but more of a chance to carefully listen to and interact with each other. The contributions by Vackrow, Gebrüder Teichmann's old band Beige GT, and Otto von Bismarck, do not even feature Özdemir, but are simply musical pearls that were (almost) lost in the shuffle of music history and unearthed for this very special occasion. Also features Daniel Raymond Gahn, Alexandre Thiercelin, Jeff Özdemir's New Hard Drive, and Treetop.

$21.00 NOT IN STOCK

2020 repress. 2012 release. The Düsseldorfer Detlef Weinrich is a man who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. His first solo album Mask Talk (KK 052CD/056LP, 2010) thrives on a feathery beat frequency and cool new-wave-strength. Corridor Plateau (2011), which appeared as a limited edition to accompany the exhibition, contains percussive electronics and Industrial sounding like it's from the second industrial revolution. His third album Jeidem Fall, is also not from here. It sounds like music brought down to earth from the heavens. But it's a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, Jeidem Fall attacks the subconscious and clouds the mind. The drums have more movement than on Mask Talk. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on "Sa Seline" or "Geo Scan", without telling any obvious story. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album Nommos (1981). There is also a hint of the minimalist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again, Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

$15.50 IN STOCK

Ant Orange returns to Karaoke Kalk with the album You're Super In Diagonal. Following up on three EPs between 2015 and 2018 for the Berlin-based label as well as a 12" single with drum'n'bass derivatives last year, the British producer again operates at the crossroads of laid-back house, experimental hip-hop, and a bass-heavy, abstract minimalism that hints at his background in UK garage and other strains of the hardcore continuum. Both physically moving and intellectually challenging, Ant Orange's music has always found a comfortable niche between different genres and styles. Working with short vocal snippets, jazz elements and a diverse array of rhythms, his tracks open up small worlds full of endearing details and thrilling dynamics. Nine of those worlds -- seven on the vinyl version of the album -- form the sonic cosmos that is You're Super In Diagonal. Even in Ant Orange's unique and multi-faceted discography, it is an extraordinarily lush and welcoming album. The opener already sets the mood with shimmering ambient textures, the feverish shivers of a hi-hat and a broken beat that serves as the perfect foundation for the warm and minimalistic bass line that enters the picture around the two-minute mark. The aptly named "Flutter" already encapsulates everything that makes You're Super In Diagonal the marvelous record it is: Ant Orange's sound is based on the playful interplay of discrete elements. From the jungle echoes on "Monogome" to the throbbing bass on tracks like "Cracker" or "All In" and the slick deep house grooves of "We'll Call You," the producer's choices thus lead to odd and unusual, but always cordial and inviting end results. They refer to a variety of genres from jazz to grime and IDM, but always retain their specificity. You're Super In Diagonal is a bottomless grab bag of ideas and influences, an album to get lost in, whether it's on rainy days spent on the couch or under a shining sun with a drink in hand.

$21.00 IN STOCK

LP version. Includes download code; edition of 300. Ant Orange returns to Karaoke Kalk with the album You're Super In Diagonal. Following up on three EPs between 2015 and 2018 for the Berlin-based label as well as a 12" single with drum'n'bass derivatives last year, the British producer again operates at the crossroads of laid-back house, experimental hip-hop, and a bass-heavy, abstract minimalism that hints at his background in UK garage and other strains of the hardcore continuum. Both physically moving and intellectually challenging, Ant Orange's music has always found a comfortable niche between different genres and styles. Working with short vocal snippets, jazz elements and a diverse array of rhythms, his tracks open up small worlds full of endearing details and thrilling dynamics. Nine of those worlds -- seven on the vinyl version of the album -- form the sonic cosmos that is You're Super In Diagonal. Even in Ant Orange's unique and multi-faceted discography, it is an extraordinarily lush and welcoming album. The opener already sets the mood with shimmering ambient textures, the feverish shivers of a hi-hat and a broken beat that serves as the perfect foundation for the warm and minimalistic bass line that enters the picture around the two-minute mark. The aptly named "Flutter" already encapsulates everything that makes You're Super In Diagonal the marvelous record it is: Ant Orange's sound is based on the playful interplay of discrete elements. From the jungle echoes on "Monogome" to the throbbing bass on tracks like "Cracker" or "All In" and the slick deep house grooves of "We'll Call You," the producer's choices thus lead to odd and unusual, but always cordial and inviting end results. They refer to a variety of genres from jazz to grime and IDM, but always retain their specificity. You're Super In Diagonal is a bottomless grab bag of ideas and influences, an album to get lost in, whether it's on rainy days spent on the couch or under a shining sun with a drink in hand.

$15.50 IN STOCK

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas -- whether folk, rock, techno, or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. Araceae is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty -- when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges's poetic long-form storytelling. Partially conceived during a residency in India, Araceae is the first Golden Diskó Ship record to feature two guest musicians. For "Wildly Floral, Slightly Damp", Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn't be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for "Ortolan", a riveting coming-together of intricate, IDM-flavored techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener "Clouds of Neon Limelight" dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges's trademark: layered vocals that at once evoke feelings of uncanniness and intimacy. It's a juxtaposition that runs throughout Araceae, thus enforcing the album's overall themes of sensual experience and alienation. "Game of Biryani" for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush "Limping Over The Prairies" and the adventurous "Glow-in-the-Dark Gloves", Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect. The couple makes for an impressive finale of an album that scrutinizes our ideas of what is natural -- whether in music or the world around us. Araceae was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

$20.00 IN STOCK

LP version. Includes download code; edition of 300. Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas -- whether folk, rock, techno, or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. Araceae is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty -- when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges's poetic long-form storytelling. Partially conceived during a residency in India, Araceae is the first Golden Diskó Ship record to feature two guest musicians. For "Wildly Floral, Slightly Damp", Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn't be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for "Ortolan", a riveting coming-together of intricate, IDM-flavored techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener "Clouds of Neon Limelight" dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges's trademark: layered vocals that at once evoke feelings of uncanniness and intimacy. It's a juxtaposition that runs throughout Araceae, thus enforcing the album's overall themes of sensual experience and alienation. "Game of Biryani" for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush "Limping Over The Prairies" and the adventurous "Glow-in-the-Dark Gloves", Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect. The couple makes for an impressive finale of an album that scrutinizes our ideas of what is natural -- whether in music or the world around us. Araceae was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

$15.50 IN STOCK

Working as a creative collaborator can be a triple-edged sword: Helping others explore the jungle of ideas inside their heads can be both inspiring and challenging -- but making time for your own creative projects as well is often a delicate balance. The years as side-woman for the likes of Sufjan Stevens, The National, and My Brightest Diamond have made Marla Hansen's journey from 2007's Wedding Day to her new album Dust a faraway honeymoon: time spent recording and touring the world with others before settling in Berlin to focus on her own follow-up, a multi-faceted gem which wears the lines of its lengthy travels like a hard-earned medal. The slow-burn of Dust's inception can be felt as the album plays. The tracks have weight and wisdom like hand-me-down folk songs, but also sparkle with the confidence and the excitement of an artist with new colors on her palette. Wedding Day's breezy innocence has graduated into grown-up chamber music; Hansen's classical background comes into wide focus as solo plucked viola evolves into techni-colour Americana dreamscapes, courtesy of Berlin's Oriel Quartett. The influence of Hansen's new hometown is all over this record, nowhere felt more than with the swashbuckling contributions of Berlin synth pioneer Barbara Morgenstern, crackling under the fireside songs like shards of electric glass. Andi Haberl (The Notwist) lurks under every track, his drums simmering like an approaching army of wooden horses. Taylor Savvy (Peaches, Bonaparte), Knox Chandler (Cyndi Lauper, R.E.M.), and Christian Biegai (Antony and the Johnsons) are all present at this banquet. A transatlantic tapestry sewn together by producer Robbie Moore (L.A. Salami, Jesper Munk) at his Berlin studio complex Impression Recordings. It is this tangled underbelly which allows Dust such an infectious friction. Hansen's iridescent, aching vocal delivery continuously breaks the gloom like a golden thread, effortlessly gliding above the thunderclouds -- a front-row seat in the safety of her silver-lined spy plane with a view of the neon jungle below. Dust falls from an age-old story and lands in a whole new world. CD version includes eight-page booklet; edition of 500.

$20.00 IN STOCK

LP version. Includes insert and download code; edition of 300. Working as a creative collaborator can be a triple-edged sword: Helping others explore the jungle of ideas inside their heads can be both inspiring and challenging -- but making time for your own creative projects as well is often a delicate balance. The years as side-woman for the likes of Sufjan Stevens, The National, and My Brightest Diamond have made Marla Hansen's journey from 2007's Wedding Day to her new album Dust a faraway honeymoon: time spent recording and touring the world with others before settling in Berlin to focus on her own follow-up, a multi-faceted gem which wears the lines of its lengthy travels like a hard-earned medal. The slow-burn of Dust's inception can be felt as the album plays. The tracks have weight and wisdom like hand-me-down folk songs, but also sparkle with the confidence and the excitement of an artist with new colors on her palette. Wedding Day's breezy innocence has graduated into grown-up chamber music; Hansen's classical background comes into wide focus as solo plucked viola evolves into techni-colour Americana dreamscapes, courtesy of Berlin's Oriel Quartett. The influence of Hansen's new hometown is all over this record, nowhere felt more than with the swashbuckling contributions of Berlin synth pioneer Barbara Morgenstern, crackling under the fireside songs like shards of electric glass. Andi Haberl (The Notwist) lurks under every track, his drums simmering like an approaching army of wooden horses. Taylor Savvy (Peaches, Bonaparte), Knox Chandler (Cyndi Lauper, R.E.M.), and Christian Biegai (Antony and the Johnsons) are all present at this banquet. A transatlantic tapestry sewn together by producer Robbie Moore (L.A. Salami, Jesper Munk) at his Berlin studio complex Impression Recordings. It is this tangled underbelly which allows Dust such an infectious friction. Hansen's iridescent, aching vocal delivery continuously breaks the gloom like a golden thread, effortlessly gliding above the thunderclouds -- a front-row seat in the safety of her silver-lined spy plane with a view of the neon jungle below. Dust falls from an age-old story and lands in a whole new world.