Split session of psychedelic excursions on Den Haag’s Bakk label
Bear Bones, Lay Low chase up their encrypted outing with the No ‘Label’ on ‘Dissolve Into The Night’, a 15 minute traverse of expansively widescreen desert psych with trundling caravan groove and a sort of ancient Aztec atmosphere.
Don’t DJ takes even longer on ‘Rag for Rudolph Rocker’, and again it’s not not about the destination but the journey, as he plays out myriad permutations of bustling, polymetric patter stealthily layered up with non-standardly tuned horns and woodwind in a way like Hassell and Reich emulating tropical breeze dynamics.
Dead solid breakbeat techno-house from Glasgow institution Wheelman, backed with an unmissable 313 electro-jit mix by D.I.E.
Following the angles of his 12”s for Studio Barnhus and Belters to tuff, deeper conclusions, Wheelman meshes rolling house heft with deep techno pads and ruder breakbeat chops on the wobbling bass axle of ‘Signal’, which D.I.E. refits as a percolated Detroit electro ace with funked up bassline and perfect 808 snare crack.
Wife and Mumdance wed Black Metal and power electronics as Bliss Signal with a whelming debut for True Panther Sounds
No half-stepping here, as both artists go all-in with the bludgeoning force and apocalyptic guitar noise of ‘Bliss Signal’, and again with ‘Swarm’, whereas ‘4AM Drift’ tends to a needling BM guitars and desiccated ambience with a knife-edge tension.
Chris Watson divines ghosts in The Moog Sound Lab’s System 55 machines, following in the footsteps of Jamal Moss, Mika Vainio and others on the Blue TB7 series
The eminent sound recordist and erstwhile member of Cabaret Voltaire here shifts his focus from capturing birdsong for David Attenborough to impressionistically document human animals in their natural, urban and industrial environments on ‘Locations, Processed’.
Attuned to the subtleties of everyday listening life, Watson intercepts and reframes sounds from undisclosed locations, almost imperceptibly processing and layering those isolated scenes into a sort of stealthily hypnotic dramaturgy of hyperreal, intra-dimensional scope.
Quite simply, it’s required listening for any and all field recording enthusiasts and industrial dreamers.
Silkie brings a dubstep drama to Deep Medi
One of the scene’s most singular artists, Silkie plays deep into and out of the now-classic mode with the brassy pomp and evil swagger of ‘Impervious’ leading to a very canny switch up into spy funk themes.
Flipside, ‘Reevea’ catches him updating the style with skittish trills and churning subs in a stunning sort of broken beat-electro-jungle twiss-up, and the pizzicato strings and 2-step tic of ‘Egyptian March’ come off like a stray instrumental grime bullet that’s just begging for a bolshy vocal.
The godfather of Afrobeat and the Finnish funk freak go to town, well Cafe Oto to be exact, on this live recording, featuring Allen using a prototype, drum-triggered Moog to devilish effect
“SEPT 2016. The Moog Sound Lab’s first trip out for a live session at Café Oto’s project & café rooms. Jimi Tenor, finnish futurist, shako & Warp Records confederate, jazzed, funked, far-ra’d out. Tony Allen – original drummer to Fela Kuti – Godfather of the Afro-Beat.
These two titans of the beat strange -fed & watered through the mighty Moog Sound Lab via a prototype future sound systems drum trigger unit built & operated by UK moog minder engineer Mr Finlay Shakespeare. New sound universes emerge, collide.
Explosions & implosions make sonic debris. Cosmic dancers prepare to be run ragged by a feral ‘tronic funk that brings to mind early ‘D.A.F” [Deutsch Amerikanische Freundschaft].”