Red Axes have come a long way since the 2014's Ballad Of The Ice.
"Tel-Aviv, now a scene and sound that the duo were instrumental in putting on the map, has burst onto the world stage armed with limitless electronic bravado and the city's strong guitar music heritage. Now, the much loved duo return, sophomore album in tow on their own label Garzen Records.
Unique moments and significant experiences gleaned over the course of an exceptionally intense year left Dori Sadovnik and Niv Arzi with depths of inspiration for their new record. Throughout December 2016, the Axes worked in their Tel-Aviv studio, surrounded by their extended Garzen family - Abrão, Eylonzo Crotch, Gabriel Broid, Adi Bronicki, Thomass Jacksonn & Iñigo Vontier all feature - giving life to a new psychedelic cosmic adventure. The outcome, a 12 track album which invites listeners to The Beach Goths world.
Red Axes snake their way through genres and periods, clearing an unorthodox highway through conventions, nodding to the past, eyes on the future. Live drums, jangling guitars, fuzzed out synths and an all pervasive psychedelia emerge as the backbone of The Beach Goths. Opener Ride The Sus leads in with a nonchalant blues indebted bluster; Tarzan Blues and Relaxation (For Your Mind And Body) call halftime with a bow down to Dead Kennedys and Cramps era proto punk and rockabilly.
While the Axes are quick to jam out exotic post-punk numbers, the land of The Beach Goths is a land of contrasts. The clubs are never far and the drum machines come out on prime time club ready chuggers Piper Work, Shir 1 and the album's first choice excerpt Tantram Power.Dori and Niv's vocal chops feature heavily, standing out on the youthful, kaleidoscopic ballad Loosen and hippy trippy song What Is In Your Head.
Closing the album with a warm embrace, helped by Deaf Chonky’s lead singer Adi Bronicki, on psychedelic ballad Into Your Arms."
Wolf Eyes fix a possessed gaze on a sort of squashed slow techno abstraction in two excursions for their Lower Floor label
With roiling globular pulses and colourfully plumed flutes and oscillator tweaks coming off like Rashad Becker jamming with The Sperm for the first half of 11817, before committing to something like Black Mecha doing native american music for the 2nd half, before 11317 takes off on a slightly shorter but more wigged out trip churning up woozy clarinet with free-handed guitar noise and absolutely messed up, barely harnessed bass muck.
“Wolf Eyes return to the audio world with two bangers of free abstraction and stretched out otherworldly electronics with ‘Strange Days II’. After the ‘Undertow’ (previous Wolf Eyes album) washes you up on the shores of an unmarked empty island, you find yourself stuck dead centre tangled inside a world where the air is filled with buzzing electronics beamed in from a arcane planet and the ‘things’ that are living are hungry for marrow of anything that was considered ‘music’ from the year 2391 AD. You are left alone with how to recreate sound from scratch, using nothing but the wind and mystery. The only words left from the human race are carved slowly on the trunk of a twisted tree, carefully saying “Wolf Eyes were here and these were truly strange days.””
At long last legendary producer Martin Hannett’s wild dedications to Delia Derbyshire and her work at the BBC’s Radiophonic Workshop is revealed to the world at large thanks to Dandelion Records, who’ve previously issued Hannett’s unreleased studio outtakes with Joy Division. If you were into Hannett and Steve Hopkins’ The Invisible Girls album or, indeed, anything by Delia Derbyshire; you need to check this one!
The 18 tracks of Hannett’s Electronic Recordings - Homage To Delia Derbyshire were sourced from sessions at the hallowed Strawberry Studios in Stockport filed under that title by Hannett and range from kooky electronic bachelor lounge miniatures to some really cranky space rock and one absolutely unhinged 10 minute part of alien madness that’s worth price of admission alone. And it’s total speculation on our behalf, but some of the languid guitar pieces bear a striking resemblance to Vini Reilly’s Durutti Column sound. Just saying.
Both masters of bending time and space, it’s no wonder that Hannett was influenced by Delia’s work as a young lad watching the tellybox in ‘60s Manchester, and thus it’s not hard to draw a line between that appreciation of wigged out tone, echo and space that Delia provided Hannett, and the judicious application of FX he would come to apply on classic records by Magazine, Joy Division, Early New Order, The Stone Roses and The Happy Mondays in coming years.
Aside from the first track which we’re pretty sure appeared on The Invisible Girls set, it’s all effectively a missing piece of the puzzle of British electronic music, forming a discernible bridge between progressive eras in a way that’s much harder to trace between modern music.
0PN’s Cannes Award ’17-winning OST for Good Time - a soon come crime thriller by NYC’s Sadie brothers - unfurls in all its future-classic glory on Warp to coincide with the film’s release date.
Adding to Daniel Lopatin aka 0PN's increasingly impressive soundtrack portfolio - now counting four major films since work on 2013’s Bling Ring (although IMDB has some prior credits) - this one is arguably his most refined and memorable from first impressions. It appears that before the film was even started he’d established a symbiotic relationship with the directors, sharing their vision of how the music would inspire, score and relate to their visual aspect.
We can safely say it sounds like the soundtrack to a gritty American thriller and all that it entails, but 0PN also brings a level of idiosyncrasy to the plate that makes it highly enjoyable in its own right, especially in the luscious, belly-flipping rush of The Acid Hits and the widescreen tracking of Hospital Escape / Access-A-Ride or the creamy float of Leaving The Park, which is instantly identifiable as an 0PN piece, whilst Connie finds him heading off on TCF or Lorenzo Senni-esque vectors, and you’ve probably heard The Pure And The Damned featuring Iggy Pop, which sounds uncannily like its about to drop into Lou Reed doing Perfect Day at any moment.
Written and performed by Yasunao Tone. Recorded at ISSUE Project Room, Brooklyn, June 9th, 2016 by Bob Bellerue Mix and mastered by Russell Haswell. Photo by Cameron Kelley. Layout by Stephen O’Malley.
"I have had an idea if I apply the neural network to create my sound work for long time. When I had a performance at Centre Pompidou with Peter Rehberg and other friends I tried to talk about the idea with a French guy from IRCAM. But, he couldn’t understand my idea, which by using neural network the sound I create would never have any repetitions. That was 2002 and I had to wait until 2015 when I had a grant from New York State Council on the Arts through Issue Project Room, then its director Lawrence Kumpf applied for my new work. The grant finally made possible for making my cherished idea, the neural network piece, reality. I had talked about the idea with Prof. Tony Myatt at Surrey University, UK and he developed the software for the piece with a team included Dr. Paul Modler. At the lab in the University a series of my performances of my MP3 Deviation were captured and used to train Kohonen Neural Networks to develop artificial intelligences that simulate my performances. Hence a birth of new piece AI Deviations. I had a premiere at Issue Project Room on June 9th 2016 and the venue was more than packed and here is the performance of the piece." (Yasunao Tone)
"The Kramford Look are back with a new album that wouldn’t seem out of place on Jonny Trunk’s label or Andy Votel’s crate diggin’ specialists, Finders Keepers. Think Francois De Roubaix, Ennio Morricone or even Sven Libaek, classic film soundtrack and vintage TV library music… but with that unique Kramford twist."
The Kramford Look are a contemporary duo plus guests who specialise in spacey, groovy '70s library theme music. Multi instrumentalists and engineers Dan Wood and Pierre Duplan man a small orchestra's worth of gear including exotic bits such as pianet, Logan String Melody, kazoo, harpsichord, and 4 handed cello (wait a sec, are they having us on?), and sound very much like the real thing. All the tracks comes ready with their own description, which makes our lives so much easier. There's 'Ivory Road' a "Wandering flute theme over walking bass line. Echoplex.", and 'Magic Plastic Home', an "Apprehensive theme with childlike overtones. Glockenspiel. Fuzz bass harpsichord." and 'The Stalk' described as "Nocturnal city mood with melancholic flute section. Intermezzo. 5/4 rhythm. Fender Rhodes piano.", but we'd dare say the best thing about it is Jonny Trunk's plain-speaking liner notes.
Raw, wonky and off-the-cuff house as electronic folk music from Bergsonist, pursuing their tapes and 12”s for Clan Destine and Börft with a trio of direct to tape emissions, at best in the NYC garage-esque swanger, Mutation, and with something to bite down on in Murray CY’s rusty remix knock of Ressentiment.
Well-studied hip hop-style beat tape, playing thru like a dusty Ras-G smoke-out recorded between 1988-1991
Neatly incorporating chopped ’n screwed takes of acid house and early rave tracks in-the-blend.
Huerco S and Overmono (Truss and Tessela) rework the Prurient-starring highlight of Nathan Fake’s Providence album in techno and ambient versions.
The Overmono bro’s get rid of the vocal and focus on a proggy build of creamy cosmic arpeggios and slamming techno, calving off into a fizzing baroque tizzy at the half way point like something from AFX’s Analord series.
The natty grub of Bosky serves as a tart techno palette cleanser from Fake, before Huerco S steals the show and completely dissolves the same elements of Degreelessness in a serene ambient bubblebath accompanied by new age tabla...
Microtonal music for violas and viola da gamba performed by Nadia Sirota & Liam Byrne. Includes download codes for 38-minute film by Steven Mertens and all digital audio
“Tessellatum is an album and a film, with music composed by Donnacha Dennehy and animation by Steven Mertens, performed by violist Nadia Sirota and viola da gamba player Liam Byrne. The film and the music both work with the idea of man vs. nature. Steven Mertens’ electric animation toggles back and forth between man-made geometric perfection and the natural oddness of the deep ocean. Donnacha Dennehy’s addictive timbres move between tuning systems created by humans and the ones found in natural resonance. As a result, the two works of art support and enhance each other, using the same form and structure to create an incredibly moving work of art.
All fifteen string parts were performed by Nadia Sirota and Liam Byrne on viola and viola da gamba. The album was recorded in Iceland’s famed Greenhouse Studios by Paul Evans and mixed by Valgeir Sigurðsson. Produced by Nadia Sirota. “