Mannequin Records
Originally from Rome, currently based in Berlin, Mannequin Records has gained recognition by presenting an impressive collection of synth wave and dark sound releases. The label is known for its genre-bending diversity – their releases range from post-punk to techno, from experimental to ambient. Since 2008, Mannequin Records has been a consistent source of fresh, exciting sound — be it reissued classics or new material — for cold wave enthusiasts, collectors and DJs. Staying true to the DIY tradition, Mannequin releases limited, intricately-packaged and hand-numbered editions. The label allows its listeners to discover new sounds, regardless of the era or genre, creating the ultimate eclectic listening experience. Repurposing, reissuing and redistributing the gems of electronic classics is what makes Mannequin Records
Alessandro Adriani
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. Adriani’s zest for deep cuts has naturally shaped his other musical endeavors, besides Mannequin Records that was voted Label of the Month by Resident Advisor in 2017 and by Tsugi Magazine in September, 2023. Over the years, his works have gained praise from buyers and critics for its open-minded blend of reissues, archival collections and fresh productions.
As a producer, Adriani naturally draws on his own musical inspirations and his works reflect his love for electronic hardware. Under his own name, Adriani has built a reputation for delivering heavy, sharp and bold club cuts for such celebrated labels as L.I.E.S., Stroboscopic Artefacts, Jealous God, Pinkman and, of course, Mannequin Records.
Silent Servant
Juan Mendez is a longtime Los Angeles resident, but looking out the window of the art deco apartment building where he resides, you won't see palm trees. Rather, a warren of streets and alleys abutting the fashion district; where the tent cities of skid row brush up against the gleaming skyscrapers of the historic core. The Bradbury Building, famous from Blade Runner and film noir, is a few blocks down, dreams and nightmares stalk the streets in equal measure. This beautiful and violent collision courses through the post-punk techno Mendez makes as Silent Servant, the fearless DJ style that has brought him around the world many times over, and the iconic imagery he has crafted for the foundational labels he's had a hand in, Sandwell District and Jealous God.
Born in Central America, Mendez came up in LA, following a path from synth-pop and shoegaze to the renegade, early rave scene of the '90s. In pre-millenial years, he'd cut his teeth in the Detroit-informed minimal scene, eventually forging key alliances with the likes of Karl O'Connor (Regis) and Veronica Vasicka (Minimal Wave), producers and DJs who traced a direct line between elegantly gloomy synth-pop, EBM and '80s cassette wave and the industrial-tinged techno sound of the present. The unveiling of his primary pseudonym, Silent Servant, heralded a tireless, prolific creative period that extends into the present.
As part of the massively-influential Sandwell District, Mendez worked alongside Regis, Female and Function to introduce a new sonic and visual language to techno. The first half dozen or so Silent Servant EPs came out between Sandwell District and Historia y Violencia, the label he ran with fellow LA mainstay Santiago Salazar.
Combining the jittery synth-pop of '80s Sheffield, a post-punk/EBM continuum stretching from Suicide to DAF and the Berlin-Detroit connection epitomized by early Tresor and Basic Channel, Silent Servant arrived fully formed with raw dancefloor tracks and a remarkable DJ style forged over the previous decades. As Silent Servant, Mendez immediately brought this new sound to clubs around the world, often playing gigs at Berghain on a Saturday before checking in with a bag of post-punk records at a bar in Los Angeles a few days later.
This free play of styles and signifiers honed in with the debut Silent Servant full-length; Negative Fascination, released on Hospital Productions in 2012, stands as a defining statement of the modern industrial techno sound. Mendez's visual language, meanwhile, evolved from Sandwell District into the stark and evocative interior palette behind his imprint Jealous God. Headed up by Mendez, the label would release bracing vinyl sides from friends and collaborators like Phase Fatale and Varg, along with physical talismans—zines, underground CD mixes and other cherished objects crafted by Mendez himself. Along the way, he'd somehow find the time to collaborate with O'Connor as Sandra Electronics, serve as a founding member of the post-punk band Tropic Of Cancer, and, eventually, make records with Marcel Dettmann and Phase Fatale.The second Silent Servant full-length, Shadows Of Death And Desire, saw Mendez continue to draw novel connections between EBM, post-punk and modern techno. The closing track, Optimistic Decay, a dreamy combination of shoegaze and post-punk featuring Tropic Of Cancer's Camella Lobo on vocals, prefaced a period where Mendez would bring it all together. Sandwell District, then Jealous God, had run their respective courses, freeing Mendez to connect the dots between these fallen totems. This occurs in real-time on his long-running NTS show, Optimistic Decay, where he'll play anything from LFO to Model 500 to Throbbing Gristle with uncanny cohesion. His latest EP for L.I.E.S., meanwhile, begins with an EBM cut featuring Cabaret Voltaire's Stephen Mallinder, and concludes with an ominous, 106 BPM slo-mo techno groove. With less lived experience, these elements could feel disparate, yet for Mendez, they form a singular idiom where the only constants are decay and rebirth.
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