Smart and varied vibes from Martyn’s 3024, featuring himself alongside label debuts from Berlin’s lesser-spotted Juniper, UK stepper Yak, and Baltra - collaborator with DJ Boring
Yak plays up to the label’s ruder side with the crunching 2-step drums and percolated subs of ‘Lucid Nightmare’, and Martyn follows suit with the roguish Detroit/South London rave style of ‘Everything Is New’.
On the other hand, Juniper is on day release with the deeply in-the-pocket, writhing acid funk of ‘Constellations In You’, and Baltra rolls out the floating rave depths of ‘Bensalem Owls’.
Forward grime for the present state of affairs, from producer Shy One and MC Kwam
Kwan poetically chats about race, economics, family, police, and everyone’s favourite cheap pub on ’Spoons’, set to Shy One’s supremely inventive and daring grime productions, from the fleeting stabs and skittish beat of ‘Power’ to the cool yet powerful tale of harassment from the dibble set to a brilliant jazz/grime fusion in ‘The Raid’, and, our favourite, the properly wild but refined flex of ’Spoons’ with its spiralling keys and splayed 2-step. Surely one of 2018’s most impressive grime releases?!
Seductively depressive darkwave-pop from Seattle in the rainy North West of U.S.A. RIYL Cold Cave, Tropic of Cancer, Veronica Vasicka
“Bloom Offering is the synth-wave / blighted electronic project of Seattle's Nicole Carr. Having released a handful of well-received cassettes through Clan Destine, Aught Void, and Sinneslöschen, Bloom Offering presents her debut LP Episodes through The Helen Scarsdale Agency.
In her development as an artist and technician, Carr has steadily honed her abilities in sculpting sharply cold electronics and declarative vocals set upon propulsive spines of whipcrack snares and throttled kick drums. Episodes strikes us as the refinement and culmination of those motifs into a compulsive communion with bleak noise, dark-eyed melody, controlled rhythm, cathartic release and emotional drainage. The opening track "Swallow Me Whole" is one of many pyrrhic anthems of resolute disdain for the current social order with its frantic rhythms complicating the moody arrangements. "Venus Shrugged" maintains a stately almost haughty sequence of synth stabs, evoking the sexual politics of the male gaze and any woman who chooses to look for herself. The scornful "Out 2 Get U" was penned as a stark banger of unrelenting, industrial techno in the the wake of the panic and paranoia against the post-Weinstein groundswell of feminine rage; yet in the constant headlines of men behaving badly, Bloom Offering's curse remains necessary.
Episodes questions the positions of gendered power in mirroring back Carr's existential anxiety through her roughly engineered body music and minimal wave shadowplay. For ancillary listening references, Chris & Cosey, Lebanon Hanover, DVA Damas, and the rhythmic facets of Janushoved might of use.”
‘Moment’ is a strong current statement of intent from Gudrun Gut, the Berlin veteran who has weathered sea changes from post-punk to techno and indie-tronmcs, and now turns electro-pop, glam rock and avant-electronics to her needs. Make sure to check her cover of Bowie’s ‘Boys Keep Swinging’
“German electronic originator Gudrun Gut’s latest solo collection distills a lifetime of persuasions and obsessions into a compelling 14-track statement: "Moment." Stark, somber, sultry, and clever, the sides slide between ballad and lament, synth-pop and spoken word, anthemic and abstract.
Gut’s background as a key figure in Berlin’s first-wave industrial uprising still casts an aura in the music’s mechanized rhythms and frozen emotional palette but decades of improvisation and collaboration have deepened her sense of composition and melody beyond any easy genre categorization.
If anything "Moment" finds Gut’s muse at its most enigmatic, threading shades of motorik hypnosis, technoid laboratory, coldwave pop, glitchy gauze, and even a gender-bent Bowie cover (“Boys Keep Swinging”) into its eclectic web. It also showcases the depth and detail of her voice, reserved but suggestive, intoning blunt truths and opaque poetry in both German and English.
This is music of history and heartache, modernity and desire, alienation and expression, by a singular creative committed to the complexities of sound. - Britt Brown
Gudrun Gut’s story spans many years, scenes, and sounds, from the “ingenious dilettantes” subculture of early 1980’s Berlin as part of Mania D, Einstürzende Neubauten, and Malaria! to her twilit industrial pop trio Matador into an expansive solo catalog of later work scoring films, videos, and radio plays. Her talents extend beyond musician, however, to include founding record labels (the influential imprints Moabit Musik and Monika Enterprise), club nights (progressive electronic pop collective Oceanclub), and experimental feminist collaborations (Monika Werkstatt).
Gut also works extensively in the technical sector of the recording industry, as a producer. Recent projects have included collaborations with Antye Greie (AGF) and Hans-Joachim Irmler of Faust, participating on the advisory committee for Musicboard Berlin, and performing at The Royal Albert Hall with Âme as part of an Innervisions label night.”
UK techno heavyweights Karl O’Connor & James Ruskin whip out a deadly new OVR session on Downwards
Arriving 2 years since their ‘Easy Prey’ 12”, OVR’s 3rd studio release is defined by its spacious mixing and layered detail in three powerful dancers plus two handy locked grooves.
‘The World Remade’ is a proper juggernaut, rolling thru pelting percussion on 18 wheeler bassline with a pile of jazz mags on the passenger seat. It could easily go on twice as long, but there’s two locked grooves isolating the crunchy bass and gritted drums for DJs who want to properly roll out.
The B-side’s ‘Reversing Into Tomorrow’ tucks into more aerodynamic, stripped down formation, before they cuts loose with foul waves of tarry synth and noise scree in the grim roil of ‘New Departures’ - more of this, please!
Remaster of a 2008 classic ten years after release.
"There's a beating heart buried in the cold landscape of Glider, a warm 4/4 pulse that enervates the album's echoing, looped drones and pulls the listener swiftly through the snow. By pinning barely-there electronic beats to his wisps of guitar melody, the Seattle-based producer turns ambient music into a hybrid strain of breathtakingly intimate, small-scale dance music.
There's a separation of elements in The Sight Below's songs that's almost meteorological in nature: Tendrils of treated guitar trail lazy patterns in the sky like the Aurora Borealis ("At First Touch"), flicker in the distance like heat lightning ("Dour"), or expand and contract like time-lapse cloud formations ("Life's Fading Light"); running along beneath, nearly obscured by the airborne phenomena, is an ever-present beat, which ranges from the mud-puddle throb in "Without Motion" to the tiny, insistent high-hats in "A Fractured Smile." The tracks evolve at a deliberated pace, but as the tones overlap and the rhythms build, time oozes to a halt and hangs in blissfully frost-bitten suspended animation. With Glider, The Sight Below has created a work of vertiginous sonic depth and exquisite melancholy: techno music for a dark, brooding night."
1st new Bitstream 12” in 10 years! The bothers Conner remerge one of the UK’s most cherished electro projects for a strong 4-track EP with the West Coast Dutch G’s at Frustrated Funk
Since their last 12”, ‘The Severed EP’  for Touchin’ Bass, Dave and Steve Connor bifurcated into the Uexkull and Adapta projects, respectively. While they’ve turned out some solid gear individually, their powers are arguably felt strongest when working together, as on the ‘Switch Halo’ EP.
In combo, they massively impress with the dissonant, bittersweet choral synth voices that open up ‘Stream Philter’ and infiltrate its slow, pendulous groove, while the richly detailed and rapid ‘Screens’ also benefits from more hands on deck in its sumptuous kneeing soundsphere. Again those synth voices make a crucial appearance, haunting the elastic, shapeshifting slosh of ‘Tactic’, while ‘Switch Holo’ works with powerful techno-electro hydraulics in a super tight update of their signature styles.
One of 2018’s most reliable labels, UVB-76 Music close the year with a killer quartet of industrial/D&B/techno apparitions by Karim Maas, Pessimist, Overlook and Talker
Titled in tribute to the seminal ‘70s sci-fi conjured by Nigel Kneale for the BBC, The Stone Tapes unleashes dark forces in all four parts.
Kicking off with the trampling, lunky pressure and sweltering spectral noise of ‘Removal Of DECC’ by Karim Maas, it finds Pessimist investigating haunted dancehall vibes with the grungy acidic bogle of ‘Ultranova’, while Overlook follows suit with the depth-charge halfstep bone-rattler ‘Purr’, and Chicago’s Talker twat out the tense industrial techno rolige of ‘Cross Purposes’.
There’s definitely something in the Bristol waters…
The Sight Below’s majestic shoegaze, reworked by a broad range of artists including Simon Scott, Yagya, Biosphere and Acronym
Exemplifying the scope of the set, Simon Scott appears at his sorest and bittersweet with a billowing, coruscating take on ’At First Touch’, and Acronym offers a pounding deep techno remix of ‘Life’s Fading Light’. Other highlights come from Iceland’s Yagya with a heartrate-slowing ambient techno overhaul of ‘At First Touch’, and Biosphere pushes ‘The Sunset Passage’ off into opiated smudge.
Rugged, squashed bass flex from Lamont, following up his Swamp81 and Keysound turns with more stripped down and freaky movies for Loefah’s label
Working at the intersection of dubstep, grime, and house, the ‘Detached’ EP twysts in a unique way from the looping halfstep of ‘Humans’ to the clipped and corkscrewing strut of ‘XIX’ with an infectiously playful style, before getting darker, more aggressive with the title cut, and balancing the percussive attack of ‘Dope’ with heady, slanted electronics and a canny vocal lick that sets it off right.
Stripped-down, proggy acid and slinky electro from Nathan Micay (Bwana), making his 1st foray for L.A.’s ESP Institute
The A-side’s title tune is an effortless, stealthily building acid roller evolving with swanee whistle-like top line, eventually opening out with balmy pads.
On the B-side, he works the louche but punchy swagger of ‘Team Player’, with snaky post-punk baseline accentuated by electroid snares and urging vocoder voice.
Fracture pushes at D&B’s peripheries with the super tight, Footwork-compatible drums of ‘Soundboy get Nervous’ on dBridge’s Exit Records
The clenched title cut imagine a razor-sharp fusion of No U-Turn tech-step rufige inna footwork-style harness; ‘Turbo Toms’ goes on like Mumdance & Logos doing hardcore juke; ‘Makes Me Wonder’ serves tense, body-rolling momentum layered up with ace mid ‘90s techno-trance pads; and ‘No Screwface’ locks off a killer, breathlessly tight tech step sound.
Daniel Avery and Richard Fearless float their new merger, PSSU, on the latter’s Drone label
On ‘307309’ they recall classic early-mid ‘90s Aphex Twin and Autechre vibes with haunting pads and bruising electro drums, while ‘Fabricated From Steel’ heads down a long dark techno tunnel.
Detroit, Chicago and Paris-indebted deep filter house from Pistol Pete on Bristol’s Idle Hands
Clearly well-versed in Shake, Soundhack and Pepe Bradock styles, Stockholm’s Pistol Pete brings a vibe in all three parts: simmering the ‘floor with washed out piano chops and raw swang in ‘Orphan’; toying with deferred soul gratification in ‘Lundgaten’; and getting right under the skin swiththe mesmerising chords and devilishly offbeat hi-hats of ‘Esqpads’.
First ever digital issue of Chris Carter's solo follow-up to the legendary 'Spaces Between'
Originally issued on LP in 1985, 'Mondo Beat' stars one of the Throbbing Gristle lynchpin's most recognisable solo tracks, the proto-New Beat and Industrial classic, 'Moonlight', plus five further tracks of highly advanced productions, taking in the flash stabs and body-contorting beats of 'Real Life', the extra-tropical electro elan of 'Noevil', experimental cut-ups on 'Nobadhairdo', and the noisy, psychosexual EBM tripper 'Beyond Temptation'. We need say no more; this is a total must-have for all wave psychonauts and techno dancers!
Copenhagen’s Fluf look close to home with Mads Kjelgaard’s field recording study of insect noise in Croatia, with results remarkably resembling mechanical, synthetic sound.
“Like a heavy blanket it covers the mountain valley. It seeps in from everywhere: piercing trills, screams and grains. The insects are awake. They want to eat, they want to drink, they want to sing, they want to fuck. And so, they excite their mechanic bodies.”
The brothers Overmono rave between tribalist and ambient jungle-tekno and stepping IDM on return to Whiities
‘Lil’s From’ works out natty, rolling breakbeat edits in a way recalling Peder Mannerfelt’s broken styles, whereas ‘Quadraluv’ rolls out on a flighty mix of ambient techno and rude jungle swerve, and ‘Yell0W_Tail’ swings out into breezy IDM dimensions.
Piercingly bittersweet indie-pop experimentalism with a feminist bent, from Jamie Stewart & Angela Seo’s Xiu Xiu and Italian rock unit Larsen
“XXL is the unholy union of Xiu Xiu and Italian experimental band Larsen. Written and recorded in a single week in Italy, Puff O’Gigio is XXL’s fourth album.
Puff O'Gigio is a mythological, genetically modified character - a cross between the notorious Belgian 2-apple sized blue creatures and the equally popular Italian talking and dancing mice.
The album inhabits the same colourful, intersectional world as the character, telling stories of wild animals, dub echoes, feminist art(ists), alternative ecosystems and assorted fetishes. The fantasy themes are matched with equally fanciful music - the album sounds like listening in to someone else’s dream. Powered by a constant sense of yearning and a sense of needing to break free from some unseen chains, this album swings from unabashed pop to clanging experimentalism, to moments of exorcism.
Puff O'Gigio was written and performed by Fabrizio Modonese Palumbo, Jamie Stewart, Marco Schiavo, Paolo Dellapiana, Roberto Maria Clemente, enriched by sonic contributions by Angela Seo, recorded and mixed by Paul Beauchamp at O.F.F. Studio Torino (Italy) and mastered by James Plotkin.”
Dave Aju winds up a avant-jazzy house session for Accidental Jr on occasion of their 2nd anniversary
‘Max at Masonic’ kicks off with a razor sharp sort of drum solo track helmed by heavy subbass; ‘Everybody’s Watching’ folds in some melodic colour and vocals encouraging listeners to “dance like everyone is watching”; while ‘O.O.O.’ signs off into plush deep house vibes, and ‘Telekuneko’ lays down a tuff tribal house groove.
Welcome reissue of Romania’s 1st fully electronic music recording - a fascinating and intrepid example of Spectral Music made at the IPEM Studio in Ghent, Belgium. Big RIYL Horatiu Radelescu, Iancu Dumitrescu, Roland Kayn, Basil Kirchin
Notable not only as the first properly electronic record released in Romania (in 1984), the hallucinatory scapes of ‘Gradeatia • Natural’ also formed the solo debut by Octavian Nemescu, who, along with Horatiu Radelescu and Nemescu’s collaborator, Cornel Cezar, shaped the distinctive, astronomic dimension of the Spectral Music style - one of Romania’s greatest contributions to the wider 20th century electronic music canon.
The LP’s A-side, ‘Gradeatia’ was recorded in 1983 at the esteemed IPEM Studio in Ghent, Belgium. For practically any European artist, access to this studio would have been a big deal, but it was an even more serious opportunity for Nemescu, whose access to equipment was severely limited in Communist controlled Romania. Working with his partner/sound engineer, Erica Nemescu - a skilled engineer who had worked on sound for animations - Octavian created a remarkably sensuous and immersive work full of modernist wonder, coursing form lush EMS Synthi 100 strokes to chaotic pulses, cinematic synth passages and a mind-bending finale. It’s patently the sound of someone dreaming of escape routes into different temporalities and dimensions, and is presented here in its entirety for the 1st time, following an unauthorised, truncated version pressed up by Electrecord in 1984.
Nemescu’s B-side work ‘Natural’ was, however, recorded at home in Romania. Using prerecorded samples of the Romanian countryside and electronic sources, Nemescu cut them up on his Grundig reel-to-reel decks to create a uniquely captivating mesh of warbling voice and keening, sonorous electro-acoustic megastructures which, again, connoted a sense of longing escape from earthly binds, while acknowledging its escapable gravity.
Hazy house rollers and shakers from Vancouver’s Slim Media Player, following their appearances on the ‘Rhythms of the Pacific Volume 3.’ 12”
Nice and easy does it between the lounging swang of ‘Quicksand’, the dusky hustle of ‘Mouthfeel’, the insistent throb of ‘Memory Bias (Nostalgia)’, and the sweet exotica kiss-off of ‘Tchüs’.
Techno’s arch, dark alchemist Juan Mendez rolls out a powerful 2nd Silent Servant album with ‘Shadows of Death and Desire’ , arriving some six years after his ‘Negative Fascination’ side triggered a sea-change toward EBM and gothic sonics in a way that’s never been felt more strongly. The album also features the unlikely reappearance of longtime collaborator and vocalist Camella Lobo of Tropic of Cancer.
Over the past two decades the storied, L.A.-based producer has made his presence felt both by stealth and frequency. From his earliest work on LA’s Cytrax thru his pivotal role on early Tropic of Cancer releases and as recording and visual artist with Sandwell District, then later as the go-to-guy for fusions of post-punk, industrial, EBM and techno with DJ sets and releases as Silent Servant, Juan Mendez’s myriad efforts have inarguably exerted an enormous influence over contemporary techno and dark electronics.
With his sophomore album Silent Servant presents an affirmation of his prowess with properly physical effect, wielding some of the most strapping arps, possessed vox and moody pads in his catalogue. In contrast with ‘Negative Fascination’, its influential predecessor, the seven tracks of ‘Shadows of Death and Desire’ are defined by a toothier drive and bite, moving with shark-like momentum thru ruggedest club functions while allowing little room for anything like beat-less reflection or downtime.
Locking in with ‘Illusion’, he pursues singular, writhing permutations of EBM, industrial and post punk moods; taking in slathering highlights with the agitated bruxism of ‘Harm In Hand’ and the rotor-jawed syncopation of ‘Damage’, along with the trampling drone-dirge of ‘Loss Response’, and the needling panic attack dynamic of ’24 Hours’, before drifting off centre with the glorious, swingeing torque of ‘Glass Veil’, and a swooning goth finale in ‘Optimistic Decay’ which sees mendez reunite with longtime collaborator and vocalist Camella Lobo.
Exquisitely rendered in-the-mix by Joshua Eustis, we can practically guarantee that if you fell for the first album, this one will push your buttons hard, too.
Freakish footwork/computer music abstraction from rhythmatician Jlin and her new conceptual spar, Holly Herndon
‘Godmother’ is the first sign of (artificial) life from the duo, starring the debut of Spawn, their AI offspring. Sonically, we can hear Jlin’s unique torque reduced to a flicker, while Herndon astringently applies her recent research into the unique properties of the voice, with results recalling a funkier take on recent Florian Hecker vocal studies. It’s arguably best heard when synched to the fluctuating visual aspect in their accompanying promo video.
Ireland’s Lighght serves the best we’ve yet heard on Dream Catalogue with the brain-spanking convolutions of ‘The Skin Falls Off The Body’
Apparently discovered by the London-based internet cult/label via the ‘Lila Tirando A Violeta’ fundraising comp, Lighght makes a complex, tumultuous racket inspired by his personal dread - “an existential cocktail of hypochondria and anxiety” - that lives up to comparison with music by AFX, Æ and Dalglish.
Manny man Grizzle fuses heat-seeking R&G and below-kelvin Drill styles on his debut missile ‘Quinine’ for the city’s strongest grime label/club night; Chow Down
After previously sharpening his teef in collaboration on the ‘Fallow & Grizzle’ EP, Grizzle works the energy levels from low-key, slunky up to outright ecstatic and back again across 4 original productions.
‘Plasma’ tempers trilling 808s and hyperdiva vox in a wavey R&G burner, while ‘Loosed’ initially goes weightless, then calves off into full sunk subs and reversed loops with a rugged, futurist sort of psychedelic intensity native to UK and US club styles.
However, it’s likely that the title cut, with its ohrwurm motifs and bittersweet, bolshy lean is destined for widest reach, while ‘Gauntlet’ scans glowing new horizons of tranced-out grime with an expert grasp of pressure control.
Another gem from the small yet significant Strata catalogue. A precursor to New York’s Strata East, Detroit’s Strata Records was founded in the late 1960s by former Blue Note artist Kenny Cox. Starting life as a music-led community organisation, coffee shop studio and venue, Strata released only a few titles as a record label, gaining the imprint a cult following among record collectors and jazz lovers across the globe.
"Possibly the best known of Strata’s releases, The Lyman Woodard Organization’s ‘Saturday Night Special’ is rightly heralded as a jazz fusion classic. Recorded in 1975, ‘Saturday Night Special’ features organ, electric piano and Mellotron by bandleader Lyman Woodard alongside guitar and bass by Ron English, with drums and percussion by Leonard King, Bud Spangler & Lorenzo "Mr. Rhythm" Brown respectively. Despite the fairly sparse instrumentation, ‘Saturday Night Special’ lays down an impressive wall of sound, powerfully atmospheric in its almost low-fi aesthetic. Hinting at more traditional jazz, rhythm & blues, afrocuban styles and more, the uniqueness of this album is surely in its feel: summoning up images of a vast industrial landscape, assembly lines and urban decay. In other words, this record sounds like Detroit.
No great album artwork is complete without a good story to match, and ‘Saturday Night Special’ does not disappoint. Snapped by photographer and political activist Leni Sinclair (responsible for seminal pictures of Miles Davis, Fela Kuti and John Coltrane and many others), the cover image shows the contents of Lyman Woodard’s pockets placed on the hotel bed after a show: cigarette papers, cash and a pistol.
Following Woodard’s death in 2009, this incredible album was reissued in highly limited numbers by Wax Poetics; now just as hard to come by as the original pressings. It’s our pleasure to make this important and influential chapter in the story of contemporary jazz available on vinyl once again."
Leading on from his much loved album and some tuffer 12”S for Anagogic Force and Further Electronix, Brainwaltzera returns to Film a more melancholic shadow of himself
The ‘Epi-Log’ EP portrays a darker blue side of his sound, taking in the grain slow-slugging drone-techno of ‘Triangulate Dither [fairytale Version]’, along the agitated electronic of ‘Laif of Smit’ and poignant ambient vignette ‘[take 2]’ and the late ’90s AFXism, ‘CountDempops’, before finish with the upsweep of Braindance in ‘Bad Endgar’, and ‘Dropp On Gminor’.
Strut dust down an electro-zouk peach from late ‘80s Guadaloupe, reissued outside the Caribbean Island for the 1st time!
“Producer Darius Denon explains: “This was 1988 and bands like Zouk Machine and Kassav were huge. I had met producer Frankie Brumier when I was performing at festivals and parties and he wanted to record a girl group so we began scouting venues, mainly around the Grande-Terre district in the island’s capital, Pointe-à-Pitre. I ran auditions and picked out the best three voices – Fabienne, Leïla and Yolande. One was singing in a choir and none of them had met each other previously.”
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around 6 weeks recording the album: “I gave them a couple of compositions that I had planned for my own solo album. I remember that we all got on really well; the sessions were fun.”
The title track ‘Las Palé’ was the lead track pushed as a single and achieved modest success domestically. The band did a few promotional performances in the island’s discotheques but, in the end, the album stalled. “Studios were expensive and there was no cheap technology as we have now. So, the producer ended up cutting corners with the production – the mix was not completely finished and the voices were not synchronised right to some of the tracks.”
For Denon, he continued his career to the present day, successfully moving to Paris and breaking through with the hit ‘Je t’emmene’ in 1998. Meanwhile, although ‘Las Palé’ turned out to be Feeling Kréyol’s only recording, the interest in the album has grown in recent years with the title track’s lo-fi charm finding its way into sets by Invisible City and onto Red Light Radio, NTS and more.”
Smalltown Supersound celebrates its 25th anniversary with an epic new mix album of the Smalltown Supersound catalogue by Prins Thomas. Featuring artists including Sonic Youth, DJ Harvey, Studio, Yoshimi (Boredoms), Kim Gordon, Oneohtrix Point Never, Todd Rundgren, Stereolab, High Llamas, Neneh Cherry, Ricardo Villalobos, Four Tet, Bjørn Torske, Dungen, The Orb, Kelly Lee Owens, Lindstrøm, Unknown Mortal Orchestra, Biosphere, Peter Brötzmann, and many more.
"I started Smalltown Supersound in 1993 while in high school in Flekkefjord, a small town of 4,000 inhabitants in the south of Norway. There was obviously no supersound in our small town. It was just an ironic name I came up with to release some tapes with lo-fi/noise/bedroom recordings by my brother and his friends. The name was inspired by my hometown and the catalogue number STS was a homage to SST, a label I deeply admired at the time (and still do). Little did I know that I would have to live with that name for the rest of my life.
I started the label before I knew what a record label was. So I gradually learned it by doing. And it was part of me growing up. It might sound like a cliché, but in many ways the label is the soundtrack of my life. Thomas has now made it into a mixtape.
We all hate to see photos of ourselves when we were younger, the bad haircuts and the strange clothes. It is the same thing when you run a label. You constantly look back on things you regret. This mix makes me see the label from the outside in a way I don’t think I have before. And to my surprise the haircuts and the clothes weren't as bad and strange as I remembered.
I have to admit that when I listened to it the first time, I was moved. First of all, because of the deep and true love Thomas has put into this mix. Second, because some of these tracks I haven't heard in 20-25 years. It really felt like revisiting the past. And in a very good way.
Thomas has followed the label since the early beginnings. Back in the days I was always thinking: “He’s a house/disco DJ – why does he want my noise records?”. I realize now I wasn't smart enough to understand his scope. I didn't understand it until his mix album Cosmic Galactic Prism, which is one of my favorite mix albums of all time. So for me it was very obvious that Thomas should make the Smalltown Supersound mix. I just couldn't imagine that he would go this beautifully far with it.
Since day one I have tried to have a red thread run through the releases and the label's DNA. Most of the time I am probably the only one who sees it. And many times I don't even see it myself. Now Thomas has found the spiritual unity.
While I have always struggled to describe what the label is, only now – with this mix – I can finally say: this is what it is. "
Joakim Haugland Oslo, August 2018
London’s Specimens convey a plangent sort of existential anguish with the sorrowed ambience and soundtracky feels of his debut album. File next to The Sight Below, Alex Zhang Hungtai, or indeed Lawrence English, who’s part responsible for the record’s subtly billowing scope
“‘In The Dust Of Idols’ is an album exploring mortality, Existentialism & the dread one can feel in the face of an apparently meaningless world. The journey you embark on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance you feel in the face of greatness (or perceived greatness), where others have seemingly found meaning and purpose in the face of your own wavering path. Often these can be expressed in grandness and can become historically significant human feats, the fact that they have stood the test of time can become in itself overwhelming when reflecting on your own journey. Whilst these moments in time may hold no specific meaning to you - despite their impressive nature - you are driven into senseless awe.
Accompanying the release of the record is a short film set to music from the album, produced and shot by photographer & director Lucie Rox. The film is a visual expression and representation of identity and the many ways this is challenged, perceived and adopted. Whilst taking forward the concepts explored throughout the album, the film looks to reduce the great vastness of confusion and self doubt put forward on the record & focus instead on a more intimate and personal perspective laid bare and shared by both director Lucie Rox & Specimens.
With a heavy focus on race & heritage of which both Specimens & Lucie are mixed - Caribbean & British / African & French respectively - the objective of the film is to show one of the many angles where an individual's search for meaning & identity can be expressed.”
Scorching, sprawling, lysergic psych and free jazz jams from Jibóia, a new artist from the fertile Portuguese undergrowth, picked up and presented on the ever-searching Discrepant label. Make sure to check the wild combo of sustained sax peal and pounding drums in ‘Diatessaron’, and the full-blown 15 minute Sufi whirligig styles of ’Topos’ if you like imagining yourself as a character in a frenzied Alejandro Jodorowsky scene...
“Earlier this decade, when Óscar Silva chose his alias Jibóia, he was already thinking of the variations his music would take on in each record. Jibóia is Portuguese for Boa constrictor and at his fourth record we got used to his instincts and ability to change over his sound and search for different collaborators to reach his intentions. After collaborating with the likes of Makoto Yagyu, Sequin, Xinobi, Ricardo Martins and Jonathan Saldanha in his previous records, in OOOO he goes deep into interconnecting his music with other musicians/past collaborators.
Joined by Ricardo Martins (Lobster, Pop Dell’Arte, BRUXAS/COBRAS, among other projects) and Mestre André (aka O Morto, Alacrau and Notwan), Óscar intended to create a record that sounded like Jibóia with the direct collaboration of the musicians that accepted the invitation. And what does it mean to sound like Jibóia? A fluent and rich dialogue between outer-world sounds mixed with a free jazz approach to rock, living in the limbo between what is fiction and reality. Meaning, it’s music that’s doing soul searching without any space or time barriers.
It flows as it should and in OOOO it’s no different. Inspired by the philosophy of Pythagoras and his concept Musica Universalis, that speaks about an inter spatial harmony created by the movement of the planets and the sound frequency it creates. It’s a poetic theory that imagines the sound produced by the movement of the planets and what we can listen to when we listen to the universe. The first three tracks are a reference to those frequencies and the last one, Topos, references an idea of accomplishment, of arrival and the sum of the experience.
So, yes, OOOO it’s a bit of a trip. A voyage of imagined sounds produced by three musicians in a constant dialogue and with a different focus in each track. Each of the first three tracks (Diapason, Diapente and Diatessaron) are developed with the focused on the instruments of one of the musicians, while the other two expand and enriches the range of the initial movement. First track focusses on Óscar’s instruments, the second one on Ricardo’s and the third on Mestre André’s. On the fourth and last one they explore the flux of ideas each one delivered to OOOO.
Topos doesn’t sum up the experience. It’s not intended to be a conclusion or an end to OOOO, it’s an open circuit of ideas that reinforces the free-minded rock that the three musicians explore, creating a new place where their music finds new routines. It just makes you want to go back to the beginning, again and again, reinforcing the feeling that Jibóia’s music belongs to this world without sounding like anything from this world.”
Incendiary 50 min recording of Merzbow performing at the Institute of Modern Art, Brisbane in 2012. Liable to take your eyebrows off and leave you with no mates. Great fun...
"I think the first time I heard Merzbow must have been in 1994. I was a compulsive cassette trader back then and I was sent a tape from a fanzine editor I traded with in the USA. It had two long form pieces on it that just said Merzbow//Noise.
I remember at the time not really knowing what to make of it. It was effortlessly deep and aggressive, but also very emotive and almost lyrical in the way the waves of sound would erupt and decay. In those days it wasn’t so easy to discover information about artists, but within a few months I had learned as much as I could about this prolific musician from Japan.
In the mid 2000s, I had the chance to meet Masami Akita, aka Merzbow and present him live when I was co-producing the Brisbane leg of the What Is Music? Festival. It was a pretty special event, in fact the first (sonic) meeting of Merzbow and Keiji Haino took place here in Brisbane. For me, Merzbow’s solo performance was as transformative an experience as hearing his music for the first time. Following a switch to digital electronics, in the early 2000s, his powerbook performance was literally like having someone run a razor blade across your eardrum, whilst pummelling your body. An exquisite, and beautiful, unease.
MONOAkuma is a live recording made in Brisbane in 2012 at the Institute Of Modern Art. This was the second time I had the pleasure to present him live in Australia. To me, this performance epitomises the physiology of Merzbow’s sound work. He creates in absolutes; sonically he generates a tidal wave of frequency that sweeps across the spectra with tireless frenzy. Merzbow’s capacity to conjure a massive swirling mesh of analog and digital sources is without comparison. His work is one of physiological and psychological intensity; a seething, psychedelic and utterly visceral noise-ocean.
What MONOAkuma represents is a resolution of Merzbow’s performative work across both analog and digital noise mediums. Here, he brings together his formidable pulsing analog noise (which exploded in the mid 1990s and subsequently forged the interests of countless artists creating music in his wake) and his more digital approach to noise. On MONOAkuma he resolves these two modes of operation into an ontology of noise in the absolute.
What I recall most about this performance is the sense of utter euphoria that was shared by everyone present. It is captured in the recording too. Not many people tend to dwell on this affective capacity of Merzbow’s work, but there is no question - this is about the body and the ears being overwhelmed. In those moments of being wholly consumed comes an incredible bodily sense of euphoria that is a truly unique and profound experience. MONOAkuma captures this affect in exacting detail.
2019 marks the 40th anniversary of the commencement of Merzbow. This recording, which epitomises Merzbow's 40 years as arguably the most important noise musicians of our time, demonstrates the intense and complex audio world Merzbow has created. It’s the perfect starting point from which to wade into the noise ocean that is Merzbow’s vast output.”
Lawrence English, 2018
High grade weaponry from Neville Watson, retuning his style with exhilarating, inexorable effect on his 2nd album and debut outing for DBA
While highly regarded as an upholder of old skool production values and style, Watson makes a break for the future with the technoid harvest of ‘The Midnight Orchard’, which contains the most abstract and driving gear we’ve ever heard from him.
He spends the first couple of tracks massaging your grey meat and matter with proper sci-fi modular spangles and tension-raising arps before locking in for the ride with ‘Anarcho Midnight’, a seriously powerful, offset roiler that will see a lot of play around our way, along with the album’s other big highlights, such as the pendulous, minimalist rinse of ‘Twin Tub’, the furiously wired gnash of ‘Dee Sides’, and the blinding hydraulics of ‘4am In The Trees’.
Together with its numerous black hole abstractions and lush moments like ‘We Own The Night’, this album is arguably one of the strongest techno-related LPs of the year, bar none.
Whizzy techno-pop from hotly tipped Bristolian newcomer Finlay Shakespeare. ‘Perris’ sounds like a hook-up between Richard Youngs and Erasure.
“Snapshot release by a new Editions Mego signing, the Bristol based one man machine, Finlay Shakespeare.
Routine is a twitchy electro monster confronting the listener with a worked up a blend of AFX, Cabaret Voltaire and New Order. Routine is damming slight on the soulless electronic age in which Finlay spits a curse on the mundane repetition of existence over the top of a wild unfurling techno pop banger. The B-Side Perris propels itself as a crazed analogue drama that is as ambitious as it is unholy. Simultaneously a modern throwback to the brooding synth pop age and concurrently an absolute belter in the contemporary mainframe.
Finlay Shakespeare has made it quite clear, that he is here.”
Oren Ambarchi’s Black Truffle present a mind-bending major new work by Alvin Lucier with the hour long piece, ‘So You… (Hermes, Orpheus, Eurydice)’, following release of his ‘Cross Cross / Hanover’ LP and the ‘Illuminated By The Moon’ retrospective boxset.
“So You ... (Hermes, Orpheus, Eurydice) is a major new work by legendary experimental composer Alvin Lucier. It is an hour long epic that tracks the familiar Orpheus myth from a less familiar perspective: that of Eurydice as imagined by poet H.D.; a Eurydice who rails at Orpheus for his hubris in attempting to rescue her. Two key, and formerly distinct, aspects of Lucier's practice come together in this piece: the exploration of interference patterns in closely tuned intervals, and the exploration of resonant chambers. From speakers mounted inside amphorae a constantly turning braid of beating sine waves trace the descent into the depths of hell, and then the doomed attempt to climb back into life. Singer Jessika Kenney and long-time Lucier collaborators Anthony Burr and Charles Curtis embody the three title characters in deeply focused performances that assert themselves against the process of the sweep, or become enfolded in it. The electronics were mixed in real time by programmer and equipment designer Tom Erbe.
This record has all of the mind-bending acoustic effects you'd expect from a Lucier piece, but also features a strong sense of narrative drama and flashes of raw emotion that are unexpected and deeply affecting.”
Proper, experimental techno drills from Rrose on her vital Eaux label
The kind of gear that leaves you sweaty palmed and clamming for nightfall, especially on a friday afternoon, ‘Beware of Shells’ delivers the Rrose’s first solo outing of 2018, following from her smart collaboration with Lucy.
Tilting in with the vertiginous title track of billowing synth dissonance and pulsating bass - imagine Cam Deas meets early Pan Sonic - the EP keeps us rapt between the air-ripping synths and powerful drive of ‘Incisors’, a droning death techno dirge named ’Sister (Remix)’, and the delectably dissonant nosedrip tang of ‘Pecking Order’, which, while the most minimal and abstract of the lot, is likely to endure as our favourite from this set.
Direct Detroit/Berlin-style deep techno pressure from Laurel Halo and Hodge on Livity Sound...
Rolled out in the wake of Laurel’s ace ‘Raw Silk Uncut Wood’ EP with Eli Keszler, and leading on from Hodge’s classy ‘Beneath Two Moons’ EP, they make an ideal pairing on three tracks built for clued up ravers.
It’s maybe possible but pointless to identity who’s doing what and where, better to take them as exceeded the sum of their parts, from the beautifully balanced 313 drive and sleek float of ‘Tru’, thru the stereo-pinging dub chords, High-Tech Jazz pads and rugged rub ’n tug of ‘Opal’, and the unsettling fusion of blithe new age vocal mantra with squirming subbass and phosphorescing synth tones in ‘The Light Within You’.
Numbers introduce another new artist with Perko’s lush debut of floating dance music after recently dispensing North Sea Dialect’s gaelic folk-tronica
From Scotland but based in Copenhagen, the 23 y.o. Perko makes dance music that’s deeper than his age may suggest. It’s evidently steeped in an appreciation of natural, pastoral aspects as much as the pull of synthetic styles like Detroit techno and UK soundsystem music, adding up to a beautifully well-rounded record with strong highlights in the Vladislav Delay-like weightless dub of ‘Water Memory’, in the 2-step suspension system of ‘Rounded’, and, at its core, the sublime scene of percolated subs and dreamy, wide open space in ‘Grace’.
“The seven tracks on this EP hear Perko mining the grooves between his favourite genres for building blocks of inspiration. Drawing from UK soundsystem culture and modern experimental music, half of the record explores deeper atmospheric passages and meditative repetition, characterised by layers of subtly shifting chords, field recordings and delicate polyrhythms.
Three dancefloor cuts, spread throughout the rest of the record, retain this detail and interplay with added energy. Perko’s sense of rhythm & space is clear with 'Rounded’s glacial synths, blown out drum machines and sculpted sub sine waves. 'What Otters' forges playful UKG touches within a paperclip framework of space-echoes and sparks, whilst 'Songbirds' flips into 4/4 drive with percolated alarms and shimmering pads.
“Density, Noise, Dust, Distortion, Space…” says Perko, if you want it simple.”
Funky West African disco heat from the late ‘80s, remastered and reissued for the first time
“These two late 1980s Ghanaian highlife cuts are taken from the catalogue of Nakasi Records. Nakasi was run by the late producer Nana Asiedu (Big Joe) - a well-known figure in the Ghanaian and African music community of 1980s London.
The A-side showcases a track from Jon K's second solo album, which was a re-working of a traditional Fanti language Asafo company song Asafo Beesuon. Made famous by C.K.Mann on his seminal album ‘Funky Highlife’, this version very much reflects the more westernised late 1980s sound of highlife music recorded in the UK, Holland, Canada and Germany for both ex-pat Ghanaian audiences and those back home in West Africa.
The album features the stalwart session musician Alfred Bannerman, the go-to Ghanaian guitarist known for the classic cut of ‘Let Me Love You’ by Bunny Mack, among many other tracks over the last 40 years, including his work on contemporary releases for Soundway such as Konkoma and Ibibio Sound Machine.
On the B-side, Pat Thomas (the brother in-law of Big Joe) needs little introduction having been touring the world extensively in recent years with the Kwashibu Area Band. Somehow this dancefloor-heavy cut has eluded recent compilations and reissues. With horns arranged by long time friend and collaborator Ebo Taylor, it's an instantly recognisable sound that also features Rex Gyamfi - himself a well-known purveyor of 1980s 'burger-highlife’.”
Astrophonica volley 14 breakbeat mutations from Fracture & Neptune, Luke Vibert, Falty DL, Sully, Proc Fiscal +++
Cutting to the chase, listen up for highlights in Falty DL’s dextrous deep jungle piece ‘A Day At The Races’ (is that a Firewire sample??); Luke Vibert’s Plug-style acid jungle bender ‘165 303’; Moresounds’ fierce jump-up madness ‘Shut Up’; and yet another hybrid beauty from Sully, smashing jungle, garage and grime atoms in ‘Qualia’.
Hanno Leichtmann’s ‘Nouvelle Aventure’ renders a remarkably layered and cut-up tour thru the prized, 70 year archive of the Darmstadt Summer Courses for New Music, for Karl Records
Given carte blanche to rifle the IMD’s (Internationales Musikinstitut Darmstadt) tapes and memory banks, Leichtmann returns a blinding set of recombinant collages, using his patented system of micro-loopers, as well as era-appropriate techniques such as tape editing and manipulation of amplitude/pitch/playback direction/repetition, to whisk up and create sparking new synaptic connections between his thematically fixed selections.
Like Leichtmann’s preceding release of the ‘SY4’ recordings of a drum machine, and his ‘Skin, Wood, Traps’ study celebrating 100 years the drumset, these decimated deconstructions of the IMD archive were conceived as installation for physical spaces - in this case a 6 channel mix - and later reduced to stereo for release. The results form dizzying microcosms of atomised sound, exploding the archive like the big bang of electronic music that it arguably is.
In 16 parts, the shrapnel of Darmstadt’s conceptual thought bombs and concrète recordings become unanchored from their original moorings and reshaped with Leichtmann’s unique logic. Traces of Stockhausen, Xenakis, Nono, Ligeti et al are recontextualised, remixed to provide the listener with the perspective of a fly-on-the-wall time traveller, siting in on lectures, or overhearing experiments, but all scrambled by strange quantum mechanics with heavily psychedelic side-effects. By nature it’s a respectful yet daring approach to this end of the avant garde, which we’re sure the originators may well approve of, or at least find good reason to criticise.
Outer nowhere, the 1 minute-long debut release by Turner Prize-winner Martin Creed arrives on digital format, some 20 odd years since the original tape release via Paolo Vitolo Gallery
The clue to ‘Work No. 117 ‘ All the sounds on a drum machine’ is obviously in the full title: “Work No. 117 ‘All the sounds on a drum machine played one after the other, in their given order, at a speed which makes it last for one minute’.
Files next to T C F’s ‘1000 Snares’ and The Automatics Group’s ‘Summer Mix’.
Wolfgang Voigt (Gas) plucks out 12 airy beauties from Kompakt’s ranks for ‘Pop Ambient 2019’. Make sure to check for the gauzy country drift of ‘The Uncertainty Principle’ by Jörg Burger as The Black Frame, as well as Bluebird’s aeolian harp styles in ‘Last Train To Brooklyn’, Thomas Fehlmann doing a mean impersonation of The Caretaker in ‘Karenina’, and the stately keen of ‘Rot 2’ by Gregor Schwellenbach
"25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock’n’roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent “Around The World”, all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.
Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as “Chill Out” music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.
So once again, I had the pleasure to put together this year’s edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline “Ambient” might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland’s abstract-floral cover design that keeps on pleasing our sore eyes year after year.
Although each and every POP AMBIENT edition doesn’t shy away from diving into the relevant question of “What is contemporary discourse music” – in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers."
(Wolfgang Voigt Cologne, October 2018)
A real doozy from Finders Keepers' Cacophonic label - playfully psychedelic, abstract ‘70s concrète compositions by Dublin’s Roger Doyle, recorded at the inestimable Institute of Sonology, Utrecht. Keener types may recognise Doyle from his part in Operating Theatre on the superb ’Strange Passion’ compilation, and will surely be in for a welcome surprise with ‘Oizzo No’ - one of the most beguiling, unpredictable and varied sides ever heard from the Irish avant garde. Unmissable!
“This manifesto of outsider orchestrations, teenage symphonies and cultivated concrete is the debut album of experimental Irish avant garde and electro acoustic innovator Roger Doyle. A pianist, composer and improvisational jazz drummer with a penchant for experimentation that would marginalise him from traditional seats of learning in his native homeland but embrace him to the bosom of Europe’s leading forward-thinking research centres for electronic and computer music. Here he would piece together two highly sought after experimental albums before returning home to channel his multi-disciplinary work ethic into the agit pop theatrical company Operating Theatre and play a leading role in the burgeoning Irish new wave scene as an early signing to U2’s Mother Records.
A collection of some of Doyle’s earliest works as an indomitable scholarship student of composition at the Royal Irish Academy Of Music in Dublin and then as founding member and drummer of experimental jazz rock outfit Jazz Therapy (who would later become Supply Demand & Curve), this patchwork 1975 debut long-player draws from what was an already bulging portfolio that included academic assignments, living room compositions and soundtrack collaborations with Irish filmmakers.
Originally part-recorded and subsequently aborted when the would-be label vanished without trace overnight, Oizzo No was shelved indefinitely until a scholarship at the prestigious Institute Of Sonology at the University Of Utrecht in Holland afforded Doyle not only the opportunity to partially revise his humble opus in their state of the art studios (as well as those of the EMS Studios in Stockholm) but also the money to press a limited run of 500 copies and help further cement the foundations of his future status as one of Ireland’s leading and most versatile contemporary composers.”
The most watchable scene in the world, Durban’s Gqom sound diversifies into Gqom/Afrobeat hybrids with ‘Alala’ by SA’s Citizen Boy and Nigerian vocalist Dapo Tuburna
The title cut is surely among the strongest Gqom anthems of 2018, with Dapo Tuburna’s burning Afrobeat singjay-style vox lending a potent grip to the groove’s hunched swang and parry and Carpenter-esque melody.
‘Gqom Fever’ on the other hand is a perfect example of Gqom’s negative ecstasy at work, pairing driving taxi kicks with deep blue pads and a nagging hook strongly recalling cold-ass ’80s Belgian New Beat vibes. Pushing all our buttons right now!
Abstract knots of colourful, chromatic noise swept up in naturalistic chaos...
“Luminous, Stratous, Vigourous. Jan Nemeček folds time on his power ambient opus «Recurrences». Evoking memories of solitary journeys that turn into cosmic travel, these eight timeless songs combine fragile and organic textures with wide-screen, orchestrated waves of sound. Jan Nemeček lets his machines drift until they sing in character, creating luminous worlds filled with strangely familiar life-forms.
In his current solo work, musician and sound designer Jan Nemeček focusses on granular synthesis, deconstructed recordings and borderline sub bass movements.
He has been engaged in the Balkans’ vivid improvisatory and electronic music scenes since the early ‘00s. Until 2014, he co-curated the CC-based label Norbu. Jan Nemeček also collaborates in numerous projects focussing on the club context. He is a resident at Belgrade’s acclaimed underground institution Drugstore.”
Enigmatic masters of their artforms, Cortini and English meet at the apex of their powers in a breathtaking recording.
Operating at their most diaphanous, sky-scraping and apocalyptically glorious, the pair captivatingly match each other stroke for stroke in a spirit-engulfing study of coruscating harmony and saturation. The results speak to a mutual admiration for each other’s work, with each artist hailing the other’s ‘Sonno’ and ‘Wilderness of Mirrors’ as important parts of their listening lives in 2014.
With this fundamental understanding and appreciation of each other’s singular approaches and practice in place, they most beautifully brogan the best out of each other in ‘Immediate Horizon’, subliminally traversing vast noumenal, psychoacoustic terrain from fathomless spatial coordinates and elusive textures, to lilting spectral melody and sore choral cadence by the piece’s close.
We can only imagine that, within the gargantuan bowels of Berlin’s Kraftwerk space, the premiere of ‘Immediate Horizon’ must have been quite incredible, especially in the way that they use density within negative space, and their skill in transitioning from pulsating cosmic ferocity to moments of stark, life-affirming beauty.
NYC’s Palto Flats catch Foodman at his coolest and grooving, tempering his wilder tics to slinkier effect in 5 weightless ambient-jazz-house charms.
One of the most striking sonic characters to emerge in recent years, Shokuhin Matsuri a.k.a. Foodman follows up a brace of ace releases with these beautifully spacious works, ranging from a mesmerising 6 minute stepper called ‘Miziburo’ that sounds like a frothier Shinichi Atobe, to delectable ambient-jazz fusions int escaping dub chords and fragmented jazz chops of ‘Nanika’, thru the deliquescent diffusion of floating keys, ultra-minimal percussion and playful harmonies in ‘Tokai Desu’.
If you’ve ever been intrigued by this artist and not checked him yet, this is the perfect place to build an appetite for Foodman.