Monday, 26 July 2010
Cast your mind back a few months and the hypnagogically attuned among you may remember Forest Swords' immense debut for Old English Spelling Bee, a record that was described by some as capturing the spirit of Burial and Ennio Morricone in one desnely fogged package. Following in the same dub drowsy and tape rendered aesthetic is his 'Rattling Cage' 2-tracker for No Pain In Pop. The 'Rattling Cage' fuses distant marimba tinkle with arcing guitars, spectral wurlitzer and mournful vocals in a rustic dub pop quilt. 'Hjurt' on the other hand builds a sublime tension through a spiky/spooky … Read more
Hyper-efficient future styles from Numbers' secret weapon, Redinho! 'Bare Blips' is his long awaited debut, following months of hype built from Radio 1 guest slots, props from Anthony Shakir and regular rinses from Hudson Mohawke. It's fair to say that the scope of these six tracks broadly defines the aesthetic of Numbers, combing moments of blissed electronic melancholy like 'Pitter Patter', with screwface grime killers on 'Banger' and bold future lunges like 'Nuff-Prang', sounding like Timeblind in a tussle with AFX and Sherard Ingram. On a screwed ragga-tip 'Mo-Brap' gets the juices flow… Read more
The soul rich vocals of Andreya Triana have graced records by Flying Lotus, Theo Parrish, Mr, Scruff, Bonobo and many more. 'A Town Called Obsolete' is the first with her name at the top, coming backed with a remix from Mount Kimbie besides live and radio edits. As a piece of mellow soul pop you can't really knock it, but to be honest we're most interested in the luscious version from Mount Kimbie, distancing and dubbing the vocal for a more tender and emotionally strained impression while pairing her with a glowing Rhodes and post garage claps for a more current take on things. Highly Recommended.
Another superbly curated remix session for Greymatter, featuring revisions from Altered Natives, Mr Lager, Milyoo, Kilc and Throwing Snow. Top of the pile, Danny Natives turns out a latin-tek wriggler featuring wicked vox from Deize Tigrona (worked with The Bug, Diplo etc.), and Mr Lager impresses with dread subs and tucked dubstep drums on a 'We Are One' remix. Meanwhile, the talented Milyoo crushes 'When I Was Lost' until the pressure gets too much and it turns into a psyched Broken Beat killer, before Alex Nut's new signees, Throwing Snow, go out with a spatially aware dubstep psyche mix of 'Mind Over Matter'. Heavy.
Following his inaugural All City 10" split with Dibiase, Ramp haul up a raw and psychedelic beat tape from NYC/LA's P.U.D.G.E. Our LA/Jamaican protagonist first cut his teeth as a producer from the age of 9 before discovering turntablism and honing some healthy mic skills in NYC. in the mid 00's he heard about the LA scene and soon assimilated himself within its ranks. His twelve tracks on 'Idiot Box' are shot through with a languid and fuggy-headed vibe that comes from the best Ras G or Flying Lotus constructs, shredding Paisley Rock, field recordings and stray radio signals in a potently sm… Read more
The American strip club is known as many things, but rarely (to UK & European ears anyway), as a testing ground for new club music. In actual fact many DJs test their new tracks out in these salacious settings because the girls gotta have something good to dance to, right? Jimmy Edgar's 'XXX' takes the strip joint as a well of inspiration, crafting a late night, low-lit electro vibe with a rich seam of sexy technoid R'n'B tucked firmly in the pocket. This takes the form of Prince-styled machine funk on 'Function Of Your Love', sensual slowfast bounce on 'Midnite Fone Call' or a superbly lubed slo… Read more
Currently limbering up for the long overdue follow-up to 2004's much-loved Future Perfect, LA alt. rockers Autolux at last offer up some new material. Taken from their forthcoming Future Transit long-player, 'Supertoys' finds the band's familiar hallmarks in check, sounding like an astutely poised collision between Sonic Youth at their most pop-savvy and a cleaned up, slimmed down version of shoegaze. This trio make a big sound, and while the production is crisp with minimal fuss and adornments there's tremendous power behind the song, all culminating in big, awkwardly angled choruses fronted… Read more
Regrouping for a third album under their 'On' moniker, Steven Hess and Sylvain Chaveau have created another body of chilling improvised recordings at their Chicago studio. As with previous records the results were passed to a guest musician for rearrangement of perspective and mixing techniques. Following Deathprod's work on 'Your Naked Ghost...', the material for this album was handed to experimental virtuoso Christian Fennesz, who transforms the source sounds into a display of stripped, yet richly textured drone ambience. Howev… Read more
Chances are, you might have missed the original physical edition of Silverliner; it was limited to 8 copies. Released in 2005, this eleven-minute piece doesn't give too much away about its origins, but it's a tremendous work, developing into something deeply immersive and absorbing by the time it creaks into its second half. The opening sequence harnesses some bone-rattling bass vibrations and their acoustic side effects; perhaps if you had a house underneath a railway arch, this is what it might be like - hearing all your fixtures, fittings, pots and pans oscillating away as some almight… Read more
Stephan Laubner's STL project has really been pushing our buttons for the last couple of years, from his wicked Homework LP to his more recent offerings for Perlon the man's true school, rough and raw house styles really have hit the mark. 'Klangbewegungen' collates 7 cuts of prime tracky jams very much in the same vein as his recent gear, all stripped and purely analog house tracks bearing a remarkable resemblance to the works of Omar-S, Jus Ed or possibly Alan Abrams Bodycode project, but mixed with a wickedly unsettling knack for a well trippy melody that really sets STL in a very strange … Read more
Frijsfo return from the regions of garage/electronic fusion with four tracs from Geiom, Sclist, Sully and Fornax. In future garage mode, Geiom remixes Kuoyah's 'Angels Dub' as a bristling dancefloor killer with spiky 2-step patterns and fluidly warped subs. Sclist's remix of Lewis Hunter's 'Cut From The Wreckage' shreds hardcore breakbeat samples over a spectral droning background hum and Sully goes on a warehouse mission with the scuff and skip flex of 'Saviour'. Point B brings a very smart EP to close with his most refined garage mover to date, really nailing that loose but tidy syncopation while keeping his pristine electro acid elements in place. Recommended.
Midnight jazz buttered breakstep from Cloak & Dagger, following his works for Subtle Audio and Offshore. 'Crimewaves' wipes tidy rhodes, warm synths and flashes of flute over crisp jazzfunk breakbeats and 'In The Cut' sinks back into plush subs and skittering, dynamic pots 'n pans percussion tumbling across the stereo field. Fans of Kontext need to check this asap.
A set of artists from the abstract jazz/electronic and hiphop quarters are enlisted to re-envision Oscar McClure's filigree originals. Asura starts by separating the Panda Bear inflections of 'Carboard' into spidery layers of drne and hi-end twinkle, and Flying Lotus collaborator Matthewdavid investigates the grain of 'Compost' with a microscopically detailed miniature. Baths' Otalgia mix of 'Kitchen Scraps' is among the most affecting, only just harnessed to some semblance of hiphop and free to flicker and invert itself at will, reminding of a more effervescent version of Downliner… Read more
Full length album of essential Minimal Wave from UK unit Circuit 7 aka Martyn Good and Andy Partington. They released two 7"s in 1984 but like many in that scene, have remained the preserve of rabid DIY fiends till now. 'Video Boys' includes both of those tracks, with multiple versions of the title cut, plus sharpened shoulder shakers like 'Beat Tonight' and the glorious Human League stylings of 'India Sleeps' and the Sakamoto-esque 'Eastern Dreams'. Recommended!
Two deeper atmospheric garage joints from DPR contributor CJ Reign. 'U Know' is all about head-swirling, filtered piano keys and punchy metallic percussion while 'Yaadein' rolls out silvery synth textures and nu-skool Breaksy bass with a wet summers day ambience.
When last we heard from Christopher Willits he was releasing his Plants And Hearts EP from Room40 and co-authoring the Line album, Listening Garden, with Taylor Deupree. Both these releases were back in 2007 and converged on te more experimental end of the laptop/guitar melder's art. Now returning to Ghostly International with a follow-up to his Surf Boundaries album, Willits opens up his sound to include some of the poppier tendencies of his repertoire. First track, 'Portal' introduces us to a kind of digitised dream-pop that solidifies as it transitions over to th… Read more
New Âme releases are a highly prized resource in the overworked fields of house music. Frank Weidemann and Kristian Beyer aka Âme have achieved this status through two simple methods; making great tracks, and releasing very few of them. 'Rrose Selavy' is a great track, simple as. The subtle drama and tripping sophistication of the title track is testament to their combined years of crowd control tactics across the world, blurring live and synthetic instrumentation with a deceptively light touch and late night pacing. 'Junggesellenmaschine' is a more driving number, nodding to the hypnotic prog… Read more
Sparse and spectral D'n'B minimalism from Icicle and Spirit, remixing Raiden. Icicle's version of 'King Stays King' masterfully reduces his rhythm to a bare essential of clinically clipped drums and bass menace while Spirit delivers a spacious rollers mix of 'M82' packed with agile breakbeats.
Smart debut release from De-Twist, ingratiating themselves into the future garage matrix with two crafty swingers and one downbeat roller. 'Assassin's Gift' is an idiosyncratic combo of sample collage, electronica and refined garage shuffle that really stands out from their chosen crowd. 'Move It Up' should also impress with its eastern tinged harmonics and full sunken subs, reminding strongly of Brackles. Check this!
In a climate that's driving so many D'n'B producers towards dubstep, there's a small but noticeable trend of producers looking to higher tempos (Scuba, Ramadanman, SYNKRO) to expand their sound. DJG joins their ranks on 'Hydrate', backed with a Consequence remix for moral support. His title cut should slip neatly alongside the Autonomic posse's minimalist sound with its swollen Reese bass and quicksilver syncopations, while the dub drops right down to sound like Scuba mixed with Andreas Tilliander on a dubtech tip. Meanwhile Consequence offers one of his most esoteric tracks to date with raga-esque drones and tricky scuttling steppers patterns.
Crucial issue of Dutch darkwave pioneer Das Ding's 'H.S.T.A' LP from Minimal Wave. Lead track 'Reassurance Ritual' is straight up dancefloor gold, built in the early '80s and made to last. Very much the same could be said of the title track with it's rigid machine momentum, while the rest of the album is more of an arty electro-pop persuasion, recorded to tape and exploring darker electronic themes. Highly Recommended.
Starkey's Slit Jockey label runs out two tracks from Glasgow's hotly tipped 8Bitch backed with a rockin' Rustie refix. At the beginning of the year she was included in fact magazine's top 10 to watch, and with the electro twisted torque of 'G41' you quickly get a fix on what the fuss is about - keep a close eye on this one! Rustie's remix however is on some other plane entirely, spiking the original with a B.O.B bounce and an explosive dream sequence of lazer synths that's just touched us in the right place. Fyah!
Freeze Frame is the second release from the anonymous producer, Childproof Man, kicking off with the high-spirited, heady swirl of 'Bloom'. Layers of samples loop together in abstract configurations to create a great haunted house track full of strange vocal phrasings and lightly psychedelic percussive gestures. The more extended 'Fat Head' features a slightly uneasy stereo effect that disorientates a little at first, but by the time the track kicks in its soulfully, off-kilter cut-up 4/4 starts to make sense... right up until some deranged, honking sax wanders into the mix. All very kooky, but good stuff.
Italo infused, mid-tempo disco goodies from Diskjokke supported by remixes from Prins Thomas and Ost & Kjex. To his afro-shaker inflected rhythm, Diskjokke aka Joachim Dyrdahl layers sparse, glistening keys and stray acid lines with a pivotal moment of darkly tainted chords in the middle. It's sandwiched by a seriously cool, low-key and dubby Italo groover from Prins Thomas, remixing '1987' (due to appear in original form on his forthcoming Smalltown Supersound album), and an ace trancey shufflers mix from disco fellows, Ost & Kjex. Fans of prime Norweigan dance music, get in!
'Bolt' sounds like a blitz of radio interference amped up to ridiculous volume levels, riddled with dropouts that prevent you from making out exactly what it is that was being broadcast in the first place. Eventually Fernow steps up to the mic, howling venomously through an accompanying deluge of white static and feedback. This is just the beginning. The ensuing onslaught must rank among Prurient's most kinetically inclined noise outings, screeching through some of the loudest and harshest sonic malevolence you're ever likely to encounter. There's so little let up on this album, and i… Read more
An absolutely lovelyfour tracks' worth of material from Swedish post-folk instrumentalist Rickard Javerling, The Valleys EP initially came as a bonus 7" with the limited version of his 2009 album. Two of these four recordings are "short" and "shorter" piano versions of his composition, 'Anton' - a delightful thing, that's been very nicely recorded, yet it could really do with being... longer. More fully developed listening material comes in the shape of the gradually building 'Heavenly Birds Pt. 3', which envelops acoustic guitar and glockenspiel melodies with woodwind and loos… Read more
The Decline Of Female Happiness is the sixth Donna Regina album for Karaoke Kalk and (by my count at least) their eleventh in all, arriving twenty years after the duo's first published recordings. Over these years husband and wife team Regina and Gunther Janssen have refined their own corner of the pop universe, penning unassuming yet often heartbreaking little pop productions fronted by Regina's infinitely melancholy voice. The new album arrives with a like an old friend with a new haircut, delivering all you'd hope from a Donna Regina record while sprucing up the … Read more
That's How We Burn is the first album from Milwaukee quartet, Jaill, who bill themselves as a psych-pop combo, though that tag hardly gives their roving sonic credentials due respect. This is a lon-player that's equally indebted to current Sub Pop stars like The Shins and Happy Birthday as it is the classic American alt. rock of 20 years or so ago You'll hear echoes of fellow Wisconsin-ites Violent Femmes here too - 'Everyone's Hip' has that same nervy jangle, but Jaill straighten up their act for tracks like 'Thank Us Later' and 'Baby I', condensing their sound into an incredibly effi… Read more
This split release was reportedly some three years in gestation, teaming the uncompromising noise and power electronics of Dominick Fernow's Prurient with the Burzum-inspired black metal of Canadian act Akitsa. Channelling dark and trebly tones, Akitsa sets diabolic vocals against fizzing guitars and barely intelligible drums. 'Terre Eternelle' begins with slow organ chords, meditating on apocalyptic intervals for almost four minutes, right up until a clattering, explosive din signals some of the horrors to come. Soon after, emaciated electric guitars plod through slow, marching riffs an… Read more
A split release from two Belgian groups: the duo of Razen (Brecht Ameel playing keys, bouzouki and santoor, Bart Reekmans on percussion and brass) and trio Sheldon Spiegel (featuring Gino Coomans on cello and music box, Erik Heestermans playing drums and percussion, plus Gerard Herman on sax, vocals and tapes). The contribution from Sheldon Spiegel comes as a single twenty-five minute work, loosely toying around with notions of free-jazz. Coomans and Harman paint the piece in scratchy, awkward textures on cello and sax respectively, colouring the piece with a playful scrawl that on t… Read more