Composed and performed in its entirety by Eluvium (aka Mathew Cooper) and seemingly intent on not giving the listener even a glimpse of recognisable instrumentation.
But, just as vocals in a foreign language give you opportunity to admire the voice as an instrument, uncluttered by the need to process the actual message being relayed, similarly 'Talk Amongst the Trees' removes the distraction of its composite parts freeing you up to enjoy the soundscapes for what they are.
The record opens with the fuzzy hearted 'New Animals From the Air', where an effortless fog of aural balm is evoked through organic elements coalescing around a gently chiming heart that brings to mind the spirit, if not the sound, of Markus Popp's Oval. Similarly, 'One' is almost monastical in its sound but again lacks any firm auditory fragments that would draw your attention away from the piece as a whole, whilst only 'Taken', with its guitar led mantra, could be considered conventional in its approach to incorporating identifiable instrumentation.
Like lint from your speakers, it may at first seem insubstantial but once it snags you'll find yourself dragged in ever deeper. Recommended.
Dan Snaith has emerged from the legal cocoon as Caribou - leaving his Manitoba mantle to rot and re-releasing all his past work under the new appellation.
Adding an extra disc for your listening pleasure, 2001's 'Stop Breaking Your Heart' was the first time most of us crossed paths with Snaith, and this debut burst of Canadian electronica has aged surprisingly well. Unafraid to mix his instruments and electronics, the likes of 'Dundas Ontario' even display some early signs of grime - a situation that is particularly evident on the remix included here on the bonus disc, whilst other corners of his oeuvre include hip-hop, calypso and minimal tech.
Seemingly willing to give anything a go, 'Start Breaking My Heart' was a relatively muted release compared to his vitamin C later work - yet whilst this can often indicate an artist unsure of their footing, with Caribou it suggests a genuine evolution of sound that didn't stem from creative moribund.
Raime deliver one of thee baddest dancehall mixtapes you’ll hear for time. Already well known for their selection skills, this one's a proper, heavyweight education...
Give man a mixtape brief, they’ll inevitably take ages. Ply ‘em with vanilla kush and it’s yours - as happened with Raime’s knockout dancehall mix Our Versions of Their Versions: relinquishing an all killer/no filler, seamlessly-licked selek that’s been slow cooking for the last ten years in their warehouse laboratory.
Bubbling up after the duo’s achingly tight 2nd LP, Tooth (2016), the selection cannily asserts the key, if overlooked, influence of late ‘80s and ‘90s dancehall over Raime’s stripped down templates, rugged torque and rooted sense of futurism just as strongly as their now-classic jungle mix for Fact or their garage/grime rinse-out for RA.
Running 28 riddims - all listed alphabetically on the insert, just to frustrate the spotters - with vox by Papa San, Sister P, Supercat, Supervisor, and Terror Fabulous popping off across the mix, the play-it-again factor is ratchet high on this one.
We can detect Rambo’s chopper blades at the intro, and a bit of Slam Productions and Lenky in there, too, but what the fuck is that one with the rave stabs toward the start? Or the one with screeching car tyres, or that Timba-sounding belter at the end? We hardly need to stress it, but this tape is a lot.
Endless bless-ups to Raime. Summer just came very early.
Garbs meets grooves on Best of DKMNTL X Patta
Widely praised DJ/producer Young Marco pushes up the dreamy acid house romance of The Best I Could Do (With What I Had) on the A-side; Tom Trago measures the B-side side with his wavy roller, Brutal Romance (TT’s Love Fix) and Fatima Yamaha glides out on the EP highlight, a 108bpm blisschugger named The Creature From Culture Creation.
Includes previously unreleased session outtake of “Cold Hard Times” plus never before heard Hazlewood compositions “Drums” & “Susie”
"Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shit-heels. Now you’re probably thinking I'm writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… YOU'RE WRONG! I'm describing the characters in my album "13"…some I knew… some I invented … some are true… some are false… some i liked… some i didn't. But they all had a story to tell and I told it…none of 'em seem to care… and I don't either… have fun…" - Lee Hazlewood
"13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.” - Larry Marks
13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass-heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.”
By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks.
In what became the final days of LHI, staff producer Larry Marks’ sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R&B, arranging the downright funky LHI singles by Barbara Randolph and Jon Christian. Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed….13 was born."
At last, all three Britxotica! LPs now available as a three CD box set! That’s 48 super rare and extraordinary exotic British masterpieces over three genre-defining albums...
"Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! For this very special box set we have gathered the first three groundbreaking and sold out Britxotica! albums…
…thought up and put together by legendary “Smashing” DJ and co creator of The Sound Gallery Martin Green and maverick collector Jonny Trunk, here are 48 incredible, unusual, inspiring and super rare British tracks set across these three magical and very different albums:
Album 1: Britxotica! Primitive Pop And Savage Jazz
Album 2: Britxotica! Goes East! Persian Pop And Casbah Jazz
Album 3: Tropical Britxotica! Polynesian Pop And Placid jazz
Each CD is in a slipcase – a mini replica of the original vinyl LPs. And as well as these three genre-defining albums, you will find an eight page booklet with comprehensive notes about the artists, bandleaders and all our forgotten Britxotica! stars.
So sit back, relax and let Britxotica! take you to musical places you have only ever dreamed of."
The master of shifty, kinky slow-motion dance music deposits his 2nd volume of lean and eerie joints with Antinote.
Hardly ever getting out of first gear, but totally making a virtue of it, Decades, Vol.2 stalks four discreet lines across the ‘floor, hovering into view with lethargic lope and haunting chorales of Calirough, and swanging from the hip into the Muslimgauze-like maze of Hyroglyph, before Wooden wands cranks into 2nd gear, accentuating the strut with swooping subs, for the shadowy Monia to fall back into a dark, heads-down wind-tunnel chug ripe for soundtracking a dream montage in some carmine-stained Italian horror classic.
And all it takes is an MPC, a small synthesiser set up and some effects to get you going. Or “Limitations offer lots of liberties” as Detlef Weinrich a.k.a. Toulouse Low Trax puts it himself. A lesson many could learn from…
Frighteningly fxcked-up and compelling slab from Schimpfluch-Gruppe participant Dave Phillips, whom with Rise arguably establishes a crucial bridge between the continuum of radical European outsider art and NON or Halcyon Veil’s politically-charged, hyperreal soundscapes.
Accompanied by some of the most fascinating sleeve notes we’ve read since, ooh, Pauline Oliveros’ Primordial/Lift, Dave Phillips’ Rise conveys a starkly impending warning about human greed and the tendency toward anthropocentric worldviews and “extractivism”, as opposed to stewardship, all rendered thru seven scenes scrolling from convulsive hyperviolence to detached, abyssal drone and clawing cacophony.
We really couldn’t say whether Phillips, a tireless “purveyor of radical sound since the mid ‘80s” has heard or is even aware of the NON phenomena or Halcyon Veil’s abrasive aesthetics, but the textural and political similarities between those vital new labels and Phillips’ cranky ass are just too striking to ignore.
Face first, he sucks us into the peristaltic paroxysms of We Know Enough To Know How Much We Will Never Know with a sense of arrhythmic chaos and trepidation that feels like Rabit and John Wiese imagining a world where feral populations fight over the last food and goods on the shelves, before Rise steps outside into a bombed out scape strafed with buzzing flies, and Culture Of Ethical Failure sinks into a fetid mire of soggy textures and deeply unpleasant torture chamber wretches dappled with minor key piano motifs.
The Construct farther gnaws at the simulacra’s shaky resolution with visceral, unsettling white noise distortion, and Solastalgia / Ohnmacht feels like the infinite intro to a Venetian Snares calamity which never manifests, instead serving up grindcore rage in Only The Cockroaches Shall Survive To Rule The Earth, and leaving us petrified at what may come with the primordial orgy, A Grain of Salt (Goes a Long Way).
OK, there’s definitely a distinction to be made between Phillips’ extreme angled weltanschauung and the hypermodern consciousness of NON and their affiliates, but it’s surely better to hear their relative similarities and, if you’re a DJ or listener who likes to mess around with their records, to crash and layer ‘em together in the mix where we’d imagine they’ll really come alive together.
Stellar mix of French-only psychedelic experiments collected and sequenced by Editions Gravats proprietors Jean Carval and Philippe Hallais (Low Jack), the latest in a sought-after series which has already seen reggaeton picks from DJ Clara! and a bonkers gabber comedy by DJ David Coquelin.
It’s a right melter in that breezy, louche way that you might hope from a mix of pure Gallic suss, traversing a colourful, yet low-lit spectrum from ‘70s psyche experiments thru to free jazz, obscure ‘80s synth-pop and acoustic folk music from Brittany, where Editions Gravats share roots.
If anything it shows up our knowledge of this area as the only names we recognise are Anne Gillis Jacques Berrocal and Pascal Comelade, while the rest - including Francois Koekelare, George Rodi, Brume, Guy Skronik, Francesco Semprun and Alesia Cosmos - effectively form a whole new sphere of sounds, to our ears at least.
A bit like visiting and drifting around an unfamiliar city without a map at dusk, the mix forms a sort of rambling dérive for the open-minded listener, inviting us down strange alleys, thru the old quarters, to side street psych jams, cafés playing eerie chanson and to haunted bars where the player piano cranks itself up.
One can only imagine what the original crowds who saw George Méliès classic, prototypical sci-fi film adaptation of Jules Vernes’ A Trip To The Moon (Le Voyage dans la lune) in 1902 would have thought of Jeff Mills new, all electronic score.
“When Georges Méliès created A Trip To The Moon in 1902, the world was just beginning to feel the tightening, yet exciting effects of another giant leap in modern civilisation with the Industrial Age. It was a place in time that was transformable and in all dimensions of an evolutionary process: social, economic and political revolutions were buzzing. And man worked hard under the Sun, exposing his efforts and determination, it was the Moon that hatched his dreams. It was a time of realisation and a time of romance.” Jeff Mills
Conceived and produced by Mills in order to soundtrack the newly discovered and restored hand-coloured print of the film, his score fits the film’s fantastical nature with a blend of hi-line, weightless electronic tones and immersive, abstract gestures directly inspired by its imagery but taking license to jetpack off along new techno trajectories.
If you were into Mills OSTs for Fritz Lang’s Metropolis and Woman In The Moon, or Richard Fleischer’s Fantastic Voyage, this one will take you there, too.
Newly availed as a download, Permissions was written and recorded by ambient innovator K. Leimer in 2012, with crucial input in the edit, mix and post-production by 12k’s Taylor Dupree.
Compared with what we know of Leimer’s explorative early work, Permissions feels like a sublimated expansion of his electro-acoustic textures, rendering 16 tracks, 71 minutes of shimmering tonal mingle and diffusion best consumed in low lit and laid-back conditions, especially if you like 12K or Home Normal releases.
Collaborative compilation album of absolute essentialness. Featuring: Morgan Buckley, Olmo Devin, Dark Delight, Davy Kehoe + more. Sound of the Rathmines industrial estate ... weirdo wagon dance music. Huge Tip!
Pivoting around Morgan Buckley and OD, whose acclaimed Shout Out To The Weirdos Of Rathmines 12” (No ‘Label’, 2014) can been heard as a clarion call for this compilation’s roster - Dark Delight, Who’s The Technician, Little Movies, Lee Eel, Plop - the crew assemble from all corners of Ireland to leave you with a fuzzy taste of the isle’s contemporary dancefloor undercurrents.
Their shared style is anachronistic, playfully freestyle and equally at home in packed basements or smoked-out afters, bookended by a wickedly mucky rut of rolling post-punk dub, 7,000 Years by Gombeen & Doygen which sounds like Dennis Bovell dubbing Die Dominas, and a slompy gang-bang in Teen - Romp - Hoe - Down, you can expect anything to happen in between, so long as it’s rude, smudged and off-centre.
That means Afrorhythmic sensibilities in OD’s Super Secret Office Party, and barnyard boogie woogie in Paco’s Ode, whilst Who’s The Technician whips out a mint quickstepper called Tractor Troubles (Part I), and Little Movies sets square between the eyes with Gregory(an) Wah, with the motorik, boot-cut set dance of Morgan & Davy’s Craudrock for the craic, plus a natty electro-pop wriggler called Sligo B from Plop.
The much-cherished Boats/Cotton Goods affiliated Tape Loop Orchestra make a blissful start to the year with an hour long excursion into string-laden ambience suffused with field recordings, traces of ghostly sound and phenomenological overlays in keeping with the Electronic Voice Phenomenon theme. It's soaring, beautiful stuff - highly recommended if you're into Stars Of The Lid, Tim Hecker, Grouper.
For some, EVP is nothing more than a relic of the analogue age, a pseudoscience built on pareidolia or apophenia and “disturbed” people tuning into the voices in one’s head. For others, it presents a richly syncretic field of study combining psychology, parapsychology, metaphysics and the chuff-knows-what, forming potential communication bridges to other dimensions. In any event, it makes for a useful subject matter for this kind of music; you're never quite sure what you're listening to or how it was made, but become increasingly aware of its disorientating effect the more you listen.
In TLO’s hands, Instrumental Transcommunications provides a deep well of inspiration behind this seriously heady album, which unfurls as a gauzy tapestry of original samples from Raymond Cass, among others, woven with signature synthetic diffusions, sorely emotive cues and Beth Roberts’ cirrus pop wisps in the most magical, elusive convections.
This project just gets better with every release; if you’re a fan of genuinely moving orchestral reductions and tempered Ambient music free of heavy-handed/manipulative emotive signatures - this one’s for you.
Bitter Earth is the much anticipated, long-in-the-making new album from John Duncan joined by a broad cast of adroit collaborators; Oren Ambarchi, Jim O’Rourke, Smegma, Chris Abrahams, Joe Talia, CM Von Hausswolff, Eiko Ishibashi, France Jobin - all written in dedication to Mika Vainio (who, for avoidance of doubt, is not dead!). It's a remarkable suite of cover versions - from The Gun Club to Nina Simone and Iggy Pop - and original material by an arch experimenter who continues to explore unfamiliar territory...
We’re no experts on Duncan’s oeuvre, but this record flips our previous assumptions on their fleshy bonce, taking in a sweltering, almost cinematic psych version of The Gun Club’s The House On Highland Avenue along with his own original, gospel-like spiritual Red Sky and capped off with an achingly intimate solo piano twist on The Four Tops’ Reach Out.
The effect is most often shocking in the sweetest way, especially if you’re more familiar with his esoteric work mapping the Nazca Lines for Planam or the indescibable breadth of his First Recordings 1978-85 V.1.2 box set, for example.
Perhaps it’s an exercise in catharsis after so many years of heavy drones and outsider experimentation, or perhaps it’s intended to draw a perpendicular connection between that work and pop/folk/jazz idioms. But, either way, his cracked, naked voice is utterly captivating, whether accompanied by shivering tambourine in a take on Pere Ubu’s Dark or transporting Jefferson Airplane’s Comin’ Back To Me to a scene of cicadas and lilting, metallic drums and electronics somewhere between Tel Aviv and Bologna.
A timeless record we reckon you’ll return to over and again. Highly recommended!
Six classic Giallo and Italian film nuggets on one “pitch black” disc.
“WRWTFWW Records is feverishly thrilled to announce the first ever vinyl release of the soundtrack for Hélène Cattet and Bruno Forzani’s critically-acclaimed Belgian-French giallo Amer (2009), filled with superb compositions by Italian movie score legends Ennio Morricone, Stelvio Cipriani, and Bruno Nicolai, all remastered for hardcore audiophile appreciation.
Described by The New York Times as "a surreal cinematic tone poem that pays slavering homage to Italian giallo horror films of the 1970s", Amer finds its influences in the films of Dario Argento, Luis Buñuel, or Mario Bava and makes for a truly visceral cinematic experience, thanks notably to a perfectly curated soundtrack compiling some of the best songs from cult Italian movies of the past.
Amer includes 3 songs by the great Stelvio Cipriani, well known for the marvellous soundtrack of poliziottesco movie La Polizia Sta A Guardare (1973) whose main theme was reborn in 2007 on Quentin Tarantino’s Death Proof, as well as music for countless cult spaghetti western and giallo movies. He received a Nastro d’Argento award for best score for The Anonymous Venetian (1970).
The legend himself Ennio Morricone also shows up on the soundtrack with a sexy and melancholic jazz number, while his longtime collaborator Bruno Nicolai delivers the hypnotic strings that carry the eerie and erotic mood of the film. Last but not least, the beautiful voice of beloved singer Adriano Celentano cements what is a must-have album for 60s and 70s Italian soundtrack fanatics."
Really feeling this trio of gritty jackers, from new beat and acid house to Faces Drums-styles rasp, courtesy of Rawmance + Security for Rome’s burger and techno stronghold, Knick Knack Yoda.
Working in some cranky blindspot between OG ‘80s Chicago, Belgian and Italian templates, Bad Coke Jerk rides a clammy groove of percolating drum machines and searing psych guitar licks into denser, messed up acid noise accompanied by a whispering vocal for the duration. Trippy and wicked with it.
Fuggi Dalla Notte is more fugged up, writhing to salty, stumbling sequencer patterns under a chorus of rave angels, and Seine St Denis Rhythm Trax goes stripped down and rugged on a Jamal Moss/Steve Poindexter/Alessandro Novaga flex.
Expanded reissue of Biosphere's 2000 album for Touch.
'Cirque' was originally released by Touch in 2000, and they have finally seen fit to re-issue the record so those of us who missed it first time around can hear what all the fuss was about.
This is where Biosphere really began to experiment beat structures and the framework of 'dance' music, yet he submerged the rhythmic elements so far beneath his expertly crafted drones and field recordings that it's difficult to place this in the same genre as more dancefloor oriented work.
Take the Basic Channel influenced 'When I Leave'; vinyl crackle and dissonant pads float around gloriously before being punctured by a pulsating bassline and then a simple, minimal 4/4 thud to bring the track together perfectly. Elsewhere 'Iberia Eterea' takes a jazzy hi-hat rhythm and pushes it through a haze of lo-fidelity noise and buzzing synthesizer drones giving it the quality of an ancient movie seen through the eyes of David Lynch. It's easy to see on this album where acts such as Deaf Center managed to mine so much inspiration - Geir Jenssen's work has served to influence so much modern electronic music that it is almost crucial to re-visit everything the man has to offer.
The Grey Catalog departs from Leimer’s typical obsessions with understatement and homogeneity to range freely across rhythmic, melodic, and disassembled forms.
"Incorporating percussion, electric guitar and bass as well as found sound, digital and analog synthesis and sampled instruments, The Grey Catalog spins off multiple intimations of some earlier works; particularly Closed System Potentials, The Neo-Realist (at Risk) and The Useless Lesson. Compiled over a two-year period, as diverse as the pieces are, they are also related by a shared generative technique and a shared library of voices and processing. The result is an album of highly personal music, restless and shifting forms, with melodic passages drawn over sets of self-regulating sources and shaped by approaches refined over decades of occasionally stumbling across something that might work."
Glenn Jones’ debut album ‘This Is The Wind That Blows It Out’ was originally released in 2004 on CD only by Strange Attractors Audio House. Thrill Jockey are proud to give this timeless classic a first time vinyl issue.
"Glenn Jones is a master of American Primitive Guitar, a style invented in the late 1950s by John Fahey, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions. Jones, who led the post-rock ensemble Cul de Sac, brings his own made-up tunings, the use of custom-crafted partial capos, and a highly skilled picking style on both banjo and guitar, to create personal compositions that are lyrical, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer.
‘This Is The Wind That Blows It Out’ stands the test of time in today’s avant folk movement with Glenn Jones emerging as a clear leader. His pensive sentimentality and playful spirit, not to mention his innovative technique, have become just as ingrained into the style’s DNA as any hallmarks of the original Takoma school. Opening with the title tune, ‘This Is The Wind That Blows It Out’ meanders with heady grace, Delta-delica slide guitar as intoxicating as it is mournful. ‘Fahey’s Car’ bounces and shimmers like some of Peter Lang’s classic Takoma sides and ‘Linden Avenue Stomp’ is an alternate take of an old-timey duet with the late great Jack Rose. Jones turned away from standard tuning years ago, inventing tunings as a way of escaping the known, his 2016 album ‘Fleeting’ gained much critical acclaim and his convivial live performances prove him to be a compelling storyteller as well as an outstanding musician."
John Cameron’s jazz-funky psych score to British teen satanist biker flick, Psychomania (1973). Now with black instead of white cover
“If KES was the best film I ever wrote music for, PSYCHOMANIA was the most bizarre. Jazz and session musicians playing pre-punk 'trash-rock' for a tale of supernatural gore and mayhem, on a Shepperton recording stage more suited to the the LSO than a rock line-up, complete with 'suit-and-tie' recording engineer is one of my more unexpected memories. In a pre-synthesiser age every trick was used: Musser vibes through phase and wah-wah pedals, phased bowed bass, drumsticks inside a grand piano, electric harpsichord through a compressor, Hammond organ fed through a phase unit and Leslie speakers, and wordless solo voice.
I know the flautist was Harold McNair, the vibes player/percussionist was Bill Le Sage, and the drummer was Tony Carr. I'm pretty sure the bassist was Spike Heatley , the bass guitarist was probably Herbie Flowers, and the guitarists were likely to have been Alan Parker and Colin Green. As far as the voice is concerned, it was almost certainly Norma Winstone who sang on my 'Marlowe Private Eye' recordings in 1980. Sorry my recollection is a little blurred, hell, it was the 1970’s!” - John Cameron
Death Waltz exhume another classic soundtrack from the world of horror cinema with Bruno Nicolai's incredible score to the 1981 Emilio Miraglia giallo The Night Evelyn Came Out Of The Grave (aka La Notte Che Evelyn Usci Dalla Tomba).
"The film is as mad as its title; Evelyn is dead before it starts and her previously institutionalized husband Alan, who has begun to murder strippers as a form of therapy, is duped by his cousin who wants to rid of his heir. Oh, and there's the matter of Evelyn's resurrection and a whole dose of other murders - it's unreal.
Adding to the surrealism of the situation is Nicolai's deranged score that mixes super effective jarring orchestral with electronic effects and speed jazz that has truly disconcerting time signatures. It's absolutely creepy and utterly terrifying with queasy quivering synthesizers that sound like an entire waves of insects and the juxtaposition of a fantastic bass line with a sawing string effect that is just sickening. And then there's the beautiful typical romantic giallo melody that really stands out, with vocals courtesy of the iconic Edda Dell'Orso. (Charlie Bridgen - Editor: Films On Wax)"
With Beneath the Mirrored Surface, Marc Barreca continues his quest to create deep and shifting aural spaces by merging the abstract rhythmic warmth of early analog synthesis with the complexity and timbral beauty of acoustic instruments and natural sound.
"For this release, Barreca extracted and reshaped rhythms and textures from field recordings, decades-old world folk recordings and acoustic instrument loops. These sources were first converted into MIDI data using Ableton Live and then transformed and manipulated with Max/ MSP. Hundreds of these source clips were then blended and arranged with layered and looped digital synthesizer and sampler tracks. The result is a dense, rich world of refracted light and shifting shadow. Mastered by Taylor Dupree.”
Kazakh violinist Aisha Orazbayeva presents her latest album Telemann Fantasias, works by German composer G.P. Telemann published in 1735.
"Orazbayeva's performance of these pieces range from personal and stylistic interpretations to versions marked by the distortion and fragmentation of the material through the use of contemporary violin techniques.
The variety of extreme colours, sounds and tones illuminates the polyphonic character and phrasing of the music, while also adding unfamiliar and distant qualities. This approach to interpreting old repertoire reflects her work in improvisation and as a performer of new and experimental music.”
Engrossing slab from the Argentinian guitarist and Brooklyn-based British drummer swapping their usual kit for anything from grand pianos and balaphons to metal lampshades and wooden staircases.
'Bring Us Some Honest Food' is the processed document of Courtis & Moore's congregation at The Fish Factory, London, on 22nd March, 2014. The A-side breaks down to three shorter pieces "blended" by Aaron Moore in Brooklyn, breaking unique new ground between the gloaming, out-of-body avant-rock extraction, 'Portions Of Honesty'; the chamber-like meld of blackened synth strokes with acoustic guitar in 'The Honest Waitress'; and amorphous, space-shaping concrète recalling Jim O'Rourke' or Smegmas farthest in 'Honest Pork Pie'.
In the hands of Alan Courtis back in Buenos Aires on the B-side, 'Dishonest Desert' patiently unravels a side-long scape of lower case, haptic improvisations giving way to chiming texturhythms and reversed tape loops before rolling tribal drums, lonely sax and agitated cello usher in a brooding climax, all rent in the trippiest, pensile mixdown. TIP!
Pontiak is made up of three brothers from the Blue Ridge farm country of Virginia, Van (guitar, lead vocals), Lain (drums, vocals) and Jennings Carney (bass, organ, vocals). Their music is swaggering guitar rock that straddles the line between a power trio and something far more expansive in sound and scope.
Their broad song structures allow ample room for three-part vocals, drums, organ and stellar slide and lead guitar to stretch and captivate. Songs roll along with an effortless synchronicity despite their extremely varied textures." Sun On Sun is the band's second full-length, for which they've played a bit of a Bon Iver, holing themselves up for recording in a log cabin out in the wilds of Virginia.
Instead of incubating a pared down evocation of intimacy however, Pontiak reach for ambitious, experimental rock textures, culminating in the Crazy Horse-do-shoegaze marathon of the title track, the barbed organ blues of 'Tell Me About' and even a spot of eerie dark ambience on 'Swell'. Excellent.
Ego grease the ‘floor with a rainbow slick of boogie by Tokyo’s Noboyuki Suzuki a.k.a. Sauce81.
Authentic late ‘70s vibes boogie-soul bumps on the full vocal version of Dance Tonight, with a stripped and wiggly Disco Dub on the other one.
Taut, grinding and jabbing techno trax from Romania’s Dan HabarNam on a hard, bruxist clench for Selectie - his 2nd shot for the German-based label.
In all four cases HabarNam keep the groove tucked tight-in-the-pocket and moody af; getting into gear with the grimy, shifty lockstep and weightless chorales of 4AM Rattle, before smearing the strings into the tiger registers over wide burly Reese bass and needling drums in The F.P. Beat.
Juno Birdcall sits in a stranger place between original UK bleep, swanging house and ambient techno on the flipside, and The Blue LED Ban buckles down to a nervy, shivering Bristol bass-techno style recalling Rhythmic Theory or Livity Sound.
Pivotal Belgian synthesist André Stordeur serves Sub Rosa another pinnacle of their Early Electronic Series with a first-ever vinyl pressing of three pieces - the expanding harmonic scape of Chant 10A (1980) and two which aren’t necessarily ‘early’, but are no less brilliant, with the c.2000 parts of Nervous and Tablas.
Realised at IRCAM, Paris, between 1980-81 on a Serge series 79 and bespoke Serge prototype 1980 Modular synthesiser - built especially for Stordeur by Serge Tcherepnin himself - the record’s most striking feature is the A-side Chant 10A, where Stordeur used a DEC VAX 11/60 CPU running ‘Music 10’ and ‘Chant’ softwares to process his Serge sketches into a beast, gloaming shadow of a piece embedded with ghostly choral swells which really come to the fore in the final section. It’s frighteningly strong stuff, and kinda exactly what we hoped for - safe to say those countless hours spent waiting for his behemoth CPU to do its thing were not in vain.
The other two date much closer to the modern day: Nervous (2000) swivels between head-swallowing black holes and sustained sourness, like a chorale of keening angels, before spiralling the super crisp, pointillist rhythms of Tabla (c.2000) - a purely rhythmic piece peppered with ace trills and intricate pattern shifts that draws upon his travels in New Dehli around 1963, and his subsequent, in-depth studies of modular synth process, to sound almost like some Ø or Plastikman experiment from the same era
Spangled techno misfits from the Power Vacuum
Dr. Skime slings the elasticated electro-techno madness of RX5 Jams 8, 9 & 7; Pan Daijang forces out the bruxist charge of Very Uncomfortable, Please;Beau Wanzer tees the boisterous Up Chuck’s; Bristol’s Inca Pax slugs home the messy electro of Transfer Function; and Bleaching Agent does his job with cutthroat effect.
Prime balearia from down under, or Melbourne’s Tornado Wallace to be precise.
His follow-up to the Falling Sun 12” with Music From memory’s Second Circle follows that 12”s vibe with a clutch of dusky dancers, at best in the richly layered atmospheres of Lonely Planet and the pseudo-ethno feels of Voices, but carrying itself beautifully, elegantly throughout. Even the most sun-leathered balearic type will have to concede; it’s pretty damn lush.
Svelte, proggy, posh-trancing techno from Voiski; rolling the effortless subbass swang and organically modulating trance leads of Let Down Disco, backed by the pumping, bittersweet groover 5th Dolphin Transmission.
One-off Japanaese pressing of this limited CD compiling both of Burial's 'Steet Halo' and 'Kindred' EPs, originally produced exclusively for the Japanese domestic market.
All six tracks in their full length versions, totalling 50 minutes of music not previously available on CD, packaged in full size jewel case with Japanese obi-strip overlay.
Pretty unmissable reissue of Brugnolini and Carnini’s obscure blinder, Beat Drammatico Underground Pop Elettronico - a hugely prescient blend of funked-up Italian soundtrack themes and industrial electronics juiced from an ARP 2600 in 1973, which arguably presaged the sound of Kraftwerk’s Autobahn by a good year. Imagine a soundtrack to the sleaziest, bloodthirsty and drug-fuelled Giallo. Check Omicidio Bianco and then pick your jaw off the ‘floor! A must for fans of John Carpenter, Demdike Stare, Heldon, early Kraftwerk. Impossible to find original copies…
“This session was recorded in 1973 in a very small studio called “Axon” in the centre of Rome, which was well equipped with unusual electronic instruments and headed by Ogando – a skilled sound engineer with great musical taste. These tracks are a rare example of how some protagonists already experimented with the use of avant-garde electronic instruments in “commercial” music production in a period when, from The Beatles and The Rolling Stones to the rock music explosion, they were completely replaced by electric guitars. At that time, these sounds were considered eccentric by most of the critics and the public. My background was in jazz music and I was working as a composer of movie and TV soundtrack.
Along with the pianist-organist and classical musician Giorgio Carnini, we decided to take a risk and release our library music merging acoustic sounds and modern vibes. We did it while experimenting with the sounds of the fabulous ARP 2600 synthesizer – maybe that was the first time it had been used in Italy for commercial purpose. It was the main rival of the more famous Moog, the instrument behind great music of those days. We delivered part of this library to Fonit, the centre of Rai TV music production of the time, for the Usignolo edi- tions. As Brugnolini-Carnini, we recorded two albums of library music with over 20 tracks each. One of these, the one including the more dramatic tunes, was released as “Fonit Usignolo 7010”: a record we both agree, is being wisely appreciated again, now after over 40 years its original release. The remaining tracks were released under our monikers Narassa and Zanagoria. For the sake of cohesion, the tracks I wrote appeared on the A-side, and Giorgio’s ones on the B-side… Sandro Brugnolini
Those were amazing years. We were excited to experiment new sounds and had extraordinary instruments at our disposal. In thew first moment, synthesizers didn’t allow polyphony, and we worked hard just to connect the various modules, generators, and filters. Sometimes it was necessary to cut several tiny pieces of tape and paste them together to obtain a few seconds sequences: a lot of work, but what a bliss! What a genuine sound! I remember one track we called “Brandenbourg Generator”: a sort of bold electronic concerto where I had to play, one by one, all the symphonic parts in following takes and then try to synchronize them with the other tracks. Needless to say, hours of work!
Nowadays everything is simpler: polyphonic instruments, computers, and every kind of automation. However, we’re talking about limited systems, even though they may seem perfect. All sounds are available on digital sound banks, you just need to choose them. It’s a kind of a default stock of sounds, so it’s hard to find some novelty and creativity. Nostalgia? No, I think this is a rather pragmatic judgment – it was a different age, with a different semantic field, we could explain the difference through the analog versus digital opposition. The same old story: progress often implicates some sacrifices... Giorgio Carnini”