Monday, 23 February
Feted new UK artist, Romare, scales his cut-up, Afro-American-centric sound to a family-sized debut album for Ninja Tune. Elaborating on the deftly woven tapestries of his two 12"s for Black Acre, he continues to pay tribute to Romare Bearden - the seminal American cut-up artist and painter whose work recently adorned The Roots' '…And Then You Shoot Your Cousin' LP - with eleven loosely syncopated and blues-wise grooves. Through the dusty disco of 'Rainbow', or gospel soul with the self-explanatory 'Nina's Charm' he perceives a coherent, if endearingly hazy, line from 20th century African Ame… Read more
DJ Q, Samename, Strict Face and Fallow have a lark with Finn's killer debut EP of R&G funk. The thuggish roll of 'Keep Calling' gets a skippin' overhaul by DJ Q, whereas Manchester's Samename turns 'My My' into a brooding hardstyle grime mutation - quite possibly the first of its ilk. Sweetboy, Strict Face serves a restrained, rolling version of 'Only Boy', and Fallow brings the drums on his scything re-cut of 'Keep Calling'. A strong look for dancers and DJs.
Strong debut album from the multi-faceted Future Brown collective for Warp. Numbering Fatima Al Qadiri, plus Lit City Trax's J-Cush and Nguzunguzu's Daniel Pineda & Asma Maroof, they represent a worldwide perspective (LA, NYC, Kuwait) via myriad dancefloor strains shaken for their sweetest, futurist fruit and voiced by an international roll call including MCs from Chiraq, Jamaica-via-London and Latin NYC. Holding up a mirror to the world's increasingly mixed and itinerant population - and it's disproportionate representation in mainstream media, music - the international cast form a bo… Read more
Obey City switches tipple to 'Merlot Sounds' for a smoother follow-up to his heady 'Champagne Sounds' for LuckyMe. Laced with vocals by Kelela, Anthony Flammia and l-O.A.K & Eric Arc Elliot, six songs twyst traces of grime, B-more, and EBM into blinging riddims ranging from the Jones-referencing glyde and swerve of 'With Grace We Go' thru The Dream-style lushness in 'Water Bed' or 'Chantè'; giddy grime-funk in 'The Motion Blurs', and a sparkling run of electro-soul with 'Cloud Lust', and lissom Linn groove, 'Air'.
A frictional face-off from Oregon's Best Available Technology and Berlin-based BNJMN. It's the result of years of file exchange, each producer parsing the other's material for nuggets of ideas and unique tones, textures which would make it onto the record. they're abstract, strangely semi-organic creatures, oscillating from salted electronica thru spiralling wormholes to unstable techno bumps and industrial ambient episodes, constantly in flux between and effecting a very disoriented state.
*Sam Prekop returns with another album exploring the modular electronics he has been pursuing for the last few years* Regardless of the style he is working in, Sam Prekop’s music is always imbued with a sense of wide-eyed discovery and exploration. As the singer and guitarist of The Sea And Cake, Prekop has incorporated elements of traditional styles from around the world, expanding the public perception of what it means to be the leader of a pop band. In recent years, he has also established himself as a modular synthesist, building his instrument meticulously to find the perfect combi… Read more
Achingly well-focused and deadly industrial/techno trax from Roger Semsroth aka Sleeparchive. In Civil Defence Programme mode he steels us for bunker warfare with the ruthlessly austere motorik throb and walls of white noise in 'The Comfort of Things' and a taut EBM exercise, 'Assembly Line Work'. Flicking the switch to Sleeparchive, he deals in signature, stripped down blips and monotone bass pulses for 'Incomplete Open Cubes' and the pounding Pan Sonic styled 'Fifty Fences (Live)'. Get your tinned spam in, it's going to be a long night…
LP5/Gantz Graf-style IDM convolutions from Arovane for Touchin' Bass. Anyone expecting his softer side will get a shock here.
Beamin' straight outta Lisbon, CDM shake out a ruffneck ghetto sound for the good of your glutes. Following their contribution to Príncipe 005, Maboku and Lilocox, a.k.a. CDM, traverse the tempo scale over seven succinct piece; from pelting, NRGetic kuduro to the slow, bubblin' style of tarraxo armed with bold percussions, rude samples and stark dub FX. A firm sign of any great * new* music lies in its ability to physically make you move differently, and we're having loads of fun finding new shuffles for the marimba laced dip of 'CDM A Comandar' or finding a way thru the gauntlet of batida d… Read more
Ruder box jams by San Francisco's Vin Sol for Clone's Jack For Daze Series. Check it for the Gherkin Jerk-styled metallic twanger, 'Off The Chain' and the hypnotic, salacious Chicago vibes of 'House Freaks'.
Software's latest signings come rugged and sophisticated with the dynamic, alien hip hop and ebullient future-funk of 'Childhood Swing'. Opening with the dazzling Evian Christ or Amnesia Scanner-style sound design of single track, 'Hood Low' they tack between lush, jazzy G-funk lean with 'The Treatment' and Hud Mo heavy funk of 'Talking II' , before slipping into the glistening virtual reality space of 'Swept Over the Rug'. Better yet, 'By the Bay' drops and rolls with a delirious future soul vibe reminding of moments from Matthewdavid's psychedelic album, 'In My World', while 'Childhood Swing' fakes left with a skittish meld of boogie house and vaporous synth streaks.
"Nonplace presents the first edition in a series of instrumental soundtracks that were edited for film or television companies over the past decade or aim at being used in conjunction with moving images. All pieces were produced by Burnt Friedman or/and Hayden Chisholm as part of sessions with The Embassadors, or during Friedman´s numerous score recording sessions with Joseph Suchy on electric guitar amongst many others. You will discover an abundance of musical components throughout a dense, seamless mix of 25 short cinematic “scenes”. The musical styles featured range … Read more
Avian's experimental sister label serves the debut of Oliver Ho (Jealous God) and Tommy Gillard (Rogue Beat) as Zov Zov. Four tracks explore space between industrial drone and avant-classical, from the MB-meets-Emptyset keen of 'Rubble' to Zeitkratzer-esque zones of 'Endless Lines' to blistered free-rock grind in 'Clip', and insectoid electronics on 'Devices'.
Avian's gothic, esoteric sibling, Mira, administers four tracks from Ventress in his new Worn alias. Under cover of gloaming black metal atmospheres, he employs The KVB's coruscating guitar in the furtive darkwave skulk of 'Feminist', and churns thru graveyard techno while choking on sulphuric gases in 'No Expression'. Flipside, 'Unconscious' teeters brittle-boned percussions on abyssal bass and groaning synths, and 'Less Distant' roils grungy guitar akin to that Alexander Lewis issue on Blackest Ever Black. Recommended!
Pure tonal pressure with an avant-technoid edge, created by legendary Belgian figure Frans De Waard. 'Trenkel' was recorded in May 2013 at Geluidwerkplaats Extrapool, Nijmegen in preparation for a concert at Studio Trenkel with music by Wieman (Frans de Waard & Roel Meelkop).
"In the 1960s Clement ‘Sir Coxsone’ Dodd’s legendary Studio One Records laid down the template for all reggae music, the equivalent of Jamaica’s Motown Records. Artists who launched their careers there comprise an A-Z of the Jamaican music scene - Bob Marley & The Wailers, Burning Spear, Alton Ellis, Ken Boothe, Freddie McGregor, Marcia Griffiths, Horace Andy and many, many more. In the early releases featured here you will find the roots of Studio One’s unique sound - from the first jump-up, boogie-woogie and shuffle recordings… Read more
"Eccentric Soul: Mighty Mike Lenaburg chronicles Phoenix, Arizona’s off-”Funky Broadway” scene that happened while Dyke and his Blazers were setting national charts on fire in the late ‘60s/early ‘70s. Covering Tejano psych, flute funk, both horny soul and horny kid soul, cackling R&B, deep ballads, and fist-fight doo-wop, Lenaburg channeled that wrong side of the desert sound to a dozen 45s for the Mighty, Darlene, Homogenized Sound, Ramco, and Out of Sight imprints. Although listing these totally obscure groups is an exercise in futility, we’ve typed them out anyway… Read more
"Post punk provocateurs The Pop Group, one of the most wildly innovative and barrier-shattering bands to emerge from the late '70s era, release their first studio recording in 35 years. The album 'Citizen Zombie' has been produced by one of the biggest names in commercial pop music, multi Grammy and Academy Award winner Paul Epworth (Adele, U2, Florence and The Machine) and features original members Mark Stewart (lyrics / vocals), Gareth Sager (guitar), Dan Catsis (bass), and Bruce Smith (drums)."
Teste's dark minimal techno template, 'The Wipe', taken on by two time-served veterans. London's Lost boss Steve Bicknell strips it back to buried bass rumble and a shuddering lead synth flux; Mike Parker takes it underwater with patented sound design trickery.
Digital issue of Syncom Data's dope 1999 debut for Bunker Records. Between the electro-fonk gremlins of 'Controlled Circulation' and the precise drum machine minimalism of 'Sunday' you've got some of the West Coast Dutch electro scene's weirdest, definitive productions; the super crisp and spaced-out funk of 'Abe's Planet' for the I-F heads; some freakish, drugged-up swagger in 'Retaliation'; a freaks anthem in 'The New Town' and punchy, dubbed-off ekectro-techno in 'ECM'.
"Seasonal Hire collects four original tunes and one traditional piece, with Gunn and The Black Twig Pickers’ Mike Gangloff and Sally Anne Morgan all taking turns with lead vocal and songwriting. Like all of the Twigs’ albums, it was recorded live, without overdubs or amplification. Gunn fell right in with this aesthetic and threw down guitar parts like he’d been sparring with banjos and fiddles for years. The majority of the album was recorded at Joseph Dejarnette’s Studio 808a in rural Topeco, Virgina, where Gunn and Gangloff recorded Melodies for a Savage Fix, an im… Read more
Morphine present a very welcome, if unexpected, return from Sote, an American-based Iranian artist who delivered one of Warp's most interesting releases of the '00s with 'Electric Deaf'. We've spoken previously about our fascination with hi-end Middle Eastern electronics and Sote would fall well in that category with these complex, super-dynamic projections gleaned from a range of synthesis techniques. We won't bore you with the finer details - google it if you're bothered - but can tell you there's some dazzling work here; a hyperkinetic rush of trance-inducing tones and completely unstable,… Read more
"Monika Enterprise presents the debut album by Cologne artist Sonae: 'Far away is right around the corner'. Containing 10 tracks written between 2012 and 2014 the record deals with reflections about friendship, growing up and everyday life full of hope as far away is right around the corner. Sonae's music is wide, flowery and raw from the very quiet (Ambient) to tiny club moments (Electronica) always embedded in an electronic soundscape."
Prolific deep house producer/fiend Simone Vescovo returns to L.I.E.S. with a hot haul of 313 and Chi-inspired goodies. 'Abele Dance' starts up with a ritualistic bit of cowbell and flute interplay offset by muscular, tactile bass and darker pads - breezy but burly styles - before the rest of the EP variably pays dues to Derrick May and Kevin Saunderson on 'Beyond The Dance', 'Spirit Of Transmat', and 'Bio Rhythm'.
DJ Deep on a rumpy psychedelic house tip for L.I.E.S. Following the dictum, free your ass and thy mind shall follow, he lays down robust , driving jack tracks layered up with expressive sequencer licks for subtly mind-bending effect in the club, swirling up sweeping arpeggios over the pendulous toms and claps of 'Chantage', before getting gritty and psy-trancey with the wormy 'Brainiac' and the mesmerising weave of 'B Is Naggin'.
Bristolian ghetto-bass bouncer with PC Music-style deadpan gynoid pop vocal repeating "Gold Teeth and Lemon Haze". It works.
Randomer does his dope tribalized percussive thing on L.I.E.S. On the A-side he cuts loose with the clipped Afro drum cadence and druggy wheeze of 'Residents' besides the tunnelling motorik clatter of 'Jakobs Dream'. Better by far, the super rugged Gesloten Cirkel electro styles of 'Huh' on the B-side bends where it matters for the dancers.