Ethereal tech-house minimalism from Italy’s Symbiosis, pursuing the vibes of their Moodymann re-edit and EPs for Optimo Trax across the side-long acid wiggle and fragrant Indian vox of El Ijo De La Madre to the hopping tribal drum cut-up and sampeld vocal of Mapuche, and the blues thrum of Jaraï.
Estonia’s wayward Porridge Bullet cough up this gnarled, expressive ace from Mihkel Kleis aka Ratkiller, a proper outsider music type who previously turned up on these pages with his rogue black metal project, Edasi, and now takes this opportunity to commit his highly idiosyncratic music to vinyl for the first time.
While Porridge Bullet are hardly known for being the straightest label around, Meltdown of the Highest Order is a cranky oddball even by their standards, seeming to smudge chopped ’n screwed hip hop noise with buckling tape FX, frazzled electronics and convulsive cut-ups in way that recalls Aaron Dilloway getting messy with Tomutonttu or Pat Maherr’s Indignant Senility in a demented face-off with his own Diamond Catalog alias, for example.
It’s one of those rare examples of an artist who can listen to and absorb myriad other sounds and transduce them into something of his own. It may bear up to the aforementioned influences - and tonnes more beside - but ultimately Meltdown of the Highest Order is distinguished by its freakiness and the way that Kleis uses that knowledge of outsider music to either sidestep and mess with convention, as with he 18 minutes of warp and slurred temporalities in the A-side’s No Need For Reason, or choose to compound and play into it with 14 minutes of uneasy, blown-out ambience in the B-side’s Delicate Toast and what sounds like a nerve-fried BoC with Flat & Decomposed.
Impenetrably encrypted electronic abstraction from Arek Gulbenkoglu, a new addition to Penultimate Press with his finely sculpted and waking-dreamlike instalment; Three Days Afterwards.
From the almost voyeuristic locations recordings which open the side to the shearing bleeps which close it, we’re spun between intensely purified microtonal oscillations and spare, pointillist percussions according an underlying logic which evades easy categorisation.
Perhaps the most northerly contributor to Cómeme’s heat-seeking sound, Charlotte Bendiks joins the label with a fine set scaling from the mellow soul shuffle of Hjemme to the pinched snare hustle of Kaia, playfully skittish and bendy electro in Tellstainnj and the dry, stepping weirdo raver Noir.
Coyote Records introduce Forever to their fold with a lush EP at the borderlands of vaporwave, grime and trap.
Hymn opens with he plangent ambient optimism of Gweilo, recalling AYYA’s recent ace on the PAN compilation, followed by the aerated Uk steppers dynamics of the title track and the chiming, gamelan-alike exercise of Rainforest, but the vibe turns darker with the nightfall of Swamped and Chemist’s more brooding remix of Hymn completing the EP’s transition from light to darkside.
Always thought Lovesexy was a massively underrated album - probably the last great Prince album - and this one is one of its standout cuts, here available in an extended 3-part / 10 minute version and Scarlet Pussy on the flip from the Camille vault...
Rubella Ballet were a gothic anarcho-punk band formed in autumn 1979 by former Fatal Microbes Pete Fender (guitar) and Gem Stone (bass) with vocalist Zillah Minx, and Flux of Pink Indians drummer Sid Ation.
"Sid and Zillah were living with the Poison Girls at Burghley House in Epping. Pete and Gem were the son and daughter of Poison Girls singer Vi Subversa. The band used Poison Girls equipment to jam and write songs, and their first performance was when they jumped up on the stage at a Crass concert. Zillah created and designed ultraviolet hand painted day-glo clothes for the band and dyed their hair multicolored to differentiate themselves from the death rock bands who tended to wear black, army-surplus style clothing.
For their psychedelic stage show they used nothing more than black lights, strobes, and a bit of smoke to illuminate the band. In 1980 Rubella Ballet released their first batch of material on a cassette album titled ""Ballet Bag” for Poison Girls' XNTRIX Records. Their sound went from fast punk to full on Goth, innovative like their clothing. Sounding like rather organized chaos this was the start of a very colorful part of the British anarcho-punk scene, which remains vital to this day. Lyrics tell of living under the grim rule of Thatcher's government, in haunting fashion. Despite the severity of the material, pop and even funk dimensions are discernible beneath the claustrophobic thrashing. “Ballet Bag” was a 100% DIY project, all artwork was drawn and hand-printed by the band. Each cassette came in a bag with a lyric booklet, badge and poster.
The band recorded two John Peel sessions for BBC Radio in 1982 and 1983, which are of much higher fidelity than the home-produced cassette. We’ve included 6 of those songs here as bonus tracks, complete with John Peel introductions from the original broadcast. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley."
Flying was the Italo Disco project of Marzio Benelli and Andrea Venturoli from Firenze, Italy. Marzio specialized in sound engineering at various recording studios in Milan throughout the early 1980s.
"He opened Emme Studio where we worked with major national and international artists as Claudio Baglioni, Renato Zero, Venditti, Marco Masini, Pieces, Mia Martini, Litfiba, Mick Ronson. In 1984 he met Andrea, a sound programmer who knew his way around analog synthesizers. Their first collaboration was that same year on the song “Computer Sourire” for Alexander Robotnick debut album.
In 1985 the duo recorded ‘Marilyn’, the debut single for the project Flying that was released the same year on Sound Of Italy. Their basic set up for recording was a PPG Wave 2.3 Synthesizer, Elka Synthex, Roland Jupiter-8, Roland TB-808 and TR-909 and a Gibson Les Paul guitar. They recruited producer Nicola Serena to program the DMX Oberheim drum machine. On vocals was Stefano “Fly” Matteoli, a DJ at discoteques Concorde and Sombrero in Tuscany. Backup Vocals were sisters Antonella Bianchi (Plustwo, Belen Thomas) and Marina Bianchi (Plustwo, Sue Sadlow), who was Marzio’s wife. Stefano confidently sings a haunting love story, full of tragic doubts and cruel dreams.
Hand played percussion leads the song complemented by the keyboards that complete the infectious melody, with catchy hooks, and 4/4 beats that clock in at 100 beats per minute. On the B-side, the dubbed out 8 minute “Remix Version” makes use of the Publison Infernal Machine, an innovative multi-FX processor that was the first sampler to change the speed of a song without affecting pitch."
Epic, impressionistic electro-acoustic sound travelogue of early ‘80s France by Swiss composer who studied under Stockhausen, Boulez and Gottfried Michael Koenig, among others, the first release on the newly minted Mana label run by Andrea Zarza, curator at the British Library Sound Archive, and Blowing Up The Workshop founder Matthew Kent.
“First commissioned by the French Government in 1981, the LP Rose Des Vents evolved out of a six year project by Swiss composer Pierre Mariétan to document and musicalise the sound environment of urban landscapes within France, creating an inter-geographical auditory map of cities and townships located in the suburban reaches of Paris, including Bezons, Herblay, Montmagny and l’Isle Adam.
Through a mix of field recording, interviews, vegetable market catcalls, braying animals and urban hubbub, Mariétan paints a broad, psycho-acoustically vivid and decentralised profile of metropolitan life from the period; carried to the ear through a coupling with musical studio performance and serialist compositional technique. Over an hour and forty minutes, the recording provides an intersectional and ambient passage through environmental and urban narratives, the radiophonic voice of Ana de Carvalho offering fleeting, poetic orientation with announcements of each titled scene, divining and evoking the sonorous qualities of each landscape as it comes into focus. Each scene tangible yet non-specific, the artist arranging and signalling the possibility of civic and pastoral space as a musical container for spontaneous, sonorous interactions.
Mariétan’s profile is of a rigorous yet open and exploratory composer, utilising principles of chance and curiosity in organising found sound and often negotiating or encouraging encounters with improvisatory gesture or incidental and occurring sound. In 1966 he established the outfit GERM, grouping composers and musicians dedicated to developing new meeting points between composition and improvisation. Members assist in contributing recordings and performances throughout Rose Des Vents, including musical passages on piano, synthesizer, horn and saxophone. These studio pieces, played on saxophone by Daniel Kientzy or piano by Gerard Fremy, recall and redeploy techniques developed over the lifespan of the project, where site-specific actions and concerts were performed within each of the towns.
In many ways, the album is a folding of each facet of the author’s life and work into a single representative culmination. A sympathy towards radiophonic or documentary production values is recognisable—Mariétan produced two iterations of Rose Des Vents for Alain Trutat and Jean Tardieu’s ground-breaking Atelier De Création Radiophonique on Radio France Culture ahead of this LP release—alongside the influence of his work in urban acoustics and research into forms of sound ecology. So too is the obvious pleasure taken in introducing the sweetness of music to children, with notable samples from his educational workshops and sound installations helping to internalise and evoke a sense of inquisitive delight.
It’s these components, combined with themes and concerns about the acoustic environment that resonate thirty years later and establish Rose Des Vents as such an approachable, listenable and lovely piece of experimental sound art. The conjuration of an emotional or psychological plane through musical and metaphorical synthesis allows the listener to situate themselves within the montage in a near cinematic manner, discovering an underlying sonority embedded in the psychic atmospheres of communal life.”
And relaaaaaaaxxxx yourself with the first lick of Jefre Cantu-Ledesma’s On The Echoing Green album; a shimmering shoegaze smush on the forehead delivered with the unfettered pathos and lush sincerity that suffuses of his best work.
Sinjin Hawke aims high with the classical-into-contemporary dance music inventions of First Opus, and it’s fair to say that he hits the mark dead on. Sprung from stems and ideas developed during his time working on Kanye West’s TLOP - in particular the haunting Wolves - the results extract from his roots in choral composition and orchestral music to forward an exquisitely chiselled and dazzling take on electronic dance music for 2017.
Intensely detailed and fractious in nature, yet singular in its voice and intent, First Opus defines Sinjin’s sound to a thing of compelling, wide-eyed wonder; one riddled with deftly woven references to footwork, ballroom, grime, dancehall and hip hop yet freed of their conventions and swept up with a sense of polymetric freeness and intricacy usually reserved to the contours of classical forms. It’s basically as delirious as The Dream gone skydiving or any of HudMo’s most head-spinning peakers, but even still there’s a grandness and poise to all 14 tracks which bypasses both those examples on his own trajectory to stellar heights.
Scaling up the vertiginous strings and juking pirouettes of Monolith [Overture], which introduces the soaring vocal ident from Wolves which ties the whole album together, First Opus unfolds as a 3D tableaux of HD, hypermodern dance music; ratcheting the future funk in Dawn Of Intensity and steering it thru sublime choral percolations in They Can’t Leave You, to the lip-bitingly tight discipline of Don’t Lose Yourself To This and nexx-level Arca styles in Railgun.
At the album’s core Flood Gates coolly refreshes any burnt out synapses with a swarm of needlepoint nano-bot rhythms and melancholic strings, before Snow Blind comes on like a mutant Equiknoxx piece, saving some of his most staggering material for the whipsmarts of Onset’s brassy swagger and the buckled Norvern Bassline-meets-US hip hop pressure of Cold Blood and a breathless rush of autotuned gospel glory in Divination and the climactic finale, In Loving Memory.
A strong look for fans of DJ Rashad, Equiknoxx, Arca, 0PN, Scratcha DVA
4-song EP of songs by the Italo Disco duo of Domenico Ricchini and Joe Garrasco.
"Domenico formed his first rock band in 1974, and four years later his first Disco band. During the early 80's he produced records under various names like Delanua, Bob Salton and Sylvi Foster. In 1983 he took the alias Joe Yellow and started recording with the producers Roberto Turatti and Miki Chieregato to release one of the biggest Italo Disco singles "Lover To Lover". In 1985 he teamed up with Joe Garrasco, a DJ at Free Club a Super Dancing Discotheque in Braone, Italy. Their first composition together was another hit single for Joe Yellow, “I’m Your Lover” released in 1986.
In Spring 1986 the duo began working on a new song for a yet unnamed side project. They spent a few days at 33 Studio in Milan and recorded “Love Sex For Sale” with Jimmy Mc Foy on vocals. This project was titled Garrasco’s and the single was released in 1986 on Fuori Di Testi. Unsatisfied with the mix, they booked a fresh session at Regson Studio in Milan to re-record the song. The result was re-naming the projecting Joe Garrasco & M.M. (for the band Marita - Marillena) and the song as “Action” released on Out Records in 1986.
All four mixes display dark, driving melodies with surging synthesizers that build to a climax for the chorus. Jimmy sings back and forth between English and French about a finding love after a night of dancing under the moon. Both instrumental mixes display more adventurous electronic arrangements than their vocal counterparts. The Other Mix of “Love Sex For Sale” employs a vocoder spoken introduction that sounds like Vincent Price narrating a horror movie and showcases a female freestyle rap by backup singers Lidia Salvetti and Cristina Scara."
M&G was the duo of Maurizio “Sangy” Sangineto and Mirko Galli from Vicenza, Italy.
"Sangy began his music career in 1979 with Italian disco group Firefly and recorded a solo album "Steps" in 1980. Two years later he co-founded Italo-disco band The Creatures and synth-funk crossover act The Armed Gang. He met young DJ Mirko Galli at L'Altro Mondo Studios in Rimini. Their first collaboration was the song “Baila Bahiana” from the Cosmic LP by Daniele Baldelli in 1984. The duo was urged to create a new production for the dance clubs by Guerrino Galli, manager of L'Altro Mondo Studios.
In 1986 the pair spent a few days at Sandy Dian’s Recording Studio working on what would become their sole 12” maxi single “When I Let You Down”/ “Boogie Tonight” released on Sensation Records. Their basic set up for recording was various Korg synthesizers, Yamaha DX7, Fender piano, Lynn and Oberheim drums. Sangy wrote the lyrics, while Mirko sang both of the songs, which tell of looking for love and dancing all night.
“Often discussed in hushed tones among Italo and disco enthusiasts Mirko Galli's most successful release tapped into the British songwriting/pop dynamics with both tracks while retaining full focus on the dancefloor with heavily synthetic grooves that refuse to quit. “When I Let You Down” is a Visage-style love story blessed with intricate melodic layers and big catchy vocals. Meanwhile “Boogie Tonight” is all about the metallic arpeggio, a nagging hook and future-minded arrangement twists that foretold the drama of house music before it even happened.” - Clone Records
What the funk is this?! The title says Eduardo Unz, Dicky EP, and the promo says - “Hellfire funk from the spirit world. The city weeps for it will never again know a man as righteous as Eduardo Unz.” - whilst other clues nod to this being a reissued oddity.
It’s probably all true, but leaves us none the wiser, part from the music; a mélange of Prince, Witch, and some bedroom spice from f**k knows where. The 2nd track’s cracking Linn drums and sleazy vocals are just blinding and worth price of admission alone. You need to check this one!
Tony More was the Italo Disco project of Marzio Benelli and Andrea Venturoli from Firenze, Italy.
"Marzio specialized in sound engineering at various recording studios in Milan throughout the early 1980s. He opened Emme Studio where we worked with major national and international artists. In 1984 he met Andrea, a sound programmer who knew his way around analog synthesizers. Their first collaboration was that same year on the song “Computer Sourire” for Alexander Robotnick debut album.
In 1985 the duo recorded ‘Tonight’, the debut single for the vocalist Tony More that was released the same year on Sensation Records Their basic set up for recording was a PPG Wave 2.3 Synthesizer, Elka Synthex, Roland TB-303, TR-808, TR-909 and Fender 4 String Electric Bass. The song written by Marzio and his sister-in-law, Antonella Bianchi from Italo Disco group Plustwo, who also sings back up vocals.
The song features dark, driving bass, solid drums and melodic synthesizers that Tony’s deep vocals float over. Lyrically the song is a romantic dream where the singer falls in love forgetting the bittersweet disappointment of day to day reality. On the B-side is the slightly shorter instrumental version with extended breaks, drum claps and dubbed out bass lines."
Ghanaian music legend Ebo Taylor, with accompaniment from Berlin's Afrobeat Academy.
"Following the wartime big band highlife pioneers like E.T. Mensah, Taylor became a major figure in Ghanaian highlife during the 1950s and '60s as highlife exploded. Cutting his teeth with leading big bands like Stargazers and Broadway Dance Band, Ebo Taylor quickly rose through the ranks and became a prolific composer and frontman. [...] Through the mid-'70s and into the '80s, Taylor then recorded a number of solo projects, exploring unique fusions and borrowing elements from traditional Ghanaian sounds, Fela's Afrobeat, jazz, soul and funk.
Tracks like 'Heaven' now stand as among the best Ghanaian Afrobeat of the era. Interest in Ebo Taylor's music has grown in recent years with a series of Ghanaian compilations on Soundway Records and Analog Africa and an unexpected sample as Usher lifted a riff from ‚Heaven' for his hit with Ludacris, 'She Don't Know'. A new Ebo Taylor album was a natural progression. "For new album, I wanted to advance the cause of Afrobeat music. Fela started it and we shouldn't just abandon it. We should push it so it is a standard form of music."
The result is a firing new set backed by Afrobeat Academy, a Berlin-based collective of international musicians. Tracks include new versions of Taylor classics 'Victory' and 'Love And Death' and a selection of new compositions including 'Kwame', celebrating Ghana's late, lamented leader Kwame Nkrumah."
Following his first international release, 'Love And Death', Strut offer a long overdue definitive compilation of Ebo's seminal 1970s recordings.
'Life Stories' revisits the heyday of Taylor's work, focusing on his solo albums and lesser known side projects such as the dynamite Apagya Show Band and short-lived Taylor-led combos Assase Ase, Super Sounds Namba and The Pelikans.
It also touches on his writing and production work for C.K. Mann and a collaboration with fellow member of early '70s nightclub band Blue Monks, Pat Thomas. Make sure to check the rare 15-minute excursion 'Aba Yaa', the original version of the poignant 'Love And Death' and the smudged Afrobeat Disco of 'Ene Nyame 'A' Mensuro.
With this ambitious project partly recorded in Beirut with local musicians and featuring Mondkopf, Charbel Haber, Sharif Sehnaoui, G.W. Sok, Tamer Abu Ghazaleh, Oiseaux-Tempête have achieved a far more complex work, richer in texture, the intertwining of acoustic elements with electronica, roaming and shaking the foundations of this almost labyrinthian personal opus of an album.
"As ever, the group realising both the immersive and also the total physicality on the record.
Head-pinching drone wormholes from one of USA’s most crushing drone rock concerns, making a long awaited return with their debut for guardians of the heavy stuff, Important Records, after a seven year hiatus since Pumps! for Vice Records.
“Disorder marks a few milestones for the band Growing; it is their ninth full length release, in the fifteenth year of their band as well as their first record in almost six years. Though this is their first record in quite some time, this by no means a reunion record. When asked, Joe DeNardo stated "We never 'stopped' doing Growing, it's just that it was tough living on two different coasts. We work kinda slow so I think it just took us a while to adjust to how to make it work with the distances. As Kevin kind of built up his home studio in Olympia over the years, it got to a place where we couldn't NOT use it for Growing - it's such a great isolated spot to hunker down and chisel out some tunes. "
With an entire country between the them, Kevin Doria has been focusing his energy on his Total Life project, releasing a handful of releases and touring with Fuck Buttons, GodSpeed You Black Emperor and a host of others. DeNardo has spent the last few years making various music-themed films and performing under the Ornament moniker.
At first listen one may be tempted to refer to this as "return to form" for the band: sonically heavy side-long pastoral excursions being a hallmark of their earlier recordings. But Disorder stands more as a refinement of Growing's evolving sonic palette, employing dissonance as liberally as harmony, delivering the listener's ear to a rather unsettling 'comfort zone'. The effect could be stated as one of submerssion. "Kevin's TOTAL LIFE records and live set really inspired me to take a look at a much simpler setup." DeNardo went on to suggest: "I don't think I succeeded necessarily, but the way he maximizes his sound sources really blew me away. And I think it affected what I was recording for Ornament, and so when we got to jamming for the record, it sort of evolved from that. We recorded to 4 track reel-to-reel, it was a pretty minimal setup. It seems like a heavy record to me, these slow, subtle shifts that feel like a bad trip sometimes."
Disorder is neither revival nor bookend for Growing. Over their fifteen year career they've issued records on Kranky, Troubleman Unlimited, The Social Registry and Vice Records; they've touring with the likes of Sunn O)))), Hot Chip, Fuck Buttons, Animal Collective & Gang Gang Dance and have played on five of the seven continents. Disorder is another mile marker on the long open road, both figuratively and literally, Growing have been traversing for years.”
The colossal Muslimgauze archive yields another previously unreleased stone cold beauty in Ali Zarin, revolving arounf the titular, 3-part, 43 minute noise-stepper and a brace of biting drum works that sound as though beaten right onto the tape itself.
As with each new archival discovery, Ali Zarin is a revelation for Bryn Jones’s most ardent followers and new listeners alike, and insists that our knowledge of his music is never fully comprehendible thanks to the cognitive dissonance created by time, geography and culture.
At its core, Ali Zarin features 43 minutes of scudding up-stepping rhythms, coming off like Jah Shaka with a faulty 1/4” jacked thru a dodgy sky box tuned to early Al Jazeera broadcasts. The 20 minute first part is brittle, spitting, but anchored in deeply hypnotic bassline which morphs in figure of eight across consecutive parts that emphasise jet engine sounds.
The further parts feature rock breaks - live drums, recorded loud and upfront, and accentuated with salty snare and bass drum distortion for venomous bite - plus his signature, swirling FX geometries and the underwater dub dimensions of Rest Track.
No doubt this is a definitive addition to any Muslimgauze collection, growing or swelling, large or small.
TTT yank out a necessary vinyl edition of Dilloway's 'Psychic Driving Tapes', recorded in 2009 and originally only available (and now dead hard to find) on a 2011 cassette via his notorious Hanson Records.
It's pure swill, smearing over 50 minutes of noize crud and sampledelia into the crevices of both sides so that you can finally own and become acquainted with a modern classic of its genre.
The A-face is one long tract of roiling, acidic burn gnawing blank-eyed and possessed right in between the eyes with an unbroken flow and unswerving intent. Now on wax you also have the option to play it at the original 33rpm or 45rpm. P-A-R-T-Y times.
On the B-face he switches tack to swirling sampled loops eliding spectral noise and bleeps with reversed pop, metal and disco loops by way of freehand sleights and playful internal logic on the cusp of mental breakdown.
"Contour’s ”Year of the Hunter” consists of four pieces of improvised rock music. The session was recorded during the very first days of 2014 in a tiny room filled with cigarette smoke and lukewarm vodka drinks and while sometimes chaotic, the result is surprisingly precise; there is an underlining mood that is present throughout the entire recording which is somewhat similar to the strange mix of excitement and melancholia that a new year’s celebration most often holds; mournful of endings, while celebratory of new beginnings.
Contour was, or is, Anton Rothstein, DX, Julia Nowak, Frederikke Hoffmeier, Loke Rahbek & Elias Bender Rønnenfelt."
Following his recent credits on Frank Ocean's Blonde and Endless, Vegyn steps out of a two year hiatus with a new 12" single on his 'PLZ Make It Ruins' label.
"'Phone Phoneys', the title track, immediately delves into familiar and focused textures backed by woozy synths, dancing between glitzy euphonious melodies. The drums and rhythm section channel the energy of prior dance classics but still feel eager and original in their deployment.
On the flip side, 'PLZ XX' diverts listeners expectations by jumping between several frenetic moods, all whilst maintaining an energetic frivolity found throughout the record as a whole."
Barely altered from the demo recordings that landed the band the deal with 4AD, Ask Me Tomorrow is a thing of understated, unpolished beauty. The vocals are sweetly entwined throughout and the record culminates in the epic "Mercy", a highlight of their live show.
Pye Corner Audio joins forces with Faten Kanaan for the latest release from Polytechnic Youth...
"In PCA's Martin Jenkins' own words: “Faten Kanaan first came to my attention with her wonderful cassette release 'EP'. We started corresponding shortly after that and I always had it in mind that we should collaborate on something. So when PY asked if I would contribute to the label, and then released Faten's 'The Botanist & The Archaeologist' LP things seemed perfectly aligned”.
A side “The Darkest Wave” features pulsing icy synth drones over which Faten’s cool NY narrative owes nods to some 70’s Carpenter-eque VHS chillwave soundtrack, (not unlike some of Umberto’s work of the last decade or so.) A beautifully evolving, slow burner piece which over continuous plays reveals one of the year’s great A sides so far.
The B side is a stripped down piece more in keeping with the minimal synth singles of the late 70s beloved by both artist and label here. Indeed, Martin Jenkins’ sleeve art also doffs it’s cap to the artwork feel of some of those legendary post punk 45s."
Lovely Creatures is the most comprehensive overview of the recorded work of Nick Cave & The Bad Seeds to date.
"Spanning thirty years of music from their debut album From Her To Eternity through to Push The Sky Away their 15th studio album, the collection navigates one of the most exhilarating, idiosyncratic and inventive bodies of work created in contemporary music."
4. From Her To Eternity
1. The Weeping Song
2. Dig, Lazarus, Dig!!!
3. People Ain't No Good
1. Higgs Boson Blues
2. Straight To You
3. Where The Wild Rose Grow
1. Into My Arms
2. Love Letter
3. Red Right Hand
4. The Mercy Seat
1. O Children
2. The Ship Song
3. Stranger Than Kindness
1. Jubilee Street
2. Nature Boy
3. We No Who U R
4. Stagger Lee
Gosh, this is a belter - Killer hi-tech funk and acid techno torque from AMUS aka 2562 on his eponymous imprint.
'Ahead' takes the disco-chopping exercises of his 2562 album, 'Fever' one step further, splicing knots of ready-to-bruk funk with a serrated, sputtering twyst begging the 'floor to cut loose with that in-the-pocket, jazz-funk sense of tension. By turns 'Endgame' works out its inverse correlation, piling in with jagged acid riffs tucked into a swinging, fibrillating piece of technoid funk built to spark the best dancers in the room.
Sun-bathing beauty from the Ecuadorian/Floriadian artist aka Boom & Birds, Roberto Carlos Lange
“Exploring the expressivity within intense states of being, Latinx identity, and pluralistic sensibilities, Helado Negro's Private Energy is an engrossing statement achieved through lyrically personal and political avant pop music. Supplemented with three brand new “versions,” this remastered, redesigned, and expanded iteration of Helado Negro’s Private Energy will continue the strong narrative of Helado Negro’s spectral and transmissive 2016 opus.”