Ben Frost presents the soundtrack to his directorial debut, an operatic interpretation of Iain Banks novel The Wasp Factory, issued on his Bedroom Community label.
Two years on from his all-conquering ninth album, Aurora, Ben Frost returns to Bedroom Community with The Wasp Factory, the soundtrack to his own operatic adaptation of the cult debut novel by late Scottish writer Iain Banks. First debuting at Austria’s Bregenz Festival in August 2013 and running for a short period throughout select European venues, The Wasp Factory continued Frost’s flirtation with the world of theatre and performance art but represented his debut outing as a director.
In original form, Banks’ novel centres on the anti-hero and psychopathic teenager Frank living on a remote island in rural Scotland. Transferring this to the theatre, Frost chose to portray Frank’s narration through a series of female singers, backed with a live string ensemble. Presented outside of the stage for the first time, this album offers a different side to Frost, away from the harsh soundscapes of Aurora, and gravitating towards a warmer take on the modern classical sound. Shorn of the visual stimuli and context that comes with seeing The Wasp Factory performed live, this fifteen-track album will probably satisfy only the most fanatical of Frost followers. Of which there are plenty.
Ryoji Ikeda and Carsten Nicolai first premiered their collaborative Cyclo project a deacde ago on Raster Noton. Relaunching in 2011 they're just as intent on creating a synaesthetic visualization of sound that "...seeks to create a new hybrid of visual art and music".
Essentially the sounds on 'Id' are inextricable from their visual corollary. They're the unmastered sonic illustrations of detailed graphical data, and vice versa, developed from a database of sounds composed to produce visual responses when analysed in real time with the help of stereo image monitoring equipment. Most importantly, the sounds are subservient to the image, hence the record remains purposefully unmastered in order to retain the waveform's original integrity when visualized through an XY phase scope, transcending the usual sound>image dynamic. But that's not to say that the music doesn't possess its own heightened, strangely affecting quality - within 30 seconds of listening through headphones this reviewer's eyes were watering, a physically visceral effect if we've ever felt one.
Unlike its relatively austere predecessor, the sounds within cover a wider spectrum of rhythms, from spasmodic digital pulses to lightyears-advanced electro syncopation, and similarly a dazzling frequency range capable of causing acutely synaesthetic reactions. All this leads us to think that 'Id' is a work of uncompromising genius, at once cementing and advancing Ikeda and Nicolai's relentlessly ongoing audio/visual quest.
Light-headed house music by new and regular avatars from the Blind Jacks Journey family; Rnr, Mr. Fiel, Gnork X Luv Jam, and Jimini.
No messing with the format here as each contributor plays well into the label’s deep drifting house aesthetics between the sublime suspension systems of Moments by Rnr and the plush Sven Weisemann wibes of Mr. Fiel’s Sunset On The Moon up top, whereas Gnork X Luv Jam reroute the feeling to filtered disco house ecstasy with Troppppixxxx and Jimini plays from the classic UK/Detroit handbook in Back To Reality.
Reissue. Originally released on cassette in 1980.
"Presented by two separate stacks of Cluster recordings - one comprised of their studio work, the other of live performances - an innocent listener might conclude they are the efforts of two completely different artists. This would understandably have been the case in 1980, when the structured, tuneful miniatures of 1979's Großes Wasser and 1981's Curiosum were unlikely bookends to the sprawling electroacoustic abstractions of Live in Vienna.
But as fans of the idiosyncratic duo already knew, Cluster's trajectory was always a restless one - more about disruption than gentle evolution."
Torn Hawk’s spirit quest reveals proper aerobic mystic goodness under the wonderfully suggestive title Men With No Memory, following up the dramas of his Union & Return album with four genre-agnostic turns folding EBM, psyche and dub into striking new prisms that hold up to dancefloor pressure and closer scrutiny at home.
The title track kicks off the first plate with a fugged-up whorl of country guitars and lurching dub nodding at Sun Araw before spiking out with taut EBM drums that really come into play on the B-side’s Poser, one of the rudest, sickest electro cuts we’ve heard this side of Gesloten Cirkel’s album in recent times.
With Butterfly Knives opens the 2nd disc into a flanging metallic wormhole sounding something like a disco on the other side of the TV in Cronenberg Videodrome, then spitting us out at the psychey new wave enigma Stealing Geodes From The Nature Company, and the natty closer, Not Quite Music.
RIYL Beau Wanzer, Gesloten Cirkel, Willie Burns for daaaaays
Carsten Nicolai and Ryoji Ikeda’s seminal minimalist project is now finally available to download. Originally issued on CD and LP in 2001, cyclo.’s . was, and more or less still is, the last word in purest, stoically funked-up digital sound pressure.
“cyclo. is a collaborative research project by Ikeda and Nicolai which focuses on the visualisation of sound. The artists are developing a database of sounds that they are composing for the visual responses these produce when analysed in real time using equipment developed originally for phase correlation in mastering vinyl records. With such stereo image monitoring equipment, the phase and amplitude of stereo signals can be illustrated graphically.
The audio elements have been constructed and chosen through agendas concerned with the minute editing of frequencies (often beyond the physical range of human hearing) and the perceptual amassing of audio elements to an undefined point. For Nicolai and Ikeda an 'infinity index’ of sound fragments is a conscious motivation forming the basis of their research and feeding cyclo. with the audio material required for visuality.
In amassing this archive, Nicolai and Ikeda transcend the usual dynamic whereby image acts merely as a functional accompaniment to sound. They arrive at a standpoint from which the audio element in the process is subservient to the desire and appetite of the image. Although this imaging is purely 2-D in display, the process proposes 3-D possibilities. Their proposition is that the structural complexities of these visual metered shapes, born and examined from the perspective of audio metering, may have in them a rich potential for architects, designers and engineers to find starting points for structural readings.”
Class debut of lucidly imaginative and abstract electroscapes from Manchester’s Andy Brown aka AB2020; making his maiden mission on Sheffield’s Computer Club with the Cybotronian industrial sci-fi soundtrack styles of Sagittarius.
Built atom by atom in his hardware-filled pod and conducted with a proper, late night sense of dramaturgy, Sagittarius covers a lot of ground within AB2020’s chosen dimension - taking the listener from Alice Coltrane-like string sweeps and alien bleeps in Lacu to the Carpenter-esque finale of Nuworlds via the synaesthetic tweaks of Permafrost and pulsating Drexciyan techno in the two parts of Subsurface Ocean plus a smart dose of clipped electro acid on Terraform and some excellent pieces of chromatic techno mystery in Cogewn and Exic that recall Jeff Mills’ recent deep space explorations.
Len Faki puts his weight behind two remixes of Aleksi Perälä colundi sequenced techno bangers.
In Faki's hands, GBBVT133715 is reinforced with horse-powered bass for the all-night steeds in a Hardspace Mix, whereas he focusses on the colundi sequence’s strange tunings in the elegantly balanced canter and hyaline harmonics with trips effect in UK74R1409047 (Deepspace Mix).
Swaaangin’ electro-boogaloo from 1986, produced by Lo Joe and Electro Wayne (whaddaname!) for Circuit Shock Productions.
Features the Kraftwerkian gasps, old skool hip hop/soul vocals and twanging bass juice of She’s Just That Type Of Girl in original and instrumental mixes, backed with the in-the-pocket funk of Under Pressure on the other one, with a lead hook that uncannily recalls *that* Edwyn Colllins song from a decade later. Go figure.
Pauline Oliveros surrounded by Belgian ensemble Musiques Nouvelles, performing 2 long pieces for orchestra.
"Sound Geometries for Chamber Orchestra, Expanded Instrument System and 5.1 Surround Sound System by Pauline Oliveros was premiered in Brussels. The 3 sections metaphors of the piece are intended to guide the players in their feelings and approaches to conducted, guided and improvisational music making to create differing atmospheres for each of the three sections. Players sounds are picked up during the performance by microphones, processed in one of ten geometrical patterns by the Oliveros designed Expanded Instrument System (EIS). to transform and move the player's sounds in space in the 5.1 surround sound system.
Meditation for Orchestra asks the performers to listen then sound. Listen means to include all that is sounding and to find a space for each sound that is made. Pauline Oliveros and Ione are guests of Ensemble Musiques Nouvelle in this studio performance of Meditation.”
Japanese composer/demi-god Ryuichi Sakamoto presents an exquisitely oneiric and elusively spiritual new album inspired as much by the sound sculptures of Harry Bertoia as the magic of Andrei Tarkovsky’s seminal septet of celluloid classics.
It’s been some years since Sakamoto has placed his name at the top of a solo album proper - as opposed to his swathes of collaborations and film scores - and we can promise that the results herein are definitely worth the wait.
Imagined and realised after a period of fright with his health, Async captures Mr. Sakamoto at his most wistful and wonderful, meditating on the existentialist, ontological themes and atmospheres of Tarkovsky’s work from both a gauzily impressionistic aspect, and a quite literal one, employing readings of Tarkovsky’s poetry (poem transcribed in the liner notes) in a variety of languages from a coterie of contemporaries including long time collaborators David Sylvian, Bernardo Bertolucci (for whom he composed the OST for The Last Emperor) and Carsten Nicolai (Alva Noto), among others.
Embracing both the fluidity and flux of Tarkovsky’s water analogies as well as the harmonic chaos of Harry Bertoia’s lush metal rod clangour, Sakamoto melds feather touch acoustic keys with field recordings, shimmering electronic patinas and signature synthesiser flourishes in a suite that beautifully lives up to and even transcends its influences, revealing some of the most achingly emotive yet often abrasive and abstract work in a catalogue now spanning over 40 years of exemplary work.
Beyond maybe Scott Walker, we can hardly think of another artist who has continued to expand their oeuvre over such a long period of time, and with an appeal quite like this, albeit respectively unique to their work. But Sakamoto really is in a league of his own here, utterly absorbing us with the dappled keys, organ haze and stereo starting doom synths of Andata, thru the stark Sonambient emulations of Disintegration to the romance of ZURE and the almost Toshiya Tsunoda-esque sensitivity of his field recordings woven into Walker or Honj, with humbling moments to be discovered in the switch from disorienting cinematic dialogue in Fullmoon to the legit Ligeti style violence of Async, and again in the curdled chromatics of FF and the Gas-eous swells swirling about Garden.
Technicolour rave freak Zomby comes with a bit of a shocker, setting aside his signature style for a hot minute to produce a rough, ready and raw album of Piano rave and '91/'92 'ardkore variants.
Firing up with a neat rave riff on 'F*ck mixing lets dance' and launching into a dope 138bpm breakbeat bomb you're immediately dumped into the middle of the dance, lazers scouring your retinas and everything. Then there's the staggered chords of 'Euphoria' setting up for a right little skankout, before the loony grinning cheekiness of 'We got the sound' and onto the horns and subs of 'Tears in the rain'.
It all starts to get a little more happy hardcore with 'G.T.I', pitching up the pianos and deploying some mentasms for the Swindon crew. 'Pillz' krunks it up for the 2008 crew with a hyper collision of Ghetto-tech, B-more bounce and Dutty South Vibes, while 'Hench' sends it back for the darkside set over in the corner and 'B With me' does a naughty badman interpretation of Lenny de Ice's 'We are IE' and 'U are my fantasy' lets his imagination run wild with a mash of Baby D's classic with The streetfighter theme tune.
This is probably of the most enjoyable, well executed and heartfelt rave homages we've heard in time and we can't recommend it any more highly.
Do you like rave mate?
Addendum to Latvian artpop group, NSRD’s Workshop For The Restoration Of Unfelt Feelings compilation, STROOM 〰 give up 4.5 ‘floor ready examples of hot-wired, off-kilter takes on acid house and synthwave compatible with freaky late ‘80s new beat and early ‘90s euro-techno-pop mutations.
Yet another peach plucked by STROOM 〰, NSRD covers a blind-spot in the general knowledge of Baltic electronic music during the ’89-’92 house phenomena. A-side gives up the suave but daft swerve of Neskaties , a rickety sort of acid house that sounds perhaps closer to original Chi templates and the warped EBM/industrial of Smersh, for example, than much other stuff from that period. Ziemeļbriežu pajūgā pa Rīgas jūras līci  follows on a wistful sort of Larry Heard tip, following more jagged lines of inquiry with a fizzy fuss and finale recalling Novo Line’s Atari ST mutations.
B-side, Spilvens  commits a more brooding, romantic blend of folksong and endearingly cranky, lo-fi darkwave pop with cold baroque flutes and nuff ferric wow-and-flutter, and Augu nakti. Kādā rītā. Šovakar hears them stretch out on a jacking sort of primitive, woozily melodic techno-pop.
After being enchanted by Sugai Ken’s UkabazUmorezU LP for RVNG Intl, we play catch up with the Japanese artist’s On The Quakefish album from last year, issued by the excellent Lullabies For Insomniacs label who were also behind that mental Lazslo Hortobaygi reissue.
Here, we’re privy to another array of deliquescent electronics and mercurial hooks, framing Ken’s vision of the Japanese nightscape with absorbingly evocative, impressionistic effect. Based in Kanagawa, Japan, on the edge of the Tokyo megatropolis, Ken draws from his surroundings to paint immersive scenes in succinct, pointillist dashes and vaporous strokes that dissolve into acres of enigmatic, negative space.
Quite boldly, Ken is unafraid to embrace sounds perhaps unfamiliar to the classic Japanese records we’ve heard, or the swell of ambient/new age reissues from that region. He freely vacillates these stranger, abstract sounds with more conventional gestures in a way that adroitly brings his subject - the Japanese night - to life in a way that doesn’t simply soothe the listener, but keeps their ears intrigued, moving around the sound sphere attempting to locate their possible sources.
This effect relates to the Zen tradition of Satori, “imagining circumstances and atmospheres that are so silent, one can hear the sounds of the wind and water streaming”. For us this effect also recalls the studied audness of Rashad Becker’s Traditional Music For Notional Species, as much as Luc Ferrari’s poetic concrète scapes, or a very canny first person computer game or avant-garde film soundtrack; exactly the kind of stuff to bed down with during long, dark winter nights over here.
Young Marco’s Safe Trip does the business again with CZ-5000 Sounds & Sequences, a heart warming flush of archive material by identical Japanese twins, Satoshi & Makoto, recorded at home on the titular Casio synth c. early ‘90s. Follows very much in suit with the nostalgic appeal of Darling’s JPS and the volumes of Italian Dream House before that, another perfect addition to the label.
As the story goes, Satoshi & Makoto were big fans of anime and cartoon soundtrack as kids, and used to mess around on their ma’s Yamaha Electone keyboard. Fast fwd a few years, and a promise to work hard at school if their parents bought them a synth came to fruition, with the two sharing the same model of Casio CZ-5000 ever since.
Their nascent recordings with the CZ-5000 lay untouched for decades until the twins uploaded them as synth demos to YouTube, where Young Marco saw them and was so enamoured with the sound that he released this LP.
We could sit here all day referencing obvious analogs for this record, but its better heard as a genuine document of private, fraternal connections and non-verbal dialogue, almost like listening to a family photo album or the fantasy soundtrack to a computer game or anime that was never made.
An Anthology Of Noise & Electronic Music Vol. 1 begins in the 1920s, with the Russolo Brothers, and looks at each decade in turn -- Varése, Cage, Schaeffer, Xenakis, the great pioneers -- and shows the first traces of a music that was necessarily revolutionary: electronic music, created from nothing (and hence to be entirely invented).
Some pieces on these CDs are certainly classics, but there are others, which, though old, were distributed informally or never even released. The more contemporary pieces are, wherever possible, previously unreleased. In fact, more than the half of the tracklisting is unreleased and unpublished.
Artists include: Luigi & Antonio Russolo, Walter Ruttman, Pierre Schaeffer, Henri Pousseur, Gordon Mumma, Angus Maclise, Tony Conrad & John Cale, Philip Jeck, Otomo Yoshihide & Martin Tétreault, Survival Research Laboratories, Einsturzende Neubauten, Konrad Boehmer, Nam June Paik, John Cage, Sonic Youth, Edgard Varése, Iannis Xenakis, Paul D. Miller aka DJ Spooky That Subliminal Kid, Pauline Oliveros, Ryoji Ikeda.
RVNG Intl parse Pauline Anna Strom’s incredible new age recordings on this collection of boundary-smudging synth journeys, containing material originally released between 1982 and 1988. They've spent almost a decade trying to bring this collection to life, kudos to them once again for compiling and conceiving it with so much care and attention to detail.
Drawn from seven obscure tape and vinyl releases made between 1982 and 1988, Trans-Millenia Music lives up to its mantle with a sense of ancient knowledge transposed into the contemporary future of the 1980s, realising a latent, transcendent sound that was perhaps just waiting for technology to catch up so it could speak freely.
Through the circuitry of pioneering synth tools, the blind composer and keyboardist from San Francisco feels out a spectrum of unfathomably celestial and synaesthetically-heightened sound colour along myriad, psychedelic vectors, haptically connecting diffuse spatial coordinates with a gossamer web of FX and morphing filter envelopes.
It’s music for oceanic introspection, beckoning listeners to fall deep inside themselves and diffract profound visions through their own lens, where you can interpret her descriptions of sonic flight in Crusing Altitude 36,000 Feet and In Flight Suspension, or decode the entheogenic synth voices of Mushroom Trip according to your own understanding of the cosmos and its play of energies, and draw your own meanings.
Gorgeous music, highly recommended if you're into Suzanne Ciani, Laurie Speigel or indeed Midori Takada.
Up until the incredible "A Period of Review" reissue via RVNG Intl.last year we hadn't even heard of Kerry Leimer, yet that compilation and it’s astonishing followup, this years "Artificial Dance” set under Leimer’s ‘Savant’ alias, introduced us to one of the most fascinating and prolific producers of the era, operating at the cusp of ambient, 4th World and industrial musics.
From his base in Seattle, Leimer accumulated a unique catalogue of recordings created on a Micromoog, drum machines, guitars and FX units, and heavily informed by imported Krautrock/kosmische titles sourced outta NME and Melody Maker, and equally the more Anglophilic ambient loop compositions of Robert Fripp and Brian Eno.
This beautiful new double LP via Vinyl On Demand focuses on Leimer's earliest work and has once again left us dumbstruck, offering a genuinely remarkable addition to the canon of early '80s electronic/new age/4th world experimentalism, sitting very comfortably alongside some of the richest, most engrossing ambient music of the era.
Leimer's first two tape recordings are included and were released on Robert Carlberg's Anode Productions in 1978 and '79 (Translucent / Memory and Natural History / The Mind and Its Likeness). The set also includes material from the 1983 cassette Installation View. As Leimer himself offers: "It's best to consider these recordings as a homage to much admired and deeply loved music of the time; to consider these recordings as the artifacts of lessons being learned during simultaneous attempts at conceiving, writing, voicing, engineering, recording, and mixing something that might at least seem to be music. It's also best to consider that the one card that repeatedly found its way out of the Oblique Strategies deck and into my hands prevented me from erasing almost all of it: Honor thy mistake as a hidden intention.”
It all makes for one of the most engrossing ambient-era collections we’ve come across - give the clips below a listen and you’ll hopefully know exactly what we mean. Huge recommendation.
Following suit from last Christmas' 'Truant', Hyperdub present three new pieces from the shadowy producer.
It's a fine salve for seasonal woes, ripping loose with running man-style rave breaks and darkcore motifs across the dystopian sonic fiction of A-side, 'Rival Dealer', whilst the flipside reveals a whole new dimension to his sound with the soaring harmonies, twinkling chime-trees and '80s power drums of 'Hiders' and the tortuous, cinematically edited narration of 'Come Down To Us'.
The heads will have a feast picking this one apart - what's up with all the references to sexuality or his newfound penchant for FM synth sounds? - and we can practically hear the synch departments licking their lips in anticipation already… but ultimately the sincerity and delivery still brings a salty bead to the duct. You know what to do.
Call Super cocks a 2nd album of increasingly squirrelly electronics for Houndstooth, secreting the glittering nuts and bolts of his sound in a more fluid and dynamic brand of ambient techno mechanics.
Arriving three years on from his Suzi Ecto album, and a string of well-received DJ sets, solo 12”s and a collaboration with Beatrice Dillon over the interim, Arpo gathers Call Super’s recent studio thoughts in one place, coursing from mercurial IDM to jazzy flights of fancy and oneiric electro with a meticulous production style that’s become his trademark.
The ghosts of the 4th World, Red Planet martians, Irdiallian enigmas and golden era Warp haunt Arpo’s diffuse dimensions from the first chimes and clarinet plumes of Arpo thru the smoky electro-jazz of Out To Rust, following a silvery thread of logic that weaves between early hours dancefloor mindsets and late hours home listening from the glitchy hunch of OK Werkmeister to the sloshing brownian glitter of Music Stand, embracing Ethiopiques jazz in Arpo Sunk, and gently insistent future electro-funk with No Wonder We Go Under, and the hyaline electro-soul rubs of I Look Like I Look In A Tinfoil Hat.
Burial cements his busiest year on record with Pre Dawn/Indoors, forming a rare moonlight session away from Hyperdub for Boddika’s Nonplus.
This is Burial as warehouse shadow dancer, properly committed to the heavy hours of the rave. Pre Dawn rolls out at 140bpm with something like Tango & Ratty’s “lost” garage project, as heard under a corrugated roof beaten by acid rain. The first breakdown could have feasibly appeared on some Untrue cut, while the final passage of soul-smacking pads and distant gabber kicks delivers the classic Bevan shiver.
Indoors is perhaps meant to be what’s behind those booming kicks, on the other side of the door. Initially, furtively elegiac, it comes off as the more hardcore of the two thanks to a nagging vocal and marching, technoid rhythm, so vividly evocative of a steaming, classic rave in full rush that it’s no wonder Burial doesn’t bother with promo videos.
The complete work by Luc Ferrari for films from 1960 to 1984 including electronic pieces, concrete music made in GRM and some hybrid including traditional instruments. An In-depth survey of the concrète poet/artist/thinker’s works for films, comprising eight durational pieces, and including the 73 minute ‘Chronopolis’
“This 3CD set gathers the complete work by Luc Ferrari for films from 1960 to 1984 including electronic pieces, concrete music made in GRM and some hybrid including traditional instruments.
Very rare pieces, most are unpublished (with collaboration with Jean Cocteau ou Jean Tinguely...), this is for the very first time the complete scope of one of the most innovative composer of the XX century.
Including 2 lighting texts by two writers and critics Philippe Langlois (Les Cloches d'Atlantis) and Guillaume Contré, some rare photograms from films and some handwritings notes by Ferrari himself.”
The Basic Channel don meets the folk musicians of Bishkek, Kyrgyzstan for a beguiling exchange and fusion of traditions crossing paths between haunting acapella vocals, virtuosic instrumentation and sublime, dub-wise 4th world panoramas.
Locating MVO diversifying his bonds along outernational vectors, just like his BC bandmate Mark Ernestus with Ndagga Rhythm Force or Obadiah, the results form a series of studio portraits and wistful, impressionistic abstractions. They transport us to a place well off the usual map, to rugged lands once crossed by The Silk Road, where preserved, ancient traditions still reveal ghostly traces of the voices and sonic cultures which passed thru them.
The original arrangements of Ordo Sakhna range from complex, airborne string flights to nerve-jangling mouth harp pieces and a few stunning acapella pieces, which to our untrained ears resemble both Middle eastern, Indian classical and Chinese traditions, whilst the Drums track would appear to catch MVO in lissom fusion with live percussionists.
The multiple MVO dubs are a huge attraction, too. None more than the jaw-dropping Facets, where drums are swept in mountainous dynamic across the stereo field, joined by Hassell-esque dream tones and twanging mouth harp in one of the master’s most abstract, mercurial works in memory, whilst Bishkek, May 2016 catches them in live form at the Kyrgyzstan edition of Unsound festival, and the rolling Draught, and its version frame the spirits of Ordo Sakhna in his signature dub techno style, with results comparable to Shackleton when he removes the straight kicks.
Subliminal transportation systems from Stelzer Murray, a pair of individually prolific avant-garde artists from Boston, making their overdue debut collaboration with Connector; an immersive flow of lower case texturhythms and microtonal drone recommended to anyone who’s been snagged by Jim HJaynes’ atmospheric works or the quietest enigmas by Kevin Drumm or Zoviet*France.
“Stelzer brings to the table an array of mangled and partially demagnetized tape; and Murray brings his knack for compacted harmonics, obfuscated field recordings, and long-view compositional strategies. An irradiated, almost Kirlian glow permeates Connector through the duo's slow accretions and erosions amidst the soaring crescendos of compacted tone and vacant shadows of mechanical thrum. On occasion, rasping saw tooth frequencies and oblique synth-noise phrases stridently pop in a clinical opposition against the field of hiss. Screaming cascades from ice storms. Tape symphonies from urban blight. Life-support machines at the point of obsolescence.
In describing the process of building this album, Stelzer reflected, "When you've known someone for this long, the act of collaboration is like conversation over dinner; you don't fuss over it or worry about it; it's stress free, even instinctual like exhaling."
Good things come to those who wait.”
Barcelona’s man of the moment DJ Seinfeld trots out on Manchester’s Natural Sciences with a quartet of fuzzy house jaxx.
He relaxes into it with a trippy mix of what sounds like indian classical vocal (might be dead wrong there?) and bassline-driven swagger, whereas Ruff Hysteria gets right on it with wriggling acid and zinging hi-hats
Wombat Bounce keep the energy up there with punchy, wooden drums timed for the swingers, and What Kind Of Sandwich Is This unfurls on a rolling hardcore jungle tip that sounds like HATE heard thru a wet towel.
Currently in a crucial phase of her oeuvre, Istanbul’s Ekin Fil presents the results of her first soundtrack commission with Inflame, a 30 minute collection of evocative, murky electronic cues reflecting the paranoia of Ceylan Özgün Özçelik’s psychological thriller.
Rather than her signature, reverrb-laden guitar and glossolalic vox, Ekin uses a palette of synths, electronics and drum machines to convey a tense and claustrophobic sound, where severed voices float thru minor key melodies and slow, epileptic hallucinations, sometimes prodded with skeletal electro rhythms, at other left to linger uncomfortably in crepuscular mid-air with curt resolutions.
Mellow but spicy jazz-funk-soul from south London, 2017
“The album starts with 'Moonlight Woman,' a song that harks back to the Headhunters era, but with a contemporary twist - close your eyes and your transported to 70s Harlem, walking shoulder to shoulder with Richard Roundtree! 'Elephant & Castle' follows, a clear reference to south Londons Latin quarter, the tune has a distinct hustle and bustle quality. With a strong flute solo and upbeat rhythm section this tune is sure to have you clapping your hands and stomping your feet. The first side draws to a close with a tasteful Dilla inspired skit, 'Trudi's Mood,' which demonstrates the bands wealth of influences and leaves the listener eager to continue their sonic voyage, with Ruby Rushton at the helm.
Haunting ballad, 'Prayer For Yusef,' is a song written in memory of the late Yusef Lateef. It starts softly with a bowed double bass and bamboo flute, accompanied by ghostly percussive noises and slowly rises to a large crescendo, with drums and piano in tow. It's a strong tune and a fitting dedication to the late, great Yusef Lateef. No sooner has Lateef's ballad gently faded away then 'Where Are You Now?' kicks in. Starting with a cool, neck-popping 3/4 beat, and utilising a four-piece horn section, the rhythm section struts its stuff whilst flute and trumpet carve out a playful melodic line. Just as you settle into its hypnotic bounce the tune falls through a Monk inspired chromatic bridge and without warning reappears as a solid Latin groove, leading to strong solos from both sax and keys. The rhythm section charges through to the end, never lagging, and are rejoined by the four-piece horn section, which stabs its way to a tight finish. The album comes to a close as 'The Camel's Back' fades in with an eerie sax solo and free form drums, before settling into a catchy bass motif and quickly fading away, leaving listeners on the edge of their seats and wanting more. It’s a great ending to an intoxicating joy ride through a multitude of genre defying styles!
Simply put, this album is a must have for any listener yearning for exciting and fresh contemporary music. Essential listening for fans of Kamasi Washington, Yussef Kamaal and GoGo Penguin. Words by Rodriguez Guido”.
Melancholic, electronica and jazz-inflected beats by a yung new talent from Glasgow. Check for sweetest bits on the piquant instrumental R&B mutation ‘Out of Body’ and the lush, thizzy suspense of ’Still’
“23 year-old Lachlan McFeely Bolt, fka Dressin Red, returns to Astral Black for the release of 'Still', his first official musical output since January 2016. With the name change, Bolt aims to bring the two worlds of his visual and audio creative works closer together.
With the focus of this record being more on feeling or aesthetic, rather than techincal prowess, the results are a far more fragile and intimate insight into the mind of this individual young artist. Whilst previous works allowed for Bolt's complex and arpeggiated synth lines to shine through, 'Still' is more holistic in it's approach; letting elements of both analogue and digital coincide.
'ByMy' is a perfect example of this, taking both the melodic elements of 'Kibble Place' and introducing elements of manipulated voice and guitars. At times Bolt moves toward an almost song-writing based approach, with his voice at the forefront of 'My Woes' and Guitar taking centre stage on album opener, 'Rise'. Whilst elsewhere, the anthemic, slow-motion jungle of '2 Scared 2 Say' (which soundtracked Boiler Room's recent documentary on Glasgow's new-wave) sounds like Burial just met Underworld at Glastonbury.
The 9-track project sees Lachlan move through a series of moods, with the album closer and title track 'Still' (Bolt's ode of sorts to Steve Reich's 'Music for 18 Musicians') leaving him, and ultimately the listener, in a particularly content mood.”
Andy Lyster’s Youth label wrest four stripes of punky blooze from Shamos, who steers away from the rugged house knocks of his Apron 12”s to nervier, faded headpieces in YO2TH.
Acquainted thru London’s NTS studio, Lyster and Shamos have conspired to reveal alternate aspects of the latter’s aesthetic, sidewinding from what sounds like one of Delroy Edwards’ Teenage Tapes cuts in the grungy wave stepper Found Grace to Lukid-esque alien tribalism in 13213132, then with a gristly, blank-eyed slug of EBM in TMF, and desiccated Detroit boogie in Nuws.
Brilliant, razor-sharp sound designs, gwan like a funky Haswell with the mosquito-sampling ‘MOSQU-ito’, and dissolving your head like humus in ‘MYCOrrhizosphere’, to name two highlights. Love this...
“SOLIDICITY is an invented word. It contains solid and city. It is AGF’s 10th solo and 31st album in executive production. The sound sculptress uses field recordings to craft rhythmic and arrhythmic structures, noise pattern, club references and bass frequencies. The poetess does not use words. AGF is a computer musician and uses Logic, Radial, MPClive, MAX from cycling74 to compose stark anti groove out of organic matter. Attention SPOILER: Finnish mosquitoes were looped and quantized. The track titles reference the artist's sonic discourse: Social justice, feminism, networking power, environmental concerns, Europe and the migration crisis, technological solutions for improving activism (Pursuance Project) and more.”
Fresh off a 12 hour, four day rota at the BOS Plant-cum-studio, Ansome cuts loose with British Steel
Taking in the hard-edged industrial funk of the title track along with the girder-strength slug of Marching Powder, a torrent of piledriver bass drums in Poison Your Body, and what sounds like Haswell and Best going for the gaffer as Consumer Electronics in Granite & Mortar.
Deadboy locks in a trio of jacking and swanging house grooves for AUS Music.
Effectively picking up where his Columns 12” for Ten Thousand Yen left us, here he goes a dab tuffer with the brittle drums and and brooding minor key arrangement of Auogeides 77, then opens up your swing with the feathered chords and ruder bass of Driftmore, and snaps off some nervy Detroit-via-Tokyo funk with Defrase.
Hemlock follow a strong 2017 run, getting the best out of Ploy in Unruly with three cuts of agitated digital funk and more abstract structures than his preceding 12”s for Hessle Audio and Timedance.
Unruly sparks off with something like Ueno Masaaki’s Raster-Noton missile redressed with a UK swing, while Garys comes up with escalating synthlines on a swaggering, offset techno mission with belly-twisting impact, and Lost Hours finds him at the other side of that wave with sweeter, duvet-diving ambient dynamics that emulate the effect of going MIA in your own bedroom.
Tia Maria Produções member DJ Lycox goes solo in a big way with debut album Sonhos & Pesadelos for the resoundingly influential Príncipe label.
With the delicious swerve and layered lushness of Sonhos & Pesadelos, the debut album by Príncipe’s Parisian ambassador DJ Lycox, sets a new high water mark for the label and its collective sound.
Indulging a bank of fleshly synths more than many of his label mates and peers, but at no sacrifice to his rhythmic push and pull, the sound is practically compatible with deep house and UKF as much as the frenetic styles of Nidia Minaj or the tuffness of DJ Marfox, for example.
Across all 12 tracks he modulates the vibe with expert groove control, oscillating between hypnotic future folk lixx and infectiously knotted drums in Weekend to a debonaire spin on deep house swagger with Domingo Abeçoado or Solteiro, skipping from the blazing tropical heat of Virgin Island and Paragons Moh Baba to something you could almost imagine Marcus Nasty playing on Nichako, Sky or the steely reinforcement of La Java.
But if you’re looking for out ’n out raving madness, you’d best check the blinding shockout Quarteto Fantástico and the searing hard-style leads of Ferrero for the most upfront bangers.
Eminent photographer turned sound artist and collaborator with Powell, Wolfgang Tillmans offers the soundtrack - a suite of scatty vocal duets with Bille Ray Martin and the Hamburg soundfield - relating to his current exhibition at the Kunstverein in Hamburg
“Hamburg Süd / Nee IYaow eow eow is released as part of the Wolfgang Tillmans's "There were 30 years between 1943 and 1973. 30 years from 1973 was the year 2003" exhibition, which is being held at the Kunstverein in Hamburg in fall 2017.
Wolfgang Tillmans has devised a 35-minute sound installation as part of the exhibition. The installation takes the exhibition's inner-city context as its starting point, and operates in conjunction with numerous photographs (from a variety of Tillmans' s work phases) and video works to transform the space into a single cinematic whole.
Electronic manipulations of Tillmans's own voice, made to sound alternately choral, guttural, and absurd, are mixed with a kind of sung evocation of the four directions of the compass -- to which the exhibition hall is almost exactly aligned. To provide this counterpart voice, Tillmans invited the Hamburg-born and internationally renowned singer Billie Ray Martin. The alternating singing styles are embedded within long silent pauses, when visitors can hear noise from the two routes of traffic between which the Kunstverein is located: the cluster of platforms at Hamburg's central railway station, and Klosterwall, one of the city's main thoroughfares.
Through the interplay of screeching railway lines, traffic noise, the reverberation of the immediate environment, word play, and voice explorations, Tillmans uses the sound work to react to aspects specific to the exhibition room at the Kunstverein in Hamburg: you can hear the city, but do not see it.
In Further Listening, the second part of the set, Tillmans presents further experimental solo pieces, collaborations, and two works that were previously released in 2016 (now available for the first time on digital format): 2016 / 1986 EP (FRAGILE 001EP), Tillmans's first release, and Device Control EP (FRAGILE 003EP), which first came to public attention in 2016 when a full-length version of the song appeared as a guest contribution on Endless, a visual album by the US R&B musician Frank Ocean.”
Yamaneko, aka Talbot Fade, blurs ambient/electronic distinctions with a sublime album richly inspired by hours spent inside computer games, melting aut to new age cassettes, and the metaphysics of simultaneously being inside/outside the rave. Spa Commissions arrives quick at the heels of the heart-rending Talbot Fade tape My Voice Would Reach You to dreamcast another bridge into his wide-eyed and immersively detailed ambient dimensions. RIYL Goodiepal’s Havet, Lee Gamble’s beatless modes, or Visible Cloaks.
“Since breaking through with 2014’s debut album Pixel Wave Embrace, Yama has been one of the key electronic artists combining electronic music with ambient - with a fragile sound equally inspired by grime, new age cassette music, video game soundtracks and techno.
Despite being his first release, Pixel Wave Embrace became a cult classic - quietly but notably influential on the artists around him and further afield. Yama has continued to spread his influence since, soundtracking an advert by Supreme, providing the music for a short film by Oliver Payne (work shown at MoMA, The Serpentine, The Tate, Whitechapel Gallery and more) and teaming up with Mr. Mitch as Yaroze Dream Suite. He’s become a key part of this label, performing at both our recent Boiler Rooms and most of our shows - we couldn’t picture Local Action without him. Last year we released his second album, the colder, less inviting Project Nautilus.
Earlier this year, Yama was commissioned to create music for a spa in Europe. These commissions eventually developed into a full album’s worth of material, collected and fleshed out here to create his most blissful, beatless record to date.”
The Swedish producer gets under the skin with his trippy burner, Wall To Wall
Sustaining the gauzier textures and feel into the Shxcxchcxsh-alike tones of Private Life, and knuckling down to tuffer hydraulics with #demand, before sloping away on the slow, depressed noise techno push of Front Row (The Game). It’s maybe not what you might expect, and in the best way.
Umor Rex saddle up a session of dusty modular kosmische from Phantom Horse, paying homage to the original templates of Cluster/Harmonia and the rhythmelodic patterning of Moondog in five horizon-scanning variations. Best checked for the alien tone of Always Too Late (Reprise) or the wickedly curdled, keening synth discord of Skeptical Island, and its giddy resolution.
“Packed in their distinct homelike, warm sound, Phantom Horse effortlessly follow their path to find a melancholic playfulness in the heart of ancient machines. Conjuring the picture of transmogrified humanoid characters, modular and analogue synthesizers, antique drum machines, e-pianos, guitar, tape effects and various percussion devices create a comforting condition that involves the listener in some analogue computer game for a lost jazz world. Their approach on widespread compositions shows an elaborated vigor, an earnest love for slowly evolving melodies. Phantom Horse yet never fail to step on bridges that link the different subspecies of non-academic minimal music – from kraut to Mr. Eno and retour on detour. With “Different Forces”, Ulf Schütte and Niklas Dommaschk, whose names might be familiar to those in the know, provide their fast motion picture soundtrack for the genesis of a desert or whatever – if you listen carefully, different worlds will come into being.”
Big-eared, subversive collagists Vicki Bennett (People Like Us) and Mark Gergis (Porest) ov Sublime Frequencies and Sham Palace share the latest, brilliant split slab on Discrepant; presenting two extended pieces originally aired as part of WMFU’s OPTIMIZED!, a week-long selection of shows programmed by Bennett DURING JUNE, 2016.
Both artists turn in sterling material, but Mark Gergis’ turn as Porest is a seriously big attraction. Recorded “on-location” between 1988 and Jan-Feb 2016, and incorporating contributions by Paul Staufenbiel and Michael Darr, Porest “unveils recordings from the covert sector of his archives”, culling material intercepted via “prepared radio” fine-tuned to received what he terms “parallel broadcasting”. We’d take that with a pinch of whatever you use to digest “fake news”, as Gergis and co turn in a frankly hilarious prod at Anglo-American cultural imperialism consisting of pointed cut-ups that show up Cassetteboy as infantile dunces by comparison. The radio jingle recruiting Brooklyn hipsters for ISIS is particularly tangy!
For her part, Vicki Bennett aka People Like Us plays to her much-loved, archaic english eccentric side with All On A Beautiful Day, trawling/trolling dippy soundtrack music, classic pop and sonic cultural ephemera in her gently disorienting, merry-go-round way.
Editions Mego present Ivan Pavlov’s highly personalised songbook, CoHgs (pronounced songs, like his name in cyrillic is said; Son) raiding more than 20 years of work prism-pushing work with everyone from Coil to Ann Demeulemeester and Little Annie. As a showcase of his collaborative work, it’s maybe a bit weird that there’s nowt from one of our personal faves, CoH Plays Cosey, but we’re sure there’s some reason for that. And ironically enough the best track, Fffetish - from his Love Uncut for Coil’s Eskaton label - is actually a collaboration with his own alter-ego, Frankie Gothard, on vocals.
“The ongoing relationship between Editions Mego and COH continues with this special collection of works made by COH over a number of years released on a variety of labels. What brings these works together is the incorporation of vocalists and lyrics. Neatly compiled here, a diverse pool of vocalists elevate the otherwise instrumental works of COH ( Ivan Pavlov) into worlds of narrative, the human and the haunted.
Little Annie brings her sly subversive cabaret style to one of the works whilst delivering an intense lkist of daily activities on another whereas Peter ,Sleazy' Christopherson conjures a world beyond our own with his cracked spectral delivery interpreting Pavlov's disembodied electronics. I wrap my last kiss in a bandage… I send you this message.
Frankie Gothard provides classic distorted industrial swagger to the proto-disco FFFETISH where LOVE'S SEPTIC DOMAIN (feat. John Balance & Louise Weasel) screams from the abyss of dirty hospitals; As starlit and damaged as any of the classic Balance deliveries. A previously unreleased work featuring the renowned fashion designer Ann Demeulemeester skips along a metronomic beat whilst the voice lays out dry settings and instruction. Elsewhere Noriko Taguchi embeds a fragile sensibility to a music box melody whilst Anna Yamada's collaboration results in an exquisite blend of disorientating pop.
The versatility of Pavlov's practice is on display as proto disco, industrial simulation and pop all come together with the vocalists presenting a wide range of human function, from the absurd to the mundane to world's unknown.”
Craig Clouse’s restless Shit & Shine plop another steamer for 2017 after already shredding our guts to bits with Some People Really Know How To Live and the raucous Total $hit.
This time they return to Rocket Recordings, site of their great split with Gnod in 2012, for a three part dirty protest against boredom, corralling samples from The Fast Show with grinding noise techno rhythms and amorphous distortion in the destructive slog of That’s Enough, before Simon Cowell and a feisty Pop Idol contestant open up the acidic wormhole of The Worst, and I Like You betty launches a spring loaded sort of hardstep D&B noise assault.
Shoc Corridor was the London post-punk quartet of Paul O’Carroll (Voice, Synth), Andy Garnham (Synth, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Chris met Nogi shortly after moving to London in 1979 – they started playing music together, fell madly in love, and decided to form a band. They recruited Andy, who had previously played in a band with Stephen Luscombe of Blancmange, and lyricist and vocalist Paul. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Brian Eno, PIL, and Joy Division.
"The group recorded a 4-song demo during 1981 in a tiny flat Chris shared with Nogi in Notting Hill. As their collection of instruments grew they set up studio a few blocks away in Andy’s flat at 20 All Saints Road. There they re-recorded “Sargasso Sea” along with “On Reflexion” on a TEAC reel-to-reel 4-track machine. In the summer of ’82, the band was booked into Decibel Studios in Stoke Newington for two and a half days with Mark Easton of Shout Records, where they reworked the two songs. The group usually worked through studio experimentation rather than constructing their songs in a conventional way. Their equipment list included a Korg MS-20, Wasp, Pro-One, Roland TR-808, WEM Copicat, guitars, bass, e-bow and an assortment of effects pedals. “On Reflexion” began as a Blancmange backing track, since Stephen Luscombe would sometimes use Andy’s 4-track, Korg MS-20 and drum machine. Chris has memories of Paul disappearing from time to time to the neighboring graveyard for inspiration, where they had to procure him from to lay down vocals. Their debut 3-song 12” single, “A Blind Sign”, was released in October 1982 on Shout Records. For this re-issue we’ve included the original skeletal “Sargasso Sea” 4-track demo from 1981. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul’s rich vocals guiding the way.
All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each EP comes in an exact replica of the original jacket, designed by Chris Davis with artwork by Paul and Jerry Neal. Each copy includes an 8x11” 2-sided insert with liner notes, lyrics and photos designed by Eloise Leigh."
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."
The Body and Full of Hell are both unique and influential forces in heavy music.
"Both artists welcome challenges and eschew self-promotion. Each artist seems driven to take risks and push boundaries of what is considered heavy. A clear example being that on recent tours The Body have performed without any live guitar or drums. Both artists enjoy the creative growth and music and good times that come out of collaborations. Each has collaborated often with other unique but like-minded musicians such as Thou, The Haxan Cloak, Krieg, Merzbow, The Bug and the list goes on. Despite their obvious differences in songwriting, The Body and Full of Hell are unified by their shared aesthetic, catharsis through the manipulation of emotions transformed by visceral noise and fueled by an inescapable sense of dread. They have returned to collaborate again not because of their commonalities but because of their differences and what those differences yield in performance. With Ascending a Mountain of Heavy Light, The Body & Full of Hell have integrated a love for electronic noisescapes with abrasive, precise sonic assaults into a sound unlike anything either has produced before.
Written and recorded in one week at Machines with Magnets in Providence, the music of Ascending draws from unexpected sources such as reggaetón and jungle (“Master’s Story”). There are some familiar guests to The Body fans, namely vocalist Chrissy Wolpert (Assembly of Light Choir) and Ben Eberle (Sandworm), as well as first-time collaborator drummer Brian Chippendale (Lightning Bolt, Black Pus), whom both bands share a strong aesthetic of individualism. Samples, synth, saxophone, and a drum orchestra all throb, and sputter, coagulating under the weight of the two bands. Programmed drum patterns and loops taking cues from hip hop are bent and twisted throughout, flawlessly emboldening the distortion drenched guitars and howling vocals. Each element, though meticulously crafted, is visceral, as the exhilaration of improvisation has not been curtailed by editing.
Ascending a Mountain of Heavy Light casts aside the dogmas of heavy music. Extremity in The Body & Full of Hell’s music is not based on macho musings or competitive trendiness, but rather is an integral tool to exploring the anxieties of modern life and the bridges between personal and political strife. As leading voices in DIY and underground music communities, The Body & Full of Hell, along with peers such as Thou, are expanding the possibilities of extreme music by shaping worlds of sound with a palette of diverse influences seldom seen in “heavy music” today.”
The first album from Mark Stewart’s Claro Intelecto in five years is an unpredictable yet typically emotive collection bearing all the hallmarks of his sound, from crushing bass weight to heart-grabbing moments of elegiac beauty - but with new avenues into more experimental and freeform sounds. Killer album this...
Stewart's clearly been saving the best results of his studio time for this baker’s dozen of skudgy bangers and icy electronica, rendering a full spectrum of his style between the industrialised Art Of Noise styles on Eye Spy, the Raster-Noton-meets-Actress squeeeeze in Mr Stewart, something like a raging take on Mr. Oizo with Guardian Angel, and the trademark warehouse pressure of Amino Acid.
David Sheppard returns with his second Snow Palms album, Origin and Echo. Two years in the making, it builds on the foundations of its predecessor, 'Intervals' with a heavy quotient of metallophones, glockenspiels and marimbas at its core, but largely eschews the latter’s chamber arrangements in favour of soaring synth-scapes and a palette of spectral ambient and electronic textures.
"Despite that, 'Origin and Echo' is a more performative record than was Intervals, its eleven organic, kinetic pieces meticulously constructed by David Sheppard from initial percussive skeletons largely essayed instinctively, in free time, without click-tracks and with almost no guitar. The album is loosely predicated on themes of mirroring and rebounding, whether physical or metaphorical, inspired by everything from the gravity-defying parabolas of space flight to patterns of human migration and feelings of déjà vu summoned by nostalgic journeys.
While the album is mostly the work of David Sheppard working alone or in tandem with producer Giles Barrett, it also features cameos from previous Snow Palms collaborator Christopher Leary (synthesisers), alongside Emma Winston (Omnichord), Lauri Wuolio (cupola drum) and Village Green label-mate Angèle David-Guillou (keyboards)."
Two birds, one stone: BAT brings his Excavated Tapes 1992-1999 to a close with Vol.3, which also appears as the last release on Astro:Dynamics, who’ve delivered some choice releases from 1991, Samoyed, Dynooo and El Kid/Sam Kidel in their seven years of activity.
They’ve clearly saved BAT’s best for last with six of his quietest, seductively uncertain hardware improvisations, covering Actress-gone-Memphis knocks in HiFi 120 Side A CJa, thru to barely-there, Bellows-style crackle in Lesson 15 Side A Chmycncrt, the fractured ambient crumbs of Voice Thing Side A Crck, and a lushly knotted, curdled dub chords in 94 Side A Twentyish.
Toodle pip, Astro:Dynamics. Was lovely listening to ya.
Featuring Flowdan and Killa P / Irah, The Bug releases a new big hittin’ double header. Following last years D Double E / Riko Dan face-off, ‘Box’ / ‘Iceman’ - The Bug has invited Flowdan, and Killa P & Irah to get grimey on their respective Riddims.
"'Bad’ sees both Flowdan and The Bug stretching their parameters and turning up the heat, with Flowdan summoning a fresh singjay style, the most glaring indication of his fam's Jamaican roots as he echoes Cham's classic 'Ghetto Story' with his intimate tale of growing up in "East London". The Bug also unusually constructed the whole Riddim from the manipulated layering of a single Soviet drum machine, tweaked and drenched in FX til' it rumbled heavily.
'Get Out The Way' is the first collab The Bug has conducted with Killa P since the mighty ‘Skeng’, with Killa additionally inviting Irah, from his Killaz Army crew, along for the ride. Built on The Bug's love of the Junglist / Dillinja inspired Reese bassline, it's a saw tooth exercise in dancefloor destruction, as the two MCs get lethal with the threats and intimidation.
Both tracks are already receiving some heavy dubplate slayin', with the likes of Mala, Kahn, Spooky, Pinch and Mumdance all smashing them in their sets. ‘Bad’ has already been chosen by Elijah (of Elijah & Skilliam / Butterz) as one of his Grime tunes of the year."
Hyperdub make their first ever reissue foray with Diggin In The Carts: A Collection of Pioneering Japanese Video Game Music (Original Game Soundtrack), presenting the premiere release of all the material beyond their original cartridge homes.
The collection is a partner piece to the RBMA documentary series of the same name, researched, written and co-directed by Nick Dwyer and Kode9, the latter of whom is well known as a total fiend for vintage computer games and sino-futurism.
For anyone with a sweet, 8-bit tooth, this is a goldmine of goodies; packing in 34 brief bursts of hyper-coloured energy with not a millisecond or bit spared from future baroque complexity or funk between the cascading arpeggios of Konami Kukeiha Club’s BGM 3 (Motocross Maniacs), the darkside Carpenter style grind of An-Un ‘Ominous Clouds’ (Xak II) or the squirming techno-phonk of Hiroyuki Kawada’s King Erekiman, and what sounds like an uncanny, early precedent of Kode 9’s own sound in Tadahiro Nitta’s Metal Area.
For anyone intrigued by the roots of modern dance and electronics music, particularly the ‘ardcore continuum and the relationship between Anime, new age electronics and western musics, this one’s a must check!