Monday, 30 August 2010
Featuring guest appearances from Grouper's Liz Harris and Charalambides' Tom Carter, this new release from Common Eider, King Eider sees the project expand beyond its nucleus of Bob Fisk (Badgerlore, Free Porcupine Society) towards a more fully formed quartet line-up. The album begins poised in a state of fairly extreme quietness, exchanging wafts of bowed guitar, fragmentary piano phrases and ethereal vocals through the course of 'The Rabbits Will Come Again'. After a slow start, the piece's dark, avant-folk beauty becomes fully apparent. In its beginnings, 'When We Sewed Skins' … Read more
Georgian musician Natalie Beridze is one of the artists to emerge from Monika's Four Women No Cry compilations. This five-track EP gives a taster of a full-length album, titled ForgetFulness, due for release later in the year. The EP's title track is a slice of futuristic, minimal 4/4 electronic pop that sways to the more avant-garde, AGF-leaning end of the spectrum, whilst 'The Face We Choose To Miss' is a more melodically engaging affair that almost runs into Italians Do It Better levels of retro disco invocation. Also of note, Beridze boldly takes on a cov… Read more
Mr Mool drops 'Wax Rose Saturday' from his well received 'Skulltaste' album backed with the exclusive 'Valley Girls' and remixes from Paul White, Free The Robots, Daso, Shigeto, and Devonwho. The title track sounds like a Prefuse 73 track circa 'Vocal Studies', while 'Valley Girls' is a more laidback display of R'n'B/IDM fusions. Attacking tracks from the album, Paul White gives a psych-spiked head nodders mix of 'Wolf Tone Symphony', while Devonwho gives a BoC-ish mix of 'Lady Linda' and Daso turns 'Enceladus' into a discofied electrohouse romp.
The incomparable comic book great Alan Moore embarks upon this new musical/spoken word project with a host of formidable collaborators including photographer Mitch Jenkins and musicians such as Adam 'Doseone' Drucker, Andrew Broder (of Fog fame), Stuart Braithwaite from Mogwai, Hella drummer Zach Hill, Justin Broadrick (of Jesu, Godflesh et al) and Mike Patton. Having previously penned landmark works such as Watchmen, From Hell and V For Vendetta, Moore now presents an epic new two-hour story, read by Moore himself and focussed not on superheroes or the like, but rather Steve Moore - a fel… Read more
This Styrax offshoot commemorates the 1st anniversary of the untimely death of influential journalist Ramin Raissi by plunging into the nether regions of deep and dubbed techno from Redshape, Morphosis, Rising Sun, Intrusion, Quantec and Bvdub. Ramin was a Lebanese native based in Berlin writing for the massively respected Groove magazine, which situated him close to the artists who have been selected to represent his memory. Redshape provides the two shining highlights of the set with the spectral synth shapes of 'Requiem Solo', featuring the masked one beautifu… Read more
Killer weirdo disco-techno from Bristolian producer October backed with a Balearic infected mix from Ewan Pearson. The original welds disco samples to a slow pounding 4/4 like some lo-fi Marc E production. Ewan Pearson's mix is predictably of a high standard, fleshing the cut out with spectral dub FX and a rude Italo bassline.
This new EP paves the way for Antony's forthcoming full-length, Swanlights, taking its lead track from the album but supplying a further four non-LP recordings - one of which features none other than William Basinski. 'Thank You For Your Love' is a graceful, gospel-tinged ballad that swells up with horns and feverish expressions of gratitude as it wheels towards the chorus. As it progresses, the song turns out to be one of Antony's most outwardly jubilant songs, making for a refreshingly unabashed upbeat entry into his catalogue. Another new song, 'You Are The Treas… Read more
Om Unit producer Jim Coles supplies a big, vulcanised stepping rhythm for 'Searching', complete with sampled vocal hook and borderline-epic synth melodies. By the time it reaches its final leg, the track lurches into a double-time feel with some thumping electro-house beats that cast a new light on that nagging synth riff. The EAN remix builds the piece up with massive roving basslines and heavily compressed drums.
Refined, trippy and super-cool minimal house music from Aksel Schaufler's Superpitcher project. We have an inkling that the title may be a sly jab at those producers who furiously scuttle out 12" after 12", unlike Aksel who delivers one or two very well measured records each year or so. 'Rabbits In A Hurry' effortlessly balances metronomic Kompakt rhythms with a dryly funky bassline and a slightly deranged mid section to incite some sophisticated madness in the dance.
Jilt Van Moorst comes correct with a pair of alternately wet 'n dry warehouse jackers. His brilliant 'Oops' cut features gamelan-like tones worked into a brilliant techno frisson while 'Rivulet' is a dry and funky techno aid for more discerning DJs. Two aces.
THis album corresponds to a new film of the same title from Parisian polymath Chilly Gonzales. The movie stars Gonzales himself alongside musical pals Tiga and Peaches, with the two male leads playing chess champions competing for the affections of everyone's favourite electro-punk provocateur. The album is produced in coalition with Boys Noize and finds Gonzales in the kind of danceable pop territory often occupied by Sebastien Tellier. Flirting with both loungey disco escapades and lavishly orchestrated easy listening jaunts, Ivory Tower is seldom less than striking, particularly when t… Read more
Disaffected indie disco from LA/NYCs Historics remixed by Jackpot, UFO!, Allez-Allez, and CFCF. Firstly, Jackpot give a sulky electro-house mix, followed by a crafty, cowbell-driven punkFunky club mix of 'Take It To The Top' from UFO!. Allez-Allez give a queerly kinky and acid burned house version of 'Things Alright' and the versatile CFCF is afforded the chance to remix 'Take It To The Top' too, making great use of the sinister vocal from Kool Keith with a rhythm track like Juan Atkins meets Kenny G.
A new album of expansive post-rock epics from the mighty Crippled Black Phoenix, I, Vigilante finds the group taking a slightly different approach to recording, laying down new material under relatively abrupt circumstances. This is to get across more of the band's sound as a live entity, and while CBP are keen to assert that this isn't necessarily a new direction as such, it does seem like a sensible development after the heavily worked, upscale endeavours of recent output like The Resurrectionists and Night Raider. You still get a substantial package here however, with exte… Read more
I'm Here is a thirty-minute film by Spike Jonze - a love story about two robots living in LA. The soundtrack is every bit as notable as the film itself, featuring not only original music by Sam Spiegel, but song contributions from emergent talents like Aska Matsumiya and well-established acts like Animal Collective, Of Montreal, Girls and Gui Boratto. There's really not a dud moment on here, and even if you already know what AC's 'Did You See The Words' or Girls' 'Hellhole Ratrace' sound like, they're still welcome here alongside awesome cuts like Sleigh Bells' mighty 'A/B Machines' and the motorik 'The Past Is A Grotesque Animal' from Of Montreal.
Boris Brunnik aka Conforce has been a busy boy of late, dropping a killer debut album for Meanwhile and very useful 12"s for Curle and Field. The 'Grace' EP is infused with the same Detroit/Dutch techno spirit that made those releases so special, from the fluttering, near beatless synth Convextions of 'Shade', deep into the sunken bass groove of 'Grace', strongly reminding of label mates Redshape or Quince, plus the dramatic progressions of 'Insecure'. Fans of Delta Funktionen should also check this out!
Prins Thomas offers a soon-to-be-classic disco winner from Icelandic/American partnering of Holmar Filipsson (Thugf*cker) and Ulysses (Neurotic Drum Band) on the debut from his Internasjonal Spesial sublabel. 'Escape From New York' is a plush Balearic roller with expansive, heart warming melody and pulsing bass arpeggio. On 'Hlytt Og Gott' Filippson and Ulysses remix Valentinoland (aka Holmar and Arni Runar Hlodversson of FM Belfast) with blissed strings and sunkissed guitar for that authentic Mediterranean buzz.
Jay's latest on Contexterrior finds him in a moody and experimental groove. Initially the corrugated metallic intro of 'The Storm' reminds of DJ Koze's ace on the latest Kompakt comp, but soon brews into a cinematic scene where the tension is only resolved at the half way mark, precipitating a bass-shunted tech-house flow. If you're a mystical type 2012 will ring alarm bells, but for everyone else it jacks on chunky toms and squashed acid bass in fine and tracky style.
'Margerine Eclipse' is the first full album for Stereolab since 2001's 'Sound Dust' and is the first album from the band since the tragic death of Mary Hansen. An album full of lush keyboard tones, snapping drums, throbbing bass and multi-tracked vocals from Laetitia Sadier in superb form, the Stereolab hit! Check the gorgeous '...Sudden Stars' - an instant highlight, or Sean O'Hagan's keyboards adding sweetness and light, plus Mouse on Mars? mista Jan St. Werner bringing to life a couple of pieces. The whole album uses ingenious split stereo channel panning to great effect, so much s… Read more
This 1999 long-player from Stereolab divides opinion among critics and fans. If memory serves correctly, the NME awarded Cobra And Phases Group Play Voltage In The Milky Night a fairly scandalous 0 out of 10 back in the day, though the band's followers are far more likely to declare it as one of Stereolab's standout records. For instance, Deerhunter's Bradford Cox has cited it as one of his favourite albums of all time. Featuring a cast of thousands (or thereabouts), you'll notice Jim O'Rourke, The High Llamas' Sean O'Hagan, Tortoise drummer/pro… Read more
While it's tempting to say that the new LP is 'business as usual' for Stereolab, there is nothing that commonplace in Stereolab's world. The recordings have once again been undertaken mostly in Chicago with the team of John McEntire and Jim O'Rourke producing the LP with the group and with regular cohort Sean O'Hagan also on hand to add to the keyboard and arranging strengths of the ensemble. All compositions are once again written by Tim Gane and Laetitia Sadier with the exception of 'Nothing To Do With Me' (some lyrics were paraphrased from a Chris Morris 'Jam' sketch). 'Sound-Dust' has… Read more
Wonky garage styles from Erra for L2S. 'Getting Happs' goes hard and wild with forceful bass gestures and seasick synths shackled with splayed 2-step drums, 'Babyface' splurts tuffer, hypercoloured snth juice all over the floor and 'Butterz' rolls with a stranger, spooked 8-bit vibe.
The Necks pianist returns with another great solo album for Room40, this time operating within a more far-reaching and diverse set of musical parameters than ever before. Play Scar is the work of an artist who's developed considerably since the label released 2006's Thrown, or his more recent collaboration with Mike Cooper, Oceanic Feeling. You'd never be able guess the sort of directions Abrahams was headed towards over the ensuing hour given the opening organ chords of 'There He Reclined'. There's something a bit Blackpool Empress Ballroom about this opening, but soon enough the swe… Read more