Two rare tracks by Coil, commissioned by Sub Rosa. Never released on vinyl LP before.
Seeing as it’s now open season for Coil reissues, Sub Rosa understandably throw their hat in the ring with Another Brown World and Baby Food, taken from their two respective compilations, Myths 4 • Single Twilight In Çatal Hüyük , and Chaos In Expansion  - both released on vinyl for the first time.
Another Brown World catches Jhonn, Sleazy and Danny Hyde layering tape loops into slyding hyaline glissandi under-pinned by a gorgeous, percolated synth voice and organ refrain and perfused by vocals recorded by Sleazy at the Animist Monastery situated at the Summit of Mount Popa in Pagan, Burma. In Peter ‘Sleazy’ Christopherson’s own words, “This is a live recording: hums, clicks from equipment etc. are an integral and intentional part of the music.” Save for that hoary electric guitar solo in the middle, it’s a sublime piece of Coil.
Baby Food makes its first ever vinyl appearance on the B-side. Recorded in a storm, the 12 minute piece is the first track to use Coil’s Sidereal Sound recording process, “a continuation and advancement of the deep listening theories as demonstrated on the album ‘Love’s Secret Domain’”. It’s a seductive display of plasmic chords and impish organ figures, tilting towards a whirligig mix of eldritch and outernational scales with psychedelic effectt
Spellbinding sophomore suite of eviscerated ‘ardcore and ghostly, textured ambience from Bristol’s Sophia Loizou, still in pursuit of the spectres sought on Chrysalis (2014) for Astro:dynamics.
With Singulacra she telescopes in on original early ‘90s rave thru a smudged electro-acoustic lens, peering thru decades of murk to reveal spectral diva silhouettes and ecstatically forlorn melodies buffeted by drifting, acephalic subs and skeletal breakbeats.
There are clear parallels to be drawn with everyone from Burial to Roly Porter and even Teresa Winter, yet Singulacra feels more detached, glumly resigned than any of the above, a fact exemplified in a beautifully elusive render of N-Trance’s Set You Free or the shivering, glistening cold sweat sheen of Glimpses of Death.
Scott Morgan’s Loscil hovers back into view with a decidedly moody album of his patented dub and ambient productions for Kranky some two years since Sea Island.
Monument Builders is a nerve-riddled and unpredictable thing and perhaps not exactly what you’d expect from him. Where once there was a sense of blue optimism to his music, there is now a brooding pensiveness manifest in its minor key arrangements and bruised, textured tone.
The album perhaps betrays a return influence from his day job as a sound director for the video game industry, as Monument Builders could soundtrack a bleak first person immersion in some dark parallel world not too dissimilar to our own, patiently plotting a course thru the resonant, widescreen space and cracked ice patterns of Drained Lake to ascend a vertiginous vortex of throbbing synths - among the most kinetic piece in his whole catalogue - in the anxiously melancholy Red Tide, pausing for murky reflection in the title track, and raising the tension again with the frosty brassy swells of Straw Dogs and coolly baffling the senses with the headlong techno velocity and strangely static poise of Anthropocene, leaving with us the OOBE, swarmed by deliquescent, dying angels in Weeds.
You don’t usually expect an artist’s most powerful piece of work to arrive fifteen years into their game, but that what Loscil has arguably achieved with his 10th solo album.
Demdike and Votel's label delivers this incredible, ancient-but-modern sound collage painstakingly constructed over a number of years out of Youtube samples - total mind-bender this one, somewhere between New Age meditation tape and the sound of your nightmares...
Totally stunning record from the elusive Tongues of Light, drawing cosmic, primordial vectors between glossolalia, sound poetry and improvised music via the nebulæ of Youtube for Demdike Stare & Andy Votel’s Pre-Cert Home Entertainment.
Arguably the label’s most striking, even transcendent release, Channelled Messages at the end of History started life as a gift for a friend following long conversations about the nature of improvisation, spontaneity and musical mediumship and subsequently dawned as a remarkable document of occult praxis in the digital age.
Tongues of Light acts as a sort of psychopomp or liminal interpreter for a wide range of belief systems, all rooted in the common conviction that they are channelling sounds from some “other” or “higher” entity or dimension, much in the same way that Sun Ra believed he was channelling celestial bodies thru his music or the Dogon people of subsaharan Africa believed they received alien codes describing humanity’s heritage.
The record unfurls as a seamlessly sequenced compilation of samples - all framed by plasmic drones and synth pads which connect and highlight the links between seemingly disparate elements. By the record’s end the effect is really quite uncanny; compounding disparate new age coordinates on a common plane, and thereby revealing their underlying, subconscious metaphysics.
It’s great to hear Pre-Cert Home Entertainment connecting the dots between generations of new age thought and practice, and we reckon this slab will standout as one of their defining releases for time to come.
"Released as part of a Back To Black reissue series for Sonic Youth's back catalogue, Goo is the sixth studio album by American alternative rock band Sonic Youth. It was originally released on June 26, 1990 and was Sonic Youth's debut release on a major record label, after the band signed to Geffen Records"
Having, for our money, always ranked in amongst the most gifted and sonically astute electronic producers operating in the world today, and with a heritage that has seen him involved with the Chain Reaction, Din and Imbalance labels, as well as a production partner for some of Monolake's best material and a longtime figure in Basic Channel's peerless Hardwax axis, Berlin's T++ has over the last twelve months returned to the fold with two astonishing twelves for the newly minted Erosion imprint and now this, a mysterious two-track KILLER quietly released with nothing but a couple of blurry ink stamps on an anonymous looking twelve to go on. But what a twelve - honestly we've played this so LOUD in here that the walls have started to rattle - with the A-side track "Allied" employing the same metallic signatures that made this producer's work under the "Various Artists" moniker for the Chain Reaction imprint so memorable, accompanied by a bassline so deep and impossibly warm that it brings to mind Shackleton's signature "Blood on My Hands", propelled by that Berlin breakbeat template that sounds like a cross between Monolake and vintage Photek - how ridiculously good is this tune????? "Tensile" on the flip doesn't offer even a moment's respite - a stripped junglist backbone fed through the big effects unit marked with the BERLIN legend - turning this very distinct transmission into an out and out warehouse destroyer - and without any shadow of a doubt a tune destined to take up precious space in our old office record box for the foreseeable future. Utterly sick twelve and an absolute must for all followers of the Basic Channel continuum, BASS and next level floor-bound productions of any description. An absolute MUST!!!