Jealous God call for EBM reinforcements with three new tracks from Pye Corner Audio, and a collab between Marcel Dettmann & Silent Servant.
Pye Corner Audio does it slow, grubby and inquisitive on Delay Gratification, teasing in a sort of industrial zombie cumbia, while Meet Me In The Void follows a muggier hunch into Carpenter-esque synth alleys, and The Future is a bleak as f^ck black knot of acid rolling with stygian function.
Dettmann subtly indulges his longheld passion and fascination for EBM in collaboration with Juan Mendez aka Silent Servant on The Bond, where they marry a strapping lead arp with floating, over-the-shoulder voices and booming kicks, all pinned into place by a reverberating snare that’s sure to ricochet around Berghain’s main hall like stay shrapnel.
Bohren & Der Club of Gore refine and expand their neon lit blend of midnight jazz and dark ambience, finding romance and a sort of redemption in the heart of the abyss.
Musically, the key reference point remains Angelo Badalamenti's scores for David Lynch; a combination of plaintive sax, ominous synth drones and electronic piano situated at the interzone between dream and nightmare. ‘Zombies Never Die (Blues)’ - the first of the three long, immersive pieces that make up the LP - is apt for midnight revelation at the Roadhouse or Club Silencio; but as well as Badalamenti we think also of Tom Waits at his most unhinged and atmospheric, and of The Caretaker's sweeping, serotonin-depleted excavations of memory.
‘Catch My Heart', an unrecognisable cover of German metal outfit Warlock, evokes the decadence and submerged anxiety of 30s Weimar cabaret; vocals come from the band’s longtime cheerleader Mike Patton, channelling Tuxedomoon, Bowie and even the Brinkmann of When Horses Die into a louche but tortured croon. The title track brings the suite to a close, unbearable tension wrought out of a sparse, repeated Rhodes motif and brushed drums, recalling early Tortoise, For Carnation and the desert-dried doom of Earth. For all these comparisons, Bohren really are like no one else around, and Beileid is the kind of otherworldly, out of body listening experience we live for.
Airhead comes off like PC Music doing jazzed tribal house and jungle with these two pearls for James Blake and Dan Foat’s 1-800 Dinosaur label
Stepping on from his ‘Kazzt’  ace for Different Circles, Airhead returns to site of his ‘Believe’ release with a cheeky glint in his eye and a wonky swagger on ‘Clatter’, winding up a carbonated and freaky sort of slosh-jack foe the A-side, before ‘Droplit’ straightens up yuh backbone on the AA-side for a wicked spot of tail-chasing jungle breakbeat chicanery.
Hinosch is a probing, minimalist collaboration between Koshiro Hino ov the amazing Goat group and YPY project, with Düsseldorf’s Stefan Schneider. Mazy rhythms and electronic chicanery in very curious and nimble effect...
“They first met and began their collaborative work of musical interaction and exploring contrasting possibilities in 2017. After a number of concerts in the EU and in Japan, they released their self-titled debut EP (TAL 005EP, 2017). Fully instrumental, their first full-length album Hands offers a more steeply focused approach than its largely improvised predecessor. Encouraged by the momentum generated during a number of on-the-spot recordings in Osaka, where Schneider had held a residency in April 2017, the overall sound of the album has been honed down through meticulous studio engineering.
One of the outstanding qualities of Hands certainly is an unprejudiced approach of sound and song structures. The instrumentation is confidently reduced to a small range of analog and digital machines. Snatches of tape-loops deliver lower-pitched vocal and drum machine samples. This characteristic technical set up soon proved ideal in order to define a tactile vocabulary of fully unsynchronized rhythm patterns. The word tactile perfectly conjures that quality which is the very essence of Hands. It is the result of the manner in which interdependent threads of rhythm units are deliberately disconnected to form a cohesive, soulful and flexible whole.
Most tracks on Hands are devoid of a central motif and examine an unpredictable dialogue. A fantasy of constant change and a search for musical suggestions is the most vital ingredient in this abstract environment. The album title Hands refers to physical aspects of electronic music production. Every live concert of Hinosch usually starts out with a hand shake between Hino and Schneider. The general process of collective music making, programming, button pushing, playing, recording, decision making, all-demand utmost concentration.
The image on the front of the album sleeve -- designed by Takashi Makabe -- reflects the general approach of Hands: layers of tucked fabrics confronting one another to articulate a form for themselves to no other end than their own orchestration. Koshiro Hino's solo activities as YPY and his involvement with the band Goat have already garnered him a favorable international reception. Stefan Schneider has over the years produced and collaborated with, amongst others, Joachim Roedelius, Arto Lindsay, Klaus Dinger, Dieter Moebius, Alexander Balanescu, John McEntire, Katharina Grosse, Bill Wells, and St.Etienne.
Optimo’s JD Twitch cherry-picks classics, rarities and percies from Germany’s original independent post-punk scene from 1979-1985, including necessary oddball grooves and songs ranging from Malaria!’s snotty ohrwurm ‘Your Turn to Run’ to Andreas Dorau’s NDW rocket ‘Fred Vom Jupiter’, an edit of Christiane F’s sleazy ace ‘Wunderbar’, and the killer disko mission of ‘Veb Heimat’ by Weltklang
“This was an era of particular artistic upheaval in Germany; emphasis was placed on expression rather than technical perfection, artistic impact rather than skill. Bands consciously abandoned the English-speaking mainstream with German band names and lyrics. “Although we had a small underground scene, it was very vibrant,” explains Gudrun Gut of Malaria! “Bands like Die Haut, our first band Mania D., Malaria!... we organised gigs ourselves, hung around together in a handful of clubs like Risiko or Dschungel and went to gigs at SO36. West Germany had other regional scenes too: Düsseldorf and Köln around Der Plan and the Ata Tak label and there was the Hamburg side with Abwärts. Germany didn’t have a real music industry like the US or UK back then.”
This new collection is a personal selection from JD Twitch: “The compilation is not designed to tell a definitive story of what was going on in Germany in this era; it is more an arbitrary collection of records I adore from a specific era with a specific attitude that hopefully together sum up some of the musical undercurrents in Germany at that time.”
The package features a host of rare and unseen photos from the period along with extensive interviews with artists including Beate Bartel (Mania D.), Gudrun Gut (Malaria!, Mania D.) Christoph Dreher (Die Haut), Michael Hirsch (P1/E, ExKurs) and Thomas Voburka (Weltklang).”
The Jealous Gods conscript Varg for their 17th number, harnessing his esteemed Scando techno energies in four hardcore, pounding missiles under the title of I’ll Hold You Till We Die.
A-side hurts the best with a pair of robust 140bpm bangers, getting into gear with the tense electro of For Milan/AMG and dispensing a proper bollocking with the stampeding groove of Skrrt (Music made To Listen To In A RS6).
Turn over and he drops the tempos slightly to go in with a class party piece in Donatella Forever and then the soaring hard techno élan of Last dance (I’ll Hold You Till We Die).
After a fancy flight with Arcola, Jamal Moss comes home to Mathematics for ‘The Language of Strings’, a 14 track collection of, in his own words; “Cerebral sonics sketched out in the form of body music for the home listener”
As always with the prolific Chicagoan, you may feel like you heard this one before, but pay closer attention and he still manages to keep us absorbed into his grooves with unique, natty sleights-of-hand applied to rhythmic variations and chromatic vamps that pop off across the record, serving to only draw listeners ever closer into Jamal’s parallel universe.
If anything, Jamal has only gotten more prolific in recent years, but his off-the-cuff tekkers feel more efficient with it, here giving 1:1 representations of the encrypted images and instinctive calculations that scroll thru his head, mutating from brittle, bare-boned jackers to louchely hypnotic house swingers and a haul of grubbing, brukken rufige, always with those glorious chromatic arp signatures, and keeping one spicy uptempo rocket tucked away at the end.
Brian Eno’s pioneering ambient cornerstone is available on vinyl for the first time in over 30 years!‘Discreet Music’ (available as a single LP or half-speed mastered 2LP), is here available on this facsimile reproduction affording a whole new generation the chance to bathe in some of Eno's most pivotal and important work.
Context is always key with historic releases, and could hardly be more so than with ‘Discreet Music’. Famously, Eno was hospitalised following a car accident in 1975, and while laid up, his friend Judy Nylon brought him a record player and an LP of harp music. The music only came out of one speaker, and at low volume, and the incapacitated Eno struggled to do anything about it, so he accepted this as a new mode of hearing music as embedded in the ambience of the environment. While Eno had previously arrived at similar conclusions with Robert Fripp on ‘No Pussyfooting’, here the idea ironically became more firm, yet diffused in the classic style he would develop on ‘Ambient 1: Music For Airports’ and over his next 40 years of recordings.
The two pieces on ‘Discreet Music’ beautifully play with this idea of a background music. To make the title piece, Eno established a near autonomous system of synth and tape loop feedback which rendered his simple melodic motifs, input via synthesiser, as 30 minutes of calmingly serene wilt and decay whose simple, plaintive elegance patently endures now, over 40 years later. The other piece finds Eno’s ideas applied directly to classical music with a much slowed-down take on ‘Three Variations on the Canon in D Major by Johann Pachelbel’ performed by The Cockpit Ensemble, conducted by Gavin Bryars.
A dead faithful go-to for vintage wave compilations in recent years, Color Tapes’ Cold Waves Of Color Volume 5 extends the cherry-picked selections of minimal and new wave with 11 more aces from the likes of Beserk In A Hayfield, Modern Art (Gary Ramon), Lives of Angels and Silicon Valley, and including a natty rarity by The Good Missionaries, post Alternative TV. All material this time spans 1981-1985 and all makes first appearance on vinyl.
As with previous instalments, Volume 5 impresses with its depth and quality of variety, sequencing crisp electronic dance tracks on the same page as grainy, melodic synth-pop and hard-working dubs in a way that makes total sense as both a historic education as well as a heavily satisfying, play-it-again record.
On the front they add up Void’s punchy, bittersweet minimal wave jabber Isotope beside the soaring, romantic ‘tronics of Silent Sky by Echophase and the supple swang of Beserk In A Hayfield, leading up to some real gems in The Lord’s warped chromatic wormhole Production Line, and especially The Good Missionaries brooding beauty Bending A Border  which is pretty unmissable for fans of PiL or Officer!.
Flip over for more treats in the fluidly Chris Carter-esque electro dynamics of Continental Shift by Echophase, a New Order-y turn from Lives of Angels, and the dubbed-out NRG-disco deviation of Gary Ramon’s own Modern Art ace, Colliding World.
Piping hot from her knockout ‘Throne’ album, Heather Leigh joins the bellows-lunged Peter Brötzmann for a nerve-biting, romantic, and heavily arresting set of duets improvised on woodwind, brass and lap steel guitar .
“There is complexity in simplicity, and Sparrow Nights is Peter Brötzmann and Heather Leigh's most enduring record to date, and their first studio album. A series of emotionally rich and boldly elucidated tonal and timbral exchanges played like compositions on pedal steel and reeds, the tracks (released as a 6 track LP and 10 track CD) are cold-forged minimalist blues motifs dragged from instrumental laments.
After three years playing together Brötzmann/Leigh's connection and understanding is by now both cerebral and deeply invested in the physical and sensory possibilities of their combined sound, while retaining a melancholic distance. Within this duo there is fluidity – neither is the anchor – and these recordings sound with as much variety as the sea. At times Sparrow Nights carries the clarity and poeticism of still water and open horizon ("This Word Love"), and at others it contains the elemental and ferocious roar of white water breakers on black rocks ("This Time Around").
On their previous three live albums (Ears Are Filled With Wonder, Sex Tape, Crowmoon) the duo have developed an intimate and intense language that manifests here as a focus on power and control, where figures blasted of unnecessary decoration are drawn from the shadows and smoke of collapse. The studio setting also allows Brötzmann to bring a broader range of reeds than in live scenarios: where previously he has played primarily tenor, clarinet and tarogato with Leigh, here he delivers the heat of alto and the low pressure of bass saxophone and clarinet.
Brötzmann’s duo with Leigh continues to trace a fresh new arc in his trajectory, and this release also falls at a time when Leigh releases Throne, her most song-based record to date. Here as a studio duo they play a new-old blues for times of complexity, noise and chaos, continuing to redefine and re-sound possibilities for improvised music.”
Boy Harsher sate demand for their early gear with a new edit of Pain, backed with a mean remix by The Soft Moon in deadly EBM post punk mood.
The wickedly gaunt title cut from Boy Harsher’s sought-after 2nd EP is here nipped and tucked with classy back alley surgery for optimal drive and bite in the darkroom.
On the remix, The Soft Moon ratchet the intensity with stealthy force, giving the bassline more gnash and bite while bringing the drums forward with additional Linn cracks and a power surge of dissonant distortion that sends it stratospheric.
Blinding 12” of deep, earthy Detroit house inflected with jazz and psych vibes by Todd Modes, who’s flanked by Craig Huckaby (congas), Mike Mumford (sax) and Mike Severson (guitar) on the latest Fit sureshot.
Their A-face turns to a loose, rolling tribal flex with the frisked drums and melting, lysergic patina of voices - some friendly, some ungodly - in the wonderful Ariadne, before really taking the plunge into mystic jazz-house realms with the oily undulations and pealing, plangent sax of Knossos, which is about as close as you’ll find to Peter Zummo jamming with Theo Parrish and Morphosis.
On the upside down’s Native Visions he inverts the mixing balance giving it a really trippy sort of tunnelling trajectory, guiding us headlong thru patches of fiery psyche riffage on a lean double bassline and 360º swarming congas.
Epic 32 Track comp of exclusive tracks curated and compiled by Mumdance (also available as a limited edition 5-track vinyl sampler, and a mixed cassette) featuring a colossal haul of tracks from Space Afrika, Caterina Barbieri, Chevel, JK Flesh, Abyss X, Sleeparchive, Mumdance & Logos, Peder Mannerfelt, Nkisi, ZULI and many others...
Shared Meanings comprises 32 exclusive tracks, drawn from a panorama of contemporary electronic music—pioneers, emerging talents, brand new producers—brought together by Adams’ curatorial ear. It’s the natural next step from Radio Mumdance, the far-reaching radio project that saw Adams play back-to-back with some of his favourite artists: Nina Kraviz, DJ Stingray, DJ Storm, Surgeon, Ben UFO, Josey Rebelle and many others. Across a 97-minute session, Shared Meanings draws from the ideas and inspirations Adams’ gained across those 40 weekly shows.
The sampler 12” includes Mumdance & Logos’ massive ‘Teachers’ alongside zingers from Nkisi, Peder Mannerfelt, Caterina Barbieri and Space Afrika. On a dance tip, Mumdance & Logos pay tribute to a Chicago convention on ‘Teachers’, listing a roll-call of influential UK artists, DJs, labels and clubs in a style most famously deployed by Daft Punk, while Nkisi comes fiercely correct with the swingeing Congolese techno rolige of ‘Kinega’, and Peder Mannerfelt does his inimitable, mutant rave thing on ‘Over My Face’. But they’re only one aspect of the mix, leaving the plonging modular navigation of ‘Molecular Illusion’ by Caterina Barbieri, and the golden ambient deliquescence of Space Afrika’s piece to speak to the contrasts and breath of Mumdance’s mix and his lushly dark vision of modern dance music.
Deep rave pressure from Roza Terenzi and D. Tiffany, following their inaugural Planet Euphorique session with killer electro and breakbeat rave joints, plus a soulful Jayda G remix
Melbourne’s Roza Terenzi goes down the rabbithole with a tight, chromatic electro wriggler ‘Electronique’, but the one for us is ‘Spirit Alien’ by D. Tiffany a.k.a. DJ Zozi a.k.a. Xophie Xweetland, recalling classic 4 Hero and forward UK rave styles in a way compatible with Tadd Mullinx’s X-Altera gear.
Mancunian flaneur Dan Dwayre a.k.a. Black Lodge knuckles out a 3rd volume of his ‘Kings Arms Sessions’, arriving at the dog end of the decade to his first instalments, and in the wake of his ‘MWR157’ cat# unearthed by Warp’s Arcola, and the ‘Bitter Blood’ collection for Disciples
Named after The Kings Arms pub in Salford, the gnarlier bit of Manchester which Black Lodge haunts when he’s not in the Northern Quarter, this is the 3rd and final part of triptych started by The Trilogy Tapes.
The vibe is pure grot, revolving 12 gobs of free-ranging, punkish groove soused in salty noise and prone to bouts of keening discord. In that sense, we can point to precedents for this sound ranging from Tony Conrad to Ron Morelli and Zoviet*France, but the best way to really get to grips with it is to spend 40 odd years in the belly of the Manchester beast, or at least neck some garies and a bockle of wine and spend a night rolling around the NQ.
Pivotal Detroit player Humberto Hernandez (DJ Dez, Andrés, The Rotating Assembly) continues his Drummer From Detroit series with another helping of good times latinate hustle after dropping Drum #1 in 2011, c. his much-loved New For U 12”.
The A-side packs some heavily infectious vibes with a conga-led rug-cutter in Part Three, before sidewinding into the lusher zone of tucked Afro-Cuban syncopation and Theo Parrish-like sprung synth and Rhodes in Part Four, while the B-side is reserved for a the vocal bounty of Part Five with cut-up soul vox on a broad and breezy showpiece for those who’ve got something to show.
The Higher puckers up a ravishingly rude debut for XL with ‘The Core’ - four lip-smacking love notes to the ecstasy of ‘Ardcore aerobics for fans of Mumdance & Logos, Demdike Stare, Rufige Kru, Zomby
Coming on lush out of nowhere, ‘The Core’ introduces itself arms open and dancing into the wind of the soundsystem. Rinsing out precision tooled rave tropes, Detroit taught strings and spine-tracing breaks for their purest essence and hardcore swerve.
’Stick 3’ goes on nutty in a burst of ravenous, darkside energy with bags of UK warehouse swagger, while ‘Submarine 99’ lets the sweat cool a minute, lean and gangsta with the k-dub, then coming loved-up and boisterous in ’Submarine ’95’, a deeply classy but rugged rollers vortex that twists timeless influences into inexorable, new, rave music that's keenly aware of the original ‘90s format.
The Sound of Music was conceived when Laibach were infamously invited to perform in North Korea in 2015. The band performed several songs from the 1965 film’s soundtrack at the concert in Pyongyang, chosen by Laibach as it’s a well-known and beloved film in the DPRK and often used by schoolchildren to learn English. Laibach are joined by Boris Benko (Silence) and Marina Mårtensson on vocals and the album gives the Laibach treatment to tracks such as ‘My Favorite Things’, ‘Edelweiss’, ‘Do-Re-Mi’ and ‘Maria’, here reworked as ‘Maria / Korea’ (“How do you solve a problem like Maria / Korea?”).
"While the majority of the tracks on the album are from the film, the band also included ‘Arirang’, an interpretation of a traditional Korean folk song considered the unofficial national anthem of both North and South Korea (and released recently to mark the historic summit in Singapore between President Donald Trump and the leader of North Korea, Kim Jong-un), as well as their own workout of the Gayageum, a traditional Korean zither-like string instrument performed by students from the Kum Song Music School in Pyongyang and a recording of the band’s “welcome” speech to Korea from Mr. Ryu from the Democratic People’s Republic of Korea Committee for Cultural Relations.
Laibach’s groundbreaking performance in North Korea was documented by director, artist and cultural diplomat, Morten Traavik in the film Liberation Day (described by MOJO as “a humorous, disturbing, illuminating and sometimes moving immersion into an anomalous communist mirror-world …”) which is out now via ITunes following its screening for Storyville on BBC4.
The album was recorded and produced in Ljubljana, Slovenia and in Pyongyang, DPRK and represents another successful collaboration between Laibach and Silence (Primož Hladnik and Boris Benko), who previously co-created Laibach’s 2006 Volk album."
Ambarchi and O’Rourke trek to distant horizons on synth and guitar, accompanied by tabla player U-Zhaan who lends a free buoyancy to the duo’s quick and slow running streams of sound...
“Hence is the third collaborative release from Oren Ambarchi and Jim O’Rourke, following on from 2013’s Behold. Building on the refined combination of electronics and acoustic instrumentation found on their previous releases, Hence presents two side long pieces combining synthesizers, heavily effected guitar tones, and tabla rhythms played by special guest U-zhaan. On the first side, an explosive opening chord sends out ripples of sparse, irregularly pulsing guitar and synthesizer tones, aleatorically changing in pitch and jumping around the stereo image. Combined with the tabla, which gradually builds in busyness throughout the side, the piece is like a dream collaboration between David Behrman and the Henry Kaiser of It’s a Wonderful Life, gradually overtaken in its second half by a swarm of lush live electronic sizzle.
The second side begins in a similar area, combining tabla, shimmering Leslie cabinet guitar tones, and a wandering melodic line. Undergoing a series of subtle variations, this initial area eventually builds to a climax of twittering synthesized birdsong reminiscent of Alvin Curran’s 70s work. As on the first side, Ambarchi and O’Rourke craft a piece that is both comforting and subtly strange, as the constantly shifting dynamics and changes of focus (which recall the flow of improvised music) refuse to allow the music to settle into any one moment for too long or to build in too linear a fashion. Combining influences from post-minimalism, the pioneers of live electronics, and eastern music into a unique sound world, Hence is a seductive work from two of the most singular sensibilities in contemporary music.”
Original soundtrack recording to the film Zerzura, the first ever Saharan acid Western, telling the story of a nomad’s search for a magic city of gold.
"Evoking the desert journey with free form guitar improvisations, the soundtrack is a meditation on the mysteries of the Sahara. Composed by writer and actor Ahmoudou Madassane, the instrumental score takes the familiar Tuareg guitar tradition into new directions, transforming desert blues into ambient soundscapes.
Recorded in studio while watching footage from the film, the score was recorded in live and spontaneous takes. Heavily based around the electric guitar, Madassane also plays a handful of other in-studio instrumentation (prepared piano, Moog, Timpani) and is joined by a number of collaborators, including guitarist Marisa Anderson.
A prolific and backing artist in a number of groups (Mdou Moctar, Les Filles de Illighadad), Madassane is well versed in Tuareg guitar folk and draws inspiration from this tradition before veering off into uncharted territory. Pieces fluctuate in timing and break free from standard rhythm, moving from melancholic serenity to blurry psychedelic fury. An experimental foray for Tuareg guitar, Zerzura is the first of its kind.”
Le Frère debuts with a smudge of ambient and slow electro works on the Slow Glass 12” for Zürich’s Light of Other Days label.
Inspired by travelling the world for the past two years, Slow Glass forms a gauzily nostalgic trip into Le Frère’s mind, encapsulating snapshots or moments of memory in four parts ranging from the wistfully pastoral tones of Nice to more slanted strokes nodding at jazz and post-rock and even Lena Platonos in Candid, before the B-side gently coaxes in some rhythm with the drizzle on a warm day feelings of V1b1n’, and a sort of salty electro chugger called N8ttt that begs comparison with Low Jack or Krikor Kouchian workouts.
Kouhei Matsunaga at his chimeric best for Diagonal, delivering two jazzy, freehand concrète collabs with Japanese sound artist and Eartaker noise maker, Masayuki Imianishi, plus two dance-offs with himself as NHK yx koyxen and Speedy K.
Gelling Kouhei’s many sonic handles for a full spectrum showcase of style and pattern, the set is riddled with a singular mischievous genius at every fold and warp. Working with Masayuki Imianishi, he terraforms paper, radio, field recordings and synths into vivid alien ecologies of shimmering electronics and spheric melody with a highly visual quality that perhaps betrays Kouhei’s talents as an illustrator.
For virulent examples of Kouhei at the rave, NHK yx koyxen and Speedy K’s Step Move #01 is quite possibly the wonkiest peaktime juggernaut of the year, and the acid wormhole of Early Mellow Darkness sounds like the bald - as in bad - acid offspring of Luke Slater and Ed Rush.
Once again Kouhei makes us go mad at the rave, but this time with something to come home and melt into as well.
Pye Corner Audio rolls out an extended digital version of ‘Deep Space Probe’ from the Pussyfoot compilation, ‘Space is the Plaice’
Buckle up for 5 minutes of time-bending arps wrapped up into a viscous chug sure to churn the ‘floor into an iridescent puddle of sweat, drugs, and booze in the club, or make your armchair levitate at home.
Martin Cummings AKA Northerner debuted in 2008 with ‘There’ll Be Other Holidays’ and ten years later returns to similar themes with his third album for Home Assembly ‘End Of The Holiday’. Influenced by travels to Catalan areas of Spain, the album finds Cummings at his most reflective and sonorous. The electronic ticks of his earlier ‘I Am On Your Side’ LP have been pared back somewhat but instead fit neatly in and around his expressive guitar playing.
"It’s hard to talk about a Northerner album without mentioning Vini Reilly. The shadow of the Durutti Column guitarist hangs softly over the eight pieces here. The opening track ‘Principi’ sets the tone with gliding atmospherics, exquisite arpeggios and understated beats, followed by the sweetly melancholic ‘Final D’Estiu’ which ups the tempo and beefs up the rhythms until ‘Dijous with it’s shuffling bossamba flow, cements the albums Balearic appeal. But there are other influences at play here too, something of Emeralds guitar whizz Mark McGuire can be heard in the intricate guitar embellishments and cavernous, brooding tension of ‘Nomes Jo’.
Elsewhere, the dusty bump of ‘Una Nocio’ conjures up hazy memories of early evening, poolside liveners and the widescreen ambience of ‘Arribant Al Final’ could be the soundtrack to an arid coastal drive. But before we start getting all a bit too holiday brochure, really ‘End Of The Holiday’ is an album for reflection, for change, an all instrumental ode to half remembered summers, a sound collage of a faded July postcard, it is a reminder of warmer climes, long summer days recollected fondly, as autumn slides into winter."
‘self*care’ is the keenly awaited debut EP by Sega Bodega, a none-more-hyped producer who’s already racked up credits for Quay Dash and Shygirl, and soundtracked the new Nike Jumpman advert and Rihanna’s Fenty X Puma runway show
Cyberpunk in a similar mode to Amnesia Scanner or SOPHIE, on ‘self*care’ Sega Bodega tweaks that definition to purpose across six tracks of morphing R&B and kinetic club music laced with gremlin-like vocaloids.
The result is a razor-sharp cross section of hypermodernity, stretching from the elusive, phthalocyanine blues of ‘Cowgirl’ to the bombed-out Baile of ‘hopeless!!!’ and the flesh-grinding ‘daddy’, before dancing on your nerve ends with the piquant trap pointillism and vaulted chorale of ‘maryland’, and the shiny beast of ‘gag reflex’.
Breathless fusions of club and computer game musics from Washington, D.C.-born, Köln-based artist Swan Meat, for Kamixlo and co’s Bala Club
Big on fiddly details and drama, but sorely lacking in grooves, ‘Tame’, while borrowing from club music, is more akin to sitting down and concentrating on completing the next level of your game.
Galcher Lustwerk introduces The Fock with a brace of dark, anxious techno, electro and ambient aces backed by a killer remix from Young Male in his Flood1 guise
In raving declension, the muddles vocals and clammy atmospheres of ‘Shat Pop’ appears as a rolling dark techno version (‘Saldes Mix’) along with a more laid-back acidic electro mix and the isolationist austerity of his ‘Ambient Mix’. But if you ask us the best cut is Young Male’s Flood1 remix, where he flicks on the EBM booster switch for a powerful club screamer.
Berghain resident Norman Nodge stakes out four tuff and sexy jackers on his 2nd 12” for Ostgut Ton - his first solo 12” since 2011!
As big fans of his super dry but funky early 12”s with Marcel Dettmann Records, the return of lawyer-by-day, DJ/producer-by-night, Norman Noczinski is entirely welcome around these parts.
The opener ‘Tacit Knowing’ is a wicked piece of physics-defying club gear, knitting splintered breaks into a rugged jackers groove in a way we’ve hardly heard before, or quite like this at least, whilst ‘Discipline’ is exactly the kind of gear we’d expect to hear at Berghain at daft O’clock and off our chops - haughty, pounding, drilling techno that makes you dance 15% better.
Perhaps needless to say, we’re also smitten with the swingeing tribal percussion of ‘Gathering’, primed to turn the floor into a lather of limbs and hips, while ‘Embodiment’ lends a stroke of breezy dub techno class to his robust, shifty undertow, building to a proper Basic Channel-style head of steam.
Raaaw house music from Detroit Chair-man Marcellus Pittman! Outside of his work as T.O.M and the 3 Chairs, it's not often that you see Marcellus working on his own, but it's nearly always a guaranteed treat. 'Erase The Pain' makes up for his infrequent release schedule with a personalized acid house joint, starting off with a crowd-eating 303 before deftly licking it into a funky-as-hell bassline, making explicit the deeply rooted 313 technosoul lineage. By the time the sci-fi synth pads kick in we're fully roasted. 'Sync' on the flipside again shows the machines who's in control, jamming on a 100 bpm tempo that shakes and jacks with the impression of a much faster tempo, but it's all down to the craft and knowledge of a true master. Finally 'Illa 5 Ela' gives up a proper beatdown soul edit, looping and grinding for those slow jam moments. Damn hot 12"!
Baron Mordant’s latest, diaristic entry commits a heady mulch of location recordings and loud, salty electronics that leaves us dazed and disoriented
“Caffeinated Xbox-related coMMuter childcare cacophony…you can’t always get what you wanton..IBM”