New Zealand's Noel Meek and veteran Spanish sound artist Mattin craft this smart tribute to the legendary Annea Lockwood from a long-form Skype conversation, that's peppered across mischievous tracks that re-examine her most memorable moments.
If you're going to make a tribute to a composer as important and singular as Annea Lockwood, you'd better find a novel way of approaching it. Thankfully, Meek and Mattin know exactly what they're getting themselves into, using a lengthy three-way chat with the New Zealand-born artist to form the backbone of the record, and fleshing it out with smart pieces that act as a commentary on her compositional practice. So opening track 'Das Ding an sich' establishes the form with vocal snippets from the interview cut, manipulated and juxtaposed with garbled laptop noises, and 'Computer Burning' is a digital age take on Lockwood's infamous 1968 composition 'Piano Burning'. Instead of hearing a piano dying as flames engulf its wooden frame and steel strings, we hear the plastic and metal of a laptop pop and bubble and spit for 15 minutes.
Lockwood's interest in sound maps and environmental sound is touched on with 'Otakaro / Where the Children Play', a "hydrophonic diary" recorded at the Ōtākaro river that runs through Christchurch, where Lockwood was born. And the final track 'Homage to Annea Lockwood (2021-22)' is a moving polyphonic choral piece. It's a touching and fittingly whimsical tribute to one of experimental music's true originals. Recommended.
Pre-Lolina bombs from Inga Copeland, originally issued as a mediafire freebie in 2013 and now pressed up a decade later on vinyl in a limited run touted as Inga’s first and last album.
Anyone following Alina Astrova’s work since the Hype WIlliams days (us) will be all over this, finding her in that skewed but earnest pop mode that we first caught a glimpse of on a grainy Hype Williams vhs doing Sade’s The Sweetest Taboo around 2010 as featured on the Do Roids And Kill E'rything 7” for Second Layer.
Higher Powers runs 6 tracks / 20 minutes deep of material you’ll know intimately if you grabbed the files way back when, but which will scratch a very 2010’s sorta itch for the uninitiated. ‘Light Up’ is one of her best, all martial/slowed amens, unstable pads and room recorded vox that revel in questionable fidelity, in the best way. ‘B.M.W.’ is more hi-def, a clipped soundsystem anthem with gloriously fuzzed arcade machine synths, ‘Obsession 2’ feels like one of those tunes that spends 4 minutes trying to figure out what time signature it’s in, while Scratcha-hookup ‘A World in Danger III’ is the most polished thing here, ending just as it gets going.
Always a tease with this one.
The ninth issue of We Jazz Magazine, "Oisters" for Petter Eldh.
"128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH.
Stories include: Petter Eldh by Peter Margasak, Oren Ambarchi by Daryl Worthington, Sven Wunder by Markus Karlqvist, Robyn Steward by Dave Waller, Jason Moran by Rui Miguel Abreu, Darius Jones by Stewart Smith, Carlos Garnett by Andy Thomas, Discaholic column by Mats Gustafsson, Black Fire by Danny Veekens, reviews, plus more.
Country of printing: Finland"
Freestyle electro-inflected acid aces by Leo Dimartino aka Tino for Tom Carruthers’ local powerhouse Non Stop Rhythm
All three cuts jack deep into NSR’s classy brand of retro-vintage revival with devilishly tweaked-out takes on the sort of imported dance music that really caught fire with late ‘80s UK crowds. Traces of late latin electro freestyle, Detroit and NYC techno and Chicago house are pursued in the needlepoint drum programming and sinuous, trilling funk of ‘Let’s Dance’ on an early Joey Beltram/Bones Breaks meets Catt Records flex, while ‘Work My Body (Workout Mix)’ comes with judicious measures of spin backs, electroshocks and hip house-meets-bleep techno swagger, also found in a more skeletal proto-rave form in the OG.
The first Burning Witch album, circa 1996, recorded by Steve Albini.
"Blurred edges of consciousness voids: Time manipulation, experiments in black down-tuned drone and harrowing vocals.
Members went on to: sunn O))), Khanate, Goatsnake, ASVA. An important artifact of the cryptic domain."
A double disc anthology of singles, radio sessions and live tracks by cult Manchester group Crispy Ambulance, all recorded between 1980 and 1982.
"Disc 1 is forceful live album Fin, comprising live performances mix-desk recorded around Europe and the UK during the winter of 1981-1982. Most of this material was never recorded in the studio and captures the band at their most powerful and hypnotic. The CD closes with three bonus studio tracks, including both sides of the debut 7” single on Aural Assault Records from 1980 (AAR 01), as well as Black Death, the b-side of 1982 single Sexus on Factory Benelux (FBN 18).
Disc 2 is archive collection Frozen Blood, which includes both sides of the 10” single released on Factory Records (Fac 32) in 1980, all 8 tracks from radio sessions recorded for Piccadilly Radio (July 1980) and John Peel (January 1981), plus 7 more live songs taped in 1982 but never studio recorded at the time.
All 32 tracks have been transferred from the original analogue session tapes. 142 minutes of music in total. Cover portrait by Harry Papadopoulos. Updated liner notes by James Nice."
Originally released in 1987, ‘Official Version’ is the third studio album from Belgian electronic group Front 242.
"Featuring the singles ‘Quite Unusual’, and ‘Masterhit’, this is the album’s first repress since the late 1980s."