Aaron Coyes and Indra Dunis are in fine voice on their summer-ready 5th LP of psychedelic dub-pop
“Peaking Lights’ 5th album titled, "The Fifth State Of Consciousness", is a double LP produced in Peaking Lights’ Dreamfuzz studio over the last two years. It’s both a departure from the new and a return to the old with a whole new twist on the psychedelic dub-pop they’ve become know for. The Fifth State Of Consciousness is an exciting listening experience invoking a story of overcoming the shadow to rise above and painted with otherworldly sounds. It’s a 12 song 2 Disc nearly 80 minute journey, where the album takes precedence over the single. Each of the 12 songs is a story and together form the larger narrative that is the album as a whole. Thru all its peaks and valleys the larger arc of themes within The Fifth State are about dreams, loss of innocence, strength and seeking an enlightened state of being after trials and tribulations.
Sonically the double album shifts through many states from beginning to end, resonating deep, like a drive thru foreign landscapes where you’re glued to the window as everything slowly changes around you. The flow and pacing of songs has a sense of wonderment and each time you play it there’s a whole new batch of lovely sounds and eccentricities within each of the players. While bringing together their love of Psychedelic music, House, Electronic and Reggae each song manages to live it’s own life and yet still there is some magical thread that binds them together.
Produced by Aaron Coyes, the whole creative process was filled with nerdy gadgetry, playful experimentation and deep alchemical soul searching for a musical medicine. Aaron describes Dreamfuzz as “a small junkyard with many happy mistakes”. Using tape machines, writing melodies backwards then playing them in reverse, layering sound upon sound to create “pads”, literally breaking electronics to get sounds, and a strict motto of “anything goes, pure creativity”. Most sounds were run thru Peaking Lights’ 1976 16/8 Soundcraft Series Two mixing console (the same type of board used by Lee ‘Scratch’ Perry at Black Ark, and at the infamous Cargo Studios where many of the early Factory Records bands were recorded) to add some “mojo”. It’s an album that is sure to be a creeper even if you don’t fall in love on the first date.”
A reeel gem of found art on this rare, lost recording by Morteza Hannaneh, co-founder of the Tehran Symphony Orchestra. Made sometime in the 1960’s for Tehran Radio, the recording had long been thought lost until it was recently found on tape by Hannaneh’s grandson who has now pressed it to vinyl. A proper find this, aided by some handsome artwork by Thomas Jeppe, a noted artist familiar with Persian culture.
Without definitive records to go from, Tschashm-e-Del was presumably recorded in the ‘60s (certainly pre-revolution) and quite possibly broadcast on Radio Tehran. Now restored from the original reels, it reveals a gorgeous and important suite of music set to a Ghazal - an ancient Arabic ode, or poetic expression of the pain and beauty of love, loss or separation - written by Hatef Esfehani, who was a famous Iranian poet of the 18th century.
The ghazal deals with the founding principles of Sufism and monotheism through a love story between Hatef and a Christian girl, with Morteza Hannaneh’s musical arrangement matching the specific rhyming structure of its ancient classical form, itself rooted in tradition stretching back to at least the 10th century, whilst also incorporating string elements of western orchestration relating to Hannaneh’s background in composing for cinema.
It’s the kind of music you might expect to turn up on a Folkways or Dead-Cert release and has expanded our musical horizons, drawing parallels with everything from that magical Dariush Dolat-Shahi Electronic Music, Tar and Sehtar album, to Daphne Oram’s own radio play work. It has a strangely eerie quality, in part due to the worn and weathered recording, but also perhaps due to the fact it captures a place in time that’s long since faded into our collective memory...
Second volume of definitive label statements from Logos & Mumdance's Different Circles label, with six exclusive tracks from the label bosses plus Fis, Shapednoise, Yamaneko, Inkke and Sharp Veins.
Mumdance & Logos cut deep into the uncanny valley between grime, noise and ambient musics with the shockingly diverse Weightless Volume. 2, volleying five tracks from label fammo FiS, Shapednoise, Inkke, Sharp Veins and Yamaneko, plus the duo’s own, frankly massive Cafe Del Mar zinger.
With the label still hot from the Mumdance & Logos Presents Different Circles mix CD, this EP touches base with five new artists whose individual sounds have been crucial to the make-up of Different Circles’ club sets and on Mumdance and Logos’ respective Rinse FM shows ever since their label’s inception.
You couldn’t ask for a stronger indictment of where Mumdance and Logos are right now than Cafe Del Mar; an outstanding piece of work stacking lush modular synth pads to the rafters and socked with cavernous, inverted kicks, forming the closest you’ll ever get to a weightless sunset anthem from these two original nuttahs.
Trust their bandmate in The Sprawl, Shapednoise, to twyst hard away from that sound with the invasive contortion of Deep Core Consciousness, which feels like the first efforts of communication from a neural network of heavy machinery, and is proceeded by the impeccably smooth contours and thizzing glassy licks of Yamaneko’s Shadow Temple.
On the B-side, Kiwi producer FiS follows his exclusive contribution to Mumdance’s Fabriclive 80 mix with a deviant diffusion of the elements in Angels Of The Water Table, while Glasgow’s Inkke shoots from the hip with the blinding hi-wire hooks of Pioneer on a boisterous, beatless grime flex, and Alabama, USA’s Sharp Veins holds a bittersweet suspense to the edge with his dizzying mini string symphony, Already Bones.
Max Richter initiates Rough Trade’s Behind The Counter… series of mixtape/compilations with a smart survey of his tastes drawn from the records Rough Trade sell on the shop floor.
As you might hope for, or expect, its a refined mixture of canonical classics, post rock and contemporary electronic composition, ranging from pieces by Charles Ives, Lucio Berio and Rachmaninov, respectively, to work by Low, GY!BE and Mogwai, and the likes of Aphex Twin and Boards of Canada.
Airhead makes an overdue, beguiling reappearance with Kazzt for Different Circles’ collectible 12” series, backed with a wickedly crooked, flashcore-referencing remix by the label’s co-founder, Mumdance; his first remix in several years.
The insectoid, near psychoacoustic dynamics of Kazzt makes up Airhead’s most intriguing piece to date and also a sterling follow-up to his recent beat for Trim’s comeback on 1-800 Dinosaur - the label run by his peer and bandmate, James Blake.
Kazzt nimbly reduces his previous productions to an almost monotone, sloshing rhythm, siphoning off cultural signifiers to swoop and dissolve in its own abstract club dimensions.
Mumdance’s remix, his first in five years, reduces Kazzt even farther in line with Different Circles’ open-ended aesthetics; crisply defining and dividing its muscular-skeletal structure with concatenated flashcore kicks and weightless musique concrète punctuation to ‘floor shocking impact.
Weight-watchers special request from Logos for his and Mumdance's Different Circles label, backed with a blistering remix by their bandmate from The Sprawl, Shapednoise. The 'Glass EP' is perhaps the most extreme example of their self-coined "weightless" sound, communing the ghosts of UK hardcore, noise and ambient electronica in a dread-filled quartet of mindful killers. Opening with the pensile mesh of smashing foley, lashing mentasms and scything breakbeat impulses in Logos' cyber-dub, 'Glass', Shapednoise wrecks the thing with deft, calloused hands, swirling the mentasms deeper into thickets of eviscerating noise and abyssal bass subsidence. Providing relief, the B-side renders a lushly darkside ambient tingle with the icy UK scape of 'No Skyline', and 'Savanna Overlord' increases the temperature with what sounds like a extended, tantric intro for some Digital or Goldie classic off Metalheadz. Massive platter!
Wot do u call it? "Weightless, m8". The UK's most vapourous dancefloor mutation becomes a hyperstitious thing thanks to Logos & Mumdance's Different Circles label with this killer 7-track 12" starring themselves beside Boxed regulars, Inkke, Murlo, Dark0, Rabit and Strict Face. Taken quite literally, 'Weightless' is a sublimation of instrumental grime's classic tropes, diffusing the coiled, slippery templates of early Danny Weed and Wiley riddims into neon clouds of digital piff smoke; floating beyond conventional club/home listening schisms by transmuting grime's perceived aggression and momentum to a sort of feminine pressure and pensile hyper-stasis enabled by current production techniques. If that sounds a bit dry on screen, the results are actually hugely sensual, revelling in pointillist electronics and spatial dynamics from Mumdance, Logos and Rabit's hyper-prismic collaboration, 'Inside The Catacomb' thru the aching synthetic emotion of Dark0's 'Sweet Boy Tears' and the oily tessellations of Murlo's 'Geist' in a way that lucidly resonates with the ultra-modern aesthetics of Lars T C F Holdhus, Lorenzo Senni and Mark Fell. A must.
The UK / US grime dialogue in full flow on the 3rd action from Mumdance and Logos' Different Circles label. Rabit soars beat-less across the A-side with 'Tearz', a weightless vision of gleaming, Michael Mann-esque synth arpeggios infiltrated by vocal idents recalling Elysia Crampton's collage style. A real scene setter waiting to blend in-the-mix. UK's Strict Face mans the flip with a sadlad treat entitled 'Into Stone' - which was apparently signed within 15 minutes of Logos and Mumdance hearing it. The roadwise melancholy of classic Ruff Sqwad meets slo-mo 2-step in the original, whereas the Widows Version dries out the drums for a proper, end of night tearjerker.