Gorgeous and thought provoking split LP from these two notable synthesists. Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world, making use of electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, secrity systems, advertising and the sounds of discharges and activities of Tesla's own devices - recorded all over the world. Eleh's composition makes use of a new kind of spaciousness and was composed for piano & Serge STS modular synthesizers. Though Tesla was not a consideration when the piece was recorded, it takes on a new meaning and is well paired with Kubisch's.
From Christina Kubisch:
"The fgure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. He was the one who invented radio controlled devices and other new technologies beyond the generally known limits of technology. Tesla had been picking up radio signals in New York since 1895 receiving them as far as thirty miles away. He wasnot only an inventor whose work was the basis for the development of many electrical inventions and communication techniques of today but was as well a very special person, a visionary who was inable to realize many of his ideas because of money problems and as well his “diffcult” character.
I discovered his work during my studies of electronics in Milan at the end of the seventies. In that period I started to use the system of electromagnetic induction for my sound installations. Tesla had invented and patented the frst telephone amplifer in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifer with incorporated small coils to listen to the sounds in my installations.Later on my work with electromagnetic induction had developed into the series “Electrical Walks”, city walks with special headphones which make audible the usually hidden electromagnetic felds around us. In 2012 I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got a special permission to test tem. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece aboutelectrical remoteness. Tesla grew up in a remote small village in Austria (now Croatia) where electricity, radio, cars, telephones, movies etc. were unknown. As a boy he loved nature more than everything else. But already at the age of 36, in 1893, his inventions made it possible that the world expo in the city of Chicago was illuminated by one hundred thousand electrical lamps.
The new technologies concerning light, radio, radar etc. were developing with such an incredible speed since then like today the components of the digital world. I always asked myself what Tesla would have thought about the internet, google, twitter, facebook, apps etc. Was this the vision he had in mind when he invented his system of wireless transmission of electrical signals? His working places were full of big heavy coils, oscillators, metal towers etc. by which he tried to transfer energy without wires. Today we almost forget that digital communication and storage is not based only on invisible remote waves in the ether but that it needs server rooms which are much bigger and heavier than Teslas equipment. “Teslas Dream” opens with the magnetic felds recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Teslas devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual felds of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. The composition ends with the sounds of a luminous advertising, recorded recently in a shopping centre in Las Vegas, accompanied by the faint vibrations of other signals from the ether. Tesla wanted to reach the most remote places of the earth with electrical energy. Nothing today is remote anymore.
The glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch. The original electrical feld recordings were made in Austria, Germany, Slovakia, Britain, Czech republic, New York, Las Vegas and the Hoover Dam."
Cooper Crain, Dan Quinlivan, and Rob Frye head for the horizon on their newest Bitchin Bajas buggy, leading on from a 2016 tour and series of collaborative live releases with Bonnie “Prince” Billy and Olivia Wyatt.
Sharing its title with a chain of Tex-Mex restaurants in the USA, Bajas Fresh catches the trio at their earthiest and lushly psychedelic, naturally sprawling their classically-schooled, dilated vision of krautrock, kosmiche and North American drone and space jazz traditions across seven tracks.
Notably, they embed a beautifully sanguine cover of Sun Ra’s Angels and Demons at Play in the album’s sequence, sweat-lodged among the astral coordinates of Circles On Circles and the windswept jazz of Yonaguni featuring Ghost’s Masaki Batoh, before syncing with a rich history of transcendental drone exploration in the magnificent, side-long and sidereal scope of 2303, where they consolidate contributions from Nick Broste (Trombone), and Ben LaMar Gay (Cornet) into its deeply anaesthetising harmonic smudge.
One of the boldest new producers to broach the dub sphere in recent times, Jay Glass Dubs is subject of 'Dubs', a prime “early years” survey of his work, with a range of nods to shoegaze, darkwave synth styles and weightless dynamics. All the material compiled here is available on vinyl for the first time plus one track never released before on any format. Think of it is a set of productions sitting somewhere between Basic Channel, Equiknoxx and HTRK - a proper doozy this one.
Written during what Dimitris Papadatos, aka Jay Glass Dubs, describes as “an adventurous and bold period”, and holding material issued on tape by various labels between 2015-2016, the Dubs compilation frames a singular, stripped down take on classic dub forms, wherein Jay Glass Dubs perceptibly retains the sound’s heavy function and mystic qualities, but subtly updates its palette with a range of nods to a myriad of unexpected, angular styles.
The results form a sort of ghostly, filleted subtraction of classic dub architecture, all plasmic tones and diaphanous, boneless structures buoyed by an often overwhelming, yet somehow intangible bass presence. Beyond the obvious, thematic ligature that connects the material, which was all recorded within a very short period of time, the artist also suggests there is an underlying, encrypted similarity to the material which is “merely apparent to me”, and awaits much closer investigation from keen ears.
From Jay’s eponymous 2015 debut for Hylé tapes, listeners will encounter the heaving smudge of Definition Dub, the serpentine, Coil-like digital delays of Grumpy Dub, and a grime drone drill Depression Dub. Off the II tape for THRHNDRDSVNTNN comes the darkwave synths and militant step of Magazine Dub recalling a gauzier Equiknoxx production, next to the bass-less scudder, Detrimental Dub and the shoegazing bloom of Daria Dub, while his III tape tees up some abyssal highlights in the vertiginous Hilton Dub, the melancholy, Basic Channel-scoped scale of Sieben Dub, and the HTRK-esque starkness of Everlasting Dub.
Exclusive to the set is Perfumed Dub, recorded in 2017 and pointing to vast, layered, atmospheric directions for a timeless project which is only just hitting its stride.
After decades in the making Finders Keepers present the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings – co-written, arranged and orchestrated by the genius Jean-Claude Vannier (Histoire De Melody Nelson) during what many consider to be the dynamic duo’s most definitive creative period.
Its the first time on vinyl for this previously unreleased Gainsbourg/Vannier soundtrack to a saucy, psychedelic gallic classic starring Jane Birkin and Gainsbourg in leading roles. Interesting for its forays into traditional sub-continental styles, and one track of heavy petting, alongside the usual Gainsbourgian string arrangements and smoky winks.
Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost Danger Diabolik soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie Les Chemins De Katmandou have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.
Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse, Cannabis and Sex Shop. Laying the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery. Comprising Vannier’s signature recipe of thick plucked bass lines, close-micced drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou (aka The Road To Katmandu or The Pleasure Pit) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.”
Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now.
"What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating theremin, siren, audio generators, and other various electronic effects as Cork Marcheschi, the band's original bass player had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy”, “Red the Sign Post” and “God Bless the Child”, a Billie Holiday cover. An intriguing mix of jazzy psychedelic rock tunes with fierce and advanced electronic sound effects. These sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them.
So fans of flowery, psychedelic 60's music must beware of this odd gem, Fifty Foot Hose’s music leans more towards White Noise, Silver Apples and specially United States of America than to the whole flower power movement. After only one album, the proto-cyber psych outfit passed as quickly as they came. Their only mention would be a name-check in Ralph J. Gleason’s 1969 book, “The Jefferson Airplane And The San Francisco Sound” published over a year after their demise. Ralph J. Gleason wrote: “I don’t know if they’re immature or premature.” History has proven them to be the latter. Today the original album is very collectable and considered a touchstone of avant garde rock music.
"The concept was to expand what contemporary popular music was. I thought the avant-garde could have had a home with this new group of listeners but they turned out to be pretty conservative - intellectually . Drugs were fine - sex was fine - stop the wars was good but when challenged with abstract art., they reacted like conservative people look at a Jackson Pollock painting." (Cork Marcheschi)."
A sublime addition to Sean McCann’s Recital Program, This Floating World is Roger Eno’s first solo LP in a decade, following on from Anatomy  and a split LP with Plumbline in 2013. Mostly solo piano expressions, but with a few intriguing embellishments of electronics in Garden, vocals on Empty Room, and sonorous chimes in Riddle, saving the detuned pearl of Out of Tune, Out of Time, Out of Here for dessert.
“This Floating World holds rustic and melancholic piano works, as grey and mossy as a country cottage. I hear the LP chiming from the dark corners of a pub, soaking in the damp wood like spilled ale.
I first fell in love with Roger’s music through his 1985 debut album Voices, which cradled many rainy and caffeinated mornings when I was living in San Francisco years back. He played on the infamous Apollo, Music for Films vol. 3, and recorded a theme for the Dune soundtrack. String pads and veils of reverb pour through those processed tracks.
I later rediscovered Roger Eno in a different light with his 1997 album The Music of Neglected English Composers. A playful and beautiful album of chamber pieces guised as the works of forgotten (and fabricated) composers from the past century. His compositional sensibilities remind me of my favorite recent English composers… Hobbs, White, Bryars, Skempton, etc.
This Floating World feels like a hybrid of these two styles, a melding of both his ambient and ‘prelude’-esque compositions. Warm and feathered furniture music.
In our communication Roger has been a real charmer, ending every email with “Roger and out.” A curious fellow, with a knack for tracing the understated beauties of this world.
'Forse 1' is the unmissable solo debut by Alessandro Cortini ov Nine Inch Nails.
Alessandro has this to say: "All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.
Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment."
D.K. keeps his workrate and quality ticking high with Distant Images, the latest addition to his radially expanding catalogue of releases with Melody As Truth, Antinote, L.I.E.S., PRR! PRR! in recent years.
Compared with D.K.’s earliest work, Distant Images bears a pellucid clarity shared with his recent D.K. / S.K. collaboration with Suzanne Kraft for Melody As Truth, bringing his melodic ideas into sharper relief, as with the Reichian/Gamelan rhythmelodies which perfuse the whole set, while also allowing greater room for subtle background sounds, such as the seagulls on Distant Images.
Necessary repress of a slept-on Dan Curtin classic, hitting deep and tuff from 1993 as Apogee on Peacefrog Records.
From the masterfull;y adroit acid lines and rolling breaks of Sunrise On The 2nd Moon, thru the incredibly elaborate, Mayday-esque programming of Horizons Forgotten, to the Hi-Tek Jazz of Inside Above and the slippery mechanics of Sunset On The 2nd Moon, this is the kind of gear that makes older heads justifiably wistful about the early ‘90s, lost futures and all.
Mannequin get a grip on Nigel Ayers and Caroline K’s massive body of Nocturnal Emissions work with this cherry-picked rifle thru their catalogue, containing 22 highlights - from industrial grinders to wonky disco and daft pops - alll spanning recordings made 1980-1989. RIYL TG, Chris & Cosey, Caroline K, Bourbonese Qualk, Foetus.
“Nocturnal Emissions has been one of the best kept secrets of the industrial genre since the 1970s. Led by Nigel Ayers, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire.
The band moved on to using samplers and electronic noise in their early 80’s work, creating a twisted funk souncthat would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focussing on releasing their own music more effectively.
They followed this path into the 90’s when they started earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies (they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel) and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website.”
The County Liners started in Mary Jane Dunphe (Vexx, CC Dust, CCFX) and Chris McDonnell (CC Dust, CCFX, Trans FX)’s country home in Olympia, WA in the winter of 2016.
"Longtime friends and collaborators, Chris and Mary Jane began writing 80s / 90s inspired country tunes when Mary Jane found herself bedridden with a debilitating ankle injury. Riley Kendig, also living with Dunphe and McDonnell, and Mirce Popovic (Trans FX) joined the band to help arrange and perform these deeply personal songs."
Precision-tooled rolige from el mysterioso, Forest Drive West
Following his D&B outbreak for Hidden Hawaii with two slinky wrigglers for Livity Sound; a swinging deep techno piece recalling vintage Convextion circa Ebullience, and the crankier, UK style lag of Escape with its hip-slipping swang and cold, dank clammy atmosphere.
Strong one for followers of Kowton, Peverelist, Simo Cell
The 1969 follow up to Silver Apple’s debut found the duo digging into the far reaches of their songwriting psyches for a darker and more emotionally charged set of songs.
"While the debut set the stage for a sound the world had never heard before, Contact is where the Silver Apples began inhabiting that sound with more urgency and experimentation. Sourced from the original master tapes plus inner sleeve with unseen master tape box photos. Featuring the original controversial artwork with the Silver Apples in the cockpit of a Pan Am jet on the front, and a plane crash with the duo superimposed over it, on the back.
The airline sued both Kapp Records & the band, forcing the band to break up. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more."
Home Age is the first proper Eleh full length since 2012's Homage To The Pointed Waveforms.
These new pieces seek to expose the inherent musicality of pure electrical currents via high resolution Serge STS synthesizers. Like early Eleh work, Home Age is inward looking, domestic and deliberate but also slowly emotional and revealing as if peering blurry eyed through a window. Melody, harmony and counterpoint are suggested but not revealed.
Third Man cough up a killer document of Adult. recorded in live performance at Jack White and co’s Nashville, TN facility in spring ’17. With the duo’s latest studio album, Detroit House Guests recently dispatched on Mute, Live At Third Man proves they’ve still got the live chops, and back catalogue, to claim their place among America’s eminent synth-pop acts.
Framed by audience applause/laughter and the sound of their fog machine blowing strong, Nicola Kuperus (vocals) and Adam Miller (electronics, bass guitar) deliver their set with military precision and deadly, punkish style, rinsing thru versions of Blank Eyed, Nose Bleed from their debut album, Anxiety Always, and a mean, sparking take on Pressure Suit off the Entertainment 12”, along with a searing rendition of their classic Hand To Phone, plus no less than two previously unreleased cuts in the cantering sino-electro-pop jags Misshaped, and Does The Body Know?
DJs may struggle to get away with playing these with proper amplification, but for home use the LP serves its purpose damn well.
Mellifluous, rootsy stepper from Sister Rasheda, backed with Counter Action Warriors’s heady dub.
Schooled by Jah Shaka, Rasheda plays deep into the UK sound system style on the front, while the dub brings the tune forward in lushly effected fashion.
Pinch pulls out three special rave weapons for the upside-down steppers at Aquaticlab Records.
The follow-up to his Control/Strobe Light session with Mumdance locates a meaner, rawer Pinch in the A-side’s hybrid of crunching dancehall impulses, shockwave synths and supple 4/4 flows, while the B-side leans in darker, more stripped down with the impending, weightless pressure and paso-doble parries of Street Light, then on a classic smokers’ half step with Abducted.
Lorenzo Feliciati's career is split between his role as one of Italy's greatest studio and live professional musicians and his evolving career as one of the contemporary electric bass greats - but what sets him truly apart are his talents as composer, arranger and producer.
"For his sixth recording for RareNoiseRecords, following his 2011 solo album Frequent Flyer and subsequent collaborations with vocalist-multi-instrumentalist Lorenzo Esposito Fornasari (Berserk!) and Porcupine Tree bassist Colin Edwin (Twinscapes) as well as two albums with the adventurous jazz-rock band Naked Truth (Shizaru, Ouroboros), the restlessly creative bassist-composer-producer Lorenzo Feliciati followed up by realising his vision in the ambitious and deeply original KOI.
A concept album based on the life of the renowned fish, Koi features former Japan drummer Steve Jansen and current King Crimson drummer Pat Mastelotto along with pianist Alessandro Gwis, trumpeter Angelo Olivieri, saxophonist Nicola Alesini and a horn section consisting of tenor saxophonist Stan Adams, baritone saxophonist Duilio Ingrosso and bass trombonist Pierluigi Bastioli. A suite-like offering that intersperses mesmerizing ambient interludes with full-blown prog-rock type anthems, Koi brilliantly showcases Feliciati’s composerly vision while highlighting his considerable chops on fretted and fretless electric basses.
Now, at the end of 2017, Feliciati has upped the ante again on his latest project, ELEVATOR MAN. A powerhouse recording with echoes of King Crimson, Allan Holdsworth and other Prog Rock icons in its ten tracks, this latest outing by the prolific bassist-composer-arranger features a rotating cast of stellar musicians, including King Crimson drummer Pat Mastelotto, former Holdsworth drummer Chad Wackerman, Swedish guitar shredder Mattias IA Eklundh (of the Jonas Hellborg Trio and Art Metal), Italian progressive metal guitarist Marco Sfogli (currently of the legendary Italian Prog Rock band Premiata Forneria Marconi, aka PFM), trumpeter Cuong Vu and his Naked Truth and Mumpbeak bandmate Roy Powell on distortion-laced clavinet. As well as composing and arranging all the material, Feliciati plays fretted and fretless basses, electric guitar and keyboards on his seventh and most potent recording as a leader to date."
A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession.
"The international audience’s interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, 60s and 70s which largely encouraged the discovery of this music beyond Indonesia’s borders. Taking advantage of a more advanced technology compared to the vinyl golden era, the present field recordings produced in 2011 render at the closest the power of gamelans. They are presented here in two forms. The first one offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect of the compositions.
The second one presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse. With The Gamelan of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (Sublime Frequencies, 2016)."
What Mortazavi and Friedman have in common is their shared expertise in uneven, cyclical rhythms – the foundation of their trance-like art music, which is both subtle and ecstatic.
"Through repetition and improvisation in the studio they create “numbers” – groove-based pieces played on a variety of drums (Mortazavi mainly plays the Tombak) mixed with electronics. Natural, i.e. given, motion patterns provide the musical backbone. This results in a precisely timed harmony between the electronic sounds and live grooves.
Thanks to the extreme acoustic range of the Tombak and his extravagant technique, Mortazavi merges perfectly with Burnt Friedman’s signature sound and repertoire, which seems to belong to no specific place or time.”
Contradictory sides of fuzzy ambient and noisy techno from Thomas9000, debuting as the 1st release from London’s Premature Records.
Arriving with pats on the back from Nic Tasker and Jane Fitz, Obscule gives up a playful, beatless vignette in the A-side’s title cut, landing somewhere between Anthony Manning and Nicola Ratti, where the B-side’s Droid drill down to a turbulent sort of noise techno stress test with chaotic synth squall and jagged, old skool Regis style bite and swerve.
The Monika Werkstatt project opens its doors to friends and artistic peers
Rounding up fine remixes such as Nite Jewel’s disco-ready re-shuffle of Grow by Barbara Morgenstern + Werkstatt; a ghostly-dubbed and motorik take on Lucretia Dalt’s Blindholes from Cómeme and Cititrax’s Borusiade; deals’ reverb-bathed remix of Sonae; and a very Berlin-ready re-canter of Islaja by Charlotte Bendiks.
RBMA put some bull hormone into the Library Music genre, sponsoring Kiwi composer Grayson Gilmour’s opening gambit, Red Bull Music Academy Library Series Vol.1.
Gilmour, a graduate of the 2011 Madrid RBMA brainwashing camp, and, strangely enough, a regular on staunch indie Flying Nun Records, stirs up the kind of emotive signposts and cues that make people want to buy and feel shit they don’t need with an adjective grasp of baroque pop and post-rock-electronic convention on the front, backed with Paul Jebanasam’s far starker Thalamus (Machine Learning Variation).
Japan's EM Records serve the 2nd of 2 thistly bouquets by Alexandra Atnif, committing her self-released, 2CD compendium of early tape releases to the Romanian artist’s debut vinyl release.
Rounding up cuts from her self-released tapes, harder-eared listeners will be in their element with Atnif’s brace of unforgivingly noisy and clenched monotone grooves, all inspired by the brutalist architecture of her home country, and each laced with a sliver of pathos that rescues them from the abyss.
Japan's EM Records serve the first of two thistly bouquets by Alexandra Atnif, committing her self-released, 2CD compendium of early tape releases to the Romanian artist’s debut vinyl release.
Rounding up cuts from her self-released tapes, harder-eared listeners will be in their element with Atnif’s brace of unforgivingly noisy and clenched monotone grooves, all inspired by the brutalist architecture of her home country, and each laced with a sliver of pathos that rescues them from the abyss.
The Body and Full of Hell are both unique and influential forces in heavy music.
"Both artists welcome challenges and eschew self-promotion. Each artist seems driven to take risks and push boundaries of what is considered heavy. A clear example being that on recent tours The Body have performed without any live guitar or drums. Both artists enjoy the creative growth and music and good times that come out of collaborations. Each has collaborated often with other unique but like-minded musicians such as Thou, The Haxan Cloak, Krieg, Merzbow, The Bug and the list goes on. Despite their obvious differences in songwriting, The Body and Full of Hell are unified by their shared aesthetic, catharsis through the manipulation of emotions transformed by visceral noise and fueled by an inescapable sense of dread. They have returned to collaborate again not because of their commonalities but because of their differences and what those differences yield in performance. With Ascending a Mountain of Heavy Light, The Body & Full of Hell have integrated a love for electronic noisescapes with abrasive, precise sonic assaults into a sound unlike anything either has produced before.
Written and recorded in one week at Machines with Magnets in Providence, the music of Ascending draws from unexpected sources such as reggaetón and jungle (“Master’s Story”). There are some familiar guests to The Body fans, namely vocalist Chrissy Wolpert (Assembly of Light Choir) and Ben Eberle (Sandworm), as well as first-time collaborator drummer Brian Chippendale (Lightning Bolt, Black Pus), whom both bands share a strong aesthetic of individualism. Samples, synth, saxophone, and a drum orchestra all throb, and sputter, coagulating under the weight of the two bands. Programmed drum patterns and loops taking cues from hip hop are bent and twisted throughout, flawlessly emboldening the distortion drenched guitars and howling vocals. Each element, though meticulously crafted, is visceral, as the exhilaration of improvisation has not been curtailed by editing.
Ascending a Mountain of Heavy Light casts aside the dogmas of heavy music. Extremity in The Body & Full of Hell’s music is not based on macho musings or competitive trendiness, but rather is an integral tool to exploring the anxieties of modern life and the bridges between personal and political strife. As leading voices in DIY and underground music communities, The Body & Full of Hell, along with peers such as Thou, are expanding the possibilities of extreme music by shaping worlds of sound with a palette of diverse influences seldom seen in “heavy music” today.”
David Sheppard returns with his second Snow Palms album, Origin and Echo. Two years in the making, it builds on the foundations of its predecessor, 'Intervals' with a heavy quotient of metallophones, glockenspiels and marimbas at its core, but largely eschews the latter’s chamber arrangements in favour of soaring synth-scapes and a palette of spectral ambient and electronic textures.
"Despite that, 'Origin and Echo' is a more performative record than was Intervals, its eleven organic, kinetic pieces meticulously constructed by David Sheppard from initial percussive skeletons largely essayed instinctively, in free time, without click-tracks and with almost no guitar. The album is loosely predicated on themes of mirroring and rebounding, whether physical or metaphorical, inspired by everything from the gravity-defying parabolas of space flight to patterns of human migration and feelings of déjà vu summoned by nostalgic journeys.
While the album is mostly the work of David Sheppard working alone or in tandem with producer Giles Barrett, it also features cameos from previous Snow Palms collaborator Christopher Leary (synthesisers), alongside Emma Winston (Omnichord), Lauri Wuolio (cupola drum) and Village Green label-mate Angèle David-Guillou (keyboards)."
Speaker-worrying UK bass ructions from Ikonika, making a devilish foray on DBA Dubs after dispatching Distractions, her 3rd album with Hyperdub, last summer. Features Detroit’s Big Strick on deep, rolling Detroit house remix detail.
Laser-guided to the ‘floor, Ikonika’s OG Oral Suspension sounds out a London-centric house hybrid, pulling together shards of ballroom, grime, and techno into a short of futurist rare groove balancing bolshy rudeness with a freshly buffed, in-the-pocket swagger.
On the remix, Omar-S’ cousin, Big Strick refits the original, soulful chord sequence to a sleek, rolling Motor City chassis underlined with skudgy acid line and puppeteered with pendulous drums that work a treat.
Searing, panic-on-the-space-station techno from Luke Slater, Steve Bicknell and David Sumner (Function) aka LSD for the purposes of their Ostgut-Ton debut.
They kick us head-first down the wormhole with Process 1, then blind with the needling harmonic geometries of Process 2, and really push out into psychedelic terrain on the extended Process 3 with a subtle segue from panic stations to pensive tranquility and out into fathomless, colder dimensions.
Belgium’s Obsequies file in line with J.G. Biberkopf, d’Eon, v1984 and Jlin to present their captivating futurist visions on Kuedo’s Knives label.
Organn is Obsequies’ fully formed but suggestively sparse debut release. Taking cues from Isidore-Lucien Ducasse’s surrealist touchstone, Les Chants de Maldorer, the EP unfolds a sort of lucid dream infiltrated by noirish sci-fi voices and framed within extreme, morphing sound sphere that expands and contracts from vast, echoic space to visceral chromatic pinches in its 30 minute lifespan.
Grace lifts off with a freeform elegance, pirouetting between steepled chords, fragments of cafe conversation and glitching Raster-Noton electronics recalling Ryoji Ikeda, before swan-diving into the upended post-techno physics of Languish and something recalling TCF or Obsequies’ fellow belgian artist Hiele in the fast-fwd jungliest rushes of Cell.
Asthme is a proprioception-baffling display of dynamic sound design clashing minimalist classical keys and cyber-pop urges, while Consumed fulminates a kind of black metal candescence and noise intensity, leaving us spinning in air with the weightless majesty of But Beautiful, buffeted by emulated elements and glittering with starlight.
Joy Orbison steps into the Selectors role for Dekmantel, rustling up a mixed bag of vibes covering OG ‘80s street soul, its contemporary antecedents, and all stripes of house, jungle and techno variations between.
Toyin Agbetu’s bubbling, rubbery soul bomb Heartbreaker is a big highlight, whose vibes inform the rest of the set, from Mustafa Ali’s (NAD) early techno ace Strive (Survive Mix) and R Solution’s rugged and rare proto-hardcore tug, Skinny Long Git, thru to Source Direct aka Oblivion’s self-explanatory jungle missive, Lush, forward thru to late ‘90s garage and techno variants such as Stylistic’s People and Artwork’s turn as Santos Rodriguez, a rare Bitstream number, JP Buckle’s Rephlexian duty One For Da Laydeez, and an up-to-the-second brief by Klein.
Ed Askew recorded the sublimely gorgeous ‘Ask The Unicorn’ LP in 1968 for the legendary proto-DIY label ESP records, which has now been recognized as a god-damn underground classic.
"Armed only with a tiple (sort of a South American mandolin) and his lilting neigh of a voice (and bearing superficial resemblances to labelmates Pearls Before Swine and heady UK acoustic folkers Incredible String Band), Askew spun tales of doomed sisters, crashing universes, budding gay love and a serious fondness for roses on his rare, precious and beautiful album.
After this lone release, Ed Askew seemingly vanished in the romantic mists of time … until a second, previously unreleased album surfaced in 2003, ‘Little Eyes’ - recorded but a few years after ‘Ask The Unicorn’ and every bit as honey-dipped by the musical gods. Since then, Askew has undergone a rightful resurgence and surely everyone that ever dug a Donovan or Devendra tune has taken notice, so Ed’s obscure 1984 cassette ‘Imperfiction’ was also reissued by Galactic Zoo Disk / Drag City in 2011 and quickly sold out.
Ed has since resumed making music and has released several albums over the last decade but meanwhile, it appears the Askew historical goldmine had not been fully tapped. To wit, Ed unearthed four reels of radio sessions taped in 1969-70, performing songs from his first two albums (and the totally previously unreleased track ‘Green Song’). The tapes were meticulously studied by Galactic Zoo Disk honcho Plastic Crimewave (of Galactic Zoo Dossier fame) and the best versions were extracted for this release - absolutely stunning renditions of Askew standards like ‘Fancy That’ or ‘Red Woman’ and ‘Mr. Dream’ - which are perhaps even more gorgeous than the originals."
Last spotted showing their chops on Porridge Bullet, the Dima Disk duo jump on Rub-A-Dub’s white label series with four thistly bangers and sawn-off breakbeat knockers.
Their sweaty, hypnotic house Rolla appears to work out in the same grubby gym as the L.I.E.S. lot, while the bittersweet lead hook of Gelberderte is comparable with Lone style. Your rug will be properly cut with the rasping, slicing breakbeat roil of Loosie, and Fetty leans much farther left with a keening, salty take on weightless bleep techno dynamics riding big swolled subs.
Memnon Sa grab our attention with the cover photo of RAF Fylingdales on Lemurian Dawn, and proceed to hold it firmly with a doozy mixture martial drums, mandrax synths and throat singing inside.
The fact that Lemurian Dawn is released by Aurora Borealis - home to albums by Haxan Cloak, Grumbling Fur, øjeRum - should be a signal of quality to those who know, but for everyone else, this is a class example of the eldritch infecting doom metal dimensions, swapping out glaring darkness for a gauzier, psychedelic appeal and sensitivity that takes hold with the subtlety of a psychoactive you didn’t realise you’d ingested. Fans of Steve Moore or Ghost Box should add this to their mushy playlist.
“Memnon Sa return with ‘Lemurian Dawn’, a cosmic journey through space, time and myth. Black ops missions witness the binary sunrise on a forgotten world. Pan dimensional spacecraft hover over ancient pyramids on worlds undreamed of.
The guitar driven doom metal sound of the acclaimed debut ‘Citadel’ has been replaced here by a myriad of analog synthesisers, ancient world instruments, throat singing and strings. ‘Lemurian Dawn’ channels New Age meditational works, film soundtracks and cosmic jazz from the 70s and 80s. The result could be the soundtrack to a lost 1970’s European animation sci-fi film, warm analogue sounds that hint at cosmic forboding and sinister forces unseen.
The album was recorded over a month and a half at Misha Hering’s Holy Mountain Studios in Hackney, London, and mixed using almost exclusively analog equipment to 1/2 inch tape.
It was mastered by legendary mastering engineer Dave Cooley at Elysium Masters in LA.”
Chicago Ghetto House staple Jana Rush delivers a properly rugged debut album of footwork on Lara-Rix Martin’s Objects Limited.
Notably entering the world of DJing at age 10, and making her first productions only 3 years later - some of which ended up on Dance Mania alongside DJ Deeon - Jana’s recent tilt into footwork, documented on the warped, febrile designs of her MPC 7635 EP as JARu in 2016, places her not only as one of the scene’s few female operators, but also one of its rudest and most idiosyncratic.
Pariah is Jana’s first longform statement and it bangs from every angle. percolating stammering vocals on lip-bitingly tight typewriter beats, Midline Shift gets it going with a style comparable to the headier oddness of Jlin and the stripped fundamentals of RP Boo in a mutable aesthetic which informs each part of the album, variously flipping from hardass pressure in the slicing tessellations of Beat Maze to floating, chords-driven lushness in Divine and the levitating structure of Chill Mode, but also tending to Chicago’s jazz and spiritual music roots with the hyperventilating flute chops of ??? ??? and the soul-infused belter Old Skool.
However, the big highlights for us appear in the super tuff clench of Break It and Rapid Fire, where she’s not afraid to strip it right to the bone, and likewise the two freaky af 303 turns, namely No Fuks Given and Acid Tek 2, before it all comes together in staggering, lush form with the jungle/juke throw down Frenetic Snare at the LP’s close.
Remastered selection of post punk peaches, packaged with an 11x11” double-sided insert featuring liner notes, lyrics and photos
“Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.”
Loft takes their mutant party to Wisdom Teeth with Three Settlements Four Ways. Landing in the wake of a vinyl pressing for his RA-praised Turbulent Dynamics EP, the vibes and production are, by turns, much lusher, layered and knotty than previous outings, bringing Loft’s sound closer to say, Arca or Lanark Artefax.
Up top, they emerge from tremulous beginnings to open out an optimistic, airborne club blessing with the percolated drums, hyaline chorales and virulent acid lines of Filton Recall, then squashing the pressure down low with bubbling subs generating effervescent ambient chords and a spire of giddy hardstyle trance motifs in Funemployed.
Flipside he commits to more chaotic themes with the ambiguous, pranging dynamics of Oh Well We’re All Fucked, chewing up and spitting out a rainbow coloured gob of sawn-off breaks and convulsive club deconstructions, then settles into a nervy swing with the lush but agitated bump of Pottlin.
Hard-to-resist Afrobeat jazz burners right here from Nigeria’s Ayetoro.
The drums are just incredible, but also the swingeing basslines, cool vocals, and warm-ass brass. Classic sounding, but smartly contemporary with it, not simply rehashing the vibe.
Woiii!!! Dark Entries on their best game with this pre-Yello collection by Carlos Peron and Boris Blank, presenting the first ever collection of their near-mythical Tranceonic recordings. Includes a prototype of ‘Bostich’. Need we say anymore?!
“Tranceonic is the duo of Carlos Perón and Boris Blank of Yello who met in 1971 in their hometown of Zürich, Switzerland. At this time Carlos studied Free Jazz while Boris listened to bands like Pink Floyd and Queen. The two bonded over a conversation about The Mahavishnu Orchestra album ‘The Inner Mounting Flame’ and became musical friends. From 1973 to 1976 they played in the New Wave group Urland. After the split of the group Perón founded the Tranceonic studio with his equipment in his private flat. Carlos invited Boris over to his studio and a concentrated work began. The idea was to make experimental new music with the hopes of having a hit in the United States. Everybody at this time was into punk, but Tranceonic loved industrial and electronic sounds. Their foresight and innovation created new ideas. Perón and Blank made electronic avant-garde music informed by the Berlin and Cologne schools. By 1978 the two had enough material to record an album and made a trip to San Francisco to visit Ralph Records. The Residents promised to release the music if the duo removed all the tape hiss, which never materialized.
‘New Crime’ is the first ever vinyl compilation of material produced, recorded, performed and mixed at Tranceonic Studio between 1976-1979. The equipment set up at the studio included a Farfisa Synth Orchestra, WERSI string ensemble, ARP Odyssey with Sequencer, ARP Quadra, Roland SH 3A, CR-78, Space Echo and Korg Minipops 120P and many effect boxes normally used for guitars. Samples were self-recorded using a Revox cassette deck and turntables. Blank and Perón experimented with manipulated tape loops, echo effects and snippets of found sounds. Blank also explored foreign near-equator exotics playing Arabesque percussion and a homemade bamboo flute. Perón experimented with CV triggering and dubbing super 8 film effects from vinyl. Both members took turns singing Carlos’ lyrics. Stylistically the songs anticipate the feeling of Yello’s ‘Solid Pleasure’ album and included here is the first instrumental mix of “Bostich”.”
Savage pulsating drone-rock from France
"France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.
The pertinency of the recordings only slowly appear On “Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.
The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.
In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.
Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the “Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance."
In the endless ocean of Sun Ra recordings, Space Is The Place ranks among the very best but more importantly stands as the most immediately understandable of his records.
This masterpiece touches flawlessly on elements of many of Ra’s multiple phases and provides both a mission statement for and a gateway to his immaculate body of work.
Back in 1972 Sun Ra organised his Arkestra for a compellingly ambitious score, which has since been referenced by practically anyone with an interest in Afro Futurism. The accompanying film was just as groundbreaking, chronicling the time-travelling astral adventures of Sun Ra , which would turn out to be an allegory for racial power struggles in the US at the time.
The music was all recorded in San Francisco, arranging a truly mind-blowing programme of heavy synthesizer and organ blasts, hypnotic vocal chants, free jazz chaos and deeply funky Afro-Latin percussion influences that's still seen as a well of inspiration today. We're holding back on the hyperbolics but this is just one of those records that every self-respecting music lover should own, so you know what to do... Highly recommended!
For only the 2nd time, German ambient techno pioneer Max Loderbauer (Sun Electric, MVO Trio, Vilod, Ambiq) presents his solo work on Greyland - an absorbing, six track follow-up to the Transparenz  LP for Loderbauer and Tobias Freund’s Non Standard Productions label.
Marking a bit of a departure for the Marionette label, who’ve previously issued a string of percussion driven records by Kilchhofer, Burnt Friedman and the like since 2014, Greyland keens their aesthetic into more esoteric realms of pulsating kosmiche electronics, while still keeping the dancefloor in view on a trio of bumpier B-side cuts.
In the first instance, though, Loderbauer works on generating a swell of wobbly, organically raw and diffused electronics, alternately laced with trickling modular knocks against banks of distortion in Corner, or tilling a stereo-swirled, monotone kraut groove in Undercurrent, whereas the elegantly shifting figures of Heliopolis show off his firm yet genteel grasp of modular electronics.
B-side, Loderbauer stealthily ups the ante. With Artus he carves a sequence of insistent, glassy plongs and lush, floating pads disturbed by shards of dissonant glitch, before eking out a scratchy sort of dubtronica somewhere between Bellows and Isan with Who’s That Born, and then slyding off the page with the creamed hyaline tones and languorous subbass waves of Golden Crescent.
Another peach from the STROOM〰 label, this selection of avant-garde pop by NSRD catches the ace Belgian label looking beyond The Lowlands to one of Latvia’s most important, multi-disciplinary groups of the 1980s, sounding out a style somewhere between the slyvan, drizzly post punk of Vazz and the poetic art-pop of Lena Platonos, but with a chilly Baltic air all of its own.
Circling core members Juris Boiko (1954-2002) and Hardijs Lediņš (1955-2004), NSRD or The Workshop for the Restoration of Unfelt Feeling were a self-professed group of non-musicians who happened to make music as part of their practice, which also encompassed performance and action art, visual arts, poetry, samizdat (clandestine or bootleg literature) and video art, all in a fine attempt to explain, import and transpose postmodern art ideas into their home country.
NSRD called their movement ‘Approximate Art’, and by the end of the ‘80s were working with West German artists such as Indulis Bilzēns and Maximilian Lenz aka Westbam. This set surveys the years leading up to and including the late ‘80s, mostly collected from from reel-to-reels, tapes and obscure releases via Seque and their own Approximate Art label.
It’s all a bit like watching or listening in on someone else’s strange dreams, or tuning in to an unidentified radio station, where the lo-fi quality and synthetic inputs give a weirdly detached yet captivating quality that we can’t quite place a finger on. It lends an heavy-lidded lullaby-like effect to Karstvīna recepte / Uz pirti / Garām aiziet vīrs ar cigareti, whilst the icy slow synth-pop élan of Pļava provides a massively seductive highlight to lovers of Northern electronics, and Kastanis beautifully catches that Vazz sound, but replacing their supple dub suss with a strange mix of plasmic tones and brittle groove.
Kurmja aptuvenie ceļi finds them porous to mystic eastern influence and the possibilities of computer music in a way that recalls László Hortobágyi’s imaginative fusions from the same era, and the industrial klang of Ievadmūzika Maskavas TV programmai “LAIKS” - or Intro Music for the Moscow TV programme “TIME” has got to be one of the sickest, dissonant ‘80s TV themes we’ve ever heard.
Total revelation this one.
Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.
Situated in Frankfurt's thriving techno scene (and it´s holy label trinity of Playhouse, Klang and Ongaku), Flügel and Wuttke succeeded with their own and unique take on a sound that owed as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall.
This epic set includes their best material circa 1992-1998, including a host of previously unrleeased pieces.
Remastered reissue of a freakish bag of tape experiments and punkish drum machine innovation from a lesser known nook of ‘80s France
“Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal’s compositions to be performed and recorded with other musicians in the beginning of 1983.
Exclusivo! was the group’s debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese.”
Mad grab of styles from “Athens’ Best Kept Secret”, 2 Katara - including a handful of wicked, mutant disco bits, and an epic, 17 minute piece of prog funk ‘Greek Lady’ that’s practically worth the admission alone for any cosmic nuts..
“‘Break at Home’ is the collected recordings of the mysterious group ‘2 Katara’ which was formed in Athens, Greece in 1978 by George Theodorakis (keyboards, percussion, vocals) with his close friend Dimitris Papangelidis (bass, guitars, percussion, vocals). TIP!
This musical-duo recorded quietly over a decade between Theodorakis’ family idyllic home studio in the Philopappou hill of Athens and the nearby studios Theta and SR. For some part, the tracks seem like adventurous experiments or even unfinished samplers or riffs the band starts to develop, but at the same time there are productions that are clearly meant to be the backbone of an album that never came out.
Into the light proudly presents 14 sun-soaked productions from the above-mentioned sterling material from 1981 until 1991 where the band split. This sixth installment is meant to be enjoyed as a journey from proggy pop to TR-909 drum driving compositions to Mediterranean disco-not-disco and further futuristic synth-scapes.
The many elements from the Greek traditional folk music - especially in ‘I Can Not’ which is an ambient take on a folk lament song from Epirus area and the reverse play recording of a Greek orthodox priest chant on their last ever recorded epic 17min track ‘Greek lady’ -, the unusual but clever combinations of colourful styles and the intense improvisation put the group in the first line of Athens’ best kept secrets!”
Ratio; an epic track bordering on 19-minutes that harks back to his earlier dance floor focussed releases.
"Over the course of the summer Floating Points has developed Ratio as part of his solo live electronic show at festivals around the world. The track has fast become a fan favourite, a true highlight of the set."
This, dark, analogue electronic soundtrack by John Foxx And The Maths is described as 'eerie', 'evocative' and 'a triumphant score of chest-crushing anxiety' by The Independent and The Guardian.
"John Foxx and Benge's set of dystopian science-fiction themes were first heard in the critically acclaimed stage play of E.M. Forster's 'The Machine Stops' in 2016. This album also features new mixes created especially for The Machine. Abstract, atmospheric vocals by John Foxx and Elizabeth Bernholz (Gazelle Twin). New 'metallic' artwork is by Jonathan Barnbrook."