Berghain's other pin-up boy follows up his killer remixes of Kerri Chandler with an essential EP of raw techno functions for OstGut Ton.
Klock's style could definitely be described as looser and funkier than his stable mate Marcel Dettmann, with a style that both complements and contrasts his sparring partner perfectly. 'Napoleon Hill' is uncut Berlin technohouse of the finest calibre, where stripped to the bone bass rhythms count time under a wriggling hi-hat pattern splashing like sweat dripping from the ceiling. 'Subzero' could be mistaken for a Dettmann track though, if it wasn't for the sensually shifting melody the dry clanking rhythm could have come from either pair of hands.
On 'Before One', Klock crafts an irresistable bass pump to shunt the floor, with Afro-Germanic percussive timbres slowly bring the track to a simmering pout, and final track 'Init Two' should surprise a few ears with his most esoteric composition to date, building a shimmering mass of chords sounding something like Wolfgang Voigt and Steve Reich creating a moment of respite for the Berghain floor. Upper level techno excellence for the connoisseurs.
Spectrum Spools delves into the distant past – well, 1981 – for its latest tranmission, a reissue of the debut album by revered multi-instrumentalist / avant-garde operator Robert Turman.
Turman first came to cult prominence as a member of Boyd Rice’s NON, before going on to enjoy a sporadic solo career that has taken in DAF/Normal-style electronics (Way Down) and superior noise outings (Blizzard, with Aaron Dilloway). Flux, which Turman self-released on cassette, is a one-off – a patient investigation of classical minimalism and new age tropes, an attempt to create “a complex bed of interweaving micro-stasis” with kalimba, piano, drum machine, and tape loops.
The results are certainly sparse and meditative, but they’re also deeply engaging, and occasionally unsettling. We’re particularly into ‘Flux 4’, its marriage of plaintive piano and cotton-wool wrapped kickdrum coming over like a precursor to the Miasmah label or those early Dettinger records on Kompakt. Remastered by Rashad Becker at Dubplates + Mastering from the original c-60 cassette master and pressed on vinyl for the first time, this is the definitive edition of a very special work.
Piquant mutations of grime, R&B, footwork and all things sweet ’n road from Banshee, marking up his solo debut proper after a self-released 12” and guest spot on Zomby’s ‘Ultra’ album in 2016
Revolving some of the freshest gear from the UK in years, the ‘Thought Bubbles’ EP comes with a wickedly freehand approach to meter, space and pitch that’s bound to cause some confused 33 or 45 toggling. It’s actually cut at 33rpm, but the way he uses footwork and R&G tropes is just brilliantly beguiling and readied to play over and again.
On the front he starts up like a vintage DJ Nate cut with the melting percolations and R&B dream sequence pads of ’Thought Bubble 1’, before settling into a Dancehall/reggaeton-compatible swang with the deliciously deferred, hair-kissing gratification of ‘Ecstasy Baby’ and its darkside denouement. Backside, the floating structure of ‘Heart Container’ conjures aching weightless sensations with the slightest brushstrokes, and ‘Thought Bubble 2’ boosts back into footwork with tilted dreams and ohrwurming R&B samples that will stick long after the record has stopped turning.
Features production by Catnapp, Modeselektor, El Plvybxy, and Doxxed.
“Break follows last year’s EP Fear and No Cover single and sees Catnapp capturing the jaw-dropping energy of her live shows as well as further refining her characteristic blend of rap and heavyweight electronic beats. She challenged herself with exploring more complex emotions and subjects for this album, which is more than a collection of love songs, as she explains: „With so much happening in our world today, I feel incomplete telling only love stories. I want to give people inspirational tools that work like fuel. Songs that can make one hop out of a bad and complicated situation in order to move on and up with confidence.“
Catnapp is the guise of Argentinian artist Amparo Battaglia. Long before signing to Monkeytown in 2018, the Berlin based producer, singer/rapper and striking performer already (self-)released a couple of records full of boundless creativity and originality, taking whatever she needed from every electronic genre as well as pop and rap music. Amparo cites classic influences like The Prodigy, Aphex Twin, OutKast or Beyoncé, while her productions also draw from today’s post-internet and post-rap sounds. Break combines these diverse influences in a very distinct sound.
The album’s opening track „Down In The Basement“ is an ode to the underground, dealing with how to grow as an artist whilst staying true to your roots. You can take the artist out of the underground, but you cannot take the underground out of the artist. As she is playing big stages more frequently than gritty basement clubs, Catnapp tackles the beautiful contradictions of going her own way. Next up is „The Mover“ featuring Modeselektor, a slow burning, bass-heavy song about standing up for yourself and showing strength. It opens with the line „Don’t you tell me what to do“, an eternal credo for both Catnapp and Modeselektor, two generations of maverick electronic artists. „Fight For A Fight“ is inspired by the repression the LGBTQ community is facing all around the world. It came about when Amparo was invited to perform at the Pride March in Buenos Aires in 2018, its lyrics are aimed at supporting the ongoing fight against patriarchy: „My knife is sharp, my mind is bright, you’ll never stop my will to fight.“
Still, love and heartbreak are essential elements of Catnapp’s songwriting and thus appear in songs like „Thunder“, „Lengua“ and „Give It Back“. The latter is about leaving a toxic relationship behind and regaining control about one’s life. Musically, these tracks show Catnapp alternating fierce raps and booming beats with liquid R&B vocals and melancholic, dreamlike electronica.
Catnapp has been compared to electroclash artists like Peaches, her blend of modern rap and electronics may also evoke likeminded artist Tommy Genesis. There’s leaders and there’s followers – you already know which this girl belongs to. Break is no less than her most accomplished musical statement to date.”
Cold, unyielding, monotone techno from Shifted, knocking out his first release since 2017
Reading directly from the book of Regis & Surgeon 19:97, and with a touch of Rrose’s mystic method, ‘The Light Touch’ is a tight study in techno purism that shows up the business techno school as middle management fluff.
‘The Light Touch’ gets into it with swingeing, hollow bass and trottin’ groove keened with wind-tunnel pressure, while ‘Seel’ knuckles down to percolated woodblocks and brain-drilling drones, and ‘Mixen’ follows in its slipstream with nagging belltones and drone dissonance to set your teeth on edge.
"Montréal’s Humidex label launches with three technoid tracks from its founders S. Chioini, Absurde and softcoresoft.
S. Chioini brings in the humidity with his broken percussive number +4 Degrees, a bass driven track built upon crystalline sound design, sweeping envelopes and moody pads. Its precise structure, micro-edited cuts and syncopated drums relate to the composer’s electroacoustic background as much as to roots in contemporary music and a dedicated taste for experimental sounds.
Absurde’s Buckle Up! is a motor of unfurling, rotary loops and galloping percussion. The alarm-like cowbells cut through the groove while hypnotic synth arpeggios enter halfway through, forming a call and response of rhythmic elements.
softcoresoft closes this EP with an acid banger that is at once joyous and introspective. Its odd clap patterns create a push and pull of energetic internal rhythms. A trancey synth enters towards the end to anchor the entheogenic journey of the track. Generating the Divine Within makes you want to close your eyes on the dancefloor."
Poetic kosmiche synths with bittersweet Yorkshirian sentimentality, somehow tying the Orbit in 1992, to Vienna, and Lower Manhattan, 1966. Don’t ask how.
“Nunroyd Works is the third release by Craven Faults. We’ve picked up speed since we passed Netherfield and Springhead Works. It’s more built up here, as we enter the outskirts of the city. The former mills and cinemas are alive. A kick drum carries though the walls. Every so often the doors open and the sound spills onto the street. The destination was unintentional. An experiment.
Who plotted this course? As ever, it isn’t always what you expected, but the journey is key. Detroit via The Orbit in Morley, 1992. Istanbul, 1967. We travelled by rail with old friends. Vienna, late night café, straight connection. Lower Manhattan, 1966. New Year’s Day in Filey, making mental note of the patterns played out by the church bells. 1991. Revisited several times over. Mutated by the passage of time.
Those memories that stay with us and influence our decisions many years later. Taking time to make new ones. Do you always need to travel with a purpose? Could you follow your instincts from time to time?
A trilogy complete. The end of a journey?”
Class debut from Philly’s DJ Haram - fusing Arabic percussion and instrumentation with bass pressure for Hyperdub.
Like a spartan echo of Mutamassik’s early ‘00s meeting of Egyptian breaks and rugged hip hop, DJ Haram finds a wickedly gritty friction and traction from a mixtures of sharp electronics and a dead canny sample palette that distinguishes her music from the crowd.
The EP kicks off with ‘No Idol’, which comes off like an imagined Timbaland and Equiknoxx hook-up, while the brooding ‘Interlude’ gives way to a killer bouts of martial drums swept into a rugged Jersey bounce on ‘Gemini Rising’ and again with grimier, bittersweet impetus in ‘Body Count’, that also comes out in more psychedelic, low-lit geometries on ‘Candle Light’, which receives an impending vocal-lead remix by Haram’s regular Philly spar and Moor Mother collaborator, 700 Bliss. Factor in the virulent puppy dance of ‘Grace’ and the club-tightened remix of ‘No Idols’ and you have yet another stellar debut on the untouchable Hyperdub.
Ben Chasny's last ultra-indie label release before moving onto greener pastures with Drag City, now available in this newly remastered guise.
Originally released in 2004 on the fabulous Time Lag label, we are now safe to bask in it's psych-folk sunlight again and let me assure you it's worth it. Ditching the voice almost altogether (save for a few wails), 'For Octavio Paz' sees Chasny focussing on his primary skill - the guitar. This is a collection of some of his best solo guitar work, and keeps that haunting tape-recorded lo-fi quality which has (quite obviously) left his more recent work. In fact at times you think you could actually be listening to a classic Takoma record, all the spirituality and virtuoso skill Chasny evokes is worthy of the genre's absolute finest. Yet he never manages to come off as obviously aping one person's style - there are of course elements of John Fahey, but I wouldn't say any particular track sounds exactly like Fahey, the same with Robbie Basho. This selection of deeply moving home-recorded tracks is a sublime indication of why Chasny is at the top of his game right now and is another essential part of his back catalogue.
Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin-based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving.
"Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats, ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Originally released in 1992, Der Abend der schwarzen Folklore is the third Massaker album, released by Rough Trade Germany. According to Caspar Brötzmann, the title track and “Bass Totem“ are the band’s most accomplished songs. It’s certainly the most sonicly refined of their albums, recorded during a residency over several weeks at the pastoral site of Conny Plank’s studio near Cologne, and produced by Ingo Krauss and Bruno Gebhard, who had worked with the famed Krautrock producer until his death in 1987.
Not least, ...Schwarzen Folklore also features their new drummer Danny Lommen, whom Caspar and bassist Eduardo Delgado had headhunted at a concert with Lommen’s Dutch prog-core band Gore. Lommen shared their tastes in sheer volume and presence, and “has a completely unique sound to his drumming“, as Caspar marvels, “he plays ultrahard and clear, with authority and no compromise, nothing, not even the most turbulent and speedy beats, sound fuzzy - a statement.“ This, he adds with a smile, would sometimes lead to intense moods during rehearsals, when he overpowered - no small feat - competing with the sounds of Caspar’s guitar.
The Tribe and Black Axis were still if very loosely rooted in some kind of heavy rock. Der Abend der Schwarzen Folklore erases these residues from their genetic make-up - evolving into a free-form noise, strangely motionless like an earthquake rumble, that sounded like nothing else at the time. The opening title song gives the best example with its densely shifting chunk of howling and screaming guitar shreds and grimly determined rumbles from the bass, accented by heavy single beats or massively rattling, yet transparent outbursts from the drums. An impenetrable sense of threat fills the sound, interrupted only by breaks of skinny brooding, giving way to Caspar’s throaty growl evoking a lonely march through hostile wastelands under flaming sunsets. Culminating in an archaic choir chanting about black walls rising - a monstrous cloud of thick high-voltage tension.
Caspar speaks of the heavy nature of the lyrics, inspired by 19th century artist Caspar David Friedrich’s painting “Das Eismeer“ (“The Sea of Ice“) which depicts a shipwreck the icy shores of Antarctica. It deals, of course, with ideas of the sublime in nature - but also “the end of hope“, as the painting was known until the sixties. And indeed, Caspar credits his dark and brooding sounds to the uneasy times. With the wall down, the Eastern block broken, East and West Germany were politically united but emotionally didn’t share much more than a certain angst and uneasiness with respect to the future - which erupted in ugly right-wing riots and violence. Caspar felt the rise of a black folklore that he wanted to address, though he never admitted to it at the time because, he said, he didn’t want to sound like “some naive romantic“. Not underestimating the music‘s gothic values - a weird idea, once you’ve listened to “Schwarze Folklore“.
Swirling, exotic Aussie psych nugget presented in two mixes on 7” for the first time
“Accompanying the premiere release of the lost soundtrack to the 1971 film Walkabout, The Roundtable offer a further lost piece of music associated with Nicolas Roeg’s seminal New Wave masterpiece. In addition to John Barry’s spellbinding original score, several pieces of popular music can be heard throughout the film transmitting from a portable radio, an obvious symbol of western civilization as the protagonists wander disorientated in the ancient tribal Australian wilderness.
Here we have documented one of these tracks on limited edition 7” vinyl, a forgotten slice of late 60s lysergic studio-psych from the New York singer-songwriter Billy Mitchel. Produced by Brooks Arthur (Holy Mountain Soundtrack), Electronic Dance is a whirling mix of Indian raga, heavy jazz drums, buzzing electronics and tape collage melding into blue-eyed soul folk from the Woodstock scene. The perfect psychedelic supplement to John Barry’s hallucinogenic orchestral score.”
Something special from DDS - the long awaited album debut of avant-Dancehall mutations from Jamaica’s Equiknoxx, already tipped by everyone from Jon K to Mark Ernestus, featuring productions dating between 2009-2016, mastered and cut by Matt Colton, all on vinyl for the first time ever...
Equiknoxx are one of the weirdest, most innovative dancehall squads from Jamaica right now; Bird Sound Power is their debut collective show of strength, packing 12 avant, crooked riddims by core members Gavsborg and Time Cow, plus Bobby Blackbird and Kofi Knoxx, with vocals by Kemikal, Shanique Marie and J.O.E. (R.I.P).
The set was parsed and pieced together by Jon K & Demdike Stare , and now thanks to link ups via Swing Ting’s Balraj Samrai (a longtime livicated supporter), it’s issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design.
Easily identified by the squawking bird idents peppering their cuts, Equiknoxx productions have been big in the dance since Gavin Blair a.k.a. Gavsborg produced Busy Signal’s billboard hit Step Out in 2005, followed by key instrumentals for Beenie Man, Aidonia, Masicka, and T.O.K.
Bird Sound Power is weighted with the potential to open up perceptions of current dancehall thanks to the mad character and broad reference points of its producers, encompassing King Jammy’s foundational digi-dub and Dave Kelly’s Mad House sound as much as rugged New York hip hop and the wigged-out, feminine pressure of Virginia Beach’s Timbaland or The Neptunes.
The oldest tune inside dates to 2009, but the rest are recent dancehall mutations, including a number of exclusives produced in the last 12 months. Each one reps for Equiknoxx’s unique aspects, such as Jordan Chung a.k.a. Time Cow’s brilliantly bizarre, layered arrangements of sawn-off hooks and digi-tight beats, also a result of their distinguished family vibe.
Bird Sound Power exists in a paradox, utterly fwd but classic, and with as much potential to turn new heads onto current JA sounds as Mowax’s Now Thing set back in 2001, which remains a key touchstone for so many contemporary producers. It’s one of the sharpest, most crucial DDS issues yet, check the clips and get sweaty...
Jordan GCZ, upsammy, Suzanne Kraft, and Parrish Smith rework the soundtracks to short animated films dating back to 1921 as part of the RE:VIVE initiative for The Netherlands Institute for Sound and Vision
“Unsurprisingly, each artist imparted their unique styles onto the films that they previously had no relation with. From Suzanne Kraft's sparse atmospherics that have become more apparent in his new SK U KNO project to Jordan GCZ’s free flowing hardware jams. Parrish Smith showed his contemplative side and sparse orchestrations that he demonstrated on his RE:VIVE release, Genesis Black, a sonic departure from his bombastic releases and DJ-sets while upsammy showed yet again her deft hand for melody and texture, a style that dominates all her releases to date.
These four scores can live apart from their films, fitting seamlessly into each artists' growing catalogs of work. But when combined, it’s as if the films and music were made simultaneously with the artist and filmmaker together in the same room. Dekmantel and RE:VIVE are proud to present these new works as the electronic music scene in The Netherlands continues to show its multifaceted talent that continues to expand far beyond the dance floor.”
Southern Lord announce the next Caspar Brötzmann Massaker reissues in the ongoing series, continuing with Der Abend Der Schwarzen Folklore and Koksofen this July. Read on for more insight into these albums, and for information about incoming live dates supporting Sunn O))).
"Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin-based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving.
Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats, ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Koksofen (which translates as blast furnace), originally released in 1993, has become one of Massaker’s most popular albums. Like it’s predecessor, ...Schwarzen Folklore, the album took shape in Massaker’s rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank’s studio near Cologne, with Plank’s former associates Ingo Krauss and Bruno Gephard producing. There’s a different kind of intensity to Koksofen. The features of Massaker’s sound are in full bloom. Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire song-scape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by Caspar’s guttural growls of war, suffering and death.
Caspar recalls one anecdote from shortly after the original release whereby Bassist Edu Delgado called him asking to turn on the TV, thus discovering that “Hymne“ was being used as background music to a report about the death penalty in the US. A different kind of intensity indeed. Reflecting on the album to this day Caspar remarks “Koksofen is still a mystery to me,'' he continues “I can still feel the troubled times in these songs.” - the effects are certainly potent for the listener too. And the album undoubtedly affirms Massaker as the fiercely original and compellingly raw musicians that they are.
DeepChord’s Rod Modell lists and tilts at 140bpm+ in his banging solo debut LP for Tresor
Landing 20 years since his 1st Rod Modell release, ‘The Autonomous Music Project’ for Lunar, the ‘Captagon’ album finds Modell breaking his usual 120bpm sound barrier to go headlong for a classic early Chain Reaction style, nodding to a mid-late ‘90s era when the likes of Monolake, Matrix and Erosion (T++) kept pace with the rest of techno, but also kept it deep and hypnotic as fuck. While it’s quite possible this uplift in energy may leave some of DeepChord’s older audience out of wind, for many others it’s a breath of fresh air to his exhaustively explored style.
Through a simple gesture of pushing the tempo, Modell’s sound instantly becomes more urgent, as though woken from its sluggish reverie and now properly up for some aerobic mysticism. Along with the Chain Reaction nods, there’s clear reference to classic Detroit and related gear, from Mike Grant’s Black Noise to full flight Mills trax and Convextion at his paciest. However, Modell’s grasp of layered, subaquatic dynamics really places ‘Captagon’ in a league of its own, with a rinsed out and rinseable dynamic and traction brilliantly transposed from his fathoms deep catalogue of cv313, Echospace, and DeepChord productions with inexorable velocity.
Best thing he’s done in years, basically.
’S.L.F.' sees exogenous pop alchemist Aïsha Devi expand on the experiments into metaphysics and rave music found in her acclaimed 2018 album ‘DNA Feelings.’ V strong EP this.
Defining a contemporary ritual practice through binaural, healing frequencies and club impact, she coalesces the sacred and the virtual, the subliminal and the cognitive in a syncretic vision. Aïsha Devi crystalizes her approach in a mesh of trap, trance and computer music woven with sonic references in flux between metal subterrain and ambient dimensions.
Dreampop drift and drill rhythms signify an existence in omni-realities in new single ‘I’m Not Always Where My Body Is’, while ‘Two Serpents’ and ‘The Uupar-Theory’ entwine trance and doom to antigravitational effect. Media theorist and Rhythmanalyst DeForrest Brown Jr. voices a foreboding counter to Aïsha’s operatics in ’Teta 7hz (Tool)’, and ‘The Favour of Fire’ embodies the EP’s core concept in shapeshifting aesthetic and aetherave-ready sensuality. ’S.L.F.’ is an illuminated hijacking of collective hypnosis, an encoded rallying signal.
INCLUDES A F**KING FOOTWORK REMIX OF STEVE POINDEXTER’S ‘WORK DAT MUTHA FUCKA’!!!
Traxman hits it out of the park here with a very necessary and killer ramp of Poindexter’s all-time Chicago house template, before pledging “allegiance to the Hozzzz’ in a rude jam with DJ Deeon, then going sick with Jana Rush on the panic-footing of ‘Wildcard’, and chopping hard on strobing solo joint ‘It’s Lasting Bass’, with the darkside Footwork styles of ‘4 Da Lyfe’ set to push dancers to their best.
Diagonal artist Blood Music follows his ‘GPS’ tape with a new album of sound poetry
“FOUR PINTS OF GUINNESS FOR TONY CONRAD is a split release from Simon Pomery and Blood Music. Simon is Blood, Music is Pomery. Accompanied by a 64-page book of visual, poly-lyric and collage poetry, this work merges his two artistic practices in a mutually-reinforcing bloom of word and sound.
BLOOD MUSES is SIMPLIFICATION POMERANIA: Longfellow-basic sonnet artificial, mushroomed, make of thereby "influential-poet", cures of PRANCER. Found in Longing, in 5591. Theatricals namelessly "Blouses Mussels" is one of Englishizes trash of theology Japan taipei ensigns, Kodiak: "chisel of theorized drummed", "minicomputer-befuddled-thoughtlessness", andes "mushroom heaviest in theorems womb", or rated, "bloodshed muslin". Drudgery sinatra theorems agent of 1, guidebooks sinuous theirs agents of 8.”
Glacial, magisterial studies in the psychoacoustics and aural phenomena of Lithuanian folk music from Joshua Sabin; exploring the emotional potency of the human voice through manipulations of archival recordings, traditional instruments and native forest ambiences.
Drawing from the folk music archives of the Lithuanian Academy of Music and Theatre Ethnomusicology Archive, Sabin was particularly struck by recordings of Sutartinės: a near-extinct form of two and three voiced polyphony notable for the way it uses dissonance and creates perceptible “beating” frequencies due to the way singers (usually women), or instrumentalists on a skudučiai (a sort of panpipe, often played by men), create driving, dissonant tensions between their tightly syncopated parts.
Also taking cues from the psychoacoustic research of Rytis Ambrazevičius, whose computer analyses highlighted the unique acoustic and harmonic complexities in these archival songs, Sabin subtly exaggerates and reroutes what he calls their “arresting and often almost plaintive and minimalistic beauty” into a suite of forested soundscapes that unfurl with a natural beauty comparable to Ian William Craig’s decayed, long exposure landscapes, the arcane and ritualistic atmospheres of Lussuria, or the wind-etched grain of Richard Skelton.
Broken beat and UKF mutant Altered Natives pushes the tempo of his style into icy footwork, ghetto-tech and minimalist jungle frameworks for London’s We Buy Gold.
It’s all about the muddafrickin’ bass on this one, practically pushing the subs so hard that there’s no room in-the-mix for any drums apart from skittish hi-hats and rimshots, with the mid-range void coloured in spectral electronic disturbance and reverberating ether voices.
‘Kin Asbo’ sets the model with palpitating subs and distant but needling strings in a way doing for footwork what DVA did with Gqom in the DRMTRX sessions. ‘Moments’ follows on a proper hot-stepping flex with psychy loops and rapido pulses recalling Singeli styles, while ‘Always Sunny’ messes with the meter in a way compatible to Slikback, and ‘Daddy’s Gone’ does proper UK darkness in a frozen jungle style.
Bristol bassbin queen Sophia Louizou meets Peder Mannerfelt and Malcolm Pardon’s RTD on a tantric ‘ardcore tip for the 5th in Roll The Dice’s ‘Assimilarity’ series
Marking Louizou’s 1st release since ‘Irregular Territories’  and the follow-up to RTD’s ‘Hydra’ hook-up with Alessandro Cortini, ‘Head Drop’ is a pensile fusion of darkside ’93 jungle’s negative ecstasy with weightless noise pressure done to exacting degrees somewhere between classic Jega and Christoph De Babalon.
Warmly endearing synth trips charting 2 days of recording on an island in Canada. Smells like campfire smoke, trees and starlight.
“Matthew Bailey and Carl Schilde play fully improvised music oscillating somewhere between bingo hall Casio suites and kosmische dreamscapes. The duo perform under the name Playdate, and are sometimes accompanied by 90s instructional videos, larger than life amateur dancers, and outdated light shows.
Last summer, they travelled to a remote cabin on Manitoulin Island and recorded their debut album in two days, improvised live onto stereo cassette tape. They ceremoniously recorded two 30 minute tape sides each morning, afternoon and night, surrounded by insect drones, forest breezes and lapping waves. Manitoulin Tapes is the distillation of that bucolic experience. Like the mutable remote island environment, the recordings are sometimes warm and pastoral, like an Algonquin Cluster, at other times somber and brooding, like Sympathy Nervous, Pan Sonic or Cabaret Voltaire inspired by the Group of Seven rather than Dada.”
Italian IDM/electro veterans Retina.IT do concentrated, shifty, buzzing electro for Boddika’s Nonplus
‘Formant’ is a trippy, monotone study in processed vocals, and ‘Neural Map’ dices with a sort of Mille Plateaux style glitchy minimalism. ‘Unconditional Perceptive’ and ‘Unknown Totality’ till sunken ruts of sludgy techno, and ‘Memory Sensation’ launches a hydraulic jack recalling Donato Dozzy styles.
"Released in 2000, The Virgin Suicides was director Sofia Coppola’s first feature film, Kirsten Dunst’s first major screen role, and Air’s first foray into film scoring. This 15Th Anniversary Deluxe Edition features a remastered version of the original soundtrack, plus a full download."
Bala Club and Bubble Gum Violence founder Katie Vick rolls out a beguiling debut album strafing between reggaeton-pop mutations, indie rock, metal, and corny Emo-EDM-pop. Half of us thinks this is James Ferraro in disguise…
“The story of how to create a misanthropic abused murderer, Killerguy, and how to save the planet simultaneously.”
Roughshod techno from Belgium’s Peter Adriaenssens aka 6SISS, tipped to fans of Peter Van Hoesen, Shxcxchcxsh or Ben Frost
Apparently coming from a new beat heritage, 6SISS’ style of techno is entirely modern, delivered in a drily abrasive vernacular of noise-sculpted hits and tarmac textured swipes between the galloping force of ‘Prisma’, a cantering juggernaut that sounds like Frank Tovey’s Mkultra gone techno in ‘No Isms’, and the turbulent roll cage shudder of ‘Delta’.
The label behind that mint Maria Rita reissue, Optimo's Selva Discos fasten their dancing clogs again with a tight original burner by Edson Gomes da Conceição, back with Mike Burns’ straighter disco edit
Slunky electro sleaze and melodic pirouettes from Carl Finlow’s Silicon Scally
Returning to Sheffield’s CPU after 2018’s ‘Projections’ 12”, Finlow plays it classically in all parts, getting into kerb-crawling gear with the lo-slung ‘Cobalt Blue’ before stroking his synths to spume polychromatic arps, hingeing around spare Linn snares in ‘Scintillation.’ Flip it over for a ruder push with the red-lining bass distortion IN ‘Asynchronous’ and the shifty Drexciyan acid electro of ‘Protocol 2.’