Mysterious “married outlaws” Low Budget Aliens firm up a killer sort of (I)DeMaterialised spin on drill, jungle, footwork and ruff bass sound for D. Tiffany and uon’s XPQ? label
‘Junk DNA’ spells out a dead crafty sound in orbit somewhere between early Actress, the ambient dance mutations of Ghostride The Drift and Skee Mask’s nervy rufige. It’s smudged regurgitations are pretty much bang on the pulse for contemporary music’s up-in-the-air flux of styles in a way that feels like it could go in any of ten directions at once.
‘CRASh LANDING’ kicks it off with a sort of radioactive rendering of drill, and ‘Hazardous Waste Pump’ turns up the gas on a slowfast jungle tip, teeing up a weightless flex shared wrth the centrifugal footworking dynamics of ’FE Ignot’ and what sounds like a vaporised 33EMYBW in ‘HOME SICK!’, while ‘BOWSERS HIGHT COURT’ leans into X-files breakcore, and the deadly one-two of ‘Service Mode 2’ and ‘LEVEL 1 2 3 4’ whip D&B and 150bpm beat science into wilder, experimental dancefloor thrills.
Crooked ambient jazz techno action from SW., nodding to Detroit style hi-tek jazz and its echoes in classic UK AI for Avenue 66, the sublabel of Tin Man’s Acid Test
A bit grittier than we remember of Stefan Wust’s albums for SUED, the tracks on ’TRUE lipS’ cut a rugged groove somewhere between the early-mid ‘90s and today, coaxing out angular breaks and arcing harmonies that nod to Shake and Derrick May via B12 and 4Hero. Check for classy tackle in the swingeing drum programming of ‘meanDreaMbeam’ and ‘theMartianswing’, a silky alien dancer in ‘JAZZmassLESS’, and sweet ambient kiss off ‘ambientRAND’.
Strong album of late night smoked-out jazz vibes highly recommended if yr into Burnt Friedmann/Flanger, Jan Jelinek, Conjoint, ViLod, Afrikan Sciences...
"The thematic focus of this album draws from multiple sources. An utopistic self-revelation that has the purpose to paint imaginary landscapes and surreal scenes, to talk about past and future that never occurred and never will, to describe the pure human nature in its most honest and instinctive form – much like in our dreams.
This album is a chaotic and contemporary musical reinterpretation of a short story 'The Dream Of A Ridiculous Man' written by Fyodor Dostoyevsky in 1877 and its animation movie adaptation with the same title by Alexandr Petrov (1992). It captures the experiences of a man who decides that there is nothing of value in the world. He contemplates how he has always been such a ridiculous person and also how he came to the realization that nothing really matters to him any more. ... He ends up slipping into nihilism and was determined to take his own life until a sudden dream about a surreal encounter with this little girl accompanies him on his fatal journey. Towards the end, he kept wanting to go back to that dream, and that is all he was obsessing about, presumably with the intent of reconciling and atoning for his lack of kindness.”
Replacing Dostoyevsky's original characters with my father, and the little girl's character with my imaginary daughter, I intended to explain myself and how i saw the relation between my father and how I looked up to him, seeing him as a hero during my childhood, in contrast to how I saw him loosing his faith and dignity day by day in his later years. 'Lena' – the girl in the dream, also my daughter in this concept - is my gift to his memory.
Lena's imaginary character is also inspired by lifetime events, modelled and collaged from children and women I was lucky enough to know. Just as my father wanted me to be the perfect child, I created Lena on the same way. The theatrical scenes of their meeting through 13 dreams tend to describe a surreal mixture of blissful and sinless moments in contradiction with sorrow and solitude. How a child's innocent and pure soul can reveal the true value of our personalities.
Being inspired by my fathers personality – halfway while producing this album - he committed suicide and passed away in 2015 – not knowing about the project I'm working on.
Besides its emotional charge 'LENA' is also a musical propaganda against the unfortunate attitude of today's musical scene and electronic music producers. Not infected by fashionable trends, this album is a call against cliché and monotonous reproduction. I believe the only art-form that shines through time is fuelled by individuality, honesty and will. The most important thing is to be grateful for what we've got from the past generations, and being strong enough to carefully give it back to the next – as a heritage. This is what culture about. To define ourselves."
Completely head-warping Persian progressive dub nuggets from LA's Maral. Where else are you gonna find Lee "Scratch" Perry, Crass's Penny Rimbaud, oversaturated beats and Iranian classical and folk samples mashed into a fuzz of echo and tape hiss?
Few genres have been as rinsed, but Maral's "Push" arrives to remind us that innovation is still possible within dub's expansive parameters. The LA DJ and producer impressed with last year's bizarre and brilliant "Mahur Club", but truly centers her own dynamic universe on "Push", finding the psychedelic sweet spot between trip-hop, dub, club music and Iranian folk and classical styles.
From the opening blast of 'Kerman Wobble' - all echoing Iranian vocals and lo-bitrate beatbox hits that sound as if they're about to snap whatever tape spool they're cycling on - it's clear that Maral is wielding her fusion with intent. The fingerprints of dub are everywhere, as vocals get trapped in delay vortexes and rhythms are fired thru disintegrated FX chains. When Lee "Scratch" Perry shows up on 'Protect U', it doesn't feel like just another feature, it feels like a blessing from one generation to another.
You should know by now that we're into sonic world building here, and with a collection of samples, loops and FX, Maral has built a four-dimensional soundscape we never want to leave. It's the connecting thread between Tricky, Sote, DJ Spooky, Demdike Stare and DJ Rupture and like-minded contemporaries Thoom, 8ULENTINA and Lara Sarkissian. "Push" is an astonishing debut and one of the stand-out albums of the year, miss at your peril.
FatCat’s first signing, Takuya Sugimoto aka Web bubbles onto Dynamo Dreesen’s label with a suitably frothy set of ambient-house/electro-jazz style produced around 1994/95 - Japanese house fiends take note!
While touring Japan in 2019, Dynamo Dreesen enquired about an old favourite of his, Web’s ‘The EVA EP’, and was duly contacted by the artist with a batch of deep wrigglers that form ‘The Sound There’ for Acido Records. Recalling to our ears classic Move D from the same era, or even the pleasantly effervescent house of Shinichi Atobe, it’s all lovely stuff and very much of that golden era which only seems lightyears away now.
Whittled down from 16 tracks to 8 for this release, the vibe is primed for suave shufflers and elegantly wasted sessions in your living room, with shine-eyed treats strewn between the tactile jazz-techno of ‘Interaction with Equipment’, the louche deep house lope of ‘Math and Dance’, a real zinger in the uptempo but heavy-lidded stepper ‘Sand Old Castle’, the E.R.P-like harmonic aura of ‘Word of Memory’, and a superbly tangy Braindance-like closer ‘Papyrus’.
Crafty debut album of Latin American braindance from Medellín, Colombia’s Verraco, turning out tautly syncopated steppers and synching synthlines shades away from likes of Lakker, Gooooose, Rian Treanor.
The tracks were all made between Barcelona and Medellín with the intent of exploring concepts of “mestizo and its “purity”” thru the framework and palettes of IDM. The results exert a fine Latinate spin on electronica tropes, metered with swingeing syncopations and soaring flutes lines that trace a line from the Andes via Elysia Crampton and TCF.
“From rural chants flowing down a mountain range, to street bikes and gang outbreaks lighting up cityscapes, the use of field recordings in Grial guide listeners through Verraco’s sonic fiction. These ten pieces present an intricate pluriverse that the Western world has greatly marginalized. Verraco proposes to rethink the sudaca cyborg-habitants of the future fusing powerful sound design to collapse the established order. Grial becomes the sacrament in which other possible worlds turn corporeal.”