First ever vinyl release of Tom Raybould’s award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013).
"Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010s, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film. Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to its tender ending, Tom Raybould’s masterwork ingenuously blends ambient, electronic, neoclassical, and synthwave to recontextualize and upgrade the classic 80s sci-fi movie score template, holding its own against mammoth soundtracks like Blade Runner or The Terminator. Truly."
Sissel Wincent and Anthony Linell (Abdulla Rashim, Ulwhednar) have their way with Pär Grindvik’s catalogue in the 3rd of five remix 12” for the boss of Stockholm Ltd and half of the Aasthma duo with Peder Mannerfelt.
Chasing up her 12”s for Peder Mannerfelt’s label and remixes of fever Ray and HTDW, Sissel Wincent is at her best in a convulsive rework of ‘Magnolia’ full of pointillist electro rhythm and subtly reverberating, doomy atmospheres with a poignant finale. The artist better known as Abdullah Rashim, Anthony Linell follows with a superb, subaquatic techno spin on ‘Ensemble’.
Shifted and Damon Wild kick off a series of remixes for tracks by Swedish techno boss Pär Grindvik ov the Aasthma fame alongside Peder Mannerfelt.
Shifted applies his patented greyscale texturing to ’Tide Us Part’ from Grindvik’s ‘Isle Of Real’ LP with gritty, forceful traction, while ‘Folium’ from 2013’s ‘Air’ 12” comes reworked as a percolated deep space techno mission by NYC’s Damon Wild.
MixMup/Kassem Mosse and Physical Therapy get deep and playful on the 5th of five remixes for Pär Grindvik, the boss of Stockholm Ltd and half of the Aasthma duo with Peder Mannerfelt
MM/KM go below the surface with a stealthily building but never peaking techno rework of ‘Wall To Wall’ from Grindvik’s ‘The Game’ (2017) EP, and Queens, NYC loon Physical Therapy trots out a loopy, prancing pony of a remix for ‘Drift’ from 2004’s ‘Gem’ 12”.
Mick Harris, Parrish Smith and Overlook run ruffshod over a highlight from Ron Morelli’s ‘Disappearer’ album for Hospital Productions
Brummie squadron leader Mick Harris is properly up for a brawl, knuckles taped up and dusted in glass on his pulverizing A-side remix, but Parrish Smith (Volition Imminent) absolutely bosses the session with his transition from tense, half-stepping drums and panic stations synths to full-on 150bpm industrial onslaught, and D&B producer Overlook (Lucid Dreams) recalls the exquisite bleakness of Vereker’s Restraint alias in his cut of dank, droning techno rolige.
Adriana Lopez and Klara Lewis takes the reins on 2nd of five remix 12”s for vintage gear by Pär Grindvik, boss of Stockholm Ltd and half of the Aasthma duo with Peder Mannerfelt.
Barcelona’s Lopez reworks ‘Front Row’ from 2017’s ‘The Game’ 12” with a brooding, hulking, monotone techno churn, leaving Klara Lewis to render ‘London Marble’ from 2017’s ‘Aged’ EP as a vast cloud of gaseous ambient harmonics that crystallise into a beautiful frost of icy ambient noise.
Solid Blake and Art Alfie exert rude and moody remixes on Pär Grindvik’s catalogue in the 4th of five remix 12” for the boss of Stockholm Ltd and half of the Aasthma duo with Peder Mannerfelt
CPH resident Solid Blake resets ‘Silent below deck’ as a corkscrewing electro mutation pinned into place with jabbing drums and dry claps, contrasting with the arid, grumbling bass and dry-mouthed hi-hats of Art Alfie rolling techno spin of ‘The Marlton’.
Dutch sound artist Machinefabriek supplies a fittingly chilly score for video shot in Antarctica by Esther Kokmeijer, following his first suite with a sound that’s truer to the images of icebergs and endless tundra.
“The friendship and collaboration between Rutger Zuydervelt (Machinefabriek) and Alessandro Tedeschi (label founder of Glacial Movements, has been going on for several years now and it is constantly evolving. The Dutch artist, in addition to carrying out the graphic designs of all Glacial Movements' releases, is also part of the label’s catalog with the album "Stillness Soundtracks" released in April 2014. Almost 6 years from its publication, here is the new musical tale of the fantastic journey in Antarctica by Esther Kokmeijer.
When Esther Kokmeijer asked Rutger Zuydervelt (aka Machinefabriek) to score the second installment of her ‘Stillness’ video series, he didn’t have to think twice. After all, when working on its first volume, the duo found out soon enough that the images of floating icebergs and desolate sea scapes were a perfect fit with Rutger’s glacial sounds (as heard on ‘Stillness Soundtracks’). For that first set, the score was quite lively and layered, as if the music was adding a narrative to the static imagery, suggesting that things were unfolding outside of the screen. For the second ‘Stillness’ installment, the focus is more on what can be seen within the frame – an attempt to capture the solemnness of the images – to find beauty, but also sadness in the mesmerizing quality of Esther’s films. This makes ‘Stillness Soundtracks II’ a more sombre and subdued album and one that’s a fitting soundtrack to these alarming times with climate change being a more serious threat than ever.
Esther Kokmeijer: “Stillness” depicts tranquil, gliding images of icescapes from the North and South Pole. I filmed these landscapes during my biannual visits to Antarctica as an expedition photographer. The meditative images invite reflection on the unparalleled beauty of this glacial ecology, which appears both vulnerable and resilient.”
Party-ready mixtape crammed with reggaeton edits of ‘90s dance-pop, grime and modern rap cuts for Low Jack’s Editions Gravats. Edition of 100, don't snooze.
Catching the label at its most frivolous and practically reeking of Kalimotxo, King Doudou’s ‘Yin-Yang Street Mix’ follows from his ‘Novinha/Tremendo Bumbum’ 12” last year with a highly compatible selection primed for sozzled, dutty perreos.
Expect to find licks from the likes of Eiffel 65, Faithless, Culture Beat, 666 and Alice Deejay woven with kinky, hip-ticking dembow rhythms and rap from Lil Pump, Bad Gyal, La Zowi and stacks of classic rave stabs in a restless flow that won’t let the party down.
The A-side is titled ‘Angels’ and gets the juices going at a slightly slower slant with all your favourites/most hated ‘90s numbers in there somewhere, before the B-side’s ‘Demonico’ selection steps the pace and the rowdiness up to a peak, including that reggaeton version of ‘Insomnia’ you were always waiting for.
Washed out ambient electronics from Luke J Murray and Henry Rodrick’s Iceman Junglist Kru, affiliates of London’s Disciples label
‘Mashed on Pills’ is their 2nd tape in this guise. Its six track of gauzy, filtered fluff follows a year on from the ‘We’ll Only Leave If You Throw Glass’ tape, self-released on their Too Fucked To Dance label in 2019, and reprises a sound full of wistful arps swaddled in ferric distortion on the A-side, while the B-side revolves around milky dub chords and murky bass pulsations underlaid with munted vox. It recalls music by Black Zone Myth Chant and DeepChord, and sounds a bit like a someone making sounds based on a 2nd hand description of that time their mate’s mate had a mythical brown speckled gary and felt a bit funny.
“Formed from a bond that stretches across time and space, from the rain-soaked Lancastrian hills of Manchester over towards the icy shores of Stockholm, via North down South London and a shared admiration for the hidden reverse of Nurse With Wound and Coil, the concrete surrealism of dead air time grime from the turn of the Millennium and an unhealthy drop of teeth-chattering ecstasy. The Iceman Junglist Kru's debut recording proper distills the influence of all of these sectors of sound, each as important as the other. If you see a cop, throw this tape out of the car window…”
Murky, electro-acoustic and kosmiche explorations by the Zachary James Watkins (Black Spirituals) and Ross Peacock (Mwahaha, Heaven’s Club), inspired by Cluster/Eno/Scientist
““Two serpent synths… Liquid sky… Two tonal tails traveling together and ripping apart… Fragments of notes creating a sky full of treasures…Galloping rhythms in drenched chords and shimmering sine waves…”
The new duo of electro-acoustic disciple, Zachary James Watkins and analog spacesynth master, Ross Peacock conjures a new possibility of tone, rhythm and light. Influenced by the likes of Dub, Krautrock and experimental pioneers Cluster, Brian Eno and Scientist, their live improvised blend of psychedelic electronica embraces the fragility of analog and digital hardware systems. Watkins/Peacock engage in vibrant patterns over time with an investment in exploration and exchanges.
Watkins has recently returned from Carnegie Hall, where Kronos Quartet performed his original composition “Peace Be Till”. In 2017, he composed and performed an hour long score for the 35mm film “Black Field”, collaborating with acclaimed filmmaker, Paul Clipson. His duo, Black Spirituals, has released records on SIGE and The Tapeworm and toured Europe extensively including a six week stint with Earth. They have since received glowing reviews from the likes of The New York Times and The Wire.
Ross Peacock with his band, Mwahaha, have performed extensively in the U.S. performing a live Boiler Room set following the release of their first full length on Plug Research. They were invited by Warp Records to perform at their SXSW showcase where NPR’s “All Songs Considered” named them one of their Favorite Discoveries of SXSW. Mwahaha was later invited to the UK to perform alongside Sigur Ros at The Eden Project after appearing in London with Damo Suzuki and Andrew Weatherall. He has been featured in Vice, Mojo, Spin, NME and has collaborated with Merrill Garbus of Tune-Yards and Jel/Odd Nosdam of Anticon.
The Watkins/Peacock duo have since performed a live film score at the third annual Haxan Film Festival, opened for the Fred Frith Trio and in May 2018 appeared at MUTEK San Francisco playing alongside Aux 88, Errorsmith, and Francesco Tristano/Derrick May. The duo are in the wake of the first E.P. of the thematic series, Acid Escape.”
Today was Galaxie 500's 1988 debut album, spawning one of the most influential sounds in indie rock history.
The band, whose membership was comprised of Dean Wareham, Damon Krukowski and Naomi Yang (the latter two being of Damon & Naomi fame), started playing together during their time at Harvard University, borrowing a drum kit from their classmate Conan O'Brien and starting to play gigs between Boston and New York City. Soon a demo made its way into the hands of Shimmy Disc label boss and indie rock super-producer Mark Kramer, who recorded the band's debut single, 'Tugboat', its follow-up 'Oblivious' and the subsequent LP, Today.
The band's early aesthetic prompted comparisons to the Velvet Underground and Jonathan Richman (notice the Modern Lovers cover 'Don't Let Our Youth Go To Waste') although you can hear a fair bit of Spacemen 3 in here too. The finished product offers a genuinely unique sound though, one that carves out its own singular moment in underground rock music's history.
Opening 2020 with a storm, Malka Tuti delivers a new 7” by mysterious artist Lena Muir.
"Two cuts of Post Punk infused dance floor bonanza for your weirdo selectors set, or your next car chase. Sounding like they were taken out of a Robert Rodriguez movie, the 2 tracks push relentlessly forward, with a quirky drum machine, heavy bass and kick-ass guitar riffs.."
Debut album from a mysterious new operator on Hospital Productions, a “fallen disciple’ who grew up in a religious cult and who now makes masterfully crafted Techno and EBM modelled in the image of classic Regis, Silent Servant and Ancient Methods productions and which features recordings of sermons by the pastor he had to listen to during his religious upbringing.
‘Suburban Scum’ is Nathaniel Young aka Guilt Attendant's devilishly detailed debut of girder-strength techno for Hospital Productions, forged in the image of late ‘90s hard techno and reverberating strongly with prevailing trends. It’s inspired and informed by the artist’s deeply held urge to undo the dogma instilled by his religious Christian upbringing. and, as such, it expresses a sense of free will within the context of Satan’s fall from grace, fully grasping techno’s repetitive excess as a potential path to hedonism, freedom and other ungodly matters.
Recorded between 2016-2019, the 8 tracks of ’Suburban Scum’ find Guilt Attendant in cold control of his agency. While they may possibly make crowds consider their own relationship to god, especially in his use of sampled sermons by his former preacher that crop up throughout, and most strikingly on the closing ’Severe Mercy’, the majority are more likely to make dancers slam the walls and trample a hole in the ‘floor, especially with the galloping horsepower traction of ‘Broken (Free)’ and his scudding 140bpm missile ‘Cursed Spawn of White Flight’, while the title track deals in purely clenched EBM and the dread-filled palpitations of ‘Imminent Unraveling’ features his vocals low in the mix and wrapped around the track’s rugged spine.
While there’s a certain irony in eschewing one dogma to embrace another, Guilt Attendant utilises the inherently principled form of hard techno as a steely framework in which to explore his own spirit. In the process he opens a derelict warehouse-like playground to reflect on key themes of moral independence, social segregation, free will, blissful despair and decisive autonomy - that patently apply to popular conceptions of the dancefloor as “church” and techno as ritual.
Huerco S’ West Mineral label follow Pendant’s sublime 'Make Me Know You Sweet' album with uon’s wholly absorbing study in brownian motion and isolation tank ambience; a hypnotically lush exploration of underwater romance. If you're into the impeccable run of Vainqueur releases on Chain Reaction, this one's for you.
It’s the 2nd release from the enigmatic project, whose debut 12”s in 2017 was among the year’s standout ambient and dub-related releases. On this new one uon poetically describes three different behaviours of water and its amorphous states through a gently elemental push and pull of forces best considered in the vein of Basic Channel, Wolfgang Voigt’s Gas or the shimmering convections of Ross 154.
Beautifully elusive but crucially watermarked with a sense of originality in personalized style, Solaris opens the set with a 17 minute cut - a seemingly infinite journey through swells of diffracted chords and silty filters, simultaneously connoting sensations of opiated amniotic safety and oceanic infinity.
Where the A-side feels like floating in a lush mass, the bass-heavy articulation of his B-side’s J may well urge listeners onto the ‘floor with the same, inexorable traction of classic Vainqueur records, and in a way smartly reflects uon’s mutable DJ style, before the aqueous qualities of his final track Bus soothes to a deeper blue state of loved-up introspection which, like Solaris, could have have easily taken up a side to itself.
In advance of Metal Preyers' mad, hypnotic debut LP, the Afro-Anglo-American squad prep the scene with ‘The Preying Well’, an immersive portal into their ruffneck soundsystem psychedelia for Uganda’s Nyege Nyege Tapes.
Revolving around core players Jesse Hackett and Mariano Chavez in the mix with input from their extended Ugandan family at Nyege Nyege Tapes, plus vital touches by London rogue Lord Tusk, Metal Preyers’ is a unique project that yields a queasily impressionistic jag deep into the nightlife of Uganda’s sprawling capital city, Kampala.
This mixtape acts a teasing prelude for the forthcoming full album of sozzled thrills, spills and bellyaches, drawing a curtain of nightfall over Kampala with shadowy strains of doomy free jazz and cranky ambient electronics that give way to swarming metallic tones, oozing jungle sludge and gnashing rhythms over the course of 46 impending minutes.
In key with the full album’s A/V stylings, which include a homemade horror video, the mix of music in ‘The Preying Well’ resembles a soundtrack in itself, flowing with a grittily fluid quality from ferrous atmospheres and Carpenter-esque tension into proper film noir jazz tones and ritualistic drone on the first side, then baying for the night with bleeding sax and rambunctious drums in the 2nd side, before calving off into keening, dissonant psychedelia that’s bound to leave listeners salivating for the album.
The most intriguing of The Tapeworm’s early 2020 batch is a game of lower-case rustle and smudge coaxed out from ‘Revox, Paper, Scissors’ (and pencil) by tape maverick Jérôme Noetinger and visual artist Liz Rácz
“Edited from recordings made during performances in Melbourne, February 2017 and Poitiers, September 2017. Inscribing of sound and drawing. The act of inscribing is the raw material. The inscription is transformed on a loop of magnetic tape. Illustration: Liz Rácz.
Using a singular repetitive gesture, Liz Rácz draws on a 10 metre-long roll of paper that she gradually unfurls, revealing a mass of regular strokes. Jérôme Noetinger records this gesture on magnetic tape, capturing, repeating, and transforming it. An auscultation of detail in a magnetic tape loop continuum.
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analogue synthesisers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica. He performs both solo and in ensembles (Cellule d’Intervention Metamkine, Le Un, Hrundi Bakshi, Les Sirènes, Proton…), and collaborates often (Sophie Agnel, Lionel Marchetti, Aude Romary, Angelica Castello, Antoine Chessex, Anthony Pateras, Anne-Laure Pigache…). From 1987 to 2018, he was the director of Metamkine, a non-profit organisation dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming co-ordinator of exhibitions, gigs, and experimental cinema at le 102 rue d'Alembert, Grenoble.
Originally from Melbourne, Australia, now based in the Grenoble region in France since 2009, Liz Rácz is an artist working across different media: installation, drawing, printmaking, painting, writing, comics, and performance. She interrogates perception, repetition, mise en abyme, gesture and translation, feedback and language modes through such works as “La Persistence Reptilienne” (2017) which is based on principles of pre-cinema optical toys, but animated by stroboscopic light; or project-in-progress “Drawchestra” (2019), a participative and auditive drawing event using home-made electronics and contact mics; and, in collaboration with Richard B., “Furcsañata” (2018), a noise performance smashable sculpture, filled with adult-themed goodies. She is the vocalist in the punk group Plaine Crasse since 2018 and is also in the collective that organises gigs, Archipel Urbain, at le 102, Grenoble.”
Stone cold classic ‘90s Detroit techno from UR agent Suburban Knight, reissued for first time in a decade
Widely regarded a jewel in the crown of UR’s early ‘90s run, the darkside techno template of ‘Nocturbulous Behaviour’ has cast a long shadow of influence over techno for nearly 30 years. The A-side’s Infra Red Spectrum’ is a masterclass in spine-freezing, super bass-heavy techno that possibly betrays a return influence from Belgian techno, which itself took large inspiration from Suburban Knight’s early Detroit classic ‘The Art of Stalking’ (1990). The all-too-short dread techno bomb ‘Magnetic Timetable’ follows on the A-side, backed with another all-time UR M.V.P. in ‘Nocurbulous’, with its bulldozer bass drop and totally haunting, sleepwalker synth lead brought to life in-the-mix by the Ultimate Survivor (a.k.a. Mad Mike) “Somewhere in Detroit”.
Tortoise mainman Jeff Parker throws down the lissom, balmy jazz-fusion of ‘Max Brown’, the final track of his ‘Suite For Max Brown’ album as a tease for the promising full LP
“I’m always looking for ways to be surprised,” says composer and multi-instrumentalist Jeff Parker as he explains the process, and the thinking, behind his new album, Suite for Max Brown, released via a new partnership between the Chicago–based label International Anthem and Nonesuch Records. “If I sit down at the piano or with my guitar, with staff paper and a pencil, I’m eventually going to fall into writing patterns, into things I already know. So, when I make music, that’s what I’m trying to get away from—the things that I know.”
Finders Keepers don their flasher macs and visit the soundtrack to French skin flick 'Jeune Filles Impudiques' aka Schoolgirl Hitchhikers.
The film itself is apparently quite so-so, but these tracks depict a vibrant No-No generation in the wake of the 1968 Paris uprising. For the break hunters there's a pair of real killer drum workouts, especially the feverish 'Gilda & Gunshots', but the sleazy, second-class jazz miniatures and library theme of the title track will whet the appetite of collectors everywhere.
This is the first taste of a new series from FK dedicated to the work of the film's director Jean Rollin, documenting some of his finest moments on vinyl. Tip! (For adults only)...
This second Galaxie 500 LP (from 1989) tends to be regarded as the band's finest, and in hindsight it sure sounds like a formidable piece of work.
Using a similarly slowed down, thinned out combination of guitar strum and plodding drums the band somehow continue to forge a unique sound that's helped terraform the subsequent indie rock landscape. Bands like Low owe a great deal to this trio's proto-slow core concoctions, and their songwriting never sounded better than on this LP, with great songs like 'Blue Thunder', 'Strange' and 'Tell Me' all helping cement the group's cosmically charged sound.
Further to the originals, towards the end of the album the band's take on a couple of covers, including Joy Division's 'Ceremony', The Red Krayola's 'Victory Garden' and best of the bunch, the George Harrison song 'Isn't It A Pity', which sounds great in this context, rendered in all its weary simplicity.
This 1990 Galaxie 500 album draws its title from the classic Ornette Coleman LP of the same name and transpired to be the group's final studio outing.
There seems to be a slight expansion of the Galaxie 500 sound on this outing, expanding upon the dream-pop building blocks of prior outings with a heavier drum sound and more textural guitars. Songs like 'Hearing Voices' and 'Spook' soar magnificently, while elsewhere, the woodwind solos of 'Way Up High' and miniature fanfares in 'King Of Spain Part 2' take the group's aesthetic into fresh directions - there's really not a single moment in Galaxie 500's discography that's not imbued with some measure of magic.
The closing cover of the Velvet Underground's 'Here She Comes Now' makes for a fitting full-stop in the band's lifespan as a recording entity, effectively bringing their sound full-circle.