XL Recordings release Nines’ eagerly awaited debut album ‘One Foot Out’. It follows his ‘One Foot In’ mixtape, titles informed by the desire to move away from street activity and towards the industry recognition he deserves.
"For those not familiar with with the most authentic name in London’s exploding underground scene, Nines hails from the Church Road Estate in North West London. Without the approval of the industry, Nines’ previous four music videos have amassed over 31.2 million views on YouTube. He has self-released four mixtapes since 2011 and his debut single ‘Yay’ sold over 30,000 copies - staggering figures that fully justify the hysteria surrounding Nines’ rap pedigree and which reinforce that this is no false dawn but a golden age for UK rap music.
In addition to the mixtapes and singles, Nines is also infamous for his ‘JD Sports Shutdown’ and ‘Turkey Shutdown’ videos (the former featured on Worldstarhiphop.com), which saw the rapper taking kids from his neighbourhood to JD Sports to buy them new trainers, as well as providing Christmas turkeys to those less fortunate to the whole of his Church Road Estate.
With production from the likes of Jevon (New Gen) and Menace (Desiigner’s ‘Panda’) and featuring guest appearances from Taylor Gang’s Berner, previous collaborator Tiggs Da Author, J Hus and Akala, ‘One Foot Out’ sees Nines stepping out of his comfort zone and displaying the depth of UK rap. His charismatic, laid back flow covers braggadocio on ‘High Roller’ (“Came through in the Audi you’re in that Honda Accord / All this gold got me looking like a Oscar Award”), soul searching on ‘I Wonder’ (“Wonder how all these guns get in to my area / wonder why they care about celebs instead of Syria”) and is filled with pop culture references (“acting like he’s shotting all that coke / looking invisible in the club like he’s got on Harry Potter’s cloak”), ‘One Foot Out’ is a statement of intent that should promote Nines into rap’s premiere league."
A packet of mesmerising and wincing off-road house and electro wigglers from Bobby Birdman, who is either BREW proprietor Robert Bergman in disguise, or feasibly Bobby Birdman from NNF. We’re not sure but it doesn’t matter.
Vibes are slack and endearingly messy, colouring out of the lines with the zig-zagging synths and percolated perfussion of Nancy’s Theme, then getting salty on the beat with the clattering Faded, and winding up at the cosmic noise tunnel of Mind Taker and sloping off on the hypnojacker, Wildin’ Out.
If you like Beau Wanzer, RB, the rawest L.I.E.S.; you might like this, too.
Patiently awaiting its go on the reissue carousel ’til now, Die Tödliche Doris’s inspiring, Blixa Bargeld-produced debut LP “ “  turns up on Superior Viaduct’s excellent États-Unis series to help join the dots and plug a gap in myriad NDW, art-punk and experimental collections - especially considering that original, 2nd copies have long been unaffordable. This is real art brut punk music; feral, playful, freakish, anti, immediate, subversive and oblique. A must-check record if you’re into anything from Mars to Frieder Butzmann, Malaria or Wolf Eyes!
“Die Tödliche Doris was born out of West Berlin's lively post-punk community in the early '80s. Along with Einstürzende Neubauten, Malaria, Sprung Aus Den Wolken and Frieder Butzmann, Die Tödliche Doris ranks amongst the Geniale Dilletanten – which roughly translates as "ingenious dilettantes" – who sought to democratize cultural productions beyond the grip of both Western capitalism and GDR socialism. The Geniale Dilletanten became synonymous with a free-for-all approach to music, film, painting and performance where participants encouraged raw expression through provocation and experimentation.
Wolfgang Müller and Nikolaus Utermöhlen founded Die Tödliche Doris in 1980, presenting the public persona of Doris as a constantly shifting entity that deliberately engaged the contradictions of the human condition. The band often referenced themselves in the third person singular, alluding to Doris as a fully-formed female character with explosive, colorful emotions.
For her debut album – originally released on Zickzack in 1982 and playfully titled " " (that is, blank space surrounded by quotation marks) – Doris most closely entertains the notion of a typical rock band with drums, bass and guitar. Produced by Neubauten's Blixa Bargeld, the thirteen songs presented here are disquieting lullabies of profound anxiety, savage and primitive deconstructions of German polka and manic lacerations of punk minimalism: all reflections of the many and fractured personalities of Doris.”
Although the Animal Collective's first 'proper' releases only started showing up in the mainstream in 2003, the band had been performing together for quite some time and refining their other-worldly blend of folk and experimental electronics. In fact, 'Hollinndagain' was released by Secretly Canadian sublabel St. Ives in 2002 but since it was limited to only 300 copies, it didn't last long and those Animal Collective folks have taken it upon themselves and their Paw Tracks label to re-issue the long forgotten recordings. The album was recorded live when the band toured with Black Dice, and understandably is rather noisier (and rather more like Black Dice) than you might expect from the now perfectly toned Animal-like fellers. Looping up shards of guitar, screeching wildly and hammering mercilessly on their percussion it sounds like the gigs must have been a truly invigorating experience, yet it does struggle to come together on cd. This sort of experience has clearly got to be heard 'in the flesh' as such, and although there are moments of greatness on the album (the beautiful Radiophonic experimentation of 'There's an Arrow' or 'Lablakely Dress' for instance) the release as a whole can be difficult to get through in one sitting. In conclusion the record works far better as a museum piece or oddity than a fully fledged album in the way that 'Feels' or 'Sung Tongs' was, where those albums felt lean and perfectly formed and kept their rampant individuality well toned, 'Hollinndagain' comes across as more of a stepping stone before they reached their zen-like area of focus. Without a doubt interesting to hear, but don't be expecting the Beach Boys comparison to be raised when listening to this particular Collective release.
The Cohelmec Ensemble celebrate above all the pleasure of collective music-making. A group without a designated leader, they base their approach on reciprocal listening and equal responsibilities.
"This is reflected in their name, created from the first syllables of the founding member’s names, which would remain unchanged in spite of the subsequent personnel changes: COH as in Jean Cohen (saxophones), EL as in Dominique Elbaz (piano) and MEC as in the brothers François and Jean-Louis Méchali (respectively, amongst others, bass and drums), Evan Chandlee joined them after they had already been playing together for a while, at the time they recorded their first album. The follow-up (appropriately named Next) saw the original pianist leave, to be replaced by guitarist Joseph Dejean, who had already played with the Full Moon Ensemble, known for having accompanied Archie Shepp at the Antibes Jazz Festival in 1970.
In spite of the personnel changes the understanding and cohesion remain total within Cohelmec. They also maintain their trademark ambitious mix of written and improvised material. From this point of view, Next is even more audacious than its predecessor Hippotigris Zebrazebra. Relatively brief tracks follow hot on the heels of one another bolstered by a poly-instrumentality which stands out even more than in the past, giving the album the feel of a contrasting suite. There is a lot going on, leading to evocative atmospheres in which rigour and fantasy go happily hand in hand.
Which is enough to say that this album should please fans of a style of free (chamber?) jazz which includes intelligent composed structures, a form in which French musicians have always demonstrated a personal approach, as in the example of Œil Vision by Jef Gilson in 1964.
Profoundly original and, it has to be said, seminal!
The Cohelmec Ensemble celebrate above all the pleasure of collective music-making. A group without a designated leader, they base their approach on reciprocal listening, but also on a dialogue between written and improvised material, in which all members have an equal responsibility whatever their instrument.
"This is even demonstrated in their name: COH as in Jean Cohen (saxophones), EL as in Dominique Elbaz (piano) and MEC as in the brothers François and Jean-Louis Méchali (respectively, amongst others, bass and drums), joined for this album by Evan Chandlee, known for his participation in Love Rejoice by Kenneth Terroade, and accepted, of course, as a full group member.
Fitting together like hand in glove, the five musicians build something together, rather than trying to destroy an established order, as was the done thing at the start of the 1970s, leaving the expression of an openly political agenda to others. In France there was a tendency to explore an imaginary folklore which allowed certain elements of free jazz to be circumvented without being ignored. Which is why we can be reminded of, in the melody of Hippotigris Zebrazebra when played with collective intensity, the best of American cosmic jazz, while also occasionally hearing McCoy Tyner or even Cecil Taylor under the fingers of Dominique Elbaz, or the vibraphone of Walt Dickerson evoked by Jean-Louis Méchali.
Globally, however, their identity is original (even seminal), a fact which was to be confirmed by their next two recordings. For the record, it should be noted that the first album by the Free Jazz Workshop (from Lyon), another French group with a similar approach, would only be published two years later."
Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia's band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum.
"Whilst 'Reaching Through's rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single 'Call The Days' which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a "panic attack" and being "worried about making the right choices in life".
Elsewhere 'Runway' and 'Some Are Lucky' immediately channel Nadia's love of TBGT's Jolie Holland and appreciation for New Zealand's Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.”
R. Stevie Moore and Jason Falkner are both brilliant solo artists but, as Make It Be loudly announces, their voices, performances, and arrangements make for a match made in heaven that's been realised here on earth.
"What happens when R. Stevie Moore and Jason Falkner get together to record, arrange, and mix R. Stevie's songs? We get to hear an audacious realization of the tracks full potential in an epic collaboration no one saw coming.
Moore and Falkner burst through your door with "I H8 Ppl" and take you on a journey through rock, pop, and experimental textures. Anchors such as "Play My Self Some Music" and "Sincero Amore," keep the effort focused, while guitar-only interludes and spoken word pieces push boundaries.
Before they met up, both artists had long and storied careers, but their paths to cult status take completely opposite routes. Moore is widely considered to be the godfather of the DIY recording aesthetic. Dubbed a “lo-fi legend” by the New York Times, he started his career in the late 60’s, gaining widespread underground recognition during the 70’s punk explosion. Anticipating the viral internet era, Moore made innumerable cheap but brilliant videos. Luckily, many of them eventually found their way to YouTube where a whole new generation of fans discovered his work including the likes of MGMT, Mac DeMarco, The Vaccines and collaborator Ariel Pink.
Falkner was involved in various major label deals as a group member and solo artist. He started with Paisley Underground pioneers The Three O Clock, joined supergroups Jellyfish with Andy Sturmer and Roger Manning, and the Grays with Jon Brion, finally scoring a solo deal with Elektra. He’s gone on to release numerous solo records and has worked with a wide range of artists, including Beck, Air, Brendan Benson and Paul McCartney.
Recorded by Jason Falkner at his Rhetoric Studio in Hollywood with the majority of songs composed by Moore, with one by Falkner, one co-written by the pair, one co-written by Roger Ferguson. There's a wonderful rendition of Huey Smith & The Clowns "Don't You Just Know It."
JMS Khosah finally makes his vinyl debut after releasing a trio of killer split tapes with Brassfoot on his NCA label. For anyone frustrated that they couldn’t play his distinctly rugged sound on wax; now’s your time, pet!
The Tokyo-based, UK-hailing producer proves a perfect candidate for Apron with Still Human: whether riding out for the warehouse with the reverberating Chicago kicks, wiggly bassline and drip-off harmonics of Actuality; the beatdown grind of In And Out; or the biting-point drum crack of Doubt - each cut packs immeasurable bags of swagger aching to go in the mix with records by Funkineven, Lord Tusk or Greg Beato, or the ruff house slab of your choice.
Dry heaving power noise slugs from Melbourne, Australia’s Mark Groves (Dead Boomers, Von Einem et al.) and David Coen (Sow Discord, DIM, Hans Harms, Whitehorse).
They knead your mind with chalky clods of bass and crumbling vocals in Pus, then drill home the monotone message of Lustrous Truncheon, and what sounds like Wold meets NON with Filling A Plastic Bag For A Party In The USA, whilst International Roast quarries out a stark grey boulder from tin grey backdrops.
Debut solo-effort from Panda Bear, now reissued.
In the midst of 2002, with much of his attention focused on his work with the brooklyn-based animal collective, panda bear stepped aside to a more intimate space to reflect upon the death of his father. The resulting young prayer, often coming much closer to classical composition than to the noise/pop experimentations of the Animal Collective, is a collection of beautifully personal and introspective songs.
Young Prayer, recorded in panda bear's childhood home by animal collective member deakin and further produced by the mysterious animal collective brothers known as come winter, guarantees a listening experience as interesting as any animal collective release thus far. A truly soulful album, young prayer is both sonically gorgeous and spiritually uplifting. Recommended.
Superior Viaduct initiate their États-Unis series with Joe Jones’ dizzying demonstration of automated instrumentation, In Performance  made available on vinyl again for its 40th anniversary. Imagine if Harry Bertoia’s metallic clangour on the Sonambient records was driven by a more technoid impulse, but ket slipping out of gear, and you’ve nearly got a grasp on this side’s enigmatic slipperiness.
“After studying with composers John Cage and Earle Brown, Joe Jones became a prominent figure in Fluxus, contributing to the movement's first "yearbox" alongside La Monte Young, György Ligeti and Nam June Paik. Beginning in late 1961, Jones began constructing his own music machines – drawing inspiration from the calliopes, automata and orchestrions of the 19th and early 20th century to create self-playing ensembles of stringed instruments, percussion and woodwinds – "played" through an elaborate (yet decidedly lo-tech) system of rubber bands, balls and tin foil.
Christened the Tone Deaf Music Company, this battery of automated musical instruments generates the sounds on In Performance (originally released in 1977 on the Harlequin Art imprint). With exacting conceptual precision and varied subtleties of natural motion – not unlike Harry Bertoia's sounding sculptures – Jones' machines produce richly-textured strata of sound and serve as engines of paradox. While bringing the figure of the artist-composer to the foreground, the machines ultimately dispense with the need for the performer entirely – a cunning subversion of the fetish for virtuosity and individual genius.”
Italian library maestro Umiliani’s full on disco soundtrack to ‘Dribbling’, aka ’70s Italy’s answer to Soccer AM (promise that will be only ever mention of Soccer AM you will read on this site). Originally issued under the library pseudonym The Soundwork-Shoppers and now sought-after 2nd hand.
“Considering the incredibly wide range of styles adopted by Piero Umiliani during his career, it will come as no surprise for you to know that he also produced disco. And therefore here we have the long awaited reissue of a record that goes by the explicit title of Discomusic. The release was signed as Soundwork Shoppers, a moniker concealing the identities of the Maestro and some of the most talented session musicians of that time, such as Giovanni Tommaso, Dino Piana, Franco D'Andrea, Oscar Valdambrini, Silvano Chimenti and Sergio Carnini to name a few.
The compositions instead, had been credited to Rovi (another alias used by Umiliani). This LP made by ten tracks could have been the perfect soundtrack of a 'Commedia Sexy All'Italiana' (a genre characterised by sex-based plots and bawdy jokes). At that time in Italy disco had still an exotic appeal and was considered apt to accompany a genre of movies that was at once erotic and comic. Discomusic is some sort of a white version of a sound that is inherently black, a unique record within Umiliani's discography. The track Discomania became popular as the closing theme of 90° Minuto, a famous Italian football TV show, bringing Umiliani's music to millions of Italian households.
The cover artwork deserves a special mention: a pop collage by Sandro Lodolo, a director and screenwriter, composer also of TV themes like Rischiatutto (a popular show conducted by Mike Bongiorno).”
In which Ivan Smagghe meets soundtrack composer Rupert Cross for a whimsical experimental trip featuring featuring Adelle Stripe reading from her poem, Big Weekend among a semi-mystic, airy swirl of keys, radiophonic electronics and drones.
“At times the way the voice skipped intermittently, the recording sounded like an exercise in Uncle Bill's scissors technique but in my defence the mic I was using was hidden. I knew Jean was recording me, he'd asked for an interview after finding my name in one of his black notebooks, but Jean didn't know I was recording him. He was tuning into fading echoes and when he thought the tape machine was off he left an echo of his own.
"I caused such scenes on the way to and at kindergarten that first day my mother never bothered risking damage to my nascent psyche by making me return. Consequently come first grade my petulance had precluded me from the nursery school forged friendships of my new classmates. It's why I've always been an observer. But I've never been an archivist. I never wrote the intimate details down. If you fix them on paper there's a danger of shared ownership. The black notebooks contain coded references, the meaning once obvious now somewhat cryptic. Names, some possibly anagrammatical and numbers, presumably long dead phone lines. There are a few sketches but no photographic evidence of any kind. This to most of the population, with its need for minute by minute high def validation, sounds like a curse. I however feel blessed. Evidence is the enemy. Magick for me is the carp in Herman's monastery pond. Brief flashes of gold as I disturb the murky silt of memory."
It's there that one of the only two recordings of Jean's voice comes to an end. Jean has his copy obviously but if I know Jean, it's long been lost or destroyed.
Andrew Weatherall, January 2017”
Previously unissued side of fractured collage by the original Fluxus composer, recorded 1970.
“Opus 67 STRATEGYGETARTS A Symphony, Hommage á Richard Demarco is a previously unissued recording by Henning Christiansen from 1971.
In 1970 the Richard Demarco Gallery in collaboration with the Kunsthalle Düsseldorf organised the exhibition, Strategy: Get Arts. This celebration of art from Düsseldorf was held at the Edinburgh College of Art during the Edinburgh International Festival. The title of the exhibition was a palindrome created by André Thomkins and featured works by Joseph Beuys, Claus Böhmler, George Brecht, Henning Christiansen,, Robert Filliou, Dorothy Iannone, Mauricio Kagel, Dieter Roth amongst others.
Opus 67 STRATEGYGETARTS A Symphony, Hommage á Richard Demarco was sent to Demarco as a gift following the exhibition. Having returned to Denmark Christiansen, along with sound technician Peter Sakse, created Strategygetarts, a sound collage incorporating field recordings from urban spaces, supermarkets, a boxing game, etc.
The sole ‘musical’ element is a piano motif which repeatedly punctuates the recordings. The first side moves forwards, the flip back. A reverse groove will set you straight.”