Monday, 20 October
**Reissue of this unbelievably rare Afro Rock LP via Academy LPs.** "Pazy (real name Joseph Etinagbedia) started playing music in the Fire Flies in the city of Warri in Nigeria in 1973. The area was in the midst of an oil boom, and like most bands on that scene, the Fire Flies played American and European pop hits mixed with Jazz and Highlife for the largely expat audiences in local clubs. Along with an influx of foreigners, the oil boom also gave rise to an emerging Nigerian youth market, and soon Pazy formed the Black Hippies to play the uniquely African style of hard rock that wa… Read more
Stefan Schneider and Jay Ahern regroup the Hauntologists for a typically refined, concentrated brace of dancefloor tools. The 'Hannett' EP marks their first new material in more than 12 months since their 'Haunts' 10" and an inclusion on Norman Nodge's Berghain 06 selection. Check for the wonky, spilling modulations of 'Shakes' and the Sleeparchive-esque 'Mirror'.
"Wrekmeister Harmonies’ pastoral doom has earned praise from Pitchfork, SPIN, Decibel and Invisible Oranges as a new form of metal composition and performance involving a wide variety of instrumentation. Recorded by Sanford Parker (Corrections House) at Steve Albini’s Electrical Audio in Chicago and by Howard Bilerman (Arcade Fire) at Hotel2Tango in Montreal. Album artwork by Simon Fowler (Sunn O))), Boris, Earth, The Bug, Wolves In The Throne Room, Lustmord)."
Oozing Wound is a thrash trio featuring veterans of Chicago’s underground scene. ‘Earth Suck’ is the explosive follow up to the band’s breakout debut ‘Retrash’, which earned them praise from the New York Times, Pitchfork, Decibel and more.
"The Body and Sandworm are two bands with roots in the Providence underground that take unbridled negativity and spin it in opposite directions. The Body, legendary in both underground extreme music enclaves and the wider community of metal fans, are masters of expansive expressions of pure sadness that incorporate sounds and instruments far beyond what is typical in the realm of heavy metal. Sandworm is the young and hungry duo of Ben Eberle and Pat Reilly, bursting out of the gate on this, their first proper release, with a collection of raw and elemental black metal. On several son… Read more
Sunday, 19 October
Tuesday, 14 October
Throughout 2014, the hyper-reflective electronic surfaces of instrumental grime have emerged as one of the year's defining sounds. From the "weightless" projections of Mumdance, Logos and co, to the iridescent prisms of Visionist, Shriekin, Cyphr and Moleskin, via retro-futurisms from Filter Dread, Slackk and JT The Goon, the scene has never been more open-minded, quick-moving or eager. This selection, whilst by no means comprehensive - there's obviously glaring omissions from the likes of Murlo, Kahn & Neek, Finn, to name a few - draws for those moodier, stranger, fo… Read more
Monday, 13 October
'Golden Circle Afternoon' is the trippy, fractured travelogue of a European tour undertaken by Argentinian avant-guitarist Anla Courtis and sound artists, BJNilsen & Stilluppsteypa. It's a dense and often frightening session, condensing some months of field recordings and transitional concepts into a heavy moving mass of drones, acousmatic sound sources and noisy flux, as though hearing their lives played in fast-forward and super slow, almost as you'd imagine the sense-scrambling experience of extended touring to be. To be honest I couldn't really sp… Read more
Choice selections from Rob Hood's 1994 classic, 'The Protein Valve'. The original cuts mark a point in Hood's seminal catalogue where he really defines his own style of minimalism to deadly effect. Yet for our 2p, they're outshone here by the crazed 909 bassline and chopped drum patterns of 'Analog Track (Ghost)' which is built with the sort of sleight of hand and crazed edits that producers simply don't, or can't, do nowadays. Even if you're overly familiar with the originals, that new cut is worth the entry alone.
Excellent primer on the diffuse, highly influential elektronik music scene centred around the N.W. German industrial city, Düsseldorf circa late '70s-early '80s. Spanning work by common elements such as Wolfgang Riechmann - who played with both Kraftwerk, La Düsseldorf, and Neu!'s Michael Rother - in the sparkling 'Wunderbar', and La Düsseldorf's eponymous anthem, through to the ambient visions of Harmonia & Eno, and or the proto-techno warning volleys of D.A.F.'s 'Der Mussolini', Die Krupps' helter skelter 'Wahre Arbeit Wahrer Lohn' and Liasons Dangereuses… Read more
Rudest dread techno charge from noob, Nurve, on Pinch's Tectonic. The squashed techno murder of his A-side, 'Wrong Number' was previously sandwiched into the ace Pinch B2B Mumdance mix CD, and is now unleashed as a tracky, galloping tool consolidating all corners of the darkside underground. Flipside, he ups the funk ante with a twysted, techy bomb coming off like some Skam joint gone Bristol, plus a mean bit of whirring 2-step techno bruk in 'Spasm'. Watch yer bons bons.
'Tomorrow Was the Golden Age' is an unmistakably gorgeous and refreshing suite of microtonal minimalist composition by New York-based ensemble, Bing & Ruth. Helmed by writer, conductor and lead pianist, David Moore, and supported by two upright bassists, two clarinetists, a cellist and a tape delay tech, Bing & Ruth genuinely sweep us off somewhere sublime without recourse to overblown conceit or cliche - something all too prevalent and cloying in today's neo-classical quarters. Their skill lies in the ability to drift, almost imperceptibly, between microtonal harmonies an… Read more
Eagerly anticipated reissue of an Ethio jazz-and-funk cornerstone from keyboard whizz Hailu Mergia on Awesome Tapes From Africa. Unlike the last time, when we heard him solo on 'Hailu Mergia & His Classical Instrument', here on the highly sought-after 'Tche Belew', he's backed by The Walias, one of Ethiopia's crack units, who're perhaps best known for collaborating with Mulatu Astatke and backing for star Éthiopiques singer, Ahmed Mahmoud. The legendary Astatke also appears on this one, but Hailu is arguably the star of the show, sitting front and centre with silky smooth orga… Read more
NYC's Margaret Chardiet aka Pharmakon churns her guts out in this bloodied follow-up to her acclaimed album debut, 'Abandon' (2013). Four days before she was supposed to fly to Europe, touring in support of 'Abandon', Margaret had a medical emergency which resulted in major surgery and the loss of an organ. 'Bestial Burden' was realised during this time, written and fleshed-out whilst she came to terms with the situation; "I thought of my corporeal body anthropomorphically, with a will or intent of its own, outside of my will's control, and seeking to sabotage. I began to explore the id… Read more
UTTU gets them cherry-picking fingers mucky again with Rushmore's 1st single outside of the Trax Couture label. In case you weren't following, Rushmore's dealt out a couple of killer 12"s to date fusing UK grime with Ballroom, Chi-house and footwork in excellent fashion. Here he's typically wayward, flexing out from Todd Terry styles in 'Dance Show' to an outstanding slow/fast ghetto-tech sound on 'Droptop', whereas 'Run II' eases off on a moody gherkin jerk tip and 'Throwback' juggles clipped chords and raspin' typewriter percussion like some raw-ass take on early SND. Tip!
First digital issue of a proper tribalist house template by Ben Cenac - Dream2Science, Newcleus - originally released in 1990. A prime example of into-the-'90s Afro-futurism, 'Bang The Drums' makes explicit reference to house music's roots in seven pieces putting a rugged yet mystic New York on the Chicago sound and closely mirroring the UK's dreamy but rude bleep techno and acid styles. 'Africa' is a killer workout with technoid stabs and busy drum programming, further explored in 'Tribal Rhythm, whilst 'Zanzibar' gives room for some proper pan-pipe riffing, and 'Zulu (We're One Nation… Read more
**Sterling reissue of Witch's juicy 1984 LP, 'Kuomboka' - original copies are listed at well over 500 quid 2nd hand!** "If Movin' On is Witch's Rumours then Kuomboka is their Tusk; a remarkable follow-up to a timeless album that shows the band taking greater risks in songwriting and playfully experimenting with production techniques. This album is Witch's stunning swansong before the fast-changing music industry and political environment in Zambia took its toll on the group. Again rooted in American FM radio, from soft rock ballads to boogie, this album sees the group embrace their Zambian roots … Read more
William Bennett and Blackest Ever Black light the fuse on a delirious 3rd album from Cut Hands. Recorded from 2012-2014 in Edinburgh and London, 'Festival Of The Dead' finds a place for the explosive energy and drama of ancient percussive ritual in an accelerated modern world. Named and released to coincide with harvest or autumnal customs across the world, it's both a harbinger of darker times and a commemoration of shared ancestry and traditions common to many cultures across the world - All Saints Day, Samhain, Feast of Ancestors, Pitru Paksha etc. Only, we're in 2014 and compu… Read more
Numbers indulge a bit of mystery with the super charming debut of "anonymous" producer Deejay Deer. Apparently "born and raised in the Bavarian wilderness" and "the first forest dwelling animal to use the prefix 'Deejay'", gives pretty much f**k all away, but a quick listen to either track should trigger trigger some clues. On 'Natural' they swirl head high piano chords and rugged breakbeat house bounce landing somewhere between Martyn, Redshape and Shed, whilst 'Unnatural' rushes up with flanging metallic chords and swung garage breaks like the nexx generation of Joy O's 'Hyph Mngo' amped by Four Tet. It's probably just Dave The Drummer having a laugh, though.
*Andy Votel, Sean Demdike and Suzanne Ciani deploy the second in a proposed trilogy of excursions documenting sessions carried out in different configurations last year* Once again mining a rich source of archival material, tape works and improvised recordings, Andy Votel’s Neotantrik tap deep into the subconscious with a highly visual trip into the furthest reaches of psychedelic ambience. Following on from ‘Blue Amiga’ that came and went in a flash last month, ‘Omichrom’ is a more brooding, studied affair. Unfurling from a delicate modular opening sequence the A-side flows into a hallucin… Read more