Territories: WORLD minus UK and US

2023 Repress

FORMAT 12" 180g vinyl, generic sleeve, dl card

TRACKLIST

A1. Master Builder (Original Mix) 03:37
A2. Master Builder (Sandman Option) 04:03
B. Quartz 06:35

RELEASE INFO:
Almost 30 years after its initial release, and accompanying the re-release of ’Internal Empire’
Tresor Records is proud to present a new pressing of Robert Hood’s essential “Master Builder” EP.
This work elevates its maker as master, and remains a cherished moment in the Tresor story, sharing an
irrefutable singular magic, sounding as present and indispensable as when first created. Originally
released in 1994 and 1995, ‘Internal Empire’ and "Master Builder" mark a point of transition for Robert
Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced
uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be
done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound,
influencing generations to come.
"25 years ago, I was faced with the challenge of following up on 'Minimal Nation'. I cancelled all my tour
dates for that summer, setup my studio in the living room and began to work on 'Internal Empire'. My
intention was to create something distinctively dierent. Looking out my living room window in Detroit
watching people go by gave me a new perspective. It made me look at the world within myself. 25 years
later I am still discovering.” - Robert Hood, 2019 More

2022 Repress

The ongoing importance of this album is indisputable, essential both to techno and to Tresor. It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact. Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.
Tresor.27 is re-mastered and re-cut, releasing February 1st, 2019, on CD and 180g. 2LP vinyl. More

DSetroit’s pioneering techno giant Robert Hood is next to take the reins of the DJ-Kicks mix series. His timeless 22 track offering includes four of his own new exclusives, and will come on CD as well as with a 2 x 12” vinyl sampler.
TRACKLISTING CD
01 Connected (Intro)
02 Robert Hood - Focus (DJ-Kicks)
EXCLUSIVE
03 Truncate - Terminal 5
04 Slam - Remain
05 Robert Hood - Clocks
06 Marcel Fengler - Mirror Man
07 Mark Broom - King (Gary Beck Remix)
08 Robert Hood - Greytype I **EXCLUSIVE
09 Robert Hood - Mirror Man
10 Stare5 - We Will Not
11 Gary Beck - Video Siren
12 Mark Reeve - Dice
13 Robert Hood - Bond Solid **EXCLUSIVE
14 Landside - Signs of Change
(Robert Hood Remix)
15 Adrian Hour - Make You Feel Good
16 Ben Long & Tom Hades - The Knight Rider
17 Clouds - Chained to A Dead Camel
18 Hans Bouffmyere & Kyle Geiger - Inwards
19 Robert Hood - Machineform **EXCLUSIVE
20 Robert Hood - Hall of Mirrors
21 Oliver Deutschmann - Confuzed
22 Matrixxman - Protocol
More

DSetroit’s pioneering techno giant Robert Hood is next to take the reins of the DJ-Kicks mix series. His timeless 22 track offering includes four of his own new exclusives, and will come on CD as well as with a 2 x 12” vinyl sampler.
TRACKLISTING LP
A1 Robert Hood - Focus (DJ-Kicks)
A2 Truncate - Terminal 5
B1 Slam - Remain
B2 Stare5 - We Will Not
C1 Gary Beck - Video Siren
C2 Mark Reeve - Dice
D1 Landside - Signs of Change
(Robert Hood Remix)
D2 Ben Long & Tom Hades -
The Knight Rider More

2024 Repress


- NO SALES TO JAPAN -
Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12" 140g Vinyl
- The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995).
- LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork

Tracklisting LP :
A1 ?I - Making Of Cyborg
A2 Ghosthack
A3 Puppetmaster
A4 Virtual Crime
A5 ?II - Ghost City
B1 Access
B2 Nightstalker
B3 Floating Museum
B4 Ghostdive
B5 ?III - Reincarnation

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.

Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.

The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.

Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).
More

No sales to Japan!

LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk

Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance


Info

We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.

Points of interests

- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.

- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.

- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
More

2 x 12”, black vinyl, 4C gatefold
My studio is my shelter, I feel comfortable there, surrounded by wonderful inspiring machines. A small cosy room where ideas emerge, mature, morph, and solidify into their final shape. 'Studio' is the result of spending time in that space. The album's intention is simple: Presenting a beautiful personal musical journey. The creative process in itself matters to me, the interaction with my instruments, the accidental discoveries, the successful execution of a vision and anything in between.
Most of the tracks on this album got revised countless times, and then even more, once I knew in which context and order I wanted to arrange them. I have been living with my music for months now, listening, thinking, changing, diving deeper and deeper into each piece.
I love albums, they are a beautiful long-form format where each part has its place, a journey from the start till the end. Each piece has its own story, its own flavour and history.
Some of them have been with me since a while already. There is material which I created years ago for installations and music derived from previous audiovisual works, all completely ripped apart and rearranged multiple times. During their creation my pieces often turn into something completely different, they repeatedly shift from one state to another until they become solid. What I consider a core element at the beginning might be later discarded completely, and a little detail in the background might become the essence.
Many explorations ended in the trash bin before the results had a chance to be part of 'Studio'. Things did not fall into place, did not feel right.
Other compositions had to fill the void instead, some created quickly in a rush of inspiration, some slowly, shy, questioning their significance. This album did not come into existence in a hurry, it took as long as it needed. I used the time to walk around my creations, to listen to them from the distance, physically, mentally, with friends, in all kinds of different contexts. I tried to understand what I just did. I started to see patterns, hidden motifs, things that were buried in between too many layers of sound. What is essential? What is ornament? I reduced, rearranged, added again.
The closer I got to the final state of 'Studio' the more clarity I found. The inherent doubts and the nagging voices from the inside got more quiet, and a sense of achievement started to manifest itself. More and more details just fell into place. And now it is done. After making electronic music since almost thirty years I don't care anymore about genres, about how to label things. It is music, my own personal music, and that's it. Call it electronica if you wish.
Process Notes
The music on this album has been constructed in Ableton Live. Most of the sounds have been created with my collection of beloved hardware synthesisers and effects, often further processed until something completely different did emerge. Sometimes I spend days in the studio just recording sounds or creating new presets, without already having a composition in mind. A few selected musical instruments contributed significantly to the palette of this album; a New England Digital Synclavier II, which also served as inspiration for the artwork, a Sequential Prophet VS, which is present on all Monolake albums since 1996, a Yamaha SY77, Linn Drum, and the Oberheim Xpander. And then there is Operator in Ableton Live, which I developed in 2004 and still love to use, and a lot of the other effects and instruments in the software. And of course my Granulator III instrument, and the PitchLoop89 audio effect. The final sonic world is often the result of radical processing of these elements, via filtering, pitch shifting, time stretching and other types of processing, both in Live and with my hardware. The good old Alesis Quadraverb deserves an honorary mention here, so does the AMS RMX 16.
Artwork
The cover combines a few complex elements. A composition of various lichen photographs, and a computational noise field that cuts rivers into the structure, where the inner artwork of the album shines through: The inside of the CD package and the gatefold vinyl cover shows a non-existing musical instrument, based on the user interface of the Synclavier II. I've always been fond of its futuristic button matrix with red LEDs, which conjures a sense of nostalgia for early computer systems. But I wanted more than just a photograph of it. Instead, I created a collage that not only consists of its existing controls but also integrated additional features it never possessed, though it might have in a subsequent iteration. In essence, I crafted a vision of a future that never materialized.
Geeky detail: When a Synclavier II is turned on, and the connected mainframe computer did not boot yet, the LEDs in the buttons light up in random patterns. The imaginary version of it does the same.
Track Listing:
01 The Elders Disagree
02 Thru Stalactites
03 Signals
04 Cute Little Aliens
05 Intermezzo
06 Global Transport
07 Stasis Field
08 Prime Lundy
09 Red Alphonso
10 Eclipse

Composed, mixed and produced by Robert Henke 2024.. More

Digipak, 4C print
My studio is my shelter, I feel comfortable there, surrounded by wonderful inspiring machines. A small cosy room where ideas emerge, mature, morph, and solidify into their final shape. 'Studio' is the result of spending time in that space. The album's intention is simple: Presenting a beautiful personal musical journey. The creative process in itself matters to me, the interaction with my instruments, the accidental discoveries, the successful execution of a vision and anything in between.
Most of the tracks on this album got revised countless times, and then even more, once I knew in which context and order I wanted to arrange them. I have been living with my music for months now, listening, thinking, changing, diving deeper and deeper into each piece.
I love albums, they are a beautiful long-form format where each part has its place, a journey from the start till the end. Each piece has its own story, its own flavour and history.
Some of them have been with me since a while already. There is material which I created years ago for installations and music derived from previous audiovisual works, all completely ripped apart and rearranged multiple times. During their creation my pieces often turn into something completely different, they repeatedly shift from one state to another until they become solid. What I consider a core element at the beginning might be later discarded completely, and a little detail in the background might become the essence.
Many explorations ended in the trash bin before the results had a chance to be part of 'Studio'. Things did not fall into place, did not feel right.
Other compositions had to fill the void instead, some created quickly in a rush of inspiration, some slowly, shy, questioning their significance. This album did not come into existence in a hurry, it took as long as it needed. I used the time to walk around my creations, to listen to them from the distance, physically, mentally, with friends, in all kinds of different contexts. I tried to understand what I just did. I started to see patterns, hidden motifs, things that were buried in between too many layers of sound. What is essential? What is ornament? I reduced, rearranged, added again.
The closer I got to the final state of 'Studio' the more clarity I found. The inherent doubts and the nagging voices from the inside got more quiet, and a sense of achievement started to manifest itself. More and more details just fell into place. And now it is done. After making electronic music since almost thirty years I don't care anymore about genres, about how to label things. It is music, my own personal music, and that's it. Call it electronica if you wish.
Process Notes
The music on this album has been constructed in Ableton Live. Most of the sounds have been created with my collection of beloved hardware synthesisers and effects, often further processed until something completely different did emerge. Sometimes I spend days in the studio just recording sounds or creating new presets, without already having a composition in mind. A few selected musical instruments contributed significantly to the palette of this album; a New England Digital Synclavier II, which also served as inspiration for the artwork, a Sequential Prophet VS, which is present on all Monolake albums since 1996, a Yamaha SY77, Linn Drum, and the Oberheim Xpander. And then there is Operator in Ableton Live, which I developed in 2004 and still love to use, and a lot of the other effects and instruments in the software. And of course my Granulator III instrument, and the PitchLoop89 audio effect. The final sonic world is often the result of radical processing of these elements, via filtering, pitch shifting, time stretching and other types of processing, both in Live and with my hardware. The good old Alesis Quadraverb deserves an honorary mention here, so does the AMS RMX 16.
Artwork
The cover combines a few complex elements. A composition of various lichen photographs, and a computational noise field that cuts rivers into the structure, where the inner artwork of the album shines through: The inside of the CD package and the gatefold vinyl cover shows a non-existing musical instrument, based on the user interface of the Synclavier II. I've always been fond of its futuristic button matrix with red LEDs, which conjures a sense of nostalgia for early computer systems. But I wanted more than just a photograph of it. Instead, I created a collage that not only consists of its existing controls but also integrated additional features it never possessed, though it might have in a subsequent iteration. In essence, I crafted a vision of a future that never materialized.
Geeky detail: When a Synclavier II is turned on, and the connected mainframe computer did not boot yet, the LEDs in the buttons light up in random patterns. The imaginary version of it does the same.
Track Listing:
01 The Elders Disagree
02 Thru Stalactites
03 Signals
04 Cute Little Aliens
05 Intermezzo
06 Global Transport
07 Stasis Field
08 Prime Lundy
09 Red Alphonso
10 Eclipse

Composed, mixed and produced by Robert Henke 2024.. More