Dog Person is the deserved culmination of a whirlwind few years for Kean Kavanagh. His debut project, the ten-track collection prominently features his aforementioned semi-fictional, cigarette-bumming, binge-drinking, lovestruck alter-ego; a persona with just an echo of his real personality reverberating throughout the record.
"A developed sound, the single delved deeper into Kean’s incredible versatility as an artist - drawing a grittier sound and formulating a high-octane single that wouldn’t sound out of place in a festival headline set. This all served to prove that Kean Kavanagh had firmly stepped into the limelight; garnering support from the likes of i-D, DIY Magazine, Clash, Notion and more. Cofounder, producer and A&R of Irish Label Soft Boy Records, Kean had previously pulled the strings behind the scenes; but is now becoming one of the most exciting names on the emerging music scene. A story-teller, word-smith and dexterous musician with a strong imagination, Kean’s career is set to project far beyond his Irish roots. .
Founded in 2015, Soft Boy Records morphed into a cultural behemoth that gripped the Irish music scene and has refused to let go - alongside his co founder Kojaque, Kean found himself sharing stages with big names such as Slow Thai and Lana Del Ray, as well as his consequential solo-slots opening for Maverick Sabre and Vampire Weekend. Earlier this year, Kean appeared on the Everything is Recorded project ‘FRIDAY FOREVER’, (curated by Richard Russell of XL Recordings) alongside Aitch, Flohio, Maria Somerville, Ghostface Killah and others, and aligning himself with a tastemaker and hot tipped selection of musical peers. A sensational debut offering showing dexterous musicianship and lyrical magic, Dog Person places Kean as one of the most exciting emerging talents coming through."
Samuli Tanner is known for his work in Siihhi, World Bank, Tiiu Helinä and Myttys to name a few. Music for 1-Year-Old Samuli Tanner is the first album released under his own name and was previously released in USA by Sun Ark Recordings in CD format.
"Now the album is finally released on vinyl and digital format by Fonal Records, Ikuisuus and Peace Files. Music For 1-Year Old Samuli Tanner consists of playful improvised sci-fi compositions and “beats” made with self-built samplers, old tape machines and new computers.
Sami Pekkola (Oaagaada, Taco Bells) plays tenor saxophone and duduk on the closing track. Cover is a painting by Arsi Keva based on the original CD artwork. “Always cut things out way too soon. Nothing is better than a really catchy hit melody played only once.” – Samuli Tanner
Debut full-length from Bala Club co-founder Endgame, who twists abstrakt club shapes into gaseous forms - like Burial, Felix Lee and Chino Amobi masterminding a soundtrack to a new Spawn movie.
'Surrender' has been a long time coming. Endgame has made a name for himself over the last few years both as a DJ and as a producer, hosting the legendary NTS show (and more recently, label) Precious Metals and releasing a slew of influential records on PTP, Infinite Machine and Hyperdub. Now his particular vision, a blend of dust-stomping club rhythms, heavy metal attitude, pop sleaze and sci-fi dystopia, has materialized in long-form and it's a trip.
'Fathless' opens things with a blast of atmospheric rainfall, hydraulic kicks and laser snares, bringing us into a Todd McFarlane-esque crumbled cityscape that's one part Blade Runner and one part Hellraiser. It's not all doom(core) and gloom though - Endgame's regular collaborator Yayoyanoh pops up on 'Barbed Heart' to raise the temperature and cut through the mood with sickly, tongue-twisting vocals that drip between knife-sharp percussion.
Somehow, the album managed to cram in all of Endgame's stylistic leanings - from hardcore punk to slippery ambience - without sounding busy or chaotic. It's a dark album, that layers contemporary anxiety and unease into syfy club forms, but it's not suffocating or indulgent. Using his own vocals to play against angular shards of noise and rumbling bass, Endgame creates music that's rich with contrast - as vivid and emotional as it is bleak and overcast.
'Mas Amable', our record of the year 2020.
Call it deep reggaeton, avant-dembow, whatever; Mas Amable was easily our most rinsed record of the year, a sidewinding trip through slippery, mutable 90/180bpm metrics for lovers of rhythm and sound of all shapes and colours.
Following the reticulated deep house-paced hybrids of his acclaimed 2017 debut, 'Mas Amable' displays a serpentine guile that surely lives up to Brian Piñeyro’s moniker. Through 50 minutes, he dangles the dance by a fine conceptual thread that ties a constant rhythmic skeleton to subtly shifting tonal and textural variables. We start from shoreside ambience and lush field recordings, into hip-gripping dembow permutations and tripped-out vocals, elegantly and rudely shifting the pressure gauge from a gentle propulsive sway to darker steppers and wavey, whistling melodies, before neuro D&B stabs light up the dance and it all fades out on a deep blue reggaeton tip.
Like a mutable organism imperceptibly transforming before our eyes, ‘Mas Amable’ is both effortless and unfathomable, a heady trip through liquid, morphing tressilo drums and junglist markers that, at their peak, provide ample space for LA Warman’s vocal narration, imbuing proceedings with an eerie prescience and an existentially weary message. It all makes for a unique and richly immersive experience that we said back in April would rank among the definitive records of 2020. And at the end of this brutal, relentless year... here we are.
After the exceptional first volume of ‘Rakka’, Vladislav Delay is taken by the wanderlust again for a ravishing 2nd album of elemental electronics inspired by the Finnish wilderness. RIYL Shackleton, Rian Treanor...
Where 2020’s ‘Rakka’ represented some of Sasu Ripatti aka Vladislav Delay’s most intensely noisy textures and rhythmic complexity, as inspired by walks in his native Finnish wilderness, his follow-up further draws on and refines that experience in a beautifully brutalist bouquet of brambling distortion and tempestuous pulses that speak to the chaotic power of nature’s ecological interdependence. In the process ‘Rakka II’ fulminates Delay’s reactive sound even closer to the styles of Shapednoise, but still distinguished by his signature, freehanded style of percussive tumult that reaches beyond techno and club music into an ecstatic, holistic hybrid of power ambient, black metal, avant-dub, free jazz, and extreme dance musicks.
While still breathlessly busy and densely overgrown, ‘Rakka II’ is intended as the romantic answer to the more hostile first volume. Its seven parts balance a sense of febrile passion with hyper-disciplined logic in more explicitly emotive, optimistic gestures that emerge from its atonal murk and convulsive structures. Boundaries of discord and harmony are smudged almost into the red, but rendered with the spatial definition that become a hallmark of Delay’s best work for over 20 years, but never heard quite so wild and lushly semi-conscious as on cuts such as the soaring and collapsing ‘Raato’, or the craggy might of ‘Raaha’, and the heart-in-mouth headiness of ‘Rapaa.’
Effortlessly funked up, classic 1998 Detroit tekkers from the master, making us absolutely gag to get jacking under strobes and smoke
‘Black Man’s Word’ is pure 313 gospel, ticking up to a classic ‘90s pace and layered with signature strings and nagging organ code that can’t help but make us fling a limb. ’Sleep Is The Cousin Of Death’ centres the pressure with shark-eyed drive, offset with gasps of female vocal for proper, eyes-shut, heads-down body pumping, and ‘Hard To Kill’ holds that line with stereo-phasing chords wrapped around a clinically trim groove primed to be flicked in the 3-deck mix.
A high water mark of ‘90s UK culture returns on its 25th anniversary, reminding older heads of the best times, and a history lesson for the critical mass of junglists developed during lockdown
Produced in 1995 by the gold-grilled hardcore/jungle/D&B pioneer, engineered by Rob Playford, Dillinja, and 4Hero’s Dego and Mark Mac, with vocals by the legendary Diane Charlemagne (R.I.P.), ’Timeless’ was and still is an ambitious and enduring example of British Afrofuturism. The album’s sense of discipline and crucial style was symptomatic of the scenius developed by a tight circle of mostly Black and mixed race British artists who drew on their African and Afro-Caribbean roots to develop a unique artform that expressed their identity, which would in course become adopted by a wider generation as their own.
A pinnacle of its artform, arguably never bettered, the album was practically ubiquitous during the mid-‘90s, with its introductory anthem ‘Inner City Life’ - part of the album’s opening three-part suite - a staple on MTV2 and mainstream radio, which helped transcend its urban roots and infect a whole generation beyond big cities and their clubs. It’s almost hard to imagine such a futuristic album quite like this appearing and exerting so much effect on the popular consciousness in 2021, but the ‘90s was a very different place and time, and we can only live in hope that the next decade will foster the next Goldie.
Oh, one last thing - AGCG's 'Black Secret Technology' came out almost exactly 5 months before 'Timeless', it didn't quite have the same promo budget behind it, but it's legacy seeps even further and deeper than 'Timeless' - and is perhaps, on the quiet, the most influential electronic album of the late 20th century. Just sayin.
Tin Man sheds the acid, and the moniker, to reveal a wide-eyed suite of deep kosmiche ambient works produced under his real world surname; Auvinen
Johannes Auvinen is regarded among the best to ever wield a 303, but here commits his love for classic European synth music in a convincing style that holds up to comparison with inspirations ranging from Ash Ra Temple’s Jenseits to the iciest contours of the Sähkö label.
Rather than his usual all-night-long vibes, ‘Akkosaari’ is patently intended for the hours after the party has finished, and thus smartly finds its place in the seemingly endless post-party era of the early 2020’s. To give some measure of the meter he’s working with, it takes until halfway thru the album on ‘Kyläläiset Tanssii’ before any rhythmic structure appears, and even then it’s stark as fuck, in a Vainio-esque school of thought.
It’s arguably all best received in downtime states, when the contemplative effect of ‘Mummon Tarina’ will absorb listeners into a deep blue state of mind that’s beautifully sustained throughout the album’s haunted choral pads and chamber-like sense of slow, elegant purpose up to the ice-cavern ambience of ‘Akkosari’ at its furthest perimeter.
Driving 2nd album of punkish EBM Industrial styles from Barcelona duo Dame Area, hard on the drums and synths, and with class vocals positing them like Liaisons Dangereuses meet N.M.O.
Smartly updating vintage styles with a modern reserve and swagger, they hinge around big bad snares in ‘Scopri Le Tue Passioni’ drawing canny lines between OG EBM and electro D&B, while lashing sick, sinking synthlines to tumping toms in ‘Linea Retta’, and slinkiest drum work recalling N.M.O. on ‘Corazon de Fuego, Corazon de Hielo’, and on a sort of gabber punkish tip with ‘La Danza Del Ferro.’ At their darkest ‘La Doble Luna’ lands shades away from their Spanish brethren Jasss, and rub up close to the slow pressure of Toresch, but with their own snotty snarl in ‘Triangolo Segreto.’
Packaged in a lavish 2-piece matt laminated box set, with each soundtrack packaged in its own unique sleeve. Includes 16-page booklet with exclusive photos, sleeve notes and artwork by George Tyebcho and Carsten Aermes. Comes with high-definition digital download of the audio.
"‘Soundtracks’ is the complete set of Apparat (aka Sasha Ring)’s four film score chapters, released digitally across 2020 and now available for the first time on vinyl. The box set comprises the successive releases ‘Capri-Revolution’, ‘Stay Still’, ‘Dämonen’ and ‘Equals Sessions’. ‘Capri-Revolution’, the Italian-language directed by Mario Martone, won Best Soundtrack at the Venice Film Festival, alongside a David di Donatello, the Italian equivalent of an Academy Award. ‘Stay Still’ is an independent German / Italian film directed by Elisa Mishto. Based on a theatrical production of Dostoevsky’s Demons, ‘Dämonen’ was originally performed live by Ring and frequent collaborators Philip Thimm and Christoph Hamann. The tracks were later re-arranged for Apparat’s second collaboration with director Sebastian Hartmann after Krieg und Frieden (Tolstoy’s War and Peace). ‘Equals Sessions’, from the American film Equals starring Kristen Stewart and directed by Drake Doremus which premiered at the 72nd Venice Film Festival in 2015."
New record from LA electronic post punk trio Automatic containing reimagined tracks from their debut album ‘Signal’ plus remixes from Sudan Archives, Peanut Butter Wolf, Kevin Haskins (Bauhaus), JooJoo (Froth), Peaking Lights and Panther Modern.
"The B-side features a 20-minute extended mix of ‘Calling It’, originally composed for fashion house Céline. Automatic are Lola Dompe (drums / vocals), Izzy Glaudini (synths / vocals) and Halle Saxon Gaines (bass / vocals)."
Brilliantly skewed deep house, wobbly acidic weirdness and free-floating rhythum tracks made on a bespoke sequencer by Tallinn, Estonia’s finest
Flitting away from their usual home at Estonian dance stronghold Porridge Bullet / Pudru Kuul, the duo cooked up these three during 2020, making fine use of a sequencer that looks a bit like a cash register and was custom built by local underground don Andrevski. It’s in best effect on the lead tune ‘Signal’ which sounds a bit like 808 State meets the Analord with its piquant, twirling top line and blushing pads really dancing not he nerve ends and sure to tweak out any club crowd. The others however are more low-key, trading in a gorgeous slice of trickling triplets and hazed strings in ‘Swim’, and jettisoning the kick drum for the loosey goosey glyde of ‘Lock.’
Skuzzy death rockers Cardinal & Nun return to L.I.E.S. with a full LP course of fossil-fuelled basslines, synths and morbid guitars following their entrée 12” in 2019.
Seemingly exhumed from the Parisian crypts some time in the wake of Joy Division, and spliced something Frankensteinian with essence of Suicide and Bauhaus, ‘Dancing In The Evil’ wears its gothic influences grimly. It’s a proper album in itself, but DJ’s should be looking out for witching hour goth dance bullets for the flouncers and jackers in the scowling swag of ‘Hear My Voice’ and ‘Danse macabre’, the leathered trewed strut of ‘Lost’, and the more swooning movement of ‘Pandemonium’ underpinned by a Sisters Of Mercy-esque bassline.
Shine-eyed deep acid rubs and iridescent Detroit vibes from the Amsterdam don, Jordan GCZ
It gets off to a melancholic start with the title tune melding a kind of new wave spirit with Chicago and Detroit-orbiting vibes - think Thomas Dolby meets Larry Heard at Convextion’s gaff - and gets incrementally optimistic thru the Rolando-esque Detroit percussion and vibrant leads of ‘Jaguar Dreaming’, before really pushing the pace and eccie levels in ‘Spring Has Sprung’ and the head high swanger ‘Wild Bounce’ on the backside. Pushes a lot of our buttons this.
Goldie presents new remixes of classic ‘Inner City Life’.
"Each remix brings out distinctive qualities that accentuate the 1995 classic - an iconic collage of sounds that capture a fragmented and urbanized London. 'Binary State executes restraint towards the dramatic and subtle notes of the original, interweaving the late Diane Charlemagne’s expansive and powerful vocal performance with a rubbery tech-house journey. It’s a tightly knit and perpetually driving reworking with a the four-to-the-floor dancefloor pulse. Drum & bass don dBridge is enlisted by Goldie to provide a seismic, unconstrained and at times amorphous remix; an uncompromising breakdown of the creative boundaries we experienced in the original. Continually challenging a drum & bass accepted norm - and the delicate eccentricities a classic remix opportunity provides - this package also embraces a poignant jazz rendition of ‘Inner City Life’ by [re:jazz]; a cover that provides smooth relief and timeless lust for the original masterpiece."
Traditional Heart“ is the second album by Gianni Brezzo - the band or the studio project – of the Cologne-based musician Marvin Horsch.
"The title is by no means to be understood in the sense of an authenticity pathos à la love in times of Tinder, but addresses the process of musical production itself. Says Brezzo: “This time the process of making music was more important than the product. Not to allow even a thought regarding the effectiveness of the music; pick up the instrument on impulse and put it away again; record again. Finding a rhythm during the process. At home.”
"One would think that after the “Gullvåg Trilogy” - two double and a single album in a mere three years - this ultra productive trio might be in need of a break of sorts... but on the other hand, riding a golden wave like never before in their 30+ year existence, why stop now? Especially when constantly upping their own quality standards.The bulk of the album was recorded in France back before the pandemic, but was added to, expanded, tweaked and eventually finished last year. The initial idea was to collect big riffs on one album and do a pure hard rock record, but the objective changed along the way as they rediscovered their folkish bent and how this lighter touch gave it all a nice contrast. That said, the main musical thrust is pretty full-on, even by Motorpsycho standards.Kingdom of Oblivion was mixed by Andrew Scheps and produced by Bent Sæther.Reine Fiske guests on several tracks.Cover art is by Sverre Malling and cover design is by Håvard Gjelseth."
Following last year's brilliant "Trinity" mixtape and LEYA collab "Angel Lust", Alexandra Drewchin returns with her most assertive record to date, a fiery collection of modern dream-folk that blurs the lines between ambient, shoegaze and experimental pop.
Following the dusty road traced by Cocteau Twins, Mazzy Star, Björk and Grouper, Eartheater assuredly carves out a space for herself by fusing effortlessly haunting songs with bleak orchestral elements or the kind of disintegrating electronic detritus u would more readily expect to hear on a Total Freedom mix. It's a pop record that sits on the outskirts of the contemporary wyrd club zone, but avoids any of the trappings of "hyperpop", instead choosing to languish in a sensual melancholy: isolated and maudlin but never sexless.
Drewchin composed, produced and arranged "Phoenix: Flames Are Dew Upon My Skin" mostly while she was on a ten-week artist residency in Zaragoza, Spain. Alone in a small Spanish town, she was able to trap the artistically freeing feeling of solitude after incessant touring and recording, tipping boundless thoughts into a suite of songs that flower and grow with each subsequent listen. Her vocals and guitar sit at the center of the album, fleshed out by contributions from close friends and collaborators Marilu Donovan (harp) and Adam Markiewicz of LEYA (violin) and whisper-soft orchestral elements from Ensemble de Cámara.
Each song manages to fizz between familiarity and passionate, alien uniqueness as Drewchin's voice resonates through words that hum over themes of love, togetherness, absence and existence. These aren't merely empty syllables, but lived experiences tied into a dreamscape of sparse instrumentation and sparser rhythm. Honestly we haven't heard many more records this year that are so accurately aimed at our hyper-specific needs - "Phoenix" is an album that muses on loss but feels unsettlingly hopeful, convinced of humanity's latent goodness even in the midst of disaster. We can't recommend this one any fucking higher.
'Dreem Static' is the latest transmission from South London machine-funk android Quaid - a sludge-sleaze night ride into soulful neon electronix and VR beatbox experimentation. Like a malfunctioning AI trained on Drexciya, Prince and DJ Screw.
For his Apron debut, Quaid lands his spacecraft on earth, shrinking it down to microscopic size and traveling into the furthest reaches of the mind. "Every good story has a dream sequence," he explains. The music rattles through a nether-universe of purple haze and sonic surrealism, with overdriven techno-funk rhythms, plucked analog bass and the kind of echoing synth flourishes you'd expect to hear from Detroit royalty.
This is soundtrack-influenced music that avoids the trappings of our era: it doesn't sound like an Italian giallo flick or "Stranger Things". Rather Quaid hits his stride supping ideas from '80s video store oddities, sci-fi Blaxploitation flicks and mind-altering psychedelic excursions. It's a little like a full record of the interludes on Carl Craig's early run of classic records, but constructed with a Funkadelic-fwd beat scene mindset, like Madlib producing an Other People Place record on acid. And if that doesn't interest youwe don't know how we can help.
Blinding excavation of Urdu-language disco from Brummie-Pakistani siblings Nermin Niazi and Feisal Mosleh, recorded in 1984 and illuminating a proper, prototypical strain of club fusion on new, LA-based label, Discostan
Surely thee best disco link to the subcontinent since Charanjit Singh’s ragas for a 303 & 808, Nermin Niazi’s glorious naïf yet accomplished efforts stand as testament to the complex cultural riches of Birmingham and the ambitions of young immigrants who came to positively transform British cities over the course of generations. Yet despite the patently obvious, prism-pushing brilliance of the music, the album didn’t quite take off as they hoped, and the 14 year old singer Nermin, and her 19 year old producer brother Feisel, would quit music in favour of school, university, and “proper” jobs as policewoman and the financial sector in California. Thank chuff, then, for the attention of Arshia Fatima Haq of DJ collective/party series Discostan, who found a copy of ‘Disco Se Aagay’ in NYC’s A1 records, and hi discovery of the duo’s YouTube channel, for this life-affirming reissue reminder, offered as Discostan’s first release.
The duo’s confection of new wave inspiration from Pet Shops Boys to Japan with Hindustani scales would find some parallels in Bollywood and Lollywood soundtracks, and also in the music of one time Grange Hill star Sheila Chandra (Monsoon), and later on in Sophiya Haque’s discoid acid house turns as Akasa, but the sheer abundance of glittering, ohrwurming DX7 hooks and slinky 909 grooves in ‘Disco Se Aagay’ is just setting our tiny minds on fire, especially in the ultra-lush, Italo-esque burner ‘Sari Sari Raat’, and the sultry swivel of ‘Dil Mein Dil Mein’, or the floating bliss of ‘Chala Hai Akela.’ The samples should already have you in a lather, so don’t fight the feeling.
A 100% doozy!
One of UK Bass music’s most poetic producers conjures a deft, lilting debut album exploring slower tempos and sultry vibes for Wisdom Teeth, the label he runs with K-Lone
As heard on his late 2020 lead-up single ‘Doves / MPH’, Facta’s music has gracefully grown more sensitive to touch and emotion with age, and ‘Blush’ finds him in possession of a timeless and spaciously fresh sound perhaps comparable only with likes of Parris in his field, so it should be no surprise that Parris lends his mutually low-key style to album highlight ‘Diving Birds.’
Perhaps cognisant of the fact the dance is dead right now, Facta keeps everything supple, sensuous, and at a strolling pace across the album in a way that’s primed for home use and your daily outdoors exercise allowance. Between the plinky melody and pastoral settings of ‘Sistine (Plucks)’ and the shimmering crystalline space of ‘Low Bridge (Lights)’, he suggests a sublime downtime soundtrack that takes in smudged beatdown (‘On Deck’) and beautifully buoyant broken beats (‘Verge’) along with the sleepwalker swing of ‘Diving Burds’ with Parris, and an exquisite slow jam ‘Blush’ to rudely burnish the album’s warm glow and appeal.
Direct Detroit/Berlin-style deep techno pressure from Laurel Halo and Hodge on Livity Sound...
Rolled out in the wake of Laurel’s ace ‘Raw Silk Uncut Wood’ EP with Eli Keszler, and leading on from Hodge’s classy ‘Beneath Two Moons’ EP, they make an ideal pairing on three tracks built for clued up ravers.
It’s maybe possible but pointless to identity who’s doing what and where, better to take them as exceeded the sum of their parts, from the beautifully balanced 313 drive and sleek float of ‘Tru’, thru the stereo-pinging dub chords, High-Tech Jazz pads and rugged rub ’n tug of ‘Opal’, and the unsettling fusion of blithe new age vocal mantra with squirming subbass and phosphorescing synth tones in ‘The Light Within You’.
Les Disques du Crepuscule presents The Salt Garden (Landscaped), an album of extended pieces by acclaimed quiet music ensemble Fovea Hex, featuring longform remixes by British songwriter and producer Steven Wilson and Serbian soundscape artist Abul Mogard, as well as a previously unreleased mix by Peter Chilvers.
"Formed in 2005 by Irish musician Clodagh Simonds, Fovea Hex have since released 3 albums (Neither Speak Nor Remain Silent, Here Is Where We Used to Sing and The Salt Garden), drawing favourable comparisons with Nico, This Mortal Coil, Ligeti and even Schubert.
The Salt Garden (Landscaped) is pressed on crystal clear vinyl, and comes packaged with a CD version featuring 4 tracks in total. The outer sleeve is printed in white reverse board and features an image taken by Crepuscule designer Joel Van Audenhaege during a recent trip to Greenland. The inner bag offers detailed liner notes as well as an interview with Clodagh.
As well as Steven Wilson and Abul Mogard, other high-profile admirers include film director David Lynch, who invited the group to play at his Cartier Foundation exhibition in Paris in 2007, and Brian Eno, who has described Clodagh’s work as “some of the most extraordinary songs I’ve heard in years.”
The Salt Garden (Landscaped) gathers together 3 long ambient remixes of tracks from the Salt Garden EP trilogy, originally released between 2016 and 2019. The core album is pressed on crystal clear vinyl and showcases ‘Solace’ and ‘Is Lanza Light & Given’, both re-worked by musical polymath Steven Wilson. “I’ve long been a fan of Fovea Hex,” explains Steven, “which for me is some of the most sublimely beautiful music ever recorded. It’s a mix of electronic and acoustic sounds played on instruments ranging from state-of-the-art to ancient and arcane.”
As well as the two tracks reworked by Steven, the bonus CD enclosed with the vinyl album also finds room for ‘We Dream All the Dark Away’, the widely-acclaimed re-interpretation by Abul Mogard of ‘All Those Signs’ from the Salt Garden II EP. By turns haunting and sinister, but always beautiful, the piece features vocals by both Clodagh and Brian Eno, as well as cello by Kate Ellis, and modular synth and effects by mysterious soundscaper Mogard.
An additional special bonus track on the CD is an unreleased remix of lesser -known 2015 digital single ‘By the Glacial Lake’ made by musician Peter Chilvers, best known for his collaborations with Brian Eno, Karl Hyde, Chris Martin and Tim Bowness.
“I feel truly honoured!” says Clodagh Simons, who began her career in cult folk-psyche band Mellow Candle, and since then has guested on albums by Mike Oldfield, Thin Lizzy, Russell Mills, Matmos, Current 93 and Steven Wilson. “It’s been fascinating to witness how these pieces have been so imaginatively and skilfully revisioned in the hands of Steven, Abul and Peter. Each piece has emerged into a completely fresh new light, with a different vibrancy, yet remains grounded in what was there before.”
It’s been a decade since Andy Stott released ‘Passed Me By’, a radical re-imagining of dance music as an expression of “physical and spiritual exhaustion” (Pitchfork). What followed was a process of rapid remodelling: ‘We Stay Together’ (2011 / slow and f*cked, for the club), ‘Luxury Problems’ (2012 / greyscale romance), ‘Faith In Strangers’ (2014/ destroyed love songs), ’Too Many Voices’ (2016 / 4th world Triton shimmers) and ‘It Should Be Us’ (2019 / the club, collapsed) - a run of releases that gradually untangled complex ideas into a singular, chaotic body of work - somewhere between sound-art, techno and pop.
In early 2020 - with a new album almost done and an offer to produce for a mainstream artist on the table - personal upheaval and a pandemic brought everything to a sudden standstill. Months of withdrawal eventually triggered a different approach. recording hours of raw material; slow horns, sibilance, delayed drums, wondering flutes - whatever, whenever.
With vocals recorded by Alison Skidmore, the album was finally completed late last year- taking on a different shape. Its songs desolate, melancholy, defiant, beautiful - often all at once. The sounds echoed music around Stott during those months: Prince, Gavin Bryars, A.R. Kane, Bohren & der Club of Gore, Robert Turman, Cindy Lee, Leila, Catherine Christer Hennix, Junior Boys, László Hortobágyi, Nídia, Prefab Sprout - the unusual / the familiar.
Echoing that mix of new and old, each of the songs on ’Never The Right Time’ is woven from the same thread despite following different trajectories; from the lovelorn shimmer of opener ‘Away not gone’, to the clattering linndrum pop of ‘The beginning’, through ‘Answers’ angular club haze, and the city-at-night end-credits ‘Hard to Tell’. These are songs fuelled by nostalgia and soul searching, but all hold true to a vision of music making as a form of renewal and reinvention. A 10 year cycle, complete.
Jamaican Recordings compile some tuff tracks from Scientist circa late 70's / early 80's - just before everything went digital.
"Some great dub versions to some killer tracks that rocked the dancehalls around this golden time.The mighty Tristan Palmer whose killer cuts 'BadBoys','Stop Spreading Rumours','Eveready' and 'The Greatest Lover’ alongside Michael Palmer's debut release 'Mr Landlord' and Robert Trench's 'Mr Babylon'. The songs stand back-to-back with Tony Tuff's timeless 'Never Trouble Trouble' and the biblical Rod Taylor's 'The Lord is My Light'. Sammy Dread's 'Wah Dah Wah' and the always respectful Dennis Brown's 'Time and Place' all benefited a touch of magic from The Scientist and his laboratory of effects."
Very canny, playfully meta studies in the history and practice of the vocoder from Jack Callahan’s die Reihe, replete with deep and hip-house remixes by DJ Swag and Morgan Jefferson, who may, or may not, be his aliases
“America’s lovable sonic provocateur returns with VOCODER, a 12” record on Anòmia which features a new piece on side A and two exciting dance remixes by up-and-coming producers on side B. Using only voice and a vocoder created in Max/MSP, the piece “VOCODER” is “an exercise in creating as self-contained a piece as possible, using as little material as possible while still maintaining a certain level of interest and coherence.” For fans of Alvin Lucier, John Baldessari and Bruce Haack.”
These tracks where once included on a CD-R that came with the first 100 S.M. Nurse 12" EP’s “30th Anniversary 1980-1983” (Domestica Records) - now remastered and better sounding, available for the first time on vinyl including an extra track!
Robby Horsfall († 2013): lyrics, vocals Menko Konings: compositions, instruments
* remix (2021) by Rude 66
** remake S.M. Nurse track
Russia’s Flaty does wipe-clean ambient romance and quicksilver IDM rhythms for Soda Gong in the slipstream of his ace 10” for Gost Zvuk
‘GENERIC Targz’ is the St. Petersburg, Russian artist’s 2nd LP under his best known moniker. Spellbinding with a mesh of impeccably crisp synth contours, vaporous pads and pointillist patterning, it speaks to a conception of modern Russian electronic music that has emerged in recent years thru the prolific Gost Zvuk label, which is also home to some Buttechno gear.
‘Free-Floating ambeint-electro structures such as ‘Elevation’ share hyperspace with dreamy, swinging gestures such as ‘Init Ignit’ and generative machine funk in ‘Self Assembled’. But he also has a knack for razor sharp Autechrian or Richard Devine-style incision, as proved in the rapid, insectoid flux of ‘Thread’, and the dazzling acrobatics of ‘Horn of Plenty’, which are kept in balance with tenderly melodic, crystalline pieces like ‘Praaai’, ‘Key Keeper’, and the NYZ-like ambience of ‘Pokrov.’
The GRM cough up a critical split of atom-cracking strings and synthesis by leading figures in their fields, astutely contrasting the artists’ radical approaches and techniques.
It would be no overstatement to deem cellist Okkyung Lee and computer musician Florian Hecker among the pioneering spirits of their generation. Respectively, since the start of this century, they have pushed their chosen forms into utterly bewildering new shapes, and ‘Teum (the Silvery Slit) / Statistique Synthétique’ effectively proves their mettle at the start of a new decade, checking in a fiercely captivating tract of earthly, “telluric” acoustics, and a side of totally unearthly, hallucinatory sound synthesis from the top shelf of contemporary avant garde music.
Following her masterfully dreamlike suite ‘Yeo-Neun’ for Shelter Press, Okkyung Lee occupies the first side with a fascinating demonstration of probing, haptic technique in ‘Teum (the Silvery Slit)’, where she systematically plucks, scrapes, and coaxes an underworld of elemental gestures that resemble electricity crackling thru skin, strings and wood. On his half, Hecker follows from a recent album with Oswald Berthold (Farmers Manual) as CD_slopper with ’Statistique Synthétique’, sprouting 25 minutes of fractal not fractional, asymmetric geometries and unpredictable manoeuvres, from boring noise to filigree dissonant nuance and shatterproof, plastic plongs bound to turn your head to silly putty.
v, v good.
“A musing on popular standards and an all-instrumental down mainstreet, USA. Come for the history lesson, stay for the coming of age statement! Jim's pop epic is a personal message, personally from Jim to you.”
Jim O’Rourke’s much loved country rock album Bad Timing  is now repressed on vinyl for the first time following its 20th anniversary of release. Recorded at Steamroll, the same site as his more explicitly avant-garde conceptions, this album is a subtler exploration of acoustic country rock proper, where O’Rourke only occasionally flashes his experimental teeth, gently ruffling the feathers of America’s sincerely loved down-home style in four breezy, extended works of lyrical guitar playing.
Vladislav Delay’s Chain Reaction masterpiece resurfaces for a remastered 20th anniversary edition. Answering the prayers of dub and electronic fiends everywhere, this long overdue vinyl edition of ‘Multila’ acts both as a reminder of Sasu Ripatti’s pioneering work and a primer on his early practice.
Technically the Finnish artist’s 3rd album, 2000’s ‘Multila’ offered a looser limbed, sensuous take on dub techno as much informed by the Finnish climate and landscape as the templates of Basic Channel, SND, and the deep house styles established between the late ‘80s and during the ‘90s.
It’s an immensely immersive work that prizes the qualities and infidelities of analogue production nose to tail from hardware to tape and D&M’s revered all-analogue mastering facilities, which up until this reissue has only previously been available on vinyl spread across the 'Ranta' and 'Huone' 12"s. Anyway, the Keplar label remedy that issue right here with Rashad Becker’s remaster which faithfully combines to present the album as it was perhaps always meant to be heard.
Between the submerged, coruscating crackle of ‘Ranta’, the soothing tone of ‘Raamat’, and the 22 minutes of semi-organic, lissom swing and ambient smudge in ‘Huone’ on the first disc, to the water-logged tumescence of ‘Karrha’ and the 16 minutes of head-swilling textural abstraction and saline buoyancy in ‘Pietola’ on the 2nd disc, you’re in the presence of pivotal, peerless material that effectively splits the difference between the GRM, King Tubby, and Huerco S.
Heavyweight Dug Out edition, issuing the incredible mid-late '80s Dancehall rarity 'Tempo Explosion'; a run of one-off version excursions on Red Rose's 'Tempo Rhythm' including three head melting dubs.
It's regarded as a masterpiece of reggae's digital revolution and the finest release on Sugar Minott's short-lived Black Victory label, utilising the "sainted" players from the Studio One and Music Mountain, Stony Hill studios in JA, and Lloyd "Bullwackie" Barnes crew at Wackies' White Plains Road studio in The Bronx, NYC. Towering above them all is Minott's opening statement 'Devil Is At Large', laying it out deadly cool and mellifluous amidst squirting, gurgling digi FX and a masterful blend of acoustic and electronic instrumentation.
Further vocals come from Chris Wayne and Willie Williams, but its only the balance of Ras Menilik Dacosta's hoarse boom and astro synth bubbles on 'Free South Africa' that can test Sugar's. On the instrumentals Jerry Johnson's saxed-up version is pure NYC vibes, but it's the trio of stripped synth, drums and FX-driven versions that makes this one so, so special. Jaws will drop at first contact with the skulking 'Slow Tempo', sounding the soundtrack to a missing scene from John Carpenter's Escape From New York set in a smoked-out cyberdub bunker, while the 'Up Tempo' really chisels the rhythm with stunning mixing desk movements, like someone just let Chris Carter in through the back door for a midnight mix session.
Another blinder from Basic Channel's Wackies re-issue programme finally gets a re-press.
Between stints in Jamaica for legends like Glen Brown and Junjo Lawes, Wayne Jarrett travelled from his Connecticut base to record this album during the same weeks as the sessions for everyone's favourite - Horace Andy's Dance Hall Style.
These are two of the great vocal reggae LPs of all time - no questions asked. With Clive Hunt in full effect, Showcase Volume One follows the six-track dub-showcase format and Wayne never sounded more like Horace with his yearning throaty gargle! Blues afficionados might even want to discuss the influence of the late, lamented Bobby 'Blue' Bland on reggae vocals, but that's by the by.
Including four unmissable Studio One versions - Azul's deadly Rockfort Rock, Sleepy's Every Tongue Shall Tell (with outrageous Isley fuzz), yet another Heptones cut via Leroy Sibbles, and a killer Drum Song.
It's always worth considering the route Scott Walker could have taken following his flirtation with the charts back in the sixties - an endless procession of 'farewell' tours, some dodgy dance collaborations and a slew of moribund chat-show appearances.
He might have even got rediscovered at Glastonbury. However, rather than set-off down the tried and tested slope of endless rehashing of the mythical glory years, Scott Walker has somehow installed himself as one of our most esoteric songwriters - fusing a love of European poetry and experimentation with the intense melodies of A-grade Americana.
Opening through the death-rattle and roll of 'Cossacks Are', Walker's new album 'Drift' is the dictionary definition of the word singular - taking the listener on a highly personal journey that veers from the baroque ('Cue') though to the flippantly paranoid ('The Escape'), without once breaking sweat. With a vocal style that can't help but draw comparisons with the somersaulting larynx of Antony, Walker seemingly delights in the grand gesture; making the likes of 'A Lover Loves', 'Jolson And Jones' and 'Buzzers' edicts on the power of bare-bone production when mixed with such raw talent.
As a new generation emerge in his vision (see London's The Irrepressibles), 'The Drift' proves that Walker still has the modernistic streak which makes his records so enduring. Drift away...
For the 1st time in over 30 years, The Chosen Brothers’ mellifluous roots reggae masterpiece ‘Sing & Shout’ returns, re-shuffled, abridged and re-cut to vinyl by CGB at D&M, Berlin
Most notable for the gorgeous ‘Mash Down Babylon’, which was versioned by Rhythm & Sound to classic effect in 1998 and now opens this new edition, ‘Sing & Shout’ is perhaps one of roots reggae's more overlooked efforts, but arguably also one of the most distinguished of its mid ‘80s era.
Recorded at Bullwackie’s studio in White Plains, NYC, by Douglas Levy, Sugar Minot and Bullwackie, ‘Sing & Shout’ blends classic roots lyrical themes and dub production with early traces of the digital drum machine and synth styles that would come to dominate the dancehall from this phase forward.
For this new edition, the now Berlin-administered Wackies deign to resequence the track-list, which now starts up with the evergreen original of ‘March Down Babylon’ (which has also been issued on a 12” with bonus dub + version this week) and the wickedly slow and easy digidub of ‘Jah Don’t Like That’ along with the mellow wooze of ‘Sing & Shout’ and the misty precipitation of ‘Dancing In The Rain (12” Mix)’, and comes to rest with woozy praises to Jah in ‘All Things (12” Mix)’.
Nice and easy definitely wins the day here. Unmissable!
Sydney-based jazz trio triosk and jan jelinek from Berlin have opened up a common equation. The title reflects their production method : jelinek mails selected samples and textures to australia, Triosk use these as a basis for composition and recording, the enhanced material then returns to Berlin for Jelinek to finalise.
But the mileage covered does not become audible - "four different instruments multiplied by four different approaches make one sense". Triosk and Jelinek play together with eerie assurance and emphatic sensibility. Archetypal, dissolving jazz elements correspond to repetitive patterns not known to the genre, electronics and acoustics circle each other but remain conjoined. A perfect evolution from the micro-contained glitch-house that Jelinek has adapted so brilliantly - forever searching for a myriad colour of jazz traditions and influences that have finally expressed themselves with a less contained form on this wondrous album.
Perhaps geographical circumstances have something to do with the fact that Jelinek and Triosk approach a similar musical task from completely different directions - but the result is a deep, timeless and brilliantly executed slice of machine soul music for the mellowest of blue nights - and another maverick album from a man who can seemingly do no wrong.
Equiknoxx’s tribute to dancehall legend Elephant Man is a proper low key burner, laid down in Kingston with Birmingham’s RTKal and now blessed to vinyl.
The cut came about when the duo’s Gavsborg and Timecow huddled with RTKal at a “sought-after Air bnb in Kingston” while their studio was being renovated. Their chat turned to referencing dancehall royalty, and logically lead them to Elephant Man; a flamboyant titan of late ‘90s/early ‘00s dancehall whose tunes bridged bashment and jiggy rap, and refreshed the scene’s more common gunchat with more playful rudeness.
Gavsborg steps up with the pulsing, heady instrumental ‘Making Love To Volca’, ornamenting the purring subbass with dreamy choral baubles, before RTKal jumps on the vocal version beside Time Cow, playing it down in a woozy UK-meets-JA style emulating Elephant Man’s hoarse boasts but with a hushed vibe - call it cloudhall?
Stone cold unmissable business, what else?
The Basic Reshape of Carl Craig's 'The Climax' is without question one of the finest remixes of all time. Seminal 12" from Basic Channel....
It's a definitive, driving, hypnotic club killer that rebuilt the tribal mastery of the original into a logic-defying display of bass shuffles and aquatic percussion that kills us every time/
"Remake" Basic Reshape from 1994 relates to "Remake Uno/Duo", Carl's sample-based re-interpretation of Manuel Göttschings epochal E2-E4. Basic Channel take a radical, abstract, sample-free approach with a breathtaking slow motion groove under a multilayered sound sphere.
BOC's much loved second album proper.
The blueprint is similar, with short interludes scattered across and in between the 'full tracks', starting with the opening 60 seconds of 'Ready Lets Go' - a distant wildlife documentary soundtrack in glorious childhood technicolour.
'Music Is Math' features spoken fragments, a vocoded refrain, simple and evocative melodies, '1969' is another spine-tingler, ever so slightly out-of-tune and drenched in sweetness.
Geogaddi also offers up some new developments - 'Gyroscope' features an uncharacteristic tribal rotation of drums put through the BOC system, sounding like a lost tape unearthed and carefully restored, retaining the mark of nostalgia that directs BOC tracks so instantly to that part of the brain reserved for its earliest memories.
'The Devil Is In The Details' also follows new turns, bringing to mind Autechre's 'Overand' : subliminal use of rustling found sounds over a single delayed synth progression.
Maurizio’s ‘M4’ was just so good that Moritz Von Oswald and Mark Ernestus had to extend the pleasure in ‘m4.5’ 
The purring bass and chords feel sunk deeper and drowsier into the mix, lending a duskier appeal which they tease out for just shy of 13 minutes, although it could easily last 10 times that length and we’d never get bored of its luscious traction.
Basic Channel present a full 14 minute version of 'Q-Loop' backed with first ever vinyl cuts of 'Q 1.2' and 'Mutism' - previously found on the 'BCD' (1995) and Scion's 'Arrange And Process Basic Channel Tracks' releases.
Need we say any more?
‘Hudson’s Heeters Vol. 1’ was the debut release by Hudson Mohawke.
"This release caught the eye of Warp and led to his eventual signing to the label. This marks the first time ‘Hudson’s Heeters Vol. 1’ has ever been released on vinyl."
Mark Fell and Will Guthrie join forces for the second time this year with ‘Diffractions’, the 2nd in a two part series released via the new NAKID label set up by Koshiro Hino of Goat / YPY fame. On 'Diffractions' the pair push ever deeper into percussive R&D informed/inspired by Gamelan and Carnatic musics - massively tipped if you’re into anything from Autechre’s Confield-era abstractions to Milford Graves’ fluid drumming or even the insular soundworld of The Necks.
Rhythm has always been central to Fell’s work, from his icy, repetitive minimalist excursions with SND to his legendary run of unashamedly funked abstract house experiments as Sensate Focus. Here, he continues to excavate that rich seam with an ongoing collaboration with Aussie percussionist Will Guthrie; “Diffractions” pushing both artists’ interests into sharper detail, toying with polyrhythms and unusual tuning to uncover a suite of transformative fidget spins and sonic storm clouds.
“Diffractions” features another two lengthy pieces of future-facing percussive abstractions that blur the line between synthetic and organic. Taking the influence of gamelan and fusing it with the heaving computer music that Fell has obsessively picked-at over the last four decades, the duo here zoom into a sound that’s almost effortlessly engaging; each piece is almost twenty minutes in length but they shift and mutate into polyrhythmic outer-realms and eerie universes of microtonality that are hard to fathom in one sitting.
There are trace echoes of free jazz hanging from the rafters, the post-everything clatter of Humcrush and Food drummer Thomas Strønen’s mind-expanding solo material or even Autechre at their most confounding. The genius here is that just when you convince yourself that this music could only possibly have been generated by a computer, Guthrie’s unmistakably human flex edges into focus - playing with your perception - your expectations - in the most bold, innovative way imaginable. Basically, this record fucking rules.
Elodie’s Andrew Chalk & Timo Van Luijk present their soundtrack for Peter Hutton’s ’Skagafjörður’, responding to the film’s desolate imagery of Iceland with half an hour of exquisite, weather-beaten, smoke-curl atmospheres, highly recommended if yr into the cold tonalities of Kevin Drumm's 'Imperial Distortion' or Aphex Twin's 'SAW II'...
Recorded as part of ‘Night of Experimental Film’ event in Ghent, Belgium, 2018 that also saw screenings of Derek Jarman’s ‘The Angelic Conversation’ and performance by Tom James Scott, the recording captures the quintessence of Chalk and Van Luijk’s richly evocative music and the natural mystery of Hutton’s film, which is handily available on YouTube for you to synch with its suggested soundtrack for optimal zoner times.
Following a cassette edition in 2020, this vinyl edition gives the performance more room to breathe, with Chalk and Van Lujik’s patented atmospheric magick seeping out from the peripheries to best envelope the listener in their tantalising descriptions of the Icelandic landscape. Chalk & Van Luijk are masters of this kind of layer-within-layer rendering, where you no longer know if you’re listening to vast winds or analogue interference, where harmonic washes are often punctuated with frequency fuckries; feedback, jolts of electricity. The effect is quietly stunning and effortlessly transfixing; like so much of their peerless catalogue.
Trust Montreal's anti-capitalist post-rawk heroes to rustle up the ideal soundtrack to global collapse. It's their most charged material in years: raw, deliriously cinematic and rich with serrated urgency.
New albums from Mogwai and Godspeed in a matter of weeks? Is it 1998 again? We're not complaining - this flickering, silvery opus from GY!BE is among their most satisfying sets to date. "G_d's Pee AT STATE'S END!" finds the band in an awkward comfort zone, inspired by 2020's pandemic and subsequent global collapse to dust off their shortwave radio and compose a fuzzed-out response to the failure of the state system. It makes a lot of sense; since they debuted with "F♯ A♯ ∞" they've never been quiet about their anti-fascist, anti-corporate, anti-state views. With this in mind, "G_d's Pee AT STATE'S END!" is almost a "told ya" moment, or a euphoric apology for decades of prophetic post-rock doom-saying.
Weaved together with crackly snippets of shortwave hum, the album almost begins like John Carpenter's "Prince of Darkness" with spine-chillingly indistinct chatter that signals isolation, desperation and media distortion. From there, the band allow their glacial compositions to hiss and crack through each distinct movement. At this stage in their career they have nurtured a rapport that sings as loud as any instrument, and twinned with their timely creative surge this has led to tracks that feel like a distillation of GY!BE's best qualities. The thrumming crescendos, Kraut-fed percussion, thick walls of layered feedback, near-classical compositional care and an unashamedly widescreen grasp of narrative. Godspeed sound heavier, tighter and more vital here than they have in ages. Who else could craft such elegiac, melancholy doom for the end of the world?
Classic South African psychedelic afro-rock albums marking the watershed of Harari’s evolution from Soweto soul (as The Beaters) to the afro-centric rock and funk that brought them fame and changed South Africa’s musical landscape forever. Reissued with printed inner sleeves containing notes by “Soweto Blues” author Gwen Ansell and archival photography. Audio remastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany.
"The Beaters – Harari was released in 1975. After changing their name, Harari went into the studio late in 1976 to record their follow-up, Rufaro / Happiness. In 1976 they were voted South Africa’s top instrumental group and were in high demand at concert venues across the country. Comprising former schoolmates guitarist and singer Selby Ntuli, bassist Alec Khaoli, lead guitarist Monty Ndimande and drummer Sipho Mabuse, the group had come a long way from playing American-styled instrumental soul in the late sixties to delivering two Afro-rock masterpieces.
Before these two albums the Beaters had been disciples of ‘Soweto Soul’ – an explosion of township bands drawing on American soul and inspired by the assertive image of Stax and Motown’s Black artists. The Beaters supported Percy Sledge on his 1970 South African tour (and later Timmy Thomas, Brook Benton and Wilson Pickett). But their watershed moment was their three month tour of Zimbabwe (then Rhodesia) where they were inspired by the strengthening independence struggle and musicians such as Thomas Mapfumo who were turning to African influences. On their return, the neat Nehru jackets that had been the band’s earliest stage wear were replaced by dashikis and Afros.
“In Harari we rediscovered our African-ness, the infectious rhythms and music of the continent. We came back home inspired! We were overhauling ourselves into dashiki-clad musicians who were Black Power saluting and so on.” Sipho Hotstix Mabuse, talking of the band’s time spent on tour in the (then) Rhodesian township from where they took their name. As well as expressing confident African politics, Alec Khaoli recalled, they pioneered by demonstrating that such messages could also be carried by “...happy music. During apartheid times we made people laugh and dance when things weren’t looking good.”
The two albums capture the band on the cusp of this transition. One the first album Harari, Inhlupeko Iphelile, Push It On and Thiba Kamoo immediately signal the new Afro-centric fusion of rock, funk and indigenous influences. American soul pop is not forgotten with Love, Love, Love and, helped along by Kippie Moeketsi and Pat Matshikiza a bump-jive workout What’s Happening concludes the album. The second album Rufaro pushes the African identity and fusion further, with key tracks Oya Kai (Where are you going?), Musikana and Uzulu whilst the more pop-styled Rufaro and Afro-Gas point to where Harari were headed to in years to come. The popularity and sales generated by these two classic albums saw them signed by Gallo and release just two more albums with the original line-up before the untimely death of Selby Ntuli in 1978. Whilst they went on to greater success, even landing a song in the US Billboard Disco Hot 100 in 1982, it was never the same again.
“Harari’s music still speaks directly to one of my goals as a younger artist: to express myself as an African without pretending that I don’t have all these other musical elements – classical, jazz, house – inside me.” Thandi Ntuli, niece of Selby Ntuli.
Tri Angle have done us all a favour and pressed up Evian Christ's sublime 'Duga - 3' mix on a one-sided plate. Originally released as a mix for Dummy Magazine in summer 2012, it is technically an original, 20-minute composition in four seamlessly arranged parts and was inspired by the artist's research into the eponymous Soviet signal transmitter - the 'Duga - 3'.
The transmitter was characterised by the repetitive tapping sound it broadcast which was sufficiently powerful enough to intercept transmissions across the world. And, in truly Conet Project style, the array was abandoned as mysteriously and unexpectedly as it had appeared, leaving behind a legacy of intrigue and enigma that sparked the dilated curiosity of yung Joshua Leary aka Evian Christ. Part way between 1991's somnolent hypnogogia, the silty harmonic washes of Philip Jeck and Tim Hecker's most divine output, it's perfectly suited to the vinyl format and thoroughly recommended - if you're quick enough.
Ooooof, it's been a while since we last heard from Pole but the German reductionist dub innovator has found his mojo again and this is his finest slab in ages. Proper frazzled low-end treatments for blunted exotica darlings.
It's been five years since Stefan Betke dropped a full-length, but to be honest we haven't been too interested since 2000's "3", the third and final part of Betke's trilogy of albums that still sound like little else. Those records helped light the touchpaper for a generation of young producers to experiment with dub sounds in a freeform electronic context, and while it burned out quickly the traces can still be heard fizzing through. Betke reissued the trilogy earlier this year and has now followed it up with "Fading", recapturing the unsurpassed essence of those early jams without repeating himself.
Inspired by the idea of memory loss as he watched his mother suffer from dementia, Betke wanted to connect ideas of the early Pole albums to his contemporary practice. And that's exactly how "Fading" sounds: the skeletal, decomposing dub sound that was so idosyncratic in 1998 is still present, but Betke fleshes it out with a mature worldliness that brings in elements of exotica and the subtle whisper of distant, half-remembered pop. That's not to say there are riffs (there really aren't, it's pure vibes from beginning to end) but yr transported to a world where oddly familiar elements are wrapped up tightly in tape hiss and white noise.
Like on those first few albums, Betke's rhythms feel elastic and in constant flux. Drum machine sounds and sonic detritus become pretty much interchangeable, melting into each other to create a highly distinctive sound universe. There's an element of nostalgia for sure - the glassy, polished (im)perfection of the early 2000s Mille Plateaux set is very well represented here - but Betke brings it into contemporary dimensions, updating the frame without losing its soul. It's the sound of a dying supercomputer on a distant world, if that supercomputer had learned about Earth's pop culture solely by listening to Jamaican soundsystem music of the 1970s and 80s.
After releasing their 17th album 'Abolition of The Royal Familia' earlier this year, The Orb are back with further guest appearances on their remix album 'Abolition Of The Royal Familia - Guillotine Mixes'.
Including mixes from David Harrow, Moody Boyz, Youth, Violeta Vicci, Andy Falconer and more.