Debut album from Andrew Hung, also known as one have of Fuck Buttons.
"As co-founder of Fuck Buttons, he has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman, been featured on the 2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's "Shackles Gift" and co-writing/co-producing the critically acclaimed "Kidsticks" by Beth Orton. He soundtracked the multiple-award winning film "The Greasy Strangler". Realisationship is the continuing voyage through Hung's previous collaborations. Written, performed, produced and mixed entirely by Hung; the album is pure expression. In a world that seems more disconnected than ever, Hung sees this as an opportunity to highlight the duality of humanity. The music of Realisationship is both fragile and powerful, a celebration of nuance; we are light and shade, good and evil, love and fear. A hammer to expectations as an expression of hope."
Pivotal A’dam players, Juju & Jordash move beyond the themes of Techno Primitivism  and Clean-Cut  to arrive in serene, Far Eastern and African-facing house-not-house zones with Sis-Boom-Bah!
The vibe is assuredly home-listening, leaving the club in pursuit of coolly introspective dimensions, guided by gently rolling deep house impulses and populated with myriad synth voices in a most sublime version of the devilishly detailed, hardware-driven style they’ve honed since 2004.
Ok there are tracks you could dance to, if the mood takes you with the deep (inner) space techno of Attack The Crwod, and the buoyant, chromatic twirl of Back Tuck Basket Toss, but the biggest attraction iOS the way they weave those tracks into he album’s warp and weft, in equilibrium with more etheric, esoteric gestures such as the rippling gamelans of Herkie at the front, or the 4th world rhythmelodic cadence of Paper Doll, and the quietly deliquescent charms of hanging Pyramid.
2015 Live Recording from "Supersense" Festival Melbourne featuring a 'supergroup' formed around Manuel Göttsching, Ariel Pink, Oren Ambarchi, Shags Chamberlain playing material from the classic ASH RA TEMPEL releases "Schwingungen" and "Seven Up".
"Out of the blue - I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called „Supersense“ at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I‘d planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians.I had never been very happy in performing „public sessions“. I‘ve always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That‘s when the idea for an „Experience“ was born.
I decided that pieces from the second and third Ash Ra Tempel albums „Schwingungen“ and „Seven Up“ (both from 1972) would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain and Oren Ambarchi.
We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. … It felt a bit like pushing at open doors - or, to put it another way - it felt like being welcomed with open arms. We finally met in Melbourne for a relaxed afternoon rehearsal, just two days before the actual concert performance took place. After a technical set-up we went straight into „Look at Your Sun“ and it was as if we had performed it only yesterday.
It continued like that with the other tracks. For the first part of „Schwingungen“ I decided for a little variation, so that all four of us were standing around the vibraphone at the beginning, playing it with four / eight hands - like an imaginary „Music for Four Musicians“ (a bit reminiscent of the early works of Steve Reich)."
A strong look for fans of Daniel Menche, Black Mecha, The Haxan Cloak
“Pinprick guitar lines, swaths of ethereal brass, sub-bass thuds, the clatter of distorted percussion, fever dream lullaby melodies—it can be difficult to discern what sounds we’re hearing over the course of Nordra’s eponymous debut given the strange and unorthodox context of their combination. And while many tech savvy artists have managed to build strange symphonies and texturally curious electronic exercises within the lonely confines of user-friendly software, those in-the-box tactics don’t line up with the mission statement of Monika Khot, the mastermind behind Nordra. “The record has a lot to do with the loss of information from analog to digital conversion, which is then in turn paired with static and dynamic thought discrepancies,” Khot says. “I tried to make as many smoothed-over arcs of sound as I could all alongside very sequenced, quantized beats—making a path from point to point sonically.”
Khot and her Zen Mother musical compatriot Adam Wolcott Smith recorded Nordra in a house in Seattle in May of 2016. Several months later, Khot spent several weeks on the road performing the album in its entirety while on a summer tour with SUMAC and Jaye Jayle. SIGE Records is proud to release the album to the world on vinyl in 2017.”
Mellifluous, dubby 2-step, Djrum style, from new label; Jupiter’s Melody.
Taking original material by The Drop, Djrum works his signature atmospheric layers of synth and keys around a sharp 2-step swing and reggae soul vox in Looking To The Sky, recalling Geiom meets Zed Bias in the process, while Takeover rolls that formula with thicker subs and more rustic neo classical string dabs.
Tel-Aviv’s Fortuna Records open a new section in your collection with The Haunting Sounds of Yemenite-Israeli Funk 1973-1984, scanning eight obscurities ranging from the ethereal slow disco of Reuma Abas on Wa’ana Fad Leumi, thru kinetic jazz-funk by David Dor, taking in an organ and bongo-brimming soul bomb by Tsvia Abarbanel in Im Nin’Alu, and hairy psych-rock ’n soul swagger from The Amranim.
All super rare stuff that you’ll probably never find elsewhere.
Death Waltz present the pulsating Italian synth score to director Alfonso Brescia’s 1980 sci-fi adult action film, The Beast In Space (La Bestia nello Spazio).
"Borrowing heavily from Walerian Borowczyk’s THE BEAST (La Bête), most notably its sexy b-movie seductress Sirpa Lane, along with elements of STAR TREK, CALIGULA, and even STAR WARS (light saber battle, anyone?), this treasure trove of trash cinema is truly a sight to behold. Throw in a plethora of hardcore stock footage inserts, including a loving pair of amorous horses (be sure to experience the XXX-rated version), this heavily scotch-taped piece of sleazy celluloid also features one of the genres finest electronic soundtracks.
Veteran Italian composer Marcello Giombini, credited in the film as Pluto Kennedy (best sci-fi pseudonym ever?), delivers a brilliant synth and effects-heavy score that was not only fitting of the outlandish images on the screen, but also clearly influenced by Wendy Carlos' A CLOCKWORK ORANGE synth work. Who better than Giombini to deliver the appropriate soundtrack to an intergalactic struggle which somehow ends up with a giant well-endowed space faun chasing Sirpa Lane around an extraterrestrial landscape. This score will surely enhance your auditory senses during your next space sexcapade…but be forewarned, dear friends – you never know who (or rather, what) might pop up."
Post-punk leaning trio Soviet Soviet were born in 2008 on the Adriatic coast of Pesaro, Italy by Alessandro Costantini (vocalist/guitarist), Andrea Giometti (lead vocalist/bassist) and Alessandro Ferri (drums).
"In 2009, they gained notoriety with a handful of self-released singles and incessant touring. The trio followed up with the Summer, Jesus EP in 2011, growing their reputation for immediate and tightly wound live performances. For the past year, the trio have converted that immediacy from the stage into a proper studio, honing and fine-tuning the production on their debut album, Fate.
Fate continues the path of past releases, but with a tighter ferocity and sense of confidence in their unique sound within the post-punk genre. The guitar has more bite, the bass glows with a deeper tone and the drums are as steady and punchy as ever. Standout single "1990" is a great example of to-the-point, sharp guitar riffs and heavy, propelling bass. The rhythms immediately gets stuck in your head while Andrea's vocals oftentimes channel Gary Numan but sped up with an Italian, icelike accent. "No Lesson" is driven by compact drums, never missing a beat while bass and guitar lines intertwine with frenetic energy.
The track includes a rare introspective moment in the middle of the track, sharing a newfound step in the band's songwriting not recently heard, before exploding back into ferocity. While post-punk is the easy descriptor, Soviet Soviet's lens of the genre is much wider, grabbing from coldwave, art punk and more, figuring out a way to make something fresh."
This the first CD released by drøne, after two vinyl albums on Anna von Hausswolff's label, Pomperipossa.
"Workers toil in smithies, call signs and chants-at-prayer reveal attempts to order the chaos, which always remains one step ahead. Post-lapsarian for sure, but smoke signals and drums have morphed into the 'bing bong' of the attention-grabbing, mind-polluting PA system. The coded simplicity of the whistle ("Start!") has evolved into a more deliberate attempt to control rather than inform by explicit, structured language. Announcements have become commands; signs bark orders. Thus 'no' becomes a powerful rejection, rather than merely an inclination; and no-ers are more easily to spot… "You're going the wrong way"! (To which the only sensitive and mature response is: "Indeed!")
Organic and man-made call signs, IDs, audio sigils and signatures all combine to describe a polluted, confusing atmosphere which threatens to leave us powerless and bewildered. "Decipher the sounds and you win the game! First prize is, guess what? You get to take the audio poison! Congratulations! You've lost!". A dynamic and involving result ensures a challenging but no less enjoyable listen.
The first album, 'reversing into the future' drew this response from Lend Me Your Ears: "This thrilling piece – surely the most kinetic non-dancefloor record in an age". Anna herself wrote of the follow up record, 'a perfect blind': "I love everything about this release. Such a great presentation and exciting project! And most important: the music is sublime."
The Quietus wrote: "Last year's distinctive debut from drøne was likened to a hurtling journey. It's combination of field recordings, shortwave radio and modular synths possessed an excited, driving energy whose route was hitherto unexplored and destination unknowable. But with an expanded sound pool boasting instruments across the ages - from guitar, through pipe organ and strings to dulcimer and psaltery – its follow-up takes a sideways step into more cognizant, reflective pastures."
The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington.
"Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble. The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two.
The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands."
Guy Andrews is a London based musician known for creating dark, atmospheric music by combining an array of influences from post-rock, techno and electronica.
"‘Tåke’ [Norwegian for "mist" or "fog”], was inspired by his visit to Scandinavia last year. A cancelled return flight from Norway due to fog left Guy with some time to explore his surroundings.
He comments, “I had some extra time to explore Bergen, the city where I was staying. I ended walking up a small mountain and at the top was greeted by a stunning view of Norway's fjords – it was such a stark contrast to where I was living at the time that it inspired me to write music that reflects the reward you get from exploring new environments.”
Andrews adds, "I wrote 'Feelings' with the idea of working with singular elements such as violins and individual synths that would interact and weave in and out of each other, almost like anxious thoughts in someone’s mind. I wanted it to be emotive and in places slightly aggressive, allowing Alev space to let her vocals sit between the string layers and electronic textures.”
“Writing ‘It Cannot Surface’, it almost felt like the sounds were being submerged, briefly coming above water for air, then being sucked back down. The drums barely surface from the reverb they’re being drowned in - it was an exercise of restraint.”
The collective methodology of the Workshop de Lyon led to the creation in 1977 of the ARFI (Association Researching An Imaginary Folklore). Inspired by the AACM, its mission was to ‘encourage improvisation, spread diverse musical styles and provide means of expression to others with similar ideas, nurture folklore…’
"This third Workshop LP was released in 1978 on the ARFI label. Pianist Patrick Vollat had left, so this is a quartet: Louis Sclavis, Maurice Merle, Jean Bolcato and Christian Rollet.
Sclavis fruitily to the fore, it’s the most rhythmic, low-down, silly-voiced and best fun of these three LP reissues — amongst the crown jewels of French free jazz — expertly produced as per by Souffle Continu.
Nuts, howling-at-the-moon version of Nobody Knows You When You Are Down And Out has a touch of the Clangers."
When Oscar Peterson moved from Montreal to New York in 1949, then-17-year-old Bley took over Peterson's residency at the Alberta Lounge on Oscar's recommendation; in his twenties, Bley played with Charlie Parker.
"Bley incorporated maverick pianist Lennie Tristano's approach to improvisation and collaborated with Charles Mingus, and in 1958 in Los Angeles famously put together a band with Ornette Coleman, Don Cherry, Charlie Haden, and Billy Higgins. His move into free improvisation in the groundbreaking Jimmy Giuffre 3 brought him acclaim. After moving to New York, he was one of the performers at the Cellar Café in Bill Dixon's "October Revolution in Jazz" four-day festival, which led to Bley being one of the co-founders shortly thereafter of the Jazz Composers Guild. It was in the midst of that fabled month that Bley recorded his first LP for ESP-Disk' (sixth overall to that point), Barrage. Bley returned to the studio for his second ESP-Disk' LP a bit less than two months later.
Closer finds Bley again heavily featuring then-wife Carla's compositions; she's credited on seven of the ten tracks, including two also heard on Barrage, "Batterie" and "And Now the Queen." They sound quite different on this quieter trio date, and the performances are more concise (no track tops the 3:30 mark). Paul included one of his own tunes, "Figfoot," as well as Ornette Coleman's "Crossroads" and future wife Annette Peacock's "Cartoon." Closer features the distinctive pianism we've come to associate with Bley in one of its earliest recorded manifestations. The other players are fellow Jimmy Giuffre 3 member Swallow and, in his recording debut, Altschul."
Rod Modell rides the Deepchord again, tilling the ground for release of his Auratones album, forthcoming on Soma this autumn 2017.
As with the title, Campfire evokes a sense of intimacy and tranquility through Modell’s divinely sensitive touch, yielding the fathoms-deep layers of synaesthetically heightened tones in Perfumes of a Spring Mist, and plunging head first into the murky depths of Xpan, with the title piece, Campfire offering one of the very lovliest tracks in his whole catalogue by addition of a starlit canopy of chimes that we’ve not really detected in his productions prior to this one.
Bodes very well for the album.
The erstwhile wild man of Can captured in full flight, backed by the best Berlin had to offer that night.
“Damo Suzuki in performance with Château Laut, recorded at Ausland, Berlin, 30.iv.2010 by Stephan Laackman.
Château Laut's Stefan Fähler writes: I contacted Damo in 2009. He didn't reply immediately and at one point I just forgot about it… So, it was a huge surprise when he replied, exactly a year to the day later, explaining his email's calendar was weird and he had only just now received my mail. Quickly, we arranged all details for our concert-to-be.
We first met a couple of months later, at the airport. We picked him up in the morning and were stoned just an hour later in our kitchen. The energy for the whole day was so peaceful and warm. On the way to soundcheck we saw barricades and police vans on the streets in readiness for 1 May – a date famous in Berlin for rioting and protest. We joked about this predictable riot, marked in calendars for all to see.
The gig at Ausland proceeded organically. We shared many beautiful moments, both on and off stage. Damo was so much into the atmosphere and the crowd that, after our main set, we went on-stage a second time. Afterwards, we crashed at our place, downing a couple of whiskeys before going to sleep, happy.
We kept in touch. He became something close to a spiritual mentor for me. He gave us contacts around the globe for travels and put me in touch with many nice people. He once said to me, one of the most important things in life is to travel. We were glad he stopped by our place on his journey. – Stefan Fähler, Berlin, 23.viii.2017”
For the lovers, an expanded reissue of Philippe Sarde’s symphonic soundtrack masterpiece, featuring previously unreleased material.
“Including the previously unreleased versions of « La Chanson d’Hélène » performed by Romy Schneider and Michel Piccoli in Italian and German.
First ever LP reissue of this timeless masterpiece by Philippe Sarde, the most versatile and talented french film composer. Les choses de la vie, an outstanding score which offers both the wonderful « Chanson d'Hélène » and most of the musical features which appeared later in Philippe Sarde's musical career : Nostalgia, melancholy, experiment and sound discord.
Les choses de la vie is the film which confirms Sautet as a genuine author and Philippe Sarde as a rising composer.
This is also the start of a long partnership that spanned twenty-five years and eleven films.
Also Includes Stéphane Belmondo’s version of « la Chanson d’Hélène »”
Their first LP, released in 1973 after six years together, with the first drummer Pierre Guyon having been replaced by Christian Rollet in 1970.
Brilliant, roiling and free, with a celebratory lyricism to its grapplings with Cecil Taylor, Gary Peacock, Milford Graves and co, and a wheeling melancholia straight from Ornette.
Destroyed, ‘phet-riddled gothic EBM and skeletal darkwave by Norn Iron’s finest
“Autumns is the solo project of Christian Donaghey, from Derry, Northern Ireland. To date, Autumns has been responsible for a brace of singles, EPs and a Mini LP, appearing on Soft Power Records, CF Records, Regis’ Downwards label and Glasgow’s renowned operation Clan Destine. The project has also contributed to the Downwards label compilation The Immortal Eye and the second Phormix cassette collection Light Of Consciousness. 2017 sees the eagerly anticipated release of his debut full length record Suffocating Brothers.
‘Keep kicking against the pricks’
On Suffocating Brothers Autumns presents a resolute nine track culmination of the fierce audacity that has come to define and distinguish the project since an assured first emergence in 2013. Written and produced over the course of six months, between July and December 2016, it’s an album that comes as a momentous and devastating fulfilment of what the Autumns project has outlined with increasingly ruthless intent over the last few years.
Although the scuffed DIY garage and submerged shoegaze of the projects first major release – 2014’s Terrible Tuesday Mini LP - signalled different inclinations to subsequent explorations, the seeds of a severe, tenacious and exhilarating signature were always present and correct. With Das Nichts and A Product of 30 Years of Violence – a quick-fire brace of EPs that arrived either side of 2016 – that signature became refined by an expansive murk and a robust (dys)functionalism. Prior familiarities were overhauled, the lo-fi disarray of before given a purposeful sense of authoritative intensity rooted in the rabid, seditious transmissions of noise music, the slam and discord of industrial and the insistent velocity of techno. These were the first seething indications that, buried beneath the smothered vocal urgency and deluges of distortion, was a synthetic surge and turbulence only rarely found in electronic music’s more nefarious territories.”
Another delectable pick from France’s Akuphone label, reissuing a remastered cut of Lily Chao’s enchanting, melancholy folk-pop and rock confections, originally released in 1968. Make sure to check beautifully broaden Shepherdress, and the combo of tuff groove and super sweet vocal on Picking Tea Leaves and Catching Butterflies.
“As the first entry in its catalog, Akuphone presents a reissue of Lily Chao’s Chinese Folk Songs, originally released by Four Seas Records in 1968. This edition includes four previously unheard titles and exclusive liner notes containing Lily Chao’s biography and lyric translations. Chao Xiao-Jun aka Lily Chao was born in Taiwan in 1948, while mainland China was rapidly undergoing major changes immediately following the end of the Chinese Civil War.
After experiencing hard times in her girlhood, she ventured out into singing quite unwillingly. Indeed, at age19, Lily Chao was compelled to give up her studies to support her family and start a career as a singer, after passing an audition at the Taipei Cabaret in Taiwan. The cabaret industry was in full swing at the time, offering destinations for popular entertainment, and Lily Chao’s efforts to launch her singing career immediately attracted producers’ attention. Her appearances at the Taipei Cabaret as part of its shows, which combined music in Mandarin, poetry, drama, magic, and other fine arts, soon earned her a reputation.
Despite the immediate success that her numerous stage performances and appearances on the national television channel won her, Lily Chao led a chaotic and painful private life. As she smiled very little and tended to appear distant, the audience dubbed her the «Ice Queen,» a nickname that she would keep for the rest of her career.
This barely-concealed melancholy can be felt throughout Chinese Folk Songs, as well as in her very particular way of singing, which is both jerky and perfectly fluid. The album stands halfway between Mandarin folk songs and rock singing inspired by The Shadows, all surf guitar and garage sounds recorded with pinpoint precision and enhanced by saxophone and organ touches, while Lily Chao’s intoxicating vibratos bring a pinch of soul to the music.
An outstanding achievement of timeless pop music from the 1960s.”
Lucrecia Dalt brilliantly aligns abstract pop sediments with ambiguous sentiment...
One of the leading lights of quiet, boundary-probing song-writing, Lucrecia is at her most mercurial in Ou, joined by Clarinet and Saxophone for one piece among a suite of specially grained small sound composition and glossolalic inference that perhaps best betrays her academic background as a geologist as much as her interests in exploratory New Wave German cinema.
Ou unfolds in multi-sectioned segments with an absorbingly slow, natural complexity that connotes the passing of geologic or film time, as opposed to real time, or maybe that is real time? Either way, she’s conjures something like hot rocks singing the blues before forming into a cumbia-style bob with Over Unity, while Iot uncanily vacillates between bodies, states, or scenes, in a surreal cadence of electronics and voice recalling Maja S.K. Ratkje.
The LP really comes into its own on Floto, where those strange segues between states lead us into ever more unpredictable niches via nourish signposts, right up to the impressively windswept, weathered dynamics of Eleanore, recalling something like Wolfgang Voigt’s Gas shaken in a snow globe.
Lord Of The Isles mount another stellar scots techno jig for his DFSANT label
Coming off like Carl Craig land cruising the NC500 with the arpeggiated aurora and gritty Detroit groove of Synth Plus, pulling toward a Wickerman beach rave sound with the conga hustle and stormy vibes of To Here, and tumbling into a labyrinthine acid wormhole of techno triplets and bifurcating latin jazz breaks with Heyta Hota.
Lubomyr Melnyk is undeniably one of the most extraordinary and acknowledged pianists worldwide. With his "Continuous Music", he has created such a complex and technically sophisticated music that few other pianist can play these pieces.
"The album "ILLIRION" contains five new works of this kind, which show the beauty, magic and virtuosity of his playing."
Canadian improv guitarist and vocalist Eric Chenaux graces the cover and is subject of key feature in this month’s edition.
Also main features on Call Super, new age rebel Pauline Anna Strom, and the ‘90s Midwest IDM scene, along with with articles on Chi boss Mike Dunn, NNF/100% Silk’s Amanda Kramer, a global ear cocked to Bogotá, and Mark Wastell vs The Invisible Jukebox. Also includes The Wire Tapper 45, starring 18 tracks by Off World, Andrea Belfi, Tomorrow’s Children, Goner, among others.
With the arrival of clarinettist-saxophonist Louis Sclavis in 1973 (and the departure of trumpeter Jean Mereu in 1975), the Workshop De Lyon was born of the Free Jazz Workshop.
"A warmly accessible, beautifully performed, joyous mixture of wailing improv and propulsive, rootical preparations, this second album derives its upful, digressive theatricality from the Arts Ensemble Of Chicago, and its urgent sublimification of vernacular rhythms and melodies from Albert Ayler. Wild and free, but grounded in stuff like Bechet, Monk and George Russell. Terrific."
Bushwick, NYC’s Made In Green label herald Rooteo & Mahura’s Mett album with their diaphanous dub roller, Sincro Tune
Recalling the deeper styles of Badawi, which Deadbeat overhauls as a throbbing Gaseous Form Dub clearly indebted to Wolfgang Voigt’s Gas templates.
Shabby chic Afro-acidic trips from London’s O’Flynn
Coming off like a more frazzled Floating Points in Pluto’s Beating Heart, and stretching out on 8-minutes of recoiling breakbeat dip and glittering electronics recalling Romare, which resolves to a more pedestrian line-dance house groove a la Four Tet in Eleven, and an Eleven (Edit) for more impatient DJs.
With form for 100% Silk and Church, James Booth sidles onto Hamburg’s Growing Bin Records with the deep house romance of Personal Growth
Coaxing out the tenderest Japanese/Detroit synth vibes and strutting square bass groove with Mood, before blushing the debonaire jazz-house flutter of Dream Precipitation and subtly kerning the groove between Shinchi Atobe lightness in Dhoop Stick, and something like a melting Prince instrumental on The Chorus.
Jim Jarmusch’s Sqürl trio follow up their Only Lovers Left Alive soundtrack with this one for Jarmusch’s Paterson, including the opiated allure of Pouran samples in Persian Dream.
“With their most recent project in 2016, composing and recording the score for the film PATERSON, SQÜRL dove deeper into the ocean of ambient electronic music. Drums and guitars have been (though only temporarily) left behind in favor of analog synths on a quest for new ecstatic sounds to enrich the poetry of the film.”
Leo Anibaldi’s legendary 1991 debut comes reheated and reissued for 2017 thanks to Flash Forward.
It’s really all about the luscious B-side, Elements, taking cues from deepest NYC house and adding a a soupçon of Italian piano house flair to divine effect. The other two are more raved up and rudimentary, tapping up Belgian, NYC and UK techno styles in Modulazione, and going hard on the kicks, Robert Armani style, with the acid burn of House.
Redeemer is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting ‘floors from his home city, NYC to his DJ residency at Berghain, Berlin.
In Dominick Fernow’s Hospital Productions, Phase Fatale finds a fitting home for his personalised brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black and blue electric energy to the legendary label in its 20th year of cultish operation.
In seven parts (and a trio of extended Silent Servant mixes due to come), Redeemer follows the direct, jagged lines of his 12”s for Jealous God and Unterton to a deeply personal realisation of weaponised sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory thru a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics.
Picking from the leather-bound cadaver of industrial dance music past, he reanimates his influences with pointillist precision and unapologetic force. Alloying muscular bass and metallic percussion with wire-combed 16th note synthlines and a barbed perimeter of guitar distortion, his sound can be heard as a metaphorical representation of holding your line against the attrition of a degenerated present.
Each track dances concisely around the 5 minute mark, unfolding a series of densely packed and subtly rendered minimalist/maximalist structures. The shuddering tension of Spoken Ashes opens with banks of rotted chorales against a coalface of hacking stabs, establishing a pent vibe that vacillates precariously thru the adrenalised battery of Operate Within, to the clenched funk of Human Shield and the bombed-out, Alberich-alike Interference, seeming to resolve slightly with the supple roll of Order of Severity, before Beast bottoms out into immolating synth distortion, and Redeemer brings up the rear with a coolly-tempered, stoic form of industrial ecstasy.
Swinging, symphonic aces by one of Japan’s best loved singers of the 20th century. All compiled from 10” releases recorded between 1958-1962. Hard to resist the suave pleasures of Chiemi’s smoky big band piece Dodoitsu, or the Japanese-meets-Latin jazz hustle of Hanagasa Odori.
“With its second release, Akuphone keeps exploring Asia with an original compilation of Japanese singer Chiemi Eri. It encourages to (re)discover Chiemi Eri’s recordings. On this compilation, Akuphone has brought together 16 songs from 10 inches albums originally released by King Records (Japan) between 1958 and 1962.
As the daughter of a musician father and a singer mother, Chiemi Eri (1937-1982) grew up in a musical environment. When she was still a teenager, she started a career as a singer on US military bases. She became famous by singing numerous classics from the post-war American musical repertoire. At the age of 14 she recorded the song Tennessee Waltz with King Records, which turned out to be an immediate success, the first of many others.
Chiemi Eri is considered as one of the most famous Japanese singers of the 20th century, more precisely of the Showa era (1926-1989), named after the Japanese emperor of the time, better known under his westernized name Hirohito. Both a singer and an actress – she played in more than 50 films, as well as many theatre plays – she definitely made a mark in the post-war Japanese cultural landscape, along with fellow singer-actresses Izumi Yukimura and Hibari Misora.
The success of these true national icons, who were nicknamed « the three sisters », can be connected to the specific context of the time, that is the cultural opening of Japan which, although initiated a century before, accelerated with the US military occupation of the archipelago (1945-1952). This period saw the import of popular musical styles of the time: jazz, be-bop, swing, mambo, etc, as well as the development of a hybrid musical style - the Kayokyoku - which consists of a delicious mix of so-called “western” music with Japanese music.
Combining vocal jazz, Latino rhythms and Japanese folk, this new compilation of Chiemi Eri offers an original musical syncretism. Supported by Tadaaki Misago and the Tokyo Cuban Boys – the oldest and most prolific latin-jazz group in Japan – Chiemi Eri sings themes, in Japanese, that are mainly taken from the traditional folklore. Thus, the drums and brass of the Cuban arrangements are mixed with the Min’yo, which shows how rich these folk songs are: every region, every local tradition, every event is celebrated by a particular song or dance. Chiemi Eri also reveals the vocal prowess specific to the Min’yo, in particular the kobushi, a sort of melisma – this vocal technic that consists in singing a single syllable while moving between several different notes in succession.
This compilation, which surprisingly blends Min’yo and latin-jazz elements, invites to the discovery of the archipelago from a different perspective.”
Laurent Jeanneau aka Kink Gong takes us to the Buddhist holy land of Tibet, or “the roof of the world” with a particularly mesmerising new episode of his augmented sonic travelogues issued by the excellent Akuphone, rather than his usual home of Discrepant.
If you’ve never heard any Kink Gong records, this is a really great place to get acquainted with what he does; basically taking dozens of hours of location recordings made during extensive travels around Asia, and then post-processing them into stunning collages which retain the character of the source material, yet radically re-compose it as something else entirely, giving a richly impressionistic feel for whatever region he’s focussing on.
In that sense, Tibetan Buddhism Trip fully live up to the promise of its title, implying a psychedelic treatise on the remote Himalayan region which comes captivatingly alive thru layers of mind-bending chants, slow thumping percussion and chiming bells in the 1st half, then with massed polyrhythmic clangour of traditional drums, processed horns and swarming street noise in the 2nd half.
We urge you to give this one a whirl. It’s far cheaper than a return trip to Lhasa, and almost as intoxicating as we’d imagine it to be!
An odd lil blighter, this; New Works For Realistic Mixer is a fizzing, cranky set of offbeats made with a no input mixer and drum machine by Jib Kidder, who’s probably better know for making tricksy indie-pop for Weird World.
The results lodge somewhere in the bonce between David Lynch’s Eraserhead OST, early Steve Hitchcock/NON and a broken radio beaming in ancient Memphis rap; basically unafraid to go salty with the noise but also kick and crack where it matters.
It’s the sorta stuff you might expect to turn up on Entr’acte. Which always a good sign.
Cool European jazz and rare groove recordings, led by Herbert Bodzin (father of tech house producer Stephan Bodzin) in 1977
“"Revival" is an as-of-yet totally undiscovered electric jazz rock recording from 1977 composed by visual artist, activist and multi instrumentalist Herbert Bodzin. Bodzin, born in 1936, was a prominent figure in the local scene and initiator of the Jazzclub Hohenlimburg from 1957 to 1964. Hohenlimburg was where artists like Doldinger and the George Maycock Trio performed during the golden age of modern jazz and hard bop. On "Revival" you can expect straight, yet soulful fusion featuring deep downtempo and psychedelic flute breaks for the rare groove aficionado.
The balmy charms of Martin Glass’s ersatz-Pacific excursion ushers the welcome return of electronics dreamers, Dramatic Records, who co-release The Pacific Visions of Martin Glass with London’s Kit Records.
Sailing out somewhere between Spencer Clarke’s imaginary travelogues and homoerotic windsurfing soundtracks, the downtempo feels of Quiet Village, and the piquant digital clarity of Haruomi Hosono’s 4th World, Glass updates Martin Denny’s vision in key with popular collective memory phase shifts of the past 30 years.
“Exiled in Taiwan working on a deal that never gets done, an American businessman falls under the hypnotic spell of the Pacific. His is an Asiatisch fever dream - seaside lovers, translucent virtual vocalists, glass-y '80s synthesisers and multinational muzak. It's an ode to Pacific bubble decadence, beamed from a lilo or a roof garden (or both)... all fizzing arpeggios, melancholy marimba symphonies and sunken yacht karaoke.
In terms of sonic references: forgotten '70s nippon pop, Sakomoto + Glass sweeping neo-classicism, Haruomi Hosono driftwood, Susumu Yokota floral pretty-ness... it's all there somewhere…?”
Julianna Barwick's 2009 record 'Florine' launched her into an unprecedented cacophony of applause. The Brooklyn-via-Louisiana artist's understated vocal drones may not seem like an obvious frontrunner for indie success, but with Pitchfork singing the record's praises the groundswell of support was unmistakably positive.
'The Magic Place' cements this legacy, and now signed to Asthmatic Kitty, she seems perfectly poised to take her sound even further into the wide world of leftfield pop. I say pop because the songs on here are indeed songs in the classic sense, but like Grouper before her she has taken only the key elements of the songs, shrouding them in reverb and shredding them down to the bare bones of what is needed. Indeed Grouper might be the most obvious and most fitting modern comparison (especially early work such as 'Way Their Crept') but Barwick's affecting, hymnal style is maybe even closer to the work of Cocteau Twins chanteuse Liz Fraser.
There is a distinct beauty to her tones, and the cavernous reverb and wordless songs bear more than a passing resemblance to the Cocteau Twins' more esoteric moments. These are songs for an age that seem to have passed, and as tragedy and heartbreak surrounds us, to return to something so blissfully simple, so pure and so unmistakably gorgeous is rare pleasure. In that, we have a selection of songs to soak up some of the modern disillusionment, and who wouldn't need that? Essential.
TJ Hertz’s first original release since 2014’s Flatland LP comes in the form of Objekt #4, a continuation of his club-focused white label series and a tribute to the sadly now defunct Basement Q, a formative and beloved haunt in Berlin’s Schöneberg district which quietly but profoundly shaped the musical identities of Hertz and several of his contemporaries until its final closure in 2012.
Trevor Jackson dances with the zeitgeist again on this bountiful 2nd volume of 'Metal Dance: Industrial/New Wave/EBM Classics & Rarities '79-'88'.
The first volume was Resident Advisor's reissue of 2012 and, by all rights, this 26-track collection should be held in equally high regard. If anything, he's gone deeper into his famed collection, pulling out total rarities such as CHBB's 'Ima Iki-Mashoo' and the militant 'Riot Squad' by a pre-ABC Vice Versa alongside classic anthems such as Chris & Cosey's 'Driving Blind' or Ministry's mighty, 'Over The Shoulder' and Front 242's 'Body 2 Body (2 Trax)'.
For those old to remember talcing up their leather duds on a friday night it's likely a killer nostalgia trip, but for those of us who weren't even born in 1979, it's also a vital resource of all-killer, no-filler dancefloor goodies connecting the dots between prototypical techno like Liasons Dangereuses 'Etre Assis Ou Danser', the colourful computer funk of Japan's Haroumi Hosono ('Platonic') and even Rabih Beaini's mental edit of an obscure Lebanese pop tune, 'Tanki Tanki' - a massive anthem 'round ours, we tell ya. Factor in stunning moments like Propaganda's 10 minute earworm, '(echo of) Frozen Faces', Conrad Schnitzler's devilish, 'Das Tier' or Godley & Creme's salacious 'Babies', and you're onto a real no-brainer.
Ran$om Note cop a killer Azonto session with release of Bryte x Gafacci’s in demand bubbler, I Like Your Girlfriend, replete in original vocal, instrumental and acapella mixes, plus new versions from Ahadadream, Oyinboy and Bawrut.
The original is a wild slice of Ghanaian dance music, fixing hardstyle synth burns with icy bleep hook and tucked groove for your best moves in the ‘floor. Best DJs can join the likes of Bok Bok and Gang Fatale in rinsing this one now.
The remixes are cool, too. Oyinboy impresses with an adroit pinch compatible with Dutch Bubbling, Afrobeats and UKF; Ahadadream draws it out for wavier effect, Bawrut boots it back on the good foot for a deadly follow-up to his trio of previous 12”s for Ran$om Note.
Hannah Peel's third album is a seven-movement odyssey for analogue synthesizers and traditional colliery brass band.
"Only a year following on from the release of her album ‘Awake But Always Dreaming’ (‘Album Of the Year’ – Electronic Sound Magazine), ‘Mary Casio: Journey to Cassiopeia’, explores one person's journey to outer space, by telling the story of an unknown, elderly, pioneering electronic music stargazer and her lifelong dream to leave her terraced South Yorkshire home in the mining town of Barnsley and see Cassiopeia for herself.
Artwork by the Grammy award winning designer Jonathan Barnbrook (David Bowie collaborator on ‘Blackstar’ and ‘The Next Day’). Recorded live on location in The Barnsley Civic Theatre by Peter Gabriel’s Real World studio team."
Italian composer Sandro Mussida follows up a pair of probing Mark Fell collaborations with the exquisitely enchanting minimalist Classical suite, Ventuno Costellazioni Invisibili - translating to Twenty-One Invisible Constellations in english - offering a beguiling, meditative iteration of 21st century Italian avant-garde as the debut release on Alfredo Scotti’s Metrica label.
Making up the first record with Mussida’s name at the top, Ventuno Costellazioni Invisibili ventures a beautifully suspenseful play on perceptions of time and space rendered in two distinct, electro-acoustic pieces, each making sublime use of an ensemble comprising the artist as director and looping strings, alongside Enrico Gabrielli (clarinet), Yoko Morimyo (violin), Susanne Satz (piano), Alessandra Novaga (electric guitar), Giulio Patara (triangles, celesta, tam tam), Sebastiano De Gennaro (triangles, glockenspiel, chinese gongs), and Giovanni Isgrò (sampler).
In both parts the piece references a graphic score which looks like the schematic for a teepee, but in fact describes a “transfiguration of perceptual time” in its triangular design, prompting the performers to play pitches at differing speeds, with musical “cells” generated by the rotation of triangular figures in time and space. While we may not be able to correlate exactly what we’re hearing on the record, it’s at least easy enough to see where the precision of its underlying structure stems from.
In the first, ten minute instance, this manifests an incredibly delicate display of pointillist percussions and levitating, sustained string tones which establish the spatial parameters, before shards of guitar and piano light up the space with a pensive emotional ambiguity which reveals itself as increasingly blue, melancholy and strung out by the pinch of the closing notes. In contrast, its 14 minute counterpoint is more radiant, but not necessarily optimistic, striking a balance of nervous tension and chiming harmonic resolution that soon enough slips into something like a lucid dream state with an almost theatric interplay and agenda that crosses soundtrack, avant-garde and classical sensibilities in a mannered, poised way that’s key to so much of the strongest Italian music, clearly inheriting from the likes of Giusto Pio and Franco Battiato, and cleanly resonating with modern works by Oren Ambarchi or Elodie.
All that said, there’s something totally captivating about this LP that can’t be explained in terms of its technique or theory. It’s a record whose crafty metaphysics encourage a sublime, unknown state which must be experienced to be understood.
Reissue of this kicking split between Jamal Moss (The Sun God/Hieroglyphic Being) and his accomplice from The Dirty Criminals, Daryl Cura. Originally released in 2004.
As The Sun God, Moss beams two of his more romantic workouts with the humping kicks and lush harmonic chaos of Show Me Love, then on slightly slower bent with the psychedelic bliss of Galaxy (Theme from SunRa).
Daryl Cura keeps up his end of the bargain in fine style with a sleek and deep Chicago swinger called Contigo, plus the Gemini-style bustle of Operator
Mule Musiq’s master selector Kuniyuki Takahashi (Koss) distills the Soundofspeed vibe for house connoisseurs everywhere with A Mix Out Session
Drawing on fresh versions of label gear from DJ Sprinkles, DJ Nature, Vakula, and himself. Almost goes without saying but Sprinkles Deeperama mix of Kuniyuki & Jimpster’s Kalima’s Dance is a big highlight.
'Echos Pastoraux' documents the enchanted first meeting between Timo van Luijk and Andrew Chalk under their Elodie alias.
Introduced to us in the same stroke as their most recent - and relatively moodier, nocturnal - side, 'Traces Ephémeres', this one is blissfully pastoral and wishfully oneiric, framing a natural ecology of field recordings, strings and wheezing, far-flung folk drones across its 13 tracks. Rather than many pastoral-minded releases which can be located by their musical make-up, 'Echos Pastoraux' seems to convene a sort of pan-pastoral aesthetic, hinting at stately Korean classical strings, as well as what we'd possibly identify as eastern gypsy music or Klezmer tones, along with wistful baroque and raga-like drones.
The common, unifying aspect is a hazy sense of shared space and intention, resulting a richly enigmatic trip that's meant to be absorbed deeply and slowly, preferably with the windows open and birds joining in from outside.
Mystic midnight tones from Andrew Chalk and Timo van Luijk's Elodie.
Summarised by their Belgian label, La Scie Doree as an "Eclectic ensemble of 18 instrumental arrangements evoking an epic and existentialist soundtrack determined by the power of momentary destiny and reflective sentiment", the album unpackages a gauzy sequence of strung-out spectral nocturnes incorporating the clarinet of Jean-Noël Rebilly with piano and koto by Tom James Scott.
They're considerately succinct pieces, oscillating dreamily between diaphanous chamber drones, ghostly guitar passages redolent of Loren Connors, and fragile string loops recalling the melancholy of William Basinki, with their pensile effect beautifully enhanced by a sensitivity to space and timbre that leaves notes almost tingling on the tongue or tickling the nostrils. It's genuinely magickal stuff, bound to be loved by many romantic nightowls.
DJ Sotofett and Finnish electro duo Jesse entwine pineal visions of psychedelic electronic dance music on Twotinos, their collaborative debut for Sähkö’s sister label, Keys Of Life.
Like the breezy DJ Sotofett mix of Jesse’s Pohja for Wania which preceded this LP, Twotinos unfolds a freestyling mix of loose percussion and synth fondlings swept up in seductively wide, wandering sound designs. However, with much more room to manoeuvre in here, they take the magic carpet much farther out from the blissed cosmic dunes of Fear Mix (Fearmix) and the intoxicating disco nightflight, Orga Fit to the mazy byzantine dub trip(tych) of Autiomaa and a hard-to-resist Indo-Afro-disco-psychedelic beauty called Kuume (Last Gitar), with the cradling dub tranquility of Puhallus (One Mo, Pad Conga Vocoder Mix) at its conclusion, likely to leave many hankering for another chapter of this saga.
Timedance task Beatrice Dillon and Peder Mannerfelt with remixing Ploy
Resulting in a sublimated, weightless inversion of Footprints In A Solid Rock from Beatrice and a rolling, monotone Rock Solid remix of the same elements from Mannerfelt that prangs out with nutty metallic rave breakdown and a caustic 2nd half.
Partner to DJ Harvey’s The Sound of Mercury Rising mix for Pikes Ibiza, this 12” cuts off some of the mixes highlights:
Namely the Italian charms of Tony Esposito’s Danza Dell Acqua ; some beaming flamenco disco vibes from Denmark in Tore’s She’s A Lady ; with he symphonic hustle of Abran Paso - Ahoa (Enrolle) by Elkin & Nelson; and one exclusive number, Spanish Boogie from Van McCoy & The Soul City Symphony.
Höga Nord release the new Andrew Weatherall album Qualia.
"To pin down and value Andrew Weatherall’s musical deed takes more space than available in a press release text but here is some of many highlights. As a producer, Weatherall has since he first shook the foundation for modern pop music with ground breaking and genre bending remixes of Primal Scream (Loaded), My Bloody Valentine (Soon) New Order (World In Motion) and many other influential acts, continued to push sounds in to unknown territories. His importance as a musician is as big, with bands like the iconic Sabres Of Paradise and Two Lone Swordsmen in the 90’s and top quality solo records from the 00’s up till today.
With the above In mind, This album fits perfect in to the Höga Nord – Catalogue, which shows clearly already from the opening track Evidence The Enemy. This song is a monotonous yet uplifting piece of music, a case that holds for the album in full; Weatherall lets the melodies, built on a deep tradition of classical music and later developed by bands such as Kraftwerk, go in major scales, which lets fresh air in and creates a feeling of freedom. The music put you on top of Mont Blanc to overview the complete European music history. Qualia is soothing, harmonic and transporting. Within his framework, Weatherall knocks those frames out of place from time to time. When a song goes to much in one direction a new melody or a new instrument steps in to redirect and surprise the listener. This album is the perfect soundtrack to a road trip inside your own, ever-changing inner landscape."
Sickly sweet neo-soul/lo-fi nocturnes from members of the Young Echo crew
“Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs.
The group was born out of Bristol’s Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, chester giles (the title Sleep Heavy comes from a giles poem) and Killing Sound (Childs with Kidel and Vessel).
Jabu’s previous 7” singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It’s a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, on loss, making sense of separation and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again.
Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic – funereal, at times – subtly psychedelic and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism – Mariah to Mariah Carey, if you will – and a rich seam of underground UK soul, boogie, DIY/post-punk, library music and lovers rock; refining and reconstituting these inputs into powerfully immersive, emotionally ambiguous soundscapes as eloquent and engaging as they are understated and bottomlessly mysterious.
There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack, but Jabu’s orchestration of womb-like ambiences, cold synth tones and brittle beats feel entirely sui generis. They provide the perfect setting for Rendell’s wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-centre vulnerability, with something of The Associates’ Billy Mackenzie in there too; defeated but defiant. Meanwhile Jas’s heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. Oceanic is the word: this is music to drown, and drown gratefully, in.
By its end, Sleep Heavy’s world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor. A chance, not a promise. Something to swim towards.”
After releases on Fifth Wall and Grizzly, Physical Therapy returns for a follow up to the first release on his own Allergy Season label, with the EP "Million Years Crushed." Three cuts of maximal electronic dance music, along with a deep retrofit from Berghain resident Norman Nodge.
*Hand-numbered edition of 300 on orange vinyl* Diverse collection of House, Italo-pop and Boogie numbers from North Wales. A-side is given to the House cuts, taking in Luv Jam's snuffling, woozy '4% Hedgehog', besides the deep and classy swing of wAFF's 'KT B' and CY's frilly minimal House tune 'Queensbridge Chatta'. Flipside features piano-driven '90s Boogie-Pop from Yasmin Lebonque and 'The Castle Ooibonck', plus epic arpeggios from Good Guy Mikesh & Filburt, and Balearic boogie from Dunder Karlsson.
Tertiary 12" of somnambulant deep house from winding Nidd Valley of Knaresborough, England. Up top Gnork deals the acid and breaks-spliced groover 'Gnork W.1.3' beside Mr Fiel's dub house stepper, 'Awakening Of The Nature'. Down below Ratcatcher goes a shade darker with the rolling square bass line and hypnotic hooks of 'Marsupial Dreams' and Acasual eases off with crisp, swinging 909 hi-hats and simmering chords on 'Spring Theory'.
Latest limited edition 12" pressing from Daphni on hiw own Jiaolong label.
There's a tracky flex with off centre kicks and watery hardcore stabs on Hey Drum, then brings the floor up with proggy early ‘90s Sasha vibes in the chord-driven canter of The Truth.