Monday, 14 July
"River Slaughter debuted their mix of noise, tape hiss and synths with one of the first releases on Sacred Tapes. Infallible Godhead quickly became one of the fans favourite releases on the label with it even being featured in the Boomkat end of year lists as one of Gnods top ten releases of 2013. Obstructed Resentment brings two previously unheard tracks recorded in that very same session which have been stored in our vault for the past 10 months."
Shifted dons his Relay guise for Sigha's Our Circula Sound label. It's tuff stuff, coming to maul your bassbins with the blown-out undertow and struggling hi-hats of the A-side backed by a Downwards-style Industrial punishment and a Rrose-like wormhole to close.
"Kenneth Christiansen & Dennis Børg pare back with a new EP. This time Pattern Repeat delievers 2 Techno tools with heavy chords and dubby elements. Kenneth is also running the labels Echocord and Echocord Colour, and Dennis is known from his Baum Label, and his Resoe releases."
I hope it's not unkind to say so, but some of the earlier photographs of composer Noah Creshevsky make him look like he might be some sort of marionette. In fact, if you were to design an action figure of a musique concrète boffin, it might look a lot like the moustachioed, tank top-wearing Creshevsky, seen standing proudly in front of his banks of wires and circuitry on the sleeve of this rather stunning release. Collecting pieces from 1971 to 1992, this retrospective of the Juillard-educated composer draws on his collage-like approach to electronic mus… Read more
Crafty, swinging beat suite from My Dry Wet Mess, backed with four remixes from Auntie Flo, Dam Mantle, and Ikonika. The styles of 'Laptop Lapdance' reduce and build upon the taut funk of his Brainfeeder release, 'Stereo Typing' (2012) in four parts flexing from the jazz-funky dip and woozy chords of 'Twos Too' thru the glistening SND-like skip of 'Nailed Scale' and the baffling rhythmic calculations of 'Eyelids' Secret' and 'Infinito'. Remixing, Auntie Flo smooths 'Nailed Scale' to a lilting, Afro-centric groove, and Dam Mantle turns it into… Read more
"The lullaby ‘Dreaming Awake’ was originally performed as a duet with circular-breathing sax titan Colin Stetson. It opens this mini album in a tense, minimal Son Lux Mix but Lux’s raw electronic treatment only draws more attention to Worden’s achingly tender vocal performance. ‘Dreams Don’t Look Like’ originated as silent movie music, an extract from Worden’s score for ‘The Balloonatic’ by Buster Keaton. ‘That Point When’, a song Worden initially arranged to sing with The Orchestra For The Next Century, defies gravity too: musically and lyrically ambiguous, majestically lighter than air."
Hefty house tools from UK legend, Mr. G. In fine style four track roll between the dub-bassed and soul-fired drive of 'Let Down (Badly)' to the cavernous kicks and chords of 'Getting There… DETROIT' and the sub-heavy canter of 'Mangos in Season'.
Coherently diverse 2nd set of trax cut from Modeselektor's latest round-up. A-side features the emotive posh-trance charge of Alex Banks and Elizabeth Bernholz's 'Be The One' and the killer hyper-boogie 'Blast' by Onra. B-side holds Henrik Schwarz's jazzy tech-house pop number 'We Are Bankrupt', and the squirming funk of Brandt Brauer Frick's 'Jungle Love' starring Om'Mas Keith and Vic Mensa.
Gnod and Michael Holland's Ono Tesla corporation follows that gorgeous Negra Branca side with a snotty cyberpunk blast from Czech Republic's Lightning Glove. 'Radical Zoo' is their debut album of rudimentary electronics, spitting machine rhythms and urgent, whiny vocals lashing out under dissociative synth atmospheres across six tracks referencing punkish electro and dubstep alongside in-vogue darkwave. Together with lyrics about Ketamine and the social disintegration of Europe, it all comes off like the lo-fi soundtrack to some '90s cyberpunk flick about poor-but-sexy squatters in d… Read more
Kelis' homely soul number 'Friday Fish Fry' backed with an extensive remix suite. We'd Rrecommend running straight for the Visionist and Darq E Freaker version - the former dicing Kelis with his signature synthetic cadence and 'ardcore grime bounce, the latter drawing her out over what sounds like an old AGCG rave riddim played on 33 not 45.
London's most-hyped soul crew finally unveil their debut album after a studied viral marketing campaign. Includes all the tracks from their singles plus a ruck of new gear."Jungle are based around a core musical duo of lifelong friends known simply as ‘J’ and ‘T’, who expand to a thrilling seven piece live, and make mesmeric, kaleidoscopic modern soul that’s unmistakably born in the UK but has true global appeal. The album was recorded between the band’s own home studio in Shepherds Bush, London and the XL Recordings studio in nearby Ladbroke Grove."
Four neck-snapping, collapsing hip hop beats from UK's Jon Phonics. "Drawing as much from early 90’s hip-hop as it does early 00’s grime and 80’s funk, the predominantly instrumental EP is topped off with two stand- out vocal performances from South-London rapper Rup and soul vocalist Yasine. With early support from Alexander Nut, Moxie, Scratcha DVA and more, this is a must have for any fans of twisted hip hop-infused electronica."
After circulating in the net for half a year, Joker finally delivers his no nonsense 'Head Top' EP on Kapsize. The title cut offers a rarely heard side of his sound, eviscerated of all that gloopy purple funk to leave a skeletal but big-boned halstep riddim skanking in mid-air, but it's back to business as usual with the chiptune funk of 'Marios Ting', and to nastier effect with the electric burn of 'Mr Miyagi' and killer beat stunts in 'Deserted Island'.
"In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.Fantômas – a master of disguise and symbol of terror – is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (wh… Read more
Their first recorded album since 2007, ‘Secret Paths’ is I Have Eaten The City’s tour-de-force. This trio of multi-instrumentalists could easily be seen as a microcosm for the practices of Toronto’s wider experimental music scene, the breadth and fluidity of their experimentations throughout their discography showcasing an alarmingly diverse range influences and atmospheres, of which ‘Secret Paths’ is a clear apex. The astonishing opener ‘Eyot’ unfurls in wide-eyed panoramic colour, showcasing a radiant display of aquatic guitar textures, gorgeous flute work and pulsating drum… Read more
Rampant techno, fresh outta NYC and backed with a Tuff Sherm remix. Check for the muscular, abrasive charge of 'Princip (Rubble Dub 1)' and the ruddy rtechno rolige of 'Youth Series (Rayon Dub 1)'.
Double feature starring selections from two solo albums by the Can mastermind. Includes the odd mix of bellicose tribal drums and MIDI orchestrations from 'Der Osten Ist Red (The East Is Red)' (1984) and mellow but eerie palette of motorik drums, spooky organ and African chants of 'Rome Remains Rome' (1987).
Henrik Schwarz gives the 3rd and best yet remixes of Berghain/Ostgut Ton's ballet suite, 'Masse'. His stuff's normally a bit too sweet and sickly for this palate but the dry pound and scratchy shuffle of 'Lockstep' is primed to really put dancers thru their paces, whilst the pizzicato strings and poised groove of 'Unknown Touch Two' finds the right balance of classical elegance and house function.
"Head Boggle returns with what is perhaps his most refined and focused work to date. "Serge Modular In Hi-Fi" was recorded in early 2012 at the S.F. City College Electronic Music Lab utilizing a vintage pre-STS Serge Modular Synth system and was conceived as a pseudo aural "cubist" sound piece with an intention to achieve pseudo 3D "cubed" sound through discrete recording and mixing techniques. The only effects utilized were four or more analog delays being played real-time a la dub/reggae mixing techniques. The final selections were then sent to Kramer at Noise Miami for hi-f… Read more
The unpredictably brilliant Downwards label spins out three tracks of snotty goth garage from California's Dva Damas (pronounced duh-va duh-mas apparently). Their songs are brief but assured, from the the ghoulish Rock-a-billy strut of 'Brand New Head' with its sneering bassline and numb synth drones to the motorik bass rev and cascading circus synths of 'See Me' or the cantering Suicide-inspirations of 'Time Dilation'. In essence this record draws a line between the attitudes and aesthetic of leather-jacketed 50s rockers, late 70s New York punks and 90s techno industrialists to end up in 2010 where it's everything, all at once. Need!
Marcel Fengler & Phillip Sollmann aka DIN rework their contribution to Ostgut Ton's ballet music suite, 'Masse'. 'Euphorium' is a right big room builder tiered with lush synths and driven by aerodynamic Detroit/Berlin-style techno groove. 'Aetas' is more expansive, fluidly dubwise, rolling off warm bass into a sea of shimmering machine rhythms for the dancers.
Marcel Dettmann and Âme's Frank Wiedemann remodel their pieces from ballet suite, 'Masse', for the club. Considering who's involved the results are perhaps more pedestrain than you'd hope for, giving up a very minimal and moody piabno house piece called 'Spiritoso' up top and the poised drone techno rolige of ''Martellato' on the turn.
53-track compilation charting the evolution of The Cabs from early experiments in 1974 which set the ground for the punk explosion, thru to their innovative Industrial Records era and subsequent fascinations with urban American funk and electronics in the '80s.
What a reissue this is. Electroacoustic composer Annea Lockwood left her native New Zealand in the early sixties, working her way through prestigious music schools in London and Cologne (the Royal College Of Music and the Musikhochschule, respectively) and performing across the globe. Seventy-six of those performances were live reworkings of her LP The Glass World (recorded between 1968 and 1970), something of a lost masterpiece in the electroacoustic music canon. Lockwood focuses attention on the smallest, most sonorous of sounds on The Glass World, from the striking of gon… Read more
**Edition of 75 pro dubbed C30 tapes** Reckno win again with AL-90's introductory debut album of smudged ambient tones, dreamy house and tampered downbeats. The magickal, gauzy atmospheres of 'SCR' feel like the work of a singular artist who's deeply confident in their vision. It broadly falls between ambient techno, synthwave and instrumental H-Pop, sustaining perfectly blue-hued atmospheres over smooth, edgeless rhythms rolled like pillows in a stoned tumble drier. There's 13 of the charms, ranging from Huerco S-like house in '95' to the melting chromium chrods of 'On The Surface' thru heart-breakin… Read more
Monday, 07 July
Proper Bass/Techno hybrids from Pinch and Shed on Tectonic. Recently premiered on the Pinch & Mumdance mix CD, 'The Obsession (Possession)' renders Pinch at his most militant, shark-eyed with pendulous bass hits and nexx-level 'ardcore stabs reduced to potent base form. One dab; you're done. Shed's remix amps the underlying tension 'til the filters crack and the 'ardcore harpies swarm forth charged by swollen Reese bass and scissoring techno swing. Deadly wares.