Thursday, 13 August
Etch and K-Lone share a tricksy post-dubstep platter for the latter's Wisdom Teeth label. One track per side, cut for optimum space and pressure, manifesting the woozy, infected skank and quicksilver voices of Etch's 'Toxin' up top, and a more spacious shoulder-roller from K-Lone called 'Broke' on the other side.
**Alga Marghen return to the captivating technique and oddness of Gil J Wolman's sound poetry in a formerly unreleased theatrical performance recorded ciurca late '70s. RIYL Michel Chion, Trevor Wishart, Dave Phillips. Edition of 350** "Is it to "en finir avec cette idée des chefs-d'oeuvre" ("be done with this idea of masterpieces"), as Antonin Artaud proclaimed, that Gil J Wolman calls his recording Wolman et son double, in a détournement of Artaud's famous essay collection and "masterpiece" Le Théâtre et son double (The Theatre and Its Double) (1938)? Artaud's Tête-à-tête perform… Read more
**Includes download code, redeemable from the label** Colour us enchanted with this remarkable 2LP collection of Quechua-language songcraft from the Bolivian Andes. Squirrel Thing follow up those deluxe reissues of Molly Drake and Connie Converse albums with this first vinyl compilation of Luzmila Carpio's original songs, written in the early 1990s in an attempt to "reclaim our knowledge" from an ever-encroaching western world and culture that marginalised indigenous people. Her shrill registers are strikingly unique to these sensibilities, at least, and her language is certainly… Read more
Sheela Rahman (Xosar) and Danny Wolfers (Legowelt etc.) synch minds and circuits on a dreamy 3rd Xamiga session. The decadent pound of 'Bohemian Grove' opens affairs, holding a strange balance of persistent kicks and serene exotica atmospheres rolling out with a breakbeat sting in the tail, before the melancholic 'Stratocumulus' slows down to dream sequence techno drag. B-side, 'Midwest' kicks the tempo up again but swings wider with fuzy claps and fluid synthlines for lushest effect, for 'Blizzard' to round up with a narcotised noir-house episode. Legowelt always works better in collaboration and this is no exception.
Friday, 07 August
'American Drift' is the uniquely incisive and beguiling solo debut LP by Bolivian-American artist Elysia Crampton (f.k.a. E+E). It follows her 'Moth / Lake' 7" on Boomkat Editions to mark the 2nd issue in her ongoing Shenandoah series - "a concept study that follows Virginian American history, exploring brownness as more than culture or Othering, as geology. As mud, dirt and mineral, enmeshed in lithic, vast time scales." From this disanthropocentric perspective, inspired by the concepts of late queer theorist Jose E Muñoz, Elysia presents a tortuous deep topographical reading of … Read more
NYC's Blondes follow their immersive 'Rein' with a fluidly sensual grip of club trax in 'Persuasion'. Alongside their 'Touched' EP for Clasp, it firmly marks their return to the 'floor following 2013's 'Swisher' album. Across all three tracks they focus on texture rather than melody, resulting the deeply hypnotic, acidic massage of 'Persuasion' along with the hulking techno grit and escalating noise/drone dynamics of 'Son', and the sweltering psychedelia-meets-Berghain techno momentum of 'Inner Motive'. Strong selection for anyone into the headiest realms of L.I.E.S., Antinote, M. Geddes gengras.
Robert Henke dispenses a trio of ominous techno steppers and jackers under his revered Monolake guise. 'Dystopia' lives up to its mantle with cold sci-fi synth motifs and blade-whirr rhythm mechanics laced with evil, unpredictable protrusions and synthetic shrapnel. 'Error' evacuates the beat to strand us in unfathomable hyperspace, and 'Crash' clatters in with splintered, splashing percussion wound up in a feisty jack pattern quite unlike anything else in his catalogue.
**Amazing New Age synth synch from Tel Aviv, 1977** "The music of this record was stimulated by the theory and practice of biofeedback. It is aimed to create a calm, relaxed and meditative mood associated with alpha brain waves.’ Part outsider electronic album; part physiological experiment; part work of art; this is not your average new age record. You won’t find any cosmic or spiritual connotations between the unsupposing and briefly annotated gatefold covers. This is an accidental new age record. It wasn’t designed to evoke images of far away landscapes or induce meditative states; r… Read more
Clarion rave alert from Famous Eno for the steadily expanding Swing Ting empire. A one-shot romp sounding grimy brass on a skittish sorta Funky riddim flecked with militant EBM drums and turnt with towering synth drops to mek 'em scattah!! Massive riddim.
Detboi comes thru on Keysound with a quartet of squashed and nasty jungle-tekno plays. It's a signature sound for the label, augmenting the ghosts of garage and jungle with a warped and up-to-the-second cyber-spacious quality. 'Scatter' leans in first, swallowing amens and super-wide bass at 130bpm, before 'Give Love' deals in diva-lead 'ardcore garage drama and we catch him at his ruggedest , most effective with the unshackled, mid-air amen 'ardcore geometries of 'Shots' and 'Pin Point'. Motion sickness.
Lovely album of soft focus, melodic ambient techno by the Detroit-raised, Brooklyn-based Jakub Alexander a.k.a. Heathered Pearls. Teamed with guest spots from The Sight Below, Outerbridge, and Shigeto, it unfurls a mind-drifting narrative framed between time-stopping ambient pieces such as 'Cast in Lemon & Sand'. 'Holographic Lodge' or 'Artificial Foliage', and the gently insistent, padded techno momentum of 'Sunken Living Area' or 'Perfume Catalogue', whilst the likes of 'Personal Kiosk' with The Sight Below, or 'Warm Air Estate' feat. Outerbridge are structured with dreamier, lusher arrangements. RIYL Yagya, Lawrence, GAS.
"The album features twelve tracks of experimental vintage synth dance tracks, lots of unusual textures and melodic ideas, nothing too heavy..."
Alex Banks, MoM, and Anstam appear on the obligatory remixes package for Funkstorüng's eponymous comeback album. There's not much anyone could do with that dodgy vocal but Anstam have the best crack withe an eerie juxtaposition of almost baroque string motifs and barely-harnessed bass subsidence.
"Death Is Not The End compile 10 of Washington Phillips' 18 known recordings, made between 1927 and 1929. These musical sermons feature Phillips' voice self-accompanied by a mystery instrument that been the subject of some debate - having been identified as a Dolceola, a Celestaphone, two Celestaphones tuned in octaves attached side-by-side, or a Phonoharp. Many consider it to be an instrument entirely home-made by Phillips himself. Either way, these recordings remain some of the most unique and understated gospel recordings from this period, and perhaps ever."
San Fran's Vin Sol kicks his solo debut proper on Delft with four cuts of stripped-down, ruddy house functions. 'Memory Scan' alloys steely bass drum with brain-buggin' wavey synths; 'Just Whisper' plays down a blunted, stealthy acid driver; 'Solid Black' bucks with mad Chicago flavour, as does the jerky tracker, 'Rhythm'.
"Amorphous and polyrhythmic techno pallette from UMFANG aka Emma Olson, a NYC producer and Discwoman affiliate. Influenced by latin drum patterns, dj breaks and minimal percussion. “Ok”, her second release, is experimental edged and fervent in its constant cycle of rhythmic ‘eureka’ moments and subtle incorporations of simple melodies and textures, with aims of shaping techno into approachable, unstuffy music made for everyone. The 48-minute release leaves her previous MPC and Volca beats in the dust with the acquisition of a BOSS Dr. 202 (from Octo Octa,) that forms the backbone of “Ok” around which … Read more
“There are many great soul singers, but few have inspired hip hop from its early beginning to now. Syl Johnson is a unsung pioneer of musical fusion.” – RZA. Syl Johnson began the ‘60s a blues singer and session guitarist and concluded it having synthesized his own brand of gritty Chicago soul. Their first signee, Syl Johnson set the tone at Twinight Records, writing and producing fifteen 45s during his four year tenure with the label. This double LP neatly bundles each side of each of Johnson’s Twinight 45s, from the heavily-sampled grunts on “Different Strokes,” to the ghetto-conscious “Concrete Reservation.”
Blazing Electro-Shaabi outta Cairo's Studio Sardena, featuring a host of local Mahragan MCs including Salsa El-Ageeb and Halabessa. The energy levels are high on this one, from the polychromatic synth cadence and rush-up drums of 'Baheya' - played out long enough for the dancers - thru to the skanking punch of 'El-Malaab' and euphoric autotune of 'Ayn Asha'y'.A must for anyone feeling that EEK and Chipsy Islam madness!
Victoriaville reissue two slick techno cuts by Macro boss, Stefan Goldmann, remastered for 2015 by Rashad at D&M.
Spencer Parker kicks it like he means it with 'No More Silly Club Songs Vol.1' for Rekids. High-strength, tracky house in four banging versions. The devil is in the details, from the singing hi-hats and rolling subs of 'No.1' to the ruffneck old skool Chi bounce of 'No.2' and the crunching amens laced into the lamping flow of 'No.3'. Deadly.
**Properly fuzzed-up psych-rock from '69.** "When tape rolled on these songs, guitarist Bob Theen and drummer Alex Love were a decade deep into their tenure as Kansas City rock n’ roll journeymen. After spending two years holed up in the real-life underground chambers of Cavern Recording Corporation, they emerged with eight songs and a temporary name—their fourth in a string that necessitated five business-card reprint orders. Their band—dubbed “Pretty” by engineer and producer Michael Weakley—managed to spelunk only two songs out of the cave, which were issued in 1969 as a promo-on… Read more
Orphan101 returns with Tugger in tow for a pair of upfront and visceral acid-bass-techno mutations. 'Fat Jay' dispenses overlarge boulder kicks and crankiest percussions galvanized to action by a fierce acidic synth. 'Darkie' trims back to a pointed techno stepper swilled with pinging arpeggios.
Melja gets down dirty and jackin' for Mister Saturday Night. The NYC party/stable's latest pick-up rides across the A-side on a cantering techno groove called 'Steady Mobbin'' spun out with rushing arpeggios to an icy brekadown and back into a big warm dancefloor embrace for the 2nd half. Flipside, 'But It Really Didn't Matter' juggles ricocheting rimshots and kaotic Detroit-style harmonics with a grubby late night B-line, and 'I Won't Forget You' loses it to dynamic underwater techno flux reminding of recent Call Super and TTT moves.