Monday, 07 July
**Stunning black metal vision manifest thru the prism of classic synth music, aided by über-producer Randall Dunn** On the incredible 'Celestite', Olympia, Washington's forest-dwelling Weaver siblings, aka Wolves In The Throne Room, synthesise a majestically stark follow-up to the cosmic turmoil of 'Celestial Lineage' . Whilst traces of the Weavers' archetypal guitars are still present, they're largely superseded by an array of synths played by themselves and by Seattle's darkside se'ers Randall Dunn (Earth, Sunn 0))), Master Musicians of Bukkake) and Timm Mason, plus additio… Read more
**Available to buy in Flac format only** Bradford's excellent Fuse label/art space coin their Fuse Editions series with two live recordings of BJNilsen made in early 2014. The first documents the Swedish sound/recording artist at Fuse Art Space on 10th January, 2014, with 35 minutes of glacial drone melt and hydrophonic swirl using richly textured field recordings to eke out immersive environments which train our attentions to the sound of nature and, by turns, its effect on humans. Likewise, the 2nd piece, recorded at Theatre Royal, Marrakech, 27th February 2014 draws us in to a mag… Read more
Killer dread techno rollers from Rhythmic Theory, back on Bristol's Idle Hands outlet. Both sides carry a torch for that classic Bristol darkside vibe, mixing traces of dub techno, D&B, and dubstep with a fine strain of proggier AI techno atmospheres. A-side their 'Endless Forms' pushes quaking kicks with hulking sub-bass and slicing hi-hats to supremely powerful, almost sci-fi gothic effect, before they tug on the heart-strings with bruising stepper 'Tales Of Dystopia' synching post-punk bassline with glancing drums and HIA-style synth washes into the blue sublime. Well recommended.
Sublime ninth edition in Wolfgang Voigt's series of oneiric travelogues from within the loop. 'Musik Für Kulturinstitutionen' was conceived and released to coincide with the Kompakt boss' appearance in the exhibition, 'Doofe Musik, Lieder zum Träumen, Betäuben und Vergessen' - which means 'Dumb music, songs for dreaming, numbing and forgetting' - currently showing at Berlin's HKW. In key with rest of the series, it questions the mechanics of time thru a prism of ambient music, hypnotically effected loops of brass and accordion which are at once sta… Read more
Tidy tune lifted from Drew Lustman's incoming album, 'The Wild' for Ninja Tune. Mixing clinically precise production and sawn-off samples in simulated space, 'Some Jazz Shit' shakes out a plush sound somewhere between Floating Points' rare grooves, the neo-classical/jazz phonics of Erased Tapes, and Mark Pritchard's most subtle electronics.
Downwards' collect the best of their DO series, together with a handful of exclusive aces on 'So Click Heels'. Since 2009 the label's affections for the miasmatic drizzle, sonic innovation and repressed violence of post-punk and shoegaze has manifested itself in some twelve releases veering between the scuzzy basement noise of Collin Gorman Weiland, the blissful feedback blooms of The KVB, and swaggering rock'n'roll from DVA Damas. A good proportion of them feature here - including Richard H Kirk's droning remix of Tropic Of Cancer's 'Be Brave', the desiccated drum… Read more
AnD & Whirling Hall of Knives beat down tracks from Valved's debut release, 'Blood On The Controls', for Ireland's finest, Trensmat. AnD clearly relish the task with two dread-filled, red-lining remixes of 'Tipping Point', one which sounds like a cranky Emptyset kicking the fxxk out of an oil tanker, and another like some Kevin Drumm beat-off. B-side Whirling Hall Of Knives leave no prisoners either with alternately rabid and blank-eyed industrial techno versions of 'Blood On The Controls'... careful now.
Dope 2nd suite of wayward hip hop instrumentals built from anime samples and analogue equipment. Sounds like Jay Dee doing Skweee. Support from Gilles Peterson, Kutmah and Lefto.
"Haunted soil... Abstract electronic transmissions from A Field in England… Set within a landscape of sugar beet factories, deep murky fishing ponds and nettle strewn country lanes, Bloodhounds is a sonic exploration of a childhood spent in the English countryside. Time Attendant is Paul Snowdon, a painter and musician recovering from a rural Northern upbringing by eking out a liminal existence across South East London bunkers. Following on from the highly acclaimed Treacherous Orb EP (More Than Human) and from startling contributions on The Outer Church compilation (Front & Follow), … Read more
Heat-hazy dub-house from one of L.I.E.S.' quietest, subtlest producers. In the classic fashion of Actress or NWAQ, his 'Damn' groove keeps our attention with the most minimal elements, juggling square bass, raspy rhythm boxes and floating pads to gorgeous, time-suspending effect. Equally, the wiggling acid motifs and phasing tape noise of 'Pf Pf Pass' effects a similar, or even smokier atmosphere to noxiously heavy degrees.
""Who says experimental musicians can’t play pop? Norway’s Stian Westerhus is best known as one of Northern Europe’s most fascinating abstract guitar stylists. His recent album Didymoi Dreams with vocalist Sidsel Endresen was a fascinating pairing of extreme guitar abuse with gibbering vocal explosions. As well as collaborations with Puma, Terje Isungset, Nils Petter Molvær, Jaga Jazzist, the Britten Sinfonia and others, he has released three acclaimed solo albums since 2009, the latest being the stunning The Matriarch And The Wrong Kind Of Flowers (2012). Stian now admits … Read more
Detroit-styled electro-funk and house from Berlin via Amsterdam, courtesy Dolly bods Steffi & Dexter. 'Rosser' lays down some lovely Convextion/E.R.P.-like electro; 'we're Not Alone' looks to Detroit-debted UK techno from In Sync to 808 State for answers and finds them; 'Warme Hap' is a sweeter deep technohouse ohrwurm.
Corking techno stompf from Fachwerk's finest. 'Now' is a properly stripped down, percussive groove tool for skilled dancers and DJs, and 'Rave' really cuts loose with the sort of radioactive synthlines and basdrum thunder last heard on his 'Crasse' killer.
Three re-Geed Rob Hood romps from the man's Re-Plant series. This time it's the turn of his 1994 single, 'Protein Valve', given a big room-ready Re-Plant and two quicksilver edits for the DJs.
Deep space techno masterclass from Terrence Dixon as Population One for Metroplex, 17 years since his 'Earth 2976' 12" for Juan Atkins legendary imprint. This is the real trippy Detroit business, four tracks of transcendent, machine-made dance music patterned with completely unique rhythmic fingerprints. It includes one of the purest cuts in his catalogue, the glacial drones and strafing bleeps of 'Musical Promises' beside the serpentine sequencer magic of 'The Jazz Student', backed with the oily basslines and martian melodies of 'Starting Over' and 'Encircle'. If the recent ne… Read more
Crushing and febrile club gear from pivotal Austrian artist Philipp Quehenberger. 'Content' feels like a strange, lost transmission or reminder from a bygone European techno era untainted by trend and dedicated to tweaking out the most unusual, awkward sensations from hardware and computers. Rather than crude noise, sleek minimalism or inter-dimensional trippiness, Quehenberger's sound is best defined in terms of raw, repetitive muscularity and dissonant ambient qualities, doing what the likes of Prostitutes or Container do, only far better, and with cooler sense of discipline.
**Brian Pyle (Ensemble Economique) meets Felicia Atkinson (Je Suis Le Petit Chevalier) in ambient techno dimensions** "Naked Island is the striking debut collaboration from Brian Pyle (Ensemble Economique) and Felicia Atkinson (Je Suis Le Petit Chevalier). Their respective unique visions fuse into one bold new deep space soundscape. Their S/T debut is two expansive tracks spread luxuriously across 35 minutes of mutant ambient techno. In a delicate fugue of influence, amidst ethereal synth mastery, suggestive percussion and whispered vocals, a total collaborative experience is reached."
Kryptic Minds' Simon Shreeve commits to a tumultuous hybrid techno sound on the 1st fully-fledged Mønic 12". Four tracks explore the elastic binds between dubstep and industrial/dub techno, cutting from the hydrolick flow dubstep-techno flow of 'Blood Hound' to a slow rolling killer called 'Blink' redolent of Fishermen and CUB 12"s, and over to the droning halfstep techno torque of 'Viscous' and a powerful modular mass called 'Human Pattern' working dark space between Rrose and Kareem's 'Druids' 12". Recommended.
Maison Sky follow rolling technohouse remixes for Route 94 and Shadow Child with an infectious solo debut on Rinse. You'd be forgiven for thinking this EP was made by some new European acolytes of Dettmann and Klock but in reality it's a duo from London who've blended that efficient techno momentum with funkier UK appeal. Opener 'It Is What It Is' nods to Detroit with Groove La Chord style dub chords and canny vocal hook, and 'Ludes' hits a strident sort of filtered disco techno. 'ASND' is much tougher, rolling with proper big room thrust comparable with South London Ordnance as m… Read more
Vividly immersive sonic fiction from Samo DJ and Max Stenerudh for L.I.E.S. Conceived as the imaginary O.S.T. to a fantasy set in Kowloon City, Hong Kong, 'Dream Of The Walled City' stalks exotic ground between widescreen flute and synth soundscapes and backstreet bass techno zones. It's a perfect fit for L.I.E.S.' anachronistic, semi-mythical world of leather clad industrial fiends and sci-fi techno spacecakes, picking up the thread from Black Rain' 'Now I'm Not A Number' or the wilder fantasies of Legowelt and Willie Burns to skulk in shadowy, cinematic headspace with the g… Read more
With Trevino remix in tow, McPhee brings his ass back to Hypercolour three years on from his Hype_LTD 12". There's two wicked bits of funked-up techno called 'CC-XXX-YY-NNNN' and 'Branch' making smart use of ripping, electroid synth licks on otherwise neat and kinky house and techno grooves, whilst 'DD-YYY-ZZ-OOOOO' rolls with a co-efficient Klock techno sound. Trevino yokes 'CC-XXX-YY-NNNN' to a deep and frisky electro-techno agenda.
Jorge Velez follows his 'Territories' side for L.I.E.S. with a 'floor-dedicated four-track EP in his unique, hardware-driven style on Creme Organization. The fluttering high-end hooks and tribal cadence of 'Aventuras' and 'Chant D'Ombres' recall the spiritual grooves of Jamal Moss and Torn Hawk, nodding to Afro-latin-centric and Native American memes, whereas 'Medusa' jacks up a freakier, hypnotic Midwest machine sound comparable with certain Woody McBride bits, and 'Airplanes' lends some balance with warm, chiming chords and shuffled groove for a more introvert as opposed to cosmic effect.
Shuddering sound sculptures from Lyon-based Insiden, mastered by James Plotkin, who's also a big fan of the group. Very much in the vein of fellow doom/sound design harbingers The Haxan Cloak, Roly Porter or Emptyset, the group uses electronically rendered recordings of acoustic sources (keys, cello, voice) to conjure vast, awning basslines, distant percussive rumbles and dense clouds of keening metallic harmonics rooted as much in Indian raga as avant-metal, kosmiche and industrial disciplines.
This collaboration between Bill Seaman and Daniel Howe came about after the pair exchanged ideas and recordings while both where travelling separately - in effect making for an album recorded between North Carolina, Seoul, Bremen, Frankfurt, Berlin, Hong Kong, Thailand, Mainland China and New York - covering a bit more than the "Minor Distances" referred to in the title. The recordings began life with Howe's improvised guitar recordings and Seaman's simple Piano loops - before being dissected and manipulated into the kind of delicate electro-accoustic arrangements syno… Read more
L.I.E.S. grab Miami prodigy Greg Beato for a gritty, hard-wired House follow-up to that killer for Funkineven's Apron Records. With lip-sucking finesse and funk, the 19 year old producer revitalises classic templates with instinctive drive and swagger, unafraid to make mistakes and really manhandle his machines. Up top is the ruggedly judged bang of 'PMA' with its thumping kicks, energised jakk patterns, ruddy offset bassline and darkside basement pads. Down town, 'Hawo' shakes out itching hi-hats and grizzled industrial bass with a bunkered techno drive, and the jagged, malfunctioning, off-the-cuff jak ov 'Gimme A Light' sounds like Legowelt's roguish younger sibling.
The original DJ Jackmaster, Chicago's Gene Hunt kicks out two butt-naked, bucking acid trax for Delroy Edwards' L.A. Club Resource. On the Bull logo side's 'Pandemonium' he throws down the most ragged, hypnotic jack track wrapping wiggly acid sequence to pounding kicks and infectious shuffles. Flipside 'Jackzone' is gullier, dragging the tempo to a sleazy slomp and gwan with spurts of sticky acid and tumbling toms for the freaks. Badboys, both of 'em.
Deep house dopeness from Parisian producer Geena for Antinote. Really feeling the sound here, from the luxuriant atmosphere and gritty drive of 'How Sensisitve' to the floating acid house of 'jam Packed (92 AM Mix)' and the mystical early '90s vibes of 'Watch Em Go Mental' thru those clipped cowbells and budgin' bassline on 'Softening (Dub Guru Mix)' and the heavy-lidded flutter of 'Softening (Acid Shade Mix)'. Tipped!