A killer selection of nine cherry-picked new wave, disco and rhythmic electronic experiments hailing from early ‘80s in The Netherlands, documenting a time when formulas weren’t set quite as rigidly they would become and artists weren’t afraid to mess around, see what happens.
Accompanied by sleeve notes from Knekelhuis’ Mark van de Maat and with input from esteemed diggers/lynchpins such as Frans De Waard, Kale Plankieren - Dutch Cassette Rarities 1981-1985 Volume I throws up some real gems primed for the ‘floor.
We’re talking Necronomicon’s fretless bass funk, cowbell tickles and louche vocals on The Top, catching the duo in dubby transition from earlier, noisier styles to disco proper - think Arthur Russell meets Ian Dury - and likewise the irresistible bounce of Don’t Forget Me by Plus Instruments, fronted by Truus de Groot around the same time she was playing shows at CBGB’s. Expect track ID requests if you’re DJing this out!
On the other hand, the more wayward bits are superb, too. Rotterdans’ Interference is a haunting piece of communal electronics full of scrapes, spectral vox and airborne pulses extracted from day-long psychedelic sessions; Boris Dzanek’s Dance is well tipped to the cold wave steppers; and Roy G. Biv really get to your back teef with the bittersweet dissonance of Ulloa’s Ring.
If you’ve been following Knekelhuis’ new and reissued releases from Smersh, Parrish Smith, De Ambassade and more, you need to check this out.
Darling deposits a dream sequence album of ambient electro charms on Young Marco’s Safe Trip after a couple of excellent 12”s
“After breaking out of our holding facility following his capture in the forbidden forest – see the top secret file headed “J P S” – in early 2017, the trail went cold. a recent tip-off led us to an Amsterdam bunker. While we were unable to gain entry, an operative successfully placed an eavesdropping device in the air vents. Through this, we were able to record eight musical compositions of varying lengths that the extra-terrestial lifeform had created using a range of analogue and digital electronic instruments.
We have called this collection “Tulipa Moves”. we enclose a copy for your anaylsis. You will note that the tracks utilise a variety of rhythmic patterns and percussive elements, explore a range of unearthly but attractive sounds and are capable of stirring different emotions in human listeners.
We direct your attention towards the lilting, softly spun melancholia of composition 03 (codename “So Did We”), which deeply effected many of those who heard it, the undulating and fluid, beat-free bliss of composition 05 (codename “The M Song”), and the up-tempo positivity of composition 07 (codename “Kiss The Glass”), whose chiming, intertwined melodies and snappy rhythmic energy reminded us of so-called “intelligent dance music”.
We were astonished by the quality and intricacy of these alien creations and those we have not described in detail. listened to as a whole, the collection tiptoes a fine line between poignancy and positivity. it confirms our analysis that “Darling” is a humanoid lifeform with higher intelligence and intense musical ability. We will keep the bunker under observation and report any future developments.”
Virtually clad in the best artwork of 2017, Sometimes The Going Gets a Little Tough is Finn’s unmissable volley of bittersweet dance music for “trying times”. As one of the sickest DJs in operation in Manchester, and a key member of its burgeoning new wave of producers, Finn’s rep has spread far and wide in recent years, bringing him to this, his definitive release to date.
Landing six months after the Late At Night pearl on his 2B Real label, Finn gives the dance a much needed dose of raw, rude and emosh dance trax, fully indulging his fetish for regional US club styles and classic UK ‘80s and ’90s vibes with devilish swerve and stacks of ear-worming hooks.
There’s flavours for all ravers inside, filtering the funk from your toes to ya nose in the Roulé-esque chops of Who This Is (It’s P), while Rider (Some Rules Mix) allows a trace of melancholy into the mix with wickedly contrasting and very Manchester-styled effect. Give Us A Hand brings the vibe gauge right back up with an irresistible blend of filter house, speed garage and Jersey Club funk, while Trying Your Best gives it up for the strugglers, initially blue and downcast but getting there with a strong 2nd wind of ghetto house rudeness, leaving the creamed R&B lixx of So Confused to speak for all of us.
Game. Set. Match. This is a proper Bobby Dazzler.
Weeed have presumably smoked so much that they’ve simultaneously reversed and advanced the ageing process to give them the wisdom of ancient herbalist druids and the primal force of heavy rock elders such as Black Sabbath and Sleep
“WEEED's debut for Imprec, titled This, has an expansive musical vision and an astonishingly mature sound from a young band. Despite their relatively young ages Weeed has been together for ten years – a fact made apparent bythe fluidity and unity of their sound. Labels such as stoner/psych/jam/alt/Krautrock seem to fall short as the band draws from a deeper pool of inspiration including gnawa, traditional folk, jazz, minimalist orchestras, overtone singing and much more.
This is the product of both a desire to make such influences more apparent as well as a desire to explore the boundaries of the members' abilities to connect with each other; to become, in essence, one mind. Though the skeleton of the album was written during practices, the dynamics and fullness of each song were often reconnoitered and spawned through the improvisations which occurred during live settings and tours. The idea was discovery through the act of being present, and This was the result.
Sonically, This is an outgrowth of their last release, Meta, which saw the band beginning to experiment with ambient & vocal looping, flutes, synthesizers. Those explorations are present here, as is the notable (and permanent) addition of a second drummer, which is defined through the mixtures of tight syncopations and pulsing polyrhythms present in these songs.Recorded & produced at Bear Creek studio in Woodinville, WA, This marks a shift in sound that will only lead to further exploration into new musical territory.”
Incredible wordless exercise in voltage control and psychoacoustic trippiness from the ever unpredictable and unfathomably visionary Richard Youngs.
On this one he provides a 30 odd minute tangle that sound like Nate Young hacking into and playing a street light next to a motorway underpass. Brilliant, natch.
Amsterdam’s Knekelhuis pull out some class, knackered dark wave/EBM pop nuggets from New Jersey's Smersh c. 1984/1989, backed with a gripping remix by the widely tipped Parrish Smith.
As key protagonists of the ‘80s EBM underground, Smersh pushed a rawly expressive sound which, with the benefit of hindsight, clearly paved the way for a lot of weirdos working int he gaps between industrial, odd ball house and screwy electronics nowadays.
The two tracks on the M Appeal EP are two of the most pop-wise we’ve heard from Smersh’s sprawling catalogue, with the slow, claggy electro waltz of M Appeal  making its first appearance on wax, following woozy lines of melodic thought over grubby, pendulous machine groove leading to a real peach in the corroded EBM galvanics and near-Latin Freestyle’d vocal of Kiss Me Stupid, which is guaranteed to get a lot of spins around our way. Funnily enough they both respectively recall aspects of Dirk Desaever productions from the same era, too.
If you need any more persuasion, Parrish Smith sorts that on the B-side with a remix of M Appeal, rendering the skinny, skizzy original with big-boned and dank industrial dubbing and lashings of salty noise to taste. Already a big one with Jon K, this.
Leon Vynehall trades in vicarious nostalgia on his new album, a record inspired by his grandmother’s tales of moving to New York City from south east England in the ‘60s. The results flirt with the ’floor but are generally better defined by their sweeping string arrangements and tender use of field recordings which lends a immersive sense of space and place to Vynehall’s jazz-wise piano strokes.
“Vynehall has released two extended EP's so far, his 2014 breakthrough Music For The Uninvited (3024) - a record inspired by the funk, soul and hip-hop tapes his mum used to play on car journeys which finished the year on a plethora of 'Best of the Year' lists including Pitchfork, FACT and Resident Advisor who called it "one of the most eclectic and rewarding house records you'll hear all year" - and 2016's Rojus EP (Running Back) which saw Vynehall building more layers and broadening the depth of his music to widespread critical acclaim including DJ Mag's 'Album of the Year' and 'Best New Music' from Pitchfork for fan favourite single 'Blush'. On both, he was crafting luscious grooves that were destined to dominate dancefloors. Nothing Is Still however, is defiantly atmospheric and textural, and finds him harnessing his passion for early contemporary minimalist composers such as Gavin Bryars as well as records like Philip Glass’ Koyaanisqatsi and Terry Riley’s A Rainbow In Curved Air.
Written and predominantly performed by Vynehall with additional musicians including a ten-piece string section arranged by Amy Langley, Finn Peters (saxophone and flute), and Sam Beste (piano) whom completed the final recording sessions that took place at Konk Studio’s - Nothing Is Still was mixed by Blue May in London before making its own transatlantic flight to New York, where it was mastered at Sterling Sound by Greg Calbi.”
Versatile follow the lead of Vladimir Ivkovic’s Offen Music to reissue these Selected Works by Serbian genius Mitar Subotić a.k.a. Suba a.k.a. Rex Ilusivii.
Since the 2015 issue of Rex Ilusivii’s In The Moon Cage and right up to the recent pressing of Suba’s Wayang, a whole wave of new listeners, us included, have been wowed by his imaginative electronic microcosm, and this new collection perfectly spills into ever more esoteric and experimental realms. Make sure to check for the kinky downstroke of Facedance and the 4th world dimensions of Niagara / Spomenici for something close to Conny Plank’s work on Les Vampyrettes, and definitely Fortirer et Reche for a killer sort of hardcore rave mutation. Big recommendation!
Versatile’s Gilbert adds: “It was Vladimir Ivkovic who introduced me to the world of Rex Ilusivii. A world where the spirit of a genius holds sway. I remember spending an entire night at Vladimir's house in Germany, listening to all those recovered pieces, and feeling like I had entered another space-time.
Mitar tragically left us, one November night in 1999 in Brazil, leaving behind an extensive body of work consisting of more than 500 pieces, for the most part never released. Being submerged in such a unique universe, so singular, brought me happiness. It also filled me with hope, because I tell myself that today there must be many other outstanding musicians who produce in the shadow of the traditional circuit, just for the pleasure of making music.
Listening to the music of Mitar Subotić makes you part of his world. He did not stop producing from 1983 to 1999, in different styles, but with an instantly recognizable touch.His music also marries the evolution of recording techniques with new instruments that have appeared over this time, from the TR808 to the digital samplers. It took me more than two years to select the music for this record, as each time I listened to the material it revealed other details and other possibilities.
I am extremely happy and honored to present this record to you, in which I try to do justice to the different, "versatile" facets of Suba.”
Husband/wife duo Shawn O’Sullivan and Katie Rose bang it right on the nose with Disparate Elements for the steadily expanding Knekelhuis label, chasing the style of their LPs for Cititrax and Robert & Leopold into dank electro, EBM and fugged-up technopop realms.
The pairing appear to bring the best out of each other in all parts. Rose’s vocals and synths vitally offset O’Sullivan’s cranky grooves, most delectably in the slippery gynoid sex tune It’s Later Than You Think, then pitched and diffracted into the mazy jacker Disparate Elements, and haunting the upper echelons of their grim brummie acid banger Aural Equivalent, whilst Central System is a pure, ‘floor knacking instrumental electro weapon.
Proper rave mutations from X-Altera, the killer new alias coined by Tadd Mullinx (J.T.C./SK-1/Dabrye/Charles Manier/X2/TNT).
Striking hot and delirious, but with razor cut production packing stacks of ideas into every track, X-Altera is instantly shaping up to be one of our favourite of Tadd Mullinx’s myriad projects.
Taking inspiration from the ‘ardcore phenomenon of 1990-1993, the sound effectively works in the pocket of years before the jungle references of his Soundmurderer & SK-1 duo, hearkening back to that fertile period when everything was in flux, as shards of Detroit techno clash with Ragga Dancehall, US garage, Lowlands techno, electro and boogie-jazz style vibes in a delirious style meant to make you dance better, harder, nuttier - facking ‘ardcore, innit?
In recent years, it’s a style that many, many have tried, but more often than not become lost in translation, or simply without the actual ‘hardcore’-ness. Safe to say X-Altera has it down pat, though, taking cues from classic early 4Hero and their Reinforced label, plus the likes of Foul Play, Mark Pritchard and a plethora of unsung heroes, to put a class new spin on the classic sound and legendary era.
There are too many highlights to mention, but take it on trust this one’s a must-check if you’re into 4Hero/Dego, A Guy Called Gerald, Goldie, Lone, HATE, Global Communications.
Haunting, enlightening, spellbinding; ‘Bush Lady’ is the definitive musical opus by Alanis Obomsawin. A member of the Abenaki Nation and one of Canada’s most esteemed and decorated documentary filmmakers, Alanis recorded ‘Bush Lady’ for CBC, Canada’s national broadcaster, in 1985, but was unhappy with the lead song, ‘Bush Lady’. She re-recorded the song and self-released it as part of new edition, which the marvellous Constellation have now picked up for this reissue, some 33 tours later
Combining her knowledge of traditional Abenaki songs, learnt in her home community of Odanak, with lyrics in french and english, and more modernist arrangements drawing from jazz and classical, Bush Lady paints an engrossing and unforgettable portrait of the venerable singer, songwriter, and storyteller which has somehow managed to evade the attentions of reissuers until now.
The 2-part, 13 minute long opener Bush Lady, Pt.1 + II make a transfixing introduction with Alanis’ mix of traditional and modern vocals dancing free over a tumpin’ drum and expanded with searching fiddle that beautifully tails off with her vocals in the 2nd part. Meanwhile, Theo, Pt. I + II find Alanis singing/speaking in french over a central, steady drum motif joined by the kind of lush woodwind you might expect from a mid ‘80s CBC release (think BoC feels), while Odana reserves the album’s lushest arrangement till last, with Alanis in chanson mode against a fittingly plush, almost filmic backdrop of strings and wind, and Of the Earth and of the Sea remains a timelessly universal message.
We wager some ears are about to fall madly in love with this album…
Photay’s jazzy jazz remixed for the floor in six different ways;
Hubie Davison fluffs up Screens with bustling latin flavour; Sam O.B. turns Aura into a plush soul number; Outré Lux becomes a quicksilver jungle remix in Phil Moffa’s mitts; Yonsei takes Storm on a mid-tempo dub-house glitch ride; and Tatiana Heuman unravels Off Piste with warped R&B swing.
LFI yield the aural equivalent of a queasy mushy trip with Garland’s maiden voyage, Preludes #1
An intoxicating journey, guided by sloshing percussion and probing bass plongs thru lysergically dubbed-out electro-acoustic dimensions and keening microtonal ‘tronics.
On her Thrill Jockey debut, acclaimed guitarist Marisa Anderson’s music is boundless. Anderson is undeniably a master of the North American traditions of country, folk and blues on guitar. On ‘Cloud Corner’, Anderson expands on those styles as well as instrumentation.
"The solo guitar work of Marisa Anderson owes its familiar tones to her awareness of history and her mastering of her instrument, yet it is completely new. Marisa Anderson filters musical history through her own personal experiences, as a traveller in life and in music. A curious and gifted player, Anderson has spent over 35 years of performing forging her singular, instantly recognizable voice. Marisa Anderson’s ‘Cloud Corner’ is hopeful in the face of any discord, a resplendent diverse sound sanctuary that shines, a mirror of the horizon it looks towards."
Hugo Massien plays deep into and out of Tectonic’s signature sound with four brooding, bass-heavy cuts on the cusp of dubstep, garage and electro
Proceeding his 12”s for XL, 17 Steps and E-Beamz, Advanced Aerial Threat starts out with the hollowed but threatening half step techno of the title cut, switching to plush keys and brittle 2-step in Ursa Minor, and needling yet soothing electro on Candy Flip, before Divisions From the Start steps out like Batu meets Jon Hopkins.
Salty minimal wave dirges from Laurène Exposito aka Eye, dialled in from her Alpine base to Amsterdam’s Knekelhuis, presumably via some archaic switchboard where digital technology is sniffed at.
Like her debut album, Sabine, Eye’s follow-up is defined by her palette and personalised melodic sensibility, coming out out four songs about “life changes and love’s stranges”, variously described in murky, subaquatic EBM with a sulphuric urgency on Yellow Density, or like Colleen’s sour twin on the bleeping dub noise fuss of Mucho Macho, whereas Cocktail Mexico catches a sweeter breeze sort of lo-fi electro, and the hazy weave of Go Forward.
Protomartyr return with the ‘Consolation EP’, which they recorded in part with friend Kelley Deal (The Breeders).
The release follows last year’s fan and critical favourite ‘Relatives In Descent’.
After an eventful year of touring throughout their native Australia - including runs with labelmates MONO and likeminded pioneers Tortoise - and featuring alongside the work of artist David Hockney at the National Gallery of Victoria, post-everything quintet Tangents return with another album, and another stylistic detour. RIYL: Can, Four Tet, Tortoise, The Necks.
"New Bodies continues Tangents' rummage through countless varieties of electronics, rock, dub, noise, and free improv jazz that defines the group's acclaimed aesthetic. The spacious dub of a plucked cello gives way to a minimalist breakbeat tableau resting over rhythmic prepared piano; a staid electronic groove is gradually absorbed into washes of frenzied improv; staccato synths are woven into tumbling avant-rock; and shimmering free drums phase over static loops of piano, guitar and cello."
John Parish, the twice Ensor-nominated composer and Mercury Prize-winning producer delivers a brand new collection of songs, including a duet with his longtime musical partner PJ Harvey.
"‘Bird Dog Dante’ was completed in a busy year for Parish. On top of being the musical director of the extended PJ Harvey band on their ‘Hope Six Demolition Project’ world tour, he produced acclaimed albums for Jenny Hval, This Is The Kit, Nadine Khouri and Aldous Harding. ‘Bird Dog Dante’ features duets with both PJ Harvey and Aldous Harding, as well as drumming from Harvey’s bandmate Jean-Marc Butty. In addition to touring with his own band in April, Parish is playing a commemorative show of Nick Drake’s music at St George’s, Bristol in what would have been Drake’s 70th year."
Bok Bok and L-Vis 1990’s label marks 10 years of dancefloor domination with ‘Night Allstars X’
Pulling together classics and exclusives from Cooly G, Fiedel, Girl Unit, Altered Natives, Uninamise and many more, the set firmly does what the label set out to do; replenish modern dancefloors with what they neeed.
Since kicking off in 2008 as a clubnight working in the space between myriad UK & US forms of grime, garage, house and R&B, it’s fair to say that the way Night Slugs has balanced and recombined those styles has fed into a proper, global bass music institution whose influence is much greater than the sum of its parts.
We fondly remember listening to Bok Bok Ustream's at a time when dubstep had calcified into a bit of a joke and grime was in a muddle, while the prevailing influence of Euro and US techno was just coming out of its squeaky clean ‘minimal’ phase into something ruder after years of decelerating rates of mutation.
Bok Bok’s mixes somehow navigated these currents with remarkable vision and precision, clashing all sides of the Black Atlantic in a mutant manner that avoided the pitfalls of ‘Fidget’ and, like a few other DJs and clubnights in London, Glasgow, Bristol, Leeds and Manchester, managed to recombine styles and patterns in a way that heavily tilted the following decade of music to the point we’re at now.
On Night Slugs Allstars X, Bok Bok and L-Vis maintain their taste for dance music with 14 aces from label fam old and new, tending to their OG roots in UKF thru diamonds from Cooly G, Lil Silva and Altered Natives, while looking to the US with cold Flex Dance Music from Uninamise and Helix’s redlining trap bite HMU Joe, while DJ J Heat and Neana do it transatlantic on the hyper Jersey scud of Love, and unusually but brilliantly enough, Fiedel of MMM makes a unexpected appearance with his signature Berghain girder, Door To Manual.
Big up Night Slugs! Here’s to another 10 years of Grade A bangers.
On a long awaited solo LP (his first in 13 years!), the man from Mountains wraps up listeners in a lyrically expressive but entirely instrumental suite of new age modular synth music elliptically contoured between burbling choral voices, hyaline quivers and sonorous subs leading to moments of timeless, sublime revelation. Synth-o-naut’s will be in their element here
“The music of Brendon Anderegg is a hall of mirrors, multilayered and self-obscuring. Largely filtered through Mountains, his pioneering electronic project with Koen Holtkamp, Anderegg emerged as a solo artist in the late ‘90s. In recent years, Anderegg has become sought after for his film scoring and audio work with his studio Telescope Audio, contributing to Emmy-nominated films 102 Minutes that Changed America and 9/11: The Days After for the History Channel, and working with clients from ESPN to Laura Poitras’ Praxis Films.
June represents Brendon limiting his tools and thereby departing from his previous approaches to creating music. Folding time, space, and ambience across June’s two sides, a shimmering expanse of synthesizer-fed structure and tone emerges: a singular sonic landscape with varied emotional triggers from melancholy to playful. The music on June is a complex network of layers, combining to create a congruous whole. Collapsing history into its own contemporary sonic movements, Anderegg’s methodically created work falls in the lineage of electronic pioneers like Bernard Parmegiani, early ambient projects like Tangerine Dream, Popul Vuh, and Cluster, and puts his solo work in the realm of New Age figures like Michael Sterns and JD Emmanuel.
A singularly beautiful and challenging work, June marks the long overdue reemergence of Brendon Anderegg as a solo voice. An immersive two-side realization made for contemplative, meditative listening, June is contemporary electronic synthesis in the most literal sense of the word.”
Joakim presents the varied results of his recording sessions in Xavier Veilhan’s Studio Venezia, a studio/sculpture installed at the 2017 Venice Biennale, which was also visited by Brian Eno and Sebastian Tellier
Using the studio’s rare instrumentation, including an Ondes Martinet, Buchla Music Easel and Baschet Cristal, plus some other synths, as well as aleatoric input from visitors to the Biennale, as source material for the final recordings, which take cues from Cluster’s kosmiche classics to rove between pastoral scenes such as Orange (Katie, USA), to clunky techno on Innuendo (Francisco, Spain), and bittersweet baroque themes in Dream (Roberta, Italy).
Cómeme revel in the face of adversity with four tracks to stoke the good times
Rise X gets off to a deep and trippy start with the swollen mass of distended bass, cantering dembow breaks and devilish voices in Dark Jungle triggering a heavy vibe that bubbles thru Argentinan Ana Helder’s fizzy acid jacker Pizza Delivery, to the killlllller acid New Beat/EBM stride of Ihr Euer by Colombia’s Gladkazuka, and an infectious minimal electro bumper called Ah! Ah! Ah! from Chilean artist, Vaskular.
Erstwhile Factory Floor member Richard Smith ploughs out three ruts of wonky acid noise as L/F/D/M, backed with a crafty remix by Nick Dunton ov 65D Mavericks.
L/F/D/M’s original range from the body-swilling EBM acid of Sixteen Snakes and the atonal roiler X-Enter-O to a sizzling and slippery 303 workout named Silver Grain, whilst Nick Dunton tidies up Silver Grain in an infectious remix featuring smoother acid contours and mutant blue vocal on the D-56M Poverty remix.
Sonic Pieces give life to one of the most unusual releases in their catalogue thus far; a collection of percussive pieces from Tatu Rönkkö - a long-time friend and collaborator with Efterklang with whom he also formed the band Liima. Rönkkö is regarded by some as one of the most diverse and inventive percussionists working on the contemporary field and ‘Spheres' offers a comprehensive introduction to his expansive style, having been compared to everyone from Konono No.1 to Photek and Can’s Jaki Liebezeit.
Spheres is Tatu's debut album and it arrives after close to a decade of notorious improvised performances in kitchens around Berlin and abroad, "using the room and everything in it as his instrument”. It includes self-made instruments from everyday objects, taking his performance style to the next level. As the label explain "The kitchen and the improvisations around it have been concentrated down to 6 standalone pieces of music, produced in incredible detail. The sound hovers in the darklands between tribal experimentations, 90’s jungle ambient textures and electro-acoustic endeavours. Pieces like Then remind of a more focused Aphex Twin performing with Konono No1 in the Finnish woods. While the title track Spheres even links the sound all the way back to early Photek with it's reduced cinematic textures and explosive repetitive beats.”
The opening 5 pieces are all instrumentals before the closing piece Tekoäly features much overlooked vocal pioneer and Fonal mainstay Islaja on vocals, taking the material into much more interesting terrain. Largely accessible but also making the most of those still-alien vocals, Rönkkö weaves in and around her voice with a slowly collapsing, stop-start feel that elevates proceedings into the realm of avant-pop, bringing to a close a fine, intriguing debut.
Coyote Records launch a class début from VIO_L3T into orbit of UK drill, grime and weightless styles, backed with a signature, playfully moody remix by E.M.M.A.
Hailing from not-so-grimy Somerset, VIO_L3T fidns a balance of inner city tension and more spacious, widescreen synth feels to his first release, scanning the expansive synth intro and cold drill drums of Cloud-Tech next to the teetering dembow break structures and spiralling arps of Sentinel and the clipped, airy bump of Fragment.
E.M.M.A. gives Cloud-Tech a more immediate appeal, curtailing the intro so she can get busy with slugging bass and a more psychedelic, less glum synth arrangement in signature style.
Loopy techno pressure from Gothenburg’s DJ Lily, whipping out the dry pound and murmuring vocals of Kärlek, the bucking hustle and deep pads of ///////// (Forward) and the Varg-like metallic tang of \\\\\\\\\ (Backward).
Icy electro pick ’n mix from Sähkö, rifling the archives for tracks made between 2007 and 2017
Turning out the piquant sidewinder Travel Naskh by Matti Turunen a.k.a. Morphology; a very tasty bit of bitter but creamy electro dancehall harmony by 20.05.1996; some Tomutonttu-esque ambient audnuss from Nasty Boy, Ni Ko; and the slow plunge of Waterfront by Jarno Valli ov Radiopuhelimet.
Severely warped computer music from Parsa on tuuun’s Copenhagen-based FLUF label...
No handrails here, just an expression of pure abstract dynamic rendered in a perpetually struggling flux of sharp and distorted textures and fidelities, discombobulated arrhythmia and atonality. But lets not get it twisted, there’s an impish playfulness in these hyper chromatic convolutions that definitely shouldn’t be blithely titled ”noise”, but rather exist according to their own logic of synaesthetic sensations and baffling calculations that makes everything else seem a bit prissy and stupidly uptight by comparison.
RIYL Florian Hecker, EVOL, NYZ, Justin C Meyers