CPU keep the levels ticking with Tryphème’s debut album, Online Dating, presenting a suite of heady electronic atmospheres and clipped braindance torque in a classically romantic ’90s style
“Introducing Tryphème aka Tiphaine Belin a Machiniste / Synthesizer-friendly artistfrom Lyon, France. With a style already being compared to the much lamented output from the Merck label, Belin brings things right up-to-date with her unique blend of melody, super tight vocals and syncopated drum arrangements.
Fun, optimistic and technically stunning, the album is an amazing journey into new wave intelligent dance music. Her approach to each track see's her effortlessly traversing styles, linking harmonies and creating emotive dance rhythms equally suited to a big room as they are to chill-out.
Belin's genre categories for the album hooked us in without even hearing the tracks; healthy-tronica, break-kiss-tronica and happy-synth to name a few. Fans of Plaid, μ-Ziq and Mrs Jynx - this one is for you.”
Umor-Rex platform present another entry into the Driftmachine replete with a startling 10 minute Shackleton remix.
Andreas Gerth and Florian Zimmer’s detailed exposition of modular synthesis as Driftmachine has become one of the main reasons to plug into the transmissions from the expertly-curated Umor Rex. Presented as a fourth Driftmachine album of sorts, Radiations pulls together remixes from Shackleton and Ghostly Intl affiliate The Sight Below along with some new studio material from the Berlin duo and previously-issued Driftmachine cuts.
Umor Rex smartly bookend the album with Shackleton’s remix of Radiations and Driftmachine’s original version. Extended to twice the duration of the original, Shackleton’s remix is rife with those trademark snaking, rhythmic exoticisms. After several recent vocal projects, it’s nice to hear him back focussing on warping minds with his instrumental prowess.
The Sight Below remixes the new track, Vermiform Burrows, with both versions occupying differing strata of the dub-technoverse. Also included is the fizzing modular steppa Call Mr. Moriba, originally a digi-bonus on their debut LP and now pressed on vinyl for the first time.
Mister Saturday Night Records look closer to home with south-east USA-based Alex Falk’s four tracks of raw, wiggly techno, deep house and blunted ambient.
The lit lead line of Anjuna possibly betrays his past as a psy-trance producer, whilst Girl grips the raw house zeitgeist, Love trades in by-numbers deep house chords and kicks, and Yas drifts off into smoke.
Killer technoid constructions from Frans de Waard, also known as Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop & Peter Duimelinks), Zebra (with Roel Meelkop) and various solo projects, as well as founding Korm Plastics and Audio.nl
Joshua Eustis (Telefon Tel Aviv) and Turk Dietrich (Belong) reprise the recursive dynamics of Second Woman with two starkly contrasting new cuts in E/P, backed by terrific remixes from Jlin, and Greek dub techno architect, Fluxion.
In I they trigger a chain reaction of ricocheting electrodub plongs that shudder themselves out of energy into a black hole breakdown and build back up a knotted throng that practically defies the laws of physics. On the other hand II offers a gentler example of that hyper-pointillist style, nimbly string in the gaps between Mark Fell, Gábor Lázàr and Rian Treanor styles, but with lusher atmospheres lingering from second Woman’s previous projects.
We could have added Jlin to that list above, who also appears here with a devilish remix of VII harnessed the dub chaos in a lip-bitingly tight flux of chords and inimitable triplets, whereas Fluxion plays nice with the wistful chimes and ductile dub structure of his CC remix, which appears to have been recorded next to a sunday league footie match.
On a war-footing for 2017, Michael Wolkenhaupt’s Ancient Methods swangs three devastating wrecking balls of industrial EBM techno on the first sacrifice to Persephonic Sirens.
The First Siren remorselessly sustains AM’s golden streak of 2016, kicking off with an ambient pause for reflection before committing the breathtaking torque of pendulous bass drums and sky-collapsing noise with Born Of Ashes, then locking off to the rictus darkwave riffs of I Am Blazing Sound for the mission-heads, and cantering like a mechanised Arabian steed over crushed skulls and spattered intestines with Now Come Closer.
Cop a copy and insert your own fantasy. This is so fxcking strong.
The new self-titled record - the next record after ‘Emotional Mugger’, ‘Manipulator’, ‘Sleeper’, ‘Twins’, ‘Goodbye Bread’, ‘Melted’, ‘Lemons’ and the first self-titled album that started it up in the now-distant year of 2008 - is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end.
"Ty Segall has made whole records that wrestle with realities - fighting against some, pulling mightily to bring others into being. Of late, he’s thrown up his hands and donned clown shoes, dancing merrily in the dual role of oppressed / oppressor. His hands aren’t any more or less dirty than anyone else’s but amidst the thunder and the chaos of theongoing storm, he’s looking for the eye within.
It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s ‘Slaughterhouse’ (from way back in the long, hot summer of 2012) but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colours high up the pole in an act of simple self-reclamation. The construction and destruction of his chosen realities has, until now, been a luxury Ty has rightfully reserved for himself, striping overdubs together to form the sound. For this new album he entered a studio backed by a full band - Emmett Kelly, Mikal Cronin, Charles Moothart and Ben Boye - to get a read on this so-called clarity. This leads to a new departure in group sound, as well as some of the most visceral and penetrating vocal passages yet heard from Ty Segall.
‘Freedom’ / ‘Warm Hands’ puts the ‘sweet’ back into suite; ‘Orange Color Queen’ is a supreme moment of tenderness; ‘Talkin’’ a rootsinfused truth-attack; ‘Papers’ looks behind the doors of Ty’s process; ‘Break A Guitar’ is a brutal fun-fest pitched to the back of the house. Ty Segall keeps you guessing, bracing your skin with a welcome astringency, seeking to stem the bleeding with chunks and splashes of guitar, tight beats, audio-verité toilet smashes, a Wurlitzer electric piano in a jam, blazing harmonies and lots of songs to sing."
Manni Dee lays down the law at a ruthless 144bpm with the pelting hardcore techno of London Isn’t England feat. Ewa Justka, and again like DJ Rush’s hyperactive sibling with Mekhi, leaving the black hole ambience of Adorable Disorder to bring your swede back down.
The flagship mix series from !K7 ropes in the Ghostly techno troubadour for a 25-track selection that includes Pearson Sound, SMD, Randomer and some Dear/Audion exclusives.
Dear follows his first Audion LP in yonks for !K7 with this edition of the German label’s DJ-Kicks, which features the regulation exclusive material from the artist himself. Kicking off with a mawkish slab of modern classical from poster boy Nils Frahm proves to be something of a false start as the subsequent 47 minutes veer closer to the funk-addled house, skippy oddball minimal and spinal techno reductions you’d expect from Dear.
Seefeel’s Mark Clifford and Scott ‘Loops Haunt’ Gordon bring their Oto Hiax project to camp Mego on this self-titled album.
A project that's been in sonic gestation for six years, we just knew Mark Clifford and Scott Gordon’s Oto Hiax collaboration would deliver on something more substantial than the sole EP they self-released in late 2015. The promise shown on that four-track release, One, the deft balance between the two practitioners respective artistic approaches, is blown open wide on this debut album for Editions Mego.
Clifford and Gordon never rest on one stylistic facet here, coaxing you in with the angelic feedback of opener Insh before deploying chewed up left turn after mangled left turn to leave the listener dizzy yet eager for more. Their crunched up glass approach to free jazz on Eses Mitre recalls Up In Flames-era Manitoba, opening up to a real delight of a midpoint section of the album that draws for blissful waves of feedback on Creeks and the downbeat Autechre-does-electro-acoustic abstractions of Thruft via the Villalobos-meets-Rashad Becker-isms of Bearing and Writhe.
More of this please.
London’s Discrepant continue to plot their own path with this inspiring document of contemporary Portuguese music, including contributions from the always excellent Negra Branca and a bunch of hugely interesting artists we've not come across before. Huge recommendation.
With recent transmissions covering imaginary soundtracks, Mike Cooper reissues and a suite of Buddhist prayer loops, we’ve become accustomed to a sense of surprise and delight with each Discrepant release. Still, the label have us enraptured with Antologia de Música Atípica Portuguesa, the first in a series of compilations that sheds light on the various strains of modern sonic experimentation throughout Portugal with ‘an (un)characteristic foot in the past musical traditions of the country.’
A loose thematic framework will bind together each edition of Antologia de Música Atípica Portuguesa, with this inaugural volume exploring o Trabalho (work songs). If you thought the dancefloor cross pollinations on Lisbons’s Principe suggested Portugal was a musically-exciting place right now, this collection blows that notion wide open.
Gnod’s Negra Branca scores an early highlight with the hazed, xylophone-blessed new age of O Espatelar do Linho, whilst Yong Yong’s Rodolfo Brito surfaces with a rare solo outing as Luar Dominatrix with the pastoral field recording manipulations of Bocadinho de Alentejo. Brito’s solo project also features on one of two contributions from Gonçalo F. Cardoso’s Gonzo alias, whilst Porto duo Calhau! Impress with the freeform electronic spatter of Pecunibal, especially the vocal aspect which is reminiscent of Senyawa at their most elastic
Quarta 330 aka Toru Koda from Tokyo has a long relationship with Hyperdub, dating back to 2007 when he remixed Kode9 in his own then-unique 8-bit dubstep style. In 2017, with ‘Pixelated EP’, his music has evolved and accelerated; this set of detailed, energetic chiptunes makes you take notice. It has all the hallmarks of what makes Quarta’s music unique and exciting with a fierce sense of fun.
"The EP kicks off with ‘Resonate 3’, perhaps the melodic highlight of the set, with an open-hearted, jazz fusion-like tune that Yellow Magic Orchestra would be envious of, and shivering chords set to a sparse, rattling beat. ‘The Fairies Homecoming’ reaches back to his dubstep roots with its reggae offbeat, but this time the reggae feel is matched with hyper-speed drums, reminiscent of early jungle.
On the flip, ‘Yatagarasu’ bends whooshing, emotional chords and a bright snaking melody against stiff kick drums and deep bass, while ‘Digital Lotus Flower’ is pounding and energetic with complex low-end bass and drums reminiscent of a heavy rain shower, tearing out to a stuttering bleeps and chords. The ‘Pixelated EP’ is just a taste of the new batch of Quarta 330 goodness on the way.”
New album from Richard who seven influential albums as the leader of French space-rock pioneers Heldon in the 70s, with a further five solo records before his six-year break from music in 1982.
Since returning to the form in the 90s he has been prolific, collaborating with such luminaries as Merzbow, Yoshida Tatsuya, Oren Ambarchi, Barry Cleveland, and Wolf Eyes.
First-generation American Primitive guitarist Richard Osborn studied with Robbie Basho in the late 60's. 40 years later, Osborn finally recorded, appearing on Tompkins Square's 'Beyond Berkeley Guitar' comp in 2010.
'Endless' is his first widely available solo guitar album. "[Osborn has] an unhurried, quiet spirit of adventure, a love of ringing strings and slowly revelatory meditations on the natural world."- Acoustic Guitar "He's a student of mine and he's better technically than me or Fahey." - Robbie Basho
Soul Jazz’ new journey into the mighty vaults of Clement Dodd’s Studio One steps once more into the fertile musical environment of Jamaican music in the late 1960s and early 1970s, from the sweet harmony vocals of seminal 1960s Rocksteady right up to the nascent birth of Reggae and Roots music at the start of the 1970s. Sleevenotes to this album are by Steve Barrow, author of ‘Rough Guide to Reggae’ as well as Soul Jazz Records’ own ‘Reggae Soundsystem Cover Art’ books.
"While Ska at the start of the 1960s had taken American rhythm and blues as its main influence, Rocksteady focused on the emergence of American Soul music – with Jamaican vocal harmony groups such as The Gaylads, John Holt & The Paragons, Carlton & The Shoes showing a particular fascination with the close harmonies of Curtis Mayfield and The Impressions and other US soul acts. Here The Heptones even feature with a cover of Bob Dylan’s ‘I Shall Be Released’.
The influence of Soul music on Jamaican rock steady and reggae is almost palpable, so much so that one wonders how much more successful singers like Delroy Wilson, Alton Ellis, Slim Smith and John Holt would have been had they been born in Chicago, Detroit or Memphis
Artists such as Alton Ellis, Delroy Wilson and Owen Gray defined the era – a slowed down beat as Jamaican political and social heat slowly increased as the 1960s progressed into the start of the 1970s – and the music evolved further from rock steady into roots reggae.
The 100% Silk worms keep the underground nourished with reprocessed classic house vibes, marking the milestone of 100 releases with highlights in Donny’s spiritual melter, Roses; a balearic freezer from Helios Mode; and the perfect mid-tempo poise of Keita Sano. Here’s to another 100...
“To commemorate the label’s catalog centennial 100% Silk spread its threads coast to coast and station to station for 11 faded blazers and future classics from a fresh cast of characters spanning Okayama to Berlin, England to Echo Park, Boston to British Columbia. Despite such distances the rhythms run parallel: lithe, low-lit, lush, and lost in sense memory. Sensate Silk swirls 75 minutes of smeared neon house, glitter decadence, skyscraper shuffle, flatliner acid, lovesick loops, mutant pulse, rave reverie, and tactile electronics into an expansive voyage of motion, mood, and meaning. Roster includes: Keita Sano, Cromie, Sage Caswell, Inoue Shirabe, Jack Novin, Donny, Badia, PARC, Helios Mode, Nackt, Westcoast Goddess. Defend the dream; feel the feeling."
Tribalised dubstep from Rinse FM’s Nomine and grime/dubstep OGs, Macabre Unit.
Run straight for the rudeness of Nomine’s Grimy Tribe at the front, then the Okzharp-compatible dipper World Of G feat. Japanese (?) bars by MC Duff, and the boisterous Red Stripe Riddim killer from MU.
"The best ambient album i've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty" David Stubbs, Melody Maker, 1997
Biosphere's 'Substrata' is a rarely topped pinnacle of the '90s ambient canon. On its 18th birthday, the album's producer Geir Jenssen's Biophon label treats it to a subtle facelift at Pole's mastering desk, reanimating the still-mindblowing likes of 'Sphere Of No-Form' in all their captivating and frost-bitten wonder.
As far as end-of-the-world isolationist music and sound design goes, this album remains one of the most affective we've ever heard. Essential listening for fans of the cold, life-affirming music of Thomas Köner, Mika Vainio, or Deathprod.
Complementary to D∆WN’s Redemption album, Fade to Mind proffer the expansion pack for her Infrared EP, exclusively produced by Kingdom and bolstered with remixes from the full label roster.
The four originals sit pretty with highlights locked in on How I Get It and the free-floating R&B-jungle hybrid, Baptize, and all provide prime source material for the remixers: Leonce absolutely wins out with his rugged re-bounce of How I Get It and likewise Byrell The Great, following his killer RiRi rework with a sticky, raving ballroom reboot, whilst Divoli S’vere goes in on a junglist/ballroom mutation of Honest, Ikonika alloys scooping subs to Paint It Blue, and Kingdom skilfully turns his own work inside out with his Honest VTX take on Baptize.
Ostgut come full circle on their 100th release which sees Berghain heavies Dettmann and Klock team up for a double pack of spectral techno.
Way back in 2006, a fresh-faced Marcel and Ben stepped up to deliver Dawning, the very first Ostgut Ton release as Dettmann | Klock, laying the foundations for a style of techno that has come to define the past decade.
Forever a label with a sense of ceremony, Ostgut commemorate a centenary of records with the first Dettmann | Klock productions in ages on this Phantom Studies double pack which for the most part delivers on their knack for crafty techno tools to delight the faithful. There are, however, a couple of exceptions here that refreshingly poke fun at the stern Berghain techno stereotypes.
On The Room, Dettmann does his best Darth Vader impression against some faltering electronics that sound like a modern-day CH BB, whilst Klock advertises his ‘knob tweaking’ capabilities (amongst other things) on the deliciously tongue-in-cheek spoken word acid fumble of “Prophet Man”.
Mick Wills/Isabella Venis and DJ Fett Burger juice extended remixes of Hunee’s debut album tracks for Rush Hour.
On the front Mick Wills stretches Hiding The Moon out for a supple, hypnotic darkwave ride that rumbles and tunnels to a stoically heroic synth climax; DJ Fett Burger heads the opposite way with a rolling, expansive breakbeat house remix of Cross Roads in a Boss Brain Computer Mix full of swerving edits and etheric chants, before getting off at a brilliant tripped outro.
Fresh from his duties on the new Shirley Collins album, Cyclobe and Coil’s Stephen Thrower meets David Knight (Arkkon, Shock Headed Peters) on their 4th album as UnicaZürn, luring us into deeply abstracted ambient dimensions following the themes of two self-released albums on uZu Music in 2009 and 2013, and more recently Omegapavillion (2016) for The Tapeworm.
In two seamless parts, breaking down to three movements each, the duo source inspiration from their local environments - Knight on the banks of the Thames, Thrower on the East Sussex coast - to conjure a lop-sided parallel dimension plotted out along uniquely dissonant scales and melted meters which are perhaps best described in terms of brownian motion and laws of alien, otherworldly physics.
The distant glow of classic deep-space sci-fi soundtracks decays in the background against stereo split dimensions of amorphous mystery, cleaving the head between searching tendrils of plasmic synth in the three parts of Breath the Snake, or, in the sections of Pale Salt Seam, like the schizoid mind of a character in Jeff Mills’ recent album cycle who’s attempting to come to terms with the fact they are trillions of miles from any form of life.
Formed while members of pop noise group Golden Grrls, Rachel Aggs and Eilidh Rodgers release their debut album as Sacred Paws through Glasgow’s Rock Action Records.
The album features 10 short but very sweet infectious guitar pop tunes.
Aksel Schauffler a.k.a. Superpitcher delivers the first instalment of his 12-part album, The Golden Ravedays - which is just 12 singles really, isn’t it?
Swollen concepts aside, he pulls off a mean mix of burbling Silver Apples psychedelia and Hailu Mergia vibes in the ten minutes of Little Raver, then puts a slow, velvet-clad donk on it with fourteen minutes of effortless, hypnotic chug in Snow Blind.
Clarian toes the finest line between euphoric optimism and blue, melancholy feels in his partner piece to the playful tech house styles found on Mission To Bars (2015).
Ankh goes chin-first into the night with camp, strutting bassline, sparkling synth-pop leads and lush pads to the ‘floor beam; Old Miami is more brooding, twisted and shifty, like a blue inversion of what came before it; Alienated finds him stretching out on a kinked and supple swing compatible with current London deeptech, but much plusher, almost baroque hooks.
Ariel Pink makes an ever-welcome return to the fray in collaboration with Weyes Blood - the ethereal, operatic vocalist and former bass player for Jackie-O-Motherfucker - in a quartet of impeccable chamber pop and AOR aces for Mexican Summer.
Make sure to check the medieval Enya vibes of Morning After!!!
This summer, Mogwai’s Stuart Braithwaite, Slowdive’s Rachel Goswell, Editors’ Justin Lockey and his brother James came together to release their debut album as Minor Victories. Currently in the midst of a run of live shows throughout Europe, the band are pleased to announce their utterly stunning instrumental interpretation of the self-titled record, entitled Orchestral Variations.
Rolling, mystic Atlantic house jackers and Detroit electro aces from Portugal via Holland.
At The Gates Ov Futon drapes misty-eyed pads on chunky toms and fierce claps for the Legowelt effect; Drexciyan Aquarium trades in crisp, melancholy 313 electro, done darker in Poseidon’s Dream; and Intergalactic Communication gives it up to the early morning spirits.
Infectiously pendulous dance trax from Soda Plains, arriving hard on the heels of an excellent 2nd LP, In Tongues with a ‘floor dedicated sound DIY’d on their eponymous label.
The swanging claps, kicks and dandy string slashes of She Has All Kind Of Temperatures swagger and parry in a unique gap that sits sonically between London grime and Lisbon ghetto sounds off the Príncipe label. On the flip, Rodeo drops down a few gears to a sort of baroque dembow bounce with combusting 8-bit chords burning into the ether. If Palmistry and Fennesz made tracks together, might sound like this one.