Teho Teardo is half of Modern Institute and with Martina Bertoni, they released the album 'Excellent Swimmer' on Expanding Records in 2006.

The album 'Soundtrack Works 2004-2008' is a selective compilation of Teho's film music, which has won him many major awards and much critical acclaim. The album includes incidental music from the international hit and Cannes jury prizewinner 'Il Divo' for which he also won the Ennio Morricone prize at the Italia film festival. Ennio Morricone himself presented the prize to Teho and the Il Divo soundtrack went on to win the David di Nonatello prize, the most important prize for music in Italian cinema.

We are really proud here at expanding to release this extraordinary record of the early work of an important new name in the world of film music.

"Experience tells me that sooner or later those who seek will find and in the passages between searching and finding there are important moments, moments such as the ones we hear on this beautiful album." - Ennio Morricone



'You'll Never Find Us Here' is the debut album from pq, who are Samir Bekaert and Maarten Vanderwalle from Bruges Belgium. In their own words: 'PQ is a cinematic tapestry of lush ambient-acoustic melodies, merging endless layers of prepared guitars with crisp clouds of electronica. Propagating on - though not necessarily drawing from - influences ranging from Canadian apocalyptical post-rock to Nordic indietronica, and occasionally incorporating classical elements along the way.'



'Sparkle Plenty' is the second album from Cathode - Steve Jefferis, from Newcastle-upon-Tyne, UK. 'Special Measures', Cathode's debut album, was released by Expanding Records in 2004 following early releases on Static Caravan and 555 Records. The album was acclaimed for its winning combination of precision-glitch electronics and a warm melodic sensibility, gaining the judgement of 'first class' from John Peel and neatly summed up by Metro as '...a moody, melodic soundscape of carefully controlled clicks, beats and bleeps, producing a crescendo of beautifully blended electronic rhythms ... a sound as emotive as it is creative'.

'Sparkle Plenty' finds Cathode coupling the precision and warmth of the debut with a richer sonic palette - for instance, the skittering improv percussion of 'Dream Feeder', the strings, flutes and piano of 'Without Memory Or Desire', or the battered acoustic guitar and ticking clocks of 'Nightly Builds'. Centrepiece of the album is 'Structure Hunger', a juddering serialist-krautrock wonder, which has its origins in a collaborative project with film-maker Adam Finlay at Newcastle's Tyneside Cinema to provide new soundtracks to a batch of vintage colour-saturated summertime movies.

Along with releasing remixes for Bauri and d_rradio, and a 7 inch single for Newcastle's Distraction records, Steve has been spending his time since the debut album working on other music and film projects. These include membership of The Matinee Orchestra, Tyneside's pastoral-acoustic ensemble who released an acclaimed debut album on Isan's Arable record label; and the Warm Digits, a guitar-noise/electronics/free-improvisation collaboration with the Matinee Orchestra's Andrew Hodson.

Steve's day job as a clinical psychologist has some oblique influences on the new record. The title 'Sparkle Plenty' comes from developmental psychologist and psychoanalytic psychotherapist Daniel Stern's work on infant development. 'Sparkle Plenty' is his phrase for children whose way of coping with caregivers who are unresponsive or depressed is to 'sparkle' - with lots of smiles, activity and excitement, that masks the child's authentic (possibly much lonelier) emotional state. It's an apposite title for the record; Cathode's music has always been unashamedly about creating something beautiful, which acts to sweeten something that's much more melancholy underneath.



The debut release from pq on expanding records is the 7” single 'louise on earth'. This represents the first in a new series of singles released on Expanding, it indicates a slight departure from previous releases as it contains a vocal track and was made with (almost all) acoustic instruments.

pq are Samir Bekaert and Maarten Vanderwalle from Bruges Belgium, but apparently 'you'll never find them there' 'louise on earth' is the prequel to a full length album by pq due later in 2009.

“Totally beautiful... listen to this with enough booze in your belly and you'll be in floods of tears” - Norman Records - Record of the Week



20 tracks, showcasing 20 different synthesizers, one from each year, covering the period 1968-1988.

Twenty Systems is the latest release from electronica artist and Expanding Records founder Benge and marks his tenth solo album. This project combines an audio CD of new music with a full colour 60 page book containing photos and diagrams of the electronic instruments used, along with a detailed history documenting the development of synthesisers between 1968 and 1988.

The booklet includes a foreword by Robin Rimbaud (aka Scanner)...

'Presented here are twenty pieces of music created on twenty different synthesisers, one from each year between 1968 and 1988. The purpose of this record is to demonstrate the development of the the synthesiser from the first commercially available systems in the late 1960s to the introduction of fully digital systems in the late 1980s. This is not intended to be a comprehensive history of synthesisers. However, the listener will hopefully gain some insight into the character of each instrument, and on a more general level experience the evolving sound of synthesis over the yearsWhat you hear on each track is the pure sound of an individual instrument. No additional processing, sequencing or effects were applied to any of the recordings. If a system was equipped with an in-built sequencer I made use of it on the particular track, and I often used the process of recordingsound-on-sound, where a track is made up of multiple layers of the same synthesiser recorded in parallelTo put it simply, I wanted to let the instruments speak for themselves as much as possible; to let the instruments influence the way I composed the pieces' Ben Edwards (Benge)

'A brilliant contribution to the archaeology of electronic music' - Brian Eno

'Indicates what a deliriously desirable thing the synthesis of sound has historically been' - The Wire

'Absolutely cast iron irrefutable proof that synthesisers are better than guitars' - Vice Magazine



Smallfish online review - In case the file extension in the title hadn't already given the game away, this latest from Vs_price (aka Vincent Papon) is another bulletin from the post-IDM electronica hinterlands. As ever, Expanding and their roster of artists should be commended for sticking to their guns in a climate that attempts to sweep the genre under the rug at every opportunity. While there's plenty of bitcrushed chaffe to go around there remains a healthy supply of compelling new home listening electronica records, and Vs_price has been doing his bit in this field ever since his 2002 Expanding debut. For this latest full-length the French producer tweaks the formula of muted, melancholic synths and glitched-out beats to evoke more organic sounds, placing greater emphasis on acoustic instrumentation and more contemporary-sounding 12k-style manipulations (as heard on the excellent 'Boiteziq'). The brightly reverberant refrain of 'Neuf' provides an excellent summation of Papon's skills, marrying a fluttering, granular rhythmic motif with a haunting synth loop reminiscent of Arovane's 'Thaem Nue'. The IDM backlash backlash starts here. Possibly.



Barcode magazine - Nottingham-based Tom Hill shifts course from his beat-driven electronica releases on Wichita Records to sculpt an eccentric album of classical guitar and organic environmental samples for the Expanding Records label. Cracked Mirrors and Stopped Clocks opens with impending doom, as cinematic strings and spidery guitars emerge from a tunnel of noise, fading into estranged solo acoustic guitar refrains. The following Noshi is just beautiful, as Hill plays out a delicate guitar track, with the microscopic creaking of chairs and strings deliberately heightened in the mix - it has a wonderfully natural, melancholy feel and the chords are gorgeously arranged. The album fluctuates between these states, classical guitar merged with spotlessly organic creaks and clicks, all intermittently manipulated, although it's hard to always pinpoint where the line is drawn. There are some very bizarre tracks here too, like Dissect Ephemeral, where the components mentioned above are bewildering diced and spliced, then joined by strangely filtered computerised vocal mutterings. Bizarre but definitely good. Meanwhile, perhaps a career in soundtrack beckons for Hill, The Last of Its Leaves succeeds in building a climax of foreboding strings and plucked/picked guitars, and elsewhere the track Remnants demonstrates Hill's qualities as a sound designer - a much slower combination of wooden instruments and electronics, where every key tone, guitar string and studio technique is available for intricate inspection. If there is a negative, it's that too many tracks are similar in their characteristic; much of Cracked Mirrors and Stopped Clocks wanders gracefully but retains a heavily fractured uniformity that can leave the listener a little detached - it's also a little too slow in places. Still, there's just about enough diversity here, the eerie Unknown In The Walls is a true ghost story of an effort, its spindly guitars wriggling like evil worms over a threatening, slow building cascade of sound - if they remake The Shining this should be first in the soundtrack queue. One thing's for sure, if you fancy something a bit different then the Expanding label has come up trumps yet again.



Boomkat online review - Oblong is the latest project from Ben Edwards (aka Benge) which sees the electronic musician collaborating with live instrumentalists to fashion a highly emotive brand of acoustic electronica. The trio of long-term friends behind this record (completed by Dave Nice on double-bass, guitar and field recordings, and Sid Stronach on piano, Fender Rhodes and acoustic guitar) made this album over the course of two years at a secluded farmhouse in Somerset. These sessions were then manipulated and edited at Edwards' London studio, where a deft blend of analogue and digital sound sources was finalized in the (rectangular?) shape of this album. This is highly melodic, atmospheric music, all magnificently produced and held together by electronics and environmental field recordings. Particularly worthy of note is the closing track, 'Rendezvous' which features the usual high standards of Ben Edwards programming in conjunction with the kind of stately post-rock cello arrangements you'd find on a Rachel's album. Lovely.



unknown source - The debut album of Tui, using the pseudonym Orla Wren for the purposes of this fine album release. Apparently, Tui travels Scotland selling various countryside photos of plants and organic life from a van, before returning to the English highlands to create ambient abstractions using manipulated acoustic sounds. Tui's tender respect for the natural environment is immediately apparent on the beautifully carved, speckled haze of the opening track, Closure - fusing gentle piano chords with weaving strings within an atmosphere of swimming microscopic sound particles. The following Myself And Movement is just as appealing, using glockenspiel-type sounds to create an oriental-flavoured wicker tapestry of intertwining tones that are mesmerically melodic. Much of Butterfly Wings Make oozes with introspective sadness, the ghosts and memories of past experience and dormant emotions impatient for a creative channel litter the album - like many debut's do. However, Tui's expression is not one of torment, rather peaceful acceptance, love, and a general appreciation for the natural order of things. Between The Rain And My Skin so delightfully encapsulates its subject matter, that one's breathe is almost taken awa - Tui is truly capable of reanimating the simplistic beauty of the natural environment, washing over the listener with delicately chugging, discordant electronic rhythms, resuscitated by sumptous sun-speckled sound droplets. The track Weir is most peculiar; I imagined gently rocking in an old wooden chair - in a shack in the forest, completely impervious to the constraints of time. Tui paints these images, probably different to one and all, with seemingly effortless ease. As the album progresses it becomes increasingly elusive, She Smiles When He Calls Her Friend uses crisp digitised sound sources to mimic insect life, although I suspect some field recordings were also used. Sequenced synthesiser tones offer thawing melodics, phasing out ornately as the track slowly closes - again Tui gets the balance right between abstract sound painting and musical empathy. A fantastic debut and an album to be coveted.



Boomkat online review - Proving that Perth isn't just where unwanted Neighbours characters move upon expiry, Dave Miller has spent the past few years putting the Aussie-city on the musical map through a series of micro-founded emissions. Evidently after a bit of company to see through the Southern-hemisphere nights, Miller has popped the little black-book and sought out fellow Oz-bloke Fiam (aka Harry Hohnen) to get collaborative with - the result being 'Modern Romance'. Coated in a fine layer of wispy atmospherics, Miller + Fiam have one speed; inoffensive electronica, a status they stick to with dogged enthusiasm. Sharing a great deal with last year's 'Et In Arcadia Ego' from The Village Orchestra, 'Modern Romance' opens with the heat-haze of 'Tempest In A Teacup' - wherein a swell of electronic squall gradually consumes the chittering core of metallic chimes and pulsating bass. From here, 'Tired Neighbourhood Bird' adds more tacit substance through skittering electronica and dusty piano, 'Edge Of Midnight' tricks a nursery-rhyme melody into a rotating heart of digitalis, whilst 'Slowing To Stop' introduces a double-bass for oddly malignant atmospherics. Closing with the shimmering static of 'Dead Sea' (the kind of music you'd expect to soundtrack a dream sequence in a beatific Manga film), 'Modern Romance' is an undeniably appealing journey to the soft-centred core of electronica. Dave miller is now keyboards man for warp's new signings 'Pivot'



Bardcode magazine - I always look forward to releases from this excellent label, always something different, melodic - one of the most underrated labels around in fact. Modern Institute's Excellent Swimmer is no different, a deeply emotive instrumental album that combines Teho Teardo's melancholly cello with electronic synth sounds and guitar. It's always good to hear an artist who knows how to play a traditional instrument well and then skilfully focuses electronic elements around it - and that's certainly the case here. The album opens, however, with the solely electronic track ECM Haircuts - as glitchy sounds flicker around swirling, calm synths. Teardo's cello is first incorporated into the following, Stairs, weaving to and fro amongst speckled tones and a churning rhythm - it has a semi- classical feel to it. Teardo is also an accomplished guitar player, as proven on the delicate refrains of the ambient Munibabe, where plucked strings reign over swelling brass tones and complex found sounds.

Excellent Swimmer continues this modus operandi throughout, but actually improves towards its close. The haunting Ambientone, again centered on Teardo's cello, has a darkly cinematic ambience and is highly emotive, the acoustic-led Sign Everyone In Iceland flourishes to become even more so - perfectly integrating string harmonies with iridescent melodies. Meanwhile, Two Hours Without Ego is another sumptous ambient drifter, this time using piano as its primary focus, and surrounding it with splintered sound fragments to a delicate beat. The album closes with Me Neither, this time more abstract and introspective as gritty feedback delays over piano droplets and heaving cello. All in all, a great little ambient-acoustic album and one of the best from the Expanding label to date.



Smallfish online review - The second compilation from London's Expanding label comes complete with an enviable tracklisting. Featuring cuts taken from the second series of coloured vinyl 7"s plus a selection of remixes, it has the sort of high class Electronica pedigree that the label has become renowned for. Benge, Flotel, Vessel, Praveen, Myrakaru, Bauri, Holkham, VS_Price, Monoceros, Maps + Diagrams, Tunng, AM/PM and Cathode all feature and the sounds on offer are chilled, beautiful, ambient and yet always rhythmic. A superb compilation that comes with a hearty recommendation.



Smallfish online review - This is an absolutely superb album. Co-produced by Tim Diagram and Steve Broca, it could conceivably be one of my absolute favourite albums on Expanding both looks-wise and musically speaking. Whilst it's not exactly a revolution in terms of sound there's definitely an evolution here and the combination of both artists together is potent. Sound design is icy, fragile and generally beautiful with the rhythm structures coming across as crunchy and intricate without being overly fussy. Delectable music from beginning to end and a huge recommendation for fans of both the label and the style of Electronica. Brilliant.



Smallfish online review - Vessel delves deep on this lovely album for the excellent Expanding label. It's quite feasibly the best work he's produced so far and the wonderfully melodic and delicate sounds he has created are truly luscious. While it remains very much an Expanding album, it has a slightly darker feel to the textures, possibly, than some of the earlier releases and the loving production really makes it shine. Oceanic in its scope and wonderfully crunchy in the beats department this is yet another absolute recommendation. Superb.



Smallfish online review - Benge appears to have become obsessed with cars on this release. From the model kit Lamborghini on the cover to the track titles such as 'Jensen' and 'Scimitar' there's an automotive theme throughout. The music, however, is as far removed from the idea of boyracers as it's possible to be. Deep, melodic, beautifully gentle electronica which has been crafted with an exceptional attention to detail. Clearly a labour of love, and one that you will probably adore as well. As ever, a quality release from Expanding.



Smallfish online review - Having previously recorded for Robin Saville's Arable imprint, this is Flotel's second release on Expanding Records and sees Leigh Toro channelling his sometimes scattershot sound into a much tighter and disciplined unit. Seemingly enthralled by both ends of the spectrum, Toro delights in creating broad, broiling landscapes then concentrating his focus on the precision tooled electronica littering the foreground. Opening track 'Carry Water, Chop Wood' is a perfect example of this, with Flotel first introducing a finely detailed linocut of rustic electronica before drawing the ear away from the minutia to admire the grand, IDM vista above. Taking a different approach, but with similar results, is 'Sorrel Sea'; an agile excursion into blunted minimalism that is one part Susumu Yokota, one part Terry Riley, whilst 'Fold Up and Put Away' is a Rephlex-esque fusion of atmoshphere jacking and splintered, near drum & bass. Also, nice to see the multi-talented Morgan Caney on this album's closing, title track.



Barcode Magazine - Expanding Records don't just love gentle and chilled electronic music, they practically breed the stuff. Pick up almost any notable and well-received organic / non-vocal electronic album from the past few years and more often than not, you'll find the Expanding label is somehow connected. Releases have been frequent and the quality remaining consistently high, with their desirable roster spanning music from : Benge, Maps & Diagrams, Stendec, Cathode, Vessel and the soon-to-be, highly anticipated Flotel long-player. Monoceros is no exception to the Expanding tradition, with his 'When I Was A Child I Wanted To Be An Astronaut' debut showcasing the cream of gentle electronic music and crisp, advanced studio production. Clicks, synths, ricochet beats and bleeps lead the most part, encased by delicious melody formations and intricate, if not impressive arrangements. Keyboards flow and sprawl, majestic effects twinkle and the rich, crippling bass booms, as though designed to test and push your speakers to their outer limit. An album that does that does not pretend to be futuristic in it's ambition, but is a straight-up, easy intake of soothing aural pleasure at it's finest. 9/10



Boomkat online review - Lambent (otherwise known as Akira Inagawa) has been resident on the German electronica scene since his plane touched down in Berlin back in 2002. With each track recorded inside the space of 24 hours and without the aid of computers, Inagawa has managed to produce an album with a concept which doesn't succumb to all the clich's normally associated with such enterprises. Opening with 'Windless Harbour', Lambent immediately shows allegiance to artists ranging from Oval and Bola through to Vladislav Delay, deploying analogue bubbles before a refractory laced dose of electronica is Introduced. 'Clockwork Jellyfish' is a more computer friendly take on Prefuse 73 whilst 'Drive Back' takes grade-A, water tight electronica and leads it lovingly down the John Tejada bridle path with a xylophone under the arm and manages to come out the other end laughing. Inagawa describes his work as consisting of "Lo-Fi Hip Hop" and whilst it's true that there's plenty of stuff to keep the baggy jeans and bong brigade nodding their heads it would equally appeal to anyone who favours esoteric electronica with a bleeping soul.



Igloomag online reviewIndrek Tamm and Joel Tammik form the creative duo of Myrakaru hailing from Tallinn, Estonia. Their debut on UK's Expanding Records reveals an emotive flow of delicate electronica --it comes as no surprise from this imprint.

Blending classical influences on tracks such as "Las Minna" and "Süüskuu" Myrakaru seamlessly create panoramic snapshots of soothing frequencies within each track; a mixture of subtlety and unusual sound-escapes is the theme. On the other hand, there's a subliminal murkiness tucked within pieces like "Kimalnu", "Limurite Tekond," and "Varinä" revealing a darker side of Tammetõru's pulse. Just as you drift into the horizon with precision melodies, you begin to descend through curious shadows of sound. "Sinamus" unveils a rhythmic sputter of beats floating on a bed of delicate melodies and enriched ambiences - "Kirjatupal" weaves its layer of soft fluttering as "Jalk" rests peacefully in the sunshine. It's these contrasting waves of electronic motion that makes this debut so appealing. It may come across as just another 'IDM' album, but it shouldn't be tagged as such. Bridging the void between Novel 23's passionate melodies and Lackluster's bright analog frequencies, Myrakaru's sound is both uplifting and magnetic. It's quite easy getting acquainted with Tammetõru's uninterrupted electronica as it projects an emotional and contemplative view on life.



Boomkat online review - Responsible for quite easily the finest installment in the label's long running 7" series, Stendec is the collaborative effort of Expanding founders Ben 'Benge' Edwards and Paul Merrit. Featuring those two fabulous 7" tracks, plus tracks previously only available on limited 7" release for Static Caravan and a compilation for Catcus Island, "a Study of 'And'" also includes 7 new and exclusive tracks. The music of Stendec seperates itself from much Idm by virtue of its delicate attention to detail and padded melodic warmth. At times reminiscent of Isan, at others floating out there on their own, Stendec manage to avoid dry electronic clich's by virtue of an innate understanding of emotive recording and listening processes designed for self reflection. Its an excellent collection of pieces veering from planitarium soundtracks to the notes that would be made by the distant haze on an arid spanish road in high summer. Lovely.



Boomkat online review - This latest release on the excellent Expanding label comes from Simon Keep, aka Holkham, here exploring the undercurrents of minimal electronic music, sound art and sonic experimentalism. Far from being dry or over-intellectual, "Komatta Saru" retains a rewarding quota of warmth, most often displayed through padded basslines and shy melodies. The tumbling percussive wash of the fabulous "Juv3_1", for instance, sounds like a sleep-deprived, unconscious cousin to Gescom's brilliant "Puzl", while the title track evokes the bell-driven minimalism of Kurt Ralske. Recommended listening.



Expanding are on yet another roll at the moment with this lush album from Cathode and the preceding singles from Praveen, Flotel and Vessel. Full length shenanigans are the order of the day here and what a beauty it is. Mixing electronics with live guitar elements, Cathode opt for a drifting, haunting sound that has a deeply engaging melancholy feel... Warm, yet strangely distant. Combining downbeat crunch and abstract textural pieces with a couple of lovely upbeat numbers you get the sense of a complete piece of work. Long may Expanding continue in this vein. Recommended.



Smallfish online review - Supreme quality Electronica, with serious amounts of warmth, depth and melody in amongst the intricate production. For fans of M&D's work on Neo Ouija, Pause 2, & Tundra, not to mention the likes of Arovane, EU & Christian Kleine, this is an absolute must. 3 bonus tracks on the CD too..



Boomkat online review - Expanding Records barely pause for breath, just a few weeks after the excellent Vessel full lengther, there's a new project on the block. Vincent is a French electronic artist based in Toulouse. His background is steeped in guitar-based music, and yet the Vs_Price release is sure to please listeners who appreciate the gritty minimal structures of artists like Shuttle358, Keith Fullerton Whitman, Fennesz and even Microstoria. 'Eponge' kind of sums up this album very well as an opener, initial pointillist loops mutate into the abrasion of crisped digital textures and a whisper of guitar feedback, before a wicked hip hop tempoed beat drops and just detonates on impact. Calming drifts of melody top the heady brew, and the beat kicks it with some awesome sub bass science redefining low end theory before your ears can take it all in. In keeping with this depth charge opener, the album presents a well rounded dose of invisible melodies, digital interference and abrupt electrical downpours - unfolding multi-layered, arhythmic whorls of sound. Tracks like 'Bretelle' and 'Outrageous' have a crushed hip-hop vibe to them that practically seep into the subconscious, a squashed sound from the school of Musik Aus Strom, no bad thing in all truth. 'Palm' fairly crackles with submerged activity, merging ancestral chords with chattering percussive lines. The two closing tracks, "Pass" and "Dither" extract minute electrical frequencies that roll across the spectrum of sound easily. 'Pass' just takes an important step back, elements are deployed on an uncarved block, mithering loops exert ennervating influence on the album, and as deepest bass rumbles take control, the point dawns that all the disturbances merely smokescreen the ripping good rhythms suggested by these underground elements. '[Calin]Minette_' is produced with the textures of electrical wires in deep communion; microscopic sheets of static spread across stretched melodies. Further impressive emissions then from the Expanding camp, as they close on a shared perspective of a renewable experience, with varied factors taking the attention on each visit to this fine album. Recommended as always from this excellent imprint.



Boomkat online review - Expanding records from London have gone from strength to strength over the last twelve months, particularly with the awesomely strong Benge album 'Meme Tunes' which first graced these lists towards the end of last year, going on to become one of the surprise electronic hits for many people of 2002. Vessel is one Gavin Toomey, and that he has been making music for over a decade shows through as clearly as daylight, despite the fact that'Dreaming in Pairs' is his debut album, following the inclusion of 'Tiny' on the splendid Expanding compilation 'The Condition of Muzak'. It may be a shade early to be making predictions, but "Dreaming In Pairs" has the stature and mature sound to warrant constant visits and may repeat the success of Benge, marrying a singular, emotion-soaked feeling with a rigorous approach to rhythm and structure. Surprisingly, when not making music, Gavin has been part of the team responsible for creating the Guinness' 'Surf Horses' advert and the video for UNCLE's 'Rabbit in your Headlights'. Knowing this, the filmic qualities of this music are thrown into new perspective, elements of 'Apartment' could perhaps accompany an imaginary remake of 'Get carter' and the gleaming 'koozbane' should find itself becoming an electronic anthem, melodies to die for. All told, Vessel has delivered a major piece of work, one that sees Expanding touching giddy heghts, and gazing expectantly at the future with bright eyes and a happy heart. Fans of Isan, Domotic, Benge and the Pop Ambient scene should investigate immediately. Outstandingly good.



Boomkat online review - With a highly acclaimed 7" series and compilation setting the agenda, London's revered Expanding label finally delivers its long-promised and highly anticipated new album from its very own curator - Benge. This is a simply classic electronic album, taking together those loose and exquisite strands that tie togethers labels like Toytronic, Warp, Morr Music, Static Caravan, CCO and the like, delicately picking out those sensibilities that are often grouped and labelled as 'home listening' and decorating them with a compositional ability and production savvy that make for one of the most accomplished and moving albums of its kind. 'Adam-Age Loneliness' serves as the perfect opening, the title reflecting the bittersweet melancholy that typifies so much of this gorgeous album; the sounds evoking string-laden memories of Autechre's immense 'Amber', imbued with moonlight broken percussion reflective of Opiate's finest work. Following the neon nostalgia boards-ism of the sublime 'A Caped Hero', 'Faun Six' reassembles itself into a slouchy proto-electroid number, all sharp stabs and analogue b-beats, deliciously off-kilter spasmodic lushness that pierces through and into your skin, taking you over limb by limb. 11 tracks wide on CD format, and 8 tracks wide on vinyl, 'Meme Tunes' is a pandora's box of loveliness, reaching a point of perfect equilibrium between intricacy and exposed, raw beauty. Immense.



Boomkat online review - Over the course of the last year one of the most consistant enquiries we've had from people has been about the Expanding label and their ultra-collectable series of 7" releases. 'are these tracks going to be available on CD?????' time and time again the same question, so we're ever so pleased that at long last we can give something other than our customary 'errr...dunno' reply. This is seriously SERIOUSLY good folks, a flawless 7" series collected and given coherence across 14 tracks of some the finest electronic music to have crossed our paths in recent times. The players : Benge, Abfahrt Hinwill, Stendec, Benge, Vessel, Fibla, Zorn, Tennis, Jan Jelinek, David Mooney and Antoni Frankowski. The sequencing has been done with loving attention to detail and the flow is perfect, from the blissful punctuated electronic ticktock of Stendec's 'Avro' to Benge's unique melancholic playfullness on 'Baud', to the stuttered crunch dubism of Tennis and Abfahrt Hinwill's developed popish introspection and beyond. Exclusive bonus tracks to boot and some gorgeously luxurious tripple digipak packaging. One of electronica's most collectable labels has come of age and really does require your Essential.

evs series 2

  • evs series 2
  • various artists
  • format - 7" vinyl

The second series of nine evs 7" singles were released between 2003 and 2004 on heavyweight colour vinyl and housed in transparent screenprinted, zip locked pvc sleeves. Artists were Flotel, Vessel, Holkham, Praveen, Myrakaru, Bauri, VS_Price, Monoceros and Maps + Diagrams.

evs series 1

  • evs series 1
  • various artists
  • format - 7" vinyl

The first series of nine evs 7" singles were released throughout 2001, they were pressed on heavyweight colour vinyl and housed in hand numbered, stickered, custom made card envelopes. The artists were Antoni Frankowski, Benge, Stendec, Abfart Hinwil, Fibla, Tennis, Volume, Zorn and David Mooney