Extrended/alternate and original versions of incidental music and sound design from the new series of Twin Peaks...
For many this will be the most exciting musical artefact from the new series of Twin Peaks so far, including some of the most evocative and eerie sound moments from the new series.
Included is an extended version of the "Cymbal Wind” that prefaces the Twin Peaks theme every episode, as well as that highly fucked up “Electricity’ effect and Caretaker-esque "Interior Home by the Sea”. This is really sound design of the highest order, if you’re a Lynch freak or indeed into anything from Deathprod to Demdike Stare, this will blow your mind.
Dennis Bovell performs an outright dub murder 'pon Glasgow's always-brilliant Golden Teacher at The Green Door. Bovell reduces a new cut, 'Instigator' to a heaving 100bpm mass of prickling, rocksteady drum machine pulse, spooling keys and dread vox destined for the heads of the rebels in the best dances. Flipside, 'Like A Hawk' (lifted from their 'Do Not Go Gentle Into That Good Night' 12") gets shook up to a 111bpm patter, coming off like a hydro-charged update of Carl Craig's refit for the Congos - one of our favourite all time 12"s. Totally indispensable gear.
‘Absolute Zero’ is Moses Boyd’s second solo release, a thrilling fusion of cosmic mind-flight above the London grime.
"EP opener ‘After Tomorrow’ rocks like a poly-rhythmic Madlib cut. ‘Square Up’ is frenetic and urgent, holding a mesmeric jungle pace. ‘Sirens’ sizzles with tension. ‘Absolute Zero’ is like an oblique reference to grime-father Wiley’s ‘Ice Rink’."
The long-awaited debut release by yung new producer Croww for The Death of Rave, somewhere between a mixtape, imagined soundtrack and demonstrative showreel pieced together from a Slipknot sample pack used by the band’s Craig Jones on their landmark debut album and highly recommended if you're into Autechre, Rabit or Total Freedom.
The severely gurned and kerned result is the Prosthetics (MechaMix) unique to the vinyl edition, and four constituent Prosthetics, featuring the original samples painstakingly dissected and assembled in uchronic form to suppose an alternate history of the last 20 years of pop and subcultural phenomena, one where rap metal is dissolved and alloyed with the extremities of grindcore, flashcore, late ‘90s D&B and hypermodern rap instrumentals. Safe to say it sounds like naught out there right now.
Gestated from the seeds of a conversation after 2015’s Moss Side carnival, Prosthetics has grown into a sort of hybrid golem via intensely scrupulous sessions spent panning the original sample pack for flecks of precious, vantablack metals. In the process it became as much a study in coming to terms with formative influences as an exercise in sui-generis sculpturing, effectively forming a noumenal sidestep around the sub-cultural phenomena of Slipknot’s (like it or not) landmark debut record - an album which, at the time, sent shockwaves thru teenaged suburban bedrooms and the kind of clubs you could then get into with a fake ID.
With the benefit of hindsight, Croww has acknowledged and figuratively taken those early influences on a vector that few would have imagined back then. From the record’s early warning of “...they’re doing something rather curious with the parts of the body, in a way we don’t fully understand…” the piece buckles and convulses in a reticulated series of wretches and spasmodic yet disciplined blast beats as much associated with Columbian paso doble as the pitching meter of La Peste’s seminal flashcore tracks or grindcore proper. Samples from Iowan public access TV are mutilated in the strangely brittle yet mercurial mix, whose Black Metal-debted pallor is unpredictably lit up with flashes of shellshocking psychoacoustic treatments in a complex, sci-fi style dramaturgy punctuated by abyssal lacunæ and intensely detailed cues.
To be honest, The Death of Rave was never into Slipknot at the time, yet it was hard to ignore their ubiquitous presence if you were at all inclined to look beyond prescribed chart chaff. But, as the business end of late ‘90s house and trance has become a de facto club soundtrack in 2017, Slipknot’s awkward outsider legacy deserves some polish and attention.
Croww has turned Slipknot’s cultural cadaver into a polysemous mutant that works as a brutalist DJ tool, or indeed as an introductory mixtape/imagined soundtrack boldly expressing the artist’s individuality, which feels deadly important in an age swamped by mimetic clones blindly chasing empirical populism on one hand, or all too happy to wallow in staid ideas of nostalgia on the other.
It's a beguiling reminder that there’s always a third hand, a third track or third path.
Definitely not your average punk posturing, Naomi Punk are messing with original formats in genuinely intriguing ways here, full of detuning guitars and melted, off-beat rhythms, but still with that innovative, eat-yourself gnash that made punk rock what it was. Check!
“The 25 tracks on ‘Yellow,’ conceived as a 2XLP double album from day one, were self-recorded steadily throughout 2015-2017 at various locations. Much of the material was derived from what the group called ‘The Scorpion Suite’, a state of mind reached only by the alternative version of Naomi Punk they call ‘The Scorpions’ (disambiguated). Many ‘Scorpion Sessions’ were conducted by The Scorpions, each member performing their predetermined roll in a project half-aspiring to the register of licensing music, half-aspiring to musical novelty.
Integrated into the album are glimpses of live recordings, sounds of equipment being pushed around, hard rock sample libraries, sounds of the flapping wings of the album’s host (“I Found My Angel Wings” is embedded in thematic variation throughout), windy field recordings, emulsive synthetic woodwinds, a busted car stereo, a few four-track acoustic ballads, and more than a few puzzles and jokes.
If Rock and Pop music are instruments of the Neoliberal period, then they must be repurposed and reorganized. Not just formally, but politically. Coincidentally, the structure of ‘Yellow’ (in spite of the so-called difficulty of its 2xLP format) is no different than recent confessional documents from Frank Ocean, Solange, Kendrick, etc., thus owing much more to the Pop format than its length would suggest. 'Rock' and 'Punk' have become so conservative that they are rendering themselves obsolete as they fail to provide new ideas and solutions for anything other than 'self-expression' and fake posturing. The ‘Yellow’ structure constructs a three-dimensional listening experience, and while it does not pretend to know all the answers, it at the very least (and perhaps most importantly) posits a serious alternative.”
Fracture’s first volley of 2017 is a fierce set riding the razor edge between footwork and jungle; triggering the Addison Groove-like rush of Cold & Rain feat. hardcore diva-style vox from Inaya Day beside the jump-up Shy FX pressure of Your Time on the A-side.
B-side he switches tack to a more clinical modern D&B sound with the tech chops of On My Mind and a scuttling, glitchy halfstepper with Fracture and Alix Perez called So High.
After Burial’s lead, Regis makes Mønic’s Deep Summer more febrile with a cloven-hoofed rework of the devilish techno roller, Regret Was Never So Sure. No mistake this is some of the strongest work yet on Osiris Music Uk from all involved.
Mønic sets the darkside precedents with Regret Was Never So Sure across the A-side, charging up its nervy, dancing bones with overproof bass surely indebted to his D&B days, before rottie-bark lashes steer it into to the darkest corners of the park, where the sun has gone down, and the rottweiler morphs into cerberus-headed beast that’s fucking coming for ya.
Trust Regis to harness that vibe into his mongrel mutation of UK techno and D&B on the flipside, working uncannily well at either the intended 33rpm, 128bpm original mix resembling his Blood Witness Versions, as well as on 45rpm, which sounds more like a Ruffhouse or Pessimist juggernaut at 180bpm.
Add in Mønic’s super wide ambient halfstepper, Forbidden Memories and you’ve got a real doozy of a 12”.
Soul Jazz Records’ new release ‘Soul Of A Nation: Afro-Centric Visions In The Age Of Black Power - Underground Jazz, Street Funk & The Roots Of Rap 1968-79’ is released in conjunction with a major worldwide art exhibition, ‘Soul Of A Nation: Art In The The Age Of Black Power’, which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.
"The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X and Martin Luther King and the rise of the Black Panther party.
Featuring ground-breaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness Of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, ‘Soul Of A Nation’ shows how political themes led to the rise of ‘conscious’ black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.
The ‘Soul Of A Nation’ exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States. Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane and Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O’Grady and Betye Saar. Stuart Baker (founder of Soul Jazz Records) will appear on the panel for a ‘Soul Of A Nation: Art In The Age Of Black Power’ discussion at the gallery as part of the show.
‘Soul Of A Nation’ comes with extensive sleevenotes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album format comes with full colour inners and bonus download code and full sleevenotes / photography."
Australia’s Cop Envy deposits his 2nd 12” of rugged, Kowton-esque drums and claggy vibes on Sydney’s Templar Sound following a debut for Opal Tapes’ Black Opal in 2016.
As Templar Sound have it, Cop Envy “submerges the pulse of Detroit beneath the ghosts of British hardcore.” in four tracks, getting into gear with the dank bleep rolige of Sshake, before sparking off a killer jungle tekno sound replete with flinty snares and shark-eyed reese bass on Head Mark, landing square between Demdike Stare’s Testpressings and Mumdance & Logos output.
With Kay he yokes back to a sort of swinging dark techno meets UKF sound akin to older Mosca 12”S, and checks out with the balance of romantic rave pads and hard working tribal shunt with Sister Chord.
Haven Discs play in the deep end of electro with Orbe’s Uniformity, channelling mystic Drexciyan and Claro Intellecto vibes into six raw yet plush works
Stepping between the wide bass and dusky chords of Somebody Bring Me Here, over the abyssal interlude Visceral Terror Intro and rolling Dutch muscle of Visceral Terro to saltier tones and direct in in Unexpected Dream’s Rave and the superb Derrick May nod of De Felipe’s World.
Xao comes thru strong on an intricately detailed debut EP with Astral Black
Bumping from the sublime tension of Devylz’ trap turbulence and lush synths, to the sloshing dembow/footwork flux of Karrakis and the weightless dimensions of Papi Ganoush, plus the classy, percolated choral arrangement of Lockjaw.
Lal and Mike Waterson’s 1972 folk-noir masterpiece ‘Bright Phoebus’ has long been recognised as one of British music’s legendary lost records.
"Following the parting of ways of The Watersons and freed from the strictures of folk orthodoxy, Lal and Mike Waterson’s love of words allowed them to serve the needs of their songs in ways that weren’t possible when singing already written songs.
Featuring performances from Lal, Mike and Norma Waterson, Martin Carthy, Richard Thompson, Ashley Hutchings, Dave Mattacks, Tim Hart and Maddy Prior, amongst others, the album is now recognised as a forward-thinking benchmark for the genre.
Fans include Arcade Fire, Stephen Malkmus, Billy Bragg, Jarvis Cocker, Richard Hawley - the latter two performed the record themselves in 2013 on the ‘Bright Phoebus Revisited’ tour. This will be the first time since its release that the album will be widely available. Under the supervision of David Suff (Topic/Fledg’ling) and Marry Waterson (daughter of Lal), the album has been remastered from the original tapes."
Upfront reggaeton bumpers from LA-based Dominican Kelman Duran, picked up for his debut album by Simone Trabucchi’s fantastic Hundebiss label - home to Lil Ugly Mane, Francesco Cavaliere and Jaws, among other notable outliers.
Revolving themes as diverse as unrequited love and the Haitian revolution, delivered in pitched-up autotuned vocals by NYC’s Mess Kid on Solos (based on Dominican-Puerto Rican singer Ozuna’s No Quiere Enamorarse) for example, the set expresses a sort of patriotism from an outsider perspective - both from the position of a Black guy in the Dominican Republic, and as a Dominican in the “sanctuary” city of LA during the Trump era.
That aspect follows thru in the “spiritual” tone of the album, with autotune and acres of reverb used to heighten the effect in a way recalling the use of autotune in North African arabic devotionals and street music and balancing out his rhythms’ putative prurience.
In other words it’s a killer set, emotive and heavily rugged where it matters, with fierce club gear such as the blown-out CULO, DEMBOW SUENA, the militant drill of Mobb Deep and the straight-sluggin’ Matarnos jostling shoulders and hips with Kamixlo or Florentino-like sweeties like 1984, PRIMERO, ULTIMO, the hymnal 6 De La Mañana and the tender burn of La Pared.
Technicolour give up four edits of a freely expressive session between Afro-cubist electronic producer Hieroglyphic Being, far-reaching percussionist Sarathy Korwar, and sax-tooting jazz-cat Shabaka Hutchings (Sons of Kemet, The Comet Is Coming) extracted from their live broadcast for NTS on the iconic Lightship95 Studio - a floating studio moored at Trinity Buoy Wharf, London.
We’re most partial to the EP’s delectably mercurial wonder, Dimensions Of Frequency & Vibrations, where all three beautifully move as one free, full spectrum unit, and then the loping psychedelic blow-out of Ashrams. A real head-full of fusion styles going on in this one. Don’t sleep!
" Our trek starts with album-opener “Winter Is Cold” which somewhat fi¬ttingly shares its title with the 1969 Wendy & Bonnie song of the same name. Bouncy, alternate ¬finger-picking marks a gentle beginning, safely and surely generating momentum while setting up the story through a frank quatrain The album title seems to refer to the contrast between what our elders tell us and the perspectives we form out of our own experiences. There's a vacillation between idealism and realism, and it expresses itself musically in the hairpin turns from gentle folk into brazen experimental flourishes, like on “Funeral Potatoes.”
The track opens with lilting, somber, Satie-esque piano, but at the halfway point, typical choices of song structure and transition are discarded in favor of a screeching, static-washed loop of violin and feedback that transcends the formality of songcraft, becoming something altogether more daring and collage-like. The more band-driven songs on 50 Million recall an early-1990’s style of production in the way chorus-twinged electric guitars and tight, papery drumbeats point our mind’s eye to the West Coast sunset, like on the mid-album standout “Gravy Days.”
Sallee decorates the background of most songs with hushed humming that could stand alone as a minimalist-ambient choral album, and when employed on her songs, elevates the ¬final product to an astral level. Sallee’s gift lies in pitting the familiar against the unexpected with a delicate assuredness, never compromising the one for the other. These kinds of debuts can sometimes feel like an over-promise of what is to come, but in the case of Caroline Says there's clearly plenty more thread to be unraveled. It'll be a pleasure to see where the next bus ride takes us."
Digital Soundboy’s in-house guy, Mark System rolls out hard on Exit
With the searing hardstepper, Break Glass; a natty 8-bit jump-up number named 600K; some evil Virus styles on Obnox; and darkside lash of Dissolve.
Wigged out, grubbing dub and rooted outernational styles from Mo Kolours, landing square between Ras-G and Clap! Clap! vibes
“Side A opens with ‘Cerasee Doctor,’ a classic Mo Kolours production. Hip Hop meets Dub Reggae, with a catchy vocal loop throughout, equipped with a healthy dollop of dub sirens – this one is sure to grace many a soundsystem worldwide! ‘Margoze’ follows and takes the listener on a journey to West Africa where cowbells and syncopated rhythms take lead whilst the distant sound of local dialogue blends seamlessly in and out of the mix, rooting it deep in its African foundation.
Side B begins with ‘Goya,’ which brings about a fusion of traditional Vietnamese folk mixed with snippets of slap bass to create a collage of worldly sounds – a technique synonymous with the acclaimed producer. The EP finishes with the title track ‘Meroe,’ where Mo Kolours once again effortlessly fuses ancient and modern sounds to create a dancefloor winner. Its up-tempo rhythm keeps heads nodding with it’s low pulsing bass line rumbling beneath, whilst tribal chants bring euphoric moments to the mix leaving the listener feeling positively uplifted.
In conclusion it’s a mini EP that packs a big punch! And most importantly it sees the return of a heralded music maker.”
Obligatory remix pack for Homemade Weapons’ Negative Space album
kicking off with the Hokusai-referencing intro and Horn Track stylings of his own take on Tidal Track, beside a sprit-clawing Ancestral Voices remix of Spasmolytic, the pent pressure of The Untouchables’ remix for Killing Moon, and Sam KDC’s grey area rewrite of Echoes.