Oren Ambarchi’s Black Truffle sustains a golden run of releases on this richly enigmatic follow-up to his collaborative project with regular foil James Rushford and Kassel Jaeger of the GRM; the same Parisian facility where they recorded Face Time.
To our sensibilities, the results recall a genteel ketamine trip on a sunny day, where the dosed up listener perceives the world around them as an elusive whorl of disembodied voices, fractal pattern and ill logic. Mind, the putative “bad” side effects of K don’t really apply here, just the the sense of temporal dislocation and cognitive dissociation.
“The record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts and the sound of a Cristal Baschet to take centre stage, but each time returning with the inevitability of a an idée fixe.
Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics.”
On a proper percussive flex, Indonesia’s Marsesura, Uwalmassa and Wahono articulate indigenous rhythms with a crisp technoid tanggg for Don’t DJ’s Disk label...
Jakarta comes via Berlin in four refreshing ways, taking in the interlocking gamelan and gruff-to-sweet flute lines of Marsesura’s Asmoro, which weirdly also recalls some Timbaland or Neptunes beat from the early ‘00s, next to the splashing and rolling clangour and swagger of Uwalmassa’s first entry to the EP, Untitled 10. Their next follows flipside with combination of swingeing syncopation and fragrant vocal samples coming off like Shackleton dubbing Senyawa, while Wahono teases out the colourful, angular plumage of Pakar Gula Gending from a minimalist palette of gamelan chimes.
It’s safe to say that Steven Legget has been somewhat measured in his approach to releasing music. The Newcastle native was behind the Four Hands moniker, with releases alongside iconic industrial figures Zoviet France on Signals From The North and the classic ‘Hizou’ on Claremont 56 back at the turn of the decade.
Steve Leggett pays tribute to one of the last functioning civil saunas in the UK, Newcastle’s Turkish Baths, with an immersive suite of cello, electronics and field recordings layered and arranged to reflect the woozy, slow motion, drug free endorphin rush of the bath house
Stemming from a live performance given by Leggett at the Turkish Baths, the results were edited and recombined with recordings made on location in the islands of Paxos and Loutro, South Crete to create a timeless air of luxurious ambient tranquility that seemingly turns the new age introspection of an isolation tank into a shared experience.
The sauna here is taken in a broader cultural context reflective of how it relates to Newcastle and its fertile rhizome of experimental musicians. On one level, the sauna can be taken as a metaphorical, exotic oasis of calm in the cold, hardworking and hard-playing North Eastern English city, and, on an related tip, it roots back into the city’s long-standing home as port to a rich mosaic of North and East African, Arabic and Middle-Eastern cultures, as well as outward-looking artists such as Zoviet*France, with whom Leggett has previously shared vinyl space.
As each tracks blushes its convective layers of strings and electronics, the results become only stronger thru acknowledging their provenance, and the whole project beautifully comes together as a swirling testament to the blend of idiosyncrasy and open-minded, folk-wise nature and timelessness of music from this region.
Infinite Music is an entrancing drone experience. A collaboration between Spacemen 3’s Sonic Boom, Zombie Zombie’s Etienne Jaumet and Celine Wadier, a master of Indian Dhrupad singing and tanpura.
"Recorded live at Teatro Maria Matos, Lisbon in September 2017, the performance is released on magenta vinyl. Young was an inspiration on John Cale and original Velvet Underground drummer Angus MacLise, Philip Glass, Steve Reich, George Harrison, Brian Eno, Jarvis Cocker, Stereolab and the classic Spacemen 3 album Dreamweapon. La Monte’s influence in the hands of this eclectic trio is timeless and beautifully evocative. “I’m not suited for these times but I am suited for the world I created.” La Monte Young.
Meditative, durational works for a 17th century organ, horn, trombone and microtonal tuba written by Ellen Arkbro, who has previously composed for early music ensembles and studied Just Intonation with La Monte Young, Marian Zazeela and Jung Hee Choi - Huge Recommendation.
“For organ and brass is comprised of two works by the Stockholm-based composer Ellen Arkbro. Both works focus on tuning, intonation and harmonic modulation. In previous projects, Arkbro composed for early music ensembles, wrote a series of durational pieces utilising synthetic tones and processed guitars, and, most recently, presented a work lasting 26 days at the Stockholm Concert Hall. for organ and brass looks back to Arkbro’s studies in Just Intonation with La Monte Young, Marian Zazeela, and their disciple Jung Hee Choi in New York, as well as with kindred spirit Marc Sabat in Berlin.
The title composition was written for an organ with a specific kind of historical tuning known as meantone temperament. It was only after locating an appropriate instrument—-the Sherer-Orgel dating back to 1624 in St. Stephen’s Church in Tangermünde, Northeastern Germany—-that Arkbro set about recording both for organ and brass and its counterpart, three. “Hidden within the harmonic framework of the Renaissance organ are intervals and chords that bare a close resemblance to those found in the modalities of traditional blues music,” explains Arkbro. “The work can be thought of as a very slow and reduced blues music.”
The work moves gradually through a series of long, sustained tones played by the organ and in parallel by a brass trio comprised of horn, tuba, and trombone. Arkbro’s treatment of pitch resembles the tuning strategies of La Monte Young. The brass parts were performed by microtonal brass trio Zinc & Copper, a group whose repertoire has included works by C.C. Hennix and Christian Wolff.
In Arkbro’s words, “the brass instruments and the organ fall into patterns of interaction in which a new breathing instrument emerges.” three, which follows the 20-minute title work, deploys the same principles of harmonic relativity. In removing the organ from the instrumentation and switching to a different meter, three acts as an intimate counterpoint to the ritual drone cycles of the title piece.
Ellen Arkbro is currently studying for her Master’s degree in music composition at the Royal College of Music in Stockholm. Her work has been performed in Brooklyn, Stockholm, Norberg, Bologna, Gothenburg, Berlin, Birmingham, and Malmö, and on Swedish National Radio.”
Yowling, white hot punk snot from NYC, 2018
“Stucco Thieves is the new LP by New York City's The Sediment Club. This new collection of nine songs marks 10 years since the band's formation in 2008. Stucco Thieves tells an abbreviated and frank series of human bankruptcy accounts from the post Pax-Americana perspective. The Sediment Club wrench and berate their instruments to make Stucco Thieves a concise, brutal landscape filled with tales that range from slapstick to cruel. Hapless characters embody greed, change form, and reflect on the crumbling infrastructure of a “cobalt ruin.” Stucco Thieves holds our shared predicament of doom in the casual pass of a snarl, “a dungeon shook,” and a dropped bag of dirt. Honey's chromosomes are dying fast, falling out of vogue, and turning to a “shadow soon.”
For 10 years, The Sediment Club have shown a commitment to dissonance while touring their brand of it extensively around North America, challenging audiences and rallying fellow outsiders. They will continue to do so into the next decade.”
The score by ROB (Maniac, Horns, Campfire Creepers) is an equally intense tour de force mixing traditional horror synth tropes alongside techno, brooding ambience and an almost industrial style assaults on your senses.
"He manages to deliver something that is brutal yet beautiful, unsettling yet melodic and ultimately masterful that proves he is working on a different level to almost every composer using synthesis today.”
Crépuscule present an anthology of classic early recordings by The Pale Fountains, the pioneering indiepop band from Liverpool whose first single appeared on the label in 1982.
"Something On My Mind combines a 12 track vinyl album with a bonus 19 track live CD. Side one of the album features six studio tracks, including all tracks from the maxi single released by Crépuscule/Operation Twilight in June 1982, as well as unreleased second single Longshot For Your Love plus two songs recorded for the Crépuscule compilation albums Ghosts of Christmas Past and Moving Soundtracks.
Side two features 6 live tracks recorded in October 1982 on the celebrated Crépuscule package tour Move Back-Bite Harder, which saw the Paleys matched with Antena, 23 Skidoo, Cabaret Voltaire and Tuxedomoon. The bonus live CD packaged with the album includes complete performances by Pale Fountains from Brussels (5 October) and Leuven (6 October).
At the end of 1982 the group signed to Virgin and went on to release the acclaimed albums Pacific Street and From Across the Kitchen Table. Praised as “our greatest songwriter” by NME, Michael Head went on to form Shack in 1987 with brother John, while percussionist Nathan McGough moved into management. Trumpet player Andy Diagram also played in Diagram Brothers, Dislocation Dance and James. Sadly bassist Chris ‘Biffa’ McCaffrey passed away in 1989."
‘The Emotional, Cosmic & Occult World of Joe Meek’ is a sterling survey of just some of the legendary record producer’s pioneering efforts in establishing the sound of 20th century studio recordings
The story of Joe Meek is too long and wild to properly spell out here, but suffice it to say the man blazed a trail in his time, whether innovating recording techniques such as overdubbing, sampling and reverb, recording the first British rock single to reach #1 in the Billboard charts with The Tornados’ Telstar, or seeing right thru a young Rod Stewart (he only agreed to record Rod’s early band on the proviso that he fucked off).
So, yeh, Meek’s indelible influence is writ large across the history of rock & roll and subsequently electronic music, and this compilation offers a superb study of just some highlights from his known 245 releases (45 of which charted in the top 50, and 1000s are still in storage), including the incredible proto-techno pulse of Crazy Drums by The Outlaws, and the cavernous, spooked out pop of The Blue Men’s Valley Of The Saroos, and Mike Berry’s jangling Tribute to Buddy Holly.
Brian Leeds a.k.a. Huerco S adopts the Loidis alias for this hypnagogic house turn on Hank Jackson’s Anno label, taken from his archive circa 2014-2016.
Following his recent emergence as Pendant, A Paradise, In The Place I Sit, The Floating World (& All Its Pleasures) appears to inhabit space between that alias and Brian's Huerco S styles, firstly feeling out a dub house blueprint layered with lush pads in A Parade - think Andreas Tilliander meets Shinichi Atobe - then following lusher lines of inquiry akin to 154’s Wherever You Go, I Will Follow on A Place Where I Sit, and then beautifully stretching out in a sun-baked jazz house style on The Floating World (And All Its Pleasures).
A bit of a no brainer if you ask we…
Electro specialist Lowfish, a boss of Suction Records, makes an overdue return to the motherboard with six cuts of tactile 808s and adroit synthlines on ‘Hypersensitivity’, his first solo release proper since 2011.
A prolific producer between the late ‘90s and thru the ‘00s, Lowfish has been notable by his absence from the release schedule in recent years, bar a few compilation cuts for Analogical Force and Fundamental Records.
With Hypersensitivity the Canadian artist sticks firmly to the guns that got him thus far, delivering a purist and beautifully effective session swerving from very Pye Corner Audio-esque acid-electro in Arp294ms and the super crafty nudges of Study for Arp and Other Synthesisers, to cover more widescreen synth-pop feels in Favourable Report and a strange cinematic transition from cawing crows to reticulated electro in the title track.
If you’re new to this guy, make sure to run thru his back catalogue on Suction Records, and also check out the work of Skanform, the synth-pop alias also behind Sleeparchive.
After a fancy flight with Arcola, Jamal Moss comes home to Mathematics for ‘The Language of Strings’, a 14 track collection of, in his own words; “Cerebral sonics sketched out in the form of body music for the home listener”
As always with the prolific Chicagoan, you may feel like you heard this one before, but pay closer attention and he still manages to keep us absorbed into his grooves with unique, natty sleights-of-hand applied to rhythmic variations and chromatic vamps that pop off across the record, serving to only draw listeners ever closer into Jamal’s parallel universe.
If anything, Jamal has only gotten more prolific in recent years, but his off-the-cuff tekkers feel more efficient with it, here giving 1:1 representations of the encrypted images and instinctive calculations that scroll thru his head, mutating from brittle, bare-boned jackers to louchely hypnotic house swingers and a haul of grubbing, brukken rufige, always with those glorious chromatic arp signatures, and keeping one spicy uptempo rocket tucked away at the end.
Vladimir Ivkovic’s Offen Music have the privilege of presenting Geins’t Naït & Laurent Petitgand’s possessed Gallic atmospheres to the uninitiated with ‘Make Dogs Sing'; a collection of 13 new, previously unreleased songs that plunge us into GN’s etheric otherworld ahead of a reissued classics, upcoming on Low Jack’s Editions Gravats
Through the looking glass of Geins’t Naït & Laurent Petitgand the world appears seductively psychedelic. Taking in woozy waltzes and shimmering keys on the one hand, and a palette of pebbledashed electronics and mutant voices on the other, the group’s contemporary sound hints at some French analog to the film music of Wim Wenders or the eerier styles of mid-latter phase Coil, and works at a safer distance to the gnarled grooves of their cultish late ‘80s industrial releases, which are maybe better compared with Din A Testbild, NWW or TG.
Judging from the sounds on Make Dogs Sing, Geins’t Naït have matured somewhat since their critical early phase. Rather than pranging drums and psychedelic electronics, they now apply similar principles of dislocated mixing trickery and groove-focussed methods to a breezier set of cues taken from film music and experimental ambient spectres, resulting a uniquely dissociative effect as the albums slips down the wormhole, back first, with any glimpses of light fading in front of you until their slowly ravishing, narcotic effect takes hold.
By the end of the album you won’t be able to find a way out. But don’t fret, the effect will come to pass, eventually.
Tindersticks' Stuart A. Staples returns with Arrhythmia, his first solo album in thirteen years. Arrhythmia is immersive and experimental, both recognisably the work of the Tindersticks’ frontman and simultaneously a stand-alone, unique piece of work. It's a provocative album where electronic experimentations and rare multi-instrumentations interweave, wrapping themselves around unconventional but utterly spellbinding song structures.
"Written in what Stuart A. Staples describes as “a lost year”, Arrhythmia began on Christmas day 2016 when he was drawn to the studio to record the beginnings of A new real, the album’s hypnotic opener of glitchy electronic loops with a sly nod to disco. A year later the entire album was complete, a process which involved Staples struggling between his own free sense of timing and more mechanical rhythms and what he describes as “a growing need for each song to take a turn, to lead them into strange places, keeping the feeling or effect of the song, but only as a memory.”
The second track Memories of love is indicative of Arrhythmia’s time-less experimentation and musical exploration. A stark and delicate melancholy opens up to rich and increasingly vivid chiming bells. There’s a feeling that the song has two diversely distinct parts unexpectedly, yet perfectly, married. Closing side 1, Step into the grey offers a dark romanticism reminiscent of early Tindersticks with a crescendo of freestyle percussion and strings.
Side 2 of the album consists of a 30 minute instrumental track Music for ‘A year in small paintings’. The piece began its evolution back in 2012 when filmmaker, and long-time Staples collaborator, Claire Denis first saw the serial of works by the painter (and Staples’ partner) Suzanne Osborne and wanted to turn these 365 oil paintings of the sky into a film.
As friends and musicians passed through Staples’ studio he asked them to watch and react to the paintings. As Staples explains “From these recordings, I chipped away at its form, guiding and editing. Each time there was an exhibition of the work there was a newly evolved version of the music to accompany it.” Eventually the creative process came full circle when Claire Denis’ film Un beau soliel interieur (transl. Let the Sunshine In), featured the paintings, and their music became inextricably linked to the film’s soundtrack. Improvisations of the themes from Music for ‘A year in small paintings’ were also contributed by The Julian Siegel Quartet."
Four Flies Records release their first archive compilation of Piero Umiliani's work and the first compilation focussing on the Maestro's legacy in years.
"Studio Umiliani" is a collection of sunken treasures and hidden beauties yet to be re-released, and of stunning unpublished works surprisingly unknown for quite some time. The project, born from the initial effort of Andrea Fabrizii, who has far and wide been exploring Umiliani's soundtracks before anyone else, led Four Flies research to seek for new unreleased recordings at the Maestro's archive.
A challenge that Pierpaolo De Sanctis from Four Flies Records accepted without hesitation – with the help of the Umiliani family. His two daughters Alessandra and Elisabetta Umiliani, true keepers of their father's memory, together with their husbands Francesco Argento and John Linkowski, and of course, Piero's wife Stefania Baffa, have been pivotal in compiling this exciting project.
The result is a cross-cutting portrait of Umiliani's activity during the golden years of his Sound Work Shop, the studio- laboratory where he has been playing, creating and experimenting with total freedom from 1969 to 1983."
Classy, well-studied and naturally charming post-punk pop crammed with snagging hooks and melodies.
“It stands to reason that many vital albums come critically close to never being made. The eight-track upshot of doubt, upheaval and financial strain, Stains on Silence by Girls Names is one such release.
Following 2015’s blitzing Arms Around a Vision, and the parting of drummer Gib Cassidy just over a year later, the Belfast band suddenly found themselves facing down a looming void. “There was a finished – and then aborted – mix of the album, which was shelved for six months,” reveals Girls Names frontman Cathal Cully. “We then took a break from all music and went back to full-time work. We chilled out from the stress of rushing the record and not being happy with it, as well as being skint with no impending touring on the cards and constantly having to worry about rent.”
The stumbling blocks that proved a strain became the album’s defining breakthrough. Recorded in various locations including Belfast’s Start Together Studio with Ben McAuley, Cully’s home and the band’s practice space, spontaneous creation, cut-up techniques and self-editing took centre-stage for the first time. "We started tearing the material apart and rebuilding, re-editing and re-recording different parts in my home in early Autumn last year,” says Cully. “When we got them to a place we were happier with we went back into Start Together Studio with Ben McAuley to finalise the mixes to what they are now."
Where AAAV proved a brazen statement of intent, Stains on Silence bounds forth as its feature-length comedown. What could have seen the band buckle became an opportunity for approaching things tabula rasa. During its two-year transmutation, Cully, bassist Claire Miskimmin and guitarist Philip Quinn had a single aim for their fourth album: to make an old-fashioned record clocking in around 30 to 35 minutes in length that made the listener reach straight for repeat. From the Bang Bang bar-summoning swoon of opener '25’ and the submerged disco doom of ‘Haus Proud’ to the rapt, dub-leaning ‘Fragments of a Portrait’, Girls Names have excelled in their goal by forging an LP of synchronous nuance and defiance.
Marked by the presence of drum machines and programming throughout, these eight masterfully-woven tales are once again commandeered by founder Cully, whose words, understated yet defiant, mine purpose and meaning from the mire ("I want to bathe again, I want to swim again / In a pool of twisting bodies, blackened gold." — ‘25’). But while Stains on Silence came critically close to never being made, having lived with it, reconfigured it, and guided its metamorphosis from flickers of inspiration and half-formed schemes, it’s both a statement of pure perseverance, and a head-on confrontation with ambivalence that couldn’t be more assured.”
Reissued on vinyl for the 1st time, Ambienti Coassiali’s soothing synths reveal a lush other side to cult Italian drone/noise pairing Pazuzu and Soda Caustica, a.k.a. Capricorni Pneumatici
Using a Yamaha DX7 and two Revox A77 tape recorders, Ambienti Coassiali coax out a hypnagogic suite in six parts, originally intended as the first of future volumes, but ultimately destined to be the series’ only instalment until a Spare Rooms album crept out in 2017, 29 years later.
Reissuing the original tape release in its entirety, this 30th anniversary edition is the first vinyl pressing of Vol.1 - Room 1-6, giving a whole new wave of listeners a chance to bathe in the glorious, creamy light of its lush, new age-oriented opening and closing stanzas, along with some gorgeous, much subtler parts in between, from the floating harmonic structures of Stanza 3 to the playful underwater jazz notes of Stanza 5.
Ripe for fans of the sweetest treats from Melody As Truth or Music From Memory.
Mark Fell returns with an incredible album of rhythmelodic cadences performed with Drumming Grupo De Percussão on the Sixxen metallophone system: a set of six microtonally tuned instruments originally conceived by Iannis Xenakis in 1976.
The eight-part Intra stands out as one of Fell's most immediate and unusual releases; high in concept but also satisfying an obsession for complex polyrhythms as explored and developed by the likes of Beatrice Dillon, Don't DJ, and further out to augmented realities rendered by Kara-Lis Coverdale, Kassem Mosse and even Jlin.
Making use of a kind of conceptual future-primitivism, Fell probes the perceptive difference between ideas of simplicity and complexity by sending instructions to acoustic drummers via electronic triggers relayed through headphones, an idea he first explored on the Time and Space Shapes for Gamelan installation made in collaboration with Laurie Spiegel.
His ongoing interests in the classical Indian "Carnatic" music systems also play a big part here; its mathematical sound rules or Tala, have 35 possible combinations - many more than the usual Western structures of minor and major scales. It's this structure that imbues these recordings with such complex, propulsive and oddly pensive energies.
Concept aside, Intra is a beautiful piece of sound art which sidesteps convention and perceptions of music in a way that’s highly pleasurable, even strangely soothing in its stilted trickle of off kilter tones, revealing successive dimensions with each repeated listen.
Grade A, cheap and effective mixture of B-movie horror electronics and natty EBM from the Knekelhuis camp. Sounds like Legowelt’s impish sibling. RIYL Beau Wanzer, Maoupa Mazzocchetti, Xander Harris
“Coming from different regions in France, Violent Quand On Aime’s members have joined forces to canalize their energies into something truly essential. Far away from hype and expectation they have created their own peculiar world. Expect a certain electronic griminess with hints of 90’s hiphop, postpunk alienation and an affinity for Musique Concrète. The overall experience is similar to the excitement one feels when hearing something genuinely original. This mini-album is the follow-up to their very impressive 7” on Le Syndicat Des Scorpions.”
Orange and red campfire vinyl. Includes download code. Edition of 1000
“From master of horror Alexandre Aja, the director of films such as The Hills Have Eyes, Piranha, and Horns, comes an original anthology series that brings classic campfire stories to life in stunning Virtual Reality. Produced by Oculus and Future Lighthouse, Campfire Creepers invites viewers to join the fire circle at a summer camp called Camp Coyote as a group of kids take turns telling spooky tales. Inspired by cult classics like Creepshow and Tales from the Crypt.
The score by ROB carries on the incredible work he started on Maniac, loading the soundtrack with super heavy synths, techno influenced beats and tons of melodies it really does feel like a sister piece to Maniac.”
New meat to the slaughter, Odopt tests a raw, virulent techno style on their début for Born Free ...
A-side is a barely tamed beast called Incident, working up a driving momentum from nervy jackers drums and bendy, lunging, fanged synthlines that take their turn in attacking from the groove’s cavernous shadows.
B-side, Haunted Tales steers the pursuit down more acidic ginnels of the petrified mind, where Navy Fit Republic goes on with a hulking Italo chug under fire from divebombing synths and neon carmine synth flashes.
William Thomas Burnett (Willie Burns, Black Deer) joins R=A’s canny 7” series...
...with one side of head-swilling acidic synths and acoustic guitar rubs on a hazy downstroke, backed with a B-side of desert-dwelling midnight drum machine canter.
Whites mint their Blue Series with two aces from Tessela and Lanark Artefax teetering on the edge of the rave and more melancholic headspaces.
Tessela tees off with the tantric, percolated ‘ardcore pressure of Glisten, deferring ecstatic gratification in favour of a sublime, simmering slow burn. Lanark Artefax then sweetly relieves the tension with the widescreen breakbeat roller Touch Absence (Intimidating Stillness Mix), squashing jungle breaks into sticky electro patterns swept up with big bad synth stabs and choral pads strongly reminiscent of ‘90s classics by AFX, Æ, Plaid.
High-tog ambience from Tokyo’s Chihei Hatakeyama, contrasted with icier designs for electronics and vocals from Vida Vojić, making their first solo appearance proper following their ‘Untouch’ track on First Terrace’s ‘Compilation 2’
Hatakeyama offers Heliosphere on the A-side, a conventionally gaseous and lush 19 minutes of blissful meditation, clear and direct, where duration becomes a key unlocking moments of cognitive harmony.
Vida Vojić impresses more with the cinematic sense of detail and sensations of weightless amniotic space in Unseen, and again with a sublime study in reverberant, hyaline dynamics and glossolalic vocals with the gorgeous Sfär.
Handcrafted and remastered 2LP edition of Move D's seminal masterpiece. Originally released on Source Records in 1994, then on CCO and now reissued by AVA. Records in 2018.
"All tracks recorded by David Moufang at reSource Studio in 1994, except: "Sandman", recorded at the Blue Room in 1992, "Trist" recorded at Future Planet in 1994 (co-produced by strange Michael), "Seven" recorded at reSource Studio in 1993.
Armchair photographed by Gabi Kaiser, Lossen Foto Heidelberg. Arrangement and variations by Move D, Cebra and Env. Artwork re-creation by Damiano von Erckert for AVA. Records.
Thanks to Juri Bader, Patrick Forgacs, Götz Gramlich, Denise, Dan, Louis and Pete."
The proto-Haçienda drill ‘Eyes Over’ forms the lead single for ‘Physical’, the first solo album by Factory Floor drummer Gabe Gurnsey for Phantasy Sound
In key with his Factory Floor output and his previous solo 12”, Falling Phase, Gabe harnesses his affected electroclash vocals in a stripped down palette of sparking drum machines and lean synth bass licks. The dub is a few shades stronger, removing the vocals and letting the drums speak to the ‘floor.
Another gem of late ‘80s bubblegum boogie plucked out by Jo’burg, S.A.’s Afrosynth Records store-turned-label
Brimming with good times vibes as antithesis to the b/s of apartheid, Tomorrow gets on with it in super infectious style, glyding from the marimba-gilded swang of the title cut to the grubbing hustle of I’Ve Got A Friend on a haughty Grace Jones tip, then stoking the deeper fires with the simmering synthetic romance of Is This Love, and In My Mind, and rounding up with the radiant Mina Ngilijaji.
The gauzy electro-acid-breaks of ‘Mind Control’  by ’House of God’ producer DHS come around again for the reissue via Underground Assault, a division of Barcelona’s Subwax Distro.
One for fans of Two Lone Swordsmen, TGC, Sheffield bleep ’n bass.
New York Jazz ensemble Onyx Collective release their debut album ‘Lower East Suite Part Three’
"Isaiah Barr, leader of Onyx Collective, has frequently collaborated with other New York musicians such as Dev Hynes (Blood Orange), Nick Hakim, Julian Soto and Wiki (Ratking).
For fans of Nick Hakim, Ezra Collective, Yussef Kamaal, BadBadNotGood, Shabaka Hutchings, Moses Boyd."
Leon Vynehall trades in vicarious nostalgia on his new album, a record inspired by his grandmother’s tales of moving to New York City from south east England in the ‘60s. The results flirt with the ’floor but are generally better defined by their sweeping string arrangements and tender use of field recordings which lends a immersive sense of space and place to Vynehall’s jazz-wise piano strokes.
“Vynehall has released two extended EP's so far, his 2014 breakthrough Music For The Uninvited (3024) - a record inspired by the funk, soul and hip-hop tapes his mum used to play on car journeys which finished the year on a plethora of 'Best of the Year' lists including Pitchfork, FACT and Resident Advisor who called it "one of the most eclectic and rewarding house records you'll hear all year" - and 2016's Rojus EP (Running Back) which saw Vynehall building more layers and broadening the depth of his music to widespread critical acclaim including DJ Mag's 'Album of the Year' and 'Best New Music' from Pitchfork for fan favourite single 'Blush'. On both, he was crafting luscious grooves that were destined to dominate dancefloors. Nothing Is Still however, is defiantly atmospheric and textural, and finds him harnessing his passion for early contemporary minimalist composers such as Gavin Bryars as well as records like Philip Glass’ Koyaanisqatsi and Terry Riley’s A Rainbow In Curved Air.
Written and predominantly performed by Vynehall with additional musicians including a ten-piece string section arranged by Amy Langley, Finn Peters (saxophone and flute), and Sam Beste (piano) whom completed the final recording sessions that took place at Konk Studio’s - Nothing Is Still was mixed by Blue May in London before making its own transatlantic flight to New York, where it was mastered at Sterling Sound by Greg Calbi.”
Proper rave mutations from X-Altera, the killer new alias coined by Tadd Mullinx (J.T.C./SK-1/Dabrye/Charles Manier/X2/TNT).
Striking hot and delirious, but with razor cut production packing stacks of ideas into every track, X-Altera is instantly shaping up to be one of our favourite of Tadd Mullinx’s myriad projects.
Taking inspiration from the ‘ardcore phenomenon of 1990-1993, the sound effectively works in the pocket of years before the jungle references of his Soundmurderer & SK-1 duo, hearkening back to that fertile period when everything was in flux, as shards of Detroit techno clash with Ragga Dancehall, US garage, Lowlands techno, electro and boogie-jazz style vibes in a delirious style meant to make you dance better, harder, nuttier - facking ‘ardcore, innit?
In recent years, it’s a style that many, many have tried, but more often than not become lost in translation, or simply without the actual ‘hardcore’-ness. Safe to say X-Altera has it down pat, though, taking cues from classic early 4Hero and their Reinforced label, plus the likes of Foul Play, Mark Pritchard and a plethora of unsung heroes, to put a class new spin on the classic sound and legendary era.
There are too many highlights to mention, but take it on trust this one’s a must-check if you’re into 4Hero/Dego, A Guy Called Gerald, Goldie, Lone, HATE, Global Communications.
Haunting, enlightening, spellbinding; ‘Bush Lady’ is the definitive musical opus by Alanis Obomsawin. A member of the Abenaki Nation and one of Canada’s most esteemed and decorated documentary filmmakers, Alanis recorded ‘Bush Lady’ for CBC, Canada’s national broadcaster, in 1985, but was unhappy with the lead song, ‘Bush Lady’. She re-recorded the song and self-released it as part of new edition, which the marvellous Constellation have now picked up for this reissue, some 33 tours later
Combining her knowledge of traditional Abenaki songs, learnt in her home community of Odanak, with lyrics in french and english, and more modernist arrangements drawing from jazz and classical, Bush Lady paints an engrossing and unforgettable portrait of the venerable singer, songwriter, and storyteller which has somehow managed to evade the attentions of reissuers until now.
The 2-part, 13 minute long opener Bush Lady, Pt.1 + II make a transfixing introduction with Alanis’ mix of traditional and modern vocals dancing free over a tumpin’ drum and expanded with searching fiddle that beautifully tails off with her vocals in the 2nd part. Meanwhile, Theo, Pt. I + II find Alanis singing/speaking in french over a central, steady drum motif joined by the kind of lush woodwind you might expect from a mid ‘80s CBC release (think BoC feels), while Odana reserves the album’s lushest arrangement till last, with Alanis in chanson mode against a fittingly plush, almost filmic backdrop of strings and wind, and Of the Earth and of the Sea remains a timelessly universal message.
We wager some ears are about to fall madly in love with this album…
On her Thrill Jockey debut, acclaimed guitarist Marisa Anderson’s music is boundless. Anderson is undeniably a master of the North American traditions of country, folk and blues on guitar. On ‘Cloud Corner’, Anderson expands on those styles as well as instrumentation.
"The solo guitar work of Marisa Anderson owes its familiar tones to her awareness of history and her mastering of her instrument, yet it is completely new. Marisa Anderson filters musical history through her own personal experiences, as a traveller in life and in music. A curious and gifted player, Anderson has spent over 35 years of performing forging her singular, instantly recognizable voice. Marisa Anderson’s ‘Cloud Corner’ is hopeful in the face of any discord, a resplendent diverse sound sanctuary that shines, a mirror of the horizon it looks towards."
Hugo Massien plays deep into and out of Tectonic’s signature sound with four brooding, bass-heavy cuts on the cusp of dubstep, garage and electro
Proceeding his 12”s for XL, 17 Steps and E-Beamz, Advanced Aerial Threat starts out with the hollowed but threatening half step techno of the title cut, switching to plush keys and brittle 2-step in Ursa Minor, and needling yet soothing electro on Candy Flip, before Divisions From the Start steps out like Batu meets Jon Hopkins.
After an eventful year of touring throughout their native Australia - including runs with labelmates MONO and likeminded pioneers Tortoise - and featuring alongside the work of artist David Hockney at the National Gallery of Victoria, post-everything quintet Tangents return with another album, and another stylistic detour. RIYL: Can, Four Tet, Tortoise, The Necks.
"New Bodies continues Tangents' rummage through countless varieties of electronics, rock, dub, noise, and free improv jazz that defines the group's acclaimed aesthetic. The spacious dub of a plucked cello gives way to a minimalist breakbeat tableau resting over rhythmic prepared piano; a staid electronic groove is gradually absorbed into washes of frenzied improv; staccato synths are woven into tumbling avant-rock; and shimmering free drums phase over static loops of piano, guitar and cello."
John Parish, the twice Ensor-nominated composer and Mercury Prize-winning producer delivers a brand new collection of songs, including a duet with his longtime musical partner PJ Harvey.
"‘Bird Dog Dante’ was completed in a busy year for Parish. On top of being the musical director of the extended PJ Harvey band on their ‘Hope Six Demolition Project’ world tour, he produced acclaimed albums for Jenny Hval, This Is The Kit, Nadine Khouri and Aldous Harding. ‘Bird Dog Dante’ features duets with both PJ Harvey and Aldous Harding, as well as drumming from Harvey’s bandmate Jean-Marc Butty. In addition to touring with his own band in April, Parish is playing a commemorative show of Nick Drake’s music at St George’s, Bristol in what would have been Drake’s 70th year."
Protomartyr return with the ‘Consolation EP’, which they recorded in part with friend Kelley Deal (The Breeders).
The release follows last year’s fan and critical favourite ‘Relatives In Descent’.
On a long awaited solo LP (his first in 13 years!), the man from Mountains wraps up listeners in a lyrically expressive but entirely instrumental suite of new age modular synth music elliptically contoured between burbling choral voices, hyaline quivers and sonorous subs leading to moments of timeless, sublime revelation. Synth-o-naut’s will be in their element here
“The music of Brendon Anderegg is a hall of mirrors, multilayered and self-obscuring. Largely filtered through Mountains, his pioneering electronic project with Koen Holtkamp, Anderegg emerged as a solo artist in the late ‘90s. In recent years, Anderegg has become sought after for his film scoring and audio work with his studio Telescope Audio, contributing to Emmy-nominated films 102 Minutes that Changed America and 9/11: The Days After for the History Channel, and working with clients from ESPN to Laura Poitras’ Praxis Films.
June represents Brendon limiting his tools and thereby departing from his previous approaches to creating music. Folding time, space, and ambience across June’s two sides, a shimmering expanse of synthesizer-fed structure and tone emerges: a singular sonic landscape with varied emotional triggers from melancholy to playful. The music on June is a complex network of layers, combining to create a congruous whole. Collapsing history into its own contemporary sonic movements, Anderegg’s methodically created work falls in the lineage of electronic pioneers like Bernard Parmegiani, early ambient projects like Tangerine Dream, Popul Vuh, and Cluster, and puts his solo work in the realm of New Age figures like Michael Sterns and JD Emmanuel.
A singularly beautiful and challenging work, June marks the long overdue reemergence of Brendon Anderegg as a solo voice. An immersive two-side realization made for contemplative, meditative listening, June is contemporary electronic synthesis in the most literal sense of the word.”
Pastel-toned porno jazz fusion, dubby broken beats and more noodly winks that you can imagine. The sound of Melbourne adult contemporary
“Ziggy Zeitgeist has become a staple of the Australian Music scene. Touring and recording with Melbourne Nu-Soul/ future-jazz collective, ‘30/70’ has enabled Zeitgeist to forge new frontiers in improvisation and drum-set application. Zeitgeist has stepped up to the role of bandleader in the debut self-titled album Zeitgeist Freedom Energy Exchange.
The vision of this project was to create a live band experience that is closely aligned with an extended DJ set, heavily influenced by club culture and transformative festivals where people seek a more transcendent experience- a continuous odyssey, sound and groove with the spirit of live improvisation. The main influences for this project include house, broken beat, and a good dose of 70’s jazz-funk in order to create a unique and cosmic pocket.”
Yowzers! Tokyo’s High Rise take the bleeding skin off it on reissue of their eponymous 2nd release, a truly blinding suite of turbo-charged psych shredding and diesel spitting bass revs first issued as the 2nd release on Japan’s pivotal P.S.F. Records back in 1986. Perhaps understandably, original copies of High Rise II now trade for the price of a small 3rd hand Japanese hatchback.
It’s an absolute fxcking riot, basically. From the first tinnitus-inducing blast of Cycle Goddess thru the lurching swagger of Pop Sicle these guys sound possessed. Whether that’s by good, strong acid or just a insatiable rock urge, we’re not sure, but their incendiary results will apply to fried heads and those in need of a sharp shock to the system all the same.
Cuts like Turn You Cry sounds like they were recorded at a ‘phet and whiskey-soaked lock in at Lemmy’s, and Cotton Top is the sort of tune they’d have to play behind chicken wire at a Hell’s Angels bar where the spirits are spiked with mescaline.
Take drugs. Listen to this. Have the time of your life.
Elemental ambient storytelling by Markus Guentner, abetted by Julioa Kent, BVDub, and Tom Moth. RIYL Gas, Ulrich Schnauss, Rafael Anton Irisarri
“Markus Guentner’s 2015 album, ‘Theia’ took us back to the mythological impact that birthed the Earth’s moon. The creation of the galaxy as we know it today was being born and more specifically, the eventual rise of the human species followed. This is where Empire takes its cue, continuing the story and portraying the connection and many interactions between the Earth, the Universe and the mystifying forces amongst them.
Be it physical, scientific or mythological, Empire draws on the ebb and flow relationship the Earth has with the deeper, unknown space around us. Markus dives into sometimes sinister, but always majestic territories with his unique manipulation of looping drones, textures and gradual atmospheres. The album and its planned progression, combine back-and-forth chapters between Markus’ own productions and collaborations, representing the different perspectives between the unknown worlds.
Beginning ‘Offworld', in a dark and distant, swirling ambient chasm, Empire then moves into manipulating shards of light, with Canadian cellist Julia Kent adding a stirring yet poignant element to the growing void.
Icelandic for "hiding", 'Fura' finds us back in the emptiness, but this time with a sense of hope as fluorescent molecules - future stars - gather and birth new worlds. A return to terra firma, and slow-motion grass moves all around you - a future mirage depicting a new vision of beauty that’s yet to be formed, brought to you alongside fellow master of emotive ambient, bvdub.
The dream is cut short and you then find yourself in the void of ‘Nun’ - the God of Egyptian Mythology - as echoes of man and cities once alive, are drowned out by an ever-present mysterious force and a subtle, alien static. All is not dark however, as harpist Tom Moth (Florence and the Machine) brings a shimmering, angelic shine, as you witness the growing energy and birth of the sun - the leader, life, and power amongst the Empire.
Its birth; the ‘New World Order’, closing with a slow churning, atmospheric piece that is both complex and elemental, gracious and sinister, dark, yet in many ways hopeful for all that remains. This is the Empire as we know it today.”
Both collaborative albums from The Body and Thou are finally available together on vinyl for the first time. Raging, boundary-testing heavy metal alloy from the American South. Rip your face off and spit in the abyss business...
"The Body and Thou are bands with Southern roots that have been pushing the boundaries of heavy metal for over a decade. Both have maintained relentless touring schedules, a dedication to DIY ethics and aesthetics, and a commitment to push their respective brands of extreme music into previously unexplored territories. You, Whom I Have Always Hated is a new collaborative release that showcases both bands’ unique abilities to create music that is emotionally effecting and unrelenting.
On You, Whom I Have Always Hated, each band’s distinctive elements shine through and combine to create something more visceral than the sum of their parts. While the groups have different approaches to live performance and stylistic nuances, they share general creative ideas and have a history subsumed in themes of alienation, melancholy, and despair. They describe the new collaboration as “a twilight dungeon crawl exploring the winding, ruined halls of Mad King Duro’s Castle, best friends at your side, enemies crushed beneath your heels, mysteries solved, and treasures found.”
Fierce, head-gobbling modular electronic scree from D. Shan, mysterious London character behind Acolytes, here on their 2nd day release accompanied by Luke Younger’s Alter. A potent one for disciples of Whitehouse spawn, Cut Hands and Stefan Jaworzyn, or Black Mecha’s mentation electronics
One for folk who like the sensation of losing their marbles, only to find them popping out of their orifices, Rupture runs amok in 7 parts seamlessly segued to hold listeners face down into the chaos. On one side that results a transition from diamond-cut, asymmetric arps and burnt out flashcore blasts to a long tract of Cut Hands-like polymetric drum muck melded with haywire electronics in MXE666, which, if it is titled after the synthetic dissociative, is about the best description/warning you could hope for. Farther in, stereo-strafing synths and voices suck us into more tranquil currents before all heck break loose again in a tribal joyride thru nether fields of computer music and grey-matter curdling ambient tones.
Magisterial, glacial, attention-demanding and powerful exposition of Buchla 200 synth tones mapped to acoustic woodwind and brass by a promising young composer; Stockholm’s Kali Malone. A strong tip to fans of work by Caterina Barbieri, Emptyset, Sarah Davachi.
Arriving in the resonating wake of her self-released solo début Velocity of Sleep , and flanked by the recently issued Organ Dirges 2016-2017 tape for Ascetic House, the Cast Of Mind LP gently but grandly expands the constellation of Kali Malone's solo releases, next to her Upper Glossa collaborations with Caterina Barbieri, a tape with Ellen Akrbro, and acclaimed live performances.
Joined by Yoann Durant (Alto Sax), Isak Hedtjärn (Bass Clarinet), Gabriella Varga Kalsson (Bassoon), and Mats Äleklint (Trombone), Kali’s Buchla 200 Synthesiser forms the basis for a quartet of diaphanous and slowly unfolding electro-acoustic landscapes that externalise a highly personalised form of emotive topography.
In the titular opener, wood and brass trace the swooning ellipses of Kali’s Buchla contours in stately procession suggesting a sort of resigned march to battle, before the Buchla appears to dominate in the warped streaks of Bondage To Formula, but listen closer and it’s harder to tell whether it’s electronic or organic sources so fully lending flesh to her rich sound field.
The answer to that question is much clearer in Arched To Hysteria, whose keening, hunched electronic forces hold powerful potential to conversely induce paranoia and heavily hypnagogic effects, whilst Empty The Belief yields a lustrous, Raga-like drone capturing a marriage of Buchla and bassoon at their most transcendent and steeply attractive.
This one should be filed for reference and safekeeping beside recent transmissions from Sarah Davachi, Anna Von Hausswolff, and Catarina Barbieri = properly good.
Ghost Box’s best loved project, Jon Brooks’ The Advisory Circle, unfolds a beautifully affectionate and absorbing hauntological study based around the theme of photography for his nostalgic fellows. Clad in some of the finest Julian House artwork to appear in the label’s 14 years so far, this is one instance where you can truly judge the record by its sleeve: It’s 24 carat synthy gold.
Where previous transmissions have been guided by prevailing to kosmiche whims and darker shades, Ways of Seeing arguably comes from a school of ‘80s inspirations; from the typography to the collaged snapshots and the beautifully poignant music itself, the feeling is less kitschy ‘70s and more cyber-sensual, with that key sense of English reserve and pastoralism, as opposed to say, the more ecstatic (read: cloying) aspects of US new age or the frivolity of Japanese 4th world styles during that era.
Sequenced in 12 succinct stages, the tracks never outstay their welcome, and often leave us wanting more, projecting a screen reel montage of imagery onto the mind’s eye.
From grippingly jagged, edge-of-seat, to sun-stroked meditation and motorik jammers, The Dwarfs of East Gouza’s 2nd studio album catches Alan Bishop (Sun City Girls), Sam Shalabi and Maurice Louca expressing a driving, febrile sort of gnaw trance psychedelia in Cairo, Egypt, 2015. Practically worth it for the B-side’s 23 minute transition from quietly nerve jangling strings, organ to distorted electronic abstraction and skronky kosmiche
“Hailing from the Agouza district of Cairo, Egypt, this brilliant trio consists of Alan Bishop (Acoustic Bass & Alto Sax), Maurice Louca (Keyboards & Drum Machine) and Sam Shalabi (Electric Guitar).
Following their acclaimed first album “Bes “, this new long play is composed of two hypnotic journeys: “Rats Don’t Eat Synthesizers” and “Ringa Mask Koshary” which was recorded in Cairo in September of 2015.
Mesmerizing electric guitar parts, frenetic beats, both supported by the deep sound of Alan’s acoustic bass create a new magical Egyptian soundscape.”
Encores 1 is five track EP previously only available as an exclusive, limited release.
It was recorded in Nils Frahm's studio at the Funkhaus in Berlin, as part of the same sessions for the recently released All Melody album.
Maroon was the first Muslimgauze of 1995 and brought back the sound of confrontation. Musically Maroon continues Salaam Alekum Bastard (which was a break with the Blue Mosque and Zealot releases) and is dub inspired techno, laid back sounds with taped radio voices from the middle east that appear apparently random in the mix....
"Separated from both its reputation and its sleeve art, the music of Muslimgauze explores the relationship of visual sensations - space, colour, depth, illusion - to the listening experience. The music on 'Maroon' is dub-like inspired techno music, laid back with voices appearing randomly in the mix. The thick drums and rich found sounds that densely populate the soundscapes on Maroon give materiality to the warm presence of the synth washes.
The music is so layered and textured that it ceases to be aural and exists almost solely in the realm of sight and touch. Devoid of reference to any external reality, Muslimgauze's Ambience gets remoulded by subjective experience and moved around in the memory. By shifting the quality of perception with the producer's sleight of hand, Bryn Jones (the Mancunian behind Muslimgauze) makes explicit the interiority of the senses. Thus, the fact that our inner life determines our relationship to the world outside becomes the music's unspoken subject.
Divorcing Muslimgauze's music from its image is like listening to Take That without seeing Robbie's pelvis or Mark's pouting. This is precisely why the music is so effective. Relocating music's power within the listener instead of as an external force acting upon the listener forces reappraisal and reinterpretation. The muezzin's wailing call to prayer and the shrieks of women mourning the dead conjure up images of a fierce 'death-to-the-infidels' fervour in the Western imagination, and are recast as holy prayers for the ultimate, womb-like peace that most Ambient music aims to express. The usually easy exoticism of sampled tablas and ouds instead hint at the dread on the road to the water coloured bliss of run-of-the-mill Ambient and force the listener to internalise difference and confront the received images of Islam that Muslimgauze detour by such strong powers of suggestion."
Rare and brilliant music as used in the late 1960s Amazing animated series we are not allowed to mention for legal reasons.
"Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we’re not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.
The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show. Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.
After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we’re not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge; it was full of fabulous, modern dramatic music tracks – often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we’re not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.
For many years I – and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music – a junior foray into hip swinging crime jazz and esoteric musical grooviness. I’ve also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there’s even a whole forum dedicated to “Spidey-Jazz”. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale’s “Hell Raisers” and “Walk And Talk”, both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.
So, what features on this Spider-Jazz Lp? Well it’s music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I’ve distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you’re interested (and I’m sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era – Dale, Hawkshaw, Hawksworth, Mansfield etc.
And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we’re not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention."