Iceland’s Bjarki hits a vein of icy trance techno and braindance on his 6th release with Nina Kraviz’s трип label.
On the A-side he reins in the braindance tics of recent releases to get back on the boom boom with moody, deriving effect in Thodn Med Skit a Master and then at an old skull AFX angle with the brooding, off-coloured harmonics of This 5321.
Turn over and you’ll find him mashing those styles with breaks and grumbling acid a la Astrobotnia on Galopinn Muninn, before erecting the steepled braintrance dimensions of Fimmtudgur 16-2 to sound like a a night lost in the smoke at Havoc or in some Hackney warehouse.
Featuring exclusive tracks and collabs feat Jlin & Zora Jones, DJ Rashad, DJ Spinn, Murlo, L-Vis 1990, v1984, Swing Ting, Famous ENo, Sinin Hawke and many more...
Sinjin Hawke & Zora Jones weigh in a wide and heavy 20-track volley of collaborations with everyone from Jlin to Swing Ting and v1984 on Visceral Minds 2; a hypercoloured showcase of the audio components to their ongoing A/V explorations - run go to their Fractal Fantasy site to see them in context!
Coming quick on the heels of Sinjin Hawke’s solo expo, First Opus, this suite exemplifies the bountiful bonds both he and Zora have developed with a worldwide network of artists who share a mutual vision of optimistic and forward-leaning dancefloor pressure in the contemporary field.
Adept at every style they turn their four hands to, from Zora’s warped footwork bender Dark Matter with Jlin to Sinjin’s footwork hypersoul turn with DJ Spinn & DJ Rashad which bookend the set, thru to the knee-bending bashment of Killa Season with Swing ting and Trigga, or the weightless turbulence of Zora’s Don’t head-spinner with Martyn Bootyspan, they’ve clearly got the sport of chops that should make many other producers very jealous.
That Swing Ting joint is a really big highlight, but we’re also most partial to the highly strung orchestrations of All Black featuring Sinjin with Rihcelle and Xzavier Stone, which starts out sounding like Maxwell Sterling then switches up the hardest drums we’ve heard in a minute, whilst one of the strongest moments comes from their own steam in the Zora & Sinjin zinger, No Shame.
No mistake, this set is a shiny peak of club music in 2017.
Finders Keepers and Demdike Stare’s Dead-Cert label unearth a record that has evaded collectors and online discographies for over 40 years - perhaps the rarest artefact they have reissued thus far. It's an impossible-to-find Italian library music oddity from semi-mythical producer and Fabio Frizzi collaborator Giuliano Sorgini, aka Raskovich, with a spellbinding collection of obscure and mind-bending oddities, Minimalist tape experiments, mechanical noise and musique concrète.
Best regarded for his groundbreaking electro-acoustic and concrète sound design input to The Living Dead At The Manchester Morgue and Zoo Folle, Raskovich is also linked to a wealth of impossible-to-find cult LPs with Alessandro Alessandroni’s Braen, Giulia Alessandrini’s Kema, and their mysterious supergroup The Pawnshop, all amounting to a catalogue which assures his place in the pantheon of library music greats.
Going deep into their under-the-counter channels, Dead-Cert have again outdone themselves with this outing, salvaging Science & Technology from total obscurity to reveal an innovator working at the full extent of his avant imagination in a sort of cybernetic symbiosis with his studio-as-instrument. Keening between sounds as much suited to a blood-lusting horror as a psychedelic, drug-fuelled thriller or some esoteric sci-fi, he penetrates and opens up vividly magnetising realms of abstraction that just beg to be explored by listeners who think they’ve heard it all before.
Erring closer to the kind of minimalist negative space and fractured dynamic favoured by Belgium’s IPEM, or even pre-echoing the atonality of Maurizio Bianchi, for example, as opposed the fluffier lounge tendencies found on many recent reissues from his field, Science & Technology lives up to its title with impressionistic depictions of industry and plugged-in life evocatively animated under titles such as Fissione Nucleare and Biochemica, or accurately modelling processes in the mutant, polymetric patterning of Germinzione.
It really takes albums like this one to remind us of the prescient collective and individual genius of the Italian library music scene, especially at a time when the quality levels, in terms of musical intrigue and uniqueness, not just presentation, is being called into question by a swell of inferior, or just plain unnecessary library music relics. As Andy Votel explains; "this release is quite unlike the many projects that have recently flooded the reissue market and stands up as one of the truly unobtainable and wholly original records to come from this important era of European studio music by a composer whose reputation is slowly approaching monarchial status."
Simply, it’s an engrossing example of the innovative technique and inventive imagination which made Italy a most legendary crucible of experimental music.
Grassroots selection of 17 covers played, recorded and mixed by Glasgow youth at Green Door studios. Includes satisfyingly raw, freaky and swaggering takes on Bowie, Joy Division, Gloria Jones, Devo, The Normal…
“One glance at this brazen cassette's track list offers a litany of seminal funk works, garage rock standards, R&B classics, loose disco, and new wave dirges, as well as several artifacts that seem to derive from no extant source. Unsurprisingly, this is not the cover compilation of a music-by-numbers, keyboards in the classroom, kumbaya-strumming enterprise. This is the real deal: music made by Glasgow youth not in employment, education or training (NEET).
Created, inexhaustibly managed, and exhaustively taught by Emily McLaren, Stuart Evans, and a host of Glasgow's musical players, the Green Door Studio's NEET course allows young people to record & mix their own efforts– for free– by drawing on production techniques of modern history's wildest studios: those of Phil Spector at Gold Star, Lee Perry's Black Ark, Visconti's Good Earth Studios, Sly & Robbie at Compass Point, and Conny Plank in his farm at Wolperath. Banded together in session groups, the young people run through old instructional staples, take these to heart, take them apart, bring new things to bear, and record the results.
Spiraling teenage riffs; loping, mopey bass lines; vocals both sanguine and sangfroid; haunted percussion; rude sequences; and baggy drums are whirled together through really reel-to-reel analogue production that leaves David Bowie's mix of Raw Power in the dust. With a kick drum mic taped to a brick, this is a sweet, kaleidoscopic slice of life in the Green Door Studio, and many seasons' worth of work that might make other musical efforts sound like cynical after-school specials.
Witness the next: extreme Martin Hamnett-baiting drum gating on Digital; why-not strings for synths on Jocko Homo; the essentialist sweat of Me and My Baby Brother; an office-party photocopy of Hurdy Gurdy Man; one of the best versions of Tainted Love ever recorded; plus two more large handfuls of precious stones and rough gems– rooftop bootlegs, hair-raising rip-offs, dead-thing-prodding freakouts, and lengthy excursions across the highways out of here– that openly defy your rules and question your technical comprehension.”
Classy new takes on classic rare grooves. RIYL Dego, Kaidi Tatham, Herbie Hancock
“22a017 has arrived and it sees two of London’s most celebrated underground producers enter into album territory.
Comprised of ten cuts ‘Brick City’ takes the listener on a journey through Afro-House, Funk, Rare Groove, Boogie and Broken Beat to name a few. Tunes like ‘Brick City (4am)’ and ‘Butterfly’ groove effortlessly whilst synth leads interject over tasty chords, all the while being supported by solid bass lines – these two will undoubtedly set a strong pace on the dancefloor. ‘Funky Booda’ does exactly what it says on the tin, it’s a straight Funk classic! Its infectious groove and soaring leads are sure to have you clapping your hands and stomping your feet. ‘Be Ur Friend’ is a fiery Afro-House number - reminiscent of one of Tenderlonious's early releases ‘Bob’s Riddim.’ With a slow build, the listener is teased until finally the drums drop and all hell breaks loose – another dancefloor winner! There’s also more hip-hop inspired selections like ‘Brick City (4pm)’ or ‘Pepe’s Walk,’ which bump hard and have strong traces of Sa-Ra and J Dilla influence.
The record comes complete with quirky skits like ‘Bootsy’ and ‘Ferndale Gateaux,’ which blend in and out between the other tunes allowing the record to flow effortlessly from beginning to end. There is something for everyone on this album. It’s the kind of record you can play at home from start to finish or take out to the club as an essential dancefloor filler. It pays homage to the 22a ethos, it has mass appeal and yet still maintains a high level of quality! In short this album solidifies the duos ability to make great music with their own signature sound, unique to their world and lifestyle.
2017 is all about 8R1CK C17Y!”
Strong house soul transfusion from Byron The Aquarius to Eglo Records
Dancing from the pendulous pace setter Song For a Friend thru the ruder, jazzed-up jack of Mind Body & Soul to hit the downstroke with class on Blow Your Mind and S.S.D.P.
First ever presentation of The Lower Depths , Charlemagne Palestine’s epic, systematic 3-part investigation of his trusted Bösendorfer grand’s capacity to produce notes lower than any other piano. Keener observers may have noticed a track called The Lower Depths on his Godbear LP, which was reissued last year by Oren Ambarchi’s Black Truffle, but this set was recorded at his famous red and gold loft on North Moore Street in Tribeca, and predates that recording by some ten years.
Totalling nearly 3 hours of works made over 3 consecutive performances at his loft space, the recordings effectively describe a transition in cadence from the centre of piano’s keyboard in CD1, to a register two octaves below in CD2, finally arriving at its thrumming Lower Depths before dramatically rising back up again in CD3, all offering a raucous, transfixing testament to the man’s genius in stunning full flow.
As Palestine himself refers to the trilogy of pieces as being “like a soap opera… you get your share of tears and laughter… i watch the afternoon ones that aren’t as visionary, keep it real, the yicky ones” you should have some idea of the typical levels of melodrama and emotion that he puts into these works, which while definitely avant and experimental, also work on an immediate and transcendent level meant to be understood and felt by anyone with ears and an empathetic heart.
With pedals pressed for maximum sustain throughout all parts, Palestine wreaks increasingly intense havoc right on the line between ecstasy and violence across the trilogy, coursing from jagged, jabbing flurries and their lushly discordant harmonics in the first, to panic-raising levels by the time he really hits the lower ends in track 2 of Part 2, and then really gunning for the Bösendorfer’s bowels in a jaw-dropping, thunderous descent, then spiralling back up for breath in a manner that may leave listeners with the bends.
Of course, that’s a simple description of the work’s general dynamic, but the nuance lies in the way Palestine can simultaneously bathe us in fire and still give us the chills, baffling the senses with its majestically chaotic yet sublime clangour. If you’re susceptible to the power of his glissandi as much as us, we rate you’ll fall hard into this one.
Nachthexen are a band - possibly a coven - from Sheffield making fresh, fiery and eminently danceable synth punk.
"This record follows on and includes re-released songs from their excellent sold out cassette The Other (2015) and self-titled 7" (2016). Touching on themes of social anxiety and isolation, feminist protest, and sanctuary in sisterhood, the witch is a fitting figure for this sound. Striking, minimalist artwork based on lunar cycle imagery in the band's signature yellow and black adds to an aesthetic of outsider occultism that complements the lyric sheet perfectly.
Filter that eeriness through the ferocity of classic punk, and the catchiness of 80s post-punk and new wave - and you start to arrive at somewhere near their sound. Tight and taut drums and bass anchor the songs with sustained rhythms, while the synth soars above and the great, in-your-face vocals push at the forefront. At times the interplay between rumbling bass and gothic synth takes things to a dark magical place where Goblin's Suspiria, Gary Numan, and post-punks Siekiera might also converge, which I think is pretty remarkable.
On the other hand, something of the punchy attitude and ear-worm hooks recalls the spirit of women pushing punk forward in the late 70s and 80s - Kleenex springs to mind, or the rowdy vocals of Suicide Squad. However, I have the feeling that no attempt to settle on an accurate historical comparison for this band could be successful."
Specially cut to 7” for all the DJs with fat fingers, Kyle Hall follows up Speed of Life with the psychedelic beatdown swang of Teacher Plant and a scuffed soul nudge called D.S.P. (Dear Sweet Potato).
An educated guess would assume that Teacher Plant is Hall’s ode to the putative lushness of ayahuasca, giving up four minutes of earthy breakbeats and sweeping synthwork with a sweetly psychoactive effect.
D.S.P. (Dear Sweet Potato) on the other hand, slumps into a more laid-back state with crumpled drums and pitch-bent chromatic key strokes projecting a sort of arabesque, geometric lightshow for the back of your eyelids.
Rafael Anton Irisarri unveils his latest sublime panoramas, presenting his first major solo work since 'A Fragile Geography' for Room 40. If you’re into GAS, Tim Hecker, Lawrence English or Bohren & Der Club Of Gore - this one comes highly recommended.
Mantled in reference to the socio-political upheaval it was borne in, The Shameless Years was written in a flurry of creativity at the end of 2016 when Irisarri booted up some old software in addition to his trusted palette of guitar, pedals, amps and analogue processing at his Black Knoll Studio. There, he rediscovered a mean sense of purpose that lends these recordings a thematic cohesion producing his strongest work in ten years of releasing material under his own name as well as The Sight Below, Orcas, and collabs with Slowdive’s Simon Scott, among others.
In typically gauzy vision, the album starts off from an elevated perspective with stately melodies masked by impenetrable fields of noise harmonics on Indefinite Fields - perhaps a poignant metaphor for hope thwarted by terror and confusion. It passes on into the glum marching rhythm buried beneath RH Negative’s banking walls of shoegaze distortion and the expansive lost-at-sea feel of Bastion, sustaining and building a symphonic melodic defiance against the swell, before sublimating himself to the lushness of Sky Burial, which on one hand is a deeply serious mediation on his own mortality, and on the other somehow sounds uncannily close to a shoegaze version of Careless Whisper. Such is life.
To perfectly compound and heighten the impact, Irisarri shares the weight of emotion with Tehran-based composer Siavash Amini in the LP’s final, and arguably most affective, two parts. In a subversive gesture to the travel ban on Iranians imposed by La Naranja, which is only made sweeter thru its release by a Mexican label, the pair worked remotely to realise a fitting diptych with the tempestuous glower of pealing harmonics and apocalyptic low end rumbles in Karma Krama, then tempering and moderating that rage in a palindromic passage from doom jazz to majestic harmonic clusters and back in The Faithless with a crushing sense of controlled rage that reminds us of Bohren & Der Club Of Gore at their most subdued and devastating.
Italian composer Sandro Mussida follows up a pair of probing Mark Fell collaborations with the exquisitely enchanting minimalist Classical suite, Ventuno Costellazioni Invisibili - translating to Twenty-One Invisible Constellations in english - offering a beguiling, meditative iteration of 21st century Italian avant-garde as the debut release on Alfredo Scotti’s Metrica label.
Making up the first record with Mussida’s name at the top, Ventuno Costellazioni Invisibili ventures a beautifully suspenseful play on perceptions of time and space rendered in two distinct, electro-acoustic pieces, each making sublime use of an ensemble comprising the artist as director and looping strings, alongside Enrico Gabrielli (clarinet), Yoko Morimyo (violin), Susanne Satz (piano), Alessandra Novaga (electric guitar), Giulio Patara (triangles, celesta, tam tam), Sebastiano De Gennaro (triangles, glockenspiel, chinese gongs), and Giovanni Isgrò (sampler).
In both parts the piece references a graphic score which looks like the schematic for a teepee, but in fact describes a “transfiguration of perceptual time” in its triangular design, prompting the performers to play pitches at differing speeds, with musical “cells” generated by the rotation of triangular figures in time and space. While we may not be able to correlate exactly what we’re hearing on the record, it’s at least easy enough to see where the precision of its underlying structure stems from.
In the first, ten minute instance, this manifests an incredibly delicate display of pointillist percussions and levitating, sustained string tones which establish the spatial parameters, before shards of guitar and piano light up the space with a pensive emotional ambiguity which reveals itself as increasingly blue, melancholy and strung out by the pinch of the closing notes. In contrast, its 14 minute counterpoint is more radiant, but not necessarily optimistic, striking a balance of nervous tension and chiming harmonic resolution that soon enough slips into something like a lucid dream state with an almost theatric interplay and agenda that crosses soundtrack, avant-garde and classical sensibilities in a mannered, poised way that’s key to so much of the strongest Italian music, clearly inheriting from the likes of Giusto Pio and Franco Battiato, and cleanly resonating with modern works by Oren Ambarchi or Elodie.
All that said, there’s something totally captivating about this LP that can’t be explained in terms of its technique or theory. It’s a record whose crafty metaphysics encourage a sublime, unknown state which must be experienced to be understood.
Jason Fine follows a five year break from new releases on FXHE and Kontra-Musik with a full spectrum display of Detroit house for the deeply rooted DBA label, following up his earthy remix of Typesun’s Make It Right.
As one of a small handful of people not called Omar-S to release on FXHE, Jason Fine evidently possesses the kind of gritty soul that cuts it in Detroit. The Moonscapes EP shows off that soul in four parts, getting into motor city gear with the hazy, sylvan swang and murmuring synth voices of Amalthea, then cruising the other side of the tracks with Dione - whose strapping acid bass strongly recalls Big Strick’s Armed & Dangerous - before bringing it back to the debonaire with his glassy, skippy Elana, and meditating on sweet new age vibes somewhere between Jamal Moss and Mika Vainio in Larissa.
From Peckhm’s rooted hotbed of dancefloor fuss, the FYI Chris duo follow up up 12”s for Rhythm Section and Lionoil Industries with the skewed house hustle of Spirit Animal
Twisting from Afro-psyche-funk inspirations woven into Captains Patilla and the grubbing, glinting shimmy of Dance Bebey to more pendulous percussive heft in Silk, neatly balanced by light-footed flutes and bleeps.
For the early evening/late morning dancers!
Wigged out, grubbing dub and rooted outernational styles from Mo Kolours, landing square between Ras-G and Clap! Clap! vibes
“Side A opens with ‘Cerasee Doctor,’ a classic Mo Kolours production. Hip Hop meets Dub Reggae, with a catchy vocal loop throughout, equipped with a healthy dollop of dub sirens – this one is sure to grace many a soundsystem worldwide! ‘Margoze’ follows and takes the listener on a journey to West Africa where cowbells and syncopated rhythms take lead whilst the distant sound of local dialogue blends seamlessly in and out of the mix, rooting it deep in its African foundation.
Side B begins with ‘Goya,’ which brings about a fusion of traditional Vietnamese folk mixed with snippets of slap bass to create a collage of worldly sounds – a technique synonymous with the acclaimed producer. The EP finishes with the title track ‘Meroe,’ where Mo Kolours once again effortlessly fuses ancient and modern sounds to create a dancefloor winner. Its up-tempo rhythm keeps heads nodding with it’s low pulsing bass line rumbling beneath, whilst tribal chants bring euphoric moments to the mix leaving the listener feeling positively uplifted.
In conclusion it’s a mini EP that packs a big punch! And most importantly it sees the return of a heralded music maker.”
Microtonal music for violas and viola da gamba performed by Nadia Sirota & Liam Byrne. Includes download codes for 38-minute film by Steven Mertens and all digital audio
“Tessellatum is an album and a film, with music composed by Donnacha Dennehy and animation by Steven Mertens, performed by violist Nadia Sirota and viola da gamba player Liam Byrne. The film and the music both work with the idea of man vs. nature. Steven Mertens’ electric animation toggles back and forth between man-made geometric perfection and the natural oddness of the deep ocean. Donnacha Dennehy’s addictive timbres move between tuning systems created by humans and the ones found in natural resonance. As a result, the two works of art support and enhance each other, using the same form and structure to create an incredibly moving work of art.
All fifteen string parts were performed by Nadia Sirota and Liam Byrne on viola and viola da gamba. The album was recorded in Iceland’s famed Greenhouse Studios by Paul Evans and mixed by Valgeir Sigurðsson. Produced by Nadia Sirota. “
Fresh product from Peckings Brothers
Burning four new vocals on The Gatherers’ Black Ark roots riddim Words; with Ras Charmer’s Hard Knocks on a jam rock tip, next to the sweetened lovers / R&B inflections of Carolene Thompson, and a woozy, horn-led Patrick Matic mix, plus the OG dub.
A playfully wigged-out wonder from the bowels of Glasgow’s avant garde, 'Cable to the Grave' quietly and steadily bucks boundaries and descriptive shackles at every turn, in a way perhaps best compared to Ghédalia Tazartès jamming with NWW and Maja SK Ratkje.
“Vernon & Burns (Mark Vernon & Barry Burns) are a duo of sound makers who create radio plays, records and performances through a mix of samples, field recordings, voice and music.
‘From the Cable to the Grave’ includes 19 new tracks featuring harmony bombs, erotic grotesque nonsense, frolicsome demon beats, stimulators of vice, confusion ciphers, faster silences, declarations of indulgence, necessary noise, abstract paradises, and excerpts from the minutes from the AGM of the Dream Prognostication Circle & Astral Radiation Trance Club.
In summary: A once in a lifetime’s clinch with gaiety.”
Amos & Sara’s wickedly twisted post-punk dub session, Invite To Endless Latino [War Boys, 1983] sees its first ever vinyl cut thanks to the efforts of Alga Marghen’s Emanuele Carcano, who deserves a pat of the back for effectively pressing up one of his favourite tapes to share with the rest of us...
Comprising all tracks from the cultishly coveted original cassette by The Homosexuals affiliates Jim Welton & Chris Gray, from the nutty nattiness of Mr. Sinister to the keening disco-not-disco of Insomnia Samba and the ragged hustle of Pain Mambo, it’s not hard to hear why this LP is such a cult classic.
It just drips with playful innovation and tongue-in-cheek ambiguity, putting together a mad mixture of authentically sensuous swerve and nagging pop hooks under relatively crude conditions that recalls some concoction of colourful pills in a wine-soaked barm bought from Brenda Naffi’s butty bar.
Peckings Brothers nice up the dance with fresh vocals on Carole Kalphat’s immense African Land roots rhythm.
Teddy Dan gives the soul aching Jah In Glory; Troublesome kills on Oh Jah; The Emererians make it lush and mystic; Peckings Allstars treat the original riddim with the respect it deserves.
Sam Binga and Danny Scrilla go twos-up on a ruddy bass mongrel for Om Unit’s Cosmic Bridge
Launching tribal drums, barrelling subs and virulent acid lines in the high-pressure jungle-footwork of Frolic In Brine, then with a hard-nosed half step D&B juggernaut spiced with glitches and screwface noise in Further Peaks for fans of Pessimist or Ruffhouse.
At long last a reissue on vinyl for this long lost and scarce UK Hardcore punk classic.
"Originally self-released in 1993 in a very small run. Original copies now command £100 upwards on the collectors market. This reissue collects that original material alongside tracks from that same period released in Japan only.
This new edition was put together by the band themselves. It features an extensive collection of unseen photographs and sleeve notes housed in a swanky gatefold sleeve. The same iconic front cover used on the original album graces this edition too."
Prince Jammy dubs the Augustus Pablo production for Hugh Mundell’s Africa Must Be Free by 1983 in heaviest style at King Tubby’s studio, turning Mundell’s signature falsetto and Pablo’s melodica into an echo chamber maze of smoke and mirrors.
Stone cold superb.
Hamburg’s Phil Struck joins Quiet Time Tapes’ somnolent series with a steeply acousmatic session of grayscale tones and organic electronics that feels like the results of Basic House on a febrile bender with Helm in Wanda Group’s basement, which just happens to have a secret hatch into Henry Spencer’s apartment.
Found in a half light between lo-fi, small sound scrabble and ambient queasy listening, QTT5 unfolds in eight parts along the reel’s ∞ axes, dragging the listener across the tapehead from the reclaimed mechanical ambience of 24, to zoom in on Black To Comm-alike sci-fi dankness in Telescope and document some arcane game involving rusty pipes and seagulls in CCLT, before bathing in puddled new age tones with Untitled.
Rosegate opens the B-side at a more abstract angle with piercing string glissandi, waterlogged chords and spasming electronics like something that escaped from Actress’ studio late at night, before the beautiful, mirage like Amber hovers into view like a Huerco S vision, dissipating into the noxious atmospheric swamplands of Delta and the bittersweet harmonic resolution of Oaoa at its perimeter.
The sense of ambiguity is strong and key to the appeal of QTT5, which operates right on that jagged line between OOBEy detachment, romantic introspection and discomfiting yet compelling sensations of “maybe I shouldn’t be here, but…”
A beguiling historical dispatch from post-’68 Paris, Jacques Thollot’s radical free-jazz/psychedelic rock enigma Intra Musique receives its first ever airing thanks to the wonderful Alga Marghen.
Recorded in 1969 in the Faculty of Law at what was then the Sorbonne, now the University of Paris, Intra Musique documents a remarkable collision of energies as much informed by the freedoms of American jazz and psychedelia as its European analogs, capturing a driving, anarchic chaos in the 22 minute A-side, and a more fractious diffusion of ideas, from swinging jazz to more damaged and percussive onslaughts on the B-side. Now appearing 50 years since the events of ’68, Intra Musique uncannily intersects another turbulent point in history while still sounding as vital, urgent as ever.
“There are records that stimulate curiosity to the extreme, records that make you want to dissolve yourself into the intense and beautiful surprise this music will bring. It is undeniable to the delighted ear that this exhumed document contains all the assets of the historical output, of the record that one would dream of waiting for long if one had known it existed. This rough edit, done within urgency by Jacques Thollot, testifies of a unique experience: the concert of Intra Musique at the Faculty of Law in Paris, an uncertain evening of 1969. The devastating gab of the two acolytes Jacques Thollot and Eddie Gaumont made the concert take place, on the ploughed earth of May '68, in the same faculty where so much was discussed and, thanks to the success of the previous concerts of the association of students, that allowed the risk of hiring the thundering dream team. Unique because there will never be another replica of what Jacques Thollot called "a movement", involving Michel Portal (tenor sax), Mimi Lorenzini (guitar), the rare Daniel Laloux (tambour), Jacques Thollot (drums and tapes of recorded experiments, those that would build the skeleton of the magnificent Quand Le Son Devient Aigu Jeter La Girafe À La Mer LP on Futura (1971)), and Eddie Gaumont (guitar, piano), the instigators of this journey. Captain Eddie Gaumont will capsize shortly after, sunk by a too intensely dark life; sad coda putting an end to the project.
There is also the undeniable whirling of the mentors and companions' spirits of Jacques Thollot, such as Don Cherry, Steve Lacy, Bernard Vitet, and Jean-François Jenny Clark, and the hard to describe succession of precious moments: that oblique spiritual-jazz, that other staggering ballad, or that primitive fever of essential nervous flights, that almost psychedelic proto rock; alternations of radical free music to those magnificently classic, overwhelming achievements. Jacques Thollot is not just one of the greatest abandoned jazz composers: he is the one who abandons himself to all its forms.”
Nice side of Gallic and Afro influences worked to a lilting, downbeat affair squinting in the sun towards Air and classic ‘80s AOR
“Growing Bin is swapping bucolic Poland for the buzz of the Big Apple, reaching a magnificent seven in the company of synth-pop dreamer Shy Layers (JD Walsh to his mum) and his sublime self titled debut. Over the course of ten emotional pop serenades, the New York musician recalls lost days sofa surfing to the lounge electronica of Air, Mellow and early Phoenix or the swooning lo-fi psychedelia of a pre-MD Simian.
Shy Layers welcomes us aboard with the shimmering pads and soothing soft synths of ‘Black & White’, a drifting soundtrack to a John Hughes-directed episode of ‘In The Night Garden’. From there we swerve into the wistful synth-pop of ‘Famous Faces’, locking into the rattling Tears For Fears groove while the West Coast guitar licks and vocoder vocals float off into the distance.
‘You Won’t Find Me’ shuffles through afro-tronic keyboard lines, Beta Band breakbeats and loose funk guitar before the sweltering ‘Stabilized Waves’ dips a toe in the Med, swaying gently to the fluid bass, acoustic strumming and cascading electric guitar. Swapping continents to close the A-side, ‘Too Far Out’ finds Walsh working highlife guitars and fuzzy sanza sequences into a piece of perfect off-kilter pop. The B-side begins in glitchy fashion with the flying hats and seesaw synths of ‘Holding It Back’, before ‘Playing The Game’ offers sprinklers over summer lawns, dub fx, jangling guitars and cooing vocals. The afrobeat influence shines through once again on the rhythmic ‘Bees & Bamboo’ before ‘SEG’ sees Shy Layers don Mario’s Red Wing cap for a chip-set safari through the bright blue sky. Playing us out with the same cinematic splendour with which we began, Walsh conjures a woozy, sun-dappled mood for the sumptuous ‘1977’.
Fusing French pop, glistening Americana, 80s AOR and afrobeat into a hazy vision of balmy mornings, long evenings and lazy days, Shy Layers has served up the soundtrack to your summer.”
NYC’s Solpara keeps Quiet Time Tapes’ ambient agenda mutable and off-kilter with a lucid dream of alternately crisp and melting hyaline structures following releases for Nico Jaar’s Other People, and his own Booma Collective label.
Where his previous releases explored rugged strains of techno, here he follows his instincts along more abstract lines of enquiry on a roaming dérive from subterranean chromatic whorls in Psyzch to the fluffy electronica charms of Dodokéhidra, traversing thru lushly resonant sound sculptures recalling Phil Julian’s Relay CD such as Broken Turbine and the algorithmic chain reaction of Ego Death, to find a contemplative centre in Meditation of the Wounds and a contrasting, piquant counterpoint of distorted, crystalline design in Aguirré.
The 2nd half seems to flow with more urgency, lurching into action with the panicky Brush Leaves and possibly pointing to his Lebanese heritage with the rapid, tar-like twang of Fungi In Communication and the recalling the strange metastable states of Aught’s Xth Reflexion or Anòmia/Hospital Production’s Exoteric Continent, then settling down into the pointillist minuet of Ristretto, which almost feels like a orchestration of dripping taps in an abandoned, glazed tile-clad restroom at the bowels of the city.
Lynch and Badalamenti would go on to become synonymous with one another but at the time these pieces were written their collaboration was still in its early stages.
Even so, Badalamenti pulled together music which absolutely mirrored the images we were seeing on screen from the incredible theme song to the unforgettable 'Audrey's Dance'.