The Berlin-based Italian goes further than your average “crate digger” in pursuit of information about sounds, styles, artists and record labels, spending countless hours to unearthing the stories behind the music he loves.

Rinse Radio Podcast

Mannequin Records avec Alessandro Adriani - 1er Septembre 2023

Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru’s second release on Editions Mego, following on from the classic 2020 release Peel. Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. Kamaru is quick to clarify that Kin is not that record; “I'll know when that record will come and when I'll make it. It's already happening... or maybe it lives within both of these Mego records”.

It is this deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru’s vision.

Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in the immense new work we have here.

The charms within Kin lay as Easter eggs revealing the true identity behind the colourful sonics only after multiple deep listens. With Trees Where We Can See sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, Blurred. A neat Mego/Editions Mego loop as such. Blurred arranges twangy guitar strums alongside glistening glaciers of shimmering drones. They Are Here represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. Maybe takes a detour into a bristling euphoric electronic storm whilst We Are screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. By Absence concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop.

Kin is a trip that rewards close repeated listens as all the colours and textures, nuance and narratives unveil themselves. This isn’t a record to be glossed over, magic rewards concentration.

Kin is a record to be Played slow and LOUD.

For Pita.

All tracks written, produced, mixed by Joseph Kamaru  
Blurred co-written & produced with Christian Fennesz  
Mastered by Stephan Mathieu at Schwebung Mastering  
Photography: Joseph Kamaru  
Layout & Design: Nik Void  
Cut by Andreas Kauffelt at Schnittstelle, Berlin

With Trees Where We Can See

KMRU 'With Trees Where We Can See' (EMEGO319)

Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed “Spider” by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite. Throughout the 70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early 80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker’s partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider’s music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider’s compositions for film veer from the expansive, reverb-drenched “Rainforest” to the Miami Vice-esque chugger “Tech.” While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music will be available on both LP and CD, the latter of which includes a 20-minute version of “Strange Places…Strange Things!” as a bonus track. The album’s cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider’s estate by Michael Ely, Spider’s partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later.

Spider Taylor - Surge Studio Music SNIPS

BUY VINYL: brandydalton.bandcamp.com/album/fallen-angel
Somewhere between heaven and hell…there is Fallen Angel. Dark Entries continues its mission of shining light on a generation of composers and musicians lost to AIDS with Brandy Dalton’s Fallen Angel, his soundtrack work for the award-winning Fallen Angel series. In the late 80s, Brandy teamed up with friends Robert Woods and John Munt to form the band Drance, becoming infamous for their high-energy performances and songs that tackled taboo topics like sadomasochism. While Drance explored the aggressive sounds of industrial and EBM, Dalton continued to produce a wide range of electronica, from abstract sonic textures to techno bangers. The Fallen Angel album collects 16 sweaty, sticky cuts composed for the pornographic series Fallen Angel, a trio of leather-focused films released by Titan Studios. The sounds here span from the fractured cyberpunk-rave of “Swelled” to the tabla-laced trance of “FA2,” taking listeners on a journey through hedonistic recesses, chock full of crunchy digital drum machines and wailing FM synths. This album was originally released on CD in 1999 by Titan Studios, capitalizing on the success of the film franchise. It will be reissued on LP as well as on CD, which features 6 bonus tracks. Artwork for the album, designed by Eloise Shir-Juen Leigh, features stills from the Fallen Angel film. Also included is an insert with liner notes and photographs. This album is dedicated to Brandy, who passed away from AIDS-related illness in 2006, after battling with the disease for 17 years. Fallen Angel provides a hardcore BDSM ride, in contrast to the lush, analogue sounds that Dark Entries has released on previous archival soundtracks. All proceeds from this release will go to AIDS Project Los Angeles.

Brandy Dalton - Fallen Angel SNIPS

Recorded live at Dark Entries Records on December 7th, 2025
Celebrating our record shop’s 3 year anniversary 🎉

Selwa Abd, professionally known as Bergsonist, is a Moroccan-born, New York City–based interdisciplinary artist, composer, and design researcher specializing in time-based media, performance, and sound art. Her multimedia practice reconfigures evolving archives of field recordings, live video, and electronic sounds into immersive, intuitive environments. Informed by Deleuze’s interpretation of Bergson, Abd uses intuition to explore complex questions of post-colonial identity, techno-futurism and the psychological effects of virtuality on contemporary societiy.

Bergsonist at Dark Entries Records 12-7-25

Recorded live at Dark Entries Records on December 7th, 2025
Celebrating our record shop’s 3 year anniversary 🎉

G. ZIFCAK is a musician and audiovisual artist living in NYC. He has been a steady presence in various scenes stretching from late 90s Portland raves through 2000s Bay Area experimental club and noise shows in warehouses and basements across the US and Europe and beyond. 
A preoccupation with de- and re-contextualized music and production equipment motivates his approach to audio, video, and lighting systems. This deconstruction of mechanism led him into DIY electronics early on, and he continues to build and modify much of his gear. 


G. ZIFCAK at Dark Entries Records 12-7-25

Dark Entries reissues archival and contemporary gems that prove to be crucial to our modern idea of bodily music that exists out of time. Electro, italo, cold wave, new beat, house, techno from a one-of-a-kind digger who visits dusty basements to rescue lost tapes. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/dark-entries-record/episodes/dark-entries-record-11th-december-2025

DARK ENTRIES w/ Josh Cheon 111225

Text & voice - Martin Lau
Music - Oliver Peters (Evapori)
Recorded, mixed & mastered by Théo Strauss
Nancy 2025

Hyperdu le Nord (feat. Evapori)

Broken Face Demosample

Duplicity Mix

Rieko Okuda - steam-micro-korg + kiai-vocals
Antti Virtaranta - snakestring-e-bass + opera-vocals
Frank Szardenings - egg-cutter-e-guitar + wiggle-vocals
Peter Schlewinski - marching-funk-drums + complaining-vocals

Electric  Anthillman is a nervous flickering band who play fast weird disco-­‐funk-new  wave from outer space. In late 1970ties some members danced in Jane Fonda’s fitness-­movies. A untenable statement? If you see the live set, you will believe it.

Deutsch Info:

Rieko Okuda - Dampforgel-­‐micro-­‐korg + Karate-­‐Kampfschrei
Antti Virtaranta -­ Schlangensaiten-­‐Bass + Operngesang   
Frank Szardenings -­ Eierschneider-­‐Gitarre + Gestammel
Peter Schlewinski -­ Blechtrommel + Klagegesang    des Besiegten

Electric Anthillman spielen schnelle, kompakte quirlige New Wave Songs mit Elementen aus Disco, Funk und einer Portion Merkwürdigkeit. Kurioserweise spielten o. tanzten einzelne Mitglieder bereits Ende der 70er Jahre für Jane Fonda’s Gymnastikvideos und -Schallplatten. Sei dies auch nur ein Gerücht - wenn man die Band live sieht, mag man es nicht anders glauben!