Organic melds of plaintive vocals, primordial techno and rustic folk with subtle electronic backdrops. Recorded in Talinn, Estonia and recalling elements of Cucina Povera, Fönal Records’ Paavoharju...
“The presiding spirit of “Muunduja” (Shifter) is a state of being between states, the warping of time’s arrow using sound. Maarja Nuut & Ruum’s music often lures us into unimagined conversations with elements of our psychic selves that we may have otherwise forgotten. Whether the listener reacts through out-of-body experiences, glitches in cerebral programming, or old fashioned magic is immaterial. We experience the phenomena presented to us, and we take new insights from them.
Essentially the recording of two musicians’ inner travels, “Muunduja” is a release that relies heavily on gesture and spirit. Rich, rounded and expertly arranged, the music is also presented as a series of contrasts, heavy on shifts of tone, texture and mood.”
Italian artist David August blends ambient-pop with Nico Jaar-like grooves, blues vamps and Giallo soundtrack-styled motifs in ‘D’Angelo’, his follow-up to a self-released ambient album and prior outings with Solomon’s Diynamic.
Sublime charms from Hood co-founder Richard Adams...
“The Declining Winter return after a three year lay off with what is perhaps their strongest statement to date. Pushing on from the pastoral blueprint of the long sold out ‘Home For Lost Souls’ (2015),‘Belmont Slope’ is a bold and varied album, extending the boundaries of their earlier sound, introducing pop sensibilities and daring electronic flourishes.
Truly a Northern English album, Belmont Slope is a haphazard car ride across the M62, a love letter to the hills of Yorkshire and Lancashire, a paean to desolate beauty, unattainable love and lost friends. The Declining Winter is the brainchild of Hood co-founder Richard Adams, an ever changing collective who emerge blinking into the daylight from their Yorkshire enclave with a unique blend of pastoral and lo-fi pop, shimmering electronics and rural post-rock."
SOPHIE presents one of 2015's defining records with the immaculate electro-pop of 'Product'.
Since emerging with a flash remix of Auntie Flo's 'Highlife' in 2012, SOPHIE has infused a minty fresh digital air to modern pop music with a procession of stunning solo singles, co-productions for PC Music's QT, and production credits for Japan's queen of J-pop, Namie Amuro, Mad Decent's LIZ and erm, songwriting for Madonna's 'Bitch I'm Madonna' alongside Ariel Pink.
We'll assume you're already au fait with the record's previous singles - the ecstatic, 'Bipp' and heart-rinsing emultion of 'Elle', or the textural hyper-sensuality of 'Lemonade' and 'Hard' from 2014 - so we'll skip to the new stuff. Msmsmsm ratchets his sound with ambassador-grade trap potency, whilst 'Vysee' sounds like '07 electro-bassline updated by Florian Hecker for a Japanese sex hotel. But it's the final run of cuts that really sends us reeling; 'L.O.V.E.' leaves everyone for dust with its visceral production values, teasing melodies and pointillist edits, whilst the lazer-crafted 'Just Like We Never Said Goodbye' is one of 2015's strangest bubblegum pop hits-in-waiting, or at least one of its most hyper-affected sensations.
In the best sense, this is a record that should divide opinion like few others, and which side of the fence you land on says a lot about your grasp of current, mediated culture. For our 2p, it's the sexiest, provocative, and uncannily tactile grip of tunes we've heard in years; a massive recommendation!
Mount Kimbie show off their record collections on a fine DJ-Kicks mix and compilation stuffed with glassy-eyed electronica, exploring its roots and branches in industrial, electro and experimental techno
Replete with an exclusive Mount Kimbie song, ‘Southgate’, but surprisingly swerving the post-dubstep sound they were instrumental in shaping, Kai Campos and Dominic Maker serve a hypnotic ride around the last 30 years of electronic music, highlighting liminal stylistic connections between Madalyn Merkey’s gaseous ambient hues and the dreamy lean of Taz & Meeks’ percolated stepper, ‘Obviously’ via classic industrial peaches from Severed Heads, a choice piece percolated synth voices and jacking house from Reg Burrell’s N.Y. House’n Authority, Terrence Dixon’s Afro-styled Minimal Detroit mix of Efdemin, and up-to-the-moment aces such as object blue’s haunted warehouse jacker ‘Even In You’, and the sloshing groove of Rupert Clervaux & Beatrice Dillon’s ‘IX’.
Exquisite pickings from Jonny Nash and Suzanne Kraft, highlighting gems from the first three years of Melody As Truth on the label’s first CD release. Tipped for the romantics and those who still own a functioning CD player
“The music presented on this compilation, “Framed Space” consists of a selection of works from the first three years of Melody As Truth.
Disc One features the work of Jonny Nash, comprising of tracks from “Phantom Actors” [MAT1], “Exit Strategies” [MAT2] and “Eden” [MAT6]. Two unreleased tracks feature on the disc, “Treasure” and “Sayan”. “Treasure” was recorded with Gigi Masin in 2014. “Sayan” was recorded in Bali, during the same recording sessions as those that resulted in “Eden” [MAT6].
Disc Two features Herrera’s work as Suzanne Kraft, comprising of tracks from “Talk From Home” [MAT3] and “What You Get For Being Young” [MAT5]. Two unreleased tracks also feature on the disc, “Meetings” and “Seven Day Turnaround”. “Meetings” was recorded in Amsterdam shortly after Herrera relocated to the city in 2015. “Seven Day Turnaround” was made during the “What You Get For Being Young” sessions, also in 2015.
The music on “Framed Space” is intended to give the listener an insight into the first chapter of an ongoing story.”
‘Mandy’ is the exceptional final soundtrack realised by dearly departed composer Jóhann Jóhannsson for the film directed by Panos Cosmatos. A supporting cast of Stephen O’Malley, Kreng and Yair Elazar Glotman, plus production from Randall Dunn ensure a majestic final missive and one of the most rich and varied releases in Jóhannsson's canon, taking in elements of metal, drone and doom ambient, even retro-futuristic synth work...
With a crack squad including O’Malley on guitar and additional production from gifted sound designers Randall Dunn, Pepijn Caudron (Kreng) and Berlin’s Yair Elazar Glotman (Ketev), the results lurk like blinking red eyes in a dense nocturnal forest, swarming in formation from widescreen romance to petrifying, plangent cues and pockets of heart-sinking gloom, saving the gnashing guitars for when their bite is felt strongest, but equally knowing how to send shivers shooting down the spine in moments of sublime, contrasting relief on the ‘Memories’ theme.
Jóhannsson's deft approach to sonic extremities is the real eye opener here; far removed from the emotionally driven demands of his more mainstream work for hollywood, here we're taken through grinding, industrial metal scrapes one minute and insanely rich ambient textures the next - with no concession to soaring emotional cues. Not that Jóhannsson ever really succumbed to much of that; but nonetheless - it’s a total pleasure to hear him reach into those darker recesses on Mandy - a soundtrack that’s likely to be remembered as one of his best.
R.I.P to a true master.
Sister collection to “The Flesh Creeping Gonzoid & Other Imaginary Creatures.” Studio out-takes, deleted obscurities, compilation appearances and vinyl and download releases.
The DVD included is an extended version of the very limited DVDR of “Life Is An Empty Place”. (N.B: DVD may not play in all territories – it is REGION 2). All discs are over 75 minutes in length and feature a wealth of previously unreleased material. The discs are housed in individual card sleeves. Box includes a 4 page insert with the track-listing. Limited to 500.
Amazing jazz slab from Japan, 1983, feat drummer Takeo Moriyama and a crack squad of players. First time vinyl reissue (also available on CD) of a highly sought-after 2nd hand release
“BBE Music is proud to present the next instalment in the J Jazz Masterclass Series: ‘East Plants’ by Takeo Moriyama, one of Japan’s finest jazz drummers.
A genuine ‘under the radar’ album known only to a handful of Japanese jazz collectors, ‘East Plants’ is now available once more, reissued for the first time as a double 180g LP, with exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated. ‘East Plants’ is also available as CD and digital formats. This reissue is fully endorsed by Takeo Moriyama himself.
Originally released in 1983 on the Japanese VAP label, ‘East Plants’ is an essential album in the J Jazz canon. It’s an album that distils several key characteristics of Moriyama’s music: clearly articulated and inventive rhythms, open yet orderly arrangements, and an accessible groove balanced with a graceful control.
‘East Plants’ features no piano, just percussion, bass and reeds. From the luxurious raga-like build of the album’s hypnotic title track and the fierce post-bop workout of ‘Fields’, to the stately modal track ‘Kaze’ ( as featured on the sell-out BBE compilation, ‘J Jazz: Deep Modern Jazz From Japan 1968-1984’), the album was, until now, a rarely acknowledged masterpiece. ‘East Plants’ shows Moriyama’s quintet at their most transcendent: delicate layers of percussion by Yoji Sadanari, a warm and pliant bass from Hideki Mochizuki, with colour and texture provided by the eloquent reed work of Shuichi Enomoto and Toshiko Inoue. And, overseeing it all, Moriyama’s discreet yet commanding drumming.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series will feature rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.”
Autechre weigh in the labyrinthine 8 hour ‘NTS Sessions’, parsing the guts of their hard drives for gold and other precious materials dating back to 2011
The duo were initially commissioned to do a DJ residency on NTS, following their show from early 2016, but what transpired is closer in approach and results to a super extended Peel Session, featuring stacks of reworked material along with exclusive new notions generated by their infamous ‘System’ of software patches.
Given so much time to roam, they explore a full spectrum of meters, tones and alien machine feels ranging from succinct hyper-symphonies to an hour long closing passage of unfathomably deep ambient music, all sequenced with a non-linear narrative arc influenced by the stunning 3rd series of Twin Peaks, and with distant echoes of their seminal, freeform Disengage shows for Kiss firmly in mind.
Call it an album, call it a radio show, call it a massive excuse to lock yourself away for 8 hours, either way ‘NTS Sessions’ is a vital dispatch from the North Face models, with material such as the squirming tech-step of ‘North Spiral’ and the slimy electro of ‘Four Of Seven’ from the 1st session, or the footwork-esque ‘Gonk Tuf Hi’ from the 2nd, and the free-floating structures of ‘Cluster Casual’ off the 3rd volume offering some deeply satisfying rhythmic convolutions for the dancers, whereas the preponderance of durational cuts, including highlights such as the hour long ‘All End’, the breathtaking visions of ‘Turbine Epic Casual, Stpl Idle’, and the plasmic wormhole of ’Shimripl Casual’ reach deep into the most abstract, amorphous nooks of their sound in a way comparable with visionary work from Roland Kayn or Iannis Xenakis.
In other words, it’s fuucking mint.
Calling time on one of the most important electronic acts in existence, Pan Sonic bow out with their immense final album, 'Gravitoni'.
It's a typical feat of overwhelming sonic physicality from a duo who've owned the rights to the 'Power Electronics' tag ever since 1994 and the release of the 'Panasonic EP'. Working together, Ilpo Väisänen and Mika Vainio opened the blackest vortex to a world of unadulterated electronics wrested from homemade and circuit bent hardware, creating an uncompromising vision of techno concrete that built monolithic structures in the shadow of their predecessors Einstürzende Neubauten, Throbbing Gristle and Pierre Henry.
'Gravitoni' feels like they've abandoned all hope, taunting an oncoming apocalypse with two fingers clutching an exposed 1/2" jack lead and a granite glazed look that tundra wolves wouldn't f*ck with. Whereas previous album 'Katodivaihe' offered some respite with Hildur Gudnadottir's arcing bows, here it's just two Finnish blokes with an arsenal of brutal beats and lucid tones. From the outset of 'Voltos Bolt' introductions are dispensed with in order to get down to business, a landslide of skull crushing bass hits and molten silicon slurry to encase your cochlea. Next 'Wanyugo' perhaps suggests they've spent time in Northern England, picking up the lingo and developing a bellicose attitude to match, swaggering with the darkest synthlines around and bristling with kinetic potential. Meanwhile, a false start in 'Corona' trips into a murderous noise and 200bpm gabber assault executed with such intent that you could even imagine them having a wry smirk to each other in the studio. With 'Radio Qurghonteppa' fear not, your speakers aren't about to cave in, they've simply managed to create a bass frequency that makes it sound like your cabs are coming apart from the cone. That's all.
In 'Trepanation' they bust out the rusty iron, sucking up elemental black metal power and stripping away all the camp sh*t, leaving a bloodied pile of still fizzing Euronymous at their feet, scalp (skull tip attached) in hand, still not smiling. The final section of the album presents three sublime visions of tonal darkness, from the pitch black electro-acoustic spaces of 'Väinämöinen Dreams' to the deliberate passage of 'Hades' where we mix our myths and Thor drops Atomic subbass bombs outside the gates while a choir of droning Gregorian sirens lure us inside. Then, we're treated to an extreme panning recital on 'Twinaskew' before finally being delivered at the death disco with the most astonishing moment on the album - 'Pan Finale', stretching a classic 1980 Cure tape loop to Zombiefied Paisley-concrete drum patterns and shuddering in the presence of an almighty buzzsawn synewave.
The music on the ‘Rebajas’ box represents the dawn and early period of Bitchin Bajas. In the time of their conception, none of these releases were issued on anything other than vinyl. Maybe a cassette too, for some of them.
"It made sense: analogue synth music recorded on analogue tape - why wander from the warmth of the original signal path? It sounded great. So why now? Well, there’s finally enough material to make a really deep listening experience. The limitless vast that Bitchin Bajas’ music implies even in its smallest sampling is well-served by a multi-disc set: put all of it in your CD changer and let it rotate endlessly. Go with the music, away from the world for an interminable amount of time. It will still be here when you get back and your mind will be quieter when you return.
From the beginning, Bitchin Bajas have made music to enhance the moment they and you are sharing and details above and beyond that have been relatively unimportant. In the time since then, they’ve gone from a one person band to a duo, then a trio. That information, plus the recording and original release details, the additional personnel and the original jacket, label and insert artwork for all the releases is included here, along with a few schematic details, to provide a true overview into the parameters of their world. What’s more, additional information can be heard in the material in its transferred-for-CD form, which has corrected inadequacies in several of the original pressings.
Plus, all the Bitchin Bajas material can now be heard without any surface noise. If you ever worried that scuffs and scratches would take you out of your sensory deprivation bliss-out (in or out of the tank), that ends here. So too ends the first Bajaian epoch - when the band return with new music, it will be moving away from even the most recent material on ‘Rebajas’, released earlier this year. Moving, always flowing - but with ‘Rebajas’, the whole Bitchin Bajas thing to date is captured in the unending amber of digital sound."
Brilliant, prickly meeting between The Raincoats’ Ana Da Silva and enigmatic Japanese vocalist Phew, who pursue a tempestuous mix of avant-garde vocals and variegated electronic backdrops, from post-punk rhythmic noise to lysergic, outernational ambience.
“A bracing odyssey in industrial noise, Island is full of absorbing textures, tactile beats, and a masterfully dynamic compositional style. Each cavernous track feels like a conversation, and out of the ominous dark comes a generative hope. Ana and Phew contribute pointillist bits of spoken word in each other’s native tongues of Portuguese and Japanese, reflecting on isolation, friendship, and nature. The quotidian is made profound.
A gripping mood is set by the shared stoicism and subtle playfulness of these two cult punk icons. Each song was collectively composed by both Ana and Phew, who exchanged files via email. At times, Island evokes the sinister throb of Phew’s recent Light Sleep album (which in turn recalls Suicide). Island’s logic is one of wise minimalism. There is a feeling of discovery that will be familiar to Raincoats fans—a sense of poetry and inquisitiveness, of intuition and invention, of new languages taking shape // Ana da Silva is a founding member and songwriter of the pioneering post-punk band The Raincoats.
Across four daring full-length records, The Raincoats helped shape the timeless notion that punk is what you make it to be an act of raw expression, not any one sound. The Raincoats have offered creative and spiritual inspiration for several generations of artists, cited as a formative influence by Kurt Cobain, Carrie Brownstein, Bikini Kill, and Sex Pistols’ John Lydon. They set a crucial precedent for feminist work within a DIY punk context, marked all the while by Ana’s poetic lyrical style and innovative noise guitar playing.”
‘Katodivaihe’ (‘Cathode’) is one of the last, and arguably among the greatest, of Pan Sonic’s classic run of albums between the mid ‘90s and their final outing, proper; ‘Gravitoni’ 
Replete with three staggering collaborations with cellist Hildur Gudnadottir amid some of their slinkiest, deftest yet most crushing workouts such as the trilling driller ‘Hyönteisistä’ with Ilpo’s influence written all over it; in the icy electro tang of ‘Laptevinmeri’; the powerful spatial sculpture of ‘Haiti’; and the chainsaw revving dancehall wrecker ‘Tykitys’.
Gaika presents his debut album, Basic Volume, after a blistering pair of self-released mixtapes 'Machine' and 'Security' and Warp-released EPs 'SPAGHETTO' and 'The Spectacular Empire'.
"The 15 track collection is co-produced by Gaika, with additional production from similarly forward thinking contemporaries, including SOPHIE, Dutch E Germ, Dre Skull and DADRAS, Aart as well as previous collaborators including Jam City, Nick Leon and Frank Ocean’s Blonde and Endless collaborator Buddy Ross.
Named after his late father’s technology company. Speaking about the album, Gaika says, “BASIC VOLUME is collection of alchemical parables for all the Immigrants who wander the earth in search of themselves”."
Anthology box set of Stereolab’s 'Switched On' compilations of singles and rarities, originally issued between 1992 and 1998.
Contains Switched On, Refried Ectoplasm [Switched On Volume 2], and Aluminum Tunes [Switched On Volume 3].
Reverse board clam shell box with disks in individual card wallets and insert.
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" “Dispassionate Furniture”. This September, twenty years later, Dais Records is proud to announce ADULT.’s seventh full length album: THIS BEHAVIOR.
"The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin’s kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making – looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.
The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.’s return to aggressive and energetic dancefloor mastery. Album opener, This Behavior, alongside the follow-up, Violent Shakes, (which ascends into synths wailing like warning sirens over Kuperus’s commanding vocals) set the stage for an on-edge listen, while the heartbreaking “Silent Exchange” unfolds as a beautiful sad synth dirge. Perversions of Humankind breaks the mood – driving the listener into a slow and low groove before the frantic album midpoint of Irregular Pleasure. Does The Body Know? is the album’s post-punk anthem, with irresistible singalong “we’re out of order – we’re undefined!” The latter half of the album drives forward with “On The Edge (You Put Me…)” and “Lick Out The Content”, refusing rest and demanding movement and response. Everything & Nothing emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of In All The Debris, a goose-bump inducing slow electronic mantra that closes the curtain on a massive album."
Wolf Eyes prototype, Universal Indians, remerge with their hairier offspring for the wild and free trip metal scuzz of ‘Four Variations on ‘Artificial Society’’ under the Universal Eyes guise.
To make it clear - Wolf Eyes are now John Olson and Nate Young, while Olson has also been part of Universal Indian with Gretchen Gonzales and the (now) former Wolf Eyes member Aaron Dilloway since 1995. To make it simpler, Universal Eyes are basically Wolf Eyes with Gretchen Gonzales.
The addition of Gretchen seems to have triggered an acute regression to their most primitive shared states, prompting an hour long cold bath of no wave rock, animalistic electronics and improvised noise that recalls a dream we once had about an orgy of hippos and seagulls on quaaludes at a busy worksite in midwinter Michigan.
The stunning and ground-breaking album from the composer and saxophonist Chris Bowden, first released on Soul Jazz Records in 1992 to widespread critical acclaim.
"Now 20 years on a new wave of current jazz artists led by the likes of Kamasi Washington in the USA and a host of British artists - Shabaka Hutchings / Sons of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - have brought this original ground-breaking album into the limelight once more as a pivotal starting point, sharing many of the aesthetics of these current artists at work today.
Musically all are inspired by the spiritual jazz of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry et al paired with a modern electronic music sensibility. Chris Bowden’s ‘Time Capsule’ has stood the test of time like few other albums (as the title of the album suggested), and remains a pivotal, wholly-successful and original experimental musical collage, a radical inspiration and forbearer to many of the best progressive jazz and electronic artists working today."
Who better to inter Fabric’s long-running series than the demon DJ Kode 9 and his accomplice, Burial? Yeh, nobody’s shouting Craig Richards, so this will have to do.
So it’s basically NOT a new Burial album, or even a Kode 9 & Burial album, but it is one of the strongest mixes in Fabric’s near 20 year history, cataloguing and webbing 37 tracks from the ‘ardcore ‘nuum, following its breakbeat and techno roots thru to its branches into US footwork, the distant echoes of South African Gqom, the avant R&B of Klein and Dean Blunt, and latinate and sino futurisms, with precisely no dubstep in-between.
The result is a mix as fragmented yet fluid as the London roadmap or those aerial shots used on the ‘Burial’ album cover, forming a mosaic of interrelated ‘ardcore styles grouted with the trademark fuzz and patter of drizzle heard on Kode 9 & Burial’s two preceding mixes for Mary-Anne Hobbs. In the first third, they probe a line from Klein and Cooly G thru outright Gqom killers by Julz Da Deejay, Roman Rodney and TLC Fam, and introduce Hyperdub newcomer Nazar along the way.
In the 2nd third, the breakbeat hardcore badness of Jungle Buddha’s ‘Drug Me’  and Intense’s classic ‘The Quickening’ bookend a rush of raving footwork aces such as DJ Spinn’s ‘Make Me Hot’ and DJ Tre’s lethal ‘House Hybrid’, before the final third slips from trancing ‘90s techno and acid thru to freakier footwork, an overlooked Sino-Detroit breakbeat ace by Claude Young, and the breeziness chops of Proc Fiskal.
Ultimately it’s a lesson in keeping your ears wide open to all styles in the present, while also keeping an eye in back of your head for vintage freshness, and pulling up records from well trodden areas - keeping the polystylistic and hyperstylized spirit of hardcore burning into 2018.
Seven is the magic number. Indeed, not only do psychologists theorise that the human brain can only memorise a sequence of this length, but Pigs Pigs Pigs Pigs Pigs Pigs Pigs - the Newcastle-based maximalists whose riffs, raw power and rancour have blazed a trail across the darker quarters of the underground in the last five years - have made a second album in King Of Cowards which does its damnedest to take consciousness to its very limits.
"Moreover, another notable seven is dealt with here - that of the deadly sins. As vocalist and synth player Matt Baty notes “For a long time I’ve questioned how and where guilt can be used as a form of oppression. When can guilt be converted into positive action? After typing all of the lyrics up I realised I’d unwittingly referenced every one of the seven deadly sins throughout the album. That’s my fire and brimstone Catholic upbringing coming into play there!” Building on the momentum this band has built since their January 2017 debut Feed The Rats, this opus sees them entering a new phase as a sleeker and still more dangerous swineherd.
The Iggy-esque drive to dementia, Sabbath-esque squalor and Motörhead-style dirt may still be present and correct, yet the songs are leaner, the long-drawn-out riff-fests sharpened into addictive hammerblows and the nihilistic dirges of yore alchemically transformed into an uplifting and inviting barrage of hedonistic abandon. “The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which” So George Orwell noted at the end of a certain slim volume. King Of Cowards is nothing less than just such a metamorphosis, one in which - in a blur of primal urges and beastly physicality - this band shows us just which animals are really in charge of the farm."
Produced by Helge Sten (Deathprod), ’14’ is the latest blinder from his avant-jazz-supergroup with Arve Henriksen and Ståle Storløkken, a.k.a. Norway’s Supersilent...
Arriving more than 20 years since the trio’s debut, ’14’ finds their improvisational formula of trumpet, voice, keys and electronics generating some of the most phantasmic sound images imaginable.
At only 33 minutes wide, ’14’ is also one the shortest Supersilent albums in memory, revolving around 12 succinct pieces ranging in length from 1 minute to nearly 6, and tiled like an abstract, tessellating mosaic of ideas, rent in 3D by Sten’s bespoke Audiovirus system of analog oscillators and vintage tape machines.
Incredible,evocative and fuucked up music for late nights and isolation - a huge recommendation.
Under the Canaxis 5 name, In 1969 Can’s Holger Czukay and Rolf Dammers - his classmate from lessons under Stockhausen - made the cult detournement of ‘Folkways - Music Of Viet Nam’
Originally issued in the same year that Can came into being, Canaxis 5’s sought-after experiments on ‘Technical Space Composer’s Crew’ would also be issued by Munich’s Music Factory, who were also behind the debut release of The Can’s ‘Monster Movie’. Fair to say they’re both cult records, but the Canaxis 5 side is definitely the more experimental of the two.
On the A-side’s legendary ‘Boat Woman Song’ they hijack the aforementioned Folkways, taking its Vietnamese voices to a parallel, synthesised dimension of swirling dynamics and hypnotic widescreen drones owing much to the influential abstraction of Karlheinz Stockhausen’s electronic works. With the B-side’s ‘Canaxis’ they combine the Vietnamese vox with samples of Capella Antiqua München, imaginatively crossing vast time and space via synth wormholes to pave the way for so much 4th world and new age exploration to follow.
'Autobiography' is Jlin's soundtrack to the staged life story of eminent dancer and choreographer Wayne McGregor, which opened in October 2017 and is still running at Sadler’s Wells, London.
For an artist whose début album opened with a track called ‘Black Ballet’ - in reference to the art of Chicago footwork - the synchronicity between Jlin’s music and McGregor’s choreography is patently obvious, and this album is perhaps one of the smartest unions between those disciplines that we could hope for.
Jlin’s music has always driven us nuts in the best way - calling to mind a statement by Steve Goodman some years back, in which he effectively stated that the most exciting music to him is one that physically demands the body to move in unfamiliar ways, as he first experienced with the radical, muscle-memory reprogramming rhythms of hardcore and jungle in the early ‘90s, and especially in relative context to what preceded it.
In that sense, Jlin’s releases have persistently provided some of the most sensational music we’ve heard this decade, sparking our minds and bodies into action in the rarest, maddest, most inexorable ways by essentially, physically breaking and disrupting the mould of the same old, same old line-dancing music that too often passes for club music.
For Wayne’s ‘Autobiography’, Jlin renders his life story in a compellingly intricate musical language of syncopated pointillism, percolating her drums and symphonic orchestrations in weightless formations that mirror bodies in flight, touching the ‘floor as little as possible. But that’s only 2/3rd’s of the story, as Jlin vacillates these elegantly hardcore rhythms with gorgeous, beat-less moments of pastoral lushness, classical keys and glyding ambient pauses which, by contrast, better highlight the cyclonic torsion of her expressive rhythm programming, while simultaneously demonstrating the distance travelled between Footwork’s roots in the streets of Chicago, and its unique similarity with the so called “high art” of western culture.
Don’t get it twisted tho, we’re highlighting an obvious distinction, it’s not about prizing one over the other, but celebrating and acknowledging the brilliant results of this unusual but evidently, completely natural-fitting union of styles and patterns.
Inland’s debut LP is an epic electro-techno-acid set stemming from his soundtrack to a video installation by conceptual artist Julian Charrière
“Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière’s visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia’s Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as “The Year Without Summer”, with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers – and listeners – down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.”
The American singer-songwriter’s 8th studio album in pursuit of classic folk and country spirits...
“The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography.
Following the release of 2016’s acclaimed Strangers, Nadler’s relationships were put to the test as she left the Boston area on tour. She wrote throughout 2017 about this tension, and ended up with three times as many songs as she needed. But after reviewing the demos with her co-producers Justin Raisen and Lawrence Rothman, Nadler wrote a flurry of tight but no less intense new songs in the week before arriving at Rothman’s Laurel Canyon studio, House of Lux, in early January. She considered it a challenge to herself, applying new strategies and structures to the craft of “slow music” she’s honed over the last 15 years. From that group of songs came nearly all of the singles on For My Crimes, some of the most indelible of Nadler’s career.”
A total peach comes back into circulation with Holger Czukay’s beguiling, heavily grooving ‘Full Circle’, starring crucial input from his Can bandmate Jaki Liebzeit on drums and Jah Wobble weilding the bass
Instantly loveable for the grooving punk-disco ear worm of album opener ‘How Much Are They? - a big anthem in mid ‘80s Belgium and elsewhere - listeners will also encounter the muggy dub of ‘Where’s The Money?’ and the playfully exotic concrète-jazz-funk of ‘Full Circle R.P.S. (No. 7)’, along with a ghostly blues piece ‘Mystery R.P.S. (No. 8)’ on a classic Can tip, and the psychedelic come-down of ‘Twilight World’.
Stone cold classic!
Murcof renders a panoramic suite pairing dramatic choral vocals from the ‘Goldberg Variations’ with symphonic electronics to soundtrack Patrick Bernatchez film, ‘Lost In Time’
“In Lost in Time, two parallel narratives intertwine: e first follows a helmet-clad, faceless horse and rider adrift in an indeterminate landscape of ice and snow, quite literally lost in time and space, while the second seems to allude to a strange scientific experiment. Lost in Time plunges us into perpetual renewal, each ending leading to a new beginning.
The protagonists – two beings bound by a certain mutual dependence – are forever trapped in a time loop where life and death ceaselessly rotate.The use of what are almost exclusively black figures against white landscapes produces a menacing, otherworldly atmosphere that is also stunningly beautiful. The original soundtrack of the film, blends the aria of the Goldberg Variations sung by Les Petits Chanteurs du Mont-Royal with a composition by Murcof.
The soundtrack also exists as an autonomous work entitled Lost in Time (Goldberg Experienced.05). Coproduction Musée d'art contemporain de Montréal and Casino Luxembourg. With the support of the Conseil des arts et des lettres du Québec and the Canada Council for the Arts. Composed by Murcof, the soundtrack of the film Lost in Time was the subject of a previous double album co-produced by Patrick Bernatchez and the Casino Luxembourg in 2014.”
‘FRKWYS Vol. 14 - Nue’ is a brilliant and uniquely beguiling study in non-standard tunings by Tashi Wada and his father, Fluxus artist Yoshi Wada, including input from Julia Holter, Simone Forti, Cole MGN, and Corey Fogel
Collaborating properly for the first time, Tashi and his father effectively serve an extension of the ideas in Yoshi’s classic side, ‘Earth Horns With Electronic Drones’. While we haven’t got an instrument list to hand, we can detect them using electronic synthesis, along with bagpipes, percussion, and vocals arranged at varying angles, smartly blurring their electro-acoustic distinctions at times, and at others using them quite explicitly in what may be perceived as richly dissonant tonal clashes.
In a very special way, the album is coolly tempered but riddled with wild unpredictability from song to song, starting out with the wilting electronic oscillations of ‘Aubade’, to scale the swelling bank of electronics and plangent bagpipes in the preceding single ‘Ground’, before massing in keening vocal harmony against a bed of electronics in ‘Ondine’.
The bagpipes return in a different way on ‘Double Body’, curled in almost jazzy ellipses around Corey Fogel’s slow, reverberating percussionin wonderfully unexpected ways, whereas the chiming percussive tingles of ‘Bottom Of The Sky’ recall stately Japanese Gagaku, and the pipes make another welcome return in close duet with the electronics on their self-explanatory and frankly fucking beautiful ‘Fanfare’.
For our money this is the strongest, spellbinding FRKWYS volume in its 10 year run - one of those records that restores faith, where needed, in the mysterious, inexplicable power of far out experimental music.
“You’ve got to dig it to dig it, you dig?” - Thelonious Monk
"Hot on the heels of Impulse’s recent unearthed Coltrane Number One hit album comes another beauty from jazz’s ‘holy trinity’. This is a previously unreleased, precious lost treasure from Monk’s most critically acclaimed line-up; Charlie Rouse on saxophone, John Ore on double bass and Frankie Dunlop on drums.
Known as the ‘High Priest of Bebop’. Without a widely agreed must-have Monk release, could this fill the void as
the Monk everyone should own? Recorded live in Copenhagen in 1963 at the peak of Monk’s career. A year later he was to feature on the cover of TIME Magazine, one of only for four jazz artists ever to do so."
Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit.
Holger Czukay’s debut solo LP ‘Movies’  is, quite frankly as mad as a bag of squirrels, but super playful and cool as fuck with it. It’s his first record after striking out from Can, and he clearly had a lot of ideas brewing and ready to get out
From the Afro-inflected lilt of the guitars on his sardonic disco workout ‘Cool in the Pool’, thru the expansive future jazz and krautrock hybrid ‘Oh Lord Give Us More Money’, to the curiously fragrant balm of ‘Persian Love’, and the lysergic, grooving WTF?ness of ‘Hollywood Symphony’, this one is bona fide seminal, unique and utterly worth your time.
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.
"Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield.
The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).
Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger.
Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world."
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono has put his unmistakable stamp on hundreds of recordings as a session player, producer, and auteur of his own idiosyncratic musical world.
"Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums.
After Happy End’s amicable break up in 1973, Hosono released Hosono House, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180 degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual Hosono House was one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent.
For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. The songs on Hosono House display the breadth of Hosono’s talents, from the hushed acoustic folk of “Rock-A-Bye My Baby” and the country twang of “Boku Wa Chotto” to the New Orleans funk of “Fuyu Koe” and the unexpected breakbeats in “Bara To Yajuu.” Lauded by artists such as Jim O’Rourke and Devendra Banhart, Hosono House remains a touchstone of the early phase of Hosono’s career.
Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world."
Chromatic conjurer Tim Hecker meets traditional Japanese Gagaku musicians from the Tokyo Gakuso ensemble on ‘Konoyo’, a dreamlike dramaturgy of noise, dissonance and aching melody recorded during several trips to Japan
The Canadian’s 9th solo release ‘Konoyo’, like its predecessor, ‘Love Streams’  also finds Hecker drawn to acoustic instruments and collaboration with a larger ensemble or collective, this time working with the Tokyo Gakuso ensemble after commanding an Icelandic choir on his previous album. However, the results here have a different purpose, swapping out ecstatic density for an intently refined and spacious approach, allowing his processed sources to ring out beautifully un/true in a sort of parallel dimensional harmonic spectrum.
In ‘Konoyo’ Tim Hecker effectively establishes a whole new set and lighting design to stage his patented play of paradoxes - lone/collective; organic/synthesised; consonant/dissonant - with the synaesthetically heightened skill of director, set designer and conductor rolled into one. The results are thus among his most subtly yet richly theatrical or cinematic, riddled with romantic, if abstract, narrative and a yearning pathos, and effectively collapsing myriad traditions - electronic, acoustic, Western, Eastern, classical and new age - into a spellbindingly sonorous, mercurial triumph.
The Sufi Letters is a vast project of 28 compositions (for the 28 letters of the Arabic alphabet) undertaken in 2000 and still ongoing, drawing inspiration from the symbolic charts found in Sufi mysticism.
"Each Letter is a sonic meditation on the frontiers of conscience and the paradoxes of time.Today's word, Du seuil [From the threshold], is the third word to be released by Sub Rosa. It is a journey of sort through grief: stages of conscience, journey through hell, nocturnal anxieties, meditation, resilience. Do not worry too much though, for isn't it from the distance of death that one can shine the best light on life? Isn't all grief also a threshold?" (JLF)
Jean-Luc Fafchamps is a pianist and composer. He studied at the Conservatoire in Mons and at Louvain University. A member of the Ictus Ensemble, he has taken part in many concert performances in large ensembles or chamber groups (performances of works by Lindberg, Reich, Aperghis, Mernier, Leroux, Harada, Francesconi, etc.) and in mixed performances, particularly accompanying dance (multiple performances with Rosas (Anne-Teresa de Keersmaeker)) and theatre (several creations with Aperghis). He has made recordings for Sub Rosa - with the Bureau des Pianistes and as a soloist - of works by Bowles, Liszt, Feldman, Dallapiccola, Duchamp, Scelsi and Berio and has contributed to numerous recordings with the Ictus Ensemble (Francesconi, Aperghis, Lindberg, Harada, De Mey, Mernier, Harvey, etc.) and has accompanied many singers."