Monday, 11 April 2011
New on the amazing Dug Out imprint - Steam-powered Digi-killer from 'Up and Coming Superstar Of The '80s' Tenor Saw. The hydraulic bassline on 'Victory Train' is just crushingly heavy, specially laid down by the Studio One Band and voiced by one of the most distinctive souls of the Dancehall era. 100% vintage dynamite housed in full colour sleeve. Once again, KILLER!!!
A master of extreme digital minimalism, Richard Chartier wields silence like a sledgehammer; in his patiently wrought compositions the weight of what's not there is alone enough to pulverise you. His spotless CV takes in installations at innumerable prestigious galleries around the world and collaborations with the likes of William Basinski and Taylor Deupree, and a lifetime of experience informs his latest. This captivating live performance was inspired by, and deploys recordings of, the Grand Tonometer, a set of 670 tuning forks created in the 19th century by the Germa… Read more
Heavyweight classic Afro-Funk from Ghana - in fact, one of the heaviest of all time! Recorded in 1976, 'This Is Marijata' is the standard by which all other Afro-Funk albums are measured - it's power, vitality and rawness have been emulated but never equalled. Lovingly remastered, fully licensed and reissued by Academy/Voodoo Funk, this is presented on digital format for the first time!
Bewitching deep Techno session from Obtane and Giorgio Gigli, including a potent remix by the notorious Mike Parker. Spanning the A-side, their original is a pulsating, droning mass powered uncompromising kicks and coated in the kind of atmospheres that absorb your mind like a dry sponge dipped in acid. Keeping matters economical yet driving, Mike Parker replaces the atmospheric pressure with a virulent acidic charge over concussive kicks in typically hypnotic fashion, while an 'Abstract Narrative Edit' closes to a darkly romantic drone track reminiscent of classic Italian horror themes. Powerful tracks
**Spectral folk gem from the US tape underground** This assured and moving debut from Angel Olsen first emerged on cassette last year and has since become a word-of-blog hit, coming to the attention of Pitchfork and prompting comparisons with Joanna Newsom, Francoise Hardy, Beth Gibbons and Joni Mitchell along the way. It's difficult to pull off the eccentric, caterwauling folk thing without sounding irksomely cute and kooky, but Angel sidesteps all that with confidence and class. The recording is sparse - all you hear is her voice, her finger-picked guitar and the haunting ambience of … Read more
Some of the heaviest dancefloor friendly electronic pop to ever emerge from Southern India!!! Impossible to pigeonhole and characterised by his own indefinable style, Ilayaraaja Isaignani is the undeniable prince of Kollywood cinema, India's second largest film industry. Ilaiyaraaja is more than equal to his forward-thinking contemporaries in Bollywood and Lollywood in both productivity and experimentation - with a 34-year career spanning more than 900 film scores in Tamil, Hindi, Telugu, Malayalam and Kannada - the man is a genre in his own right. And it's an odd occurrence, this: in so… Read more
In recent times we've been bombarded with reissues of solo work from the shelf-straining catalogues of Cluster herren Dieter Moebius and Hans-Joachim Roedelius, so you could be forgiven for letting some of the lesser-known albums pass you by, particularly those made post-1990. But you really don't want to miss this one. Selbsportrait VIII is, as its title suggests, the eighth instalment in Roedelius's ongoing series of tranquil, meditative LP offerings which began in 1979. Electronic sound is a liquid quantity in Roedelius's masterful hands, and on Selbsportrait VIII he… Read more
**Serene ambient/drone tapestry from acclaimed New York sound artist** The field he operates in is a crowded one, but New York artist Seth Cluett's latest is executed with enough skill and feeling to stand out from the pack. On 'Objects In Stillness' snatches of bassoon, viola and guitar whisper and whine across a Spartan backdrop of sine tones, conjuring rural landscapes caught between seasons. 'A Murmur Which Redoubles' stretches out further into minimalist abstraction, summoning the work of Cluett's label-mate Richard Charthier, while 'Doleros (Audio Tourism At Ringing Rocks) com… Read more
Clone present the first of three transmissions from Versalife aka a West Coast Dutch producer with some killer releases over the last few years. The obvious highlight is 'Solenoids Of Insomnia', an impeccably clean yet rocking electro-techno track with shades of Aux 88 and Egyptian Lover, a must for any self-respecting electro fiend! There's also another three tracks, reminding of classic Convextion and others, but with a signature strength of production and melodic fingerprint of his own. TIP!
**Advanced doom machinations from the deepest bowels of the Viennese underground, helmed by Peter Rehberg.** Editions Mego describes this outing as "modern electronic rock", but that scarcely does justice to the exquisitely disgusting and disquieting sounds on offer. Rehberg is of course no stranger to avant-metal excursions thanks to his work with Stephen O'Malley in KTL, but Peterlicker eschews the more pensive qualities of that project in favour of an altogether more severe and guttural artistic vision. Opener 'Always Right' is a righteous exorcism: across jabbing sequenced sub-bass that fee… Read more
A two minute highlight of Deerhunter’s recent ‘Halcyon Digest’ LP, ‘Memory Boy’ shows Bradford Cox and co. at their most radio-friendly. There’s almost a 60s pop sheen to the track with its sing-along chorus, jangling guitar and CB Radio vocal, and it’s a style that fits the band like a leather glove packed with Vaseline. ‘Nosebleed’ on the flip is a different beast; a punky, lo-fi jammer that sounds like a track off a Fierce Panda four-way split 7” back in 1996. All it needs is a photocopied tracklist and a mail-order address (physical mail, guys… argh!) and we’re there. Ah memories…
Four hungry Hi-Tech Garage/Funky grooves from Submerse and his pal, Resketch. Still riding high from his 'Hold It Don' anthem and a a wicked hookup wth Neat for Airflex Labs, Submerse opens the A-side with the zippy speed-garage styles of 'Mecha' next to the more skippy and tranced-out chords of 'Searching'. With Reskethc on the flipside, 'Fruit Salad' comes off like a flavoursome Crazy Cousins romp, while solo on 'I Can', Submerse reverts to his heart-tugging melodic tricks.
After drops from Broke DJs and Dodger Man, NKC gives up the crooked strut of 'Marie' and 'Ghettotechno'. Working on some tribal swingers tip, 'Marie' bashes out martial drum cadences and stuttering bleep melodies akin to some of the Sound Pellegrino output, whereas 'Ghettotechno' feels like a Hot City track gone tropical.
Man like SBTRKT is back on Young Turks with a spruce, steppin’ house groover bolstered with imploring vocals from Sampha. While its distant rudeboy bass is somewhere between Reese and vintage El-B, its dainty chords and cinematic strings makes us think of the Jazzanova/Compost set in techno mode. 2:24 it’s awful short, and an extended dub for the DJs would’ve been welcome, but fair play, it makes its point with impressive economy and will nice up the dance regardless. On the flip Machinedrum AKA Sepalcure whips up ‘Look At The Stars’ into a lithe, electro-inflected dubstepper. Its tough d… Read more
**Doxy presents another spectacle of electro-acoustic history from Pierre Henry with both versions of his symphonic concrete music composed for an opera 'Orpheus 53' written with Pierre Schaeffer for the Donauescliingen Festival.** "At the time it stood out from among the many experiments as finished and significant; it sounds as valid today despite the great progress made by the technical evolution upon which electro-acoustical music so closely depends. I say symphonic because the score calls for a large number of "concrete instruments" the history and specifications of which we n… Read more
Wickedly unique riddims from Iceland's Funky anomaly, Hypno. These two are more outré than his Ramp and Pattern drops, 'Analies' fusing big-band jazz samples with skipping, Footwork-esque rhythms hinging on a crisp hi-hat, while 'Koko' is more conventional, swinging with clipped and percolating Funky patterns with uniquely spatialized elements. Cool stuff.
This is a nice surprise - it’s always nice to see someone like Taylor Deupree who is traditionally associated with longer-form works getting to flex his brain bits on a ‘single’. ‘Journal’ might even be his best work in years, and sees Deupree not only restricting himself in terms of duration, but also in the gear that he utilizes; only a single synthesizer, two field recordings and (seriously) his voice made it to the final mix. The first thing that strikes me is how noisy opening track ‘Journal’ was in comparison with Taylor’s previous works; tape saturation and hiss prove absolutely … Read more
Manchester's Hoya:Hoya institution present their 2nd release, featuring music by Eliphino, Lorn and Ras G & The Afrikan Space Programme. Giving a diverse taste of their clubnight, which was hailed by Flying Lotus as one of the best on the world, Eliphino delivers the upstroked R&B skip of 'Don't Try Be', a fluid futurist dancefloor riddim with hints of 2-Step, wonky electronics and coruscating female vocals (possibly Aaliyah?). Flipside, Lorn factors with the Arpanet-strength synths of 'Stranger' arranged for neck snapping, shoulder-rolling effect, while Ras G & his Afrikan Sp… Read more
Süd and Contextterior's Lump delivers two tracks under his own name, Arttu, for a rugged House session on Philpot. The loose jack of 'Rise Up' sounds a little like DJ Pierre beefing up an Omar-S cut, all tweaky acidic synths and unrelenting jack drums. 'Peace Will Follow' is more melodic dropping the pace for swingjackin' and hypnotic yet funky effect.
One of the world's finest Dub Techno stables celebrates 9 years of releases with an exclusive 10 track selection featuring music by Fluxion, Deadbeat, Brendon Moeller, Luke Hess, Stephen Hitchell, Fenin, and Mikkel Metal. With 49 vinyl releases and 9 CD albums the label has carved a niche as the go-to imprint for post-BC/Chain Reaction sounds, balancing refined club functionality with home listening requirements in focused fashion. The highlights run deep, but there's few deeper than Stephen Hitchell's (Echospace) 'For Convextion', a heartfelt piece of emotional puni… Read more
Emika's third single for Ninja Tune features a fine cast of remixers - Kryptic Minds and Marcel Dettmann - plus production from D&M's Rashad Becker. The original song 'Count Backwards' relates to Emika's calming technique of counting down in "overwhelming moments of panic" and retold with a London elocution over anguished sinewaves and crisply numbed drums. Remixing 'Count Backwards' Kryptic Minds keep the vibe slow and cold, dropping the bass by a few kelvin and expanding the vocals to dynamic effect. Dettmann's remix shows a pointed evolution in his pro… Read more
Strong package from Airflex Labs, featuring (if we're not mistaken) Submerse's first flirtations with Funky, alongside Neat, plus superb remix from Falty DL! 'Close' isn't strictly Funky by any means, but it's at roughly 130bpm and it's not strictly (future) Garage-debted either. Whatever it is, it's still full of the virtues which make all Submerse's gear so primed for the 'floor. Flip over and Falty DL sprinkles 'Close' with his NYC magic, reworking the vocal for a proper street diva performance while splitting the rhythm with masterful feel for feathered breaks and gut-churning subs. Jack Dixon also weighs in with a heavier version, all smack-ass drums and bass.
Welcome to one of the year's maddest disco sessions. Having made one of the "most influential disco albums of all time" Black Devil Disco Club is afforded some stellar cameos for 'Circus', featuring the likes of Nancy bleeding' Sinatra (!), Afrika Bambaataa, Faris Badwan ov The Horrors and Italo legend, Nancy Fortune among them. Sometimes when an album comes laden with guest vocalists, it means they're trying to cover up sh*t songs, but not so with this. Each appearance just feels right, from Nancy Fortune's pirouetting cadences over 'Pavement Opposite', to Farris Badwan's array of … Read more
It used to be that you could always rely on a Low record to sound a ‘certain way’. The Duluth, Minnesota band always sounded so bleak, so slow, and so beautifully depressing. Of course it was never all bad news – in its utter sadness the music had a tendency to uplift somehow (don’t ask me how). In recent years though the band seemed to be looking for a way to shatter people’s preconceptions – and while they didn’t exactly go ‘upbeat’, they managed to incorporate a whole host of new and increasingly bizarre production tics which alienated listeners just as much as amazed them. ‘C’mon’ is the band’s ret… Read more
Alfred Darlington is a man who isn’t afraid of really working at his craft, and I’m talking graft – mine shaft style. The Victorian-obsessed LA type has been chiseling away at his unique sound for so long that his music has actually transcended all the genres it’s been lumped into. First he was IDM, then he was breakcore, then hip hop, then he was w*nky, now what the hell are we even left with? To these ears it still sounds like the same Daedelus, and for an artist who’s always liberally helped himself to just about every musical genre on the planet, what’s a few more influences? Alfred just gra… Read more
ASC delves deeper still for his third Auxiliary release, side-stepping the 'floor on a near-beatless engagement. Entering the Monolake-proportioned 3D scape of 'As The Dust Settles' we find fragile IDM textures and unfathomably deep layers of ambient electronics structured around with minimal rhythmic framework. That rhythmic presence slips further into the shadows on 'Black Hole Collapses' leaving only a perceptible trace of subbass under icy synth tones, while 'Ambitronic' expands the droning atmospheres to encompass the peripheries of his sound sphere with strange acousmatic voices and cinem… Read more
What time is it? It's roughly 3:10pm, and we're checking the hotly touted '333 EP1' from the clandestine 3:33 unit. Comprising an unknown number of members and with productions for Tame One and Del The Funky Homosapien to their credit, 3:33 kick back to a time before wonky, before the Beat Dimensions revolution, to a murkier sound equally informed by the crushing drum breakage of DJ Shadow and the ethereal electro-acoustics of Pierre's Henry and Schaeffer. In the current climate the effect of their sharp contrast is raw and refreshing, and could actually be called experimental, rath… Read more
Further to his wicked mix of cherry-picked '80s club grooves, Robert Jonson boss, ATA drops his extended mix of Grauzone's 'Raum', backed with the full version of Zwischenfall's 'Flucht'. Taking Grauzone's obscure 1980 Swiss synth-pop, he extends the groove with jabbing edits and dubbed out mixing desk trickery while Zwischenfall's moody Italo-pop jaunt 'Flucht' is left unsullied for your dancing pleasure. TIP!
The latest blurt from the lovely Static Caravan label, this is definitely on the folk tip – but rather than the please-all folk these guys go for something more akin to The Wicker Man (pre Nic Cage, y’all). It’s doomy and gloomy, there’s still folk there but Dark Sky Singers show us that you don’t have to be twee when you approach the genre. Gorgeous, dark and well worth a listen.
I think we all know that with Animal Collective comes a second collective of followers who after hearing Sung Tongs and Feels felt like they needed to go out and buy a synth, a guitar and a broken microphone. Seattle fellers Beat Connection are one such act, but while they use Panda Bear and pals as the jumping off point, they’ve taken ‘Surf Noir’ into far more electronic places than AC have ever dared go. Just check the hypnotic groove of ‘In the Water’ for an after hours indie club stomper that sounds like you’ve had your head in the bog for a few minutes longer than would be safe.