Killer slo-mo techno slugs from Vienna’s Nonetheless duo on Florian Stöffelbauer a.k.a. Heap’s Neubau label
Verging on techno for an ambassador’s reception, the first batch from Felix Bergleiter and Florian Bocksrucker’s new pairing injects a sense of refined, Central European sensibilities to the ‘floor, where needed.
Working in parallel to styles pushed by the likes of Tolouse Low Trax and Vladimir Ivkovic at Salon Des Amateurs, the recoiling chug of Berlin’s Novo Line, or the trawling drag of Sweden’s Fishermen, Nonetheless deliver some serious traction with EP highlights in the unstressed machine squeal and pressure of ‘Exclusion Zone’ and the inexorable acid rolige of ‘Machine of Love and Hate’, plus a the Carpenter-esque groove of ‘Velvet’.
Classically carmine-toned Italian horror score from living legend Fabio Frizzi, for the comedy-horror ‘Puppet Master: The Littlest Reich’, directed by Sonny Laguna and starring Udo Kier
“Lakeshore Records and Fangoria Presents have teamed up to release Puppet Master: The Littlest Reich—Original Motion Picture Soundtrack which features an original score by legendary film composer Fabio Frizzi (Zombie, City of the Living Dead, The Beyond), digitally on August 10th.
This is the first soundtrack to fall underneath the banner Fangoria Presents from Cinestate. Written by by S. Craig Zahler (Brawl in Cell Block 99, Bone Tomahawk) and starring Thomas Lennon, Udo Kier and Barbara Crampton, the film was produced by Cinestate in conjunction with Fangoria and will have a limited release in theatres beginning August 17th. Based on the Charles Band cult classic, the new reimagining of the Puppet Master series has been garnering rave reviews for it’s over the top gore and dark humor.
Recently divorced and reeling, Edgar returns to his childhood home to regroup his life. When Edgar finds a nefarious looking puppet in his deceased brother’s room, he decides to sell the doll for some quick cash. Girl-next-door Ashley and and comic book pal Markowitz join Edgar for a doomed road trip to an auction at a convention celebrating the 30th Anniversary of the infamous Toulon Murders. All hell breaks loose when a strange force animates the puppets at the convention, setting them on a bloody killing spree that’s motivated by an evil as old as time.”
Aman!!! is a newly formed project by Tasos Stamou (Greek bouzouki & Turkish saz) and Thodoris Ziarkas (blues guitar).
"The duo explores the borders of improvisation in the context of traditional music, especially focused in the musical heritage of Greek Rebetiko and other styles of the South East Mediterranean. The project reflects reflects both musicians' interest about reinterpreting traditional music in a contemporary, non sterilized form whilst dealing with music tradition in their very own special way; abstract prepared-strings improvisations blend back-and-forth with original old songs of '30s and '40s phonography.”
Quick, melodic folk music for healing depression, from Madagascar
“June 2017, France. It’s 40° both inside and outside. At Studio Black Box, in the Haut Anjou, it is as if you were there, in Madagascar. And when the tape recorders start rotating, the musicians’ imagination feeds off the guts of their music : Malagasy bush, tropical heat, red dirt, sand, drought, corn, cassava, cockcrow, mooing zebus, lambahoany (fabric), leaf hut, fotaky house (mud), dust, portable generator, music, rhum, bodies frantically dancing wether in the dark or under the blazing sun…Tsapiky.
The album shall be named Valimbilo.
Bilo is a disease which strikes one’s mental health, depression is what western societies call it. When one is diagnosed with « voany bilo », a precise medical treatment is engaged and performed without doctors, nor medicine. To vanquish bilo, one has to use music.
The sorcerer solely decides upon the “good” day (the day which gathers the most positive aspects of the astrological conjuncture) to operate: the extended family hosts a ceremony ruled by many taboos, which can last up to a few days, and in which only one remedy is applied in high dosage : some Tsapiky.
They are “doctor” musicians whom talent is source of the cure.
They play for the patient, who has to be facing the orchestra : all of their attention is focused on the bilo, dancing in the sick person’s body : It has to be awaken, seduced, surprised and attacked from every angle before it is pressured, pressured until KO, until it can’t take the it anymore, stuffed with music. Then the patient is relieved, discharged, and the ceremony is over.
During the entirety of the ceremony, the patient picks a person who helps him/her get the bilo out of his/her system, this is what we call “valimbilo”, literally “husband/wife of the bilo””
Balmy Scando disco moves from Little Dragon on ninja
“Little Dragon wanted to bring new music into the world that has an airy and fun lightness to it. “For all the lovers out there, chant along! Dance for peace and unity in this world of madness!” declare the band. Lead singer Yukimi Nagano adds that the EP is about, “The force of love. Not only between two people but the force of love in this universe as the ultimate ecstasy. Whether that is while you’re dancing at a disco forgetting where you are or just staring at the moon on a clear night, it can be anything. A swim in the ocean, a glance at a stranger--it’s a personal individual thing. Call it what you want but we have all felt it. So, embrace the great mystery of everything that your brain can’t grasp and lose track in the most beautiful sense.”
The story behind the track’s origins is as idiosyncratic and left-of-centre as you would expect from a band that have spent their career consistently playing by their own rules. "It started with Fred searching for a wedding march inspired by a Swedish prog funk folk keyboardist called Merit Hemmingson”, explain the band from their Gothenburg bunker. “Erik got inspired by the track and started singing! After Erik wrote his vocal verses Yukimi got a bit worried about his lyrical abilities and stepped in to add her part on the song. Håkan flew to Germany to record a beautifully tuned clavinet. Once the clavinet was recorded Fred and Erik added their flavour with some drums and deep synth bass. For all the lovers out there, chant along! Dance for peace and unity in this world of madness.”
Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.
"The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album’s tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp’s original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp’s hazy youth.
Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy’s world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration."
Another massive 4CD payload of prime New Beat - no Nougat Beat! - including way more than your RDA of late ‘80s Belgian bangers
Synthesising a crossroad between US house and techno, Italian disco, Mittel Euroepean EBM and frothy Belgian sensibilities, New Beat is the much maligned precursor to rave techno, which, in recent years, has seen a long overdue reappraisal of its charms by dancers and DJs who’ve become snagged on its direct, to-the-floor rhythms and addictive hooks.
For the massive 2nd volume of ’New Beat - The Compilation’, they’ve pulled together 57 heaters from the short-lived heyday of New Beat circa 1987-1990. There’s a lot of well known and fairly easy to find pieces, but also a lot of choice rarities, most notably the likes of Blue Vertigo’s tuff but sexy ‘Abadan (Monday Morning Mix)’, the amazing staccato perk of ‘Komobinn’ by Acidity - an alias of the legendary Tony Baron (Teknokrat’s) - and the steely hardball of ‘Take Me To Your Leader’ from another Teknokrat’s member, F.X. Intruder a.k.a. Mike Butcher, plus oddities such as Rebel X & Vector S’ ‘Controller II’, Inter Phase’s darkside acid trip ‘Back From The Space’, and New Design’s acid jacker ‘Some Like It Hot’.
‘My East Is Your West’ appears here in its full unedited glory, Sarathy Korwar’s album is in collaboration with the UPAJ Collective, a group of estimable Indian jazz and classical musicians, members of which include Tamar Osborn (On The Corner Records), Al Macsween (Omar Puente, Pee Wee Ellis) and Aditya Prakash (Anoushka Shankar).
"A unique homage to the Spiritual Jazz music of the 1960s and 70s and to artists such as Alice Coltrane and Pharaoh Sanders. It’s a culturally diverse album rich in musical colour. Sarathy Korwar’s pioneering approach and ethnomusicological background allows him to develop and innovate upon the Indojazz genre.
Fans of Korwar include Floating Points, Gilles Peterson and Keiran Hebden. Of his previous album Four Tet said: “Refreshingly different, this is a deep and powerful listening experience.” Korwar has won great acclaim supporting Kamasi Washington on tour. More recently he’s collaborated with London luminaries Binker and Moses and Shabaka Hutchings."
Loose, bashy, funked-up house chops from the LMYE duo, leading on from solid 12”s for Idle Hands and Funkineven’s Apron Records
Bridging the gap between rugged US originators such as Theo Parrish and Rick Wilhite, and UK rogues such as Altered Natives and Mr. G, LMYE (Lend Me Your Ears) marks out gritty, soulful territory with the 10 tracks of their eponymous debut album.
On the first disc they swang out with the swollen subs and frayed percussion of ‘All Aboard’ inna UK style, whereas ‘The Gift’ gets down with wilder sample cut-ups on a Soundhack or Shake tip, and ‘Song Six’ slings it jazzier, duskier, with powerful bass weight.
The 2nd disc opens with a wicked, Pepe Bradock like flurry of avian keys and frisky swing on ‘Elements’, along with the killer Steve Gurley styled 2-step of ‘XTC Rising’, a Todd Edwards-flavoured buzz in ‘Hypnotised’, and serious deep rave panache in ‘Steel City Blues’.
Young Hunting kneel before Ancient Methods’ Persiphonic Sirens with two cinematic synth vignettes clad in beautiful sleeve adorned by Nick Hedges’ photo; ‘Street, running down to the Tyne, Newcastle (1970)’
The keener eared and clear of memory may recall Young Hunting from their 2011 debut on Blackest Ever Black, before they became Dalhous. We’re not sure if these two tracks are new material or vintage cuts from back in the day, but either way they’re some of the strongest we’ve heard from the Scottish duo.
The A-side’s ‘List of Indignities’ is a gloriously sullen, wordless hymn to heck sung by a burned-out synthetic chorale, while the flip side’s ‘Melancholia’ is a heart-rending swell of coruscating harmonics and sore, plangent chord changes bound to speaks to the bitter romantic in all of us.
A proper dub-house love-in from Remote_ and A New Line (Related), sharing previously unreleased material recorded between the late ‘90s and 2017.
We have no idea who did what or when, but that may be missing the point slightly, as the two artists make such comfortable bedfellows.
On the Remote_ side, Mike Oliver follows the woolly handle of his 12”s for the Meanwhile and Smallfish labels with 43 minutes of scudding chords and low sunk subbass shift smudged into a drowsy shimmer that holds dancers and reclined bodies in a cats cradle moire of ambient dub rolige, gradually nudging the energy levels until you’re in the grip of proper Detroit style tekkers.
Andrew Johnson (Hood, The Remote Viewer) also makes us feel like it’s 2005 eternal on the B-side, coaxing out 44 minutes of sublime, claggy chords and undulating dub house, holding the line into blunted tribal percussion, thrumming slow techno and touches of gentle ambient pop.
Following their recent 'Passion' doublepack, Demdike Stare unveil 'Stitch by Stitch', an epic four hour mixtape series recorded over summer 2018 and split into 4 distinctive parts in turn exploring UK-centric ‘nuum pearls, concrète, library music+noise and outsider pop - with the last tape reserved for unreleased material recorded especially for the series. It documents and re-shapes archival oddities, treasured finds and important influences that have inspired Demdike over the last decade since their first recordings; a vast, sprawling world of sound.
The first tape - Part 1: Stem is an hour long session made up of DDS edits of mostly UK-centric Techno, UKG, Grime and hardcore Jungle funnelled through unspooled pop, R&B and dancehall. It’s a spacious, frenzied builder that joins the dots between David Sylvian, the two G’s and Wiley in a way that you’re unlikely to have ever heard before - a proper headmelter that’s in turns deep and delirious.
Part 2 - Chain dives deep into an ocean of abstracted recordings; from site-specific art records to found noise tapes, unlabelled library records, lo fi 78’s, field recordings, garbled spoken word, slowed down free-jazz, gongs and bells - properly indefinable weirdness collected over the last two decades and deployed here to terrifying, engrossing effect.
The third and fourth parts will follow in the next few weeks - keep ‘em peeled.
Mercurial, nippy, ‘Anoima’-style Nigerian highlife, reissued on vinyl for the first time
“For the casual fan of Nigerian music, certain names immediately come to mind at the mention of the phrase “Igbo highlife”—internationally recognized stars like Chief Stephen Osita Osadebe, Celestine Ukwu, Oliver De Coque, and The Oriental Brothers. Intermediate students of the genre might cite less universally lionized but still tremendously influential players like the Ikenga Super Stars, Mike Ejeagha, or Goddy Ezike. The true aficionado, however, is likely to chatter enthusiastically about someone like Franco Lee Ezute, and how he was the avatar of a spirited new take on the style that revitalized and redirected the genre in the 1970s and 80s.
To this contribution to the conversation, the purist might counter that Ezute, and others of his ilk (King Ubulu, Ali Chukwuma, Rogana Ottah, Bob Fred, Mmadu Osa International Band, etc.) despite singing in what appears to be the Igbo language and utilizing Igbo cultural motifs, technically do not qualify as Igbo highlife at all. Instead, they should be categorized as Anioma sound.
But what exactly is Anioma sound? Well, that can often be a complicated to quantify as the concept of “Anioma” itself, and both continue to stoke passionate debates: Is Anioma music simply a variety of Igbo highlife, or its own unique genre? And are the Anioma people Igbos… or something else altogether?
The word “Anioma” is an acronym encompassing the names of four language groups in present-day Delta State, Nigeria: Aniocha, Ndokwa, Ika, and Oshimili. The tongues spoken in these regions are generally considered to be mutually intelligible with standard Igbo, and are frequently counted among the over 30 distinct dialects of the Igbo language. Over the years, the Anioma peoples have variously been described as “Western Igbos,” “Bendel Igbos” and “Delta Igbos.” But many indigenes of this area stubbornly maintain that despite speaking variations of the Igbo language and bearing what sound like Igbo names, they are not of Igbo descent culturally or genealogically. Contemporary Anioma historians have popularized the theory that they are descendants of the Bini peoples in neighboring Edo State who migrated to the western border of Igboland and took on much of the language and culture. While there is not much substantial evidence to support this narrative, it’s one that is easy to believe when you listen Anioma music—specifically the highlife produced by the natives of the Ndokwa (or Ukwuani) area. On the surface it sounds like Igbo highlife, but something about it is… different.”
Josephine Foster raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album.
"Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure.
Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself."
Sepulchral, shoegazing goth-pop modelled in the classic image of Cocteau Twins, Kate Bush, The Sundays
“SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren’t filled, but rather holes left that push the edges of the present into new realms of consciousness. SRSQ’s pulse began after the death of Kennedy’s closest friend and TAUT collaborator Cash Askew, a casualty in the sudden and tragic Oakland Ghost Ship Fire of 2016. Driven by loss, SRSQ became the vehicle for Kennedy’s transformative process, exploring nuance, nostalgia, reflection, and reconciliation, manifesting in the aural landscape of Unreality.
As a debut, Unreality is entrance into a new form of storytelling, traversing the present while pulling from a deep swath of experience, immersion, and sound. Like the impulse it pulls from, each song evokes the complex duality of meditation—where simple intersects with infinite. Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy’s vocals as a lush weapon, weaving cloudlike fables over orchestration that’s familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency. Kennedy proves an adept architect of rhythm, using sequenced electronics as a deep backbeat that allows the harrowing beauty of her vocals to lead the journey.
Produced by Matia Simovich of Inhalt, Unreality is simultaneously crisp and full, each tone and note occupying its own unique sonic world - grief butted against power, tracked to a heavy heartbeat.”
Brian Eno’s ‘Music For Films’ is a definitive example of a “soundtrack for an imaginary film”. The first of three volumes, it features a number of short tracks recorded 1975 - 1978, and includes styles and equipment that also carried over into Eno’s work on David Bowie’s ‘Low’. It has been our of print on vinyl since 1982
First issued in 1978, ‘Music For Films’ was first promo’d a few years earlier in edition of 500 as a collection of potential pieces for filmmakers. This reissue of the official release features 18 gorgeous shorter form pieces (especially when compared with his tendency for durational works) that were intended to lend subtle emotive colour to films. They feature a combination of Eno’s patented synth work with more conventional instrumental contributions from Robert Fripp, John Cale and Fred Frith, among others, and would appear in films ranging from John Woo’s ‘A Better Tomorrow’, to Derek Jarman’s ‘Jubilee’, and Jim McBride’s ‘Breathless’
Filling the gap between Eno’s ‘Discreet Music’ and ‘Another Green World’, and his later classic, ‘Ambient 1 (Music For Airports)’, this album is clearly blessed with Eno’s rarified, breezy feel for melody and space, making concise, pointed use of textural fusions and contrasts in a way that resonates with, as much as stands out from, his other work during that era.
Heart-on-sleeve dramatics from Seoul-born, Boston-based 24-y.o. artist MMPH - a classically-trained musician whose Cello studies at Berklee College of Music soon evolved into these grandiose, romantic and tragic electronic symphonies
In recent months MMPH has been credited with production on records by serpentwithfeet, David Byrne, and Lauren Auder, as well as a tender remix handling of ‘Braid’ by Perfume Genius. Followers of Nico Jaar, 0PN, Arca will likely get something out of MMPH’s angsty emotive gut load.
Left Ear keep ‘em coming with reissue of ‘Percussions Pour La Danse’, a sought-after 1989 side of computer-processed rhythmelody written for the choreography of Tony Kenneybrew. Afro, balearic, cosmic disco ‘eads and fiends gonna freak out over this one, especially for their 9 minute, Pekka Airaksinen-like jazz out on ‘Vas Y Peter’
“Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kenneybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s.
The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.
Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.”
Salty modern synth-pop from Amsterdam, the first release on De Vlieger, a new label coined by Job Jobse. RIYL Fad Gadget, John Maus, Robert Rental
“This collection of short songs by Karel marks the first release of my new label, De Vlieger.
I will always remember the first time I saw Karel live. Jumping and flying across the room. One moment hanging from the ceiling, the next taking a plunge into the night. His feet in the air and his head in the clouds.
A desire to release music from friends had always been there, but only when I witnessed Karel's unique energy and his ability to write a perfect pop song in just a few lines, this desire took its first form. The results are six synthwave songs that are low on fidelity, but high on feeling. Recorded between 2016 and 2018 at his home studio, using three synthesizers and a drum computer.
- Job Jobse”
A slow paced 60 minute piece performed by the 18 musicians 'vvolk' - one of the only acoustic ambient orchestras in the world, composed by Stijn Cools.
"This is the 3rd album in the 'Book of air series', as part of the granvat platform curated by the brothers Stijn and Bert Cools. As in the 1st Book of air album 'Fieldtone' and the 2nd 'vvolk', the parameters time and sound are again widely present. This time the 3 interwoven bass lines give the deep drive and foundation of the sound, completed with a layer of acoustic instruments and sparkling chords on top. 'Se (in) de bos' is inspired by the fluctuation objectivity of our daily observations.
'vvolk investigates performing and improvising music, in close relation to present time; what are the possibilities in playing music, when changes in this music pass by unnoticed? How do we as musicians relate to the running time of a performance? This clearly challenges the improvising musicians, and makes audience and performers discover new territories in collective improvisation."
Smoky, low-key, leftfield house and beatdown styles from dj sacom, Elise, Patrick Flint and HANAH on London’s Man Band rec.
dj sacommakes their recorded debut with the dusty, Dilla-esque lope of ‘Wisdom’, and Rinse France resident Elise sends smoke signals with the crispy, smudged house hustle of ‘Seropram’ on a Kassem Mosse or Parris-like tip.
Bristol’s Patrick Flint serves the EP’s 2nd recorded debut with a haze of trilling flutes and drum machines sounding out somewhere to the quieter side of Hodge or Kowton, and Parisian HANAH serves the record’s 3rd recorded debut in a sloshing, grubbing percussive workout that sounds like it was recorded in the roof of a public swimming baths.
All killer, no filler 4-way from Amsterdam’s Knekelhuis, turning out rugged, psychoactive dance music from Sabla,Patricia Kokett, Maoupa Mazzochetti, and Job Sifre
Presented as a “document of modern contemporary music”, all tracks could have feasibly been made at any point between 1980 and now, which is pretty symptomatic of these flatland times, to be fair.
Up top, Sabla follows a pair of strong 12”s with Gang of Ducks and Disk with ‘Chant’, a haunting rhythm excursion focussed on pure rhythmelodic cadence and possessed by elusive electronic duppies. Patricia Kokett follows with ‘Luxor’, flipping the script of their slow and heavy ‘Diabel’ 12” with pulsating drums and dizzy hi-register squeal.
On the other side, Maoupa Mazzochetti works a tangy sort of Arabic, aerobic mysticism with the psychedelic spin and bump of ‘644 Beauty Marks’, and Job Sifre leans on the downstroke with the On-U Sound-esque ace, ‘We Are Monsters’.
Mano a Mano, Kowton & Parris remix each other to the bone for Glasgow’s pivotal Rubadub gang
Both masters of economy, they pitch in super dank and restrained riddims raring for amplification on a proper system. Kowton’s is the most stripped down, with barely-there flickers of percussion trading space with air-shuddering subbass, always on a tense build into vacuum-like relief. Parris marginally fleshes out his side with spidery webs of dubbed drums and globular subs, but the tension is chronic this time, as the groove overpronates in spiralling forward motion until the bass/snare locks in for the final stretch.
Killer Detroit house bangers from Omar-S and Simon Black
On ‘I’ll Do It Again’ they riff on classic Chicago Trax and NYC ballroom vibes with Simon Black’s raw lyrics set to Omar’s bubbling bongos and kinky jiggle.
The B-side takes it to the bedroom with the double deep bass and heady riff of ‘The Freaky Type’ - pure smut on wax!
Leading on from his sparkling debut album in 2017, Jacques Greene does his endocrine-tweaking dance-pop thing on the ‘Fever Focus’ EP
From the bittersweet curdle of ‘Convex Mirror’, thru the floating ambient rave of ‘Nordschliefe’, to his warmly melodic jacker ‘Perlant’, the MDMA-triggering acid of ‘Fever Focus’, and the trancey lift of ‘Avatar Beach’...
Eiko Ishibashi & Jim O’Rourke gaze out of the front cover and provide the key lead interview article this month.
Elsewhere, the Global ear is cocked to Jinja, Uganda’s Nyege Nyege Tapes Festival, and Melvin Gibbs is quizzed in The Invisible Jukebox, alongside features on Jpegmafia; Michele Mercure; London Improvisors Orchestra; Deena Abdelwahed; Colin Self. Plus all the usual news, reviews, listings.
One of Coil’s most prized and distinctive albums, ‘Black Light District’ arises again on 2LP reissue with Dais Records, with all remastering and reproduction under the auspices of the group’s Drew McDowell. A phantasmagoric soundscape for those who shine darkly…
“During the transitional period in which Coil’s primary leadership, Peter “Sleazy” Christopherson and John Balance, reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldy influence.
Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.”
Squeaky clean and sharp dance drills from Local Action’s Australian ambassador
“Having spent the last half-decade honing his sound and earning a reputation as one of the underground’s finest club producers, Strict Face releases New Racer - a nine-track mixtape that marks his most ambitious and rewarding project to date.
As inspired by classic r&b as he is future-facing electronic music, Strict Face boasts one of dance music’s strongest recent discographies, releasing zero-gravity grime anthems on labels such as Mumdance and Logos’ Different Circles and Mr. Mitch’s Gobstopper, collaborating with Atlanta r&b artist K-Major on ‘Murderer’, and most recently releasing This Heat, an EP for Australia’s NLV Records that marked his most confident, all-encompassing work to date.
Although he wears his influences on his sleeve, Strict Face has developed a way with melodies that makes his music instantly recognisable - squeezing every last bit of emotion from them to ensure that they stay with the listener long after the track has finished, and that melodic sensibility runs through the veins of New Racer.
Bookended by two of his most emotive tracks to date in ‘Lethargic’ and ‘Starwipe’ - the first of which features his own guitar work on record for the first time - New Racer maps a tour de force through amped-up peak-time screamers (‘Viper Striking’, ‘Panther Pierced’), romantic r&b (‘Cherryhugs’, ‘Gold Citro’, ’Kiss Me Later’) and euphoric, trance-driven club workouts (‘Dial Fantasy’, ‘Crisis Combo’). Despite Strict Face’s rich history of collaborating, this mixtape is deliberately 100% instrumental and 100% him, showcasing his ability to creating unforgettable melodies and irresistible ear-worms on his own terms.”
Well-skooled mix of krautrock, Afrobeat and jazz from Amsterdam’s 9 piece instrumental ensemble, Jungle By Night
“5th album by the nine-piece instrumental collective from Amsterdam, Jungle by Night!
After almost a decade of heating up dancefloors across the globe, Jungle by Night have reached manhood. In the process of creating their 5th album, the nine-headed collective melted years of passion, friendship, and influences from krautrock, dance, jazz, afrobeat together into new instrumental prose, fluently speaking the language of their instruments.
The band is an oddball ensemble within its own cosmos. A danceable and thundering live-act, connecting with crowds like no other, with beaming fun and energy along the way.”