Includes interviews with DVA Damas, Farai, Laurel Halo, Mechatok, Parrish Smith, Steve Hauschildt, portraits on Golden Pudel’s/VIS’ Nina as well as Evil Grimace & Von Bikräv from Casual Gabberz and essays on “Late-Phase Identity Politics” (with Terre Thaemlitz) and “A Short History of the Aesthetics of Excess in Hip Hop
"To what extent can we imagine community, exchange, and collective projects that no longer fall back on the dominant narratives of nation, fatherland, and family? This is the question posed by Terre Thaemlitz in a detailed exchange featured in the 16th edition of zweikommasieben.
"Throughout the new issue of the magazine, similar questions are asked; the artists and musicians featured seem to be looking for a progressive reaction to the feeling of disintegration that we are not only witnessing in the larger society but in the music scene as well.
The questions are subliminally present in the contribution about the independent collective and venue called Macao, or in interviews with musicians such as NON’s Farai or American experimentalist Steve Hauschildt. The answers often remain ambivalent; ultimately there won’t be any utopias. “There’s a sun in the sky,” as Laurel Halo points out in the magazine, “but it’s burning ever hotter.”
Just in time for Sonic's 26th Anniversary and to celebrate the launch of his newest adventure, the official Sonic Mania vinyl album.
"The Sonic Mania LP features 16 new tracks selected by composer Tee Lopes, as well as new gatefold art featuring Sonic, Tails, & Knuckles exploring the lush vistas of Green Hill Zone Act 2. The vinyl album is a must-have for any fan or Sonic music aficionado, and a gorgeous addition to any Sonic collection.
Sonic Mania is a single LP packaged in a heavyweight gatefold sleeve with UV spot varnish, featuring new artwork exclusive to this release, along with a printed inner sleeve featuring an array of characters from the game. The release also includes a download code of the album in both lossy and lossless formats. It is available in the following editions"
The mighty Black Zone Myth Chant returns with a new LP of Chopped and Screwed electronics via deep space New Age for Low Jack and Jean Carval’s Gravats label...
Max P, aka Black Zone Myth Chant, presents the project’s most adventurous and urgent despatch yet, dosing with the unfathomably layered and immersive Feng Shen. What was initially intended as a one-away project has now morphed into something powerfully undefinable and strangely affective over the course of two albums, Straight Cassette and Mane Thecel Phares, an EP and a mixtape, realising something of a butterfly effect feedback between the gestures of his strangely formed objects and their dilated reception by listeners around the world.
Over the course of eight tracks he renders a phenomenal space where he can best describe the paradoxical, impossible physics of a psychedelic soul, by toying with the listener’s gauge of anticipation, perspective and temporality with a poetic clash of ideas lent from chopped & screwed hip hop and liminal club musics.
It’s music which exists in two states at once, driving yet floating, as with the pull and push of pitched down voices and rolling rhythms in Their Love For You, or with impenetrable density of clarity in the layered dimensions of Kubara, following a line that binds kosmische and dancehall in Under Protest/Telos, to the polymetric harmonic swirl of War Paint (DAPL Resistance), and connects the heat-seeking techno impulses of Ideas In Action, to the centre-less ambient panorama of Feng Jing.
Facsimile reissue reproduction of the Norwegian-born, Australian-based composer’s 3rd LP
A collection of jazz soundtracks taken from 1960s Australian documentary and public information films. Originally released in 1967, some six years prior to Libaek’s widely regarded Inner Space soundtrack, which was most recently used in Wes Anderson’s The Life Aquatic with Steve Zissou.
Equiknoxx’s debut album proper, following the hugely acclaimed 'Bird Sound Power' (Number 2 in both RA and FACT albums of the year 2016), featuring 13 brand new nuggets recorded over the last 12 months and featuring darker, more psychedelic, starkly dubbed perspectives on up-to-the-second dancehall. Well worth checking out if you’re into anything from Lenky to Haruomi Hosono, RZA to Errorsmith...!
Colón Man is the exceptional debut album proper by visionary Jamaican dancehall artists Gavin Blair (Gavsborg) and Jordan Chung (Time Cow) plus their extended crew, aka Equiknoxx - once again for Demdike Stare’s DDS label. Where their widely acclaimed Bird Sound Power primer compilation, issued on DDS in 2016, brought the rest of the world up to speed with the music produced between late ‘00s and 2015, their first album now brings a 2020 sound into sharp, technoid focus thru a baker’s dozen steely, heat-seeking riddims galvanised with clinical electronics and a Midas Touch approach to sampling.
The record’s title, Cólon Man refers to a Jamaican tale (and song) about a mysterious character, whom, like Marcus Garvey, was one of over 100,000 Jamaicans who returned from working in Cólon on completion of the Panama Canal - regarded among the greatest feats of engineering known to humankind, physically connecting the greatest bodies of water on the planet. In context of the album, Gavsborg and Timecow take the story as a metaphorical foundational for a roots and future sound, acknowledging the vital groundwork of previous generations of producers, whilst soundly contextualising their mutant new advancements of Jamaican Dancehall.
Recorded between December 2016 and June 2017, Colón Man forms a stark, stripped down and conceptually blinding record. In tone and texture, the duo favour far colder, more abstract sounds, crucially lit up with sparingly used samples that lend the record its dissonant, harmonic colour and bittersweet hooks, stylishly feeding forward their playfully weird sense of humour into a rugged, nutty and even noisily imagineered set.
Bookended by the gauzy, Detroit-compatible synth looks and acid hall grind of Kareece Put Some Some Thread In A Zip Lock, and the mesh of Motor City sleekness with Far Eastern strings on Waterfalls In Ocho Rios, they distill and diversify their bonds in myriad ways across the album. There’s a killer dancehall/trap hybrid in the percolate chorales and man trills of Plantain Porridge, along with the secretive dub-into-dancehall transfusion of Addis Pablo’s melodica in the belly rolling Melodica Badness, while Ceremonial Eating Dog and the hyaline designs of We Miss You Little Joe - a tribute to their pal Alty Nunes - are arguably the most fwd Jamaican riddims you’ll hear in 2017, and Enter A Raffle… Win A Falafel uncannily recalls the clockwork mechanics of Haruomi Hosono’s Alternative 3, from his S-F-X  LP.
No matter what electronic box or boxes you subscribe to, Colón Man is a hugely inventive, compelling album for the ages, a remarkable iteration of Black Secret Technology for 2017 and far beyond.
With hard-to-define instruments Varkenshond creates ritual and tribal madness in the vein of early Silvester Anfang and Zero Kama. Varkenshond was founded in 2006 in Antwerp, Belgium while the to-be members were studying Maggergergorian spiritual philosophy with Wim Vanaeghe, Thomas “Gergeti” Kreuzfeld and Koera Mönggüm Sorgan.
"They released a cd in 2007, the result of a series of therapeutic music sessions led by G. Karkaronga, and a cassette in 2013, a selection of songs and meditations recorded with local musicians in Brasil, Belarus, China, India, Indonesia, Mongolia and Russia.
Their new album Hargawaan Por Shail is a collaboration with animal communicator, flute player and percussionist Yori Yoki. It consist of Támoldut and Maggergorian vocal and instrumental traditional music from Asia, Africa, South America and Europe. The album includes the first recording ever of the instrument "Life Hooter" and an atmospheric electric version of Qéfelni."
The producer better known as Codex Empire twists his EBm sounds to a gothic darkwave appeal as Mitra Mitra, alongside vocals by Violet Candide. Check for the very Chris & Cosey-esque electro-pop remix from IV/AN Captive
“mitra mitra was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae. Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary Future Echo club night in Vienna, and is one half of Anesthetic Hairpins.
British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project Konstruktivists, Oppenheimer MkII (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project Codex Empire. After working together on one of Violet's solo songs, Heat, the pair decided to continue working together as mitra mitra, with the aim of writing electronic songs not tied to any particular influence or style.
mitra mitra have so far released a limited 7” single on Polytechnic Youth and a self-titled debut album on their own label Micromort Music – both of which sold out almost immediately. For their new EP, released in conjunction with Peripheral Minimal, they present four new songs, including live favourites The Flood and One Universe, as well as Snakes and Phantom Flats. Rounding off the 6 track EP are two special remixes from LowSea, who remix Snakes, and IV/AN who remixes Blender (from the debut LP).”
Next in the 1st ever American reissues of early Battiato LPs, Pollution  renders the Italian answer to Brian Eno taking prescient inspiration from climate change for a 2nd solo LP of kosmiche flights helmed by folk-rock instrumentation and gilded with VCS3 synthesiser. An unparalleled pop star and famed experimentalist in his homeland, Battiato is beloved by everyone from Nico Vascellari (Ninos Du Brasil) to Lorenzo Senni and prog fans worldwide. These reissues should spread that love farther.
Pollution is more baroque, steepled than its breezier predecessor, Fetus. It finds Battiato getting better to grasps with his favoured synthesiser, meshed with his plaintive, unsentimental vocals in a brace of intricately woven arrangements ranging from portentous to ecstatic examples of his famous and widely admired sound, even including some delicious downstrokes of esoteric psych-soul vibes along with the usual folk inflections.
“Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it "genius."
While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone.
Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll.”
This first ever American LP issue of Fetus , the seminal debut album by Franco Battiato - a venerable grand maestro of Italian prog - kicks off a comprehensive reissue series looking at his formative 1971-1978 period. An unparalleled pop star and famed experimentalist in his homeland, Battiato is beloved by everyone from Nico Vascellari (Ninos Du Brasil) to Lorenzo Senni and prog fans worldwide. These reissues should spread that love farther.
One of the first ever electronic records released in Italy, Fetus is widely considered one of his finest moments, capturing a playful frisson of folk, analog electronics and kosmiche leanings with a blend of pop appeal and conceptual, experimental urges that would unfold in myriad variations across his lengthy catalogue ever since.
Superior Viaduct rightly paint him as Italy’s answer to Brian Eno for his role in bringing Italian pop music up to par with explorative, psychedelic American and British analogs during that era. We’re be inclined to add Tom Zé for his warmer, colourful, auteur-like sound, too.
With Fetus, Battiato riffs on themes of genetic engineering in eight succinct (especially for prog!) songs inspired by Aldous Huxley, following a fine, dreamy line between traditional rock instrumentation and the kosmiche freedom afforded by his VCS3 synthesiser, stretching his imagination from delirious sound collage to rousing folk-rock and operatic chorales with an enchanting sense of naif wonder balanced by a cool curiousity and virtuosic songwriting vision.
Desire is an electronic music band from Montreal and Portland, Oregon. Their debut album, II, was originally released in June 2009 on the Italians Do It Better label. The band is made up of vocalist Megan Louise, producer Johnny Jewel (also a member of the IDIB bands Chromatics and Glass Candy) and Nat Walker (also a member of Chromatics) on synthesizer and drums.
'Montre Moi Ton Visage' rips us back to some concert venue in the early 80's with disingenuous crowd noises and heavy reverbs setting an epic scene before 'Mirroir Mirroir' turns on dark charms with lo-fi and deadpan vox from Megan Louise. It's all to his credit that you'll be beating yourself up thinking "where the f**k have I heard this before" when of course it's all original material. Following this, the simple but beautifully executed developments of 'Dans Mes Reves' will leave few heads blind to his talents, but it's the darker American allure of 'Colorless Sky' that you should be playing to your friends that need convincing.
Lush, reticulated reggaeton, deep house and breakbeat fusions from man o’ many monikers, Brian Piñeyro (Deejay Xanax, DJ Wey, Luis) as DJ Python, following the sterling example of his ¡Estéreo Bomba! Vol. 1 for Antony Naples’ Proibito with an immersive expansion of that sound in Dulce Compañia.
Taking reggaeton along new, instrumental routes intersecting NYC’s rave history, DJ Python has pretty much cooked up his own style of deep reggaeton, a title which should probably be taken with a pinch of salt, but serves well to identify his angle amidst an upswell of LatinX producers who are spinning dembow beats and tropes into all kinds of new spaces - from DJ/Rupture and co, to Florentino and Kelman Duran, for example.
Almost as close to the sound of Ben Cenac’s Dream II Science, new age experiments from Laraaji, or even Andy Stott as any of the above, Dulce Compaña finds Python alloying reggaeton’s nagging, signature bump with chiming electronic meditations in Las Palmas, and with squashed jungle breaks in the style of his Deejay Xanax alias on Cuál, both setting the innovative, deviant agenda for the rest of the set, recoiling from eyes-shut ambient rave infusions on Todo Era Azul (Version Afuera) and its cosmic Siempre Dub, to something like B12 on holiday in Caracas with q.e.p.d, but also making room for more rugged swerve in Acostados and the acidic tang of Yo Ran(Do).
But if any one track is going to melt your pants off, it’s the plasmic, aerial ambient shuffle of Esteban, which provides the sweetest window on Piñeyro’s unique Python sound, and everyone will know what to do next.
Russia’s Paval Milyakov, aka Buttechno, tends to his screwier, inquisitive side for TTT with a gauzy batch of ambient, folk and house experiments, swerving between the lines of his records for Japan’s City-2 St. Giga, Collapsing Market and his Gosha Rubchinskiy AW16 soundtrack, to the dankest parts of his bedroom-baked club sound.
This is music for hanging out on cold, concrete corners in your most flammable trackies, taking in pastoral electro-folk meditation Gosha Medvedeva, his Pole-esque Slow Dub, and the skinny, bone-pinching swing of K4 on the one hand, before decorating those skeletal structures with more fleshly samples of Russia pop in the low key seduction of Poleva, and something like a roadside house rave played on empty vodka bottles, oil drums and cardboard boxes in the Brinkmann-like Metallo, and a nervily grubbing, spooked-out house ace named Super Siziy King.
MFM whip out this natty cod-reggae synth-funk blast from Cali ’83. Imagine K. Leimer and co getting loose yet droll, and you’ve got the measure of Skin ’n’ Bones, while Millions Of Sensations is a superb piece of sino-facing post punk funk recalling Sakamoto & Sylvian, but with an off kilter urgency of its own, with drums like some early, staccato grime prototype.
“Pioneers in the Post Punk Industrial and New Wave scene in 1980’s San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco’s notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.
With it's influences seemingly as much rooted in the past and the present as it was focused on the future; Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio’s in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it’s time.”
A new label from the Sofrito family; classy new wave rumba hybrid from mid ‘80s Paris, compatible with early ‘80s Detroit styles. A very promising start for the Ambiance label
“4 tracks spanning rumba, disco, new wave and reggae experiments from Congolese singer Albert Siassia and his group Tokobina, including two previously unreleased tracks taken from original demo tapes.
Originally from Pointe Noire in Congo, Albert Siassia came to Paris in the early 80s as part of the Ballet Nationale du Congo and joined forces with a young French reggae group called Dread Lion – a band he re-christened “Tokobina” (Lingala for “let’s dance”). Keen to broaden their audience the group played a mixture of reggae, rumba, disco and new wave styles, often using drum machines and synths.
They released one 12” EP, further altering the spelling of the name – “Tokobina” was phonetically anglicised to “Talk-Hoby-Night” in an unsuccessful effort to increase international sales. The record failed to make much of an impact and soon after Albert Siassia moved back to Pointe Noire to become an evangelical preacher. He passed away in 1999.
Dancefloor sureshots Mama Africa and Pointe Noire are taken from the group’s only 12” release. In the world and Sangui are taken from demo cassettes from the archive of drummer Franck Benhamou. Sangui was originally scheduled for release on a 7” but the release was withdrawn due to a pressing fault.”
Italy’s answer to Brian Eno is subject of Superior Viaduct’s current key reissue scheme, making Franco Battiato’s classic early works c. 1971-1978 available in USA and elsewhere for the first time beyond his home country.
Sulle Corde Di Aries  is Battiato’s 3rd solo album, refining his masterful mix of folk-rock and pop with kosmiche synths to a lushly transcendent sound which, if you ask us, is more fascinating and worldly than the baroque prog conventions explored on his previous two albums. We can hear pre-echoes of brave new 4th worlds in its sweeping harmonic structures and supple, driving rhythms, all calling for strong parallels with everyone from Terry Riley to Can,
“1973's Sulle Corde Di Aries is the third chapter in Battiato’s foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit – eschewing traditional, song-based composition in favor of kosmische voyages.
On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. "Sequenze e Frequenze," the album's centerpiece, blooms in a polyphony of organic pulses reminiscent of the vibrant keyboard minimalism of Terry Riley's A Rainbow In Curved Air and the rhythmic interconnectedness of Can's Ege Bamyasi.
While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.”
While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.”
Superior Viaduct supply an all-too-rare glimpse of Suicide in rehearsal room mode, making their First Rehearsal Tapes side available as a single slab away from Blast First’s expanded 1999 reissue of The Second Album. Henry Rollins sums this one up best below, but suffice it to say this is neccessary listening for anyone snagged on rock and electronic music of the late 20th century.
“"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.
"These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.
"The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."
Babes, here it is: the first batch of Johnny Jewel’s soundtrack work for the new series of David Lynch’s Twin Peaks; comprising 14 original themes, cues and songs under his own name and with his bands, Chromatics and Desire.
If you’ve been keeping up with he series, the above is surely all you need to know, but for everyone else, Windswept is the stuff dreams be made of, draped in lustrous synths evoking all the immaculate ambiguity and American Dream-like nature of the new episodes’ interweaving stories, from he romance of Heaven and The Crimson Kiss or the shimmering Americana of Slow Dreams, to the feverish horror cue of Insomnia’s tense strings and the air-conditioned jazz cool of Motel, with a massive highlight in the all-too-short synth strokes of Between Worlds and Stardust’s sexed up mystery.
Get closer to the resounding magic of Harry Bertoia’s Sonambient sculptures with this revelatory film and a CD containing the last ever recordings made by Harry with his brother Oreste and their sister Ave. Whether you’ve encountered Bertoia’s work via his modern furniture design, his Sonambient scuptures, or their recordings, consider this necessary viewing and listening!
“The DVD, a film titled Sonambients: The Sound Sculpture of Harry Bertoia, by Jeffrey & Miriam Eger, was shot in 1971 and follows Harry Bertoia in performance and interview throughout his Sonambient barn deep in the Pennsylvania woods. This film offers a rare opportunity to follow the artist in practice, listening carefully as he moves contemplativelythrough his sculptures and gongs. Interview footage offers rare insight into Bertoia's inspiration and process.
A separate CD contains four exclusive, recently discovered audio recordings. Included are thetwo earliest known collaborative tapes from Harry and brother Oreste, morning and evening sessions dated October 12, 1969, as well as a collaboration between the Bertoia brothers and their sister Ave who sings in careful unison with the overtones being produced by the sculptures. With the passing of Oreste Bertoia in 1972, these recordings mark the last meeting of all three Bertoia siblings.”
This customarily smooth set from 1981 is perhaps most famous for featuring three unforgettable tracks made with Marcos Valle. Rio's pop-soul wunderkind was exploring soul textures at the same time as Leon was absorbing the rich flavour of Brazilian harmonics. Together, they crafted rhythmically sophisticated and melodically adventurous soul.
"The centrepiece of the album is the lush, creeping title track - a hypnotically arranged stepper's groove and an enduring classic. A perfect slice of orchestral soul, it features Leon's patented unusual chord progressions, Valle on Rhodes and restrained string arrangements from Gene Page.
The nimble funk groove of "Baby Don't Stop Me" is another collaborative delight and one of Leon's rare uptempo tunes. "Got To Be Loved" is a timeless ballad, a sublime quiet storm version of Valle's loping jazz-funk favourite "Bicho No Cio".
As with all Leon records, the lyrical themes are deeply eternal throughout, whilst the music is elegant, soulful and sensual. Beyond the Valle co-writes, the soaring instrumental "Don't Stay Away" is a real highlight, possessing an intricate melody and another heavenly string arrangement from the incredible Page. On the pleading sultry soul of "Sure Do Want You Now," Ware's uniquely expressive vocals are especially impassioned and polished.
This officially licensed reissue enables a wider audience to now discover its undoubted genius. The sumptuous artwork of the original jacket and inner sleeve have been faithfully restored; the latter featuring Leon's memorable lyrics. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.
"When we started to write, we found how easy it was, and at the same time how new it was, combining the feeling I had and the feeling he had", Valle explained to Wax Poetics on the subject of his fruitful partnership with Leon. The magic conjured up by fusing R&B with Brazilian rhythms and touches of jazz, funk, and pop resulted in a modern-soul/boogie essential."
Benjamin John Power explores the inner beast in us all through the typically brash sound design of this Blanck Mass album.
Forever to be known as half of a duo who just don’t f*cking like buttons, Benjamin John Power’s solo body of work as Blanck Mass has continued to gain tractions since his first album back in 2011.
‘World Eater’ continues the Blanck Mass dalliance with Brooklyn outpost Sacred Bones and offers up a screwballed exposition investigating the primal urges of humanity with everything naturally dialled up well past 11. Given the conceptual thrust, it’s no surprise there is a sonic brutality to much of ‘World Eater,’ apparent in the sucker punch that hits you from the first two tracks.
An intricate mesh of clockwork toy melodies and vocal harmonies on John Doe's Carnival of Error proves a falsely sweet opener as it gets consumed by the swirling, violent maelstrom of operatic techno gabber that follows on Rhesus Negative.
Respite comes in the form of Please, which sees Power veering off into sample-heavy MPC beat down reminiscent of early Gold Panda, but he’s soon back into head crunching territory with the 23rd Century glam rock flaunt of The Rat. This very British style of modern sound design applied to electronic music continues as uber-processed vocals crash over vertebrae snapping beats on Silent Treatment, whilst Minnesota / Eas Fors / Naked discards with rhythm to engage in a rainstorm of kinetic energy and searing synth work.
At bleedin’ last, Cosey Fanni Tutti’s legendary solo album, Time To Tell  sees a proper, if edited, official vinyl reissue - MAGAZINE INCLUDED! - on her and Chris Carter’s Conspiracy International label. In fact, with Cosey’s utterly mind-blowing autobiography, Art Sex Music now in circulation, putting history to rights and stoking febrile interest around her inspirational, nonpareil oeuvre, the timing could hardly be any better to reissue her most sought-after and inarguably definitive solo release.
First issued on tape in 1983, some years after the initial demise of Throbbing Gristle and the start of of Chris & Cosey, and just prior to the emergence of their multimedia CTI alias, Time To Tell documents Hull’s greatest daughter, Christine Carol Newby aka Cosey Fanni Tutti, ‘fessing all about her long-running art praxis involving a deep penetration of the British sex industry - from nude modelling to striptease and transgressive performance art - all set to her signature, exploratory electronic sculptures and drily angelic delivery.
For this hugely important reissue of Cosey’s only solo record (yep, only!), she worked with husband and creative partner Chris Carter to edit the original two track release, trimming down some of the longer parts to optimise audio fidelity, and also incorporating The Secret Touch which was included on the Time To Tell (Special Edition) CD release in 1993/2000.
Thus the release spies three distinct strands or aspects of Cosey’s sound. The first, longest and most comprehensive is the LP’s title track, which, as far as we can tell, appears in a slightly abridged version, but still ties up all her key sonic themes, from pulsing, sensuous synths, sky-licking guitars and brittle drum machines to her achingly seductive Yorkshire accent, drily recounting her experiences and inside/out perspective in the sex industry. Tell us this isn’t one of the most alluring 20 minutes of the ‘80s ever recorded, and we’ll tell you to do one.
Ritual Awakening comes on the B-side. Here the drum machine drops away and Cosey’s hushed vocals take a new, diaphanous form, refracted in a diamond-cut prism of electronics with near-cinematic strings, feeling out unreachable edges of the lushest void. Then we’re stranded in The Secret Touch, where her sallow synth strokes hint at an aquarian sort of new age, melding with reverberating, Denny-esque guitar against an unfathomable backdrop of possible field recordings and almost raga-like drones on her signature Cornet.
We could hammer on about this one all day, but suffice it to say: this is a totally essential purchase!
Improv hypnotist Aaron Dilloway induces a mind-bending session for Copenhagen’s Cejero label with a steeply mesmerising suite of mechanical loops unspooling from an elusive axis. Where 'The Gag File', issued earlier this year on NYC’s Dais, incorporated sickly pop elements, there’s less of that frivolity here as he grinds down to a seasick and interminably funky sort of rhythmic noise.
In case you’re new to Dilloway’s oeuvre, he’s essentially one of the North American noise scene’s most distinguished operators. His track record of over 100 releases for almost as many labels connects everyone from his old band, Wolf Eyes, to Kevin Drumm and Robert Turman, defiantly going with and against the grain of American counterculture with a stomach for the most nauseating yet compelling sounds.
Switches is a strong demonstration of Dilloway at his most uncompromising and discomfiting. Like a swim thru the bubbling belly acid of American culture, he pursues the original extremities of NON and Turman along his own parallel narrative, using subtly morphing repetition and abrasive attrition as tactics to seduce and beguile even the most hard-headed listeners.
The A-side yields a full spectrum of his style ranging from palpitating, palsied loops and tonal abrasion in Switch 2, to something like an American take on The Caretaker’s current descent into oblivion with the wilting, elusive phrases buried in Switch 17, while Switch 15 resembles some kind of burnt-out doom dub.
Meanwhile the B-side catches Dilloway at his most obtuse/playful with the snagged loops of Switch 11/12, which, once you get over the urge to nudge the needle out of its rut, seeps in with a viscerally psychedelic effect for its cranky, lurching duration, before Switch 1 locks off something like DJ Screw or Indignant Senility, with half a bar of f*ck-knows-what loping into a brambly haze around its progressively melting axis...
Paean to Wilson is arguably Vini Reilly and the Durutti Columns most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990’s.
"It was commissioned MIF (Manchester International Festival of Music), July 2009. Vini had already composed pieces for Tony to listen to whilst he was ill in hospital and it was from here that the project developed. The opening night of the three sell-out festival shows formed part of the BBC2 ‘Culture Show’ coverage on the event.
Dave Simpson – MIF Review – The Guardian 20/7/09 4 out of 5 ‘ Near the beginning of the final night of the Durutti Column's 70-minute international festival tribute to Tony Wilson, A Paean to Wilson, guitarist Vini Reilly announced that he wouldn't be singing: "So you won't have to put up with my awful voice and schoolboy lyrics." If Wilson was with us, he would have chuckled. The Granada presenter-turned-Factory Records boss spent years urging his first signing to stop singing, and concentrate on the virtuosity that led Red Hot Chili Pepper John Frusciante to call Reilly "the greatest guitarist in the world". Two years after his death, Wilson got his way, one of many lovely touches in a very personal, emotional and often warmly funny musical tribute. Wilson signed Joy Division and Happy Mondays, yet never gave up on this cult band he adored, working with them even after his legendary label went bankrupt."
Rome’s La Beauté Du Négatif crack out a trashy trio of battered ravers from Penelope’s Fiance, SSIEGE, and DJ Guy, following up the latter’s 1993/1994 Unreleased Tracks session.
Specially mastered via WetSoq technology for assured shabbiness, each track feels like it was scraped from the dopamine-depleted skull of a mid ’90s hive mind, twysting from the cranky industrial ‘ardcore of If You Want More, You’ll Get Less by Penelope’s Fiance, and the charred chill-out room vibes of SSIEGE’s Arborea on the front, to an immense jungle lash by DJ Guy, who hasn’t really impressed us thus far, but surely does the business with his hotstepping edits and ghost-in-the-filter flex of CDIIF Quad Side B Trk 7.
Quantum Natives - Dane Law, Brood Ma, rescind, and Yearning Kru - are digitally masked on the cover this month, inviting you inside their dream world inside.
Also features articles on the story of Brazil’s Vanguarda Paulista; Tyshawn Sorey; Mary Jane Leach; Li Jianhong & Wei Wei; David Katz on Hedley Joens, and Simon reynolds on Husker Du, along with all the usual news, reviews and listings.
Presenting two compelling works composed by Danish sound artists Jacob Kirkegaard & Niels Lyhne Løkkegaard and performed by the Aarhus Jazz Orchestra, Descending is a powerful exposition of extended acoustic technique used to bend the ear in fascinating ways.
Revolving two pieces for room resonance, triangles, shakers and horns, the recorded results of Descending transcend the sum of their parts in gripping style. In Movement 1 they conduct a breathless transition from the polymetric interplay of triangles, sounding like a distant alarm bell, calving off into thinnest, cirrus timbres and reemerging as a mesmerising display of sustained, quivering, bittersweet horn dissonance culminating a stunning, keening finale. Movement 2 opens with those horns at a lower, sustained pitch, rolling across the stereo field with an uncanny precision that you would normally expect from electronic music, glacially growing in density to sound like an incoming Stuka formation, precipitating a nerve-biting swell of discord before returning, almost palindromic, to the polymetric rustle of shakers.
Of course, the magick of the piece is much harder to describe, though. It lies somewhere in the relationship between the knowledge of the composers, the players’ incredible skill, and their recording space, whose unique characteristics are crucial to its success in keeping us enthralled from start to finish. It lies in the way they slide the sound around the sphere of perception, purposefully generating and controlling the resonant feedback until it becomes a part of the work itself, generating a lingering harmonic aura to the sounds which gels them in smoothly contoured transitions between each tightly disciplined cluster of pitches with a near-enough metaphysical structure.
Stunning work. A rare treat for the lugs, especially if you’re into Eliane Radigue, Eleh, Harley Gaber, Harry Bertoia.
Philosopher, musician and anti-art activist, Henry Flynt has long foregone the academicism often associated with “serious music” in favor of a uniquely intuitive, emotional approach to composition.
"In the 1960s and 1970s he was a part of NYC’s vibrant avant-garde scene, studying with Hindustani singer Pandit Pran Nath and developing his own proprietary technique on violin. You Are My Everlovin’, Flynt’s first published musical work, finds the composer in peak form at a lower Manhattan loft in late spring 1981. Featuring solo electric violin and pre-recorded tambura, this sinuous performance elegantly brings together disparate vernaculars—Southern blues, modal jazz, Appalachian fiddle, North Indian raga— into a new and bracing whole.
As Flynt writes in the liner notes, “The electric violin timbre is crucial; it allows me to crush the diverse styles into a unity. I imagined the genre as open, radiant improvisation…an open plain that could absorb anything.” Incorporating themes and melodic phrases from his earlier work, Everlovin’ becomes Flynt’s own Gesamtkunstwerk—a work that is at once rooted in and liberated by the drone, revealing the profound mutability and utter singularity of this American iconoclast."
Taken from the same sessions as the recent Vida Eterna for Hospital Productions
Ninos Du Brasil present the churning, clambering, bestial momentum of Animals Soar O Alarme backed with a swinging, subaquatic techno rework by Patrick Russell for The Bunker New York.
Gorgeous and thought provoking split LP from these two notable synthesists. Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world, making use of electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, secrity systems, advertising and the sounds of discharges and activities of Tesla's own devices - recorded all over the world. Eleh's composition makes use of a new kind of spaciousness and was composed for piano & Serge STS modular synthesizers. Though Tesla was not a consideration when the piece was recorded, it takes on a new meaning and is well paired with Kubisch's.
From Christina Kubisch:
"The fgure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. He was the one who invented radio controlled devices and other new technologies beyond the generally known limits of technology. Tesla had been picking up radio signals in New York since 1895 receiving them as far as thirty miles away. He wasnot only an inventor whose work was the basis for the development of many electrical inventions and communication techniques of today but was as well a very special person, a visionary who was inable to realize many of his ideas because of money problems and as well his “diffcult” character.
I discovered his work during my studies of electronics in Milan at the end of the seventies. In that period I started to use the system of electromagnetic induction for my sound installations. Tesla had invented and patented the frst telephone amplifer in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifer with incorporated small coils to listen to the sounds in my installations.Later on my work with electromagnetic induction had developed into the series “Electrical Walks”, city walks with special headphones which make audible the usually hidden electromagnetic felds around us. In 2012 I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got a special permission to test tem. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece aboutelectrical remoteness. Tesla grew up in a remote small village in Austria (now Croatia) where electricity, radio, cars, telephones, movies etc. were unknown. As a boy he loved nature more than everything else. But already at the age of 36, in 1893, his inventions made it possible that the world expo in the city of Chicago was illuminated by one hundred thousand electrical lamps.
The new technologies concerning light, radio, radar etc. were developing with such an incredible speed since then like today the components of the digital world. I always asked myself what Tesla would have thought about the internet, google, twitter, facebook, apps etc. Was this the vision he had in mind when he invented his system of wireless transmission of electrical signals? His working places were full of big heavy coils, oscillators, metal towers etc. by which he tried to transfer energy without wires. Today we almost forget that digital communication and storage is not based only on invisible remote waves in the ether but that it needs server rooms which are much bigger and heavier than Teslas equipment. “Teslas Dream” opens with the magnetic felds recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Teslas devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual felds of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. The composition ends with the sounds of a luminous advertising, recorded recently in a shopping centre in Las Vegas, accompanied by the faint vibrations of other signals from the ether. Tesla wanted to reach the most remote places of the earth with electrical energy. Nothing today is remote anymore.
The glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch. The original electrical feld recordings were made in Austria, Germany, Slovakia, Britain, Czech republic, New York, Las Vegas and the Hoover Dam."
Cooper Crain, Dan Quinlivan, and Rob Frye head for the horizon on their newest Bitchin Bajas buggy, leading on from a 2016 tour and series of collaborative live releases with Bonnie “Prince” Billy and Olivia Wyatt.
Sharing its title with a chain of Tex-Mex restaurants in the USA, Bajas Fresh catches the trio at their earthiest and lushly psychedelic, naturally sprawling their classically-schooled, dilated vision of krautrock, kosmiche and North American drone and space jazz traditions across seven tracks.
Notably, they embed a beautifully sanguine cover of Sun Ra’s Angels and Demons at Play in the album’s sequence, sweat-lodged among the astral coordinates of Circles On Circles and the windswept jazz of Yonaguni featuring Ghost’s Masaki Batoh, before syncing with a rich history of transcendental drone exploration in the magnificent, side-long and sidereal scope of 2303, where they consolidate contributions from Nick Broste (Trombone), and Ben LaMar Gay (Cornet) into its deeply anaesthetising harmonic smudge.
One of the boldest new producers to broach the dub sphere in recent times, Jay Glass Dubs is subject of 'Dubs', a prime “early years” survey of his work, with a range of nods to shoegaze, darkwave synth styles and weightless dynamics. All the material compiled here is available on vinyl for the first time plus one track never released before on any format. Think of it is a set of productions sitting somewhere between Basic Channel, Equiknoxx and HTRK - a proper doozy this one.
Written during what Dimitris Papadatos, aka Jay Glass Dubs, describes as “an adventurous and bold period”, and holding material issued on tape by various labels between 2015-2016, the Dubs compilation frames a singular, stripped down take on classic dub forms, wherein Jay Glass Dubs perceptibly retains the sound’s heavy function and mystic qualities, but subtly updates its palette with a range of nods to a myriad of unexpected, angular styles.
The results form a sort of ghostly, filleted subtraction of classic dub architecture, all plasmic tones and diaphanous, boneless structures buoyed by an often overwhelming, yet somehow intangible bass presence. Beyond the obvious, thematic ligature that connects the material, which was all recorded within a very short period of time, the artist also suggests there is an underlying, encrypted similarity to the material which is “merely apparent to me”, and awaits much closer investigation from keen ears.
From Jay’s eponymous 2015 debut for Hylé tapes, listeners will encounter the heaving smudge of Definition Dub, the serpentine, Coil-like digital delays of Grumpy Dub, and a grime drone drill Depression Dub. Off the II tape for THRHNDRDSVNTNN comes the darkwave synths and militant step of Magazine Dub recalling a gauzier Equiknoxx production, next to the bass-less scudder, Detrimental Dub and the shoegazing bloom of Daria Dub, while his III tape tees up some abyssal highlights in the vertiginous Hilton Dub, the melancholy, Basic Channel-scoped scale of Sieben Dub, and the HTRK-esque starkness of Everlasting Dub.
Exclusive to the set is Perfumed Dub, recorded in 2017 and pointing to vast, layered, atmospheric directions for a timeless project which is only just hitting its stride.
After decades in the making Finders Keepers present the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings – co-written, arranged and orchestrated by the genius Jean-Claude Vannier (Histoire De Melody Nelson) during what many consider to be the dynamic duo’s most definitive creative period.
Its the first time on vinyl for this previously unreleased Gainsbourg/Vannier soundtrack to a saucy, psychedelic gallic classic starring Jane Birkin and Gainsbourg in leading roles. Interesting for its forays into traditional sub-continental styles, and one track of heavy petting, alongside the usual Gainsbourgian string arrangements and smoky winks.
Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost Danger Diabolik soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie Les Chemins De Katmandou have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.
Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse, Cannabis and Sex Shop. Laying the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery. Comprising Vannier’s signature recipe of thick plucked bass lines, close-micced drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou (aka The Road To Katmandu or The Pleasure Pit) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.”
Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now.
"What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating theremin, siren, audio generators, and other various electronic effects as Cork Marcheschi, the band's original bass player had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy”, “Red the Sign Post” and “God Bless the Child”, a Billie Holiday cover. An intriguing mix of jazzy psychedelic rock tunes with fierce and advanced electronic sound effects. These sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them.
So fans of flowery, psychedelic 60's music must beware of this odd gem, Fifty Foot Hose’s music leans more towards White Noise, Silver Apples and specially United States of America than to the whole flower power movement. After only one album, the proto-cyber psych outfit passed as quickly as they came. Their only mention would be a name-check in Ralph J. Gleason’s 1969 book, “The Jefferson Airplane And The San Francisco Sound” published over a year after their demise. Ralph J. Gleason wrote: “I don’t know if they’re immature or premature.” History has proven them to be the latter. Today the original album is very collectable and considered a touchstone of avant garde rock music.
"The concept was to expand what contemporary popular music was. I thought the avant-garde could have had a home with this new group of listeners but they turned out to be pretty conservative - intellectually . Drugs were fine - sex was fine - stop the wars was good but when challenged with abstract art., they reacted like conservative people look at a Jackson Pollock painting." (Cork Marcheschi)."
A sublime addition to Sean McCann’s Recital Program, This Floating World is Roger Eno’s first solo LP in a decade, following on from Anatomy  and a split LP with Plumbline in 2013. Mostly solo piano expressions, but with a few intriguing embellishments of electronics in Garden, vocals on Empty Room, and sonorous chimes in Riddle, saving the detuned pearl of Out of Tune, Out of Time, Out of Here for dessert.
“This Floating World holds rustic and melancholic piano works, as grey and mossy as a country cottage. I hear the LP chiming from the dark corners of a pub, soaking in the damp wood like spilled ale.
I first fell in love with Roger’s music through his 1985 debut album Voices, which cradled many rainy and caffeinated mornings when I was living in San Francisco years back. He played on the infamous Apollo, Music for Films vol. 3, and recorded a theme for the Dune soundtrack. String pads and veils of reverb pour through those processed tracks.
I later rediscovered Roger Eno in a different light with his 1997 album The Music of Neglected English Composers. A playful and beautiful album of chamber pieces guised as the works of forgotten (and fabricated) composers from the past century. His compositional sensibilities remind me of my favorite recent English composers… Hobbs, White, Bryars, Skempton, etc.
This Floating World feels like a hybrid of these two styles, a melding of both his ambient and ‘prelude’-esque compositions. Warm and feathered furniture music.
In our communication Roger has been a real charmer, ending every email with “Roger and out.” A curious fellow, with a knack for tracing the understated beauties of this world.
'Forse 1' is the unmissable solo debut by Alessandro Cortini ov Nine Inch Nails.
Alessandro has this to say: "All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.
Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment."
D.K. keeps his workrate and quality ticking high with Distant Images, the latest addition to his radially expanding catalogue of releases with Melody As Truth, Antinote, L.I.E.S., PRR! PRR! in recent years.
Compared with D.K.’s earliest work, Distant Images bears a pellucid clarity shared with his recent D.K. / S.K. collaboration with Suzanne Kraft for Melody As Truth, bringing his melodic ideas into sharper relief, as with the Reichian/Gamelan rhythmelodies which perfuse the whole set, while also allowing greater room for subtle background sounds, such as the seagulls on Distant Images.
Classi Dust To Digital comp exploring Cambodia’s vibrant pop music scene from the 50's, 60's and 70's..
"40 years ago: April 17, 1975, Phnom Penh fell to the Khmer Rouge and Cambodian rock and roll was no more. Its star musicians were targeted and killed, record collections were destroyed, clubs were closed, and Western-style music-making, dancing, and clothes were outlawed. The deaths of approximately 2 million Cambodians and the horrors of the Killing Fields have been well-documented; add to this John Pirozzi’s fascinating tale of Cambodia’s vibrant pop music scene, beginning in the 1950s and ‘60s.
'Don’t Think I’ve Forgotten' pays homage to the country’s rock legends who paid for their creativity with their lives. Through the eyes, words and songs of its popular music stars of the 50s, 60s, and 70s, Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll examines and unravels Cambodia's recent tragic past, the sequencing and newly-remastered audio transport the listener through the rock and roll history of Cambodia in a similar fashion as John Pirozzi’s documentary film. It is both entertaining and essential to hear so many tracks that are available outside of Cambodia for the very first time."
Necessary repress of a slept-on Dan Curtin classic, hitting deep and tuff from 1993 as Apogee on Peacefrog Records.
From the masterfull;y adroit acid lines and rolling breaks of Sunrise On The 2nd Moon, thru the incredibly elaborate, Mayday-esque programming of Horizons Forgotten, to the Hi-Tek Jazz of Inside Above and the slippery mechanics of Sunset On The 2nd Moon, this is the kind of gear that makes older heads justifiably wistful about the early ‘90s, lost futures and all.
Mannequin get a grip on Nigel Ayers and Caroline K’s massive body of Nocturnal Emissions work with this cherry-picked rifle thru their catalogue, containing 22 highlights - from industrial grinders to wonky disco and daft pops - alll spanning recordings made 1980-1989. RIYL TG, Chris & Cosey, Caroline K, Bourbonese Qualk, Foetus.
“Nocturnal Emissions has been one of the best kept secrets of the industrial genre since the 1970s. Led by Nigel Ayers, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire.
The band moved on to using samplers and electronic noise in their early 80’s work, creating a twisted funk souncthat would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focussing on releasing their own music more effectively.
They followed this path into the 90’s when they started earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies (they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel) and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website.”
The County Liners started in Mary Jane Dunphe (Vexx, CC Dust, CCFX) and Chris McDonnell (CC Dust, CCFX, Trans FX)’s country home in Olympia, WA in the winter of 2016.
"Longtime friends and collaborators, Chris and Mary Jane began writing 80s / 90s inspired country tunes when Mary Jane found herself bedridden with a debilitating ankle injury. Riley Kendig, also living with Dunphe and McDonnell, and Mirce Popovic (Trans FX) joined the band to help arrange and perform these deeply personal songs."
Precision-tooled rolige from el mysterioso, Forest Drive West
Following his D&B outbreak for Hidden Hawaii with two slinky wrigglers for Livity Sound; a swinging deep techno piece recalling vintage Convextion circa Ebullience, and the crankier, UK style lag of Escape with its hip-slipping swang and cold, dank clammy atmosphere.
Strong one for followers of Kowton, Peverelist, Simo Cell
Among the most distinctive artists working between classical and improvisational paradigms today, Vancouver’s Ian William Craig affords a rare, intimate glimpse of his live practice with Durbē, which arrives via Sean McCann’s Recital Program after some gentle arm-twisting.
Not originally intended for wider consumption, Durbē came into being as a a night’s worth of recordings made in a 14th century Latvian church, and as such is imbued with a stately, even religiose melancholy that plays frictionally at odds with the artist’s abstract leanings.
Thanks to Sean McCann, who has purportedly fallen asleep countless times whilst listening to this, day and night (and not ‘cos it’s boring, but ‘cos it’s so hypnotic), the private recording is relinquished to a wider audience - all of us earthly mortals - revealing what sounds like plainsong ripped from a shredded palimpsest of a songbook and recited by a chorus of tattered digital poltergeist.
The 1969 follow up to Silver Apple’s debut found the duo digging into the far reaches of their songwriting psyches for a darker and more emotionally charged set of songs.
"While the debut set the stage for a sound the world had never heard before, Contact is where the Silver Apples began inhabiting that sound with more urgency and experimentation. Sourced from the original master tapes plus inner sleeve with unseen master tape box photos. Featuring the original controversial artwork with the Silver Apples in the cockpit of a Pan Am jet on the front, and a plane crash with the duo superimposed over it, on the back.
The airline sued both Kapp Records & the band, forcing the band to break up. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more."
Home Age is the first proper Eleh full length since 2012's Homage To The Pointed Waveforms.
These new pieces seek to expose the inherent musicality of pure electrical currents via high resolution Serge STS synthesizers. Like early Eleh work, Home Age is inward looking, domestic and deliberate but also slowly emotional and revealing as if peering blurry eyed through a window. Melody, harmony and counterpoint are suggested but not revealed.
East Man is a new project from Anthoney Hart and its material predates his previous work as Basic Rhythm.
"His unique take on grime reduces the sound to its steely fundamentals, bringing in influences from dancehall, drum and bass and techno to gird the voices of the MCs he works with. His own name for this hardcore continuum mongrel is 'Hi Tek'."
Third Man cough up a killer document of Adult. recorded in live performance at Jack White and co’s Nashville, TN facility in spring ’17. With the duo’s latest studio album, Detroit House Guests recently dispatched on Mute, Live At Third Man proves they’ve still got the live chops, and back catalogue, to claim their place among America’s eminent synth-pop acts.
Framed by audience applause/laughter and the sound of their fog machine blowing strong, Nicola Kuperus (vocals) and Adam Miller (electronics, bass guitar) deliver their set with military precision and deadly, punkish style, rinsing thru versions of Blank Eyed, Nose Bleed from their debut album, Anxiety Always, and a mean, sparking take on Pressure Suit off the Entertainment 12”, along with a searing rendition of their classic Hand To Phone, plus no less than two previously unreleased cuts in the cantering sino-electro-pop jags Misshaped, and Does The Body Know?
DJs may struggle to get away with playing these with proper amplification, but for home use the LP serves its purpose damn well.
Mellifluous, rootsy stepper from Sister Rasheda, backed with Counter Action Warriors’s heady dub.
Schooled by Jah Shaka, Rasheda plays deep into the UK sound system style on the front, while the dub brings the tune forward in lushly effected fashion.
Lorenzo Feliciati's career is split between his role as one of Italy's greatest studio and live professional musicians and his evolving career as one of the contemporary electric bass greats - but what sets him truly apart are his talents as composer, arranger and producer.
"For his sixth recording for RareNoiseRecords, following his 2011 solo album Frequent Flyer and subsequent collaborations with vocalist-multi-instrumentalist Lorenzo Esposito Fornasari (Berserk!) and Porcupine Tree bassist Colin Edwin (Twinscapes) as well as two albums with the adventurous jazz-rock band Naked Truth (Shizaru, Ouroboros), the restlessly creative bassist-composer-producer Lorenzo Feliciati followed up by realising his vision in the ambitious and deeply original KOI.
A concept album based on the life of the renowned fish, Koi features former Japan drummer Steve Jansen and current King Crimson drummer Pat Mastelotto along with pianist Alessandro Gwis, trumpeter Angelo Olivieri, saxophonist Nicola Alesini and a horn section consisting of tenor saxophonist Stan Adams, baritone saxophonist Duilio Ingrosso and bass trombonist Pierluigi Bastioli. A suite-like offering that intersperses mesmerizing ambient interludes with full-blown prog-rock type anthems, Koi brilliantly showcases Feliciati’s composerly vision while highlighting his considerable chops on fretted and fretless electric basses.
Now, at the end of 2017, Feliciati has upped the ante again on his latest project, ELEVATOR MAN. A powerhouse recording with echoes of King Crimson, Allan Holdsworth and other Prog Rock icons in its ten tracks, this latest outing by the prolific bassist-composer-arranger features a rotating cast of stellar musicians, including King Crimson drummer Pat Mastelotto, former Holdsworth drummer Chad Wackerman, Swedish guitar shredder Mattias IA Eklundh (of the Jonas Hellborg Trio and Art Metal), Italian progressive metal guitarist Marco Sfogli (currently of the legendary Italian Prog Rock band Premiata Forneria Marconi, aka PFM), trumpeter Cuong Vu and his Naked Truth and Mumpbeak bandmate Roy Powell on distortion-laced clavinet. As well as composing and arranging all the material, Feliciati plays fretted and fretless basses, electric guitar and keyboards on his seventh and most potent recording as a leader to date."
A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession.
"The international audience’s interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, 60s and 70s which largely encouraged the discovery of this music beyond Indonesia’s borders. Taking advantage of a more advanced technology compared to the vinyl golden era, the present field recordings produced in 2011 render at the closest the power of gamelans. They are presented here in two forms. The first one offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect of the compositions.
The second one presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse. With The Gamelan of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (Sublime Frequencies, 2016)."
What Mortazavi and Friedman have in common is their shared expertise in uneven, cyclical rhythms – the foundation of their trance-like art music, which is both subtle and ecstatic.
"Through repetition and improvisation in the studio they create “numbers” – groove-based pieces played on a variety of drums (Mortazavi mainly plays the Tombak) mixed with electronics. Natural, i.e. given, motion patterns provide the musical backbone. This results in a precisely timed harmony between the electronic sounds and live grooves.
Thanks to the extreme acoustic range of the Tombak and his extravagant technique, Mortazavi merges perfectly with Burnt Friedman’s signature sound and repertoire, which seems to belong to no specific place or time.”
Contradictory sides of fuzzy ambient and noisy techno from Thomas9000, debuting as the 1st release from London’s Premature Records.
Arriving with pats on the back from Nic Tasker and Jane Fitz, Obscule gives up a playful, beatless vignette in the A-side’s title cut, landing somewhere between Anthony Manning and Nicola Ratti, where the B-side’s Droid drill down to a turbulent sort of noise techno stress test with chaotic synth squall and jagged, old skool Regis style bite and swerve.
The Monika Werkstatt project opens its doors to friends and artistic peers
Rounding up fine remixes such as Nite Jewel’s disco-ready re-shuffle of Grow by Barbara Morgenstern + Werkstatt; a ghostly-dubbed and motorik take on Lucretia Dalt’s Blindholes from Cómeme and Cititrax’s Borusiade; deals’ reverb-bathed remix of Sonae; and a very Berlin-ready re-canter of Islaja by Charlotte Bendiks.
RBMA put some bull hormone into the Library Music genre, sponsoring Kiwi composer Grayson Gilmour’s opening gambit, Red Bull Music Academy Library Series Vol.1.
Gilmour, a graduate of the 2011 Madrid RBMA brainwashing camp, and, strangely enough, a regular on staunch indie Flying Nun Records, stirs up the kind of emotive signposts and cues that make people want to buy and feel shit they don’t need with an adjective grasp of baroque pop and post-rock-electronic convention on the front, backed with Paul Jebanasam’s far starker Thalamus (Machine Learning Variation).
The Alchemist and Lunice cement an unexpected but predictably solid collaboration with Moving Parts
A batch of mid-tempo instrumental bangers crafted for Red Bull’s BC One breaking convention. Clock the styles on Clockwork and the drunken master flex of Revolutions Per Second for the strongest beats.
Ed Askew recorded the sublimely gorgeous ‘Ask The Unicorn’ LP in 1968 for the legendary proto-DIY label ESP records, which has now been recognized as a god-damn underground classic.
"Armed only with a tiple (sort of a South American mandolin) and his lilting neigh of a voice (and bearing superficial resemblances to labelmates Pearls Before Swine and heady UK acoustic folkers Incredible String Band), Askew spun tales of doomed sisters, crashing universes, budding gay love and a serious fondness for roses on his rare, precious and beautiful album.
After this lone release, Ed Askew seemingly vanished in the romantic mists of time … until a second, previously unreleased album surfaced in 2003, ‘Little Eyes’ - recorded but a few years after ‘Ask The Unicorn’ and every bit as honey-dipped by the musical gods. Since then, Askew has undergone a rightful resurgence and surely everyone that ever dug a Donovan or Devendra tune has taken notice, so Ed’s obscure 1984 cassette ‘Imperfiction’ was also reissued by Galactic Zoo Disk / Drag City in 2011 and quickly sold out.
Ed has since resumed making music and has released several albums over the last decade but meanwhile, it appears the Askew historical goldmine had not been fully tapped. To wit, Ed unearthed four reels of radio sessions taped in 1969-70, performing songs from his first two albums (and the totally previously unreleased track ‘Green Song’). The tapes were meticulously studied by Galactic Zoo Disk honcho Plastic Crimewave (of Galactic Zoo Dossier fame) and the best versions were extracted for this release - absolutely stunning renditions of Askew standards like ‘Fancy That’ or ‘Red Woman’ and ‘Mr. Dream’ - which are perhaps even more gorgeous than the originals."
Last spotted showing their chops on Porridge Bullet, the Dima Disk duo jump on Rub-A-Dub’s white label series with four thistly bangers and sawn-off breakbeat knockers.
Their sweaty, hypnotic house Rolla appears to work out in the same grubby gym as the L.I.E.S. lot, while the bittersweet lead hook of Gelberderte is comparable with Lone style. Your rug will be properly cut with the rasping, slicing breakbeat roil of Loosie, and Fetty leans much farther left with a keening, salty take on weightless bleep techno dynamics riding big swolled subs.
Memnon Sa grab our attention with the cover photo of RAF Fylingdales on Lemurian Dawn, and proceed to hold it firmly with a doozy mixture martial drums, mandrax synths and throat singing inside.
The fact that Lemurian Dawn is released by Aurora Borealis - home to albums by Haxan Cloak, Grumbling Fur, øjeRum - should be a signal of quality to those who know, but for everyone else, this is a class example of the eldritch infecting doom metal dimensions, swapping out glaring darkness for a gauzier, psychedelic appeal and sensitivity that takes hold with the subtlety of a psychoactive you didn’t realise you’d ingested. Fans of Steve Moore or Ghost Box should add this to their mushy playlist.
“Memnon Sa return with ‘Lemurian Dawn’, a cosmic journey through space, time and myth. Black ops missions witness the binary sunrise on a forgotten world. Pan dimensional spacecraft hover over ancient pyramids on worlds undreamed of.
The guitar driven doom metal sound of the acclaimed debut ‘Citadel’ has been replaced here by a myriad of analog synthesisers, ancient world instruments, throat singing and strings. ‘Lemurian Dawn’ channels New Age meditational works, film soundtracks and cosmic jazz from the 70s and 80s. The result could be the soundtrack to a lost 1970’s European animation sci-fi film, warm analogue sounds that hint at cosmic forboding and sinister forces unseen.
The album was recorded over a month and a half at Misha Hering’s Holy Mountain Studios in Hackney, London, and mixed using almost exclusively analog equipment to 1/2 inch tape.
It was mastered by legendary mastering engineer Dave Cooley at Elysium Masters in LA.”
Chicago Ghetto House staple Jana Rush delivers a properly rugged debut album of footwork on Lara-Rix Martin’s Objects Limited.
Notably entering the world of DJing at age 10, and making her first productions only 3 years later - some of which ended up on Dance Mania alongside DJ Deeon - Jana’s recent tilt into footwork, documented on the warped, febrile designs of her MPC 7635 EP as JARu in 2016, places her not only as one of the scene’s few female operators, but also one of its rudest and most idiosyncratic.
Pariah is Jana’s first longform statement and it bangs from every angle. percolating stammering vocals on lip-bitingly tight typewriter beats, Midline Shift gets it going with a style comparable to the headier oddness of Jlin and the stripped fundamentals of RP Boo in a mutable aesthetic which informs each part of the album, variously flipping from hardass pressure in the slicing tessellations of Beat Maze to floating, chords-driven lushness in Divine and the levitating structure of Chill Mode, but also tending to Chicago’s jazz and spiritual music roots with the hyperventilating flute chops of ??? ??? and the soul-infused belter Old Skool.
However, the big highlights for us appear in the super tuff clench of Break It and Rapid Fire, where she’s not afraid to strip it right to the bone, and likewise the two freaky af 303 turns, namely No Fuks Given and Acid Tek 2, before it all comes together in staggering, lush form with the jungle/juke throw down Frenetic Snare at the LP’s close.
Remastered selection of post punk peaches, packaged with an 11x11” double-sided insert featuring liner notes, lyrics and photos
“Lives of Angels was the brainchild of Gerald O’Connell from London, England. At the end of the 1970s, O’Connell had been working on material for Mystery Plane, a band that included his wife Catherine on keyboards and backing vocals. In 1980 the pair of them left to form Lives Of Angels and focus on O’Connell’s own songs, which he felt were more “oblique, atmospheric and evocative” than the narrative style and social commentary of Mystery Plane. The result sounds both of its time, comfortably nestling under the gloomy clouds of British post-punk and goth, and oddly out of time; its homemade quality placing it outside of obvious chronological signifiers as the motorik riffs and spartan drum patterns loop over and over to infinity.
O’Connell was unimpressed by the musical offerings of the early ’80s (with the exception of New Order, Cocteau Twins and Depeche Mode, he notes), instead drawing from San Francisco psychedelia, Van Morrison’s Astral Weeks, Congolese guitarist Dr. Nico and the full pantheon of krautrock (especially Amon Düül II, whose song ‘Archangels Thunderbird’ contains the line, “There is no elevator to Eden but a hole in the sky”). Keyboards and some vocals were provided by Catherine, who also acted as editor, making changes to the arrangements or pointing out inappropriate drum patterns (hence her credit in the sleeve notes as “percussion censor”). “Elevator to Eden” was originally released in 1983 on cassette by Color Disc and reissued on vinyl in 2012 on Dark Entries, in slightly condensed form. ‘Hole In The Sky’ is an 11-track compilation of material from the Lives of Angels archives. Including two tracks from the original Elevator To Eden’ cassette omitted from our vinyl reissue, two tracks from Color Disc compilations and 7 previously unreleased tracks. This compilation features the very earliest Lives of Angels recordings “Call Moscow” and “Somebody Else” as well as the final composition from 1986 “The Infinite Corridor” plus original mixes of “After Dark” and “Look Out Kid” different than the versions on the ‘Color Supplement’ compilation. ‘Hole In The Sky’ is an impressive example of early ’80s home recording; a DIY interpretation of the elegance and ambition of the previous decade’s krautrock.”
Loft takes their mutant party to Wisdom Teeth with Three Settlements Four Ways. Landing in the wake of a vinyl pressing for his RA-praised Turbulent Dynamics EP, the vibes and production are, by turns, much lusher, layered and knotty than previous outings, bringing Loft’s sound closer to say, Arca or Lanark Artefax.
Up top, they emerge from tremulous beginnings to open out an optimistic, airborne club blessing with the percolated drums, hyaline chorales and virulent acid lines of Filton Recall, then squashing the pressure down low with bubbling subs generating effervescent ambient chords and a spire of giddy hardstyle trance motifs in Funemployed.
Flipside he commits to more chaotic themes with the ambiguous, pranging dynamics of Oh Well We’re All Fucked, chewing up and spitting out a rainbow coloured gob of sawn-off breaks and convulsive club deconstructions, then settles into a nervy swing with the lush but agitated bump of Pottlin.
Hard-to-resist Afrobeat jazz burners right here from Nigeria’s Ayetoro.
The drums are just incredible, but also the swingeing basslines, cool vocals, and warm-ass brass. Classic sounding, but smartly contemporary with it, not simply rehashing the vibe.
Woiii!!! Dark Entries on their best game with this pre-Yello collection by Carlos Peron and Boris Blank, presenting the first ever collection of their near-mythical Tranceonic recordings. Includes a prototype of ‘Bostich’. Need we say anymore?!
“Tranceonic is the duo of Carlos Perón and Boris Blank of Yello who met in 1971 in their hometown of Zürich, Switzerland. At this time Carlos studied Free Jazz while Boris listened to bands like Pink Floyd and Queen. The two bonded over a conversation about The Mahavishnu Orchestra album ‘The Inner Mounting Flame’ and became musical friends. From 1973 to 1976 they played in the New Wave group Urland. After the split of the group Perón founded the Tranceonic studio with his equipment in his private flat. Carlos invited Boris over to his studio and a concentrated work began. The idea was to make experimental new music with the hopes of having a hit in the United States. Everybody at this time was into punk, but Tranceonic loved industrial and electronic sounds. Their foresight and innovation created new ideas. Perón and Blank made electronic avant-garde music informed by the Berlin and Cologne schools. By 1978 the two had enough material to record an album and made a trip to San Francisco to visit Ralph Records. The Residents promised to release the music if the duo removed all the tape hiss, which never materialized.
‘New Crime’ is the first ever vinyl compilation of material produced, recorded, performed and mixed at Tranceonic Studio between 1976-1979. The equipment set up at the studio included a Farfisa Synth Orchestra, WERSI string ensemble, ARP Odyssey with Sequencer, ARP Quadra, Roland SH 3A, CR-78, Space Echo and Korg Minipops 120P and many effect boxes normally used for guitars. Samples were self-recorded using a Revox cassette deck and turntables. Blank and Perón experimented with manipulated tape loops, echo effects and snippets of found sounds. Blank also explored foreign near-equator exotics playing Arabesque percussion and a homemade bamboo flute. Perón experimented with CV triggering and dubbing super 8 film effects from vinyl. Both members took turns singing Carlos’ lyrics. Stylistically the songs anticipate the feeling of Yello’s ‘Solid Pleasure’ album and included here is the first instrumental mix of “Bostich”.”
Utterly spellbinding survey of John Cage’s late works, mostly focussing on orchestral pieces performed and recorded circa his 1990 visit to East Berlin, and including a stunning rendition of Some of The Harmony of Maine  performed by Edition RZ’s Jakob Ullmann, who coincidentally write the box’s lucubrate liner notes. If you’ve ever been intrigued by Cage but can’t see a way into his crenelated catalogue, we strongly recommend checking this set for some of the late, great thinker and composer’s most accessible and gratifying work.
The three discs of Klang Der Wandlungen feature five full pieces written between 1948 and 1992, just before the composer’s death at 80 years of age. By this point in the early ‘90s, Cage was already long established among 20th century avant garde heavyweights, having studied under Arnold Schoenberg - the inventor of serialism - and an extensive background in writing for modern dance with his longterm partner Merce Cunningham, as well as pioneering the prepared piano and penning the seminal 4’ 33”, perhaps one of the most important works of the 20th century.
Following an interest in eastern philosophy and anarchy from the late ‘40s, his work became defined by aleatoric music, or chance-based composition from then on, which came to define the sphere of Amercian avant-garde in opposition to the ‘new music’ coming from Darmstadt in the ‘50s, or European traditions and their focus on technicality or artisanship. These Cageian ideas had seeped into East Germany before reunification, and, in 1990, Cage was invited to East Berlin in the newly reunified German state at the behest of the IGNM (International Society for Contemporary Music).
The recordings in Klang Der Wanderlung were part of the programme or related to this visit, and, with historical context, came to show how his ideas had, over the preceding decades, become absorbed into European practice. We can hear striking similarities with the tension of Giacinto Scelsi in the remarkable opener Seventy-Four, and with Luigi Nono’s use of intangible quietness in 103, whilst the breathtaking Postcards From Heaven - here performed on harp by Gabriel Emde - is comparable with the feather-touch minimalism of Morton Feldman. Really, not what you may expect if you’ve only heard Cage’s famous, atonal early pieces such as Cartridge Music , a prototypical piece for adapted vinyl turntables, for example.
Another of Cage’s famous, early Imaginary Landscape compositions, makes up one of this set’s two biggest highlights. Gabriel Emde performs harp on a utterly gorgeous rendition of In A Landscape , a Satie-esque piece for dance presented here for the first time, whilst Jakob Ullmann’s organ performance of Some of The Harmony of Maine, renders the pioneer of Quiet Music at his loudest, performing Cage’s work in bold, striking gasps shattered by passages of near-silence.
Jakob Ullmann’s liner notes offer a lot more to sink your teeth into, alongside the music, which as always, is up to Edition RZ’s uncompromisingly high standards. Together with the delectable packaging, it makes up a perfect entry point to one of the most fascinating wormholes ever opened by art or music.
Savage pulsating drone-rock from France
"France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.
The pertinency of the recordings only slowly appear On “Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.
The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.
In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.
Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the “Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance."
In the endless ocean of Sun Ra recordings, Space Is The Place ranks among the very best but more importantly stands as the most immediately understandable of his records.
This masterpiece touches flawlessly on elements of many of Ra’s multiple phases and provides both a mission statement for and a gateway to his immaculate body of work.
Back in 1972 Sun Ra organised his Arkestra for a compellingly ambitious score, which has since been referenced by practically anyone with an interest in Afro Futurism. The accompanying film was just as groundbreaking, chronicling the time-travelling astral adventures of Sun Ra , which would turn out to be an allegory for racial power struggles in the US at the time.
The music was all recorded in San Francisco, arranging a truly mind-blowing programme of heavy synthesizer and organ blasts, hypnotic vocal chants, free jazz chaos and deeply funky Afro-Latin percussion influences that's still seen as a well of inspiration today. We're holding back on the hyperbolics but this is just one of those records that every self-respecting music lover should own, so you know what to do... Highly recommended!