Monday, 13 October
"Adam Bainbridge returns, co-writing with Robyn, Kelela, Ghanaian rapper M.anifest and Devonté Hynes (Blood Orange et al), a long-time friend whose 2013 ’Cupid Deluxe’ included contributions from Bainbridge. ‘Otherness’ is Adam's vision, but it's a collective vision. On the album’s opening track, ‘World Restart’, Bainbridge’s vocals remain in the backing chorus. Kelela and Ade sing the lead parts. The song rides the sort of lithe and loose horns (by Finn Peters) you might hear on a Fela Kuti record, but they're tethered to a boogie bassline and Bainbridge's own rich percussive clatter…"
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.
Dark Sky's soulful 'Rainkist', remixed in moody, epic versions by Trevino and Marcel Dettmann. Last heard on their 'Imagin' album, the pleading, blue-eyed soul vocal and dusted drums of 'Rainkist' inspire a droning, electro-tooled roller from Trevino sounding like some Jon Convex piece, whereas Dettmann takes all the time he needs to break it down and rebuild as a rolling big room arrangement with nods to classic, jazzy Carl Craig.
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!
**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
“Colours Of The Night (Satellite)’ is Peter Broderick’s first song- based release in two years, during which the singer-songwriter- composer-multi-instrumentalist and serial collaborator was struck down by a debilitating illness that forced him to re- evaluate his life. Here, in his own words, is what Peter has to say about it: “Folks! I am very excited to announce a forthcoming EP on the Bella Union label. ‘Colours Of The Night (Satellite)’ is a preview of what’s to come on my next full-length album, due out next spring, simply called ‘Colours Of The Night’. The… Read more
Ross Abrahams aka S Maharba drifts further from his sought-after instrumental hip- hop sound and into a fuggy world of The Caretaker-esque sonics in 'Memorial'. His first original release since 2012 is a chokingly dusty mixture of creaking neo-classical motifs and knackered downbeats, a sort of earnestly wistful and cinematic emo sound at best in the water-stained mulch of 'Michelle' and the haunted shuffle of 'Memorial'.
Enveloping 38-minute piece from Eleh written for performance at the Cleveland Museum Of Contemporary Art. 'For Moussavi Atrium' marks the first new Eleh material since 2012, following an invaluable programme of reissues for their Important early releases during the 2013. It starts off in near silence before fleshing out a supple sinewave flux modulating at rapid intervals to a pulsing, brain-worming coda that'll hypnotise and control anyone susceptible to a good 'wave. This is one of those instances where the format plays some part - the clarity and duration afforded by the CD really ho… Read more
Stroboscopic Artefacts parse four strong highlights from their five years of influential operations. Rrose's droning womrhole 'Drowned By Sight' is prime example of their purist approach, whilst Perc's 'Tri-City' represents their rugged, noirish industrial sensibilities, and the shifty detail of Lakker's 'Pier' heralds bleak new techno futures head on.
Noise fans unite, it's a new Whitehouse disc and the followup to the absolutely destructive 'Asceticists' album from last year. The omnipresent and always challenging duo of William Bennett and Philip Best seem to be on a roll right now, what with having the back catalogue finally issued on vinyl and new albums bleeding out left right and centre, so with any luck there should be a new generation of noise aficionados waiting eagerly to join the (un)happy throng. The pummelling African-style percussion that pushed 'Asceticists' into stratospheric heights of inventive noise is still evident here,… Read more
So you’re into noise music are you? You’ve had your ears caressed and lacerated by Wolf Eyes, Prurient and Hair Police so now it’s time (if you haven’t already) to get two hands on one of the most important noise acts of all time – Whitehouse! ‘Birthdeath Experience’ was the band’s first album, recorded in 1980 and using only an effects pedal, two synths and a tone generator. The recordings are raw and unpolished and the trio of William Bennett, Paul Reuter and Peter McKay use their equipment to belch out a Throbbing Gristle inspired noisy, pseudo industrial slop. Crackling stat… Read more
Nearly ten years since original release, Whitehouse's uncompromising 'Bird Seed' is available on vinyl once again. It's later period Whitehouse, some 20 odd years into their oeuvre, with William Bennett producing and Philip Best ranting. It's also the point at which the African and voudun rhythms which inform William Best's scintillating Cut Hands project really take hold, from the incredible roil and noise slaughter of 'Wriggle Like A F**king Eel' in original and mighty extended instrumental version, to the bone-snapping digital/analog torque of 'Munkisi Munkondi'. Heavy heavy wares.
The album that followed on from 2003's Bird Seed album, Asceticists 2006 was the culmination of three years of obsessive sound tinkering by William Bennett. The album revealed a bold - or more accurately, terrifying - sound to it, full of noise and ear-shredding bombast, with incredible vocals, rasped in the most anarchic and hair-raising intonation on brilliantly titled tracks like 'Ruthless Babysitting' and 'Dumpng The Fucking Rubbish'. Amazing stuff, but it'll leave you a bit bruised.
Dramatic Drexciyan electro styles from The Exaltics certified by Clone's West Coast Aeronautics & Space Administration. Five tracks fathom sci fi vignettes along with pumping electro-techno on 'Never Be Enough', the deep sea journey of 'Infinite Dimension', and brooding breakbeats, Analord style, in 'SL-W D-WN' making for The Exaltics most diverse and satisfying instalment yet.
Bubblin' Kuduro club gear. 'Fizzy' gets wild with the tribal drums and some killer, percolating electro; 'Buff Bumper' ramps to madness levels with nuff autotune, galloping drums and shocking rave riffs.