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26—05—13
26—05—10
A collection of bonus tracks, compilations songs, “special edition” remakes, songs made for festivals, and songs made for friends.
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Mannequin Records is elated to present Electronic Corporation “1998–2006”, a compilation bringing together rare and long unavailable recordings by the German electronic projects heimelektronik and MAS 2008.
Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.
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The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.
At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.
Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.
For fans of: Le Syndicat Electronique, I-F, Dopplereffekt, Drexciya, Legowelt, Adult., The Hacker, DMX Krew, Gesloten Cirkel, and early Bunker Records electro.
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26—05—08
released May 8, 2026
Produced by Burt Murder
Jim E. Brown – vocals
Carl Dolphin – guitar
Benjamin Fries – bass
Burt Murder – drums
Album Art by Nate Garcia
** Available on vinyl as a Record Store Day exclusive worldwide this Record Store Day, Saturday April 18th, 2026 **
‘Dear Children of Our Children, I Knew: Epilogue’ is a new EP by Alabaster DePlume, recorded during the middle of his March 2025 US tour. DePlume had been playing shows with bassist Shahzad Ismaily and drummer Tcheser Holmes, performing music from his critically acclaimed album ‘A Blade Because A Blade Is Whole’ (released March 2025). The trio’s onstage rapport was so immediate and strong that, on an off day in Brooklyn, DePlume chose to capture that connection, recording this collection of instrumental pieces shaped by the experience of performing, sharing, and improvising off the music of A Blade for audiences across the US.
DePlume says: “Meeting with you all at the shows I sensed that you felt voiceless, on this ethical issue that also spelled out what we’re seeing today, in the form of ICE. That experience with you is etched into me, like graffiti or a poster on the wall. It’s my job to deliver your voice, and that’s what this record is. And to take action. That urgency compelled me to record then. And now here we are. As we said, this world is awakening to the reality it was already living.”
Dear Children serves as an epilogue to A Blade Because A Blade Is Whole, and as a companion bookend with his October 2024 EP ‘Cremisan: Prologue to A Blade’.
As with almost everything that DePlume has put forth in recent years, the connection of all these works to Palestine is deep. The Cremisan EP itself was recorded in Palestine. Dear Children incorporates field recordings and samples of children playing and of normal life in the West Bank, and its cover art depicts wheatpaste posters of a drawing made by a 13-year-old boy from Gaza (used with permission). The inscription on the cover art says, in Arabic, “Dedicated to the mother of the martyr/witness Obaida Ahmed al-Qiram. May you rest in peace. From your student, the artist, Hasan Jawad Abudayyeh.”
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26—05—07
MEDIUMRARE is a compilation of some hard to find and rare Remute tracks and remixes of the last 25 years. Most of these tunes were just released on limited vinyl editions or (now) out of print CDs. But, after many many years, now is the time to gather them for convenient listening pleasure on the best format for recorded music – the M I N I D I S C.
And of course – fully remastered!
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26—05—07
A multidisciplinary artist and curator, Violaine Morgan Le Fur (aka Violence Gratuite) has spent the last few years sharpening her creative perspective, developing documentaries, producing exhibitions, and directing music videos and short films. ‘Baleine à Boss’ isn’t just her debut album, but her first venture into music production; Le Fur had only begun to experiment with music software a few weeks before dubbing the record, a fact that makes this unique set only more bewildering. Singing and vocalizing candidly and producing each track alone, she sounds profoundly polished, invoking a beguiling haze of chanson, rap, no wave and experimental electronics that hovers around the margins of pop and the avant-garde.
Le Fur grew up in Paris’s sprawling suburbs, and was provided with a diverse coterie of influences by her Breton mother and Cameroonian father. She’s channeled her ancestry into her work before, splicing material from her mother’s film archives with her own footage recorded in Bamiléké land to develop the autobiographical documentary ‘À L’ouest’ back in 2017. As Violence Gratuite, Le Fur thinks more cryptically, considering the vast forests of western Cameroon, lands ravaged by generations of bloodthirsty men and looping pulsing techno rhythms with fractured trap and the ghosts of French pop.
Her voice stands out proudly on opener ‘Iséo’, layered into a charming mantra over a brittle, grime-y beat assembled from stuttering samples and 8-bit blips. Acrobatic yet somehow casual, Le Fur splits her delivery, singing in French over undulating chants and spectral coos. And she switches up the flow on ‘Olive’, rapping in an icy cool deadpan while spiky synths bubble around jerky, Neptunes-like stabs. Then, on the nocturnal ‘Smooth Operation’, Le Fur guides us towards a moonlit ritual, crying sweetly into the darkness as hand drums and dreamy plucks chatter in the background.
On the title track, Le Fur strips the rhythm down to a moody, skeletal rumble, using rubbery drums and trapped chorals to mire herself in negative space. Speaking in a low rasp, she brings to mind Tricky’s eeriest early material, or the wonkiest output of French no wave hybridist Lizzy Mercier Descloux. But the record switches gears relentlessly, lurching towards the Caribbean on ‘Ragga Nieztches’ and into spannered dembow on the hypnotic closing track ‘Bad à Bras le Corps’. ‘Baleine à Boss’ is an unpredictable, labyrinthine suite that refuses to stay static, a variety show that’s as comfortable in the club as it is at a fest noz.
Video for Iséo youtu.be/sawqBEoayKo?si=IAaeu_3t-RhtJkLH
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THE SOUNDTRACK THAT FUELS THE ACTION AND ATMOSPHERE OF ONE OF THE MOST CELEBRATED VIDEO GAMES OF THE DECADE.
Dive deep into the pulsating world of Cyberpunk 2077 with an immersive soundscape perfectly capturing the gritty and neon-soaked streets of Night City.
15 tracks (+7 digital only bonus tracks!) of electrifying polish beats curated by RAFAŁ GROBEL & WOJTEK SOKÓŁ (MOST RECORDS).
releases June 5, 2026
26—04—28
