Greece’s Into The Light dive 20 years back into the archived treasures of Angelo Ioakimoglu, coming up with a lush haul of pearls and shimmering grooves informed by deep house, D&B, boogie, ambient 4th world styles
“Into the Light continues its journey to unearth and update overlooked Greek music. This time focuses on a smooth, warm, youthful yet intelligent work that finds effortlessly its place in the tiny Greek electronic scene of the mid 90's.
"The Nireus Years" is a rare selection of eight unheard home recordings produced between 1995 and 1997 by the then 16-year old Angelo Ioakimoglu in Athens. The album encompasses his most special productions ranging from bucolic new age to dubbed out midi electronics, jazzy r&b to Mediterranean ambient trance!
Angelo was born and raised in Zografou area of Greece's capital in 1981. It was there where his father had a typical 80's electronic lab and it was that specific environment where Angelo spent most of early childhood. A first attraction for electronic musical equipment was developed that very soon became a passion for hunting down used pieces of gear soon to form the basis of his well equipped bedroom setup.
During his teens, his connection with music was either practicing the piano at home or listening to the most recent dance hits at his uncle's place who happened to be a professional DJ. Big part of Angelo's demos around that period is driven by those two aforementioned worlds. But there were moments of escape. Moments where the music went for the unexpected. Leaving the producer following a solitary path where he could express his teenage dreams and fantasies...through extensive midi programming, live keyboards mimicking string, brass and steel instruments and sampled portions of his live percussion burst.
Angelo's work, which can sometimes seem naive or surrealistic, is supported by his unique and surprisingly energetic approach, one that gives us the courage to continue something different.”
CV & JAB is Christina Vantzou and John Also Bennett, two artists that might already be familiar to many of you from their individual work over the years for the Kranky and Spectrum Spools labels. Together they have made this slowly engrossing album for Shelter Press - who else - perhaps one of the most elusive, uncanny and multi-layered “Ambient” albums we’ve heard in what feels like a long time, a worthy follow-up to a frankly astonishing sequence of releases on the label that started with Felicia Atkinson’s modern classic 'Hand In Hand'. If you’re into anything from Chris Watson’s field recordings to Vangelis and Badalamenti at their most romantic and evocative, or even Boards of Canada’s early forays into wildlife documentary pastiche, this one will sooth your mind like nothing else.
The album is a musical interpretation of Thoughts of a Dot as it Travels a Surface, a 90m panoramic wall drawing by Zin Taylor (a reproduction of which is included as a fold-out poster that comes with the vinyl edition). Through 10 tracks they render beautiful electro-acoustic meditations on the passage of time, which follows-on from their co-work on Vantzou's No. 3 album.
Vantzou brings a wealth of experience working between auditory and visual mediums to John Also Bennett’s synthesized and acoustic sound sensitivities, which have recently applied to his action in the Forma trio and a compilation of Pauline Anna Strom’s amazing Trans-Millenia Music for RVNG Intl, with a purposefully slow and immersive flow of acoustic piano and flute wrapped up in remarkably plasmic, spatially detailed synth contours.
In 10 parts, through a combination of literal track titles and abstracted allegorical inference, they describe the movement and feelings evinced by Zin Taylor’s massive tableaux, variously transposing his imagery of Cactus with Vent into webs of crystalline harmonics that acquiesce to brownian motion, or, as with the transition of Alfred Hitchcock Haze to Rock House With Door, a vividly synaesthetic transcription of figurative drawing to brooding, doomily Lynchian sound that brings to mind a wealth of captivatingly dank and alien imagery.
The vinyl package includes a miniaturised print of Zin Taylor’s Thoughts of a Dot as it Travels a Surface to peruse while you listen, so that you, like Christina and Bennett, can also make your own interpretation, and see how far their sonic translation differs with your own. Or then again, you could ignore it entirely and let yourself drift inside their free-formed dimensions without the cues. Either way, you’re in for a beautiful, open-ended and unpredictable trip.
2nd of two killer 7”s by Istanbul’s premiere avant-jazz unit, a partner piece to their Ornate Coleman tribute
Up top, they play it fiercely cool with alto sax and trumpet keeping their head amid flying, white hot percussive shrapnel in Z-Bop Part.I, and sharting right thru into the Part.II on the B-side.
Proper, ragged rug cutters for the jazz dancers, then.
Princess Nokia - aka New York rapper Destiny Frasqueri - has been releasing music via YouTube and Soundcloud since she was in High School and catapulted herself to the next level with last year’s critically acclaimed rap opus 1992 ‘Deluxe’ - selling out venues across the globe and steadily gaining tens of millions of streams.
"Now, this shapeshifting emcee returns with a brand new collection of songs titled ‘A Girl Cried Red’, a self-described “emo mixtape” which will undoubtedly cement her place in the alternative underground as well as the hip hop world. “Black people created punk - the band Death was way before The Ramones,” she stated in a recent interview, “If you think about it, the wool has been pulled over our eyes. This is our shit. Very naturally, that’s why we return to it.” Drawing on influences as varied as the introverted acoustic sounds of Elliott Smith to the bombastic pop-punk energy of Paramore, ‘A Girl Cried Red’ showcases another fully formed side of Destiny that still taps into the uncompromising feminist ideology of Princess Nokia."
Para-dimensional folk suite by Glenn Donaldson (Jewelled Antler Collective: Thuja, The Blithe Sons, The Skygreen Leopards) originally penned in the psych-folk era c. 2005, and still sounding hauntingly timeless yet out of place in 2018
Recital’s Sean McCann says: “Between 2001 and 2005 Donaldson published a handful of discs under the names The Ivytree and The Birdtree. These boiled down and tanned the patient, outdoor ambiences of the long-form instrumental recordings. These were slow and pastoral and pensive songs, carried by Glenn’s haunting voice: my favorite of his work. Glenn recorded outside with field-recorders and mini-discs: in forests, headlands, and tunnels of the Bay area.
I grew up listening to his recordings – throughout high school and college in Goleta, CA. They spark many memories: driving around beach parking lots, dragging boomboxes into creeks, camping in the mountain valleys etc. I remember once driving 5 hours up to San Francisco with a group of friends to try and get into a Giant Skyflower Band concert (another Donaldson project). It was at a bar and we were under 21 – so we couldn’t get in, even after trying to bribe the doorman. As you can tell, very special places in my mind and memory. My fondness for The Ivytree never dissipated, and I always dreamed of hearing more material from that time, as I know how prolific the Jewelled Antler association can be.
On a whim in 2017 I reached out to Glenn and asked him if he wanted to publish a “best-of” The Ivytree as a limited LP. This idea blossomed and provoked Glenn to dig through his vast mini-disc archive, where he unearthed some forgotten jewels. The recordings were trickling in to my email – one by one, each better than the last… Ranging from the Robert Wyatt-esque piano ballad “Evil is Circular” to the gentle melancholy of “All the White Plumes” that could belong on Richard Youngs’ Sapphie. Unburdened Light carries on the warm breeze and innocence of the early 2000s CDr culture.
So our project then turned into publishing a new album of unreleased Ivytree recordings. A full circle youthful wish now ripens in my adulthood. I am honored to have stirred up the bees-nest to deliver you these tragically honeyed songs.”
Waking dream-like poetry, smoky ambience and concrète ‘tronics from Open Corner, a collaboration between Asha Sheshadri (Isolde Touch) and Christian Mirande for Sean McCann’s wonderful Recital Program; warmly tipped to fans of Félicia Atkinson, Robert Ashley, Teresa Winter or Pinkcourtesyphone...
Riffing on themes of suburban ennui and human despondency to a mix of richly textured “musical” and “non-musical” backdrops, Open Corner’s Empty Pool For No One connotes a curious shade of day-to-day surreality underlined by a palpable melancholia and dissociative timbres.
Its hypnagogic air and textural juxtapositions of ASMR-esque vocals low in the mix with oblique scenery naturally recalls Asha work on the PVC Burn album as Isolde Touch for Entr’acte, but it’s Christian Mirande’s input that really separates the projects with his absorbingly fractured and porous instrumentals serving to diffract and reframe Asha in fascinating, abstract ways.
“Emotionally and sonically claustrophobic. A unique take on voice and sound: in-between an audiobook and a sound-map. Exhausted and hungover, the frequencies and intense proximity really fit the digital CD format. Here is your chance to revitalize the ? Records weapon of choice…”
Stella Donnelly is a young songwriter with a knack for wrapping unapologetic, brutally honest lyrics with a soaring lullaby to mesmeric effect.
"With just one release to boot, last year’s lauded ‘Thrush Metal’, she has already garnered worldwide critical acclaim and has an undeniably bright future ahead. Full of sharp lyrical punchlines, Stella’s standout songwriting on ‘Thrush Metal’ is an empowering and relatable guidebook to life as a young woman in our age of Trump, Tinder and Third-Wave feminism.
First single ‘Boys Will Be Boys’ has been described by New York Times as “A delicate waltz [that] carries a bitter reproach to blaming the victims of sexual assault. ‘Why was she all alone/Wearing her shirt that low?’ she sings, and then her voice rises and roughens.” Written in late 2016, the track tackles society’s tendency to blame the victims of sexual assault and rape and making excuses for the perpetrators. This insightful account isn’t limited to ‘Boys Will Be Boys’.Take new bonus track ‘Talking’ which explores the ever-socommon feeling that you’re in a one-sided relationship from a distinctly millennial perspective and ‘Mechanical Bull’, a pithy but potent track that addresses the male tendency to persist unwanted sexual advances."
The lush promise and spirit of mid ‘90s IDM deeply informs Darling’s ’Tulipa Moves’ for Young Marco’s Safe Trip
The latest in a highly endearing volley of 12”s from the enigmatic Amsterdammer, Tulipa Moves offers a welcome dose of melodic escapism articulated through classic hardware in a manner recalling classic AFX, Plaid, Kettel and loads of stuff that already sounded charmingly nostalgic in the ‘90s with echoes of Japanese electronics, new age ambient and minimalism also bubbling to the surface.
We direct you straight to highlights in the radar ping 808s, angel breath chorales and classic AFXian bassline of Tulipa, as well as the introspective shimmy of Free Hand, and the featherlite spine strokes of The M Song (Feat. Lexi) for the finest feels, and you’ll know exactly what to do next!
Radiohead guitarist Jonny Greenwood’s score for the new Lynne Ramsay and Joaquin Phoenix film ‘You Were Never Really Here’.
"Greenwood once again displays both beautiful and harrowing string arrangements performed by the London Contemporary Orchestra and experimental string player Olly Coates (‘Under The Skin’), married with experimental synthesisers, drum machines, recorders and guitars. This will appeal to fans of Greenwood’s previous work, including scores to ‘There Will Be Blood’, ‘Inherent Vice’, the Oscar-nominated ‘Phantom Thread’ and, of course, to fans of Radiohead."
Raw, fuzzily intimate recitals of John Cage works, made in an attempt to bring Cage’s ‘Harmonies From Apartment House 1776’ closer to the artist’s intentions thru the “destruction of privileged musical space”, blurring distinctions between performance and non-performance in a way which Cage would surely approve of
Cop Tears write: “Thirteen Harmonies is a selection from John Cage’s 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage’s Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an “apartment house” among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the ‘multiplicity of centers’ of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty 4-track on bled-through tape in Cameron’s apartment house in Queens, New York.”
Bogdan Dražić drops a volley of salty machine workouts on TTT following blasts for Giallo Disco
Trampling in wigged-out terrain between Eric Copeland, Muscleworks era James Feraro and Lutto Lento, the Dangnabbit EP flexes sinewy muscle in four parts, starting with the Troma horror-core funk of Nag Nubia, then spitting the gob of hacked muscle and screws called Goa, Goa, Gone, before yoking up the wonky-wheeled ride of Jack Dat Wabbit, and the swaggering jakbeat, Trip This Joint with X amounta madness.
The surrealist scenes of ‘Bloody Sirens’ documents London-based choral ensemble Musarc performing three works by Neil Luck at Extra City Kunsthal in Antwerp, Sunday 3rd October, 2015
Luck’s 4th work composed for Musarc, following from Misty (2010), Namesaying (2013), and Any’s Responses (2015), his new piece Bloody Sirens is presented as a report from an imaginary baseball match which conceives of the singers as individuals, rathe than a singing ‘mayuss’, who read from a score that includes a skull and plenty of errors and ellipses.
Yet another singular release on the boundary-oblivious Entr’acte, Bloody Sirens presents avant garde compositions for vocals which are simultaneously timeless, ancient, yet up-to-the-moment, both democratic in organisation and collectively keening towards a framework familiar to the Slip label’s excellent vocal works by Object Collection and Laurie Tompkins, as much as a wealth of historical works.
Berlin’s Mechatok, one of the most nattered-about artists to emerge in recent years, caters to Lorenzo Senni’s Presto!? label with four effervescent spins on melodic dancehall and PointillisticT.
Practically taking on Lorenzo at his own thing, Mechatok keeps it perfectly icy and low-key with the simmering hustle of 12 Years, then stealthily starts to come up with the layered trance arps and choral voices of Skies Of Tomorrow, until the big room coda of All My Time takes us by the hand to a hard trance wonderland, or something, where the barely-there dynamics of Flee trace out the phosphorescent afterglow of a trillion garys in the fashion of an avian murmuration.
Big RIYL to fans of rkss, Pavel Milyakov, Lorenzo Senni, Kamixlo
Deep, jazzy twysts on a rooted house theme from Dawit Eklund, following up last year’s ace drum track session with Dolo Percussion, and the tripping broken beats of his ‘Ouroborous EP’ 
In all four parts Dawit entwines his East African heritage with heavy references to American house and funk with inimitable style. On Gravity that comes out in a wicked push and pull between earthy, grubbing drums and purple hued, ascendent G-funk licks, while New Life gets it up with a rolling mesh of dubbed out funk chords and gently cattle-prodded drums to get the best out of the dancers. Flipside, he takes that vibe more introspective with the loosely smudged hustle of Sufferation Dub, before Luna’s Melody hardly touches the ground in a very special turn of autotuned soul vocals with chromatic keyboard licks and wickedly pendulous, effervescent breaks designed to marionette dancers from the shoulders and waist.
Augustus Pablo fronts an allstar Rockers International Band on ‘Eastman Dub’ weaving woozy melodica, organ, piano and clavinet into skeletal riddims circa 1988.
A1 Only Jah Jah Dub
A2 Eastman Dub
A3 Look Within Dub
A4 Isn’t It Time Dub
A5 It Up To Jah Dub
B1 Big Yard Connection
B2 African Step
B3 Original Scientist
B4 Corner Stone (Chapter 3)
Filigree detailed, vaporous sound designs carved from the Yamaha ex5r from XIII for Turin’s Gang Of Ducks. RIYl Visible Cloaks, Haruomi Hosono, Japanese electronics
“Eocity is the result of a study on technological failure and the imagination of a non-existent urban landscape. This project features the use of a Yamaha ex5r, one of the first synths to ever implement VL synthesis.
The Yamaha Virtual Acoustic Synthesis tone generation was born to try to accurately emulate the complex vibrations and other acoustic phenomena of real instruments and their sounds within space, but the dubious results of this technology gave birth to something more.
Its output sound happens to be cold and synthetic while being also organic and warm at the same time, welcoming the listeners into a feeling of an artificial world that is neither digital nor analog.
In this world man is not around anymore and the binary language survived him, communicating with the rest of the natural environment, in respect of its laws and dynamics, becoming one indistinct entity.
Eocity is a place that exists in between the imaginary and the real one, gently oating as a digital tactile experience.”
New mini album from Sudan Archives.
"The violinist and vocalist writes, plays and produces her own music. Drawing inspiration from Sudanese fiddlers she is self-taught on the violin and her unique songs also fold in elements of R&B and experimental electronic music. Photography by Jack McKain with art by Stones Throw creative director Jeff Jank."
Space Age Recordings are pleased to announce the first official CD release of the album "For All the Fucked Children of This World” featuring Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized).
"This is the latest release in an on-going co-ordinated campaign which will see the complete Spacemen 3 catalogue re-issued.
For All the Fucked Up Children of This World” from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3's first ever recording session from 1984. The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation.
A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce's vocals. The album's liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the "all singing, all dancing answer to the problems of a grey 1985."
World premiere edition of Luc Ferrari’s incredible ‘Atelier de Libération de la Musique’ - a series of prescient, shockingly free-jazz styled improvisations recorded in February and March 1975 during rehearsals for the Concerts Électrovisuels at Pont F and Musée Galiera in Paris
Adding a whole new stripe of colour to everyone’s perception of music by Luc Ferrari - the fabled co-founder of the GRM, with Pierre Schaffer and François-Bernard Måche - Atelier de Libération de la Musique was, as printed on the LP sleeve, Ferrari’s self-stated attempt to “…free music from the constraints of style and aesthetics; to free the arts from the abstraction to train him for comprehensible actions; to be rather a craftsman of imagination.” And under these directives, Ferrari on electric organ, together with NWW-listed Martin Davorin Jagodic (electric piano) and Alain Petit (sax, flute, clarinet), plus Philippe Besombes (synth) realised this remarkable record which, somehow, until now, has remained unheard by the public.
Where we’re more used to hearing slow moving poetic tapestries or fleeting sceneries implying surrealistic scenarios from Ferrari, these recordings are more stripped down, verging on American minimalism, but too fractured to be called so. The A-side collects a number of succinct, enchantingly free and dynamic works ranging from windswept percussion and flute in the first, to passages of supremely playful, pastoral synth-jazz and elegiac melancholy, via a very Gallic passage of swaying, elliptical freeform jazz. On the other hand, the B-side’s parts are breezier, like someone opened a few windows in the room while Reich was developing his phasing minimalism, or as though Arthur Russell got lost in a trance while penning his Instrumentals, 1974.
For a Luc Ferrari record to surface like this is one thing, but for it to contain such gestures of beautiful genius, and so ahead of their time, like this record, is really quite special and unmissable.
Repress of Andrés’ funky 2012 downstroke as DJ Dez for Japan’s Root Down Records
A-side swings out with funky positivity and old skool Detroit swagger for the Dilla nuts on New World, while B-side’s Brain is primed with slouchy soul chops bound to entice the KDJ and Mahogani Music fiends.
Sleep and weep, peops.
Greek producer Pasiphae pushes a tense, furtive and killer electro-Italo-EBM sound on Interstellar Funk’s Artificial Dance
Recalling classic Murder Capital vibes as much as Helena Hauff’s contemporary scum budgers, but with an added air of ancient Hellenic intrigue, the Siphax EP is a strong testament to Fotini Kappa’s solo sound following her introduction on the Made Of Glass  hook-up with Intergalactic Gary for Bio Rhythm.
A-side, she bites down with steel-fanged jaws in the Giallo-esque scene-setter, Tachyons, then shifts down a gear for the aching sleaze and drama of Vertical Rotation, urged by evilly turgid subass and nerve-gnawing synths. B-side keeps up the pressure with Bladerunner-esque stacks of brassy synth flare in Quelque Chose De Mauvais recalling Afrodeutsche’s recent ace for Skam, logically pursued by the funereal Quelque Chose De Mal to an exceptional parting shot with the unharnessed, Italinate arps of header working just as usefully as an outro or dramatic set-starter in the right claws.
Istanbul’s premiere avant-jazz unit converge on two blazing tributes to Ornette Coleman
A-side they work up a steam train momentum from rattling drums, rolling double bass and spurts of fiery harmolodic sax and trumpet delivered with pure gusto, whereas the B-side is just the sax and drums chasing themselves dizzy in a manic avant-jazz caper.
Sasha Grey features on the well oiled glam disco of ‘Honey’ by Richard Fearless and Chris Blakey as DIV
Backed with a slippier backdrop to the dark room lit up with neon synth tweaks in ‘Witchdance Dub’.