The much anticipated debut album by Giant Swan, the brainchild of Robin Stewart & Harry Wright; an acerbic marriage of industrial percussion, abused guitar, hypnotic bass and liberal vocal manipulation.
"Having built a formidable reputation for their hi-octane improvised performances, relentless international touring and a succession of acclaimed EPs on respected imprints such as Whities, Timedance and Mannequin. 'Giant Swan', on their own freshly minted Keck label, sees the pair stepping things up significantly. A full-length musical statement that bristles with the galvanising energy for which they're known while introducing a fresh depth, range and sonic nuance to the equation. File under: techno-not-techno.
Named after a beloved track by screamo overlords the Blood Brothers, Giant Swan was originally conceived as a side project from the duos role as guitarists in the band The Naturals, with formative influences such as My Bloody Valentine and Lightning Bolt being distilled over time with inspiration from the varied and always vibrant local music scene in Bristol. From dub soundsystem teachings at the Trinity Centre and Black Swan or the fiercely experimental early transmissions of friends in the Young Echo collective. Equally at home setting up their table of machines and pedals in the middle of the dancefloor at legendary clubs like Berghain and Tresor, Glastonbury Festival, Supersonic or the Royal Albert Hall,"
Gutter crust trashbeat from Kinlaw and Franco Franco, delivering the first wave of industrial trap and rancid punk rap for Avon Terror Corps. RIYL JPEGMAFIA, AGNARKEA, FUMU...
“‘Blunted church burner Kinlaw and bile spitting nomad Franco Franco savage through ten of their coldest cuts for ATC’s first sacrificial offering.
The LP opens with ‘Eric Draven’, an apocalyptic bombardment of mechanical disintegration and shouted nuclear alarm. Then follows with ’Cuore Molle Palle Mosce’, their alienated battle cry for the kingdom of Wessex, already weaponised in the dank chambers of Avon. ‘Cyborg Mc’ spouts the metalloid delusions of the dystopian preacher, arsenic utterings of the ego-centric android and ‘Fat Come’ is an ode to guttural subs of the Butter Gollem, birthed from Goram’s phlegm.’”
Dark, heat-seeking hybrids of dancehall, rap and noise from Togo’s Yao Bobby and swiss artist Simon Grab on Bristol label, LAVALAVA
Coaxing the nastiest grind from a no-input mixer, Grab sets thistly ground for Bobby’s politicised rap, delivered in gruff, stare down style in French and Ewe. To be fair we haven’t a clue what he’s chatting about, but we’re assured it’s about “local and global issues, around the political & financial greed & power f*ckry that affects the marginalised and suffering all over the world”, while the music surely backs up the rhetoric with lurching, atonal gobs of noise shaped into rugged patterns and noisy graffiti like a West African answer to Consumer Electronics.
Nyege Nyege Tapes kick off a crucial mix series with The Modern Institute’s blinding, 20-track razz; pelting thru unreleased collabs and remixes with Jay Mitta, Sisso and Errorsmith, along with 9 cuts to download individually.
In the two weeks after the 2018 edition of Nyege Nyege Festival, Tanzanian Singeli stars Jay Mitta and Sisso spent a lot of time hanging out and recording with The Modern Institute, Errorsmith and the extended Nyege Nyege family at their Villa HQ in Kampala, Uganda. The Modern Institute’s mixtape celebrates this period of unbounded creative energy, selecting and weaving together 20 highlights from some 50+ hybrids of Singeli with Soca, Makina and hardcore electronic dance music.
Across their frenetic 56 minute mix The Modern Institute offer an experience as close as you’ll get to the festival’s energy without actually touching down on the Equator. Documenting a totally unprecedented period of creative fusion, they rattle thru 20 tracks with an appropriately sense of unsigned joy, careening thru myriad strains of quicksilver drums and and hotfooting rhythms in a way that will light up any party of open-minded and up for it dancers, especially those with a thing for new electronic dance music from Africa.
The nine individual tracks form additional tools for the DJs. Errorsmith and Jay Mitta supply a huge highlight with the barrelling momentum of ‘Jam For Sisso’, while The Modern Institute also turn out the radical helter skelter pelt of ‘200 edit’ alongside seven groundbreaking collaborations with Dar Es Salaam, Tanzania’s Jay Mita and Sisso, including stellar zingers in TMI & Mitta’s mental ‘Rave Remix Final’ and the lightspeed syncopation of ‘Drill Remix’, plus the percolated step and tight, funky vamps of their jam with Sisso, ‘Biti 5 Sisso buildup’.
Chokingly blown-out and distorted blend of knackered drum machine and Persian vocals by Maral, coming off like Muslimgauze raised on southern rap instrumentals, EBM and industrial noise. We're not complaining.
“Los Angeles’s Maral has spent the past half-decade quietly honing an approach that meshes the latest in club music contortions, a range of pulverized dub effects, and samples from her library of Iranian folk, pop and classical musics. More likely to be found working behind the scenes for local labels and club nights, Maral steps into the spotlight on Mahur Club, highlighting a trans-historical collage technique that emphasizes formal experimentation as much as it does personal history.
Exploring (rhythmic) psychedelia in both concrete and abstract forms, Mahur Club dials in on mashed out versions of Jersey club, reggaeton and dub, nodding to psych rock and trip hop via whirlwind takes on contemporary battle dance genres. Repetition and rapid sample chop are utilized on tracks like “don’t trip on your way down” and “lori lullaby”, pairing familiar dance-floor rhythms with waterlogged Farsi vocals in a sublime vortex of tradition, pop and functionality.”