Monday, 20 April
Rrose presents two expanded, alternate mixes of her take on James Tenney's pillar of American minimalism, 'Having Never Written A Note For Percussion', on Seattle's Further Records. The original composition, a favourite of Rrose's, revolves a simple concept requiring the performer to play one percussive instrument constantly, taking it from the quietest point to the loudest and back again in a close exploration of volume, tone and decay. Rrose does so with a 32" inch gong in two very different environments: the first is recorded in a studio and thusly sounds visc… Read more
'Marhaba' shares the fruits of Floating Points and James Holden's collaboration with gnawa maâlem (master) Mahmoud Guinia on their recent trip to Morocco for the 5th Marrakech Biennale. Both producers give prominence to Guinia viocals and hypnotic guembri (a sort of 3-stringed lute) in their respective mixes, Floating Points buoying the syncopated claps with subtly feathered synthlines in 'Mimoun Marhaba', whereas Holden really vibes out on a modular set-up in three further, looser versions, including two not found on the vinyl edition.
Dope cut from Mexican Summer's recent 'Pausebreak' compilation. It's a fine introduction to Ben Zimmerman, whose strange fusion of skittish late '90s tech-step and gauzy, ethereal ambience recalls Teresa Winter's recent use of similar elements, although here it's with a trip hoppy appeal, as opposed to psy-pop. Intriguing…
**Includes 50-minute track featuring texts written and performed by Alexandra Kennedy & Campbell Irvine. RIYL Muslimgauze, Demdike Stare, Ninos Du Brasil** Exceptional take on techno tribalism from yung Australian producer, Campbell Irvine. Picking up where Shackleton left before he went psy-trance, Campbell runs with a proper dread techno vibe on two extended walkabouts strafed with duppied voices and urged by layered, syncopated percussion and deep subs. We're particularly feeling the scratchy swing and shuffle of B-side 'Reunion Of Two Bodies', which sits somewhere betwe… Read more
EPM present two definitive aspects of Detroit techno. Robert Hood offers one of his signature minimal techno propulsion systems with the tunnelling, darkside 'Shaker', before boosting the energy levels with an organ-burning Floorplan 'Ritual' in his gospel-techno guise.
Where To Now? present two sidelong trips into a lysergic avant-techno otherworld by Daragh Monaghan a.k.a. Baba. "‘Odd Potion’ manages to create a world that is aesthetically always referencing a fantastical vision of imagined mystery, yet allowing the real history of dance music into this otherworldly space. Daragh cites Jeff Mills as an influential figure, in terms of his ability to allow his genuine interest in Sci-Fi and space into the DNA of his music - it’s success lies in it’s clear passion for other subjects, as Daragh notes about his own music “I guess i’m not too interested in the grit… Read more
**Noisy techno beat-offs** "GDL is the work of 21 year old Washington DC resident Garret Littler. This self titled debut release takes its cue points primarily from the 80’s underground German electronic DIY tape scene - kickstarted by the likes of DAF, Der Plan, Palais Schaumberg, Grauzone etc, and whilst such influences are certainly prevalent throughout, there’s also an undeniable nod to some of the more recent works of those operating on the fringes of underground techno and noise. Yes, the world of GDL is brutal, uncompromising, and at times full of chaos, and it’s this direct, and more importantly… Read more
London's Jonny Nash spins a glistening web of ambient mediations on 'Exit Strategies' for his own label, Melody As Truth. Taking solo time away after sterling contributions to Gaussian Curve's charming 'Clouds' LP and that epic 'Spirit Bear Mezcal Ensemble' 12", he presents a suite of balmy, crepuscular vignettes owing as much to The Durutti Column as Vangelis or Robin Guthrie and finding contemporary parallels with the likes of Bullion/Nautic or even recent Jam City in the achingly lush slow dance, 'Exit Six'. Mellow magic.
The best from Constellation Tatsu's latest batch is a creamy kosmiche trip from Shin Buchikama a.k.a. Portopia '81. Gazing at classic Kraftwerk and YMO thru the rosiest of tinted gegs, he takes flight with six deeply charming synth fancies, scaling giddy, breathless heights between the satin arpeggios and vocoder navigations of 'Jet Stream' before diving into the tranquil silicon pools of 'Sparkling Constellation', free-floating in the 'Sea of Clouds' and scanning the melting skies of 'Distant Horizon', eventually slipping into the sweetest reverie of 'Strange Dream' and pirouetting in slow motion between the syntherzones of 'Light and Shadow'.
Synthesist, Sarah Davachi follows up her lovely 'Baron's Court' LP for Students of Decay with this suite of ominous, mystical drone composition for Constellation Tatsu. They're slow moving unfolding and quietly intense pieces, poised with a chamber music-like elegance and folk-wise simplicity, perhaps at best in the uncurling fronds of 'Flowers and Other Voiceless Things' and the curdled, keening harmonics of 'Praha'.
Tommy Four Seven boots up his 47 label with a forceful techno session. The boss twists out a raging stomper called '131' beside the rolling industro-dub of Kwartz's 'Locked Target', a bleeping missile from Killawatt, and the bruising, dank techno reduction of 'Obsid' by Isolated Lines.
Madrid's Hykuu debuts on Hush Hush with the binary emotions of 'Keep Dreaming'. On the one hand you'll find yearning trance synth optimism of 'Escape To Paradise' and the glittering R&B lushnuss of 'NYC; on the other hand, the choppy lean of 'Puzzles' and brooding, darker tones of 'Song to Say Goodbye' are laced with a tangible melancholy.
Dais drop a necessary reissue of Hunting Lodge's debut 1983 album - an infected seed from the roots of Michigan's notorious industrial/noise scene, featuring vocals by Masami Akita (Merzbow) and Francisco Lopez. Aggresive, primal and quite frankly f**ked-up, 'Will' is a tour de force of early '80s North American industrial music, taking inspiration from the likes of SPK, Dome or Throbbing Gristle to set the nastiest precedents for rhythmic power noise electronics which would, in turn, be channelled into the music of Prurient, Vereker or Prostitutes in the modern day. A must-check album for all industrial vultures.
Dedicated to the famous Lynns of Norfolk - King's Lynn and Alan Partridge's PA - this is Dense & Pika's latest for Hypercolour. Check for the swaggering modular brawn of 'Tantrum', the screwy industro-disco charge of 'Sycophant', and the messed-up rave lurch of 'Hitting The Ceiling'.
The fifth Speicher release from Kolsch follows the face-twisting madness of “Loreley“, the piano-driven melancholy of “Opa“ and the bestselling chords from his collaboration with Gregor Schwellenbach, somehow paying tribute to all of these within the confines of one two-track EP. Featuring Rune's first new original material in a while, these cuts follow remix work for artists as diverse as Coldplay, Monkey Safari and Henry Krinkle.
*Digipak with a foldout poster* "When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first fe… Read more