Certified Jakbeat bangers from Traxx’s Modern Analysis and cult label, Nation
The label’s first release in five years leads out with a ‘Proto Rhythm 1’ of crooked, stumbling basement groove tapped with vocals that sound like Sharon Funchess channelling Klaus Nomi, and follows thru into ‘Proto Rhythm 2’ with a Peech Boys a cappella fixed to grubbiest bassline and toiling machine drum patter for 9 minutes of jakbeat panache.
Morning Trip & Yoga Records reveal a lost work of new age music: Alice Damon’s "Windsong".
"Gently propelled by Damon's haunting breath-of-life vocal winds reminiscent of Joan La Barbara underscored by field recordings and Damon's fretless bass sound calling to mind mid-70 Joni Mitchell, Windsong is traveling music, for the roads or for the skies. Instantly moving, it conjures vistas both romantically familiar and cosmically mysterious — waterfalls and wind, the voice of the earth, as heard through heavenly prisms.
Damon attended college in Massachusetts, where she formed and fronted the all-female garage band called The Moppets in the late 60s. The band began to garner national attention, but Damon moved instead to the wilds of northern Vermont to homestead and raise a family. In 1981 or thereabouts she was able to gain use of an early Sony digital home recorder, and created her masterwork, Windsong.
But Damon waited until 1990 to release a packaged version of this album, now titled "Windsong II", and sent samples to regional distributors like Vermont’s fabled Silo-Alcazar, where a copy of the album was first discovered, but little evidence exists of a proper commercial release. Alice Damon passed on in 2011 and remained essentially unknown until the landmark I Am The Center: Private Issue New Age In America 1950-1990 first revealed her genius to a wider audience two years later. Now, just in time for the recording's 40th anniversary, Alice Damon's Windsong may at last be heard as one of the most singular, moving and profound examples of new age music's psychedelic essence."
London’s synth mutant Xvarr explores his thing for late ‘80s house and industrial, and early ‘90s techno/electronica, on Séance Centre label Aural Medium.
It’s fair to say there’s no shortage of this style in the ether right now, but Xvarr’s deep spirited approach distinguishes his music from the crowd while patently paying dues to the original inspirations, bringing a ringside knowledge of how they would have informed each other.
In a classy declension of style and pace, the LP rolls out from a strong nod to classic Chris Carter and Severed Heads in the lead tune’s piquant arps and urgent drive, before ‘Contemplation’ slips off into a sort of slow, microtonal acid reverie somewhere between AFX and Other People Place, and the harmonic resonance of ‘Transitional Being’ could almost be mistake for a B12 bewt.
The allure of ‘80s industrial also lights up ‘The Crooked Path,’ while the melting acid swagger of ‘Apex’ josh to dots between RDJ, Conrad Schnitzler and Andy Weatherall, with the cosmic chug of ‘Universal’ smartly invokes Baldelli gone Chain Reaction.
Killer Hardy-esque edits created by the Jak >> made In Chicago.
The A-side is all drums and soulful vox in a classic style while the flip deploys militaristic snare rushes like some lost version of Dj Rush's Crazy Hardy Edit.
The real ish.
Jamal Moss owns his mantle as The Worst DJ Ever with an absolutely deadly 2nd batch of The Worst Edits, tweaking out Industrial, Jazz, House, New Wave and Psych Rock nuggets in untouchable, incendiary style.
The title of Worst DJ Ever was bestowed upon Jamal by some sad pebble at a secret warehouse rave in Manchester many moons ago. In case it needs to be stated; Jamal is one of the best DJs ever, but some divvies just don’t get it. Allow it anyway ‘cos Jamal just keeps on keeping on with this return to his deeply cherished Members Only series, adding to a precious collection of percies plucked out from behind the ear of late ‘80s Chicago dance culture and treated to his special marination process for future-proofed effect.
On this session you’ll cop his re-cut of The B-52’s up in it along with a stonking take on Larry Heard & Robert Owens ‘Passion Track’ spliced with some super tight Hi-NRG bassline. There’s hyper freestyle-electro chops, strobing disco bouncers, and a very special strain of psych rock edits that we’ve not really heard from him before. The fidelity is all crud VHS and faithful to his beloved aesthetic, and if that puts off some of the club pedants, then all the better for it, as they can go whistle to some immaculately produced bobbins while heads get down.
Unmissable, u already know it.
If you’ve ever been enchanted by the music of Eliane Radigue, Mary-Anne Amacher, Terry Riley, La Monte Young, Eleh; we urge you to dive into this recording for the good of your health...
Catherine Christer Hennix’s work, realised over the past 50 years - but much of it only coming to light in the last decade - is the result of extensive studies in mathematics and computer generated composite waveforms (she was affiliated with MIT and SUNY New Paltz), drawing upon the architectural sonics of Iannis Xenakis and classical Indian vocal traditions of Pandit Pran Nath, plus inspiration from Japanese Gagaku music and the 13th century music of Perotinus and Leoninus; all of which fed into her earliest collaborations with pioneering downtown NYC musicians such as La Monte Young and Henry Flynt, and has deeply informed her ongoing, endless cycle of work ever since.
Written in response to a Henry Flynt retrospective, this is Catherine’s first 4-channel computer assisted composition since 1969 and it seems to almost effortlessly consolidate and encapsulate all of the above references - medieval and Indian vocal traditions/the elegance of Far eastern court music/ buzzing minimalist drone structures/20th century architectonics - over it’s trans-continental, anachronistic and uchronic expanse.
That may all sound quite lofty, but it’s all at the service of some of the most beautiful, transcendent music you might ever experience. And we do not use those terms flippantly. This is genuinely life-affirming music which, if we’re quite honest; makes a lot of subsequent new age meditations sound trite and fluffy by comparison, although it surely wouldn’t sound as great without them for contrast.
On their opulent first outing since 2015, the MVO Trio embrace negative space and dematerialised jazz dynamics for a sterling debut with Modern Recordings (Pat Metheny, Craig Armstrong, Hendrik Weber) and a new lineup that now includes Laurel Halo and German jazz drummer Heinrich Köbberling. V highly tipped if yr into Carl Craig's Innerzone Orchestra or Move D's Conjoint.
Typically rooted in extended, improvised jams, the lissom and grooving results were teased into their final form by Moritz at the mixing desk, where he imbues the playing with an effervescent spatial nuance and deftly spotlights its ear-catching peculiarities as the trio naturlly explore and inhabit the interstices of rolling Afrobeat structures, modal Detroit jazz/beatdown, and airy ECM minimalism.
Picking up in the ether where ‘Sounding Lines’ left off in 2015, the deep presence of erstwhile trio member Tony Allen (RIP) is adroitly channelled by Köbberling’s shuffling stick work, and decorated with blushing organ chords and vibes laid down by Moritz, who finds an ideal foil in Laurel Halo’s electronic gilding. In unison they hold a sublime tension that’s driving but floating, placid yet thizzing with cool energy as they cycle thru harmonically sonorous permutations of a dubwise jazz techno.
From the pointillistic percussion and vapours of the opener, the set arcs low and wide from passages of spiralling organ to swingeing depths, coalescing at the mid-way point with a proper jazz techno vibe recalling Moritz’s early works with Juan Atkins, and traveling to almost 4Hero-esque hi-tech jazz abstraction and back into the pocket with natty rhythms that resolve into proper, heads-up techno.
Almost a decade since his classic album ‘Noi No’, NYC’s Madteo runs amok on Honest Jon’s with nine tracks of groove graffiti, scrawling on disco, hip hop, house and garage styles with inimitably thrifty, freehand tekkers
With the dance gee’d up by Madteo’s ’Str8 Crooked’ batch - his first 12” in years - 'teo continues to express a mix of deadly cool and charmingly frazzled dance trax in his patented rug-slipping/rug-cutting fashion on 5th studio album, ‘Head Gone Wrong by Noise.’ Club music by nature, but with an abundance of detail and chicanery that will come to light with headphones and home listening, it’s another masterclass in how to do it your own way with nary a fuck given for norms, but still loadsa love for the original forms.
Whether turning deep disco boogie into a psychoactive lather, as on ‘Since Man Crawled Out of The Slime’, or voicing the buzz in his head on ’Not This, Not That’, he simply can’t help but do it with properly slanted style. Upending the contents of local record shop bargain bins into a bucket-headed smoke out, the results spell out a sort of slippery, noirish soundtrack to nocturnal jags between greasy dive bars and backstreet pick-ups, getting progressively lost to its own lowlit world in the most absorbing way.
His avant B-boy/soundboy chops are at full flex on the slompy bomb ‘Big Stack Attack’, and framed at his longest and loosest in the album’s core trio of mazy jazz-house joints between ‘Deserts of Social Isolation’, the rangy swang of ‘Freeze The Cheese’ and the deep fried drums of ‘They Rolled Over For Him And He Rolled Over Them’, with a real future classic in the air-step strut of ‘People Impersonating Persons.’ Fans of everyone from Shake to Actress, Demdike Stare and Theo Parrish who don’t know this G owe themselves a check. Everyone else; you know the score!