One of nineteen newly released live sets as part of Autechre's AE_LIVE series.
Witness the evolution of the duo’s live set via performances across the US and Canada. Presumably using the whole contents of their LIVE BACKUP, the differences between sets are at times subtle and at others not, but each of the releases gives a different glimpse into the way their tools are exploited and manipulated. After the release of last years' NTS Sessions maybe we can start to answer the question 'is it possible to have too much Autechre?'. The answer is no.
Pessimist by name and nature, Kristian Jabs supplies a bassy warning shot about ecocide in the Boreal Massif duo with Reuben Kramer via his personal label spearheading the Trip Hop 2.0, err, thing.
In a similar mode to the ‘Pessimist & Karim Maas’ album, Boreal Massif’s ‘We All Have An Impact’ adopts a sluggish tempo to convey a foreboding sonic metaphor for the ruinous effect of humans over nature. It’s no Fatboy Slim sampling Greta Thunberg, but it is a fittingly sombre elegy for the apathy, well-intentioned floundering and confusion surrounding climate change.
In 12 parts they pull up the guilt like a poultice with low-key, shadowy layers of synths and earthy dub bass riddled with rudely sawn-off drums, often tending to rub out the rhythm and leave listeners in imposingly stark situations that recall classic Burial interludes or haunting passages of The Caretaker before strafing into claggy corners of crushed drums shades away from King Midas Sound and Kevin Martin’s glowering ‘90s styles.
Japan's Ena joins Mumdance & Logos’ Different Circles crew with an extended dive into deeply abstract grey area/post-Chain Reaction dub incursions that come highly recommended if yr into Porter Ricks, Felix K, Dynamo or Pendant...
Two years in the works, ‘Baroque’ follows from the D&B-styled flux of Ena’s early 2019 collaboration with Felix K (F&E #1) to sound out more unorthodox areas of inquiry of abtruse, Chain Reaction-like sound design and algorithmic decomposition. In terms of the music’s boneless construction and roiling spectral nature, it surely ranks among Different Circles’ headiest and most psychedelic releases following the dread kinematics of Logos’ ‘Imperial Flood’ album and the cult acclaim given to their killer Raime and Szare 12”s in the past year.
Variously recalling the sound of stressed-out machinery or the sferic mystery of The Conet Project, ‘Baroque’ sees Ena transition further from recognisable styles into a richly enigmatic tonal and texturhythmic language. Over the album’s six tracks he uses this futurist-primitive mode to express a detached, meditative state-of-mind that speaks to paradoxical ideals of club music and domestic listening: of being simultaneously in it, yet out of it; of finding yourself lost in the crowd of noise.
It’s a sound that resonates with the short-circuiting AI convulsions of Logos, Mumdance and Shapednoise’s EP for The Death of Rave as much as the hypnagogic mulch of Thought Broadcast or the most abstruse Chain Reaction releases - think a rusted and sunken Dynamo or Porter Ricks in radioactive waters - and comes primed in artwork by Raime that perfectly highlights the music’s strange, semi-organic nature and austere yet psychoactive allure.
Incendiary, 180BPM hyper-steppers rhythms riddled with razing drones and field recordings for Nyege Nyege Tapes, the debut electronic music productions by “Punk ethnomusicologist” Judgitzu, inspired by time spent in Tanzania and highly compatible with Singeli, hardcore techno, gabber...
Roving punk ethnomusicologist Julien Hairon aka Judgitzu delivers fire on Uganda’s Nyege Nyege Tapes with two cuts of high tension, cheek-pulling club G-force. After spending the past 6 years recording soundscapes and traditional musicians across Asia, Oceania and Africa, and releasing them on his Les Cartes Postales Sonores label (along with reissues of tape and CD discoveries on his petPets label), Judgitzu finally presents his first electronic music productions as the result of his residency in Tanzania since 2017. Clearly inspired by the domestic, hyperlocal sound of Singeli, but more stripped and tipped towards minimalism, the results have been lighting up clubs, back-rooms and festivals from Kampala to Salford and beyond over summer 2019, and are only set to go further with this full release.
‘Umeme’ is grade A rocket fuel that runs at 180bpm for nearly 7 minutes of unyielding, panic-inducing stabs and undulating bass rhythms. It starts up ferociously and does not let go until the end, sustaining a state of high alertness that will leave even the most reckless ravers breathless but ready to go again. ‘Kelele’ follows with equal regard for your heart rate and rave health, but this time by stealth and less in-your-face, filtering the drums with field recordings of revving motorbikes and squawking animals in an ebb and flow of pilly rushes and tropical hyperdelia.
Hands-down it’s one of 2019’s deadliest dancefloor sessions and hopefully the start of many to come from an exemplary new producer.
**Adroit electronic reconstructions of "original 1930s field recordings" made in the Then Belgian Congo** "Peder Mannerfelt’s release for Archives Intérieures takes us back to Belgian Congo in the 1930's. This adventurous album finds its roots in a very obscure 78 rpm record, put together by Belgian filmmaker Armand Denis, who was one of the first Europeans to capture the incredible sounds of Central Congo. These recordings were published in 1950 as The Belgian Congo Records. Mannerfelt is an avid collector of African tribal music. When he came across this record he was immediately intrigued by the complexity and rendition of these recordings of Congolese music. His initial idea was to use the original album as a sample source, but this concept was quickly abandoned and Peder decided to recreate the album using only synthesizers. The Swedish Congo Record is first and foremost a thrilling, refreshing album. However, it is also an unintentional critique on a dark passage in Belgian history. The colonial times are marked by a violent, shameless exploration and exploitation of resources and people. On a humanitarian, political and social level a deep scar was left behind by this period of Western European Colonialism. Still now Western economic interests continue to influence the fate of central Africa. Simply sampling the original album could be seen as another way of colonising or disrespectful appropriation. However, by re-sculpting the album, reshaping its original musicality into a wild electronic universe of his own, Mannerfelt pays tribute to the traditional and folkloric meaning of the dances. The nature of this tribal music pushed Mannerfelt to further explore his unique sense of rhythm he’s known for with Roll The Dice as well as with his solo work. The Swedish Congo Record also bears his signature way of combining skilful productions with a touch of humour, which results in a multi-faceted, daring album."
Boxed don Mr. Mitch on an 8-bit dancehall bogle for The Bug’s Pressure label, backed with tremendously unstable remixes by the bossman
‘Not Modular’ is a mad stripe of bubbling electronics driven by a rugged ‘90s Dancehall engine in Mitch’s more playful, party-guaranteed style, while The Bug typically makes it darker, wilder with dense level of FX applied to growling, noisy fashion in the ‘Straight’ remix, then in super dry and rasping style on the murderously ‘Raw’ remix.