Western Vinyl present Brocker Wey’s original score to Netflix documentary series ‘Wild Wild Country’ - the story, which you simply couldn’t make up, about a controversial Indian guru Bhagwan Shree Rajneesh (Osho), his assistants, and their followers in Wasco County, Oregon in the 1980s
While there’s nothing particularly outstanding about the soundtrack, it simply did its job accompanying the images without distracting from them, there are some stronger moments to be found inside on the electronic work Be Grateful for This Beautiful Home, and the grandiose symphonic swells of The Burning Ghats, with its epic piano flourishes.
RIYL Osho, brainwashing, Sainsbury's vinyl section, vinyl frames.
The first ever and definitive discography of Carrie Cleveland, an expanded version of her 1978 album ‘Looking Up’, including both the issue and promotional versions of her single ‘Make Love To Me’, and the previously unknown sweet soul single ‘I’ve Got A Feeling’.
"Privately arranged, recorded and produced by Carrie and her husband Bill as a labour of love in their backyard studio in 1978, ‘Looking Up’ is one of the most in-demand soul/disco LPs in existence, sought-after in particular for their track ‘Love Will Set You Free’. In addition, the promotional version of Carrie’s single ‘Make Love To Me’ is one of the best and rarest sweet soul records to have emerged out of the West Coast soul scene, and her single ‘I’ve Got A Feeling’ is until today virtually unknown even to the most seasoned of collectors, with even Carrie herself unsure if it was ever released. With the album originally pressed in a limited run of just 1000 with 500 copies of each single, original copies of Carrie’s records deservingly command eye-watering figures on the second-hand market. Kalita now satisfy the thirst with the first ever official reissue of her entire discography."
On Disrupt’s first new album in 8 years, ‘Omega Station’ the dubmaster sees himself as a Maelcum-like character piloting his studio into outer space. Expect turbulence, 8-bit asteroid fields and heavy weightless sensations
“Highly immersive SciFi adventure album about the oscillating wonder and terror of unknown space, as you follow the drama of doomed outpost Omega Station to it’s heart stopping conclusion.
With his first full length broadcast from Deep Space in eight (light)years veteran cosmonaut disrupt is setting out towards a new era of space exploration for the Jahtari label:
A mind-boggling journey through 23rd century library music, imaginary soundtrack as much as hommage to worn-out SciFi paperback novels, this beautifully textured interstellar experience comes highly recommended for all space cadets.”
Sublime charms from Hood co-founder Richard Adams...
“The Declining Winter return after a three year lay off with what is perhaps their strongest statement to date. Pushing on from the pastoral blueprint of the long sold out ‘Home For Lost Souls’ (2015),‘Belmont Slope’ is a bold and varied album, extending the boundaries of their earlier sound, introducing pop sensibilities and daring electronic flourishes.
Truly a Northern English album, Belmont Slope is a haphazard car ride across the M62, a love letter to the hills of Yorkshire and Lancashire, a paean to desolate beauty, unattainable love and lost friends. The Declining Winter is the brainchild of Hood co-founder Richard Adams, an ever changing collective who emerge blinking into the daylight from their Yorkshire enclave with a unique blend of pastoral and lo-fi pop, shimmering electronics and rural post-rock."
Prepare to be floored again by the great Lonnie Holley, back with his 3rd album - his 1st in five years - serving a unique perspective on contemporary America as the result of some 68 years living at its fringes; from a whisky house, to numerous foster homes, and later as an eminent outsider artist.
It’s hard to forget a first encounter with Holley’s singular style - ‘Just Before Music’ back in 2012 stuck out like one of his massive “thumbs up for Mother Earth” from everything around it, and to be fair it still does. While we weren’t so immediately enamoured with its follow-up, ‘Keeping A Record of It’, there’s no denying that his 3rd LP ‘MITH’ is a stunning and welcome return, delivering a necessary dose of emotional punishment that’s bound to resonate just as strongly, if not more than his debut.
More layered and diaphanous than either of Holley’s first two records, ‘MITH’ is an astonishing development of Holley’s soul-hocking sound, effectively blossoming from his bluesy seeds into staggering psychedelic blooms almost comparable to the difference between original blues and the freedoms of spiritual jazz, with Holley’s utterly inimitable voice bridging the difference, along with extra musical contributions from fellow travellers such as new age maestro Laraaji, jazz duo Nelson Patton, and production by Pakistani/American artist Shahzad Ismaily.
We’ll keep it simple: this record hurts in the most powerful, extraordinary way. Unmissable.
The master of slow-motion ambient/trance owns his style on ‘Infinite Moment’, his 6th album for Kompakt since the seminal ‘From Here We Go Sublime’ side won everyone’s hearts in 2007
Axel Wilner a.k.a. The Field has made his name with a smudged, looser take on Wolfgang Voigt’s grand billows as Gas, or the rolling Teutonic trance of Reinhardt Voigt.
On ‘Infinite Moment’ he once again hits the pleasure centres dead on with his blend of gauzily rugged grooves and hypnotic loops, but allows for some unexpected moments such as the junglist rush that crops up mid-way thru the slow, towering beauty of ‘Made of Steel. Made of Stone’, while the hazy drums of ‘Divide Now’ feel rawer, more affective than usual, and the slow, bobbing linearity of ‘Something Left, Something Right, Something Wrong’ feels as though it’s unravelling in myriad directions at once, while the title track simply plays deep into his classic formula of mesmerising, phasing slow trance.
Surprise drop from Shackleton, his first of 2018, following up ’Behind The Glass’ on this Woe To The Septic Heart! label
There’s a discernible Far Eastern bent to both tracks, nodding in the direction of Indonesian percussive styles from Uwalmassa or Senyawa, but still with that outernational nous that also lends it to comparison with Ekuka’s Ugandan thumb piano recordings or Psychic Warriors of Gaia style tribal techno.
‘Furnace of Guts’ is a mercurial, polychromatic flow of stuttering voices, glinting high register percussion and wriggling bottom end feathered into increasingly noisy, knotted formations, while ‘Wakefulness and Obsession’ is more potently hypnotic, droning and viscous.
Recorded at the same Rainbow Studio sessions, and with the same top musicians and legendary engineer Jan Erik Kongshaug, this can only be seen as a rightful twin companion to "The Nature Of Connections" from 2014.
"One can easily understand how Arve must have found it difficult to select tracks for "The Nature Of Connections", leaving these on the shelf. "Composograph" is standing rock solid as a top notch Arve Henriksen album. Interestingly enough, the track "Gathering In Vågå" features Arve on rather brilliant, freeflowing saxophone (for the first time on record?).
There are the typical folk music ties, courtesy of fiddlers Nils Økland and Gjermund Larsen, contemporary chamber jazz, nods to avant free music and atmospheric tone poems. All in all, twelve exquisite originals from one of the world´s leading trumpet players."
Troops, the wait is over for Ancient Methods’ debut album with ‘The Jerihco Records’, a 14-track set bristling with vocals by Prurient, Cindytalk, King Dude and Wahiba Khadri, and guest production from Regis and Orphx
For pretty much the first time we really hear Michael Wollenhaupt a.k.a the sole serving member of Ancient Methods really stretch his legs in all directions, with results ultimately ranking as perhaps the definitive industrial techno album of its generation.
Biblical in concept and scale, ‘The Jericho Records’ takes the world’s oldest, longest inhabited city as muse for a incredible showcase of futurist/primitive rhythm and sound, melding Michael’s trademark so-stiff-it’s-fuucking-funky-as-fuck drum patterns with a much broader range of instrumentation and voices than any previous AM release.
To get down to business, DJs and dancers need to clock the highlights in the cataclysmic shock of ‘Twelve Stones to Divide Jordan’s Sand’, as well as the bare-faced rage of ‘The House of Rahab’, the searing ‘Crack and Collapse In The Storm of Lights’, and the incendiary payload of ‘Omen’s Duty’ or the appearance of Prurient on the trampling thunder of ‘Walking on Cursed Soil’.
But we’d be remiss to overlook the moments of contrast in the Arabic EBM mutation of ‘Array The Troops’ featuring synths from Regis; the Muslimgauze-like meld of whirling percussion and horns in ‘The City Awakes’; or the clashing scimitars of ‘Swordplay’; while ‘The Seven Shofars’ and ‘In Silence’ impressively attest to AM’s unrepentant obsession with darkest, ritual ambient electronics.
Just hoof it all down and ask questions later.
Teutonic electro-tech-house from The Working Elite, making their debut with Tim Sweeney’s BIS
‘Rockman’ kicks off with a stealthily building piece of tech-house for international espionage, while ‘Born Again’ takes said spy to a disco scene in Bonn circa ’86 for a tense, exciting, strobelite chase scene.
Lauer & Saap remix ‘Rockman’ as a snappier electro swanger with nagging riffs and killed trills, then go all romantic with the kinky swagger of their ‘Lover’s Code’ remix.
Hard-edged sound designs on the cusp of EBM, ghetto-tech and vodka-flavoured electro. RIYL Gesloten Cirkel
“After an appearance on the U S S R compilation on Opal back in 2016, Monotronique leans out from the shadow again with a ten track tape of brutal, minimal body music, operating both as dance tools and as actual pitch forks.
The paired down palette fuses grimey stabbing synths against stoic, saturated drums. Rave lines pour into reverberated backgrounds of stark colour. The A side of the album is all tight, negi-funk and flex where the following side goes out into faster tempos and more ascetic compositions.
'Heat Absorber' collects only a few tracks of the massive arsenal at Monotroniques hand. Tracks which have laid waste to many dancefloors in his native Ukraine and will continue to render the fat of any floors subject to this glorious battery.”
Singular, brilliantly mad EBM and pop experiments on Low Jack’s Editions Gravats from Belgian freak Maoupa Mazzocchetti following his killah co-production on Clara!’s ‘Meneo’ 12". RIYL Matias Aguayo, Drexciya, Devo, Eric Copeland, Iueke, Low Jack, Prince, The Residents...
After scrawling his name on releases with close affiliates PRR! PRR! and for the Mannequin and Unknown Precept labels, new Brussels transplant Mazzocchetti finds good company among the oddballs on Editions Gravats for ‘Gag Flag’’s blend of avant dance music and absurdist experimental pop.
For ‘Gag Flag’ Mazzocchetti adopts the persona of “Snippet Boy”, a fictional avatar who first came to life in his live shows, and now in hyperstitious manifestation on the album sleeve. Lurking behind this persona, Mazzocchetti becomes an art-dance-pop puppeteer who yanks listener’s strings and takes popshots at industry overproduction, deflating egotism and hackneyed convention in a way that echoes the subversive approach of his heroes such as Devo and The Residents.
Using a blend of plugged in and acoustic instruments, Mazzocchetti conjures nine psychedelically misshapen and inexorably funked-up grooves, splashing from the lysergic swagger of ‘Looking For Cheese’ to the Arabian electro-acid styles of ’How To Hate You Without H?’ via the lap-steel dancehall slosh of ‘Ron’s Roof’, demented yacht-boogie in ‘Fonk Left The Ytown’, and what sounds like Depeche Mode doing knackered EBM on ’Sultan 1997’.
This is the sound of an artist unafraid to pursue their own sound and really coming into their own, albeit channelled thru a deflated, winking rubber avatar.
A momentous celebration of one of the last century’s most important composers, offering insight, recognition, and critical investigation, long overdue and lovingly produced. Including an extensive, lavish 120 page book, with numerous unseen images and 10 historic, sought-after and impossible to find albums pressed on 180 gram vinyl - unquestionably one of the most beautiful and important archival releases of the year.
The perfect jump-off for anyone intrigued or beguiled by Lucier’s oeuvre and looking for a way in, ‘Illuminated by the Moon’ was recorded in October 2016 at the Alvin Lucier 85th Birthday Festival at the Zurich University of the Arts and spans pioneering classics such as ‘I Am Sitting In A Room’  thru to his recent piece for Stephen O’Malley and Oren Ambarchi, ‘Hanover’. Along with a fistful of rare works, it adds up to an unprecedented, overdue survey of Lucier’s cross-disciplinary efforts in locating the metaphysics of sound in minimalism, and is arguably the most crucial boxset of 2018 alongside Roland Kayn’s immense ’Simultan’ session.
In deliberate depth and detail, ‘Illuminated by the Moon’ highlights Lucier’s intersections with pivotal contemporaries including Joan La Barbera and Charles Curtis, right up to his work with disciples such as Sunn 0)))’s Stephen O’Malley and virtuoso minimalist Oren Ambarchi, each proving, where needed, evidence of a deeply focussed yet open-minded approach to the phenomenology of acoustic sound.
From ostensibly simple units of sound Lucier extrapolates incredible, otherworldly dimensions, using various extended techniques and recording methods to probe ideas of auditory and musical reception and perception. In historical context, he wasn’t the only artist doing so back then, as the likes of Steve Reich with ‘Come Out’, or his group mates Gordon Mumma, Robert Ashley and David Behrman in Sonic Arts Union also explored hybrids of text/speech/composition, but Lucier’s work stands out for its enduring patience and subtle playfulness in its transformative transitions of texture and tone, highlighted here in his liminal, tip-of-tongue take on ‘Nothing Is Real (Strawberry Fields Forever)’ , and the absorbing roil of his percussive piece, ‘Music For Solo Performer’ .
As with the most recent work on show, including ‘Hanover’ and a number of modern compositions from 2002-2016 with Joan La Barbera and young American cellist Charles Curtis, Lucier’s work has only grown more intently focussed and transcendent over the years and has quietly shifted the understanding of what music can be; laying a mark on history and the expectations of nearly everything to come, while radically expanding the field.
Neatly whisked, warm electro-dub froth from 7FO, waddling and bobbing in space between Jackson “Tapes” Bailey, Sugai Ken, Lolina or Steven Warwick instrumentals, or the lysergic wibble of Black Zone Myth Chant.
"7FO: pronounced “nana f o” in English, “nana” being seven. Ryu no Nukegara: “dragon’ s husk” . These are the only difficulties you’ ll encounter here. This is warm, friendly, very relaxed music, very “understandable” and yet intriguing, sure to appeal to fans of electronic ambient, dub and chill-out music, as well as artists like Haruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx and Tapes.
The Osaka-based 7FO combines groovily sparse electronic percussion with similarly sparse dub-feel synth bass, as well as pentatonic synth and steel pan melodies, the latter with an intriguing Okinawa/Sunda/Malay feel. Sparkling dub-influenced processing and thoughtful mixing gives us a music which is trans-oceanic, warm, and enveloping. Following releases on RVNG, Bokeh Versions and Metron, Ryu no Nukegara is available on digital, CD and 12” LP, featuring a suite of four tracks and the 20-minute title track, whose titular dragon is Asian: a potent symbol of water, strength and good luck.”
Dark Entries chart Italian band Polaroid’s transition from melancholy new wave to darker industrial pop with reissue of their 1984 debut accompanied by 4 bonus tracks recorded c.1987, shortly before they split. RIYL Sisters of Mercy, The Cure, Red Lorry Yellow Lorry
“Polaroid were an Italian post-punk/new wave band, formed in Turin in 1981. The original lineup of the band consisted of Marcello Zavatto (voice, guitar), Massimo Vagnarelli (bass, drum-machine), Evandro Fornasier (guitar), Claudio Vagnarelli (synthersizer) and Marco Farano (Drums). Polaroid made their debut with the cassette 6-track EP ‘Senza Respiro’, self-released in 1984. Influenced by Bauhaus, Joy Division, The Cure, Pere Ubu as well as Chic and Talking Heads. The music was dark and cold, but also melodic especially with regards to guitars and voices. At the end of 1984 the band added vocalist Michele Cantoblundo while drummer Marco left and was replaced by a Roland TR-909.
With Michele began a period of very dark and poetic music, influenced also by bands like Red Lorry Yellow Lorry and The Sisters of Mercy. The band peacefully broke-up in 1987. This vinyl re-issue of ‘Senza Respiro’ contains all 6 original songs with 4 bonus tracks from the band’s later period. All songs have been remastered by George Horn at Fantasy Studios.”
Banging, rugged Japanese folk with shiny, PC Music-like trap updates by Clark Naito. Another beauty on the brilliant EM Records!
“Kizaki Ondo” is a folk song from Nitta Kizaki town in Gunma, north of Tokyo. Played annually by local performers at the Bon-Odori traditional summer dance festival, it features unabashed lyrics about prostitution along with a rhythmic drive sure to appeal to fans of contemporary electronic genres as well as aficionados of traditional musics. The first track is a wildly echoing vocal version recorded in 1980, redolent of humid summer nights; the second track, recorded in 1981, is an instrumental version, both by the Kizaki Ondo Preservation Society. The other two tracks are extensions of tradition, with Tokyo-based producer Clark Naito’s 2018 revisions of “Kizaki Ondo” providing trap-inspired interpretations, with a vocal version using the original lyrics, along with a sweet instrumental take.
Japanese folk song research team formed by Mood Yama and Takumi Saito. They are resident DJs at the renowned party "Soi48" at Be-Wave, Tokyo, featuring music from all over the world. They produce the Japanese folk song mix-CD series entitled "Riyo Mountains Mix" and also direct the reissue series of Japanese folk music on EM Records, including the releases "Yumi-kagura", "Sakai Ishinage Odori”, and "Kizaki Ondo”. Riyo Mountains have appeared as DJs at many events/programs including NTS (London) and Japanese Bon-Odori traditional dance festivals. Their articles about Japanese folk music are now published serially in the Japanese web magazine “boid"."
Seekersinternational do heavyweight dub abstractions and lysergic G-funk for the brilliant Boomarm Nation.
Far less frenetic or cut-up than their recent jaunts, ‘Lost & Found Vol.2’ arrives 10 years after the 1st volume to offers some of the stickiest, most humid and synthed-out gear in their arsenal.
On the A-side’s ‘Friendly Weight’ they daub splashy, psychy synth funk on a wobbling boogie dub flex shook with wooden shakers and smoked-out for the slow dancers. The B-side’s ‘Dub Squeeze Yuh!’ follows in suit with ruddier dubbing, sending the OG synth lixx scudding into the ether around a dazed dub axis.
Originally released on Fetish Records in 1981 as a mini album, Seven Songs topped the indie charts and immediately established 23 Skidoo as a groundbreaking musical force on the post-punk landscape.
Miscegenating Afrobeat voodoo and American psychedelic funk with harsh Industrial electronics, traces of Exotica and wrenched tape FX, it stands out a mile from its era and can be rightly called a seminal record. Its creators Fritz Catlin, Thom Heslop, Sam Mills, Alex Turnbull and Johnny Turnbull were mostly under twenty years of age at the time of recording, and their youthful energy and tastes were subtly corralled by the production cabal of TG's Genesis Breyer P-Orridge and Peter Christopherson, together with master studio engineer Ken Thomas.
Ever since, many, many heads have waxed lyrical about the importance of this album, not least Simon Reynolds and Paul Morley, but it simply is one of those albums that needs to be uncovered by each successive generation looking to become aware of what's been done, in order to move forward. This is the first time it's been officially available on vinyl since 1984, and it's hugely recommended.
"Remastered, this deluxe set contains an additional 35 minutes of material, including cult single The Gospel Comes To New Guinea/Last Words (issued on 12” in 1981) and their only radio session for John Peel, broadcast in September 1981 and featuring four exclusive tracks never recorded elsewhere.
Following the release of Seven Songs, Skidoo issued a series of hugely influential records fusing post-punk, dub, industrial, world and hip-hop styles, including the singles Tearing Up The Plans, Coup and Language, and albums such as The Culling Is Coming and Urban Gamelan. In 2000 the group returned with a self-titled album, 23 Skidoo, and in 2015 issued a soundtrack album, Beyond Time, a documentary film by Alex Turnbull about his artist father William Turnbull."
Temples of Jura roll out a synthy doozy with Fernando Pulichino’s cinematic debut as Filmico.
After releasing records for the past 10 years on modern disco labels including Bear Funk, Internasjonal and Gomma, Argentinian multi instrumentalist Flimico now commits to a classic late ‘70s/early ‘80s soundtrack style flush with warm analog synths owing much to the influence of Carpenter, Badalamenti and Johnny Jewel.
It's done with exacting amounts of emotive push and pull, coming riddled with evocative arps and bristling with bittersweet melodies that beckon eyes shut and a montage-like dream sequence to play out on the back of your ‘lids.
After 25 years out of print, Julee Cruise’s 2nd album, produced by Angelo Badalamenti and David Lynch, is finally pressed to vinyl by Sacred Bones. In case you’ve never heard it before, the vibe is as languid and dreamy as you could hope for, with highlights in the carmine noir of ‘Up In Flames’ and the subtle industrial underpinnings of ‘Until The End of The World’. Just unmissable late night music…
“25 years after its initial release, Julee Cruise’s sophomore album The Voice of Love is being issued for the first time on vinyl as a deluxe 2xLP, and returning to print on CD. In 1992, after the release of Twin Peaks: Fire Walk With Me, David Lynch, Angelo Badalamenti, and Julee Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love. “In the studio, David would always say ‘[sing] like an angel, like an angel…” Cruise remembers.”
Cult slab of hybrid Japanese new wave, disco, avant synth-pop and electronic funk from 1981 Japan, dished up for a first vinyl reissue by Switzerland’s WRWTFWW Records. Strange, lingering echoes of ‘70s prog spill into the ‘80s, landing somewhere between David Bowie and Haruomi Hosono...
“WRWTFWW Records is deliriously happy to announce the reissue of the 1981 self-titled album from cult Japanese duo Colored Music, available on vinyl (housed in a Stoughton tip-on sleeve) and digipack CD, with liner notes by digger, curator, connoisseur, writer and legend Chee Shimizu.
An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie’s Berlin Trilogy with a psychedelic Haruomi Hosono touch. From the groovy post-punk glam title track to the proto-house dance floor killer "Heartbeat", Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of.
Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi “Ponta” Murakami (Pacific, KI-Motion by MKWAJU ensemble, collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono…) Kiyohiko Semba, Tamio "Doyo" Kawabata, Pecker (Pecker Power recently reissued by Rush Hour) and Tatsuhiko Hizawa.”
Ahhh yeahhh, this tape edition features the whole album on the b-side slowed down to half speed...
On the expanded tape edition of Bloodline, Steven Julien a.k.a. Funkineven explores a charmingly personalized sonic ontology under his own name for the 2nd time following 2016’s self-titled album, continuing to come into his own with a wickedly expressive meld of jazz-fusion and machine music inspired by his ancestry and written in tribute to Roland founder Ikutaro Kakehashi.
Bloodline is concerned with paying dues to Steven’s ancestral roots, but it’s also an acknowledgment of influence of new age synth styles, Japanese electronics and the history of East London raving, adding up to a sound that’s brilliantly timeless and distinctly his own.
It’s a sort of hauntological soundtrack, if you will, traversing in a range of jump-cuts and fades from the filmic synth atmosphere of Hunt to a killer 303 + Linn drum combo in Roll Of The Dice, and ruggedly debonaire electro-bass on Bloodline, before swerving hard into mutant jazz-funk with Apache. The vibe then takes a super sweet turn with the percolated electro-funk of Queen of Ungilsan, and wraps up with the classicist ‘80s boogie-meets-new age strokes of Temple Rd.
Originally released on the Phono label in 1995/96 the ‘Parts’ series from Matthew Herbert are a much loved collection of house tracks that sound just as original and bold today as they did when they were first released.
"This series of 12”s were part of an early wave of exploratory dance music that paved the way for the deep house that still works its magic on dance-floors in 2018 some 25 years later. The mix of Herbert’s playfulness alongside expertly grooving production and unusual sounds makes this unique collection of work. The odd few tracks aside this is the first time that these releases have ever been repressed. All newly remastered for this reissue series, the releases include stone cold club classics such as ‘Deeper’, ‘Take Me Back’, ‘Resident’, ‘People That Make the Music’ and ‘See You on Monday’"
Kim Cascone supplies another ‘90s ambient dream sequence to Astral Industries with a first vinyl edition of ‘In A Garden Of Eden’  following last year’s ‘Lunar Phase’ reissue.
Originally realised at Cascone’s Silent studios in San Francisco for the Space Age Lounge, “a technomystical chill room in Goa, India”, his Heavenly Music Corporation debut is a typically balmy affair awash with tranquil synths and threaded with tropical field recordings to gently levitating effect.
It sounds very much of its time hearkening back to an era when phrases such as “technomystical chill room in Goa” were bandied around without irony, to a time of innocent MDMA experimentation and ISDN video links, right at the start of the internet, a utopian phase before it all went trip hop and everyone spent evenings waiting for webpages to load. Didgeridoos were very popular, too.
To be fair, you probably had to be there or else that period becomes a smudge of cliches as above, but it’s hard to fault the vibes and aura of Cascone’s recordings on ’In A Garden of Eden’. From the gentle swirl of cowbells and circular berthing synths in ‘Cloud Structure’, thru the patter of tropical rainfall in ‘Ambient To Be Here’, to the erotic gasps and ambient techno thump of the record’s title track and Steve Roach’s concluding acididgeridoo excursion, this album is pure paneer, but not without its nostalgic charms.
Curious combinations of dry East Midlands vocals with mutant computer electronics by Dane Law...
“Gary Myles (Of Habit, Spoils & Relics) and Adam Parkinson (Dane Law, Quantum Natives) combine microphone, objects and computer in their first collaboration, Empty Gesture. Unsettling ambience is struck through with Of Habit’s monotone, almost demented spoken voice. Dane Law’s jittering software recycles and accumulates, offering patterned beats and digitally crusted soundtrack. It’s both welcome and unwell. Data everywhere and yet nowhere, just passing through us, warming.
Merge sort takes advantage of the ease of merging already sorted lists into a new sorted list. It starts by comparing every two elements (i.e., 1 with 2, then 3 with 4...) and swapping them if the first should come after the second. It then merges each of the resulting lists of two into lists of four, then merges those lists of four, and so on; until at last two lists are merged into the final sorted list.
Of the algorithms described here, this is the first that scales well to very large lists, because its worst-case running time is O(n log n). It is also easily applied to lists, not only arrays, as it only requires sequential access, not random access. However, it has additional O(n) space complexity, and involves a large number of copies in simple implementations.”
A collection of valuable passages recorded by The Durutti Column between 1979 and 2011 for various iterations of Factory Records, including poignant tributes to manager/mentor Anthony H. Wilson.
“The Durutti Column was Tony’s baby,” says Durutti mainman Vini Reilly. “We were the first act signed up to his Factory club night, and the first band signed to Factory Records. Tony became my mentor, somebody to look up to. He was a very tough character, yet he was very gentle. He had many sides. The biggest arguments with Tony were that he wanted to stop me singing with my schoolboy lyrics and my dreadful voice.”
Reilly’s music remains resolutely unclassifiable, and sounds better and better with each passing year. “Don’t listen to the form,” he insists, “listen to the content. Don't listen to the style, the tradition, the technique, just the content of the music. Then judge. People say The Durutti Column is this or that. I don’t care so long as we make good music. There's so much good music around. Don't bother with form. Just enjoy.”
Jazzy 1977 rework of a traditional Japanese wedding song, backed with Visible Cloaks’ weightless ambient electronic remix
The 1977 version was conceived by Jazz man Jun Arasaki and his group Nine Sheep, and executed in one take (this recording) on five sanshin, four winds, piano, bass, percussion and drums for a TV broadcast. It’s somehow solemn yet joyous in a slow and stately way, with lyrics describing how “beautiful buds unfold”.
Fourth World inhabitants and dreamers Visible Cloaks remix ‘Kajyadhi Fu Bushi’ in their own image, resulting a diaphanous, gauzy swell of harmonised synth chorales infiltrated by playful ghosts in the machine and weft with elusive traces of the original vocal to sound like a Google deep dream reverie of the real thing.
Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson in Jethro Tull. Jean Cohen-Solal tells a different story, richer and centred on the instrument itself, using the magic (yes, that again) of overdubs.
“In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theatre, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie!
The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes libres. A magic which can be keenly felt on "Quelqu'un", a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette.
Perhaps Paul Horn rather than Roland Kirk could be an influence, but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, "open music" by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources.”
Jerman Gazz guys Max Graef and Julius Conrad on a super fruity fusion flex for Funkineven’s Apron Records.
Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations. One for fans of Tom Jenkinson, Kaidi Tatham, Herbie Hancock, Jimi Tenor.
Bonkers, plugged-in Estonian folk and electronics from the 1980s, courtesy of Olev Muska, a recent star of Left Ear Records’ ‘Antipodean Anomalies’ compilation.
Working a stylistic niche perhaps comparable to recently surfaced reissues of NSRD’s art-pop and the synth fantasias of László Hortobágyi, the sound of Olev Muska - the son of Estonian refugees from WWII - was inspired by a need to articulate traditional Estonian music with a new, modern accent whilst preserving the culture his parents and the network of Estonian expatriates had brought to Australia.
Drawing on his studies at Sydney’s National Art School, as well as a love of psychedelia and the possibilities afforded by cheaper, newly availed synths and vocoders that complemented the stripped down, ‘runic’ nature of Estonian music, Muska reframed traditional Estonian folk songs in an unprecedented way, with results that range from novelty to freakish experimentation, often in the same track.
To our ears it sometimes sounds like cyber ceilidh music, and at others like teenage witterings after smoking banana peel, but for all the daftness Muska’s music can be commended on the strength of its innovation and wide-eyed innocence, and particularly for its dancefloor-ready aces such as ‘Eidekene Ketrab’ from his Elektrio band, and the nippy wedding music update of ‘Tantsi! Tantsi!’.
Giulio Aldinucci's ambient masterpiece of sublime beauty and sacral majesty.
"Giulio Aldinucci's is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena. He wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens".
"Borders And Ruins", his first album for Karlrecords, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty."
Choice reissue of Ende Shneafliet’s lesser known, electro-dubwise project, King Ende Shneafliet, on the long-running cult label Trumpett and Interstellar Funk’s Artificial Dance.
As heard on the reissues of Ende Shneafliet member Hanjo Erkamp’s Dr. Stein project, his ‘Dimension 1’ outing is packed with absorbing details and turns go phrase, but this time on a woozier bent inspired by King Tubby as much as the gremlins in his machines.
Beautifully mastered from original tapes for full bodied impact, the long overlooked results are a genuine oddity in their field, crossing lines between dark but dippy synth-pop in the ‘Introduction’, to recall a prototypical John Maus in the hissy thizz of ‘Champagne’ and hit a killer, juicy downstroke in the slow-mo, vocodered electro traction of ‘I Came To Dance With The Bride’.
There’s also peachy bits of free-floating synths in ‘Classical Reverb’ and ‘Drei Männer Im Shnea’ and an unmissable dark electro slug called ‘What’s Wrong?’, all makign this a bit of a must for synth wave diggers looking for classic new thrills.
Reinhold Friedl’s trio of complex and quietly arresting works for string quartet, Quatuor Diotima, and bespoke software lands on vinyl via Poland’s Bocian Records. Some of the strongest, exceptional Friedl gear we’ve heard since turning on to ‘Inside Piano’ , no less
“Reinhold Friedl’s string quartets do not pretend to be string quartets: they are anti-Goethe. There is no sophisticated conversation of four elder gentlemen, sitting in arm chairs. The music is physical work for the performers and intended to be physical pleasure for the listeners. All three quartets are based on the same idea: smooth transformations from a given texture into another one. The random-driven details vary between the pieces and the parts of the pieces. Meanwhile Reinhold Friedl developed a software in the frame of a PHD project at Goldsmiths University London to help him modeling these texture transpositions.
STRING QUARTET NO 1 (2005 dedicated to Anton Lukoszevieze, commissioned by BBC London) is focused on a ghostly sound choreography, made possible by a strange choreography: instruments are only bowed in circles. These simple movements combined in an asymmetric rhythmical structure causes complex soundscapes, that tend to develop to a certain final state, and they do, driven by a hypnotic force.
STRING QUARTET NO 3 (2016, dedicated to Pierre Morlet, commissioned by G((o))ng Tomorrow Copenhagen) can be listened to as a reference to some modern string quartet sound. Famous chords and melodies are quoted and hidden in their pure quantity. Sweet sugar music. An essay how to compose a decrescendo without a culmination point. Slowly and precisely slip away, ending nowhere.
STRING QUARTET NO 2 (2009 for Quatuor Diotima, commissioned by the French State for the Festival Les Musiques in Marseille, France) is written for Quatuor Diotima as a sportive piece. After a charming beginning, it becomes more and more a physical challenge for the performers, playing tremolo almost without break, to get the music to the final grooving rhythmical end: get out of my face !”
In our opinion Broadcast's masterpiece, easily one of the finest albums ever released by Warp, and generally one of the most quietly important and perfectly formed albums of the last two decades.
At the point where Broadcast could have easily self-combusted after the departure of half its members, the remaining duo of Trish Keenan and James Cargill instead went on to write their most stripped down and unusual album. The palette was shocking at the time; reducing their rich, cinematic tapestries to a bare-boned arrangement of drum machine, guitar and synth - far removed from the widescreen wonders they were known for. It’s a conceit that should have seen them fall flat - it’s been tried a million times - but instead the reduction allowed the songs themselves to shine. And boy what songs they are; once heard - never forgotten.
Alongside The Other People Place's Lifestyles Of The Laptop Cafe, Tender Buttons surely stands as one of the greatest and most overlooked records in Warp’s arsenal, and for so many of us here personally - a genuine lifechanger.
Penultimate, 5th Stage of The Caretaker’s ‘Everywhere At The End of Time’ series charting severe levels of musical/mental deterioration and sensory detachment through four extended, smudged and hallucinatory side-long pieces.
As we near the end, ‘Stage 5’ sees our protagonist enter a near-permanent state of confusion and horror. Mirroring the endemic deterioration of dementia’s latter phases, were pulled through the most extreme entanglements in the series so far; repetition and ruptures, barely maintaining a connection to waking life and a sense of self.
In the most classic sense, we become witness to an abandonment and dissolution of ego, as the mulch of bygone ‘78s totally loses itself in a way that connotes misfiring synapses failing to properly relay information at advanced levels of the disease.
It feels as though our skull is being scraped out, uncovering hellish layers of accreted sensation and mulched imagery, occasionally recognising calmer patterns, only for them to fray into the ether before it’s possible to parse and dwell on them.
At this point it’s also perhaps worth pointing out the uncannily profound synchronicity between the timelines of ‘Everywhere At The End of Time’ and Brexit, which both started in 2016 and are due to wrap up in spring 2019. It should be no stretch of the imagination to read into their parallel progression from nostalgia and historic/collective amnesia, to progressive dementia and complete obliteration of (the) sense(s).
Rasping’ power n0!se pop from Sarah Froelich, Philip Best and Russell Haswell a.k.a. Consumer Electronics
On the A-side they follow suit with both Russell Haswell-produced albums, ‘Estuary English’ and ‘Dollhouse Songs’ with a combo of pinched pulse and oblique noise torque applied to an obliterated cover of The Band’s ‘The Weight’.
B-side with ‘Hostility Blues’ they switch tack to let Russell rip loose with chrome-tearing synth gremlins and sustained high register tones pinning Sarah Froelich’s possessed shrieks into place.
“President’s Health Club, USA. Time to plot a hazy progress from Al’s Spa Tub Motel to the Free Speech Cafe before termination at Pilgrim Drugs. Sahara Sue’s been diagnosed with ‘Closing Down Syndrome’ and has retreated ghost-like to a queasy mirage of bleached-out condos and multi-lane freeways basking under great wheels of light.
Long hours in dim warehouses scanning shelves and trying not to notice the declining shadow or gathering rot on display. Airless back rooms piled high with stacks of handwritten pages, academic journals and unfathomable tracts - ‘Human Remains Index,’ ‘Keep Christ in Chains,’ ‘Mortuary Therapy Explained.’
Outside the use-of-force team waits primed. She remembers a childhood visit to Atmosphere, the highest restaurant in the world, maybe from up there she did, in fact, look down and see a plan to it all. How blessed and fragile and perfectly planned everything truly was. The floor tips down and away. For the Jane and John Does. PB / Austin, TX 2018”
Twysted post-techno/noise torque from Chafik Chennouf, owner of Amsterdam’s Leyla Records, and Japanese techno explorer Katsunori Sawa
“Rapid conglomerations of noise-techno, death industrial and musique concrete rear their ugly selves over the six tracks of "For The Mimics'.
After a long period of collaboration Chennouf and Sawa-san release a seamless collection spun through their vast knowledge of the previously mentioned genres and their studiously detailed work as individual musicians on Leyla, Weevill Neighbourhood and Voidance.
They are joined by David Foster (HUREN, Teste, Ontario Hospital) on the closing track Inner Scars, barely a touch of ointment following the earlier onslaught.”
Anthoney J Hart a.k.a. Imaginary Forces a.k.a. Basic Rhythm a.k.a. East Man pushes a scowling Hi Tek take on hardcore ‘nuum styles for his newly minted label.
It’s basically instrumental grime pushed into the red, working between the 8-bar swerve of ‘Twilight’ and the aggressive jaws of ‘Future Tek’ on the front, before the boisterous Breakstep lash of ‘Nose Bleed’, and rounding out with the dank presha of ‘Mash Head’.
Luke Slater on rugged manoeuvres as L.B. Dub Corp for Stroboscopic Artefacts
Built for the long run and big rooms, ‘Roar’ gives a strident, bass-swollen start to the session which also takes in the sidewinding electro-acid-dub torque of ‘Hard Wax’ and the serpentine swerve of ‘Sure Step Dub’ with its killer, pinging woodblock percussion.
Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit ‘The AT’s’, along with Bristol based singer Debbie Marlow.
"Neil’s Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine ‘L’Uomo Vogue’. After winning the Bristol ‘Battle of the Bands’ in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in ’83 and released their first single ‘Just My Love’ released in early 1984. The second single was ‘Make It Real’ and was never released as the band were culled from the EMI roster in late ’84.
For this reissue of their debut single we’ve added 3 bonus tracks, a demo of “Just My Love”, the unreleased follow single “Make It Real” and a bedroom demo “Erotica.” Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band’s archive. “We’re synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.”Umo Vogue."
Founding member and co-creator of ‘Aiwo rec.‘ DJ Normal 4 delivers Second Circle’s eleventh release to date with the EP ‘Exoticz’ .
"Raised close to Düsseldorf in the Ruhr Area, Normal 4 grew up amongst a landscape of dusty factory skeletons and abandoned machine complexes in a formerly thriving industrial conglomerate. Bringing his signature sound of broken industrial dreams mixed with escapist rave fantasies, Normal 4 delves into the archives with two tracks ‘Kalaidoka’ and ‘Aeo’ recorded around 2011/2012, alongside a new track ‘La Arabia’.
Produced at Altstadt Studio Mülheim an der Ruhr, with Normal 4’s good friend Anke Preuß on guitar and vocals, ‘Aeo’ is given the remix treatment by Phillip Otterbach on the ‘Aeo (Ottertasia Mix)’. On the B side the synth freak out ‘Kalaidoka’ is followed by ‘La Arabia’ which rides the breaks into a dusty moonlit desert rave."
Second vinyl edition of a super in-demand Scando disco session from Sasac on Malmo’s Fasaan Recordings
It’s not hard to tell why the first edition is trading for triple the price on 2nd hand markets - ‘Future Disc’ is a carefully plotted beauty drawing from myriad stripes of classic African and Afro-American disco, boogie and Italian cosmic styles, but trimmed to svelte perfection at every angle, leaving vocals out of it and instead focussing on lissom instrumentals licked up with very tidy guitar and synth chops and natty drum machine shuffles.
Tokyo industro-dub mutant Mars89 flings down a killah 3rd disc for Bokeh Versions with a handful of grizzled dub abstractions and sawn-off 8bit samples inna classic soundsystem style.
Cutty Ranks is sacrificed to the cranky jaws of opener ‘End Of The Death’, where ‘Run To Mall’ follows with a shuddering halfstep hingeing around sawn-off sci-fi film samples and militant steppers drums.
‘Visitor From Ocean’ offers a moment of respite, but with an underlying tension that could erupt into soundsytem warfare or descend into dread depths at any moment - canny mixing tackle - before ‘Random Coherence’ ups the pressure with swaggering EBM/dancehall percolations, and he ducks between railgunning hi-hat and snare crossfire in the decimated no-mans-land of ‘Throbbing Pain’.
Industrial techno beasts Dave Foster (Huren) and Richard Oddie (Orphx) double down on their O/H project with a 2nd set of ramrods delivered on their L.I.E.S. debut.
They ain’t messing about. A-side they lace up the stentorian vocal and bludgeoning EBM techno of ‘Media Blitz’ and the gravelly slosh of ‘Supply/Demand’, again with barking Industrial vocals.
B-side they spit out ‘Human Waste’ and the slow motion pump of ‘Wage Slave’ along with the embittered cry of ‘Poverty Line’.
Debut dread declarations from Nazamba, a fire and brimstone dub poet out of Kingston, JA, produced by G36 for The Bug’s Pressure label...
Heralding Nazamba’s forthcoming full album with France’s O.B.F. sound system, ‘Vex’ sounds the alarm with apocalyptically gruff vocals set to pulverising production from Nagasaki’s anarcho-dub collective, G36.
“The spirit of Prince Far I reincarnated, riding a sci-fi steppa that relentlessly aims to flatten all floors. Nazamba's angry rant against the global epidemic of morally bankrupt, indelibly corrupt politicians, is a straight shot to Babylon's head…”
Features new, exclusive recordings by Stuart Hyatt, Dan Deacon, Juana Molina, The Field, Pantha du Prince, Eluvium, Dntel, Kaitlyn Aurelia Smith, Gazelle Twin, Visible Cloaks, The Album Leaf, Loscil, Matmos, Rafiq Bhatia, Paul de Jong, Julien Marchal, Mary Lattimore, Lali Puna, Lusine, B. Fleischmann, William Tyler, Nick Zammuto, Lullatone, Benoit Pioulard, Luke Abbott, Marcus Fischer, Rafael Anton Irisarri, Greg Davis, Player Piano, Prototokyo, Daring Ear, Enrique Ramirez, and Forrest Lewinger.
"Metaphonics: The Complete Field Works Recordings is a sprawling anthology of site-responsive music, imagery, and original text, spanning 7 vinyl LPs and a hardbound book. Inspired by Stuart Hyatt’s audio field recordings, musicians from around the world have contributed complex sonic narratives under the Field Works banner. Each album begins with Hyatt’s samples and soundscapes from a particular time and location, weaving them into musical phrases and ultimately into song cycles intended to give the listener a heightened and more nuanced sense of place."
For the few people lucky enough to have heard the entire album in the five decades since its release, the mythical Popera Cosmic LP is now considered to be France’s first dedicated psychedelic album and the shrouded blueprint for the hugely influential Gallic concept album phenomenon that followed, including Serge Gainsbourg’s ‘Histoire De Melody Nelson’ and Gérard Manset’s ‘La Mort D’Orion’.
"Spearheaded by François Wertheimer (songwriter for Vangelis, Barbara and Byg Records), composed with future Jodorowsky soundtracker and genius all-rounder Guy Skornik and based on an embryonic concept co-conspired by a teenage Jean-Michel Jarre, this instantly-deleted 1969 recording is a true essential for any outernationalradicalised record collection.
With credentials that mark the birth of the cosmic funk (later disco) that helped shape the influential sound of France today, this album also includes the first pressed instrumentals by members of Space Art, some of the best orch rock arrangements by William Sheller (Lux Aeterna, Eriotissimo) and orchestrator Paul Piot (Jean Rollin), as well as sitar psych benchmarks courtesy of uber legend Serge Franklin - all pinned down by the rhythm section that would later be known to prog aficionados as Alice.
Subtitled ‘Les Esclaves’ (The Slaves), this street theatre / rock opera (influenced by the work of Julien Beck’s Living Theatre) now celebrates its 50th birthday standing firmly as a sonic tome to the birth of the no-no era (that rebuked France’s ‘yé-yé’ hamster wheel) leading directly to the thematic progressive network of Wakhévitch, Manset and Magma while comprising an inter-Gallic intergalactic super group from the early annals of France’s pop psych revolution. Imagine a rock opera where the cast of Mister Freedom perform ‘Clash Of The Titans’ at the foot of The Holy Mountain - then pinch yourself."
Includes fold-out A3 liner notes of an interview among Celli, Niblock, and Susan Stenger, plus original recording notes. Housed in tip-on style jacket
Phill Niblock’s riveting and rare work for Joseph Celli sees necessary and long-awaited reissue on the amazing Superior Viaduct, who continue to carefully and studiously unfold the history of avant-garde and experimental music before your ears. ‘Niblick For Celli’ is nothing short of stunning and life-affirming music, extremely transfixing and powerfully meditative. Play loud - it really comes alive with amplification!
“Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Notion To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.
The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.
Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.
This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.”
Breathless dance music for robots, produced on SuperCollider by Forces for Berlin’s ace Conditional label
Taking cues from Boston Dynamics prototype ‘dog’ bot, and the strange empathy humans feel towards a military creation that will probably kill you one day, Forces flips that idea on its bonce to posit and answer the question: “why can’t we make robots to rave and dance instead of fight our wars?”
Across nine tracks Forces supposes a music that would drive robots to the most dazzling feats of acrobatic expression, and likewise the more daring humans on the dancefloor. The results range from what sounds like double speed flashcore to next level takes on the hyper funk of VHS Head and the disruptive patterns of Rian Treanor.
We’ve genuinely wondered why the fuuck nobody has ever designed a dancing avatar that reacts in realtime to rhythm. We’d love to see what such a thing would do to this music.