трип presents ‘locus error’, a new double concept album. Moving beyond the scope of the traditional, arbitrarily compiled VA, трип's conceptual approach brings together a range of artists around a uniting theme, supplying a sense of cohesion and narrative thrust.
"Like Noel Saavedra’s accompanying artwork, the narrative is vibrant yet nightmarish, a vision of classic trance music, including its psy side, refracted through трип's fearless, oddball aesthetic. Nina Kraviz sets the tone with 'test'. Kyoka’s ‘link’ coaxes you in with suggestive murmurs from all angles like an auditory hallucination. Ryan James Ford and ANTIGONE make label debuts, while SOPHIE and Juliana Huxtable unite for the first time as Analemma - a formidable pairing with an abstract offering, merging trance elements, metallic and corporeal sound design with vintage euphoria.
трип misfits PTU do their best to upset your sense of time and meter with two modern psy trance interpretations. Carlota contributes the nervously optimistic title track. Alan Backdrop’s hair and pulse raising yet classy ‘nizaj’ clears the way for the grand finale: X-Dream’s murky, mesmeric and minimalistic genre classic ‘superintelligence’. On the digital a ‘clever mix’ that was previously unreleased outside Japan will be released. Masters sit alongside newcomers to the form, on an LP for dancers deep in a fugue state."
Rare and ace solo production mission from Dutch Italo DJ Intergalactic Gary, packing four deep space techno-disco bangers for Singapore’s Midnight Shift
The title tune is a kicking, flanging zinger built around powerful kick and pulsing arp in a Drxciyan style. ‘Invisible Intruder’ eases off the gas for a wavier, mid-tempo chug glinting with Linn drums and YMO-esque choral voices. ‘Nickel from he Bumper’ veers off back into deep space danger zones, and ‘Mystified’ clocks out on a sexier sort of sci-fi romance tip.
Magda Drozd designs and arranges sounds to get deeply lost within on her striking debut for Switzerland’s Präsens Editionen. Strafing between granular, haptic sensitivity, nods to Far Eastern environmental ambient, cyber drone-pop and scorched metal is an often surreal but always immersive introduction to Drozd’ music. RIYL Zoë McPherson, Anna von Hauswolff, Anne Guthrie.
“The title of Magda Drozd’s debut album, Songs for Plants, goes beyond the invocation of an unusual implied audience and indicates her desire to challenge conventional listening experiences. Plants have been central to the writing-process of the eleven-song LP by the musician, artist, performer, and curator. Drozd’s sound palette includes synthesizers, field recordings, a violin, guitar, her own voice, and recordings of cacti, the latter of which were made using the latest recording technology that allowed Drozd to render audible the sound of the prickly pear for example. In this way, Drozd raises questions about authorship while she also shows up the absurdity of the relentless pursuit of new sonic sources in contemporary experimental music. All this leaves Drozd with a highly poetic album located somewhere between experimental electronics, ambient, off-pop, and dub techno. Tender and abrasive at times, she manages to combine the melancholic, critical, hopeful, and distanced—as if Grouper, Jan Jelinek, The Space Lady, and Hierglyphic Being got together to re-record Alec Empire’s Low on Ice.”
Hard instrumental grime zingers from Slew Dem OG, Spooky Bizzle for his spiritual home at Oilgang
Issued parallel to a separate 4-track ‘Version Excursion’ featuring vocals by Riko Dan, Mez, Nasty Jack and PK, this intro plate throws down the steel-coiled bass and spartan punctuation of ‘Haunted Joyride’ plus its bashment-ready B-side ‘General Riddim’ with its sampled intro by Rodigan triggering a hefty skank on the cusp of grime and dubstep, reminding of the UK styles’ strong Caribbean roots.
Funkineven opens a window on London’s Molinaro with his sterling 1st release, revolving around five tracks of soul-jazz-infused electro, acid and house for the more discerning DJ and dancer.
As a DJ and producer, Molinaro has cut his teeth in the capital for ten years now, most recently landing a slot on NTS which acts as a playground for new ideas and classic vibes.
He distills that sound into five subtly shaded parts here, zig-zagging from raw yet debonaire Detroit-meets-West Coast vibes on Gio, thru the rare grooving boogie bustle of JTL ion the A-side, to more low-key but sweetly messed up jazz-house dancing on Ty, and the deep, ricocheting funk of Molow, before the poignant vignette Sofar closes out side B.
Dark, slow-mo disco suss from French club expert Cosmo Vitelli for Tel Aviv’s Malka Tuti
Second part of a 2-part album, ‘Holiday In Panikstrasse’ yields the latest results of Vitalli’s tenure in Berlin, where he moved two years ago. On ‘Fragments of Reality’ he meets old friend Julienne Dessange a.k.a. Fantastic Twins who supplies breathy, voice-in-your-head vox over a stylishly sluggish wheeze, while ‘He Just Wanted To Hang out With The DJs’ drags that pace and vibe down to a deathly slow chug reachlling Tolouse Low Trax meets John Carpenter. ‘Party Old Boy’ follows with Tanja Vežiç’s vocal woven into the insectoid percussion and deeply trippy synths recalling Sinoia Caves’ soundtrack for ‘Beyond The Black Rainbow’, and ‘Irritable’ gets right under the skin with its viscous bass tone and vaporous harmonics.
After starting the decade on ECM, and dancing with Perlon in 2015, Ricardo Villalobos and Max Loderbauer hash out their most starry-eyed and jazz-frayed sound for Mana in ‘The Clouds Know’, achieving a style that lies somewhere between Rashad Becker, Mohammad Reza Mortazavi, Beatrice Dillon and that ace ‘John Tchicai With Strings’ Lp for Treader
“Developing a sound that tends to drift along as otherworldly atmospheres and strange fusion, Vilod evade easy categorisation, even compared to Villalobos’ already experimental and genre-twisting solo minimal offerings. He and Loderbauer pull away the backbone inherent to the structure of that dance music, and The Clouds Know refines a deft and subtle musical noir built on ambient cues, sparks and claps of electricity, brushed drums, black voids and subterranean bass swoops. There's a twinkle in the eye and moments of deadpan levity, but the overall mood here is sober and introspective. Emotions run deep.
Through studio mastery and an enigmatic language the album forms a fascinating sonic and sensory work with few compromises. With erratic rhythms notably submerged—techno remains as an irregular pulse in the belly of the beast—fields of crisp, uncanny detail expand greatly. Humid environments appear, dense with the chatter of synthesised insects and the gentle rain of drums and whispering cymbals, enchanting the listener in focus or sublimating into layers of ambience depending on your disposition - and the quality of your stereo field.”
Ruffhouse’s Karim Maas does worm-charming techno and abstract D’n’B night terrors on his killer 2nd 12” following the crooked trip hop of his recent collab with Pessimist.
Emerging as a new overlord of UK bass undercurrents with his ‘Old World Disorder’ EP in 2018, Karim Maas has come to represent a very fine strain of negative energy carried over from late ‘90s D&B, techno and dark ambient noise.
Under a title that nods to Panos Cosmatos’ modern sci-fi classic as much as his noirish club lust, the ‘Blakk Rainbow’ EP finds Karim edging ever closer to a consolidation of the crucial cinematic and dancefloor aspects of his style. The thousand yard stare drones and gut-rumble rolige of ‘Beyond The Blakk Rainbow’ perfectly resonates feel of the eponymous 2010 film, while ‘Trama Doll’ starts out sounding like a Source Direct intro but surpasses any bruk out urges in its slithering, viscous flow and mist of seething noise. ‘Saturn Return’ follows with a steeply enigmatic mix of Indian classical vocal perfusing pendulous bass and drums that resemble a desiccated Regis production, and ‘Know Your Enemy’ again highlights his keen sound design skills with a frighteningly immersive intro that gives way to a shuddering techno undertow that splits the difference between CUB and Fishermen.
Heads-down disco chug, mystic new beat and squashed teutonic swagger from Parisian, Cosmo Vitelli for the Tel Aviv-based Malka Tuti label, who’ve handily packaged both volumes in one download so you only have to do half the clicking
Listen up for winners in the elegant shimmy of ‘A Brand New City’ with its droll female vocals, for the Dirk Desaever-like New Beat trot of ‘Kuldip’, plus ‘Fragments of Reality’ where he meets old friend Julienne Dessange a.k.a. Fantastic Twins who supplies breathy, voice-in-your-head vox over a stylishly sluggish wheeze, while ‘He Just Wanted To Hang out With The DJs’ drags that pace and vibe down to a deathly slow chug reachlling Tolouse Low Trax meets John Carpenter. ‘Party Old Boy’ follows with Tanja Vežiç’s vocal woven into the insectoid percussion and deeply trippy synths recalling Sinoia Caves’ soundtrack for ‘Beyond The Black Rainbow’, and ‘Irritable’ gets right under the skin with its viscous bass tone and vaporous harmonics.
Echocord compile a decade of Deadbeat’s club-ready dub house and techno tricks in one handy package
Reaching right back to the grumbling acidic dub of ‘Teach The Devil’s Son’ from his 2009 split with Fenin, the set highlights there Berlin-based Canadian producer’s style form nine angles, at bets in the strident swagger of ‘Vampire’, the driving Berlin/Detroit techno vibes of ‘Mercy Cage’, and the darkroom-destined acid-dub hypnosis of ‘Put on Your Red Shoes and Trance’.
UR’s Santiago Salazar helms the 2nd release on Eclair Fifi’s River Rapid label with two tracks of melodic Detroit techno-house.
Playing deep into Eclair Fifi’s tastes, Santiago Salazar (Galaxy 2 Galaxy, Los Hermanos, S²) hustles the driving house of ‘Piano Adjacent’ with its cranky melody and bucking drum pattern on the front, while the B-side comes with the rudest flavour in ‘Cosmic Powwow’, which starts out straight and nice enough with strutting drums and teasing dub chords before dispensing a mucky bass grind that will get all over your new crepes in the club.
Daniel “0PN” Lopatin yields an ace 2nd soundtrack for the Safdie Brothers with his score for ‘Uncut Gems’ following his Cannes Award-winning effort on the Safdies’ ‘Good Times’ in 2017
This time he’s soundtracking a very intriguing vehicle for Adam Sandler, who’s stepped outside of the usual goof roles to play Howie Bling, a jewellery dealer in a big American city. Like the Safdie brother’s engrossingly classic yet modern style of storytelling, Lopatin’s soundtrack is fittingly reminiscent of classic late ‘70s and ‘80s synth scores but feels up to date, especially in pieces such as the pulsating technoid theme ‘School Play’ and the tweaky tones of ‘Fuck You Howard’, and all peppered with dialogue from the film.
Do the Mogadishu hustle with Analog Africa’s superb new salvo, centring on Somalian dance music between 1972-1991 with 12 cuts ranging from tuff reggae chops to dubbed-out disco, tempo-switching funk, psychy audities and entrancing traditionals
“After being blown away by a few tunes – probably just as you will be after listening to this - Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu.
On his arrival in Somalia Samy began rifling through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that "swam against the current".
The stars were aligned: an uncovered and unmarked pile of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu's archives - clarified that the pile consisted mostly of music nobody had manage to identify, or music he described as being "mainly instrumental and strange music". At the words "strange music" Samy was hooked, the return flight to Tunisia was cancelled.
The pile turned out to be a cornucopia of different sounds: radio jingles, background music, interludes for radio programmes, television shows and theatre plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop. Over the next three weeks, often in watermelon, grapefruit juice and shisha-fuelled night-time sessions behind the fortified walls of Radio Mogadishu, Samy and the archive staff put together "Mogadisco: Dancing Mogadishu, 1974–1991”.”
Two dance-pop-tight morsels from “the greatest thump drag band in New York City”, following from their ‘W.E.A.R. Tony’ album for Quiet Time Tapes
The breezy but scuzzy jaunt ’Fire Flies’ sounds a bit like Outkast and Animal Collective meets A.R.E. Weapons, while the choral percolations and swaggering groove of ‘Bad Timing’ steers that vibe on a slower and woozier hunch with strangely distinctive style.
Italy’s RVDE come brawling on Perc Trax with the size 12 stomp of ’90’s Hammer’ backed with remixes by DJ Boss, Anthro, and Perc
The original waddles like Yokozuna at the ’93 Royal Rumble, while DJ Boss resets the rhythm to a kinky, acidic big room pound, Perc railroads it into runaway train style, and Amsterdam’s Anthro turn on the distortion.
Gentle, healing new age electronics tape from 1982, reissued for the first time by Morning Trip, who were also behind the recent Don Slepian and Brent Snyder reissues.
“Sound has the ability to heal. This is the primary tenet that has driven Karma Moffett for over 35 years. Pure tones, resonant harmonics, the sounds of the earth. At the dawn of the 80’s, as the burgeoning movement of privately-issued New Age was taking hold, Karma Moffett was a pioneer. Eschewing the use of synthesizers and other increasingly-available electronic technology, Karma crafted his meditative, introspective music using ancient instruments. Primarily utilizing Tibetan Bells, and Singing Bowls, Karma Moffett crafted sounds that led the listener on an inward journey.
1982’s Sitting Still Within/Sitting Still Without is Karma Moffett’s earliest triumph. Combining the aforementioned Tibetan Bowls & Bells along with naturalistic field recordings, Karma’s first album is a testament to the power of minimalism and repetition. An ambient voyage that truly draws the listener inwardst, and outwards, Sitting Still Within/Sitting Still Without is music for healing.”
Small-sound ambeitn/electronica specialists whisper sweet nothings in a language of rustic rustles and rolling drone topology, making lovely use of their favoured tape recording techniques at the behest of Dauw’s collaboration series
“Both artists hold a very special place in the history of the label. The Humble Bee was already present from the very beginning and, in hindsight, definitely has put an important mark on the musical aesthetics we've been developing throughout the years. On the other hand, we crossed paths with Benoît Pioulard several years ago through our ongoing Living Room Concert Series in which he offered one of the most magical evenings to date. Given their mutual love for the tape medium and melancholic compositions, we only had to connect the dots as we were pretty sure that some magic was up in the air.
"I always look forward to the Dauw collaboration releases. Most of the creativity for these lays within their curation: it brings together artists that, although arc in the same orbit but somehow never cross paths. The beauty of collaborating is that we learn from having to give space to another creative force, working alone we fall back on what we know and what we have already done. Although I wasn't paired with Tom for earlier projects, the guys at Dauw thought (and rightly so) that it was about time we crossed our musical paths for an lp." (The Humble Bee)”
Honest Jon’s vital, flagship series returns with a reminder of the cultural turning point when Caribbean migrants began to make their crucial contribution to UK life. Arriving 6 years on from the previous volumes in 2013, ‘London Is The Place For Me 8’ returns to the series’ key inspiration of Lorn Kitchener, the famous calypsonian whose observant, mellifluous tales are a vital summary of life for the first Windrush generation in London and England.
“The genius of Lord Kitchener has been the mainstay of our series. In this volume devoted to his post-war London recordings, Kitch plays his many roles with signature aplomb and poised subtlety.
First there is the hooligan chantwell, up for anything in the hurly-burly of carnival proper; and then the casual reporter, firing off postcards to Trinidad about taxis, flashy booze, fast women and football in Manchester, with homesickness and grievance nestled just behind the optimism, pride and tentative senses of belonging.
There is the bearer of news from home, in detailed accounts of murders, tales of stupid local coppers, and reminiscences about food and particular mango trees; the political thinker, considering racism and Africa; and the diarist, with his vivid tales of infidelity, and disclosure of the break-up of his marriage, and his desire to get away. One foot in the UK, the other in Trinidad; but the man himself somewhere in-between. Kitch In The Jungle, nobody around. A ‘diasporic explorer’; a key twentieth-century witness, alongside such hallowed figures as Samuel Selvon and Edward Kamau Braithwaite. Though in frustration Kitch would sometimes take over double-bass duties himself, the musicianship of Rupert Nurse, Fitzroy Coleman and co is top-notch. The original glorious sound is down to Denys Preston, recording for Melodisc, often at Abbey Road Studios (where we transferred and restored the 78s compiled here).”
Mixtape and club specialist DJ/producer, Judith Biffiger aka Sassy J rounds up exclusive deep house and broken beats for Rush Hour following her sets for Altered Soul Experiment, RA, TTT
Named after her Bern/London-based club night of 14 years, ‘Patchwork’ is introduced by a gorgeous spoken word piece by Farrah Boulé, before the Swiss DJ glides between exclusive turns by Dego in his 2000Black guise ‘Plastic Jam’, to the other half of 4Hero with Marc Clair’s brilliant ‘Mirror Images’ from Nu-Era’s ‘Beyond Gravity’ (1994), along with the chromatic acid colours of ‘The Projector’ by Gifted & Blessed, the triplet-helmed swag of Aardvarck’s ‘Aap Noot’, Mr. Fingers’ silky ’Survivor’ (1992), and the infectious hustle of ‘Jelly Bubble Rise’ by Alex Attias & herself, plus the earthy depths of Georgia Anen Muldrow’s ‘Always’.
Dry but playfully kinetic experiments in rhythm-driven minimalism from persistent explorer Andrea Taeggi of Gondwana and Lumisokea esteem
In a play of contrasts Taeggi ’s ‘Batch 0011’ is coarsely split between its slower and uptempo halves. In the slower sections of ‘Inscape’ and ‘Capricci’ he uses the slower tempo to open out and colour the space with discretely harmonised hues and expressively chattering electronics in a way recalling Bellows’ roughly plotted, sensitively haptic style.
On the other hand his uptempo works have the potential to get under a dancefloor’s skin, working up a bristling, driving sort of electro-acid groove in the salty writhe of ‘F’, and again in a way recalling Byetone on the hypnotic shuffle of ‘Vanitas’.
Fever Ray wraps up all the remixes of ‘Plunge’ in one handy and very healthy package
The original productions by Fever Ray with Peder Mannerfelt, Nídia, Paula Temple, and Deena Abdelwahed provide inspirational fuel for no fewer than 21 remixes, with highlights strewn between her brother and The Knife bandmate Olof Dreijer’s sloshing spin of ‘Wanna Sip’, a swaggering Tzusing remix of ‘Mustn’t Hurry’, the clenched Afro-techno futurism of Marx’s take on ‘Plunge’, Peder Mannerfelt & Pär Grindvik’s bolshy Aasthma revision of ‘Mustn’t Hurry’, a brilliant sort of Electro Chaabi version of ‘To The Moon And Back’ from NAR.
Detroit’s Ali Berger chases up his acid jack trax for FCR with a spanking, hard, house turn for Wheez-ie’s Southern Belle Recordings
‘Raise’ works tuff rut of bucking kicks, sparking breaks and cold vocals reverberating with classic Music Factory and warehouse vibes and working shades away from Paranoid London, while ‘Anxiety’ drags the vibe down to a restless jack and fraught noise with Berger intoning “i’ve got anxiety about fucking everything” in a very late ‘80s warehouse dread style recalling Bam Bam or Traxx.
German minimal house figurehead Khan salvages another load of acid trax from the archive c. 1994-1996
Following thru on his self-released batch of 2018, we hera the playful hallmarks of his later productions coming into play again across ‘Vol.2’, with potent examples to be scored in the head-wobbling, glassy rubs and quick pace of ‘Baacteria’ and his snappy acid-electro missile ‘Fatty Acid’, along with the kinkier sort of filter house acid in ‘Heartache’, and a trippy, slow sound recalling Tin Man on ‘We’re Alone’.
Filter Dread fractures hard-stepping grime, jungle and garage in ruffneck, kaleidoscopic style for fans of East Man, Lee Gamble, Kode 9, A Tribe Called Colin, Moon Wiring Club
Peppered with classic samples, the session rides head high from killer, robotic 2-step functions in ‘Ice Bass’, to acidic early Playstation grime flex in ‘Space Conga’ and darkside hardcore cyber-dub in ‘Heat Depth’, along with a gnashing breakbeat bumper ‘Ice Rave’, uchronic time-line origami with ‘Crush Sphere’, and cold 2-step parries in ‘Tekker Wave’.
ASC in killer mode with 8 trax of pendulous, hydrodynamic techno torque and misty-eyed electronica sound design on his Auxiliary label
While it may be ASC’s 4th album in this mode of 2019, the producer continues to find new angles at the intersection of techno, D&B and advanced sound design in the eight hyperprisms of ‘Realm of the Void’, packing a deep dancefloor drama and rugged but classy angularity between the clipped 2-step torque of ‘Dyad’, the Mike Parker-like electro-techno dynamic of ‘Laminar Flow’, noisy underwater disturbances in ‘Ecdysis’, and properly concentrated, body-rolling bass heft in the fluid sensuality of ‘Tryst’.
Richie Hawtin’s Plus 8 Records round up 8 minimal techno steamers for the big rooms
Check Matrixxman’s ‘Full Clipp’ for a pacy bleep techno pounding, ONYVAA’s ‘MISBHV’ for a nagging uptempo acid drill, and Orbe’s ‘Agdam’ for a classier sort of rolling, subaquatic pressure recalling Mike Parker or Donato Dozzy productions.