Moscow’s OL and Flaty work up a generative funk for the 1st dispatch on OL’s Asynchro label
Touching down some 3 years after OL’s dusty house hustle for Fit Sound, he pulls away from his housey sound and in line with Flaty’s experimental tendencies, as recently heard on a sizzling 10” for Gost Zkuk.
As Serwed they combine to explore free form generated sounds, working with shaky, desiccated rhythms in acres of negative space coloured only with the slightest streaks of melodic filament in a way that recalls styles on the Aught label, nervously shapeshifting from fractured funk in ‘Angular’ to jagged swing rhythms and vaporous guitar motifs on ‘Radiant’, and over to styles reminding of SND in the warm forth of ‘Ground’, and the nipped shifter ‘Rrand’.
Uncredited edits of Jamal’s briny bangers on the low key R=A label
Following zingers from Tribe of Colin, Black Deer and Juzer, the A-side’s ‘Pickled Edit’ throws down a fizzing jack attack nipped and tucked for optimal bounce, while the B-side nods to Ron Hardy with effected disco loops dragged backwards thru the echoplex.
Tremulous, dusky, genteel adult pop and soul vibes from Spanish band Oso Leone, making up for a five year hiatus with their debut LP on Apollo. Immaculate strums, daubs of electronics and those gossamer vocals recall everything from Talk Talk to The Durutti Column and Zelionople
“Following their meditative self-titled debut and its captivatingly sparse follow-up ‘Mokragora,’ ‘Gallery Love’ achieves what it sets out to do and more, taking the listener on an auditory journey with lucid song structures that ebb and flow like the waves. A sublime musical experience, its hypnotic repetition is an ode to refinement, and the gentle forays into ambient electronica and jazz show impeccable restraint and sensitivity.
‘Gallery Love’s’ opening track and first single ‘Virtual U’ was born from very few elements. A beat on the MPC, a few chords on the Korg Trident and some gently lilting vocal jams create the structure, like a digital collage of feelings as vocalist Xavier Marin describes it. "I see this song as a hyperobject, an external entity moulding modern relationships, shadowing us. An anti-form creating distance in the closeness. A vast empty space between two islands.”
Recorded at his Mother’s house, ‘Best In You’ was the last song written on the record, whilst the mystically poetic ‘Agró Blanc’ is named after a type of heron that dwells in Mallorca. The band describe ‘River of Jasmines’ as the most mysterious track on the record, the lyrics coming to Xavier during a nap in the studio. “I recorded the vocals in one take with no set lyrics, just the lines that came to my mind. I tried a second go but it felt meaningless” he explains. ‘Vernal Pools’ is a funky existentialist piece, a reflection of a landscape in a pond, a contemplative loop, an iconic natural spot.
A dubby & aqueous bassline conducts the title album’s title track, it’s ambient sounds featuring traces of kalimba and a field recording of an owl who frequented the house during the night. ‘A Pale Blue Dot’ is a floaty, dream-like jam and ‘Samuel Sings’ is a “calling to a lost soulmate.” The dainty trance of ‘Fountain At the Entrance’ rounds things off in mesmerising fashion.”
From the top shelf of UK soundsystem culture, Soul Jazz pull up a cracking selection from the Fashion Records archive, running classic Dancehall, Jungle and Lovers Rock from Cutty Ranks to General Levy, Carlton Lewis, Top Cat and Janice Walker
Between the early ‘80s and late ‘90s Fashion Records were crucial players in the dialogue between Jamaican, Caribbean music and the sound of UK’s urban centres, and their influence would spill over to become a cornerstone of British dance music culture.
“While nearly all other UK reggae labels focused on releasing Jamaican music, from the early days of Island and Trojan in the 1960s, through Island and Virgin in the 1970s and Greensleeves that came up in the 1980s, Fashion’s focus was firmly on music produced in the UK. This unique British perspective shaped both lyrical content and musical fashion. And like all the great music labels, from Studio One to Blue Note, Fashion was able to create a significant roster of its own artists.
Amazingly for a small independent label, a number of Fashion artists achieved mainstream UK chart and crossover success, including Laurel & Hardy, Smiley Culture and General Levy. But although this success was welcomed, crossing over into the mainstream was never the main focus for label owners Chris Lane and John McGillivray (who also runs the successful Dub Vendor record shop), whose starting point was always primarily focused on producing quality music first.
In the early 1980s, Fashion Records captured the rise of the emerging British dancehall scene in its ascendency. The large roster of first generation British-born artists and MCs on the label, including General Levy, Papa Face, Smiley Culture, Bionic Rhona, Asher Senator, Laurel & Hardy, Top Cat and many more, often gave a unique and sometimes humorous British lyrical perspective to Fashion releases, discussing everyday subjects, from police harassment to road safety.
Throughout much of the 1980s and into the 1990s Fashion continued to release an almost relentless array of UK dancehall releases as well as continuing with lovers rock and the occasional dub releases. Then, in the mid-90s, with the dancehall and reggae releases still coming on strong, Fashion released a superb series of early jungle tracks linking Jamaican and British MCs and dancehall artists with young jungle mixers, remixers and producers. By this time dancehall artists General Levy and Cutty Ranks had become the staple vocal samples of literally hundreds of white label jungle records and Fashion took advantage of this, often getting young producers to work in exchange for sample clearances.
This album is a subjective and scatter-gun ride through some of the many unique and heavyweight tracks to come out of the Fashion stable - some classics, some lesser-known, all 100% killer.”
Fine-grained, acidic and cosmic dub electronics from Finland’s Vesa-Matti Kivioja aka Mineral Waves and the Ljudverket label - RIYL Andreas Tilliander, Vladislav Delay or Automatisme
“Ljudverket’s 11th release is a four-tracker from a man of many sounds and personas, Vesa-Matti Kivioja. Here, operating under his given name, he delivers four tracks of experimental dub and electronica, taking the listener from his/her living room all the way to a dimly lit dance floor in an alien planet, with a sound system capable of producing frequencies way below human hearing and a smoke machine filled with unknown substances.
”These are recycled patterns forming sounds which describe minerals and stones. The use of stone has had a huge impact on the cultural and technological development of the human race. Often composed of grains of minerals, in nature, more than one substitution may be found in the same mineral. It can be made of one element or more elements combined together. A hard, solid, non-metallic, naturally occurring inorganic substance. It is found in a wide variety of geological locations. It’s not made by humans.”
World of dub, universe of electronica, globe of experimentation. Written and produced by Vesa-Matti Kivioja at Seafront Mixing Room, Vaasa, Finland 2018. Mastered and cut at Scape Mastering, Berlin.”
From behind your ear, PAN pluck a blink-and-miss exclusive: a 35 minute audio response by Mark Fell (Sensate Focus) to source material by Heatsick, somewhere between cover version, remix and deconstruction.
Along the A-side 'X' plane, tones are exploded, harmonies refracted with HD dissonance; time is extruded, made ductile yet intangible. On the B-side 'Y' axis hydraulic undulations and roiling tones expand and contract between kinetic kink and gyroscopic funk with the pointillist, freeform choreography of a Merce Cunningham piece. One for the dancers and the DJs that know!
The magicians at Düsseldorf’s Offen Music pluck a madly beguiling pearl of late night songcraft by Ukraine’s Ihor Tsymbrovsky to follow their vital releases by Toresch and Rex Ilusivii.
Come Angel was first recorded in Lviv, Ukraine, 1995, and issued on cassette by Poland’s Koka Records in 1996. There appears to be no prior mention of the release or artist on the internet and quite how it came into of Offen Music possession is not disclosed, and that only ratchets the record’s enigma to astonishing degrees once you’ve heard the music.
In a quivering, high register, androgynous trill, Ihor Tsymbrovsky beckons heavenly beings in the remarkable A-side Come, Angel against a swirling backdrop of phasing, subtly delayed organ. It was recorded in one take (this is the 2nd version), and, if we’re not mistaken, you can hear the keys being pressed rhythmically in the background, which seems to be the song’s only tangible connection to this mortal world as Ihor vaults octaves high and close-in-the-mix with the sort of alien, dreamlike vocal that require pinching oneself to make sure you’re awake. Spellbinding is definitely the word.
On the other side he (we’re assured it is a ‘he’ in the promo text) sets two poems by Mykola Vorobyov and Mykhal Semenko, respectively, to emphatic piano keys, this time more shy of FX save for some delay, placing that willowing, avian vocal at a dreamy arms reach in Roses for the Poet, and with a sort of liturgical dark jazz feel, sorta like Lewis repenting his sins as a castrato monk, in the spare atmosphere in By the Sea.
This is gold-seal business, we tell ya. Clock the clips and clear some swooning room.
Milan and Haunter Records’ Heith pushes into the abstract with mulchy brownian motion on the first dispatch from Saucers, a new label minted specifically for his gear.
The first saucer sees Heith shed further signifiers of his sound, ego, aesthetic, in pursuit of an illusive/elusive and vaporous muse that leaves much more to the imagination. Over its five tracks ‘Mud’ explores a multiplicity of possibility in each moment, masking more layers and intriguing sensation with each careful stroke, from the pensively pregnant ‘Eva2’ thru the arrhythmic and dissonant keen of ‘Extra Melma’, to the power ambient drag dynamics factored in ‘Yoga Of Stealth’, to the greased pig wriggle and calligraphic slashes of ‘?’, and the blossoming fractals of ‘Mud Queen’.
Yannick Franck (Orphan Swords, RAUM) presents his new project: Mt Gemini. A deconstruction of Ska, Rocksteady and Reggae from the 50s, 60s and 70s.
"Rather a passionate deconstruction of a genre than compositions or remixes per se, this incantatory tribute favors abstraction using loops, distortion, compression, variations of speed and height, and effects (delay, reverb, chorus). Recorded in different states of altered consciousness, MT Gemini is built of spontaneous and unexpected combinations. It is an attempt to generate inner spaces where the borders between reverie and reality blur. An hallucinatory shock, a journey made of distant echoes, an atmosphere imbued with joy and nostalgia.
Born in 1981 in Belgium. He is an electronic musician. During the last ten years, Franck has wallowed freely within diverse musical spheres. Whether cathartic or contemplative, Franck's projects serve an ever more ontological search: the creation of nsonic immersions that influence our states of consciousnessand contribute to its transformation. In addition to his solo works as Yannick Franck and Mt Gemini, he is the man behind projects RAUM and Outlaw Compound. He is part of the avant-techno duo Orphan Swords with Pierre De Mûelenaere and played in experimental combo Y.E.R.M.O. from 2005 to 2009."
Charmingly knackered, gas-huffin’ lower case rock ’n roll songs by Bobby Would for scruffy young folk with a lot on their mind, out now on Low Company.
“"IT’S HAPPENING TO YOU, AGAIN…" Lovelorn, tranq’d-out, majestically understated rok y roll lullabies and dub-pocked, acid-damaged, pain’-it-dark drone-punk from Robert P. of Heavy Metal and Muscle Barbie++, coming over like some celestial 4AM face-off between George Harrassment, The Great Unwashed and Can. Gulp. Yeah this is a record so patently, self-evidently brilliant that we have to stop ourselves from calling it an instant classic (oops). There are some affinities with the homesick jangle of Itchy Bugger’s Done One, an album which R. played on (and painted the cover for), and the songs sure are pretty (find me a more romantic refrain in 2019 than ‘Luna''s "You and me / shivering in the street"), but Baby feels like more of a TRIP, as if some 23rd century Martian moptop-pop combo crash-landed at a dosed up Kensington houseparty circa ’66, plugged in their gear and got stuck right in: hypnotic space-guitar ultra-reverberant and in a permanent state of comedown/dissolve, choppy death-surf riffs and gently weeping leads ringing into infinity, squeezed and smeared for every last trace of scorch and sting…wooiii!
There are some echoes too of banner UK DIY/squat-wave and the mildewed NZ psych of the Spies and the Renderers, but all shot through with a kinda Teutonic sensibility/rigour, loopy and ultra-repetitive - equal debts to the full-throttle drainpiped psycho-beat of 39 Clocks’ ‘Dom’ and the glacial ambient-glam sampledelia of Love Inc.’s ‘Life’s A Gas’ (!). Rare to encounter a record as simultaneously heart-rending, sonically intrepid and effortlessly SWINGING as this. Couldn't be more in love.”
Fresh from 1981... this is Leroy Burgess' grand boogie masterpiece and one of the greatest albums of the post-disco era...
Re mastered for 2015 and released in conjunction with Salsoul. 8 classic tracks including the Larry Levan remix of " I Know You Will”.”
Ambient pop brilliance from London’s scuzzy underbelly and the duo of Guy Gormley with Sam Bardsley, with sensitive co-production by Nathan Jenkins aka Bullion.
After appearing on Bullion’s Deek Recordings in 2015 with ‘Don’t Touch Me Now’, the Never duo remain coy to a T in their eponymous mini-album, luring us in with the heavy-lidded Bullion co-production ’Submission’, before sashaying a twilight world between the Robert Wyatt-like pop sweetness of ‘Up’ and the meditative MIDI pop of ‘The Park’, before keening sidelong into the creamy whorl of ‘Everybody Knows’, and then working out something like Gas meets HTRK at Burial’s gaff in the standout slow thrum of ‘The Street’, and rounding up with the strung-out, balmy CS + Kreme-like balearics of ‘Agnes’ in very satisfying style.
Carsten Nicolai concludes Alva Noto’s UNI-prefixed release cycle with UNIEQAV, the 3rd and most dancefloor-focussed instalment of the series. The follow-up to Unitxt  and Univrs  pairs pendulous minimal techno and electro rhythms with wide, sheer electronic drones in a way that strongly recalls recent Monolake output as well as Ilpo Väisänen in full swang. Comparisons aside, though, it’s unmistakably Alva Noto.
Pursuing the project’s roots in the dancefloor of Tokyo’s UNIT club to a satisfyingly logical endpoint, Nicolai rolls out 12 typically mercurial yet gripping sound designs defined by their fluid dynamics and seemingly fathomless dimensions intended to render the club or your head underwater, thanks to a still remarkable grasp of purified tonal minimalism/maximalism and studied sensitivity to proprioception.
The results are filigree yet robust, firmed up for deployment on the sickest sound system you can lay your hands on, but also highly pleasurable in a headphone or sofa-inclined context, keeping us rapt and twitching from the dubwise plong and looming pads of Uni Sub and the Robert Henke-esque pressure systems of Uni Mia.
The nervous skeleton of Uni Version flows into singular Alva Noto sounds in the jabbing pointillism of Uni Clip and the staggering scale of Uni Normal, with major highlights in the widescreen drama of Uni Blue, and footwork-like rapid movement join Uni Edit, while Anne-James Chaton’s vocal lend a sharp contrast in Uni Dna.
SHXCXCHCXSH go hammer and tongs on an outstanding 3rd volley for their Rösten label
In a masterful example of saying it without saying it, the Swedish pair skillfully swarm around techno’s 4/4 framework without ever landing on a rote kick/hi-hat pattern in all eight tracks.
Moving uncannily close to the rufige of Demdike Stare or the restless disruptions of Rian Treanor, the plough a singular path thru angular, stop-start loops and harsh textures with a cool tolerance for the kind of psychotomimetic repetitions that may drive some minds to despair, and others to utter wildstyle ecstasy.
If you’re game, these tracks have the potential to turn dancers and clubs inside out. Chow down and find your own madness in there somewhere. Best we’ve heard from SHXCXCHCXSH in their 6 years of ruffneck productions.
One of the most influential, insular and multi-layered albums of the last three decades, created through endless hours of improvisation - involving almost fifty musicians and recorded in complete darkness, 'Spirit Of Eden' was a radical departure for Talk Talk, ' an album that has attained almost mythical status since its release in 1988.
Following the commercial success of their singles "It's My Life", "Life's What You Make It” and album "The Colour of Spring”, Talk Talk retreated back into the shadows and produced an album that defied categorisation. Mark Hollis is said to have demanded they record in almost complete darkness, improvising for hours to produce individual parts without hearing any backing tracks or surrounding material.
"Spirit Of Eden" is surely one of the most daring departures for a commercially successful bands ever, and continues to be one of the most singular and influential albums of our era.
“Substance” fills in the missing pieces of the band’s history with four non-album singles (‘Transmission’, ‘Komakino’, ‘Love Will Tear Us Apart’ and ‘Atmosphere’), plus their B-sides. It has been expanded with two additional songs (“As You Said” and the Pennine version of “Love Will Tear Us Apart”).
Oake really find their gothic muse in debut album, 'Auferstehung' for Downwards.
Firmly building on the foundations of two shadowy 12"s released in 2013, the duo distill and transcend their influences across eleven stations of unrepentant gothic histrionics and industrial techno prostration. The production is now right up there with the detailed, excoriating levels of The Haxan Cloak, and also matching the rhythmic heft of label-mate Samuel Kerridge (with whom they recently formed the UF collusion), but with a kohl-eyed romanticism all of their own creation.
From the swooning black metal/shoegaze signatures and blast beats of entrance, 'Vorwort: Umiha Sien' we're manipulated with the near-religiose levels of mysticism, vacillating between shorter, doomy 'Kapital' invocations and the blasted sound of bellicose/ecstatic congregation in 'Erstes Buch: Desterieh l'Remm' to the eulogistic sludge metal drones of 'Fuenftes buch: Dreloi Wechd' and the stygian trudge of 'Sechstes Buch: Rehmin Sicht', departing with the widescreen epic, 'Siebstes Buch: Drestan Sened'. RIYL Scott Walker & Sunn 0))), Sam Kerridge, Swans.
*180g vinyl edition featuring fully remastered audio available on the format for the first time - Includes digital download voucher redeemable from the label* “Still” was a compilation consisting of then unreleased studio & live recordings. Comes packaged in a deluxe sleeve featuring matt card with foil printing.
Leading on from bullets by Low Jack, Clara!, Iueke and Rainforest Spiritual Enslavement, Le Disques De La Bretagne return with a killer EP of mutant reggaeton/drill zingers by french producer King Doudou featuring MC Buseta and Kaydy Cain - big tip if yr into Low Jack, Clara! Riobamba, Florentino…
Premo French producer and beat maker for Bad Gyal’s Spanish reggaeton hit ‘Fiebre’, King Doudou answers his call up to the crack squad at Low Jack’s Les Disques De La Bretagne in heavy style, doing gully drill with Baile Funk innovator MC Buseta and yung gun Kaydy Cain on ‘Novinha’, alongside the darker dembow knuck of ‘Tremendo Bumbum’, both replete with grade A instrumentals.
Over the past 10 years Doudou has been a central node of globalised bass music in France and Catalonia, delivering heat for everyone from Mad Decent and Mixpak to ZZK and Sound Pellegrino. For Editions Gravats’ unruly sister label, Doudou bowls a proper sidewinder with the whipsmart drill vamps and steel-fanged snares of ‘Novinha’ capped by the icy delivery of Kaydy Cain and MC Buseta’s mumbling inflection, while the B-side’s ‘Tremendo Bumbum’ comes looser, wild-eyed with restless reggaeton torque tempered by Buseta’s monotone, paso-doble chat.
A dead strong look for followers of new rhythms and voices from the Latinx dancehall.
After closing out Smalltown Superjazzz’ run in 2015, Mats Gustafson fires up its new iteration - Actions For Free Jazz - in the lacquer crackling, spittle-riddled investigations of ‘Link’ with avant-turntablist Christian Marclay
Both known for charting paths less travelled, here they point to strange, liminal zones of perception on their first collaboration, with Gustafsson’s electronically processed tenor and baritone sax channelling an ecology of wee beastie insect sounds against the the signature unpredictability of Marclay’s palette of turntables and noise.
The first cut is a proper ripper featuring both in a dual to unpick the maddest variety of fractured sounds in rapid flux, before they gel in grittier, viscous roil on ‘Nacre’ only to erupt with destructive noise force,and resolve with the melodic whirligig of ‘Superbad’.
Trust the other side is equally cracked up, running from playful scree recalling some alarm of Smegma and Sun Ra in ‘Old Rose’, while the rudimentary drones and hacked clatter of ‘Long Distance’ and the could almost be compared with Wolf Eyes’ sludgy trip metal smudges, and their title track attempts to invade your ears like a troupe of determined ants as Gustafsson’s sax acts like anteater slurping them up thru your other ear.
Party-ready double-header by The Juan MacLean and Zombies in Miami for Fort Romeau’s Cin Cin
NYC’s The Juan MacLean take the lead with subtle synth-pop references tucked into the sparkling jack of ‘Time Out of Joint’, and on a sultry mix of Freestyle, New Age house and New Beat acid nods in the chufty optimism of ‘Everywhere At Once’.
Mexico’s Zombies In Miami duo hold down the flipside with a serpentine Italo sidewinder ‘Lotus’ primed to hypnotise Cómeme freaks, and then like early Psychick Warriors of Gaia on a peyote trip with the locked in pressure of ‘Dance of Gopis’.
Alex Zhang Hungtai takes his instrumental work to ever more personal and moving levels on his soundtrack to a semi-autobiographical film meditating on the meaning of home in which Hungtai himself plays the main protagonist, returning to Hawaii to trace his roots. It arrives in the wake of some of his most significant artistic achievements; the stunning ‘Divine Weight’ album which knocked us off our feet in 2018, that incredible Love Theme album for Alter, and his appearance under the spotlights of The Roadhouse stage in Twin Peaks Season 3 as one half of house band Trouble alongside David Lynch’s son Riley.
Hungtai has captivated us since he emerged from Montreal’s burgeoning music scene at the early 2010’s as Dirty Beaches, and his movements since have taken turns that have been both unexpected and entirely in keeping with his unique aesthetic approach, pushing ever further into the rawly expressive style that has earned him cult-like status over the course of the past decade.
August At Akiko’s is in some respects his most unvarnished and personal work to date - infused with location recordings made in Hawaii, the music reflects the serene, introspective ambience of the film itself. Opening with the short, naked field recording of ‘Temple Bell’, and resolving with the harmonious glow and dissonant shards of keys in ‘Ocean Boy’, the soundtrack is dominated by two contrasting tracts featuring Hungtai on his favoured sax.
The first, ‘Sky Burial’ is a starkly brooding piece opening with a menacing rumble and clatter of ceremonial Buddhist music where he joins in, tentatively at first, but growing into a ripping display of wounded beast bleats and whirling shreds as febrile and roving as the background drums. In sharp contrast, the flipside is free of drums, leaving Hungtai blowing beautifully blue whims to himself. Unadorned and as vulnerable as could be, the side ends with a meditative solo piano piece which acts as a perfect distillation of the stillness and inner peace the film manages to capture so well, living in the seams between dreams, reality, and memory, with a temporality all of its own.
Itinerant Dubs return after 4 years MIA with a wood-burning acid banger backed with a wicked electro one-two
Up top they shackle a virulent, acidic/Italo arp with big, booming kicks and cracking snares, allowing loads of air in the mix in a way that will properly ricochet around the warehouse. Think Actress meets I-F.
Down under, they catch the zeitgeist in two sizzling electro numbers, working up one piece of biting point breakbeat electro tackle replete with Drexciyan hydro-licks, then with a darker echo old skool Bonesbreaks style.
From the underside of ‘90s ambient music, O Yuki Conjugate’s eerie meditation ‘Insect-Talk’ reappears, backed with slunky remix from Tolouse Low Trax, a Howes reduction, and the band’s own 2018 update
Hailing from Nottingham during the first waves of post-punk in the early ‘80s, Roger Horberry and Andrew Hulme’s O Yuki Conjugate issued a healthy handful of 4th world, or what they call “dirty ambient” releases and compilation cuts alongside the likes of Pump, Muslimgauze and other members of the UK post-punk/industrial/experimental firmament, with the best of their early phase appearing on Vinyl-on-Demand’s ‘Ambiguism 1983-1987’ compilation.
Fast forward a few year into the ‘90s, and ’Insect-Talk’ was a highlight of OYC’s ‘Equator’ LP in 1994. The track also appeared in a lesser known ‘Dry’ form on the ‘Twilight Earth’ compilation, and now 25 years later on this 12”, serving a slow mesh of brittle drums, wide bass and mantric gasps that Tolouse Low Trax makes even slower, smeared into all corners of the mix with woozy style, before Howes drives it out further for something like a knackered Dynamo groove, and, best of all, OYC revise with slippery reverse loops to sound like a lost Coil gem.
Vibrant Malawian “Banjo Music” from Madalitso Band, making their international debut with Switzerland’s Bongo Joe. Stripped down and direct songs about orphans, patriotism, and the woman you can’t live without
“Madalitso Band have walked the streets of Lilongwe (Malawi) their whole lives, playing songs about life, love, hardship and beauty, which they compose together in a kind of trance, with words never being written on paper. But here they are, eight songs on record for a first international release. Songs like the title track Wasalala, about the orphan girl who glows, Nambe, the woman you just can't live without, and Vina Vina Malawi, the celebration of a country. Some call it traditional, some call it trance, in Malawi it's called Banjo Music, but no matter what, it'll make you dance, and more than that, though you don't know the language, you'll be singing along like you did. The home-made one-string slide bass, known locally as Babatone, four string guitar, cow-skin foot drum and two lush voices in harmony are what we want to present, undiluted and in their natural state.”
Orchestra Of Constant Distress are Joachim Nordwall (The Skull Defekts, iDEAL Recordings), Anders Bryngelsson (Brainbombs, No Balls), Henrik Rylander (The Skull Defekts, Union Carbide Productions) and Henrik Andersson.
"One core dynamism within the field of music is the relationship between performer and spectator. The audience listen and watch the musicians enjoying themselves and through that they get an experience of joy. This requires a system of believing where organized sound can be recognized, and is therefore music as such. Upon listening to Orchestra of Constant Distress´ third album you might want to question this meaning of tonality.
Through catatonic riffs and uncanny sounds we are as listeners left with a situation where we do not know how to distinguish bad and good, pleasure from displeasure. OoCD seems to be moving beyond their decent from such bands as Brainbombs, The Skull Defekts and Union Carbide Productions towards a tension of disbelief."
An impossible-to-find, ’95 Memphis rap tape surfaces on vinyl for 1st time via Gyptology, a new "Egyptian Archaology" styled re-issue label
Leading on from Shawty Pimp’s ‘Comin’ Real Wit It’  - which was dished up by Delroy Edwards’ L.A. Club Resource and sold out within days back in 2014 - its sequel, ‘Still Comin Real’ reprises that woozy slow drawl on 11 slurps of syrupy goodness.
As to be expected, noise artefacts carry over from the original, short-run tape edition, but it wouldn’t be a proper, OG Memphis rap session without that haze of tape grit. Safe to say that Gyptology know this, too, and see vinyl as the most faithful, sympathetic form of preservation.
Thus, you can trust the sound is raw as; a distinct adjunct to the prevailing NYC and LA hip hop styles of 1995’s golden era, working with rude, stripped down production values and vibes that have significantly withstood the test of time, and since laid the roots for a lot of contemporary southern rap, hip hop and R&B.
Furtive EBM explorations from New Mexico/New York’s Santiago Leyba, stomping from sludgy cranks to puckered machine funk and bitter noise
Marking the first full length LP on LA’s Private Selection, ‘Western Vices’ is also Santiago’s 2nd solo LP, after a 2017 album and EP spent getting to grips with this sound for Unknown Precept.
Intended to be played loud, the album stakes the out darkest ginnels and junctions of the contemporary, retro-futurist EBM sound, exploring the fetid gooch where OG ‘80s industrial, ‘90s fetish dungeon styles and millennial noise instincts intersect and infect like something venereal.
Genesis Breyer P-Orridge, controversial occultist and iconic founding member of COUM Transmissions, Throbbing Gristle and Psychic TV, brings to a close a series of collaborations with Carl Abrahamsson which now spans three decades and which finds P-Orridge narrating over immaculate ambient tapestries, delivered at time-dilating pace.
Electing to use their own names, ’Loyalty Does Not End With Death’ is the final part of a spoken word trilogy initiated in 1990 with the Psychick TV & White Stains side ’At Stockholm’, and proceeded by their ‘Wordship’  album as Thee Majesty & Cotton Ferox, and is the first appearance the pair have had together on vinyl. It’s the sound of two cosmically-travelled minds crossing paths again after a long absence in which they’ve been able to chew over the bare essentials - love and magick - via vibrant poetry and beautifully charged forms of ambient music.
In nine parts they conjure a warmly meditative space, where Abrahamsson’s characteristic tones, cut-up electronics and gentle rhythms comfortably lay the bed for Genesis, who inhabits and enlivens the pristine scenes like an observant dark interpreter, translating the incomprehensible and revealing the divine through their psychedelic prism.
The spellbinding results were recorded in New York and Stockholm 2017/18 and could feasibly have occurred at any point between 1990 and now. They are blessed with a pacing, intuition and timelessness that pays testament to an enduring creative friendship, taking the form of writing, interviews, photographs and film for nearly 35 years, bringing to resolution an almost life-long arc.
John Beltran revives his much-loved Placid Angles alias for a new album on Lone’s label, Magicwire
Last heard over 20 years ago on ‘The Cry’ LP with Peacefrog, and before that on a classic 12” with Open House, ‘Aquatic’ and a seminal Buzz compilation, Placid Angles has since become the preserve of the deepest Detroit heads and fans of intricate, jazzy, melodic techno everywhere.
It’s really not hard to hear how the Placid Angles sound has informed Lone’s nostalgic, gauzy style of breakbeats and techno, especially after ingesting ‘First Blue Sky’. From the aerial breaks and plush sophistication of ‘the title track, thru the twilight garage-techno of ‘Angel’, to the romantic sweep of ‘Vent’, via wild breakbeats and ecstatic divas in ‘Earth and Everything’, in the sub-blushed chords of ‘Bad Minds’, and the stressed ambient tone of ‘1700’, the spiritual kinship twixt Lone and Placid Angels is laid bare for everyone to revel in.
Levon Vincent keeps up the stride of his ‘Dance Music’ series with signature suss on Pt. 3
The mighty A-side hearkens back to his 10 year old classics with swingeing interplay of massive, heavy subs, jagged chords and spitting hi-hats all tweaked with hands on the desk for club-enveloping effect.
B-side he turns the lights lower for a stripe of sleek, velvet-cloaked kicks and tense midnight pads recalling Carl Craig’s ‘Darkness’, before stepping up with a super minimal deep house swinger hingeing around phasing, Reichian marimba motif.
Ukranian/Japanese duo Tamayugé hex the trippy headz at Paris’ Akuphone with a ‘marishly cute but f**ked up invocation of ‘Baba Yaga’, the witch-like Slavic folklore figure. Check for strangest feels in the murky Finnish psych styles of ‘Chornei, what sounds like Phew duelling Elvin Brandhi on ’Tamago’, or a Breadwoman baked from infected rye in ‘Herbert Song’
“After Ko Shin Moon, The Dwarfs of East Agouza and Praed, Akuphone continues its sonic exploration of freaky electronic music with Tamayugé!
Blend of experimental music, creepiness melancholia and kitschy tones, this surprising collaboration release his first album Baba Yaga.
At the head of: Maya Kuroki and Tamara Filyavich, a Japanese and a Ukrainian now based in Montreal. Maya Kuroki's phantasmagoric vocals and dreamy guitar added to Tamara Filyavich's team of electronic ghosts fresh out of her nightmares and invite is to a strange ritual, between tormented performance and feminist ceremony. Like Baba Yaga, an ambivalent character of the Slav Mythology, both part of Japanese and Ukrainian cultures, Tamayugé’s music brings scary and exciting shivers and open to an enigmatic imaginary.
The mysterious and unsettling Tamayugé’s universe is somewhere between Phew, Laurie Anderson and The Residents!”
Anna Homler presents a new album of quietly inquisitive collaborations following that acclaimed RVNG Intl reissue of her eponymous 1982 debut, which famously depicts her Breadwoman character (imagine John Merrick channelling an ancient babushka) providing a combination of inimitable gauzy electronics and vocal abstractions. On this new album she hands co-production over to PAN-affiliate Steven Warwick aka Heatsick, Gang of Ducks’ Alessio Capovilla, Mark Davies alias The Pylon King and the late Steve Moshier, who produced the original Breadwoman tape.
In opener ‘O’sa Va’ya’, Capovilla buoys Anna’s starkly impassioned cry with floating organ passages to utterly transportive effect, a kind of detached mirror image of This Mortal Coil / Liz Fraser’s take on 'Song To The Siren’, while Steven Warwick lends a more retro-futuristic melody to ‘Nepenthe’, named after the ancient Greek drug of forgetfulness, but ironically working as the most memorable piece on the album, framing Homler against a divine choir of herself and undulating, iridescent arps.
Steve Moshier appears posthumously on the album’s standout title track, underlining Homler's prelinguistic vocal with 15 minutes of whirling ambient passages that do much to highlight her instinct for inescapably formless shapes; a genuinely alien, multi-faceted and uncompromising exercise in sound art that we still can’t fully get the measure of several listens later.
Gassed on nature, BXP unfurls his more sensitive, elemental ambient side, then stretches out with two slow treks working shades away from Rainforest Spiritual Enslavement
“An ecstatic recon through the meaning of isolation where field recording unfolds the ambient/techno sides of BXP’s production. Born from nature, crafted in studio: techno meant for wide landscapes.
"Islands" is the result of a long search spent seeking sounds on various islands during his journey through south-east asia with a Tascam recorder and several directional microphones. He captured natural sounds from jungles, dunes, beaches and wild urban landscapes, not to mention the deep sounds of the Earth’s elements: the sea, the wind, the interaction between man and nature.”
By turns lysergic, wistful and doomy, Jim Williams' soundtrack for Ben Wheatley's baffling period piece, 'A Field In England' neatly reflects the films psychedelic feel.
"Ben Wheatley’s black-and-white chamber horror, set amidst the strange margins of the English Civil War, is a puzzling, inexplicable nightmare, made all the more disturbing by Williams’ spare, brooding score of early music textures that gradually morph into electro-psychedelic overload, aided by Martin Pavey’s sound design and, in one terrifying sequence, the use of Blanck Mass’s ‘Chernobyl’."
Classy 1st release of sleek Italo-electro, deep minimal techno and rugged ambient styles from Finland’s Émotsiya label
Sansibar follows up a recent outing for Natural Sciences with the effortlessly dreamy Italo-electro flow of ‘Vaseline’, while Ann Hiko (Noah Kin) appears to scan the skies for an incoming chopper that hovers overhead raining night-flight melodies.
Helsinki local Denzel brings the vibe more intimate with the swanging hustle of ‘Distractions 01’ recalling DJ Richard or Galcher Lustwerk vibes, and Estonia’s Endamisi Salamisi keeps it low key but insistent with the wide open, pendulous electro shift of ‘Rentzel’ in a way recalling vintage Metamatics.
USA’s heaviest D&B producer Homemade Weapons goes on hard and tech with ‘Gravity’, his 2nd album following 2016’s ‘Negative Space’
Operating on the opposite side of the planet to D&B’s power centres hasn’t held back Homemade Weapons from developing his own, tightly coiled style, as displayed with cutthroat intensity throughout ‘Gravity’.
Taking what he needs from gnashing late ‘90s styles and modern halfstep pressures, the Seattle-based producer hits heavy with hardship brawlers such as ‘Red Tide’, or like a skittish Source Direct on ‘Lingchi’ with Artilect, while ‘Heretics’ and the cyclonic dynamics of ‘Virga’ show off his most spacious, pensive drum programming, and the likes of ‘Constants’ and the swollen halfstep ballast of Lamia’ should find favour with Pessimist types.
Falty DL leans on a proper brukbeat flex, channelling varying degrees of 4Hero/Dego and jazz/hardcore/Footwork-related rhythmic madness for UTTU
Straight out of the gates he runs needlepoint drum programming and helter skelter jazz keys at 150bpm with dizzying flair in ‘Untitled 111vgr’, before ‘Beast’ trims back to a 125bpm electro ride with vacuum sealed production for freshness.
On the other side his hardcore darkside electro urges come into play on ‘One For UTTU’ in a way recalling classic Octagon Man/J Saul Kane, before turning on a 2-step pivot, just like they did in the late ‘90s, and ‘Piano 4_9_18 feux master Erie 25%’ session off on a downstroke recalling Roza Terenzi/D. Tiffany’s ambient electro gems for Euphorique.
A little less than two years on from 2016’s Plum, Californian scrap polymorphs Wand return with their fifth long playing record, Laughing Matter.
"By now, Wand is the shifting but unmistakable collaboration between Sofia Arreguin (keys, vocals), Cory Hanson (guitar, vocals), Robert Cody (guitar), Lee Landey (bass) and Evan Burrows (drums). Laughing Matter is marked by the confidence and exuberance of a band that has lived, feuded, thrived and grown together through years of dedicated jamming, touring and recording, across western and eastern states, continents and mind-sets. In this world that insists we must increasingly rely upon ourselves, Wand listen to each other, and this is the sound.
Largely recorded on the infamous southern border of broken, decadent America, Laughing Matter belongs to the after-life. After the dull flood. As rock n roll lurched sideways and fell away, drunkenly lost in a funhouse mirror of…recycled Funhouses. With no major label funding, no management or lawyers, no corporate distribution, near zero social media presence and no commercial dealings whatsoever (with only poor, pitiful Drag City to help them carry the flag!), Wand have toured the world a bajillion times in five years and made four varied and compelling records while accumulating a devoted following. There may be a future in rock music beyond slapping rote regurgitations onto a lifeless syntactic grid. Wand are proof you don’t have to be an industry toy to sell records – that, with devotion and time, the seeds you plant with intention and care will grow back into the world.
Swerving between out-of-focus parable, travel diary, pep talk, polemic, love song, and lullabye, Laughing Matter is a tough and tender album, its eyes on a lot of prizes. Where Plum held the tension of its five band members getting on their feet, the songs on Laughing Matter are concentrated and relaxed, even as they search for the right accusations to hurl at cynics and megalomaniacs. The music is distilled and sculpted from an ash heap of collected improvisations, riven with audio-verite; the methods and instrumentation are traditional handmade rock ‘n’ roll. Yet the unorthodox arrangements of “Scarecrow”, the joyous embrace of pastiche and disruption on “Walkie Talkie”, the radical eclecticism of shapes and approaches on “Thin Air”, the ascendant choruses of “Wonder” are all decidedly contemporary.
This music is not revivalism or throwback; Wand are a precision instrument, a band that probes and teases style, genre, trope and anachronism into material, according to a law of motion that is aimed directly toward an uncertain future. Laughing Matter is a record about love in a time of terror, about making the best use of the surveillance technology available today. It calls you down from panic room labyrinths, to work the deep tissue of unravelling trauma we all carry so dear. The 15 songs on this record face their energy outward, to take with you through a common world that can’t suffer its human abusers much longer. Laughing Matter encourages you to shake hands with your old demons, to lay your pathologies to rest, to hold your spirit close, and let your body do what’s next."
Luke Younger's Alter label limns the underground zeitgeist in ‘Alert!’, a compilation starring gems from Teresa Winter, Anna Peaker, Moin (Raime), Mumdance, Space Afrika, The Modern Institute and many more beside.
Entirely sourced from the UK, ‘Alert!’ could be heard as a reading of pre-Brexit or Brexit-limbo mindsets, if you’re that way inclined, or more simply as a cross-section of the UK corpus at the end of a strange decade. Either way, you’re going to get a lot of canny, unexpected gear, ranging from cold bedsit blooz thru to freeform techno, twitchy post-punk and modular n0!ze gristle.
We’re naturally drawn to highlights in Teresa Winter’s unpredicted techno pounder ‘A free woman in an unfree society would be a monster’, and also to a sterling example of Teresa’s sometime collaborator and Leeeds peer Anna Peaker on the elegiac organ etude ‘Helicidae’, while Space Afrika nest the tactile ambient fragility of ‘Yuly’, and Mumdance impresses with nerve-chewing modular freakout ‘Path of the Seer’ - big tip for fans of The Sprawl.
Elsewhere the quality doesn’t let up: Raime’s Moin and their drummer, Valentina Magaletti’s Tomaga, both turn out tuff, jagged post-punk steppers; Acolytes catch a properly febrile vibe in the blown-out gabber kicks and writhing electronics of ‘Feelings’; Helena Celle drops a playful stripe of computerised EBM; and Glasgow represents with a barrage of saltiness ranging from The Modern Institute’s scally techno banger to an apoplectic Apostille in ‘It’s Not Right’, and an absorbing oddity by sound artist and radio producer Mark Vernon.
Heather is Sharon Van Etten’s longtime collaborator and band member. Since the release of her last album Heather has toured with Alela Diane and Lisa Hannigan, and has opened twice for The War On Drugs. Invitation features vocals and synth contributions from Peter Broderick. RIYL: Sharon Van Etten, Weyes Blood, Marissa Nadler, Julianna Barwick, Julia Holter.
"Invitation was conceived on the Oregon coast, an outlier among American landscapes, where vast stretches of empty beach are decorated with silver driftwood and towering pines. It is here among the dunes, tide pools and colossal rock formations that Heather spent her childhood summer day-trips. And it is here that she returned as an adult to construct her newest LP, an album of dreamy baroque-pop that swells and whispers with grand string arrangements, intimately descriptive lyrics, and impassioned songcraft built around earnest piano melodies, painting a lifelike picture of the locale in which it was written.
In the years between her early youth and the creation of Invitation, Heather has played in Efterklang, Horse Feathers, the live bands of Laura Gibson, Lisa Hannigan, and Damien Jurado, and has also been a longtime collaborator and bandmate to Sharon Van Etten. But while this list may seem enviable for an aspiring young musician, any experienced player will know that the life of a touring musician comes with its own sacrifices. Lasting relationships and financial certainty can be tenuous, as can mental stability itself. Feeling this first hand, Heather traded her usual launchpad of Brooklyn for the sleepy town of Pacific City where she would quietly take a job cleaning houses for a cast of local eccentrics, sitting down at the piano in the off-hours to unpack the personal tragedies and triumphs of the intervening decades since her first trips there.
Throughout Invitation, floral tendrils of sound design and dynamic strings decorate the edges of each track, propelling the album beyond mere singer-songwriter fare into something altogether more grand and immersive in scope. And somehow still, the album maintains a humble quality throughout. It’s not about the epic and beautiful physical features of the Pacific northwest seaside that first stirred Heather Woods Broderick as a child. It’s about how the stillness of such settings can unearth the disquiet often buried by the infinite distractions of a life without pause."
‘Fog Horns’ is a much rawer, almost aggressive, panic-raising answer to Marshall Ingram’s seminal ‘Fog Horn Requiem’. The artist really uses the sound as dense blocks to be intersected, conjuring an anxious state that makes us feel as though on a collision course between massive objects in low visibility...
“French sound artist Félix Blume keeps pushing the boundaries of field recordings for our enjoyment. “Fog Horns” captures the sounds of boat horns in Piraeus, Athens, Greece, the port city that serves some of the most important ferry routes in Greece nowadays. Yes, boat horns are annoying, sometimes disturbing and even absurdly disrupting if you live in a port city or one that is blessed with the arrival of cruises. We all know that. But we also knew that recordings of funerals could be tricky, and Félix Blume pulled a gem out of last year’s “Death In Haiti - Funeral Brass Band & Sounds Of Port Au Prince (CREP51)”.
And he has done it again. The A side reveals a long track recorded during a fog horn concert whilst side B features three 'remixes' of the same recordings, paying respect to what Ingram Marshall did in “Fog Tropes” in three different 'movements'. In a way, B side sounds like the perfect soundtrack for the recent remake of “Suspiria”. But Thom Yorke got in the way.
Jokes aside, there’s something magical about these horns. In the eighteen minutes of the first side, Félix Blume explores the concept of a concert played by those horns. The horns dominate but sounds of the surroundings create a perfect balance to the drone hysteria. The surrounding sounds are the heartbeat of this track. The horns are the metal section of an orchestra, while the rest works like the strings. Hidden melodies are revealed when you listen to this with your full attention, and the more you do it, the horns become less present, vivid. It’s one of the many crafts of Félix Blume, the more you live with his music, the more you focus outside the plot.
If those eighteen minutes sound tremendously real, the three tracks on the other side feel like a horror film. The warmth disappears to become cold ambiance, beautifully textured and enigmatic sounds take over. Horns are still heard, but they’re a different kind of horns. It seems that Félix Blume is playing with our perception, from bliss to horror. A honk will never be the same again.”
Sleazy, night-stalking house trax from Romania’s Khidja for NYC’s DFA
Opener ‘Don’t Feed the Animals (Hiding In Your Room)’ channels John Carpenter into the club; ‘Devil Dance’ massages muscular modular tones into a clipped and trippy swing; ‘I Can Never Relax’ weaves EBM inspirations into a throbbing electro-house chassis; and ‘I’m So Bored’ works splashy, fluid percussion into a sizzling darkroom frolic.
“Having established themselves with previous releases on labels like Hivern Discs and Malka Tuti, Khidja get darker, dubbier, and more twisted on In The Middle Of The Night. We find the record in the witching hour, and the tracks represent the cycle of nighttime mentalities, revealing the various directions the mind can wander in the place between consciousness and unconsciousness – mania, paranoia, even boredom. It all makes for a raucous dancefloor experience, with the duo bringing something new and heavy to the DFA roster.”
Former Engineers songwriter Mark Peters pays a final visit to his debut solo album ‘Innerland’ with a collection of reworkings from Ulrich Schnauss, Moon Gangs, Odd Nosdam, Jefre Cantu-Ledesma and many others.
"‘Innerland’ was one of last year’s most surprising sleeper successes. An intentionally low-key album of windswept instrumentals inspired by Mark’s move back to his native northwest, it gave musical nods to Eno, Talk Talk, Vini Reilly and Richard Thompson, and first appeared as a limited-edition cassette before being expanded to a full vinyl, CD and digital release last April. Something about its beautiful simplicity struck a chord and slowly but surely – thanks to word of mouth, as well as the support of the likes of Lauren Laverne on BBC Radio 6 Music and positive reviews everywhere from Uncut to The Times – it worked its way into people’s hearts.
By the end of the year it had also worked its way into Rough Trade’s top 10 albums of 2018 and, to celebrate, another limited edition vinyl only version called ‘Ambient Innerland’ was released, an even more introspective iteration that stripped away all of the percussion.This new version, however, is completely different. It finds Mark looking outwards, away from the bleak, post-industrial landscapes of Wigan, and inviting eight different artists from around the world to interpret and translate the instrumentals of ‘Innerland’ into their own musical and geographical languages. German sound artist Andi Otto takes ‘Twenty Bridges’ and turns it into a weird world music groove, the cello recalling Arthur Russell, the rhythm Holger Czukay circa ‘Movies’; Polish composer Olga Wojciechowska sprinkles stardust all over ‘Mann Island’, morphing it into a slice of febrile, filmic techno; former Disappears and now FACS frontman Brian Case wrangles ‘Windy Arbour’ into a dark, dystopian drone; as previously heard last year on a limited edition lathe-cut 7” single, Ulrich Schnauss subtly re-frames ‘May Mill’ as elegiac electronica, the kind of oddity that could have graced a Tears For Fears B-side circa ‘Songs From The Big Chair’; Moon Gangs, aka Will Young from BEAK>, climbs ‘Gabriel’s Ladder’ and finds some delicate drone’n’bass; American producer and DJ Odd Nosdam takes his experience of working with Boards Of Canada and turns ‘Shaley Brow’ into a sinister tape collage, entirely in keeping with the murky history of the locale; E Ruscha V, the erstwhile Medicine guitarist also known as Secret Circuit, converts ‘Cabin Hill’ into Balearic Blue Nile;
finally Jefre Cantu-Ledesma lights up ‘Ashurst’s Beacon’ as an inferno of deliciously distorted shoegaze.
All eight are so disparate and yet they hang together perfectly, resulting in an exciting musical journey to somewhere completely new."
Composed by director Slava Tsukerman himself using an array of early analog synthesisers and samplers, he mixes original compositions with electronic versions of symphonic classics to striking effect.
"The score is dizzying, hallucinatory and off kilter. Completely wild and free from the trappings of both traditional film and score Tsukerman lets loose with a score that is at times terrifying, at others soothing but always interesting and like nothing you have ever heard before. The score peaks with “Me & My Rhythm Box” featuring a performance by Paula E. Sheppard that has become a staple DJ’s the world over. Far ahead of its time, both the film and the score have had lasting influence on todays culture. Everyone from Larry Tee, Fischerspooner, Lady Gaga & SIA have borrowed something from it."
20 years since his Planet Mu debut, Leafcutter John brings his ecstatic prog-electronica virtues to Border Community for a bright and spacious album of driving krautrock rhythms and intricate melodic fancy wrought around field recordings of the Norfolk coastline and the North Sea
“During the summer of 2017 exiled Yorkshireman Leafcutter John returned to his one-time home of Norfolk (having graduated in Painting from Norwich’s School of Art and Design back in 1998) and set out on foot along the sixty mile section of Norfolk Coast Path which runs from Hunstanton to Overstrand, trusty audio recording device in his pocket. “And very soon the physical act of walking began to make me think about music,” he explains. “My footsteps dictated the tempo and imagined melodies accompanied me as I slowly moved along the increasingly wild and magical stretch of coastline. Stresses of the city were replaced by the fall and rise of the North Sea and endless salt flats. Sounds from the environment filtered in and I would stop often to record what I was hearing around me.”
Back home in London, the hours of amassed field recordings would form the backbone and inspiration for a whole album worth of outpourings from John’s six-years-in-the-making modular synth. From the evocative sound of sea birds on Pillar and Stepper Motor to the colourful conversation from a country pub in This Way Out, the apposite selection of samples which made the final edit provide the perfect jumping-off point for John’s synths to soar with abandon, at times uplifting, frenetic, haunting, hypnotic or meditative, but always atmospheric and with unstoppable propulsion.
“Above all else, I wanted the album to exude a sense of constant forward motion but at a very human scale,” says John. Thus drummer friends Tom Skinner (Hello Skinny) and Sebastian Rochford (long-time collaborator in the twice Mercury Prize-nominated band Polar Bear) were roped in to lend their suitably clattering human momentum, on Doing The Beeston Bump and Dunes respectively. Working in tempos to match his walking speed throughout - “whether trudging along a rainy shingle beach or running up wildflowering clifftop paths” - Yes! Come Parade With Us is perfect traveling music, and once unleashed upon the world is sure to provide the soundtrack to plenty more journeys to come.”