Music From Memory follow up the enchanting Suso Sáiz retrospective Odisea with a far more recent survey of the Spanish ambient and new age pioneer’s contemporary output, Rainworks; spanning wistful ambient vignettes to mind-engulfing drone, brittle concrète and drifting solo piano studies commissioned and written in 2016.
Highly regarded for his work with Orquesta De Las Nubes and Música Esporádica for Grabaciones Accidentales (home to Finis Africae, Luids Delgado, Randomize) in the early-mid ‘80s, Sáiz has followed that path ever since, resulting collaborations with Steve Roach and dozens more releases over the interim.
Rainworks finds him still feeling out a sublime, etheric otherness, bringing to life a series of atmospheric pressure systems with a deft, elemental touch in key with the original commission from Hidraulica, Tenerife (Canary Islands), gradually expanding and contracting in ambition from the opening arabesque to the abstract yet richly evocative tract of A Rainy Afternoon at the album’s perimeter.
For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers.
"As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
.The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.
Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time."
Geoff Barrow and Ben Salisbury return to score Ben Wheatley’s 1970s based epic shoot-out ‘Free Fire’, executively produced by Martin Scorsese.
"Compiled by director Ben Wheatley himself, the soundtrack will be released on CD and double LP, featuring the full score by Geoff Barrow and Ben Salisbury, dialogue from the film and licensed tracks (The Real Kids, Creedence Clearwater Revival, John Denver).
‘Free Fire’ sees Barrow and Salisbury take a huge directional curve away from their intense, synth-based Ivor Novello award winning score for ‘Ex Machina’, with the composers curating a prog rock, free jazz, psychedelic journey influenced by bands such as King Crimson, Camel and Magma and tips its hat to the Lalo Schifrin thriller genre scores of that era."
Domino Soundtracks are proud to present their first release, an original soundtrack recording from Dan Deacon of the provocative essay-film ‘Rat Film’.
"‘Rat Film’ marks Deacon’s first full record devoted to modern composition. In between his four ecstatic flexedthe 21st Century classical muscles he first developed studying at SUNY Purchase’s Conservatory Of Music.
‘Rat Film’ offers the first recorded document of this parallel career - and both as a self-contained album and a companion piece to an equally potent film, it astounds."
Rod Modell returns to Soma with a slow-baked batch of rolling dub techno in Auratone some two years since Ultraviolet Music and reissues of myriad, related projects over the interim.
This is full fat DeepChord, swollen with bass and bristling with combustible, oxidising textures that their legion disciples will relish. Includes some sweeter highlights in the roving subs and dancing melodies of Wind In Trees and the insistent mesh of ghostly, pealing partials with pneumatic bass in Point Reyes.
“A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness.
Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.”
Lessons marks 10 years of the on-going experiment that is the Front & Follow record label, and their 50th official release
Bringing together artists from across the years in old guises and new inc Pye Corner Audio, Leyland Kirby, Laura Cannell, Ekoplekz, Time Attendant, Howlround and more...
Following 16 months after Scottish artist Claire M Singer's debut album comes the release of the beautiful and intriguing 'Fairge', meaning 'the ocean' or 'the sea' in Scottish Gaelic. 'Fairge' is a single 21-minute piece for organ, cello and electronics, composed, performed and produced by Claire, it's very much a companion work to the title track on her debut album 'Solas' (Touch, 2016).
"Commissioned by Amsterdam's oldest building and parish church Oude Kerk, 'Fairge' premiered at the church in February 2017. Claire M Singer's performance on the Ahrend and Bunzema organ, cello and electronics is truly captivating. The work very much encapsulates her signature style of expansive soundscapes full of intricate textures, rich overtones and powerful swells, emotionally resonating from beginning to end.
'Fairge' was written specifically for the Ahered and Bunzema organ and explores the precise control of wind through the pipes using mechanical stop action. This creates a lush harmonic backdrop against the harmonics and melody of the haunting cello.
"Oude Kerk were very generous in letting me have time to explore and really get to know the instrument. The work was developed over many visits sitting in the church until the very wee hours over the winter months, which was incredibly magical and inspiring. When working with mechanical stops and precisely controlling the amount of air that passes through the pipes it requires a lot of practice and exploration to learn each incremental sound the organ can make and what the quirks of the instrument can be. As every organ is unique, the piece will differ on other organs but that's what makes writing and working with the organ so fascinating. The tuning is mean-tone temperament, which I have not worked with previously. With 'Fairge' I really wanted to show how special this relatively small organ is and the beautiful pallet of sound it can produce." [Claire M Singer, September 2017]
Claire is Music Director of the organ at Union Chapel and Artistic Director of the Organ Reframed festival."
Following the Turkish collaboration of Dalmak and the more rock-inflected Lost Voices, Esmerine embarked on a soundtrack commission for the National Film Board documentary "Freelancer on the Front Line" (about independent journalism in the Middle East), which also led to a deep dive into archival and previously unreleased recordings.
Sessions for the film soundtrack provided various seeds for a new album concept and composing/recording continued rolling into early 2017, informed by anxiety over the reactionary, regressive, seemingly irresolvable disharmony of human oppression/domination and the ever-accelerating degradation / denial of nature and social justice. Stylistically, Mechanics Of Dominion took shape with mallet instruments brought more to the fore (relative to Esmerine’s previous two outings): marimba, piano and amplified music box provide a more prominent through-line on this new album's otherwise quite diverse material. Multi-instrumentalist Brian Sanderson's contributions also continue to shape Esmerine's songwriting to an ever greater extent – his stately melodic lines on horns and acoustic strings are bracing, compelling elements in the ceremonious lyricism and keening vitality of this new song cycle. And the album revisits and further develops two previously recorded and heretofore unreleased pieces (the origins of the modernist piano, string and horn piece "Northeast Kingdom" date back to some of Esmerine’s earliest recordings in the mid-2000s; the sizzling free-improv of "¡Que Se Vayan Todos!" was captured during the Dalmak sessions.)
Mechanics Of Dominion is perhaps Esmerine's most dynamic and narratively-driven work, tracing an arc through Neo/Post--Classical, Minimalism, Modern Contemporary, Folk, Jazz, Baroque and Rock idioms to paint a soundtrack of lamentation, meditation, resolve, resistance and hope. It is Esmerine’s humble requiem for our intractably suffering planet and a paean to the inscrutable, essential dignity of indigenous ethics and the natural world. Mechanics Of Dominion is also another superlative example of Esmerine's acclaimed and award-winning dedication to album artwork and packaging, this time featuring the work of Montreal artist Jean-Sebastien Denis in beautiful resonance with the album's balance of stylistic tensions and emotional colourations."
Introducing Icelandic composer and singer Högni, better known as the front man of indie rock band Hjaltalín and previous member of electronic group GusGus, as the newest addition to Erased Tapes with his solo debut album Two Trains.
"Amidst destruction on the mainland, the two locomotives Minør and Pionér transported wagons full of rock and gravel to the Icelandic seaside during the construction of the Reykjavík harbour in 1913-1917. The two metallic giants ushered in a new age in Iceland. However, soon after construction ceased the two trains were parked and have never driven since. Now they only serve to remind us of the grandeur of a bygone future. They are the only trains ever to have graced the Icelandic landscape.
The music in Two Trains embraces the spirit of the original European avant-garde and invokes these concepts in its chugging rhythms, metallic clangs and brooding choral arrangements (men's choruses are a distinctly Icelandic phenomena related to the national/romantic politics of the 19th and 20th century) while the lyrics speak of ominous clouds on the war-ridden eastern horizon and freight cars filled with gravel and dreams."
Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians.
"The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter’s illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.
Anthology is a near-comprehensive survey of John Carpenter’s greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998’s supernatu¬ral Western, Vampires. Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween’s iconic 5/4 piano riff, and the eerie synth work of The Fog. Carpenter and his band also cover Ennio Morricone’s bleak, minimalist theme for The Thing.
We also get vital new recordings of the themes to ’80s classics and fan favorites Big Trouble in Little China, Escape From New York, Christine, and They Live, along with the romantic Starman, which earned Jeff Bridges his first Oscar nomination as a lead actor. The collection is rounded out by the menacing, heavy themes to Prince of Darkness and In the Mouth of Madness, the latter a Metallica-inspired riff originally played for the film by Kinks guitarist Dave Davies, and now played by his son Daniel.In the weeks following Anthology’s October 20 release, Carpenter will return to the road, playing both classic movie themes and material from his two Lost Themes albums. The performances will once again affirm the power of the Hor¬ror Master’s brilliant work as a composer and musician, and undoubtedly send audiences rushing home to their DVD libraries to dive yet again into the most rewarding filmography in genre cinema."
Kerri Chandler conducts a deeply soulful psychogeographic tour of NYC and the lesser-heard folds of his mind for his DJ-Kicks instalment
Weaving debonaire between personal picks of soul, jazz, hip hop, boogie and disco, including, as standard, one of his own productions in the laid-back dub reggae of Stop Wasting My Time.
Written and performed by Yasunao Tone. Recorded at ISSUE Project Room, Brooklyn, June 9th, 2016 by Bob Bellerue Mix and mastered by Russell Haswell. Photo by Cameron Kelley. Layout by Stephen O’Malley.
"I have had an idea if I apply the neural network to create my sound work for long time. When I had a performance at Centre Pompidou with Peter Rehberg and other friends I tried to talk about the idea with a French guy from IRCAM. But, he couldn’t understand my idea, which by using neural network the sound I create would never have any repetitions. That was 2002 and I had to wait until 2015 when I had a grant from New York State Council on the Arts through Issue Project Room, then its director Lawrence Kumpf applied for my new work. The grant finally made possible for making my cherished idea, the neural network piece, reality. I had talked about the idea with Prof. Tony Myatt at Surrey University, UK and he developed the software for the piece with a team included Dr. Paul Modler. At the lab in the University a series of my performances of my MP3 Deviation were captured and used to train Kohonen Neural Networks to develop artificial intelligences that simulate my performances. Hence a birth of new piece AI Deviations. I had a premiere at Issue Project Room on June 9th 2016 and the venue was more than packed and here is the performance of the piece." (Yasunao Tone)
Première release of a pivotal piece by important American composer, Julius Eastman.
After more than 40 years, Julius Eastman’s Femenine - a euphoric, colourful, and inventive work by the brilliant but criminally overlooked composer with the S.E.M. Ensemble - finally sees the light of day thanks to Finland’s Frozen Reeds, bringing to life a wondrous iteration of the highly fertile 1970s north american minimalist/modern classical nexus for a whole new generation of ears.
Notable not least as the only known recording of Femenine, recorded live in 1974 at Composers Forum in Albany, New York - which makes it only the 2nd CD with Eastman’s name at the top - this release also documents the composer on piano (whilst wearing a dress, as it goes) and features his unique innovation, a set of mechanised sleigh bells, rattling throughout the 72 minute performance, which, in a way, neatly characterises the artist’s wide-open, pioneering idiosyncrasies and dichotomies for anyone new to his work.
Un/fortunately, depending your perspective, far too many folk will be new to his work or even unaware of Eastman’s involvement in some true totems of the time; whether that’s as lead vocalist on Peter Maxwell Davies’ Eight Songs For A Mad King (1971), playing keys on Dinosaur L’s disco-not-disco classic 24→24 Music (1981), or conducting Arthur Russell’s Tower of Meaning (1983). And we say too many folk, because, all considered, until quite recently, Eastman has been long overdue the shine afforded to many of his peers and contemporaries.
As a Gay, Afro-American new music composer, pianist and vocalist in the ‘70s, Eastman’s work was innately politicised and exceptional by the nature of its provenance, not to mention the music itself, which pulled from his personal history as much as wider social movements to represent a uniquely fluid perspective on minimalist music’s rigid process and presentation right up to his untimely death, aged 50 in 1990.
With that in mind, Feminine stands at a crossroads between Eastman’s earlier chamber work Stay On It, and later pieces such as his iconic, majestic Evil Nigger and the ambiguous flux of emotions in Gay Guerilla; sounding quite unlike any of them thanks to its sense of communal joy (there were somewhere between 12 and 15 players) and the polymetric meter of his mechanised sleigh bells, coupled with a display of massed, pitching tonal colour that moves with the kind of deliquescent, flighty optimism that’s hard not to be wowed by.
Ultimately, it genuinely lives up to the mantle of “new music” and presents its ideas in a deeply refreshing, insistent, yet never-cloying manner.
A huge recommendation.
Fred P finds his jazziest techno-house headspace in a sequential partner piece for Mule Musiq.
As night follows day, 6 follows 5 (2015) with an expansion of its conscientious aims - “6 represents the number of man and his or limitations, weakness and imperfections. This body of work examines and looks towards one awakening. Adapting to a new way of being creating an alternative and raping a higher state of mind and being. Enhanced by love and serenity, satisfaction and joy. 5 presented the possibility of manifestation 6 is the manifestation taking place. The journey continues…”
Take that breeze with a pinch of salt, but take these tunes to ‘floor for some proper vibes, from the frictional minimalism of Awakening Co Creator to what sound like Mike Parker gone jazzy in Learning Process, to the sublime deep garage hustle of Reap Love and the broken, free-floating swing structures of Alternate Reality.
Archie Marshall aka King Krule oscillates between channeling strung out jazz crooners and mucky denim wearing rockabillies on a long-come follow-up to his 2013 debut.
“One of the most celebrated figureheads on the independent British scene, Archy Marshall returns with the dense, sprawling “The OOZ”, the much anticipated follow up to his debut “Six Feet Beneath the Moon”. Drifting and seeping through the cracks of South London like the album title, King Krule casts an unflinching eye over his kingdom, transforming his observations of all the disorientation and heartbreak of his youth into piercing narratives and poetry that are both startlingly honest and brutally beautiful. With “The OOZ”, Marshall finally takes the crown as poet laureate for the dazed and confused generation, painting a bleak and sometimes harrowing picture of a rapidly splintering city.
“The OOZ” is released October 13th on XL Recordings, preceded by the raucous new single “Dum Surfer” as well as a brilliant Brother Willis directed video. This autumn also sees Marshall hitting the road for a worldwide tour this autumn
Where “Six Feet Beneath the Moon”, released in 2013, was a rigorous, rambling excavation of Marshall’s expansive body of work to date, “The OOZ” snaps into focus quickly and sharply, his modus operandi coming into view almost immediately. Over jazzy curlicues and guitars, the opener “Biscuit Town” sets out its stall irresistibly as Marshall sings about rapidly disintegrating romance and personal dissolution with acute, almost painful detail. These wrenching themes of self-annihilation and fraying relationships seem inextricably linked in Marshall’s eyes – once you lose yourself to someone else, you inevitably wind up losing yourself completely when they leave – and recur in other tracks. “Why’d you leave me? Because of my depression? You used to complete me but I guess I learnt a lesson” he spits on the roiling “Midnight 01 (Deep Sea Diver)”, and, even layered with the warm vocals of Okay Kaya, “Slush Puppy” is an unsparing dissection of a couple with nothing left to give, like a Gainsbourg and Birkin ballad gone toxic. Elsewhere, things only get darker, as Marshall desperately tries to find safe harbor in the city he knows and loves, only to be thwarted constantly, as on “The Cadet Leaps” and first single “Czech One”. Not even the synthetic high of chemicals, as shown in “Emergency Blimp” and “A Slide In (New Drugs)”, can stanch the suffering.
Although seeming at first abstract, “The OOZ” as a title proves oddly fitting. There are references littered throughout about its physical manifestation, or as Marshall himself says, “about earwax and snot and bodily fluids and skin and stuff that just comes out of you on a day to day basis”. But it works on a more figurative level too, with the OOZ also representing the unknown depths or horizons the solitary mind can travel to, whether it’s sinking into the deep sea or soaring through the night sky. It may be messy, unwieldy, even unsightly, Marshall seems to say - but we need The OOZ in order to exist.”
By the 1970s Studio One and Clement ‘Sir Coxsone’ Dodd had already proved himself to be the defining force in Reggae for almost two decades. From running the Downbeat sound system on the lawns and yards of Kingston in the late 1950s to opening Studio One at 13 Brentford Road at the start of the 1960s, ushering in ska and rocksteady and establishing the careers of most of Jamaica’s artists - everyone from Bob Marley and The Wailers, Ken Boothe, Toots and The Maytals, The Skatalites, Jackie Mittoo and more - Clement Dodd had until this point dominated the Jamaican musical world.
"And yet, incredibly, Clement Dodd was barely halfway through his musical path, maintaining Studio One’s number one position in the Jamaican music scene throughout the 1970s with a combination of musical and creative innovation and an endless capacity to adapt and create new musical fashions. By the end of the 1970s dancehall had become the defining sound on the island. Dancehall was essentially a tribute by other Jamaican producers and artists to the classic music of Studio One created in the 1960s as young artists across the island created new songs, while musicians recreated these original classic foundation Studio One rhythms. As on other occasions, Clement Dodd rose to this new musical challenge by producing a whole new era of classics for Studio One.
The roots of dancehall begin with the DJs of the early 1970s, who were the first to sing new material over earlier classic rhythms. Early DJ pioneers such as Dillinger and Prince Jazzbo both feature here toasting over classic songs - The Mad Lad’s ‘Ten To One’ and The Eternals’ ‘Queen Of The Minstrel’ - but it is the new wave of artists who arrived at Studio One at the onset of dancehall which enabled Studio One to maintain its number one status as the whole of Kingston’s rival music producers - Channel One, Joe Gibbs and many others - attempted to challenge this position.
Sugar Minott, Michigan and Smiley, Willie Williams and Lone Ranger had all grown up listening to the classic Studio One music of the 1960s and were able to pay the greatest compliment to the label by creating the defining new music of this new era with songs that combined all the musical and technological developments of the 1970s - dub, deejaying, discomixes, syndrums, synthesizers and more - into the sound of the future: dancehall.
Throughout this era Clement Dodd also continued to work with a number of original and returning artists, such as Alton Ellis, Horace Andy, Freddie McGregor and Johnny Osbourne, updating old rhythms and creating new ones while employing the in-house band variously known as The Brentford All-Stars / Rockers / Disco Set to update these sounds in order to maintain Studio One’s number one position as the defining force in reggae."
Paul Woolford presents the definitive Special Request opus with Belief System, a brobdingnagian reflection upon his early years raving in Leeds, using samples from tapes dating back to 1993, diffracted thru the prism of up-to-date production aesthetics to visceral effect.
It’s pretty much the last word in Special Request’s coming-to-terms with nostalgia for the golden days of hardcore, jungle, rave, looking back to a time of rapid stylistic mutation and innovation from the relative safety of rose-tinted 2017 filters.
Rather than reviving the rabid energy and naive invention of rave proper, however, Woolford spends the first half of the album turning his sample pack into a UK Breaks and wonky techno set full of line-dancing grooves and electronica, before sparking off some breaks on pretty much the same base rhythm with the big room styles of Make It Real and the Amen Andrews-esque Brainstorm.
To be fair, the ruffneck Leviathan fares better with its boisterous tech-step barrage, and Replicant (Nexus 7 VIP) nearly grasps the nuttiness of hardcore proper, but the finale of Light In The Darkest Hour is a hybrid of Chicane and DJ Trace that never needed to happen, and people probably would have laughed off in the late ‘90s.
Frankfurt’s minimal house and electronica statesman steers Fabric 95 on slinky trip
Starting with a blend of Psychic TV with his and Ricardo Villalobos’ RiRom track, RoRic, thru the Metalheadz-esque breaks and synths of Koehler’s Oblivious Pool (Invisible Dub), to the Italo-house dream of Come Home by Pale Blue, foundational Chicago house from two of a Kind, the aerial breaks of Lanark Artefax, and even Sam Kidel’s Kachinja under his El Kid alias for Left Blank.
London-based French composer Angèle David-Guillou makes audacious music that explores the interaction between rhythm and melody, structure and emotion, permanence and change.
"Her work is one of incessant dialogue between these elements, creating hypnotic compositions whose mutable internal architecture and shifting melodic accentuations immediately draw the listener in, while constantly, almost imperceptibly, disorienting auditory perception. It’s a compositional process that is central to the eight compelling essays on the aptly titled ‘En Mouvement’, David-Guillou’s new album, the second under her given name.
Informed by a rich and eclectic tapestry of cultural stimuli, including Philip Glass’s ‘Glassworks’, the music for movement of Thomas De Hartmann and George Ivanovich Gurdjieff, Alvin Curran's compositions for the piano, French and Spanish Baroque music, the films of Andrei Tarkovsky and Jean Cocteau, Sufi writings, Sumerian art and contemporary dance, the pieces on ‘En Mouvement’ are the work of a reflective, intellectually engaged yet delightfully instinctive modern composer who has made the limitless mutability implied by the concept of ‘movement’ a thing of personal transformation and mesmeric musicality.
“Very early on in the process of working on the compositions for this album, the idea of ‘movement’ became my central point of focus,” David-Guillou confirms. “The word seemed to encapsulate all my obsessions. En mouvement literally means ‘in motion’, but the word in French, as in English, is extremely rich and suggests an array of ideas such as motion, gesture, dance, musical parts, clockwork, repetition, displacement, emotional confusion or excitement. In fact, I realise now that this concept has been present ever since I started listening to and making music; I just hadn’t quite understood how important it was to me.”
With her second album of modern composition, Angèle David-Guillou’s career is palpably en movement and, excitingly, it feels like the beginning of a long and thrillingly creative musical journey."
Debut album from Andrew Hung, also known as one have of Fuck Buttons.
"As co-founder of Fuck Buttons, he has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman, been featured on the 2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's "Shackles Gift" and co-writing/co-producing the critically acclaimed "Kidsticks" by Beth Orton. He soundtracked the multiple-award winning film "The Greasy Strangler". Realisationship is the continuing voyage through Hung's previous collaborations. Written, performed, produced and mixed entirely by Hung; the album is pure expression. In a world that seems more disconnected than ever, Hung sees this as an opportunity to highlight the duality of humanity. The music of Realisationship is both fragile and powerful, a celebration of nuance; we are light and shade, good and evil, love and fear. A hammer to expectations as an expression of hope."
This the first CD released by drøne, after two vinyl albums on Anna von Hausswolff's label, Pomperipossa.
"Workers toil in smithies, call signs and chants-at-prayer reveal attempts to order the chaos, which always remains one step ahead. Post-lapsarian for sure, but smoke signals and drums have morphed into the 'bing bong' of the attention-grabbing, mind-polluting PA system. The coded simplicity of the whistle ("Start!") has evolved into a more deliberate attempt to control rather than inform by explicit, structured language. Announcements have become commands; signs bark orders. Thus 'no' becomes a powerful rejection, rather than merely an inclination; and no-ers are more easily to spot… "You're going the wrong way"! (To which the only sensitive and mature response is: "Indeed!")
Organic and man-made call signs, IDs, audio sigils and signatures all combine to describe a polluted, confusing atmosphere which threatens to leave us powerless and bewildered. "Decipher the sounds and you win the game! First prize is, guess what? You get to take the audio poison! Congratulations! You've lost!". A dynamic and involving result ensures a challenging but no less enjoyable listen.
The first album, 'reversing into the future' drew this response from Lend Me Your Ears: "This thrilling piece – surely the most kinetic non-dancefloor record in an age". Anna herself wrote of the follow up record, 'a perfect blind': "I love everything about this release. Such a great presentation and exciting project! And most important: the music is sublime."
The Quietus wrote: "Last year's distinctive debut from drøne was likened to a hurtling journey. It's combination of field recordings, shortwave radio and modular synths possessed an excited, driving energy whose route was hitherto unexplored and destination unknowable. But with an expanded sound pool boasting instruments across the ages - from guitar, through pipe organ and strings to dulcimer and psaltery – its follow-up takes a sideways step into more cognizant, reflective pastures."
Compiling the first 3 albums in the 'Everywhere At The End Of Time' series - two and a half hours long, each album reveals new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness...
Embarking on the Caretaker’s final journey with the familiar vernacular of abraded shellac 78s and their ghostly waltzes to emulate the entropic effect of a mind becoming detached from everyone else’s sense of reality and coming to terms with their own, altered, and ever more elusive sense of ontology.
The series aims to enlighten our understanding of dementia by breaking it down into a series of stages that provide a haunting guide to its progression, deterioration and disintegration and the way that people experience it according to a range of impending factors.
In other words, Everywhere At The End of Time probes some of the most important questions about modern music’s place in a world that’s increasingly haunted or even choked by the tightening noose of feedback loops of influence; perceptibly questioning the value of old memories as opposed to the creation of new ones, and, likewise the fidelity of those musical memories which remain, and whether we can properly recollect them from the mire of our faulty memory banks without the luxury of choice
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits.
"He follows that up with a new full-length album, Joli Mai, comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'."
Mule Musiq’s master selector Kuniyuki Takahashi (Koss) distills the Soundofspeed vibe for house connoisseurs everywhere with A Mix Out Session
Drawing on fresh versions of label gear from DJ Sprinkles, DJ Nature, Vakula, and himself. Almost goes without saying but Sprinkles Deeperama mix of Kuniyuki & Jimpster’s Kalima’s Dance is a big highlight.
Reissue of Mika Vainio's final album under the Ø moniker...
Following on from the crushing technoid scapes of 'Kilo' under his own name and the blackened alloys of his ÄÄNIPÄÄ album with Stephen O'Malley, 'Konstellaatio' reveals the revered producer at his most sensitive, teetering on the brink of the abyss and projecting to the stars. Between the goosebump-inducing panoramic pads of opener 'Otava' and the twinkling electro-dub of closer 'Takaisin' we're made privy to some of the strongest material in his whole oeuvre, and we really don't say that lightly.
His tactile manipulation of bass and sub-bass dynamics and spacious application of pure, isolated frequencies is just mindblowing, evoking imagery on sub-atomic scales. Far from being an academic exercise in production, there's an awe-inspiring and compelling sense of pathos and wonder at its core owing as much to the grandeur of Beethoven as it does the diffuse sound sculptures of Parmegiani.
It's pointless listening to this material on shit speakers because you're gonna miss half of it's extreme subtleties, but for those who know and care about this music, prepare to bunker down with one of Vainio's finest.
After leaving us hanging for too long, the enigmatic R&B starlet pays up on the promise of her Cut 4 Me mixtape and Hallucinogen EP with an impeccable album of proper, star-dusted songs about love and life as “…a black woman, a 2nd generation Ethiopian-American, who grew up in the ‘burbs listening to R&B, Jazz and Björk”. Yh yh, count us in!
Sweeping us up in the heart-in-mouth dream sequence of Frontline’s sylvan soul and gently fading with the deliquescent sensuality of Altadena at its curtain close, Take Me Apart is arguably a modern classic blessed with widely resonating appeal. Marking a sublime demonstration of Kelela’s personal development over the years since literally everyone jumped on Cut 4 Me, her first opus is a more mature, layered and more coherent set which defines the difference between a mixtape and album thanks to its fluid logic and and intimately involving narrative structure.
Jupiter allows a moment to catch your breath in its bittersweet pirouettes before the rugged LMK - the album’s lead single - takes hold, triggering an amazing 2nd half loaded with Arca’s tell-tale pitch bends in the boogie knuck of Truth Or Dare and the almost industrially-toned drums and maaaad wide bass on S.O.S., but we’re not sure who’s responsible for the radioactive lead line of Blue Light, or the Burial-esque 2-step of Onanon, and it doesn’t really matter anyway, cos Kelela’s really the star of the show in every part.
It’s All True is an opera-in-suspension from New York ensemble Object Collection based on the complete live archives of iconic underground band Fugazi.
"Grounded upon the DC post-hardcore outfit’s 1987-2002 Live Archive series, composer Travis Just and writer/director Kara Feely’s work uses only the incidental music, text and sounds, none of Fugazi’s actual songs. An obsessive leap into 1500 hours of gig detritus – random feedback, aimless drum noodling, pre-show activist speeches, audience hecklers, police breaking up gigs – is the foundation of an ear-body-and-mind-flossing 100 minutes for 4 voices/performers, 4 electric guitars/basses and 2 drummers. It’s All True is overloaded, maddening, mundane, properly funny, and a radical incitement to action.”
The Collection is an intimate survey of Italian minimalist Nicola Ratti (Bellows) in his element, conducting dusty knocks and electro-acoustic effervescence in a play of greyscale tones and rhythmic irregularities at his Milan studio. Featuring material recorded over a number of years, it’s best considered as summary of Ratti’s personal favourite, unreleased highlights of the past few years, focussing on stray, ostensibly unconnected pieces which, when collected, represent a mosaic of his artistic development and the underlying aesthetics of his identity.
Hand-picked by Ratti, The Collection peers into every nook and niche of his elusive style, from fidgeting small sounds redolent of Bellows, to booming slow techno and rolling, reactive dub mutations primed for the ‘floor, each giving a canny insight to the personalised intricacies and underlying inputs of his texturhythmic sound.
It’s the kind of music that the machines may make behind our backs or once we’re all gone. But, as it stands, it’s all the work of one man sequestered in his studio with his worries, facing banks of gear and often wondering what the f**k am I going to do today? That may not be instantly detectable to the listener, but as Ratti stresses in the promo text, this is an unspoken aspect of the recording process which belies each of these recordings, if only to him.
These outside pressures of artistic endeavour vs capitalist realism thus serve to inform the material’s agitated nature and emotional ambiguity, there in the itchy yet sanguine feel of L2, laced into the quizzical probe of L6, diffused thru the recursive dub-tech system of L1, or rendered in perfectly elusive, gaseous fashion with R401, which arguably defines his sound as uniquely suggestive not prescriptive.
Moon Field is a brilliant suite of electro-acoustic jazz abstraction by eminent Portuguese guitarist and electronic composer Rafael Toral.
A relatively rare solo release - his 2nd of 2017, following a five year hiatus - Moon Field looks beyond Toral’s Space Elements series to a stranger sonic state of hovering stasis, with carefully nipped guitar gestures framed against a shapeshifting mass of modular synth crackle, eliciting the sensation of music beamed in from another star system. Followers of Oren Ambarchi or Jim O’Rourke need apply right away.
“On Moon Field, Rafael Toral breaks new ground, it is his first edition that moves outward, beyond the Space Program series. This collection of three extended and interlocking works, marks the beginning of a transitional period into a new phase.
Building on the explorations of his almost decade and a half of work with the Space Program, Mood Field seeks a more open sensibility and integrates a range of new elements and new directions. These elements reposition the potential interplays of his chosen musical elements.
“Moon Field was originally written for live performance by a configuration of the Space Collective 3,” Toral explains, “It was with Ricardo Webbens on modular synths, Riccardo Dillon Wanke on electric piano and myself on electronic instruments. While working on it, the piece revealed a strange hovering quality, a kind of stasis. It's alive and awake, like all the recent Space Program music, but doesn't seem to want to go anywhere. The music wanted to be something very peculiar and I changed it a lot in response to that. It also revealed what I find a kind of nocturnal mood, as if we were listening to alien signals with satellites crossing the sky under the moonlight.”
Moon Field’s middle section, The Horizon, sees Toral entering a broader acoustic field. The piece weaves a fresh examination of the ambient music he worked on between 1987 and 2003 with the fabric of post-free jazz-inspired phrasing with electronic instruments. The results extend the free roaming aspects of the Space Program and mark out a distinctive and deeply personal approach to sonic atmospherics. This is the first step into a much larger, richer universe.”
Tokyo’s Kouhei Matsunaga with a lucidly crisp set of breakbeat techno an electro tricks for DFA Records continuing his world tour of labels after 12”S with PAN, Important, Raster-Noton, Diagonal, L.I.E.S.
The prolific multi-monikered artist covers a usual breath of nuance across the 8 tracks of Exit Entrance, weaving between Rian Treanor-esque, avian electronic mixed with crunchy garage in Meeting to fiercer, grungy pressure recalling Diamond Version in Dignity, taking in a glassy beatless apex with Notice and a killer lash of bendy acid techno with Dented.
Blasting outta Berlin, Ziúr reps a new wave of artists claiming the ‘floor as a space for freedom and experimentation. It’s a sound that would broadly fall in with an ‘anti-banger’ aesthetic, meshing cues from brooding post-rock electronica, snarky punk and J-pop with spare, deconstructed, spasmodic rhythms nodding to the ghetto styles of Lisbon as much as club music’s avant grade. In effect it’s more like a smart drug than traditional dancefloor/drug analogs; alert and focussed, assuaging ‘easy’ rhythmic gratification or the psychedelic sensuality of rooted dance music which preceeded it.
“Ziúr is one of the most exciting producers to come out of the fringes of Berlin club music in the last few years. A new generation is breaking out of the techno mould and creating in a spirit of freedom and experimentation, taking seemingly incompatible influences and balancing them into a new and exciting sound. Ziúr is also the founder and resident DJ of 'Boo-Hoo', a night championing diverse lineups, reflecting it's creative audience, bringing through the cream of the experimental dance underground. Planet Mu are proud to release Ziúr's debut album 'U Feel Anything?' in collaboration with Objects Limited, a label run by Lara Rix-Martin which releases music by women and non-binary people.
For someone who has previously released just two EPs, the vision of Ziúr's music is advanced and precise. It's music which beckons you into an alternate world; wonderfully alien pop music that eschews conventions. She creates eldrich atmospheres that balance gentle melody and warm pop, in which strange elfin voices sing from other worlds and spiralling rhythms feel like entire structures moving. In the latter half of the record these harden into a pounding, martial symphony of steel, and introduce the kind of rough electronic riffs and guitar samples that betray her background in punk.
'U Feel Anything?' was written as a way to think about music as a tool of enlightenment, a de-conditioning force and the kind of yin and yang that can be summed up in the title of one of the songs 'Laughing and Crying are The Same Things', a track which features Swedish pop singer Zhala, whose vocals straddle twisting beats, space and staccato strings. The album also features a collaboration with Aïsha Devi on the epic 'Body of Light', in which Aïsha's vocals are pitched up and down, manipulated and distorted into wispy angelic tones, setting the tone for the first half of the album. There's a process to Ziúr's music that's informed by this wish to get beyond the small things. She says Putting a relation on what's big and small and certainly meaningless behind our existence; how nothing is everything at the same time etc... it's something that I try to explore again and again by putting myself into a thought process, rather than having everything already formulated.
It's a record of powerful, emotional twists and turns and mind-flipping contrasts that resonate with depth. As Ziúr says I believe you can only tell that something is harsh when you have a soft side to compare it to. If everything is amazing then nothing is, right?”
Retro-futurist prog-pop made on modular synths.
“In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself. The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.
Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.”
Under his guises Blessed Initiative and Ketev, as well as his own name, composer and sound artist Yair Elazar Glotman has explored extended techniques and processes to forge new sonic textures and musical forms. Compound picks up where the previous solo work under Glotman’s own name - 2015’s Études - left off. The acoustic sound palette has now expanded from solo contrabass into a trio including pianist Rieko Okuda and percussionist Marcello Silvio Busato.
"Glotman guides the trio into utilising sounds from the edges of their instruments’ abilities - arguably mere byproducts of harmony - and through improvisation, repetition, and post-production, conjures new sonic bodies over two sidelong pieces. His guidelines for each improvisation gave the players autonomy to emphasise the microscopic details of certain sounds: the shudder of a piano key, the hum of a cymbal, the incidental click of a plucked contrabass string. The recordings were then layered and reformulated by Glotman into two separate structures to complete the composition process. Both ‘Veil’ and ‘Revelate’ utilize the full spectral potential of each instrument, revealing new rhythmic patterns and harmonic content in the process.
Taking Glotman’s microscopic focus on instrument noises he put began on Études as a starting point, the trio on Compound ultimately bring into question both density and contrast, rhythm itself losing its stricter structures and becoming a purely pattern-based driving force in the music. The resultant unit contradicts and opposes itself, all sorts of clashing rhythms and melodies coexisting within the body of the two compositions of evolving sonic architecture.
Based in Berlin, Yair Elazar Glotman is a classically-trained musician and sound artist. Besides previous works on Subtext including Études, a collaborative score with James Ginzburg experimental film Nimbes, and the eponymous debut of his Blessed Initiative project, Glotman has released music via Opal Tapes and others under the nom de plume Ketev."
Ninos Du Brasil’s excellent third album and second for Hospital Productions is their deadliest yet; offsetting tribal drum rituals laced with bestial electronics and possessed vocals, including a guest appearance by No Wave legend Arto Lindsay. Highly recommended if you’re into Psychedelic Warriors Of Gaia, Female or Vatican Shadow.
Nico Vascellari and Nicolò Fortuni come out to play in the dark, taking their fascinations with ritual musics - from Brazilian Afro-Latin tribal rhythms to library music and freezing Scandinavian BM - deep into the festering undergrowth of their shared, exotic aesthetic.
Where the cover of their last LP for Hospital Productions Novos Mistérios  depicted a naked man covered by a leopard pelt, Marvin Gaye Chatwynd’s oil painting of a screeching Chiroptera in flight on the Vida Eterna jacket makes a strong visual allegory for NDB’s finer tuned spatial sensitivities inside, with their churning rhythms now embedded in fathoms of dread space and shaded in layers of processed vocal chants, both punk, metal, and tribalistic.
The big highlight is no doubt the closing cut, Vagalumes Piralampos, where Arto Lindsay, the legendary founder of DNA, chimes in on a stygian, moonlit jag between the eyes of bossa nova, batucada and the sort of esoteric electronics also charted by Rainforest Spiritual Enslavement or Cienfuegos.
But it only really makes sense after you’ve expended your energies along with the band thru monstrous techno shakedowns such as O veto Chama Seu Nome, the soca-like rush of Condenado Por Un Idioma Desconhecido, or found yourself lost, without coordinates, in the pitch black breakdown of No Meio Da Noite and have been hypnotised by the stalking rhythms and atmospheres of Em Que O Rio Do Mar Se Toma with an explosive percussive charge that mimics sharp blades scything through a nocturnal jungle...
Julian House aka The Focus Group twists the kaleidoscope to reveal a fractious mosaic of some 25 vignette-like parts in just over 37 minutes with Stop-Motion Happening, the ‘Groop’’s - as it’s spelt on the cover - most delirious and mid-summery dosage to date.
Referring to that title again, ‘Groop’ as it’s purposefully spelt on the sleeve art, but not the metadata, quite possibly makes a nod to Stereolab’s The Groop Played “Space Age Bachelor Pad Music” and certainly suggests a temporal connection between the two records, if nothing else, as the music itself is perhaps better described as more Space Age Suburban Micro Dosing in its fractal nature and gentility.
The tracks weigh in between 15 seconds at their shortest to nearly 7 minutes at longest, acting like the hazily fragmented recollections of an ageing psychonaut or the sonic sketchbook of a romantic ’60s dreamer who was in the throes of the psychedelic age, with mind opened to Far Eastern thought in the pause-buttoned tabla and sitar chops of Stop Motion Happening and New Toytown Walk and the mystic bliss of Rendering The Forests, whereas other parts tie that in with nods to The Beatles’ psychy phase in Sir John Pepper and The Gone Outside. You can trust the other twenty tracks are of a similarly anachronistic and delightful style.
The lysergic/psilocybic whimsy is strong on this one. Do check.
Gird your loins, people, for 51 tracks, 2 hrs 35 minutes of prime, classic DAF. Think you can handle it?
As the legendary duo of Gabi Delgado and Robert Görl approach their 40th anniversary of formation, Grönland present the exhaustive, definitive Das ist DAF retrospective, including brand spanking new remixes from Giorgio Moroder and Boys Noize demonstrating the timeless resonance of their EBM/NDW classics with the modern disco.
From the razor-dancing Der Mussolini to the playful hooks and clenched twang of Im Dschungel der Liebe and the blend of daftness and steely electro-punk thrust in Kebap Träume, you’ll find the blueprints for masses of dance music to come, but more importantly these cuts still kill it cold on the ‘floor. If you’re into Powell, Ancient Methods, Not Waving or even LCD Soundsystem and don’t know DAF, sort it out with this set right now!
“Many things have been said about this band: they were called the “godfathers of techno,” the pioneers of EBM and the forefathers of electropunk. Yet they only laugh coolly and remain tight-lipped in the face of any attempt to historicize them. Deutsch Amerikanische Freundschaft – better known as DAF – is a myth.
What we know is that they released four albums in a short time span between 1980 and 1982, and that those albums changed the history of music worldwide. Yet DAF’s international renown certainly was not based in the name: Gabi Delgado-López and Robert Görl were never looking for friendship; their expressions were invariably ones of steely, piercing stares, and they presented themselves with a precisely staged iciness that belied the ardor burning inside them.
DAF initially formed as a quintet in the confines of Ratinger Hof in Düsseldorf, alongside bands like Fehlfarben, Der Plan, Mittagspause and others, but later adopted a conceptual approach that left no space for other “young lords.” From that point on they worked as a duo. With precision percussive elements mastered in classical jazz training, a legendary Korg MS-20 and a highly fetishistic militaristic spoken-word style, they produced four albums in quick succession – records that could be construed as substitutes for sex, drugs and violence. While the first album, Die kleinen und die Bösen – on which half the tracks were recorded in Conny Plank’s studio while the B-side contained live recordings – still hinted at roots in original punk music, they then created a triptych of leathery, sweat-soaked hedonism on Alles ist Gut, Gold und Liebe and Für immer. In the early 1980s the records in the DAF box set Groenland Records is now releasing quickly made this duo the international figurehead of the music everyone now associates with the Rhine region: DAF, along with Kraftwerk and Can, were the pioneers of German electronic music. They were always in vogue. Sequencers, synthesizers, commanding drum beats and the most cutting staccato spoken-word vocals – an alliteration only disrupted by the notion of the uniform. Very few bands have managed to contrive their own look in such masterly fashion, and to even make it a subject of their work: “Was ziehst du an heut nacht?,” “Verehrt euren Haarschnitt” and – oh yes – “Tanz den Mussolini.”
DAF’s militaristic aspect is only broken by their attitude of denial, which invites us to dance in the dark with them and to follow Delgado-López’s rhythmic movements – even if he seems to be dancing entirely for himself. Perhaps it is that contradiction itself that renders this duo so eternal.
This compilation will allow you to experience the music of DAF; the darkest and hardest driving musical imperative ever to come out of Germany.”
Over the last twenty give years Robin Rimbaud – Scanner has traversedthe experimental terrain between sound, space and image, connecting a diverse array of genres – a partial list would include sound design, film scores, computer music, avant garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz.
"With a catalogue busy with commissions, soundtracks and studio releases it's extremely rare to find a new studio recording, so The Great Crater stands out by measure of this. Invited by the label Glacial Movements to create a new album he focused on the tale of strange circles appearing in Antarctica. Flying overhead in 2014 a group of scientists spotted a circular formation of 2km diameter.
For a time it was thought that it could be the scar left by a crashing meteorite but in fact it was quite another story. Investigating the circle on foot in January 2016 scientists found a 3metre deep depression, with vertical well-like shafts in the middle. Drilling into the ice they found multiple lakes beneath the surface, as part of a 'hot spot' or melting ice sheet. There is growing concern that it could lead to further disintegration. The album explores an immersive, fragile and moving exploration of themes inspired by this simple tale. At moments the ice moves and a sonic scar if formed, at others the chill wind blows across the exposed water. The Great Crater offers up the voice of a unique composer in an ever unsettled global landscape."
Kamasi Washington continues to nurture jazz in its classical form with Harmony of Difference, a six-song sort of addendum to his roundly acclaimed master opus, The Epic  for Brainfeeder.
Premiered as part of this year’s Whitney Biennial in NYC, Harmony of Difference is a study on the musical theory of “counterpoint”, which Washington defines as “the art of balancing similarity and difference to create harmony between separate melodies”, and does so with in the hope that “witnessing the beautiful harmony created by merging different musical melodies will help people realise the beauty in our difference”.
We’re inclined to add at this point, the putative advantages of dissonance and discord, which could also help us understand the place of friction and anarchy in humanity, and another aspect of beauty derived from difference, but Washington has decided to forget a huge other chunk of jazz exploration in this case, leading to five pieces of smooth jazz on the front deftly infusing soul and latin influences, which are all re-combined in the B-side’s sweeping sixth movement.
Braindance IDM electronica. Apparently AFX is a fan, or alternatively, it's just AFX himself...
“The anonymous producer, whose work has has already received online approval from legendary british IDM auteur Aphex Twin, offers up his debut album. Brainwaltzera’s debut LP “Poly-ana" follows quickly on the heels of the producer’s Aescoba EP - also released this year via FILM (Steve Reich/Terry Riley/Grandbrothers) Across thirteen tracks of both previously released material and fresh excursions into the artist’s world, Brainwaltzera explores sounds ranging from luscious, downtempo grooves and expertly reduced braindance cuts with nods to early 90’s experimental IDM to harder, more caustic outings - all bound together by a recurring theme of otherworldly ambience.
Taking its name from a variety of sources dear to the artist, including polyphonic analogue synthesizers and the Pollyanna Principle itself - a theory that suggests individuals recall pleasurable experience more acutely than displeasing ones - the title represents a meeting point in the artistic process between creative method and conceptual choices. Production techniques range from more traditional hardware synthesis to the incorporation of a modified dot matrix printer acting as a modulation source for MIDI parameters.
Sample sources include VHS material from the producer’s own childhood and ambient Bullet Train samples from an on-the-fly production session traveling from Tokyo to Kyoto. According to the enigmatic producer, memory and its fundamental role in the human experience is one of the central themes of the record. While the artist's own experiences shaped the sound of the record, there is no attempt to impose them on the listener through blatant exposition. This is also evident in the artwork, which provides an identity and bold referential outline but, much like a coloring book, leaves the colors, tones and shades to others. In the same vein, the concept suggests that particular stimuli such as sound or scent, can transport an individual back to a particular point in their life. Scent has long been identified as the most efficient agent for this phenomenon, providing perhaps the most visceral form of "braintravel". “
DJ Harvey chucks his keys in the Pikes Records pot with this 16 track compilation of tracks from his pals and special nooks on his record shelves.
A simultaneous celebration of his recent residency at Pikes, and the first release on their label, The Sound of Mercury Rising works up a cool heat thru gems such as Eighth Wonder’s Pet Shop Boys-produced I’m Not Scared (Disco Mix), the sublime propulsion system of Mustat Varjot by Roberto Rodriguez, and the sultry italo of Golden War by Blue Camera, along with a lot more typical balearic bits that help reprise the original, decadent ‘80s vibe, as opposed to meathead house or megadome trance anthems.
4AD release ‘Three Futures’, the third full-length album by Torres.
"Torres is the creative alter-ego of Brooklyn-based Mackenzie Scott. In describing the album, Scott says it “is entirely about using the body that each of us has been given as a mechanism of joy.” The 10 original tracks on ‘Three Futures’ embrace ecstasy, desire and indulgence rather than self-denial, and exude this idea via immersive music. Mechanized grooves are placed at the forefront, providing a framework for perforated electro-pop static, harsh gothic / industrial textures, and insistent Krautrock motifs.
For ‘Three Futures’, Scott reconnected with producer Rob Ellis (PJ Harvey), who worked on Torres’ last album ‘Sprinter’, to record in Stockport and Dorset, England. David Tolomei (Beach House, Future Islands) mixed the album."
Anxiety about the precarious nature of reality is a recurring thread on Protomartyr's fourth longplayer, and Domino debut, ‘Relatives In Descent’.
"Though not a concept album, it presents twelve variations on a theme: the unknowable nature of truth, and the existential dread that often accompanies it. It's no coincidence this missive comes to us at a moment when disinformation and garbled newspeak have become a daily reality.
Without sanding any of the edges born from their days as a Detroit bar band, ‘Relatives In Descent’ offers new layers and new insights, whilst showcasing Protomartyr at their most unsettling and impressive."
The Centre Cannot Hold is Ben Frost’s 5th studio album. It was recorded over ten days by Steve Albini in Chicago and represents a pinched, subtler refinement of the billowing structures heard on its predecessor, A U R O R A , as well as a more personalised statement from Frost, who has more commonly been found working to someone film scores for someone else’s storyline with Music From Fortitude and The Wasp Factory.
Accompanied by players Skuli Sverrisson, Nico Muhly, Daniel Lea, and Shahzad Ismaily, and aided by production from Lawrence English, Paul Corley, Daniel Rejmer and Valgeir Sigurðsson; Ben Frost is effectively the triple threat actor/writer/director of his own particular album-cum-movie, rendering a typically melancholic vision of modern ambient and neo-classical storytelling that keens heavy with textural and emotive inspiration from industrial, post-rock and noise paradigms.
The record’s two side openers, Threshold Of Faith and Ionia were issued as single previews of the album, and both offer fair measure of what to expect from the other eight songs, which contract and expand between the scything post dubstep dynamics of A Sharp Blow In Passing and shuddering storm systems of Trauma Theory and the very NIN/Cortini-esque sprawl of Eurydices Heel, to the crystalline ice caves of All That You Love Will Be Eviscerated and the heavy-handed troll-bait epic, Entropy In Blue.
In emotional terms, Frost sums up feelings of apoploptic rage and despair usually only felt when you’ve gone to an outside toilet in Iceland in middle of winter, but forgot the tissue, while the production remains as trustingly tourist friendly as the northern lights. Put this on after GoT while you reflect on another great episode of tits and CGI dragons for optimal effect.
Hyperactive anime soundtrack styles - think Squarepusher meets Foodman
“Iglooghost presents his debut album “Neō Wax Bloom”, almost two years to the day since he made his debut as a teenager on Flying Lotus’s Brainfeeder imprint with the “Chinese Nü Year” EP - four tracks documenting the time-traveling adventures of a gelatinous worm-shaped creature called Xiangjiao. Expanding on this story, “Neō Wax Bloom” follows the events surrounding two giant eyeballs crashing into the mysterious world of Mamu. Across its 11 tracks, Iglooghost builds a typically intense, hysterical, borderline batshit crazy soundtrack, introducing new characters to his fantastical world and inviting back old friends Mr. Yote and Cuushe for the ride.
In the words of Iglooghost:
“When a pair of giant eyeballs crash into the strange, misty world of Mamu, the mysterious forces that govern nature itself are disrupted. A life cycle of transforming creatures is thrown off balance, and the odd looking inhabitants of Mamu are forced to adapt to this calamity. These inhabitants include Yomi - a multicoloured pom-pom monk; Lummo - a wise blind witch training a band of melon coloured babies; and Uso - a sneaky bug thief hidden in a green cloak - as well as many others. As their respective stories begin to interlock, the mysteries surrounding the giant eyeballs are slowly revealed.”
Lone spells out his influences for the DJ-Kicks series
A winding session taking in shoegazey electronica, wonky hip hop, jazzy Detroit house and blue indie rock along with two exclusive numbers, the dusty NYC deep house of Arc and Saturday Night.
Jon Hassell’s entrancing Dream Theory In Malaya (Fourth World Volume Two) - the follow-up to his seminal Fourth World Vol.1 Possible Musics featuring Brian Eno - sees a much needed reissue, now expanded with a bonus track and available on any format for the first time since the early ‘90s.
Recorded at Bob and Daniel Lanois’s Toronto studio in 1981, Dream Theory In Malaya (Fourth World Volume Two) was titled after and inspired by a paper from visionary anthropologist Kilton Stewart, whose visits to a remote tribe, the Senoi of the Malay highlands, revealed a connection between their happiness and well-being and the tribe’s morning ritual practice of family dream-telling; sharing with each other and discussing the events of their previous night’s dreams, which they would also relay to other tribes in a process of mutual education and enlightenment.
Using this knowledge, plus samples of water-drumming by a tribe from the same region, the Semelai, and his patented, processed trumpet and electronics, Hassell created a definitively solo follow-up to his work with Eno, although as he points out in the liner notes, other personnel such as the Velvet Underground’s 1st drummer, Walter DeMaria also feature.
It all revolves around the central, 10 minute Malay, where a choir of his signature, warbling harmonics scat and flit over the sound of sloshing water drumming, cut-up and processed with soft gong hits in the kind of rhythms which Autechre would reprise algorithmically many years later. Either side of Malay is a series of lush postcards which come alive in your hands, ears, from the agitated fanfare of Chor Moiré to the lissom, plasmic regaling of Dream Theory’s bowl gongs and diffused hoots, thru mind-melting display of hypercoloured harmonic plumage in Datu Bintung At Jelong.
The only, beautiful, difference between the original pressing and this is the ending. Instead of passing out with the deftly genteel romance of Gift Of Fire, it’s now extended by inclusion of bonus track Ordinary Mind, relaying 3 minutes of windswept chants and glinting, liquid drumming that perfectly animates and articulates Hassell’s dream.
Intrusion’s A Gentle Embrace spawns a 3rd set of nebulous dub/house/ambient versions from Steve Hitchell as CV313, Variant, and Intrusion, including the original 33 minute tape session, spread over two discs. Plug in, push-off, zone-out.
“This marks the third single from Intrusion's forthcoming album "A Gentle Embrace" (also with alternate versions coming out on a forthcoming 12"). What has not been heard before comes into glimpse via analog circuitry, obsolete synthesis & sonic exploration beyond dreams. This double CD set features the original mix as well as 3 beautifully hypnotic dub reductions from cv313, an epic 60 minute beautifully composed hypnotic and entrancing ambient rework from variant, which might be one of our personal favorites to date. Those who loved the past "A Gentle Embrace" project will have much to love here. A passionate, galactic, deep voyage on the other side of the galaxy. See you in the stars..."