KI RECORDS - Forced Exposure

$22.50 NOT IN STOCK

Hiraeth, a soulfully atmospheric, melodic electronic deep house tune by Fejká is an exhibition of warmth and calm, which embraces the listener and inspires feelings of longing. The sense of tranquility is heightened by the distinctive vocals of Kim van Loo, who collaborated on the track. Working from his studio in Stuttgart, Fejká used processed synths, pads, and piano with a tape machine to create a heightened nostalgic ambiance and establish a genuine and meaningful relationship with the listener. Above all, the song is deeply personal and emotionally authentic -- a remarkable demonstration of a desire to delve into a vaster range of emotions by the young producer. Also features Henry Green and Tomasz Mrénca.

$26.00$22.10 IN STOCK

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, Forms (ACKER 005LP/006CD) has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. In 2020, The Micronaut released Olympia (Summer Games) (KI 030CD/LP) -- an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track "Bobsleigh", which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. "He thinks it's cool to just play with an iPod or a USB stick," we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, "Curling" is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on 'Curling' I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer. Features I Am Halo, Bernhardt, and Saskia Streck.

$31.50$26.78 IN STOCK

LP version. Kalipo prepares to launch his new album Happy Little Accidents, which counts with twelve electro-focused tracks as well as the participation of feature artists Rampue, Ira Atari, Oberst & Buchner and subkutan. Iconic '80s painter and TV host, Bob Ross is celebrated for his thirty-minute landscapes, recognizably soothing voice as well as the "happy little quotes" he imprinted on pop culture. One of Ross' most memorable turns of phrase, "We don't make mistakes; we just have happy accidents," went on to encourage thousands worldwide. And not just painters. "For me, this album was about letting the songs develop very quickly and not evaluating them too much, or trying to avoid mistakes," says German electronic music producer, Kalipo (Jakob Häglsperger) who named his latest release Happy Little Accidents after Ross' signature phrase. "Bob Ross really impressed me as a child, he was always so accessible to everyone and demonstrated how easy it was for anyone to work creatively," says Kalipo, who translated Ross' fast and instinctive wet-on-wet painting technique to music-making on Happy Little Accidents. The 12 tracks that make up Part I and Part II of the album are a celebration of the method -- sometimes it's a floaty journey with tinkering sounds, at other times dark fast beats create the core of the music, but there's always a sense of intuition and heart driving Kalipo's productions.

$15.50$13.18 IN STOCK

LP version. Kalipo prepares to launch his new album Happy Little Accidents, which counts with twelve electro-focused tracks as well as the participation of feature artists Rampue, Ira Atari, Oberst & Buchner and subkutan. Iconic '80s painter and TV host, Bob Ross is celebrated for his thirty-minute landscapes, recognizably soothing voice as well as the "happy little quotes" he imprinted on pop culture. One of Ross' most memorable turns of phrase, "We don't make mistakes; we just have happy accidents," went on to encourage thousands worldwide. And not just painters. "For me, this album was about letting the songs develop very quickly and not evaluating them too much, or trying to avoid mistakes," says German electronic music producer, Kalipo (Jakob Häglsperger) who named his latest release Happy Little Accidents after Ross' signature phrase. "Bob Ross really impressed me as a child, he was always so accessible to everyone and demonstrated how easy it was for anyone to work creatively," says Kalipo, who translated Ross' fast and instinctive wet-on-wet painting technique to music-making on Happy Little Accidents. The 12 tracks that make up Part I and Part II of the album are a celebration of the method -- sometimes it's a floaty journey with tinkering sounds, at other times dark fast beats create the core of the music, but there's always a sense of intuition and heart driving Kalipo's productions.

$34.00$28.90 IN STOCK

LP version. Color vinyl. 100% controlled recycling-PVC gatefold with reversible cover. LP version. Kalipo prepares to launch his new album Happy Little Accidents, which counts with twelve electro-focused tracks as well as the participation of feature artists Rampue, Ira Atari, Oberst & Buchner and subkutan. Iconic '80s painter and TV host, Bob Ross is celebrated for his thirty-minute landscapes, recognizably soothing voice as well as the "happy little quotes" he imprinted on pop culture. One of Ross' most memorable turns of phrase, "We don't make mistakes; we just have happy accidents," went on to encourage thousands worldwide. And not just painters. "For me, this album was about letting the songs develop very quickly and not evaluating them too much, or trying to avoid mistakes," says German electronic music producer, Kalipo (Jakob Häglsperger) who named his latest release Happy Little Accidents after Ross' signature phrase. "Bob Ross really impressed me as a child, he was always so accessible to everyone and demonstrated how easy it was for anyone to work creatively," says Kalipo, who translated Ross' fast and instinctive wet-on-wet painting technique to music-making on Happy Little Accidents. The 12 tracks that make up Part I and Part II of the album are a celebration of the method -- sometimes it's a floaty journey with tinkering sounds, at other times dark fast beats create the core of the music, but there's always a sense of intuition and heart driving Kalipo's productions.

$17.00$14.45 IN STOCK

Aparde's new album, Alliance sees the German musician retreat from his recent experimentations with avant-garde pop music back into the world of deep, and oftentimes dark, electronica. For his previous album, Hands Rest (KI 020CD/LP, 2019), Aparde ventured outside Berlin's club scene through the use of his voice, which gave his music a softer and more intimate edge. Alliance is no less intimate, except this time the musician's vulnerability seeps through the cracks rather than taking center stage. As impressive sonically as it is technically, Aparde used a mixture of electronic sounds, analog equipment and his own voice either as a sound element or lyrical component to explore this duality of sound. "This album was about focusing on something that calmed me down and brought me away from reality," says Aparde. When the musician says "away from reality", he doesn't mean into dreamy, ethereal soundscapes, but rather a deep dive into dystopian atmospheres of drone sounds and chewed-up drum machines. Alliance's second track, "Allies" has a dire beginning and one might even be tempted in skipping it if it weren't for Aparde's hushed voice shining through the shadows, melancholic yes, but also warm. Despite the album's focus on electronic gear the music isn't exactly dance-able, tracks have a ruminative pace, brooding even, "I wanted to make the tracks with more breathing space between the atmosphere and silence. There are fewer elements but more impact, I think," says Aparde. Things change gears toward the middle of Alliance, with both "Lined" and "The Shift" representing the colder, club-ier tracks of the album. For both of these tunes, any emotionality gets converted into a dense and thumping energy that is released in a cathartic fashion. It is, as Aparde describes, music "for you to move to when you have a good moment or a mental crisis." But Aparde doesn't leave it at that frequency; he closes off the album courageously by letting listeners in, once again, to his own world and emotions. While still a driving electronic track, "Hole" is framed around melancholic piano keys that bring the mood down, and prepare listeners for "Know You", the album's most intimate, and vulnerable piece. With Alliance, Aparde brings listeners deep into his soul, a soul that is at times conflicted and agitated and at times low-key and solemn. And as he does so, the listener's own mood is muted and lifted in a journey of quest, dance and healing.

$23.00$19.55 IN STOCK

LP version. Aparde's new album, Alliance sees the German musician retreat from his recent experimentations with avant-garde pop music back into the world of deep, and oftentimes dark, electronica. For his previous album, Hands Rest (KI 020CD/LP, 2019), Aparde ventured outside Berlin's club scene through the use of his voice, which gave his music a softer and more intimate edge. Alliance is no less intimate, except this time the musician's vulnerability seeps through the cracks rather than taking center stage. As impressive sonically as it is technically, Aparde used a mixture of electronic sounds, analog equipment and his own voice either as a sound element or lyrical component to explore this duality of sound. "This album was about focusing on something that calmed me down and brought me away from reality," says Aparde. When the musician says "away from reality", he doesn't mean into dreamy, ethereal soundscapes, but rather a deep dive into dystopian atmospheres of drone sounds and chewed-up drum machines. Alliance's second track, "Allies" has a dire beginning and one might even be tempted in skipping it if it weren't for Aparde's hushed voice shining through the shadows, melancholic yes, but also warm. Despite the album's focus on electronic gear the music isn't exactly dance-able, tracks have a ruminative pace, brooding even, "I wanted to make the tracks with more breathing space between the atmosphere and silence. There are fewer elements but more impact, I think," says Aparde. Things change gears toward the middle of Alliance, with both "Lined" and "The Shift" representing the colder, club-ier tracks of the album. For both of these tunes, any emotionality gets converted into a dense and thumping energy that is released in a cathartic fashion. It is, as Aparde describes, music "for you to move to when you have a good moment or a mental crisis." But Aparde doesn't leave it at that frequency; he closes off the album courageously by letting listeners in, once again, to his own world and emotions. While still a driving electronic track, "Hole" is framed around melancholic piano keys that bring the mood down, and prepare listeners for "Know You", the album's most intimate, and vulnerable piece. With Alliance, Aparde brings listeners deep into his soul, a soul that is at times conflicted and agitated and at times low-key and solemn. And as he does so, the listener's own mood is muted and lifted in a journey of quest, dance and healing.

$23.50 NOT IN STOCK

Double LP version. Lys, Christian Löffler's newest album, serves as a contrast to Graal (2019), its predecessor. Whereas the latter is the result of a six-month period spent largely on the road in between live shows, the former is a studio release in the truest sense, recorded and compiled in the serenity of Löffler home studio, immersed in the woodland nature that formed the basis for A Forest (2012), his first attempt at the long-player format back in 2012. Lys is a selection of Löffler's favorite productions from the past three years, carefully compiled into one enchanting and deeply moving listening experience. The sounds of Lys can be traced back to late 2016, as Löffler settled back into his studio following Mare, but it really began to take shape in the wake of a creative breakthrough in 2018. Struggling with writer's block, Löffler travelled to Scandinavia. Graal, with its drawing-based artwork, reflected this rich period of initial creativity and opened the door to Lys, on which Löffler continues the narrative with 12 of his more contemplative and introspective studio adventures. Integral in the process was his painting of these earlier drawings, cementing a connection between his visual and musical work. What unifies these songs is the process behind them: Waking up early, Löffler headed for a run before sitting down in his studio for 8am. He'd set his mind back to the early morning, and reflect. Conceptually, the album captures how his feelings evolved during a day of working on the album, beginning in the morning and ending as his finished his painting in the evening. To capture his innermost feelings, he once again puts his voice front and center. It also features the vocals of Menke, a young Swedish singer, songwriter, multi-instrumentalist; and Mohna, who has been a staple on his recent tours. A natural calmness and beauty pervades the album, even on the two club-ready tracks, "Roth" and "Sun", sketches from Mare but reworked to fit Löffler's vision. "Versailles" and "Lys", two of the three lead singles, reflect the light and airy sound that Löffler envisioned at the beginning of the recording process. Meanwhile, "Noah", the third single, stands for the record's darker, heavier side, driven forward by Löffler own vocals. Along with "The End," a final focus track, these singles came together to form the backbone of the album. Also features Josephine Philip and finn..

$15.50$13.18 IN STOCK

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, Forms (ACKER 005LP/006CD) has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. The Micronaut releases Olympia (Summer Games) -- an album which continues to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games, despite this 2020's postponement of the event. Summer Games' tracks are named after Olympic sports -- pole vault, archery and swimming are just some examples of the 12 modalities chosen by the artist. "For this album I chose Olympia as theme, because apart from competition, it's also about a movement of peace, where the focus is on people, no matter what nation. The Summer Games are coming now, the Winter Games will follow," says the producer. In the spirit of games, the music is generally high-spirited and upbeat, with many tracks being perfectly fitted for the dancefloor. The compositions move from broken bass rhythms to catchy melodies to vocal samples and guitars in just a few bars, making the overall listening experience seem like a fantastic rollercoaster ride, "I would always describe my music as very lively, expressive, dramatic, sometimes calm, sometimes powerful," says The Micronaut, "I think it is music that fires the imagination." The ride is eclectic, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. At times, Summer Games veers towards electro-pop, at other times it is inspired by old-school hip-hop, and at other times still, it climaxes and explodes in IDM, but through all the commotion what is clear is that The Micronaut is an avid music lover, collecting ideas and inspirations far and wide, and translating them through his own prism of emotions. Features Saskia Streck and Bernhardt.

$22.00$18.70 IN STOCK

LP version. German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, Forms (ACKER 005LP/006CD) has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. The Micronaut releases Olympia (Summer Games) -- an album which continues to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games, despite this 2020's postponement of the event. Summer Games' tracks are named after Olympic sports -- pole vault, archery and swimming are just some examples of the 12 modalities chosen by the artist. "For this album I chose Olympia as theme, because apart from competition, it's also about a movement of peace, where the focus is on people, no matter what nation. The Summer Games are coming now, the Winter Games will follow," says the producer. In the spirit of games, the music is generally high-spirited and upbeat, with many tracks being perfectly fitted for the dancefloor. The compositions move from broken bass rhythms to catchy melodies to vocal samples and guitars in just a few bars, making the overall listening experience seem like a fantastic rollercoaster ride, "I would always describe my music as very lively, expressive, dramatic, sometimes calm, sometimes powerful," says The Micronaut, "I think it is music that fires the imagination." The ride is eclectic, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. At times, Summer Games veers towards electro-pop, at other times it is inspired by old-school hip-hop, and at other times still, it climaxes and explodes in IDM, but through all the commotion what is clear is that The Micronaut is an avid music lover, collecting ideas and inspirations far and wide, and translating them through his own prism of emotions. Features Saskia Streck and Bernhardt.

$15.50 NOT IN STOCK

Lys, Christian Löffler's newest album, serves as a contrast to Graal (2019), its predecessor. Whereas the latter is the result of a six-month period spent largely on the road in between live shows, the former is a studio release in the truest sense, recorded and compiled in the serenity of Löffler home studio, immersed in the woodland nature that formed the basis for A Forest (2012), his first attempt at the long-player format back in 2012. Lys is a selection of Löffler's favorite productions from the past three years, carefully compiled into one enchanting and deeply moving listening experience. The sounds of Lys can be traced back to late 2016, as Löffler settled back into his studio following Mare, but it really began to take shape in the wake of a creative breakthrough in 2018. Struggling with writer's block, Löffler travelled to Scandinavia. Graal, with its drawing-based artwork, reflected this rich period of initial creativity and opened the door to Lys, on which Löffler continues the narrative with 12 of his more contemplative and introspective studio adventures. Integral in the process was his painting of these earlier drawings, cementing a connection between his visual and musical work. What unifies these songs is the process behind them: Waking up early, Löffler headed for a run before sitting down in his studio for 8am. He'd set his mind back to the early morning, and reflect. Conceptually, the album captures how his feelings evolved during a day of working on the album, beginning in the morning and ending as his finished his painting in the evening. To capture his innermost feelings, he once again puts his voice front and center. It also features the vocals of Menke, a young Swedish singer, songwriter, multi-instrumentalist; and Mohna, who has been a staple on his recent tours. A natural calmness and beauty pervades the album, even on the two club-ready tracks, "Roth" and "Sun", sketches from Mare but reworked to fit Löffler's vision. "Versailles" and "Lys", two of the three lead singles, reflect the light and airy sound that Löffler envisioned at the beginning of the recording process. Meanwhile, "Noah", the third single, stands for the record's darker, heavier side, driven forward by Löffler own vocals. Along with "The End," a final focus track, these singles came together to form the backbone of the album. Also features Josephine Philip and finn..

$15.50$13.18 IN STOCK

Creating an album is a journey of self-knowledge through hindsight; putting together the tracks that will compose the oeuvre much like putting together a photo album. It involves reflecting over the memorable times that inspired each composition. That is the case for German electronic music producer and visual artist Fejká, who presents Reunion. Like with everything that involves hindsight, there is a great deal of nostalgia in the album -- and the nature of nostalgia is fluid. It can be at once sweet or melancholic, agitated, or mellow, airy or heavy, but it nonetheless invokes in all its forms a sentimental longing for something. In Reunion, nostalgia is primarily given shape in dreamlike soundscapes, soft atmospheres that nonetheless evoke strong contemplative feelings. This longing is carefully unfolded on "Youth", where a simple melody plays out over the sound of seagulls and develops effortlessly into a joyful tune. Since his EP Twilight (2017), the producer has been exploring sounds that are at once ethereal and dynamic, celestial but also very much grounded on the dancefloor. In a seamless way, Fejká crafts music that is equally suitable for introspective moods and wonders as it is for a club. But while Twilight explored this duality between dreamlike atmospheres and dance music, Reunion seems to delve into a much vaster range of emotions and approaches, cementing the young producer's eclecticism. "Untold", perhaps the most fast-tempo title of the album with punctuated beats and repetitive melodies, is not only a dance tune, but a highly emotive and contemplative song which plays out like a riddle, provoking feelings of quest and curiosity. The track couldn't be more different than "Reunion" which moves slowly and carries an ethereal melody of melancholy and insight. Another tool used on Reunion that hits hard on an emotional level, is the use of the voice. On "Reunion", friend and musician Marie Angerer contributes with haunting vocals. Putting together the album was a journey of self-knowledge, creating ten purely intuitive tracks. Having a visceral creative process means that inspiration could hit at anytime, anywhere; drafting sketches became an important way in which Fejká would capture those revelations. From then, Fejká would develop these sketches in his laptop -- a basic set-up which nonetheless permitted him to take his ideas far. The strength of the album's tracks is deeply tied to their ability to capture a mood, and convey it to the listener. Also features Rökurró.

$21.00 LOW STOCK LEVEL

LP version. Creating an album is a journey of self-knowledge through hindsight; putting together the tracks that will compose the oeuvre much like putting together a photo album. It involves reflecting over the memorable times that inspired each composition. That is the case for German electronic music producer and visual artist Fejká, who presents Reunion. Like with everything that involves hindsight, there is a great deal of nostalgia in the album -- and the nature of nostalgia is fluid. It can be at once sweet or melancholic, agitated, or mellow, airy or heavy, but it nonetheless invokes in all its forms a sentimental longing for something. In Reunion, nostalgia is primarily given shape in dreamlike soundscapes, soft atmospheres that nonetheless evoke strong contemplative feelings. This longing is carefully unfolded on "Youth", where a simple melody plays out over the sound of seagulls and develops effortlessly into a joyful tune. Since his EP Twilight (2017), the producer has been exploring sounds that are at once ethereal and dynamic, celestial but also very much grounded on the dancefloor. In a seamless way, Fejká crafts music that is equally suitable for introspective moods and wonders as it is for a club. But while Twilight explored this duality between dreamlike atmospheres and dance music, Reunion seems to delve into a much vaster range of emotions and approaches, cementing the young producer's eclecticism. "Untold", perhaps the most fast-tempo title of the album with punctuated beats and repetitive melodies, is not only a dance tune, but a highly emotive and contemplative song which plays out like a riddle, provoking feelings of quest and curiosity. The track couldn't be more different than "Reunion" which moves slowly and carries an ethereal melody of melancholy and insight. Another tool used on Reunion that hits hard on an emotional level, is the use of the voice. On "Reunion", friend and musician Marie Angerer contributes with haunting vocals. Putting together the album was a journey of self-knowledge, creating ten purely intuitive tracks. Having a visceral creative process means that inspiration could hit at anytime, anywhere; drafting sketches became an important way in which Fejká would capture those revelations. From then, Fejká would develop these sketches in his laptop -- a basic set-up which nonetheless permitted him to take his ideas far. The strength of the album's tracks is deeply tied to their ability to capture a mood, and convey it to the listener. Also features Rökurró.

$21.00$17.85 IN STOCK

Mindperfection is the result of a collaboration between the St Petersburg producer, Monokle and AL-90, a musician hailing from the Russian port of Murmansk on the edge of the Arctic Circle. "A few years ago, we were offered to make a joint track, it turned out to be very original and suited in spirit both me and AL-90. We also got a very big feedback after its release," says Monokle of the relation, "After that, we talked to each other for a long time about working on another joint release." Despite the hundreds of kilometers of land separating both musicians, creating the album was a smooth and speedy process, Mindperfection definitely draws on Monokle's earlier releases; tracks which unite fragments of IDM, glitch, ambient, and drone to create a unique mosaic of sound that has come to define the producer's style. There is a lot going on some of the tracks, samples with varying moods, accelerated beats, and scraps of voice heard here and there, but the overall picture is surprisingly very harmonic. The tracks in the album are tied together and made cohesive by an inherent warmth. Even in some of the more fast-paced and darker titles, there is a subtle melancholy that can be felt within. The track "Lowland" for instance, consists of displaced rhythms which accelerate and slow down in an eerie melody, "I like the atmosphere of this track, it is gloomy and at the same time brisk and free," says Monokle. While a lot of their usual tools and effects were employed, Monokle and AL-90's collaboration rendered new sound worlds to Mindperfection. AL-90's earlier releases have a lo-fi quality to them, a fuzziness that is reminiscent of the sound of a cassette. For Mindperfection, he employed several filters on Monokle's otherwise crisp sound to soften its edges and create something more organic, "I'm not used to such a dirty sound, because AL-90 deliberately spoiled the original, pure sound. But it gave the album a certain soft, analog and cassette charm," says Monokle. Mindperfection is an album that delivers in textures and complexity. With superimposed layers that are at once dark and beautiful, alienating and warm, toe-tapping and introspective, the album is a melting pot of effects and ideas. The seemingly contradictory elements come together in structures of kaleidoscopic cohesiveness, that are testament to Monokle and AL-90's experience, skills, and successful collaboration.

$15.50$13.18 IN STOCK

Art has the power to mirror and capture its creator's surroundings and environment. Art can also reflect something much more personal by offering you a glimpse of the artist's mind. Hands Rest, the second studio album by German composer and musician Aparde, does both. While reflecting the essence of Berlin's club scene, in which Aparde undoubtedly is immersed in, the album also takes you to the depths of the musician himself, far from clubs and live sets, to a world that is both intimate and profound. Hands Rest, which was created over the span of one year, has a cathartic feel to it, "the process was very diffused in terms of time, because over the past year my life circumstances have been very complicated and often frustrating, and I had to motivate myself again and again." While he crafted the tracks, Aparde was in fact processing his own thoughts and feelings after the end of a long relationship, and listeners navigate through varying soundscapes that seem to accompany Aparde's own internal commotions as he himself navigated a turbulent year. But while pain, anger and melancholy can be felt in tracks, Hands Rest also contains moments of transcendental insight and "breakthroughs" that evoke comfort and acceptance. There is undoubtedly a lot of Aparde in the album, not only through what he hand-crafts on his analog equipment, but also through his own voice. Aparde's lyrics also expose a fragility that complements the harder electronic elements. In fact, it is the use of his voice in Hands Rest, in hushed and soft tones, that balances some of the more dance tracks with mellow and deeply intimate undertones, showing the progression of the artist from a club musician to something that lies beyond that environment too. The second half of the album certainly feels more thumping than the first, with repetitive beats of a faster tempo, but the choice of equipment accompanied by Aparde's voice warms up what could otherwise feel impersonal.

$22.00$18.70 IN STOCK

LP version. Art has the power to mirror and capture its creator's surroundings and environment. Art can also reflect something much more personal by offering you a glimpse of the artist's mind. Hands Rest, the second studio album by German composer and musician Aparde, does both. While reflecting the essence of Berlin's club scene, in which Aparde undoubtedly is immersed in, the album also takes you to the depths of the musician himself, far from clubs and live sets, to a world that is both intimate and profound. Hands Rest, which was created over the span of one year, has a cathartic feel to it, "the process was very diffused in terms of time, because over the past year my life circumstances have been very complicated and often frustrating, and I had to motivate myself again and again." While he crafted the tracks, Aparde was in fact processing his own thoughts and feelings after the end of a long relationship, and listeners navigate through varying soundscapes that seem to accompany Aparde's own internal commotions as he himself navigated a turbulent year. But while pain, anger and melancholy can be felt in tracks, Hands Rest also contains moments of transcendental insight and "breakthroughs" that evoke comfort and acceptance. There is undoubtedly a lot of Aparde in the album, not only through what he hand-crafts on his analog equipment, but also through his own voice. Aparde's lyrics also expose a fragility that complements the harder electronic elements. In fact, it is the use of his voice in Hands Rest, in hushed and soft tones, that balances some of the more dance tracks with mellow and deeply intimate undertones, showing the progression of the artist from a club musician to something that lies beyond that environment too. The second half of the album certainly feels more thumping than the first, with repetitive beats of a faster tempo, but the choice of equipment accompanied by Aparde's voice warms up what could otherwise feel impersonal.

$17.50$14.88 IN STOCK

Ki Records welcome Stimming to the label family. Martin Stimming is well known for his releases on labels like Diynamic and Pampa and his live shows around the world. Here's the new EP, Die Luft, Der Garten Und Das Meer ("The air, the garden and the sea"). Few people bring a truly original sound to house music. Stimming's productions are decorated with his own unique, charismatic field recordings, and he never uses the same sample twice.

$15.50$13.18 IN STOCK

Milky glass stands for a semi-transparent, fragile barrier causing a diffuse glance onto life. It is about force, obsession, excess, consciousness, evolvement, liberation, reconciliation, inner conflicts, accomplishments, and the intercourse with these subjects that were decisive for the genesis of "Glass". The debut album of Aparde, Glass, is the attempt of a stylistic manifestation. Paul Camillo Rachel (Aparde) was able to give back the liberty to his musical output that he consciously subordinated, limited, and aligned. Glass sounds like a breakout; it's offensive, with deeper insight and attack, and passion. An unmistakable arrangement and atmosphere, accomplished through the usage of only self-recorded material. A kind of urban and conceptual field recording of sounds in all kinds of environments, selected and sorted by themes. Thus, for the title Glass, different kinds of glass were acoustically combined with other materials. Selected analog instruments and a reduced use of software resulted in a homogenized, warm, and classical, but specific character; Crystalline, organic percussion, vivid surfaces, sudden rhythms, and extent atmosphere, which distinctively scatter throughout and complement the stereoscopic sound image. The lone voice was out in a stronger focus. After a diffuse phase and adjacent relocation, finally resulting in the availability of their own room for musical and personal development, the songs here originated between the end of 2015 and mid-2016. Each song went through a lengthy process of development and many underwent a radical preadaptation around the start of 2017. The acoustic pattern of Glass became more and more distinct. The album was then finalized an early summer of 2017 in an old cottage in the Mecklenburgische Seenplatte, a very unique lake district in the north of Germany. The homonymous title track summarizes the atmosphere of the album in a comprehensible way. It is also the oldest title on the album. The topic was visually translated by literally looking through a milky glass: intertwined limbs of elusive bodies, diffuse and bizarrely aesthetic. "Mouth" features Anne. CD version includes two tracks not included on the LP version: "Wires" featuring Brigade and "Sand".

$21.00$17.85 IN STOCK

LP version. Milky glass stands for a semi-transparent, fragile barrier causing a diffuse glance onto life. It is about force, obsession, excess, consciousness, evolvement, liberation, reconciliation, inner conflicts, accomplishments, and the intercourse with these subjects that were decisive for the genesis of "Glass". The debut album of Aparde, Glass, is the attempt of a stylistic manifestation. Paul Camillo Rachel (Aparde) was able to give back the liberty to his musical output that he consciously subordinated, limited, and aligned. Glass sounds like a breakout; it's offensive, with deeper insight and attack, and passion. An unmistakable arrangement and atmosphere, accomplished through the usage of only self-recorded material. A kind of urban and conceptual field recording of sounds in all kinds of environments, selected and sorted by themes. Thus, for the title Glass, different kinds of glass were acoustically combined with other materials. Selected analog instruments and a reduced use of software resulted in a homogenized, warm, and classical, but specific character; Crystalline, organic percussion, vivid surfaces, sudden rhythms, and extent atmosphere, which distinctively scatter throughout and complement the stereoscopic sound image. The lone voice was out in a stronger focus. After a diffuse phase and adjacent relocation, finally resulting in the availability of their own room for musical and personal development, the songs here originated between the end of 2015 and mid-2016. Each song went through a lengthy process of development and many underwent a radical preadaptation around the start of 2017. The acoustic pattern of Glass became more and more distinct. The album was then finalized an early summer of 2017 in an old cottage in the Mecklenburgische Seenplatte, a very unique lake district in the north of Germany. The homonymous title track summarizes the atmosphere of the album in a comprehensible way. It is also the oldest title on the album. The topic was visually translated by literally looking through a milky glass: intertwined limbs of elusive bodies, diffuse and bizarrely aesthetic. "Mouth" features Anne.

$21.00 LOW STOCK LEVEL

Following the success of Christian Löffler's latest album Mare (KI 011CD/LP, 2016), here are 13 incredible reworks by Zimmer, Fejká, Parra For Cuva, Max Cooper, Villette, Superpoze, Aparde, Steffen Kirchhoff, Robot Koch, Avatism, and Tiger Lou. Includes poster.

$19.50 NOT IN STOCK

Originally released in 2014. Christian Löffler presents a musical statement and autobiographical journey named Young Alaska, on Ki Records. The German producer unveils his unique soundscapes by delivering seven tracks which are deeply rooted, once again, in harmony and emotion. Löffler's unique sound, based on an intense melancholic feel, brought him a busy touring schedule performing at clubs and festivals all over the world. He sticks to his calm approach to electronic music and proves, through his live sets, that emotions control the dancefloor, creating a real sense of euphoria. His experiences on the road are reflected on Young Alaska, which is largely inspired by these journeys and places he has visited. From the peaceful landscapes of the title track to the melodramatic heights of "Mt. Grace", he took "Notes" back home to transfer the impressions into his music. Songs like "Beirut", "Veiled Grey" and "Alpine Sketch" are very diverse but come together harmoniously on this release. As on his debut album, A Forest (2012) he once again collaborates with Me Succeeds lead-singer Mohna, on "Beirut". During the course of Young Alaska, Christian tells the story of his journey over the course of the past two years. Ki Records stroke its roots deep into Cologne soil since 2009, building a solid stem of international artists that grew along the way since the label's start. Sometimes techno-ish, melancholic or playful electro pop infused with vocals, the Ki releases are diverse in sound and genre, but relate in quality. Most of the labels musicians are somewhat involved in many disciplines of art. From the smallest detail in production to the whole package - each release is a piece of art throughout.

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Arp Aubert's "Moshislongo" rolls out a hovercraft-like texture amid a flock of happily fluttering beats while a sparkling surge from beneath bounces them along in kaleidoscopic unison. "Lowport" wanders through the deep, propelling its effervescing mass through Pascalian bubbles, before the sound-mantra acid-bass bobs through kalimbas and melancholy synth chords. Me Succeeds (Lorin Strohm and Mona Steinwidder) gracefully translate the title-track's melancholy moods into a profound sound-tableau; Steinwidder recites a text of her own over dub-character beats and fading chords. On Alexander Polzin's remix of the same track, jumbled vocals give rise to the warmth of a constant bass.

$29.00 LOW STOCK LEVEL

Double LP version. Includes a poster and download code. Ki Records presents the debut album by electronic artist Sean Piñeiro. After he left his anthropology studies in Utrecht, he moved to NYC to pursue a degree in music composition at City College of New York. Shortly after he completed his undergraduate degree, he moved to Europe. Sean Piñeiro makes sample-based music. He's a constant observer of his environment and finds elements for his production from different sources, regardless of their quality or rarity. This can be samples from movies, commercials, YouTube videos, cartoons, and music far away from the dancefloor such as jazz, folk and classical. Like in a musical mosaic, he combines these elements into one stringent sound story, filled with anecdotes and short stories that were written between Brooklyn, Barcelona and Berlin. His work is like a musical diary. The oldest track on the album is "Reaper," which was made in Piñeiro's closet in Brooklyn, because at the time, the only room he had to fit his studio in was his closet. "Reaper" is a driving, downtempo beat accompanied by dreamy melodies and sound fragments that slowly sneak in from the background. "Grounds" is dominated by a yearning piano and a nostalgic-raw soul vocal that is combined in his very clean arrangement and production. In "Tunnel to Castle," a repetitive rhythm meets a vocal sample with a deep meaning if you listen closely. "Medallion" combines a rich choir with understated wind instruments and the listener gets lost in an ocean of sound. The complexity of Piñeiro's work is what made Ki Records decide to release Piñeiro's debut album.

$17.00 LOW STOCK LEVEL

Ki Records presents Colo's debut album. The name UR is a word-play and not a reference to the legendary Detroit label Underground Resistance. The band's name and the title of the album form the word "colo-ur." All ten tracks on UR were recorded live and arranged on the computer afterwards. Except for some drum sounds, no samples were used. For the London-based duo, producing music is pure teamwork: both throw in ideas and play around with their hardware instruments. Besides vintage synthesizers they also use a lot of analog delay or an eight-track recorder to give their tracks a certain layered and deep sound structure. The fragile vocals sung by Nick Smith underline this in a mystical way. Most tracks are created intuitively and directly recorded, to save the idea and not to lose its feel for the moment. One take, one track, you could say, although not every detail of the initial idea makes it to the final track. But if you listen closely, "Doorframe," for example, has the room-sound of their studio underneath the vocals which gives the song a rough and fading quality. The vocals on "Holidays" were also made on the fly, recorded with a cheap mic that came with a game console. Nick just felt he should record this melodic idea he had, in order to not forget it, and what resulted was so good and unique-sounding, that it was kept for the final version. The single "Holidays" was released beforehand featuring a remix by Christian Löffler.