A spectacular comp of previously unheard D.I.Y. anthems from an assortment of stray producers brought to life/compiled by local polymath Matt Wand, he of Stock, Hausen & Walkman fame, an artist much loved by everyone from Beastie Boy Mike D to Autechre, Pulp, Matt Groening, Harry Hosono and John Peel, returning here 15 years since he was last in action.
He corrals a uchronic psychobiography of “synthetic post punk for the bedridden or terminally indolent” with this possibly apocryphal compilation dedicated to now-defunct Urmston record shop, Spin-A-Disc, an off-centre hub of the late ‘70s/early ‘80s Manchester music scene whose influence still resonates today.
Covering minimal synth anthems, D.I.Y. jazz punk, grey industrial sci-fi and new wave disco crossovers by a roll call including suspicious characters such as Schützengrabenvernichtungspanzerkraftwagen, Wetfinger! and Technicezna Nizkotopliwa.
The music is full of first rate musty nuggets of the ilk you’d find stuffed down a threadbare sofa in Whalley Range or a record shack that only opens under the full moon of the third month of a leap year. We’re talking bleepy post punk polka such as the Joystick Jerk by Diskette and DAF-alike EBM raunch from Kleinstein, thru to the jazz-ponk blurts of Arthur Appliance & The Warm Suds’ Cheese Thieves and the belgian-coloured cold wave of The Baby Snatchers, which all touches on such a breadth of styles that it couldn’t possibly be the work of just one obsessive music fiend with a legendary arsenal of equipment, could it?
With signature gusto GY!BE put the world to rights in Luciferian Towers, a statement of individual vulnerability and communal resistance holding steadfast against complex, crenelated forces.
Roaring with raw emotion harnessed in banks of guitars, drums, brass and electronics, the Montréalais phalanx cluster as one tight and powerful unit in four parts, reprising the format of their last two LPs to pack all you need into one satisfying disc.
For disambiguation, the band were informed by, in their own words; “the following grand demands: an end to foreign invasions + an end to borders + the total dismantling of the prison-industrial complex + healthcare, housing, food and water acknowledged as an inalienable human right + the expert fuckers who broke this world never get to speak again”.
For the listener, that results in some of GY!BE’s sorest and most swollen work, with Undoing Luciferian Towers aiming their fire at the shiny obelisks of big money which adorn every big city, while Bosses Hang rails against “labor, alienated from the wealth it creates” with optimistic militancy, then Fam/Famine heads for burning orchestral horizons, and Anthem For No State laments kanada’s ecological crises with dustbowl-scanning country and raging rock tropes fired up to get listeners off the sofa and joining the march.
The Black Dice freak ratchets his most fecund phase in years with a hyper new batch of dancefloor x-ing garage-punk-tronic oddities
“Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: ‘Goofstep’. We’ll see if that one sticks…
Eric explained the creation of this new LP to us via email from his home on an island in lovely Balearic Palma Spain:
“i made it here in Palma at my studio, this is the first full record i’ve made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90’s drum machine, cheap bass machine and a sampler. But most important was a homemade ‘drum brain’ that Barry’s London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.”
Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.
Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric’s third solo album for DFA Records.”
Rune Reilly Kølsch completes a bout of nostalgia with the autobiographical 1989, looking to his ‘difficult’ teenage years for inspiration after previously drawing on his early childhood and memories in 1977 and 1983.
The result is the Danish producer’s most wistful batch of posh trance pulses and proggy arrangements, describing a ‘journey’ from those greyed memories into the ‘colour’ of maturity thru swelling orchestral strings from The Heritage Orchestra, alongside his patented pill-belly keys and arpeggios plus sparingly used vocals from Aurora.
Steffi follows up her Doms & Deykers LP alongside Martyn with a plush 3rd solo album harmonising classic Detroit, UK and Dutch AI and electro-techno styles with personally expressive style.
“World Of The Waking State is Steffi's third solo album for Ostgut Ton and a musical departure for both her and the label. It's also a serious statement of intent. Over ten tracks she embarks on entirely new electronic terrain for her productions, marking industrial spaces with superlunary warmth while exercising a refined knowledge of polyphony and arrangement. Subdued melodies interact with each other over implied harmonies and microcosmic drum patterns, luring us into a world that is introverted, bewildering and gratifying all at once.”
On FABRICLIVE 94, Midland shapes up a smooth playing transition from deeper Berlin and Detroit house to melancholy electronica, dub and techno, including some choice picks by Beatrice Dillon, Convextion, Shinichi Atobe and LFO, among many others.
Really enjoyable set...
Blue-eyed souljazz music...
“At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album “Wallflower” sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock.
On “Wallflower” the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.”
Hannah Peel's third album is a seven-movement odyssey for analogue synthesizers and traditional colliery brass band.
"Only a year following on from the release of her album ‘Awake But Always Dreaming’ (‘Album Of the Year’ – Electronic Sound Magazine), ‘Mary Casio: Journey to Cassiopeia’, explores one person's journey to outer space, by telling the story of an unknown, elderly, pioneering electronic music stargazer and her lifelong dream to leave her terraced South Yorkshire home in the mining town of Barnsley and see Cassiopeia for herself.
Artwork by the Grammy award winning designer Jonathan Barnbrook (David Bowie collaborator on ‘Blackstar’ and ‘The Next Day’). Recorded live on location in The Barnsley Civic Theatre by Peter Gabriel’s Real World studio team."