Geoff Barrow and Ben Salisbury return to score Ben Wheatley’s 1970s based epic shoot-out ‘Free Fire’, executively produced by Martin Scorsese.
"Compiled by director Ben Wheatley himself, the soundtrack will be released on CD and double LP, featuring the full score by Geoff Barrow and Ben Salisbury, dialogue from the film and licensed tracks (The Real Kids, Creedence Clearwater Revival, John Denver).
‘Free Fire’ sees Barrow and Salisbury take a huge directional curve away from their intense, synth-based Ivor Novello award winning score for ‘Ex Machina’, with the composers curating a prog rock, free jazz, psychedelic journey influenced by bands such as King Crimson, Camel and Magma and tips its hat to the Lalo Schifrin thriller genre scores of that era."
Swaaangin’ electro-boogaloo from 1986, produced by Lo Joe and Electro Wayne (whaddaname!) for Circuit Shock Productions.
Features the Kraftwerkian gasps, old skool hip hop/soul vocals and twanging bass juice of She’s Just That Type Of Girl in original and instrumental mixes, backed with the in-the-pocket funk of Under Pressure on the other one, with a lead hook that uncannily recalls *that* Edwyn Colllins song from a decade later. Go figure.
Whacked-out techno fresh from Seoul, South Korea - perhaps the first techno 12” we’ve ever stocked from that region?!
I.M.J.U.S. or IchMariaJesusUnsereSchuld to give them their full title, venturesa flighty mix of techno sub-styles on their debut 12”, ranging from a glassy beatless etude thru the pulsing, spectral abstraction of Welcome To Scientology and the hardcore techno tristesse of After Orgie, and seeking out more abstract vectors in a grungy piece of electro, and one strip of escalating bleep techno.
Morphine extend farther into S.E. Asian music traditions with a lachrymose suite of minimalist, cosmic Javanese styles, incorporating performance by label head Rabih Beaini...
“Tarawangsawelas is a musical duo from Bandung, performing mainly a modern and contemporary version of Tarawangsa, the sacred music from Sundanese West Java, ultimately joined by their teacher and maestro Pak Pupung Supena together with Pak Jaja on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful contemporary interpretation of one of the most mystical and spiritual genres in Indonesia.
Composed and performed by Tarawangsawelas, except Sekalipun (Traditional) featuring Tarawangsa Sunda Lugina. Produced, Mixed and Arranged by Rabih Beaini. Mastered by Neel, Rome.”
The one like Detroit’s Waajeed (Slum Village, Mahogany Music) dispenses infectious deep house vibes
Includes the spry balance of floating rhodes, velvet bass and rippling congas in Get Down, then puts a jazzy donk on it with Through It All, and pulls back to heavily soulful, gospel-inflected styles with Kingdom featuring Dodi Alexander.
Death Is Not The End, following their cassette reissue of Harry Smith's Anthology, present a collection of recordings of Sacred Harp singing (a traditional sacred choral music with origins in the American South) taken from the late 1920s through to the late 1930s.
Necessary vinyl edition of Death is Not Final’s I’m On My Journey Home, Sacred Harp Singing, 1928-1934, a collection of recordings of Sacred Harp singing (a traditional sacred choral music with origins in the American South) taken from the late 1920s through to the late 1930s.
Shark-eyed EBM from the Mannequin überlor,
Making his 1st mark on Jealous God with the scorching ballistics of Harvest on the A-side, and a pair of more furtive missiles on the trampling force of Prehistory, and muscle car chug of Death and Rebirth.
Recorded at the 24 track SOMA Studios, ‘Oui’ is a leaner, more pared down recording than ‘The Fawn’.
The band recorded straight to tape using contemporary technology, such as pro tools, for editing rather than manipulation. ‘Oui’ is a pop album. From the opening measures of ‘Afternoon Speaker’ to the serendipitous nature of ‘Everyday’, ‘Oui’ is a graceful recording of elegance, revealing its charms quietly and continually upon each listen.
The band recorded ‘The Fawn’ after spending most of 1996 on the road with tours of the US, Europe and Japan.
The band broadened their range of texture and sound (strings, percussion and synthesized sounds) and spent more time in the studio than ever before. Refining and redefining the songs to make it their most diverse and accomplished record to date.
San Fran’s Dark Entries and Honey Soundsystem double down to release a final set of Patrick Cowley’s gay porn soundtracks in Afternooners. Not so much Hi-NRG as happily knackered and in need of a ‘bine, the vibe is mostly dreamy, mid-tempo and strutting but with a few early hours disco struts in Jungle Orchids, the kinky throb of take A Little Trip, and a charming romance theme on Love Come Set Me Free with its signature, flared synth that sounds like a prototype of Drexciya and so much electro-disco to come.
“In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scenes. The result was the VHS collections “Muscle Up” and “School Daze” released in 1979 and 1980. “Afternooners” is the third collection of Cowley’s instrumental songs, recorded in between 1979 and 1982. Some of these recordings are demos from the album “Mind Warp”. All songs were originally untitled, so we’ve used the titles from Fox Studio’s 8mm film loops.
This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick’s time spent in the bathhouses of San Francisco. The songs on “Afternooners” reflect the advances of the equipment available at the onset of the 1980s. Cowley’s unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.
For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.”
Circa 2000 aka William Wiffen presents his debut album 'Thought In Vias' on Computer Club, a journey for the ears and hearts of electronic connoisseurs.
"These are the sounds of an electrical engineering graduate and accomplished musician, from Bridlington to Brighton, via a unique autobahn of analogue synth sounds. Haunting modulation with finely detuned oscillators sweep through the tracks, glued together with relaxed improvisation.
Provoking feelings of Depeche Mode, Air, Neu!, Tangerine Dream and including the killer track 'Fall All Over The Place', 'Thoughts In Vias' is 40 minutes of genuine kosmische Musik.”
Anthony Shakir and Kyle Hall collaborator Tyler Dancer debuts a tuff new spin on classic Midwestern techno for Don’t Be Afraid. Bangers, the lot of ‘em!
“Fresh from collaborating with Anthony 'Shake' Shakir on their remix of Funkadelic for the 'Reworked By Detroiters' LP, Tyler Dancer makes his full solo debut for Don't Be Afraid. The 'Resisting In The Darkness' EP sees the arrival of a major new talent from America's Midwest and the first outing for a unique new voice in techno. Counting Shake, Legowelt, Marty Bonds and Jay Denham amongst those who have inspired and encouraged him, Tyler Dancer brings a deep feeling for the history and technique inherent in the music of Detroit and Chicago to his productions.
Tyler Dancer is a DJ, producer, and musician hailing from Kalamazoo, Michigan. As a student at the University of Michigan (2005-2009) he became a DJ and Training Director at WCBN FM in Ann Arbor. Known amongst the listenership & colleagues for pushing the boundaries of rock based freeform sets, Dancer gained a positive reputation for his unique historical approach to sets at house parties, dance battles, and local clubs with a focus on Detroit Techno & Chicago House alongside the music that inspired those movements. In 2014 he made the acquaintance of Manuel Gonzales aka MGUN (DBA/Wild Oats) who inspired Dancer to begin sharing his love for electronic music live and publicly under the duo's collaborative guise, 'Club Creeps'. They made their debut during the 2016 Movement Festival and continue to play live sets to this day.”
Introducing Icelandic composer and singer Högni, better known as the front man of indie rock band Hjaltalín and previous member of electronic group GusGus, as the newest addition to Erased Tapes with his solo debut album Two Trains.
"Amidst destruction on the mainland, the two locomotives Minør and Pionér transported wagons full of rock and gravel to the Icelandic seaside during the construction of the Reykjavík harbour in 1913-1917. The two metallic giants ushered in a new age in Iceland. However, soon after construction ceased the two trains were parked and have never driven since. Now they only serve to remind us of the grandeur of a bygone future. They are the only trains ever to have graced the Icelandic landscape.
The music in Two Trains embraces the spirit of the original European avant-garde and invokes these concepts in its chugging rhythms, metallic clangs and brooding choral arrangements (men's choruses are a distinctly Icelandic phenomena related to the national/romantic politics of the 19th and 20th century) while the lyrics speak of ominous clouds on the war-ridden eastern horizon and freight cars filled with gravel and dreams."
Kerri Chandler conducts a deeply soulful psychogeographic tour of NYC and the lesser-heard folds of his mind for his DJ-Kicks instalment
Weaving debonaire between personal picks of soul, jazz, hip hop, boogie and disco, including, as standard, one of his own productions in the laid-back dub reggae of Stop Wasting My Time.
A killer selection of nine cherry-picked new wave, disco and rhythmic electronic experiments hailing from early ‘80s in The Netherlands, documenting a time when formulas weren’t set quite as rigidly they would become and artists weren’t afraid to mess around, see what happens.
Accompanied by sleeve notes from Knekelhuis’ Mark van de Maat and with input from esteemed diggers/lynchpins such as Frans De Waard, Kale Plankieren - Dutch Cassette Rarities 1981-1985 Volume I throws up some real gems primed for the ‘floor.
We’re talking Necronomicon’s fretless bass funk, cowbell tickles and louche vocals on The Top, catching the duo in dubby transition from earlier, noisier styles to disco proper - think Arthur Russell meets Ian Dury - and likewise the irresistible bounce of Don’t Forget Me by Plus Instruments, fronted by Truus de Groot around the same time she was playing shows at CBGB’s. Expect track ID requests if you’re DJing this out!
On the other hand, the more wayward bits are superb, too. Rotterdans’ Interference is a haunting piece of communal electronics full of scrapes, spectral vox and airborne pulses extracted from day-long psychedelic sessions; Boris Dzanek’s Dance is well tipped to the cold wave steppers; and Roy G. Biv really get to your back teef with the bittersweet dissonance of Ulloa’s Ring.
If you’ve been following Knekelhuis’ new and reissued releases from Smersh, Parrish Smith, De Ambassade and more, you need to check this out.
Dean Blunt stumps his self-released Stone Island  album on vinyl, yielding one of his more introspective collections of songs, purportedly written and recorded in a Moscow hotel room.
For recent historical context, Stone Island first landed in between The Redeemer and Black Metal, a few years after the dissolution of Hype Williams, and also features Joanne Robertson - with whom he’s just collaborated on Walhalla  - playing the female yang to his yin, just as he was establishing a solo streak as the UK’s preeminent avant bard.
Blunt’s husky croon is front and centre of his drily crafted but lush arrangements, starting out with an elegiac lament, One and cycling thru scenarios ranging from the tongue-in-cheek dad-hop beats and harps of Two, tending to his psych side with Three, then taking in something like a London 2013 Serge Gainsbourg piece in Six, and an ickily sweet angelic chorus in Eight, before Joanne Robertson chimes in on acoustic guitar for Heat.
A crucial piece of the Dean Blunt puzzle, we’re sure you’ll agree.
A bit of a stunner, this, from mystic Hungarian composer László Hortobágyi, recorded in 1986 for Hungaropop, and just now resurfacing in its revised 2006 form thanks to the Australia-via-Amsterdam label, Lullabies For Melodies. Worldwide credentials in check, the record also follows a worldly path, consolidating far flung ideas from Hindusthani music, bioastronomy, polynesia polyrhythmia, ancient Bali gamelan, Shruti systems and cathedral design (we could go on, and on) in a manner that defies belief and practically does so in its own sonic language.
Looking on the back cover like a monk who can shoot lasers from his eyes if you disagree with him, Hortobágyi is clearly in possession of some other, supernatural knowledge or power, or at the least he’s definitely done some heavy reading and listening. But, speculation aside, his travels and musical skooling in India since the ‘60s are a concrete source of inspiration for this sound and aesthetic, which, in a classic double refraction of ideas between East-West, is filtered thru and played by the traditional music preservationists, Gáyan Uttejak Orchestra (named after the school of musicologist, V.N. Bhátkhánde) and comes out beautifully altered in translation on Transreplica Meccano.
Noted as a masterpiece of his extensive catalogue, Transreplica Meccano is Hortobágyi’s solo debut. As far as we know, this remastered 2006 revision - previously unissued on any format - is faithful to the 31 years old original; a flying carpet woven from incredibly intricate threads of archaic musical possibility, meshing processed samples with flute, bass, trombone, modular synth, voice and strings and Indian instrumentation such as been, tabla, sitar according to classical Indian instrumental techniques and advanced synthesis.
We can hear certain parallels between this sound and 4th world musics by Hassell, YMO and co, but it’s maybe better compared with the output of Rex Ilusivii, if anyone, who also shared a fascination with Indian music which came out sounding quite futuristic gothic from his Serbian base c. the late ‘80s. We don’t want to say any more for fear of dissolving Transreplica Meccano’s enigma, or cos there’s simply too much going on to properly grasp, but we hope you’ve checked the samples and are also spellbound by now.
Melody As Truth’s 9th release is a mutual bliss-out from Antinote’s D.K. (45ACP, Slack DJ’s) and MAT’s own Suzanne Kraft, fresh from his lush Passive Aggressive LP with Jonny Nash.
The LP’s gorgeous indigo artwork signifies what to expect inside, as the pair render a smoothly contoured and graded spectrum of late night charms gently unfurling between the floating electro-jazz chamber of Xerox and a horizontal, star-gazing head cushion called Fade, taking in S.E. Asian-toned gamelan and 4th world synth washes in No Man’s Ground, and a lush segment of Vangelis-at-the-sauna vibes with Bricks In White.
Berlin based Mannequin Records pushes out some proper Industrial/EBM bangers. Raised in Pescara on the Adriatic Coast and ow based in Frankfurt am Main Antonio Barbetta is debuting on Death of the Machines as Raw Ambassador.
"The heavy four track ep is created to burn every dancefloor with full Industrial vibes and a lot of EBM influences, giving us a small insight into his violent and rough sound. Antonio is also running the Smashing Tape record label, with releases from Violet Poison, Innsyter, DJ Loser and Delivery."
Crooked, absorbing rhythm ’n noise deviation from Koshiro Hino (YPY) and Stefan Schneider’s Hinosch, dispatched via the latter’s TAL label; home to LPs by Kenya’s Ogoya Nengo And The Dodo Women’s Band, and Japan’s Non Band.
TAL05 locates a smart consolidation of their respectively esoteric, idiosyncratic and minimalist approaches to sound, coughing up something like Ike Yard crawling thru the darkrooms in Talent, and recalling the cartoonish oddness of Hino’s Zurhyethm ace for EM Records, whilst San settles on a sort of dusty hip hop inflection punctuated with woodblock snare, and First Monday veers at a sharp left into textured, kosmiche-guided rhythmic noise.
Smartly incisive, psychopolitical sound art/poetry study on the relationship between Black America, sonic fiction and social media
“'Absent Personae' is a collaboration between Liverpool-based sound artist, Jon Davies aka Kepla, and New York-based media theorist and music writer, DeForrest Brown Jr. Following in the style of verbatim theater, Brown – through private recordings in various urban public environments – recalls a palpable though unseen trauma while wading amidst Davies’ digital processing of found social media audio. The result is a psychopolitical meditation on Black America as a (de)territorialized subject.
“'Absent Personae' was commissioned by Electronic Voice Phenomena as an interstitial spectre in transition, resonating with the sinister politics of pseudo-science histories, while speculating on identity as evasion and persona without orientation.
The piece is a post-industrial Dérive considering the psychological liminal zones between old and new industry and urbanity, the changing landscapes of labor: a fractured genealogical memory trace obscured by intercepted signals and the liquidating flux of late capitalism."
Jlin breaks thru the Chicago footwork ranks with one of the scene's most fascinating, essential mutations in 'Dark Energy', co-presented by Planet µ and Jamie Kuedo's very promising new Knives label.
It's quite possibly the most distinctive contribution to footwork since the RP Boo album and Rashad's jungle splices, and, in such a fast-moving (quite literally) and active scene, that's gotta be saying something. Keener Chi watchers may have previously checked Jlin's standout 'Erotic Heat' and 'Asylum' joints on the Bangs & Works Vol.2 compilation but, since then, the Gary, Indiana-based producer has honed an incredibly tight new style and pattern, exhibited here with shocking impact. Rather than breathlessly frantic chops and hyper momentum, she favours offbeats and more spacious arrangements, but isn't afraid to lace them with visceral, forward tones; as with the zig-zags of 'Infrared (Bagua)' which sounds like an alien instrumental version of Usher and Luda's already mental 'Dat Girl Right There', full of quarter, half and triplet rhythm switches, or in the razor-edged synth strobes that scan Holly Herndon's vocal in 'Expand'.
Factor in the frankly unhinged hyper-tech flux of 'Abnormal Restriction' and the richly expressive percussive motifs of 'Unknown Tongues' or the adroit brutality of 'Guantanamo' and you've got something really, really special. Incredible stuff - Massive recommendation!
Mick Harris (Scorn, Quoit, Napalm Death) returns to his Fret alias for the first time in over 20 years with a beastly payload of broken rhythms and bass turbulence for Karl Records (Zeitkratzer, etc).
Picking up where the sole Fret 12” for Downwards sublabel, Resonance, left us in 1995, Over Depth wrests 10 tracks of face and body twisting techno from the coal face of The Lads Old Room studio in Birmingham.
As Harris was strangely ‘gone fishing’ during a whole decade of dubstep/breakstep basin antics, it’s good to hear him broaching the realm of 125-140bpm bass and techno mutation, working the crushing impact of his Quoit and Scorn gear into lurching industrial onslaughts such as the hellish Meadow Taken Back and the cavernous half steppers Murderous Weight and L030, whilst Stuck In The Track at Salford Priors sounds like Quoit or Current Value on 33 not 45, and No Rain yields some of the album’s most minimal, sinewy torque with infectious swerve and bite.
Bruce knuckles out two dry, cracking techno and house tools for Batu’s Timedance label after acclaimed 12”s for Hessle Audio and Idle Hands already in 2016.
On the upswing, I’m Alright Mate got minimal but tuff with rolling kicks and nagging bleeps accentuated by swooping subs and prone to spasms of shearing digital distortion.
At the downswing, Post Rave Wrestle resets the hips to a kinkier, tribalised grind spun out with corkscrewing top lines and scuttling, insectoid figures that will get under the skin off a good system.
In series with the impressive 47010 session, Killawatt harnesses his bassbin daemons again for Tommy Four Seven’s label
Swerving from dungeon dank pressure in Psi to ‘floor nobbling techno on Post Numer and Crackerjack Cacophony, with a twist of ravenous futurism in the burned out gothic trance of Tranq’d, which kinda emulates a tramadol dream located on a treadmill in a wind tunnel.
Following the much needed reissue of his classic Loop-finding-jazz-records earlier this year, Jan Jelinek returns to his Faitiche label to launch a new Acoustic Surveillance Series, allowing him to further develop the sonic fiction surrounding his occasional alter egos Ursula Bogner and Gesellschaft zur Emanzipation des Samples, aka G.E.S.
The series aims to present a historical system for acoustic surveillance, and for the first in the series Jelinek Reactivates his field recordist pseudonym G.E.S. and looks into Uguisubari - special floors in Japanese temples and castles. As he explains:
"And this" – he pointed to the stretch of bare floor ahead – "is what the Japanese call a ‘nightingale floor'. Relic of the old days when people wanted to be warned of intruders. Serves the same purpose here. Imagine trying to get across here without being heard." They set off, and immediately the cunningly sprung boards gave out penetrating squeaks and groans. Ian Fleming,1964
This is how Australian agent Dikko Henderson explains the principle of the nightingale floor to his British colleague James Bond. They are on their way to the headquarters of the Japanese secret service. The notion that it might still have been using this traditional warning system in the 1960s belongs to the realm of fiction – but the actual existence of such floors is undisputed. In fact, it is surprising how seldom this early form of intruder alarm has been used in literature. Even in Japanese literature, or so I have been told, uguisubari has gone largely unmentioned. In a poem by Takehisa Yumeji, walking over a nightingale floor becomes a measure of gracefulness:
"Like a Grace whose shining heels make no sound while walking on the veranda with its nightingale floor (...)" Takehisa Yumeji, 1976.
In the Edo period, the nightingale floor was a popular acoustic warning system. The principle was very simple: when someone stepped on the floorboards, the nails holding them in place rubbed against metal clamps mounted on the underside of the boards, raising the alarm by creating a squeaking noise that resembled the chirping of the Japanese nightingale.
Thanks to the country's painstaking reconstruction of temples and castles, these floors can still be walked on and heard today. During a residence of several months in Japan in 2014, I had the opportunity to mic and record nightingale floors at Nijo Castle and at the temple of Nanzen-ji. In my makeshift studio in the basement of the Kyoto Goethe Institute, I then made numerous pieces – all using the same sound sources: an oscillator and an audio sampler with recordings of the chirping floorboards. Two of these pieces are included here – they are both journal entries and tributes to the uguisubari.
Jan Jelinek (G.E.S.), Berlin 2017
Handy set collecting 13 sterling remixes from the CPU cache.
Listen up for highlights in the hi-NRG impulses of Missqulater’s remix of Zener Diode Blues by CN; the sublime electro-techno flight of Plant43’s Detroit Steel remix; and the digickally curdled brain dance tang of Microlith’s excellent rework of Mélodramatique, please. Ta.
Janus crew's M.E.S.H. unpackages a vast internal world across the ornate topographies of his incredible debut album.
Combining scything club dynamics and Hollywood sound design with a sample bank of archaic renaissance instruments, 'Piteous Gate' describes a hyperreal place-out-of-time framed by matrices of tessellating grids and vapour-trace contours rent in near-VR detail. Collapsing the stadium-sized structures of "festival trance" with oblique elements of baroque improv and jump-cut club tempos, his collages present an incisive critique of dance music's affect and perceived boundaries, especially in light of our current state of information overload.
Written quickly over winter 2015, it feels like M.E.S.H's attempt to parse the world around him thru the prism of his CPU - a world of flux variously informed by 24 hour news coverage, the unprecedented fingertip access of Youtube and google to unlimited culture, and one of increasingly fluid gender boundaries. Bearing that in mind, 'Piteous Gate' is an acute, if abstracted, benchmark of nowness; from the opener's cinematic rush; thru to the sim stim renaissance fantasies of 'The Black Pill'; the amorphous dancefloor ambiguity of 'Epithet''s worksite percussions or the rubber-necking structure of 'Methy Imbiß'; or the sparring computer gamers of 'Kritikal & X; he appears to turn the machine inside out, diffusing its exoskeleton to reveal the sheer noise gradients and writhing mechanical logic beneath, and, in the process, question the emotional value we now draw from these aesthetics and dynamics. That said, it could also be taken as proper sci-fi action joy ride, and comes hugely recommended to fans of his Janus crew (Lotic, Kablam, T C F), Autechre or Arca.
In the 15+ years that have elapsed since 'Loop Finding Jazz Records' first shuffled out of his ambrosially dusty speakers, Jan Jelinek's most famous album has acquired an almost mythical status. Originally released via Pole's defunct Scape imprint, it now finds new life via Jelinek's own Faitiche label, for a new generation to marvel at one of the finest examples of loop-based electronic music typical of the early noughties.
Taking what reads like a pretty austere set of ingredients, Jelinek's technique revolves around a trio of elements which consist of second long cuts of 1960's-70's jazz recordings, the loop-finding modulation wheel (do your homework!) and the Moiré effect; albeit rendered in the acoustic as opposed to the image and spectral domains.
If all this sounds a bit academic, be assured that on record it is anything but; as crumbling edifices of mealy rhythms slowly pulse into life and swirl around your head like snow storms clashing with a dust devil. Taking sediments of fathom deep static then skimming the best stuff from the top, Jelinek opens through the dampened echoes of 'Moiré (piano & organ)' wherein a slow-motion thrum of spiraling clicks, rustles and analogue tones conspire to give the impression of recondite perspectives that extend well beyond the constituent elements.
Elsewhere, 'Rocky in the Video Age' instills a gratuitously optimistic blush to the aquatic micro-sound ebb, 'Moiré (Strings)' is a perfect companion to Basinski's disintegrating tape archive, whilst 'Them, Their' represents an aural crease so sleight you can only catch its distinctive gleam from the corner of your eye.
Following the much needed reissue of his classic Loop-finding-jazz-records earlier this year, Jan Jelinek returns to his Faitiche label to further develop the sonic fiction surrounding his occasional muse and potential alter ego Ursula Bogner.
Jan Jelinek put together a first album from Bogner’s tape archive a decade ago, followed in 2011 by a second volume compiled by Andrew Pekler. For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
Gudrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
PAN imparts its most ambitious and remarkable statement yet with this immersive 3-hour release of Kazuo Imai's avant-garde free improv collective Marginal Consort, recorded at Glasgow's Instal festival in 2008.
It's an impressive feat on so many levels, from the sheer volume of material, to the group's intuitive application of weighty rhetoric and philosophies - eloquently expounded in a 6-page feature in the current issue of The Wire. If we were to reduce it's appeal to any one factor, then its to the potential to collapse almost any listener's sense of time and space, depth and duration when given the attention it deserves.
It makes for a genuinely transcendent and transformative experience: over the course of three hours, divided in eight parts each between 21 - 25 minutes, the set explores forms of sound and ways of playing that never coalesce into 'traditional' music, instead creating a group dynamic of ebb and flow, of exploration and fluidity. Marginal Consort's members: Kazuo Imai (a student of Japanese Free Jazz linchpin Masayuki Takayanagi and also a member of both Taj Mahal Travellers and Takayanagi's New Direction Unit), Tomonao Koshikawa, Kei Shii, Yasushi Ozawa, Chie Mukai and sound-artist Masami Tada (also in GAP) adopt individual positions in the group that are hard to decipher, as opposed to so many other improv units whose preferred mode reflects a method of communication based on a mannered variant of of call-and-response.
Instead, Marginal Consort embrace an overlapping methodology, reflecting the chaos of life mutual to our shared experience, or as Imai himself puts it, "there always remain the fundamental premises that sounds are separately produced phenomena and that their accumulation forms the whole." It should be noted that this release was originally intended as one of PAN's earliest releases; to their huge credit it's taken the label years to put it together. In some respects, it seems right that now, with the benefit of hindsight five years down the line, it arrives to perfectly illustrate the label's broad, often daring parameters.
The Golden Era of Sinhalese and Tamil folk-pop Music presents a bountiful survey of South Asian island nation’s creole combination of influences from Indian classical, Bollywood, Africa, UK, and Portugal, all sweetly picking up where Finders Keepers’ collections of Ilaiyaraaja and K.S. Chithra left us looking for more. Check for the The Shadows-esque anglo-pop in Clarence Wijewardena’s Gamen Liyumak, and for the tangy, Calypso-esque baila swerve of Kaffringha by A.E. Manoharan.
“While India and Pakistan’s respective musical heritage had already aroused interest among foreign audiences, Sri Lanka still remained one of the rare South Asian countries whose folk-pop music from the 1960-70s had not yet been compiled abroad. This gap is now to be filled with Sri Lanka. The Golden Era of Sinhalese and Tamil Folk-Pop Music. This double compilation is conceived as a panorama presenting the diversity of Sri Lankan musical styles between 1967 and 1979 through 30 titles. It comes along with a booklet depicting the country’s historical, cultural and musical context.
As a deeply multicultural society, largely based on religious affiliations (Buddhist Sinhalese, Hindus Tamils as well as Muslim and Christian minorities) Sri Lanka possesses a great variety of musical traditions and influences which have been shaped by centuries of regional and international exchanges. If Sri Lankan music is undeniably part of South Asian musical culture, its heritage is also a product of almost five centuries of European imperialism.
Coming from an original form of creolization, as defined by Edouard Glissant, the Baila bears the trace of both the African diaspora and the Iberian influences on the country. The Kaffirs - African slaves deported by the Portuguese - introduced African sounds while the Portuguese brought their musical traditions and instruments (cavaquinho, mandolin, violin, tambourines). The baila, which is reminiscent of Caribbean calypso, became the ultimate popular music and dance, performed on every festive occasion. Although much more recent but similarly popular, the sarala gee (also called light classical music) is a combination of Indian inspired music, either classical or close to Bollywood productions, with Sinhalese lyrics and a slight pop accent.
In the early 1960s, the country’s musical scene was very dynamic, partly under the influence of the music label Sooriya Records. Its founder Gerald Wickremesooriya was determined to put into light proper Sri Lankan music in opposition to poor copies of standards of the times. He then invented the « new sound of Ceylonese pop » with the help of a few composers, musicians and singers. Very quickly, the label’s hits came one after another. They were performed during concerts organized by the label, the “Sooriya Shows”, or broadcasted on Radio Ceylon, which remained the number one radio for a long time. Sooriya Records’ catalogue reflected the diversity of Sri Lankan musical styles of the times: Anglo-Saxon influenced Sinhalese pop stood next to the baila or the sarala gee. Traditional instrumental music, characterized by large drum ensembles called hevisi, or even nurthy music originating from theatrical tradition, were also edited by the label.
This mosaic of musical styles is to be found in Sri Lanka. The Golden Era of Sinhalese and Tamil Folk-Pop Music. This selection, which is mainly constituted of titles from Sooriya Records’ catalogue, presents the most popular artists of the times: virtuoso sitar and violin player Pandit Amaradeva, singer Indrani Perera, Paul Fernando and his lively baila rhythms, the psychedelic touch of Tamil producer Paramesh, or even the Sinhalese pop of both Clarence Wijewardena and the Golden Chimes and Baby Shiromi.”
Psych-folk invocations from the wilds of Maine, USA
“Millions Brazilians formed in Portland, Oregon in 2006. Founding members Grant Corum and Suzanne Stone have been central to the band since it’s inception, while a rotating line-up backs them depending on their latest vision for the sound. The band carry out their own interpretation of a genre bending ethos that has evolved throughout the American underground. Drifting between boundless compositions, focused energetic improvisations and experimental collaborations that embrace a weird sort of transcendence.
Their next installment Red Rose & Obsidian was recorded in Maine and engineered by Big Blood’s Caleb Mulkerin. Both he and the band deliver a powerful yet fragile and personal release. The mythical and evocative recordings are inspired by Maine's rugged coastlines; mournful ripples of sound wash up on the shore, whilst a lonesome, at times harrowing saxophone drifts through the rolling mountains, providing unsettling melodic interludes. Electronic treatments veil organic sounds, a fleeting whistle meets spontaneously with spacey flutes, mutated rock rhythms are topped off with the soaring vocals of Suzanne who leads the listeners into the magical world of the Million Brazilians.”
Ben Frost presents the soundtrack to his directorial debut, an operatic interpretation of Iain Banks novel The Wasp Factory, issued on his Bedroom Community label.
Two years on from his all-conquering ninth album, Aurora, Ben Frost returns to Bedroom Community with The Wasp Factory, the soundtrack to his own operatic adaptation of the cult debut novel by late Scottish writer Iain Banks. First debuting at Austria’s Bregenz Festival in August 2013 and running for a short period throughout select European venues, The Wasp Factory continued Frost’s flirtation with the world of theatre and performance art but represented his debut outing as a director.
In original form, Banks’ novel centres on the anti-hero and psychopathic teenager Frank living on a remote island in rural Scotland. Transferring this to the theatre, Frost chose to portray Frank’s narration through a series of female singers, backed with a live string ensemble. Presented outside of the stage for the first time, this album offers a different side to Frost, away from the harsh soundscapes of Aurora, and gravitating towards a warmer take on the modern classical sound. Shorn of the visual stimuli and context that comes with seeing The Wasp Factory performed live, this fifteen-track album will probably satisfy only the most fanatical of Frost followers. Of which there are plenty.
Best known as one half of Deaf Center, Erik K. Skodvin's work as Svarte Greiner has been described as "acoustic doom" by those with a genre-delineated filing system, and his best known work 'Knive' is now made available on vinyl for the first time since its original release over a decade ago.
"11 years since it´s inception, the surreal and darkly romantic Knive still sounds like a mystery and something that´s hard to pin down. Svarte Greiner´s debut album feels like a trip into the forest at midnight, with all the sounds and impressions that comes with it. Spiritual, horrific and fragile in essence, it´s melancholic core is hard to shake off, and feels as present today as it did back then.
While starting off the sub genre of “Accoustic doom” back in 2006, it´s difficult to say what else to name it now, with it´s inspiration and elements from countless genres. The record flows through the dissonant cello´s and washed out vocals of “Ocean out of Wood” past the introverted church organs of “The Black Dress”, distorted guitars and wooden beats of “The Dining Table” to the operatic finalé of “Final Sleep”. Everything scattered with field recordings from crows, branches, walking, sleeping, rain, wind and who knows what. Knive stands on many feet, wherever they may be.
Erik K Skodvin´s path as Svarte Greiner have since been dwelling more and more into this world, picking each element apart to focus on them, stretching them out or cutting them down, looping, experimenting and flooding with reverb - trying to make time stop and night fall. But for now a re-visit to where it all started seems appropriate.
'Knive' sees Skodvin plundering a record collection evidently stacked with the likes of Earth, Badalamenti and Volcano The Bear - coming out the other side with a record that is inky black without becoming oppressive or claustrophobic. Opening with the melted-wax drones of 'The Boat Was My Friend', Svarte Greiner presents an inky arena to experience his music - as crepuscular cello and detached vocals coalesce to forge an ethereal and otherworldly aesthetic. Flecked with pathos and a genuine sense of foreboding, 'The Boat Was My Friend' signals the coming record in a dipping style which evokes images of a late night radio signals heard through a haunted woodland. Moving on from here, 'Ocean Out Of Wood' is a mealy and waterlogged affair, wherein Skodvin allows creaking percussion and pregnant chords to seep into the conscious with just the right balance of light and dark to ensure the textures never become too abrasive or oppressive. Bringing to mind a tarnished copper-rub, the likes of 'My Feet Over There', 'An Ordinary Hike' and 'The Black Dress' all inhabit a musical sphere where shadows are encouraged and light is shunned to piquant effect. Elsewhere, the stunning finale of 'Final Sleep' is heaving with operatics that scar the conscious through cavernous organs straight from Badalamenti's secret chest, 'The Dining Table' lays on a spread of syrupy percussion, whilst 'Ullsokk' allows haunting vocals to chide at the skittering rhythms beneath."
Heart-rending collection of songs recorded by Cambodian refugees at a camp on the Thai border, 1983, expressing themselves in a way they were never allowed under rule of the Khmer Rouge. With history repeating itself in Myanmar right now, this set takes on an extra gravity and timelessness. Faithful reissue of the original LP, remastered for poignant impact. Check!
“Cambodian Liberation Songs is a painful call from forgotten resistance fighters, it is a captivating and moving record. It works as a witness of Cambodian history, bringing to the world the breathless voice of the members of the resistance from the Banteay Ampil Band.
Released in 1983, Cambodian Liberation Songs is a mysterious and overwhelming record. As a genuine piece of history, this “call from sorrow and fierce passion” makes use of a whole range of Cambodian music, from folk to rock, to express sufferings and complaints.
On 17 april 1975, the Cambodian people, already crushed under national and international conflicts, was commanded by force to forget their own past, it was annuum 0 of the Khmer Rouge calendar. Four years of genocide would follow before the start of a war opposing the Vietnamese army to the Khmers Rouges. Resistance units engaged in the conflict against what they considered as a Vietnamese invasion. This record, produced by a resistance group, was given the reference number KHMER 001. It was undoubtedly the first record composed and performed by non-Khmer Cambodians after the tragic events of 1975-79.
The Banteay Ampil Band was created in the refugee camp of Ampil, at the border with Thailand. Musicians and female singers, who had hidden their talents during the genocide, then gathered around the composer and violinist Oum Dara to engage in a new struggle: the resistance. Oum Dara, who had been a composer for Sin Sisamouth and Ros Srey Sothea among others, adapted several of his creations. It is therefore with a poignant charm that the Banteay Ampil Band binds together the golden age of Khmer music from the 1960s with the traditional repertoire and the context of their daily struggles. Violin, guitar and voices match together to produce melancholic and intense songs - the stirring tone of grief expressed by these resistants.
The band went to Singapore to record Cambodian Liberation Songs, the only record of the “Khmer People’s National Liberation Front”.”
Björk gives a first taste of her ‘tinder record’ with the chamber-like elegance of The Gate, framed by Arca’s synthetic woodwind chorales for the first half, transforming into sweeping airborne dynamics and resolving somewhere not quite happy, slightly fearful.
Jo Tongo (born Joseph Ekambi Tongo Mpondo) was born and raised in Douala Cameroon. In 1964 he headed off to Paris to begin Pharmaceutical studies. Somewhere along the way the music in his soul eventually won out and he embarked on a life of music.
"The album opens up with stunningly catchy Jangolo. Jo's awesomely funky bass and percussive "jangly" guitar. The track is underpinned by African drums, funky stabs and 70s nascent synthesiser string machines. Next up we take a trip to 1979 and "Funky Feeling" from Jo's "Those Flowers" album. Here the beats are big, the strings are sweet and the clavi is into overdrive. We then jump back to 1976 for the evergreen, horn-puncher, funk stomper "Piani". Before the sweet smooth funk of "Those Flowers".
Next up is "American Lady" with the bright strings, jangly guitars and driving keys. All locked on to maximize the groove. We then take a trip back to 1968 for Jo's second single the ever so funky and ever so ahead of its time, "Dig It Babe". Soul, horns, groove and punch all in two perfect packages. Part 1 and Part 2. Next up it is the funk boogie afro swingers "Ewande".
Bringing things up date we jump forward to 2017, present day. Jo has been making music more or less non-stop and here we are lucky to premier three brand new tracks. The drums are punchy, the guitars ooze the funk and the locked on keys tie the tracks together in one tight-as package. Jo is on the production and at the controls for the mix. "Lion Roar" is first with its driving clavinet and all-out-assault funky drums. The brass is big and this song is Bold with a capital "B". "It's The D Day" is next with swinging soul style groove before "Mystic Power" features a ballsy brass-laden beat and jazz funk overtones."
Born Free’s bosses, Baba Stiltz and Samo DJ, take the reins with two slices of earthy house and filter-disco.
Kling Party rolls out all melancholy and tender with drizzly ferric atmosphere clagging around toiling bass until the warm chords precipitate a glowing lead trance line and the whole thing rub-a-dubs out into a grittier tribal bump.
Denzil Adventure is more up for it from the front, juicing a loop of bumping, bobbling percussion into a loping, gauzy filter-disco groove for the wee small hours like a stoned Soundhack or Theo Parrish piece.
Featuring a spaced-out remix by Jlin, Ionia is the 2nd single from Ben Frost’s forthcoming studio album, The Centre Cannot Hold, following the Threshold of Faith EP which included a rework by the album’s recording/mixing maestro, Steve Albini.
Coruscating melodies fulminate from keening harmonics with a panoramic, cinematic appeal expanded for sequestered immersion, saving a swell of bruised bass and anxiously clammy textures for final throes.
On the remix Jlin isolates fragments of the original in a tense build up and release of tumbling avant-footwork patterns.
Rescued from defunct formats, prised from dark cupboards and brought to light after two decades in cold storage…
"OKNOTOK features the original OK COMPUTER twelve track album, eight B-sides, and the Radiohead completist’s dream: “I Promise,” “Lift,” and “Man Of War.” The original studio recordings of these three previously unreleased and long sought after OK COMPUTER era tracks finally receive their first official issue on OKNOTOK.
All material on OKNOTOK is newly remastered from the original analogue tapes."
A totally unexpected and absorbing side of electro-acoustic-jazz and dark electronics from this new 8 piece ensemble; reaching into bass depths and pop dimensions via microscopic miniature sounds and widescreen vistas. A huge recommendation if you’re into Supersilent, Arve Henriksen, Deathprod, Gruppo Di Improvvisazione Nuova Consonanza, Luigi Nono, Rashad Becker!
Basic calculations tell us that eight players are more than Supersilent's three, but like the Norwegian trio, this ensemble's music sounds much greater than the sum of its parts. This becomes especially evident once we factor in their 9th player - Matthias Erb manning the Klanggestalter; a semi-organic array of amps, filters and live algorithms used for “neutralising the difference of acoustic and electric instruments” in a manner comparable with the ‘Audiovirus’ deployed by Supersilent’s Helge Sten (Deathprod).
The nine players here each bring a fluency in pop, jazz, or contemporary musics to the table, as well as a couple of technical and post-production roles, in effect dealing with a democracy of pluralities and diversity. The way they consolidate them within morphing psychoacoustic parameters is nothing short of compelling.
The unfathomable dimensions of their sound are gradually revealed in the unfurling sound field of Erster Teil (First Part), morphing the sound stage from the hushed glow of electric guitar and Richard Koch’s Henriksen-esque trumpet to the spatter of extended techniques against shifting backdrops which become the foreground, only to recede and leave the listener suspended in a sublime state, unsure of where they are or what to expect next. In this sense, Martyn Heyne of Efterklang’s “mix fuzz and fairy dust” comes into play in a way comparable to the lighting guy’s role in film or opera dramaturgy.
The 2nd movement, Zweiter Teil finds those experimental urges in dizzier flight, veering with almost schizoid form between the animalistic tussle of skillful abstraction and more urgent, controlled swells of percussion and vibes with an effect recalling Gruppo Di Improvvisazione Nuova Consonanza at full, psychoactive flex, whilst a 3rd movement Dritter Teil affords the widest angled perspective, zooming out to a melancholic plateau rendered in sliding, oily streaks of pitching trumpet strewn with windswept percussion which coalesces into a febrile scuffle sounding something like one of Rashad Becker’s noumenal Dances turned tempestuous, with drinks thrown, tables overturned and tents burned in the cranky finale.
Great ambient dub techno abstraction from uon, the newest moniker of Ryan Fall aka Caveman LSD and DJ Paradise, following superb pair of releases in the same vein for Barcelona’s Anòmia with this, his debut vinyl release - massively tipped if yr into Rhythm & Sound.
Stalking terrain familiar to Wanda Group, Pole, Xth Réflexion, DeepChord, the zlo EP captures a wickedly paradoxical sense of movement within static sound in four parts: meshing cooling pads with mercurial kinetics in the title cut, and pushing off into opiated, subaquatic zones with kosm, and hypnotically stumbling up/down an endless Escher staircase with the gravity defying dynamics of suB1, and diffusing your bone into deep space on kissing.
Prime material, all 35 minutes of it. Don’t sleep on this beauty!
Technicolour rave freak Zomby comes with a bit of a shocker for Werk Disks, setting aside his signature style for a hot minute to produce a rough, ready and raw album of Piano rave and '91/'92 'ardkore variants.
Firing up with a neat rave riff on 'F*ck mixing lets dance' and launching into a dope 138bpm breakbeat bomb you're immediately dumped into the middle of the dance, lazers scouring your retinas and everything. Then there's the staggered chords of 'Euphoria' setting up for a right little skankout, before the loony grinning cheekiness of 'We got the sound' and onto the horns and subs of 'Tears in the rain'.
It all starts to get a little more happy hardcore with 'G.T.I', pitching up the pianos and deploying some mentasms for the Swindon crew. 'Pillz' krunks it up for the 2008 crew with a hyper collision of Ghetto-tech, B-more bounce and Dutty South Vibes, while 'Hench' sends it back for the darkside set over in the corner and 'B With me' does a naughty badman interpretation of Lenny de Ice's 'We are IE' and 'U are my fantasy' lets his imagination run wild with a mash of Baby D's classic with The streetfighter theme tune.
This is probably of the most enjoyable, well executed and heartfelt rave homages we've heard in time and we can't recommend it any more highly.
Do you like rave mate?
Hodge does his rugged thing for Hemlock
Pulling no punches with the granite carved techno slog of Swing For The Fences, then with a thumping, bittersweet tang in Aomame before bulking down the bendy acid zigzag and sirens of Medway on a more reserved but shark-eyed tip.
Consummate collaborator Fred Walmsley aka Dedekind Cut tags in Mica Levi, Prurient, Elysia Crampton, Jesse Osborne-Lanthier, Dirch Heather, and Zack Hill for a multi-tiered, heavily abstracted session following from the $uccessor album for NON, his American Zen album with Hospital Productions, and collabs with Chino Amobi and Rabit.
Yeh, he’s been a busy cat of late, and his latest self-released trip, recorded between fall 2016 and summer 2017 shows no sign of that creative energy abating. In almost palindromic form, The Expanding Domain rises and falls with absorbingly dramatic cadence, entering with the decompression chamber ambience of Cold Bloom and the escalating terror of Lil Puffy Coat in solo mode, to bring in Dirch Heather’s soured synths and Osborne-Lanthier’s deconstructed EDM palette on the unrelenting anti-banger Fear In Reverse II, then calving off into an electrical storm with Prurient on the title cut, and bringing us back to a numbed null point with Mica Levi’s silvery piano refrain and Elysia Crampton’s angelic touch in Das Expanded, Untitled Riff.
If you were in any doubt as to this guy’s breadth of vision, this EP will see you right.
Yasuaki Shimizu’s Music For Commercials  is here given a much needed first ever reissue some 30 years since it appeared on Crammed's Made To Measure library music series, which also included editions by Tuxedomoon and Hctor Zazou. Very safe to say that if you were enchanted by Visible Cloaks’ Reassemblage LP or their Fairlights, Mallets & Bamboo mixes, this one is a must!
In 24 parts Shimizu unfolds a tightly packed lattice of crystalline gems and vignettes crafted for TV commercials, plus the 15 minute Ka-Cho-Fu-Getsu piece for a Computer Animation Video which is practically worth the price of entry alone.
Presumably titled after the corporations who employed him, you’ll find stacks of super sweet, pastoral 4th world emulations patched from keys, sax, gamelan, drum machines and electronics for the likes of Seiko, Ricoh, Sharp, Honda, Knorr and Bridgestone, each as exactingly cute and piquant as the last.
Known for his numerous albums, soundtracks, and collaborations including with the likes of Ryuichi Sakamoto and Bjork, this is perhaps Shimizu's most sought-after and influential work and one that perfectly encapsulates our collective yearning for peace and quiet in an increasingly commercialised, chaotic world.