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LAPSUS 042LP
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Gradually, the latest album by Julien Mier, is a sonic journey that delves into the transitions of life, identity, and the blurred boundaries between art and personal growth. With a trilingual brain, Mier reflects on how language shifts have shaped his sense of self throughout his life and the music that he writes. Gradually is his exploration of shapelessness -- an urge to break free from rigid musical genres and get closer to his most fundamental expression. The album is composed of nine tracks, each representing a distinct cultural and linguistic influence, all tied together by the theme of gradual evolution. The first section, "Ciel, Soleil, and Espace" (French for Sky, Sun, and Space), draws on Mier's French heritage, evoking the feeling of childhood memories bathed in a warm, nostalgic glow. This fluid, atmospheric section mirrors the soft, ever-changing air, symbolizing a time of pure, untainted intention. It feels like a hazy, sepia-toned dream, as fleeting and elusive as the scent of an old friend. The second section, "Steen, Zee, and Zand" (Dutch for Stone, Sea, and Sand), channels the influence of Mier's childhood in a small Dutch dune village. These tracks are grounded in the hard-edged textures of electronic dance music, a genre that introduced him to a world of rhythm and movement. It's a sonic landscape rooted in stability, a foundation from which everything can grow. The tracks build from the fluidity of the first section into more structured, rhythmic territories, mirroring the natural transition from childhood innocence to the discovery of deeper, more grounded musical influences. The final section, "Scrap" (a collaborative track with the Japanese producer Daisuke Tanabe), "Soil," and "Spark," dives into the exploration of the world beyond familiar borders. Mier's relocation from the Netherlands to Australia in 2016 is reflected in these pieces, which grapple with the contrast and complexity of different cultures and environments. These tracks are tinged with rust-red hues and a sense of eroded beauty, evoking a more fragmented, distorted view of the world. The music here is marked by tension, conflict, and the erosion of once-solid forms -- symbolic of the digital and ecological storms that shape our modern existence.
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4LP
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LAPSUS 041LP
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Electronic music visionary Pye Corner Audio, a master of blending nostalgia with forward-thinking production, has carved out a unique niche in the electronic music landscape. Drawing inspiration from 1970s and '80s synthesizer music, Detroit techno, and cinematic soundtracks, his work often evokes a sense of eerie futurism. Lapsus Records presents Where Things Are Hollow: No Tomorrow, a comprehensive box set revisiting and expanding his acclaimed Where Things Are Hollow series. This release includes the first two volumes -- with Volume 2 featuring an unreleased track -- and two additional chapters that further enrich the series' narrative. Once again, Pye Corner Audio delivers innovative soundscapes, drawing inspiration from ambient techno, cinematic electronica, and experimental slow disco. The third installment unveils a constellation of entirely new tracks, weaving the ambient, synthwave, and retro-futuristic textures that define Jenkins' work. Meanwhile, Where Things Are Hollow 4 amplifies this narrative, incorporating reinterpretations by some of today's most visionary artists: Alessandro Cortini, Kaitlyn Aurelia Smith, Lord Of The Isles, and Surgeons Girl, alongside the popular 2020 John Talabot remix of "Resist." As with previous entries, the visual identity of Where Things Are Hollow: No Tomorrow is a striking collaboration between Basora Studio and renowned illustrator Alex Trochut, offering a visual counterpart to the series' otherworldly audio. With all tracks remastered for this release, Where Things Are Hollow: No Tomorrow is a testament to Jenkins' enduring influence and creative evolution, cementing Pye Corner Audio as a key figure in modern electronic music.
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2LP
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LAPSUS 040LP
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A gas generator, a hi-fi system, a semi-abandoned house, and 20 hastily printed flyers. That's how, almost without realizing it, Lapsus was born in 2004. Over the course of two decades, the label has ridden a rollercoaster of emotions: from soaring epiphanies, convinced that nothing could stop them, to moments of near defeat when they almost threw in the towel. Making a career out of music is not exactly choosing the easy path. But epic tales aside, today Lapsus look back with pride at having created something that is genuine. To celebrate Lapsus' journey and what lies ahead -- and also keeping an eye on what is yet to come -- Lapsus has gathered some of the artists who have joined along the way, musicians they consider friends and for whom they have the deepest admiration. In a way, VINT (Catalan for "twenty") is like a sonic photo album, a tracklist that tells Lapsus' story better than they could themselves, a collection of unreleased music that celebrates the fact that they've made it this far. Leading this outstanding compilation are forward-thinking producers, with contributions from some of the most respected names in cutting-edge electronic music: CLARAGUILAR, GAZZI, Kettel, Kode9, Le Motel, Lord Of The Isles, Marina Herlop, naemi, Nueen, Pépe, Plaid, Seph, Simo Cell, Suzanne Ciani, Wordcolour, and µ-Ziq.
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3LP
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LPS PS017LP
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Science, Art And Ritual is a story of "process." Growing up in Harrow (a then quiet suburb of London) in the '70s and '80s from the age of about ten, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of '80s dub via David Rodigan's Roots Rockers shows was the first prominent influence he received, and with punk roots -- and his burgeoning record collection -- became exposed to the breathless post punk experimentation that followed in the early '80s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent's house and spoke with the same infinite space as Joy Division's Unknown Pleasures, and King Tubby's Studio dispatches. Science, Art And Ritual was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album. Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III," referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix, and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere '80s soul and funk are frozen and captured in fragile glass lattices. A duel between kick drums from three generations of Roland drum machines is a central theme in "Transition-R," all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul. Three decades after seeing the light, Lapsus presents a special 30th anniversary reissue of this left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" -- regularly performed live at that time and produced in the same period as the album sessions in 1993. Science, Art And Ritual may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.
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LAPSUS 039LP
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There are albums that tap into the very heartbeats of rhythm, melody and intricate sound design, pulsating with every musical note. This is the case of Séptimo Sentido, the new album by Buenos Aires-based producer Seph. Sebastián Galante aka Seph is no stranger to these realms; with almost two decades of experience under his belt, he has established himself as one of the leading talents in the Argentina techno scene and as one of the most intriguing minds in alternative Latin American electronic music. His productions have found a home in cutting edge labels such as Insurgentes -- a platform led by the DJ and producer from Medellín (Colombia) Verraco, and sister label of TraTraTrax, which has reduced gaps between the Latin electronic scene and the rest of the globe -- or his own label Aula Magna Records. He has also fostered collaborations, among which stands out his project Oscean alongside Andrés Zacco, a project that was recently released on the legendary Berlin label Tresor. In his new album Séptimo Sentido, Seph exhibits superlative production skills and masterfully showcases the widest palette of the braindance sound, that intersection where countless genres and sub-styles can coexist. There are echoes from the mid-'90s that revive undeniable references of early IDM, but with a renewed form, under a fiercely contemporary new skin. At the core of this intriguing album is an artist whose devotion to experimentation takes his rhythmic and melodic obsessions through vibrant magical-techno-urban landscapes, where radiant colors and mutating forms collide in a bold and imaginative sonic journey. Séptimo Sentido hails from the prism of perception, beyond the five senses and a step further than instinct, hunting for mysterious resonances with the cosmos; like a space portal inviting listeners to float a handspan above the ground.
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2LP + 10"
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LPS PS016LP
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When Can is a journey through the realms of musical serendipity, an ode to the unexpected twists of collaborative intuition. Conceived in the spring of 2012, this masterpiece is the culmination of a decade-long friendship between Reimer Eising aka Kettel, and Lennard van der Last aka Secede, two of the most talented electronic music producers from The Netherlands. When Can is not just a collection of songs; it's a seamless continuum where each track breathes life into the next. As the listener delves into the sonic story, the music leads to uncharted territories, incorporating ambient and cinematic sounds and blending them with reminiscences from Renaissance to Baroque music. Far from a preconceived plan, the album organically unfolded, capturing the essence of the musical exploration from these two brilliant minds. More than a decade after its birth, Lapsus is proud to release When Can for the first time on vinyl. For this meticulously curated deluxe edition all the tracks have been remastered, and the artwork has been updated by Basora studio. And there's much more inside: two lithographic prints featuring original paintings by Jeroen Advocaat plus an extra 10" including the unreleased tracks "Zipvanes" -- a ten-minute alternative cut of "Ringvanes" -- and "Spoonful."
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LAPSUS 038LP
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The scenic artist and multi-instrumentalist Claraguilar moves from performing arts to cinema as a composer and live performer. Over the last few years, she has created soundscapes that blend electronics and sampled elements with orchestral arrangements, becoming one of the main names of the Spanish theater scene when it comes to soundtrack and sound design creation. After her acclaimed EP Mystery is All, Lapsus presents Figura, Claraguilar's debut album, a heartfelt tribute to her connection with the scenic world, and especially with the operatic universe. The starting point of this project was born with the concept of an "invisible orchestra," an imaginary that aesthetically becomes a reality on stage thanks to the collaboration with the Barcelona studio Oscila, as well as with the help of the stylist Joan Ros, who has been in charge of the costume design. Figura is a space in which electronica, ambient, and chamber-pop coexist; all under an operatic halo full of drama. Once again, the producer locked herself down from late 2022 to the beginning of 2023 to compose all the tracks in a very intimate and closed composition process. The album dives into the melodic landscapes, merged with orchestral samples and chopped voices containing mysterious messages inside. Each track is a pixelated lightshow and a live electronic instrumentation, presented onstage as an elegant performance with an expansive emotional range.
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2LP
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LPS PS015LP
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Although 30 years after its birth this fundamental electronic gem called Reflections has achieved cult status, it is worth remembering that it all started in 1993 in a small apartment in Waterloo, London, with the help of a mixer and a bunch of hardware synth and drum machines of hardware, with the mastodontic Oberheim OB-8 synthesizer as the main partner. While in the UK the vast majority of kids showed a certain rejection of what came from North America in the form of electro, Kirk Degiorgio, under his alias As One, embraced it openly and incorporated it into his productions along with influences from other genres that he had already adored since he was young, such as jazz, soul or funk, thus becoming one of the true early adopters of Detroit techno in the UK. Reflections is a challenge in itself, and even more so considering what the consumption pattern of electronic music was in the early '90s. This timeless album fits into the delicate border between being enough club to work on the dance floor, and still being musical and cerebral enough to be listened to at home. A milestone that, whether premeditated or not, Degiorgio more than achieved. Three decades later Lapsus Records has been able to access the pre-masters extracted from the original DATs to build a special 30th anniversary edition within its Perennial series. For the occasion, this reissue not only offers the tracks included in the first edition, it also adds the songs "The Priestess" -- never released on vinyl before -- and "Forgotten Memory" -- until now unreleased and rediscovered in one of the DATs dating back to 1992 from the Reflections recording sessions. This is the definitive edition of an album that, despite coexisting with the explosion of the rave movement, would pave the path for the UK-Detroit connection.
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2CD
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LPS PS014CD
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Back in the 1990s, video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you'd soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid '90s culture. wipE′out′′ also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield, and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game's original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE′out′′ was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum and bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt. These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven't, perhaps, quite got the respect they deserve, something that this release will address. Featuring remixes by µ-Ziq, Wordcolour, Brainwaltzera, James Shinra, Kode9, Simo Cell, Surgeons Girl, Datassette.
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3LP
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LPS PS014LP
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Repressed; triple LP version. Back in the 1990s, video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you'd soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid '90s culture. wipE′out′′ also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield, and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game's original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE′out′′ was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum and bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt. These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven't, perhaps, quite got the respect they deserve, something that this release will address. Featuring remixes by µ-Ziq, Wordcolour, Brainwaltzera, James Shinra, Kode9, Simo Cell, Surgeons Girl, Datassette.
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LP
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LAPSUS 037LP
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Composer, percussionist and multidisciplinary artist RRUCCULLA is undoubtedly one of the most eclectic projects to emerge from Spain in recent times, combining abstraction, plasticity and experimentation with an uncommon mastery. Since her first impact on the electronic "headz" scene with SHuSH in 2018, the Basque producer has been carefully distilling her new album Zeru Freq., which will be released on Barcelona's Lapsus record label. The album is wide-ranging, interweaving sound and art that transports the listener into an immersive universe. Zeru Freq. envelops us in a Euskadi environment, guiding us through an open-air museum, containing a collection of eleven sound productions that fuse nature, landscapes and the local climate. This epic musical journey incorporates organic frequencies painted in technicolor, in which hyper-realistic synthesizer textures merge with acoustic instruments, resulting in an atmospheric ambient sound that warps our perceptions of reality. At a sonic level the unmistakable stamp of RRUCCULLA is omnipresent, but this time she climbs to even higher plains. Zeru Freq. explores an expanded aural palette, traversing the borders of strictly electronic music, while laying foundations for a new audio discourse. Throughout its eleven tracks, RRUCCULLA embraces the broadest spectrum of contemporary music, flirting with avantgarde electronica at will, without succumbing to labels or pigeonholing. Zeru Freq. is the sound of shapes; figures and strokes, it is a work that mutates with each passing moment, until the last note is heard. Also featuring Violeta Azevedo and A. Txabarria.
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3LP
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LPS PS013LP
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Reissue, originally released in 1998. "Dance music has always been grounded in a sense of place . . . But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak's Snowboarding in Argentina is one such record. The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations -- mostly bedrooms -- around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne . . . On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then, after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. The album itself appeared in 1998 on London's Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn't quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher. A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of '90s production are available -- the music's almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw -- but there's nothing dated about it . . . Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus's Perennial Series edition unites, for the first time, all the album's tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material..." --Philip Sherburne
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LP
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LAPSUS 036LP
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Gacha Bakradze releases his third album on Lapsus entitled Pancakes, and while the name may appear conventional at first glance, it actually contains esoteric philosophical concepts. The Georgian producer perceives the making of pancakes -- a transformative and healing parental activity that he loves to partake in with his son -- as a metaphor for alteration, metamorphosis, and change. A reflection that also accentuates the importance of balance during each process of preparing a simple recipe, which in turn highlights key human attributes such as patience, attention to detail and willingness to adapt to shifting circumstances. On a sonic level, Gacha's new album embodies precisely that: the contextual reworking of his music, while maintaining the essence of his previous work. Pancakes provides the typically melancholic yet vibrant genetics already recognizable in his music, but also embraces new genres, including his unique and personal take on hyper-pop and trance. It is an album of contrasting elements, where bucolic interludes make way for heavier tracks that are more suited to a club environment, an aural universe that hybridizes IDM, electro, bass music and cutting-edge techno, and once again demonstrates that trying to pigeonhole Gacha Bakradze's sound is a somewhat fruitless task.
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LP
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LAPSUS 035LP
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Valencian producer Pépe's love of iridescent melodies, velvety pads and complex rhythms has seen him skillfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie, and Disclosure. His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album Reclaim opens the door to experimentation and sound design, while embracing the braindance and hyper-pop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures, and a strong vocal presence, both synthetic and authentic, sparkle. Reclaim imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pépe exhibits his personal reverence for the work of Antonio Cortés Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely. In Pépe's own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world."
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LAPSUS 034LP
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Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland's current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light, and Shall Not Fade, with whom he released his acclaimed debut album in 2020. His Lapsus release Closer Now, takes a different trajectory to his previous album The Sensual World (Shall Not Fade, 2022), fundamentally an energetic and high tempo club record. In contrast, Closer Now focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor. Closer Now is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely, it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.
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2LP
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LPS PS012LP
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Reissue, originally released in 2005. Vector Lovers has remained a firm favorite of the underground electronic music scene cognoscenti and holds a coveted place among the most hallowed of record shelves, and with good reason. Since the early 2000s, Martin Wheeler has explored a sparse audio wasteland in order to develop a new sonic palette that looks outward to electro, IDM, and ambient. After self-releasing a handful of his own productions on the Iwari label, Wheeler's career-defining album was signed by British label Soma in 2005, leading to the first great revival of '90s IDM. Capsule For One was an unrivalled masterpiece that perfectly synthesized the heritage of the hardcore continuum with renewed airs and degree of clarity that ushered in a new millennia and sound. It arrived as a worthy successor to the venerated Warp artists of the time, while embracing new panoramas and technologies. Capsule For One is a melancholic album, with an almost cosmic spirituality that provokes daydreaming. From its opening track "City Lights From a Train" it welcomes the listener onto an infinite journey at the speed of light, connecting the past, present and future, folding time and space and painting neon cities populated by cyborgs. The album reaches its zenith with "Melodies and Memory", featuring Wheeler's very own voice, which has arguably become one of this century's greatest electronic ballads to date. In fact, the impact of Capsule For One was such that Tracey Thorn commissioned him to produce her song "Easy", from the album Out of the Woods (Virgin, 2007). For its forthcoming release on Lapsus Records, Martin Wheeler has remixed each and every song on Capsule For One, as well as adding two previously unreleased tracks "A Simulation" and "Perfect Score", both produced around the same epoch. This extra special release, with artwork redesigned by Josep Basora, features marbled vinyl and a limited edition insert print.
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LP
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LAPSUS 033LP
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Neil McDonald's love of the outdoors is a constant feature in his music, hence his Lord Of The Isles moniker, a direct reference to the Highlands and islands of his native Scotland. His vivid, effervescent and blissfully cinematic sound paints a soundtrack to unmade films, building imaginary worlds inspired by his childhood passion for science fiction. It is therefore no coincidence that the closing track "Subtle Thoughts" samples the inimitable voice of Carl Sagan and is also the name of his forthcoming album on Lapsus Records. Subtle Thoughts is an album of sumptuous melancholic electronica that, like all his previous works, avoids being pigeonholed. In it you find ambient and IDM, but also breaks and down-tempo 4x4 beats with deep ruminations, and even passages akin to new age and Balearic. In Neil's own words, the real concept behind Subtle Thoughts is: "The spaces in between. Listening to the quiet voices. Freedom of expression and being open. It also contains my hopes and fears for the future of our world, but mainly hope and love."
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LP
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LAPSUS 030LP
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Sa Casa des Carbó is an old fishermen's house located on the seafront in Cala Vedella, a small beach cove situated on the west coast of Ibiza. Through its windows filters the salty air and the murmur of the sea, while also offering a glimpse into the history of a land with a powerful nomadic spirit and a cultural background that has no equal. In November 2020, in the midst of a global pandemic and driven by the desire to embark on an inner journey, Mario G. Quelart (Lucient) chose this peculiar enclave as a source of inspiration and focal point for his debut album Sa Casa des Carbó. For ten days, Lucient self-isolated by choice and undertook an introspective journey to find himself. It was a voyage through uncertainty and fear, with moments of tranquility; a personal pilgrimage traveling through light and the shadows, in which time became a relative element. Sa Casa des Carbó is a sound journal of this experience, an album with an ambient base, but which opens the door to experimentation, rhythm, and psychedelia. Field recordings -- the sea, the birds, the wind, and a strangely silent airport -- are fundamental parts of this journey and serve as a canvas for an album of cosmic electronica with Balearic overtones.
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2LP
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LPS PS011LP
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Lapsus Records present a reissue of Kettel's My Dogan, originally released in 2006. It's no secret that Dutch artist and producer Reimer Eising, aka Kettel, is a Lapsus Records favorite, as well as being a leading proponent in braindance/IDM over the last two decades. This makes him the obvious choice for the next release in our on-going Perennial series. My Dogan, was originally released in 2006 on Sending Orbs and is undoubtedly one of his most iconic works to date, and possibly the most popular album among his adoring fan base. Lapsus Records present this musical golden nugget, for the first time on vinyl. Includes brand new artwork and a high-quality print insert. Marbled vinyl.
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12"
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LPS 029EP
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Described by his peers as a keystone in ambient-electro, Datassette is a bastion of the underground and one of alternative electronic music's most exceptional and enigmatic talents. His extensive and diverse discography spans two decades and includes a plethora of albums, EPs and remixes for independent record labels, including: Ai Records, Apollo/R&S, Wall Of Sound, CPU, and Shipwrec. His work and creative output also extends to the design of music libraries for TV and radio; producing sound effects for 8-bit video games; working as a graphic designer and co-running the Misc label. Datassette has never been shy of creating complex, addictive and emotive music and this magical music formula is replicated on Sentinel, his new EP for Lapsus Records. As is emblematic in his long-standing career, Datassette demonstrates a healthy non- conformist approach to conventional labels and pigeonholing. By using a combination of powerful vintage hardware and latest generation digital techniques, the British producer continually manages to redefine his sound. This new four-track EP sees him fuse dub, electro, braindance, ambient, experimental electronica, and even abstract hip-hop.
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2LP
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LPS PS010LP
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After presenting the acclaimed special reissue of A Midsummer Nice Dream by Ochre in 2019 (LPS PS003-LP), Christopher Scott Leary returns to Lapsus's perennial series with Lemodie (15th Anniversary Edition). 2021 marks 15 years since the original release of Lemodie on Scottish label Benbecula in 2006, and to celebrate the release's fifteenth anniversary Lapsus Records present a special collector's edition of this IDM classic for the first time on vinyl. Lemodie (15th Anniversary Edition) includes five previously unreleased tracks from the Lemodie era. Double marbled vinyl; includes a full-color print and a brand-new artwork redesigned by Portland (Oregon) illustrator Nathaniel Reeves who has worked alongside Ochre over the last decade.
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12"
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LPS 028EP
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British producer Patrick Tipler spent his formative years immersed in psychedelia as a bassist and guitarist in various bands and groups. The arrival of synthesizers -- along with his move to Bristol -- radically changed his vision of sound and impacted on his musical direction with the force of an asteroid. This shockwave subsequently saw the birth of Delay Grounds. After releasing the outstanding Onomatopoeia [Pressure Dome, 2020] and Upcycling [Tropopause, 2021], Delay Grounds' output has made it clear for all to see that Tipler's sound design skills are second to none, and with just two releases to his name he has already transformed himself into an artist to watch very closely. Today, Patrick joins the Lapsus crew to present Genus, a five-track EP that he says "is my most personal release to date, something I've always carried inside and wanted to produce, but had never managed to articulate before." On Genus, Delay Grounds preserves the essence of his sound but takes things a step further, with a form of maximalist electronica, sprouting powerful torrents of high-pitched and ruff-as-rock avant-techno, glitches and mutant sound elements, combined with sweet and delicate melodies in the purest IDM style. Polishing is provided by sound engineer Nick Earle, with whom Patrick has recorded and remarkably treated a kit of "deconstructed drums" especially for the occasion. Genus is 30 minutes of astral travelling, an experience perhaps analogous to what we would feel if we opened a vault, containing music from a lost civilization. Marbled snowy white vinyl.
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2LP
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LPS PS009LP
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20th Anniversary Edition of Slow Motion Process, originally released in 2001. In 2019, Lapsus released the only album to date from IDM duo Abfahrt Hinwil, released for the first time on vinyl. Abfahrt Hinwil is formed by two good friends Martin Haidinger and Chris Cunningham, who as well as collaborating on musical projects were also responsible for the now defunct Toytronic label. Today, Lapsus welcomes back Martin Haidinger, AKA Gimmik, the pseudonym under which Haidinger has been releasing intricate and exquisite electronic music since the late 1990s. The Austrian producer's album Slow Motion Process is his best-known work to date and was released in 2001 on the Worm Interference label. It's sound is very reminiscent of Abfahrt Hinwil's album Links Berge Recht Seen: combining elements of subtle braindance, glitch-tinged electronic music, floating between analog and digital; exceptional IDM that still sounds as contemporary as when it was first released. Lapsus Records celebrates the 20th anniversary of Slow Motion Process with the release of a deluxe edition that includes artwork updated and designed by Martin himself, as well as the unreleased track "Typologic (1999)" -- only available on the vinyl version.
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LP
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LAPSUS 027LP
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"In the beginning, there was just a box of tapes and 'Fate's Gentle Hand.' It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services, found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as 'archived magnetic recordings.' The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of moldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: Black Mill Sessions. And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work . . . Some of the tapes displayed an unusual amount of degradation and ... an unsettling amount of background noise, whether electrical in nature, or otherwise,' wrote the Head Technician . . . It was a good yarn, and the music was better still. Like his contemporaries Demdike Stare and Ghost Box, Pye Corner Audio seemed to be tapping into some hidden energy current, channeling spirits via electrical means. The pioneering transmissions of the BBC Radiophonic Workshop could be detected lurking within the music's staticky swirl; so could the ominous throb of John Carpenter's film soundtracks. Drones and flutes commingled with chugging machine beats; miasmic clouds of haunted tone alternated with death disco. It all sounded eerie, otherworldly, possibly occult -- yet also, in tracks like the glimmering 'We Have Visitors,' accented with a hint of mischief. Over the next few years, Martin Jenkins -- for that, after all, was the Head Technician's name -- would go on to release three more volumes of Black Mills Tapes. Among the dozens of releases he has put out since 2010, they remain among the most beloved in his catalog. Now, ten years after Avant Shards first appeared, Lapsus is pleased to present Black Mill Tapes Volume 5: The Lost Tapes. The musical landscape has changed considerably in the past decade, but what is remarkable about the Black Mills Tapes material is that it hasn't aged a day; its retro-futurist transmissions sound just as mysteriously compelling as they did the first time around. While they purport to faithfully transcribe the sound of yesterday's technology, they end up being something more: a record of what we wish the past sounded like -- a rickety tape transfer of desire itself, spooled and boxed, just awaiting discovery." --Philip Sherburne
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2LP
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LPS PS008LP
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In 2006, the now defunct BaseLogic label released the first in a triad of EPs entitled Fixxy, produced by the enigmatic British artist Ed Chamberlain. These EPs left many electronic music lovers scratching their heads, having heard something genuinely different. It represented a new generation of IDM reminiscent of The Black Dog or Plaid, melancholic electro with a meticulous nuanced palate that immediately transformed Chamberlain into a revered figure. Fifteen years on Lapsus Records, as part of its Perennial series, will release Ed Chamberlain's superlative productions across 2x12", entitled 03/06. The lavish 12" double pack will feature a sizeable part of the Fixxy material, along with additional tracks created during the same period of time, 2003-2006, including "Zarathustra" and "Does Ape", the latter released on vinyl in 2008 by Madrid label Semantica. Remastered.
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