Inimitable percussionist Eli Keszler takes time out from 0PN’s ensemble to unfurl the incredible, dextrous rhythms and electro-acoustic jazz keen of his masterpiece, ‘Stadium’ - a spellbinding follow-up to his cherished ‘Last Signs of Speed’ LP and recent duties working on 0PN’s ‘Age Of’ and Laurel Halo’s ‘Raw Silk Uncut Wood’ sides. For us this is one of the defining albums of the year - an isolationist avant-jazz masterpiece that is a total must-hear for late-night listeners and, we reckon, anyone with a pulse and especially recommended if yr into Milford Graves, Max Roach, Han Bennink, Conjoint, Jan Jelinek, Miles Davis...
With both his close collaborators Daniel ‘0PN’ Lopatin and Laurel Halo smoking in the back seat of ’Stadium’, Keszler is the dynamic battery behind a shadow-strafing suite of spidery rhythms and inquisitive jazz gestures, effortlessly binding avant instrumental dexterity with cool blue harmolodic sentiment in a timeless style that could feasibly be dated to any point between the mid ‘70s heyday of jazz-fusion and right now, except for those spectacuarly subtle production flourishes that render this album pretty much indefinable. It’s both highly complex and entirely accessible - in the most thought provoking, evocative way.
Painted in diffuse strokes, darting flurries, and intoxicatingly rich tones, ’Stadium’ shows off Keszler’s expressive grasp of meter, texture and proprioception from myriad angles. Combined with floating Rhodes chords, sighing woodwind and field recordings, the results also demonstrate his uncanny capacity to transmute sound to limn landscapes, architecture and the sensation of being lost in a crowd. In the case of ’Stadium’ he uses this ability to specifically reflect his recent house move from the semi-industrial scape of South Brooklyn to the high rise vistas and street level bustle of Manhattan, beautifully connoting multi-storeyed perspectives and a sense of scale that zooms from the atomic to the panoramic via a gauzy, morphing middle-distance.
Within this space, Keszler navigates webs of sound as structurally fascinating as a spider’s web or a deep space image of a distant constellation, seemingly moving on eight legs along steep vertical and fast-flowing horizontal axes with a shocking grasp of precision and pointillism that will leave new listeners to his work scratching their heads, wondering how to programme such chicanery electronically. But as longer term followers of Keszler’s work know, the magick is all acoustic and haptic; physically converting impressions of images and emotions into overlapping geometries of geography and psychology - and in this case effectively projecting a singular, inverted form of sonic deep topography, if you will.
Perhaps the most wondrous thing about ‘Stadium’ is the way it describes the paradoxical quality of keeping your head amid the chaos - a notion that will surely resonate with inner city dwellers as much as fans of the finest noise, jazz, avant-garde music of all stripes, and is firmly at the heart of ’Stadium’ and its amorphous milieu of sound.
Simply an incredible album.
Tim Jones, also known as Preacherman and recorded under Midi Man, Ironing Board Band and T.J. Hustler made one very rare lp, and two even rarer CD’s. These tracks are from the CD’s.
"He was a salesman for IBM in Las Vegas, where he sold Selectric Typewriters and then word processors during the day and at night he would perform in the Las Vegas lounges. He was somewhat of an engineer and adapted a Hammond B3 organ to play a moog synth with some of the organ keys, (some still played the organ), and he adapted the organ’s foot controlled bass levers to play two Moog synth bass pedals (a failed item Moog made for a few years.) Thinking he wasn’t much of a live performer he had a wooden puppet made that he named T.J Hustler, and together with the puppet, he would engage in long philosophical soliloquies, (some of which are featured on this album).
If you meet Tim, he is not someone who stops talking. In fact he even created a little book called Universal Philosophy. He has a lot to say about everything. Currently he lives with his 103 year old mother in Oakland. There he infrequently plays shows on his Casio where he fashions himself a live Karaoke performer, who comes complete with 5 wireless mics and P.A. and a list of about a 100 songs he can play. His invented organ contraption and puppet are in storage in Las Vegas, and he seems intensely uninterested in getting them out, as “The kids these days want to hear the sounds the Casio makes.”
With Shadow Aesthetics, Marc Barreca accomplishes something rare in electronic and ambient musics. The fluid, dynamic changes and movement within pieces; the complexities in time and pitch variation and evolution—typically absent from the mostly homogenous constructs of drone and ambient—all bring previously unavailable depth, shading and emotional charges to a form usually admired for its neutrality.
"Shadow Aesthetics results from a virtual arsenal of digital and analog sources operating in a complex system of origination, structuring, processing and editing. The result is a moving, articulate and complex work: music that is a profoundly emotive, original, and experimental electronic work that is in many ways the culmination of decades of listening, performing and composing in a form known best for continuous change.The album includes an eight-page booklet and a digital download code for the complete album plus two bonus tracks.
Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, reissued on vinyl last year, was one of the earliest releases on PoL. Shadow Aesthetics is his eighth solo album for the label. Recent releases include Aberrant Lens (2017) and three collaborations with K. Leimer. Reissues include work on the acclaimed VOD box set American Cassette Culture, an upcoming Cherry Red compilation of seminal U.S. electronic music and the 1983 cassette, Music Works for Industry, now on vinyl. His work is also included in the collection of The British Library."
Staffordshire’s purveyors of pastoral pop, epic 45, return after a seven-year hiatus with new album, their first release since 2011’s acclaimed album ‘Weathering’, which explored the lingering death of rural communities.
"Much of what has always driven epic45 still remains; the British landscape, hazy childhood memories and a sense of loss. However, as tensions across Britain have increased, epic45 have been forced to re-examine their relationship with the country in which they live. “The album is about, in part, returning to the place where we grew up from birth to our early twenties.
From a personal perspective, it’s sad to see the place changing; new houses, the disappearance of old landmarks etc and the sadness of our childhood homes, strangely quiet now. But on a wider scale, it’s the palpable sense of cultural and political stagnation too. It’s a very insular place now, the community more fragmented than ever before”. Atmospheric soundscapes combined with subtle electronics permeate throughout ‘Through Broken Summer’. ‘Outside’ and ‘From Quiet Houses’ are written with a sense of grandeur and astral beauty but darker moments are witnessed on tracks like ‘Other Rooms’, a glitchy, static affair.
There is a calming and addictively measured beauty to ‘Through Broken Summer. ‘Hillside ‘86’, which includes a guest appearance by Antony Harding of July Skies, shimmers against a backdrop of broken beats and heavenly sonics. If you’re looking for musical references, you might be able to hear the ghosts of Sarah Records, Disco Inferno, Slowdive and New Order in epic45’s ever evolving sound. It comes as no surprise to find that epic45's Ben Holton and Rob Glover grew up in a small rural village in the English Midlands. Since their debut 7" single in 1999 (which received immediate support from John Peel on Radio 1) they have released a series of widely celebrated EPs and albums, inspired by their surroundings; blissful childhood summers and the ever-changing landscape of the English countryside."
Canada’s modern day answer to Arthur Russell and Paul Simon; Sandro Perri unfurls a wonderful new album of syncretic disco, country, and ambient-pop in his ever-charming style following recent avant escapades with his Off World group
The teasing edit of lead single ‘In Another Life’ is rolled out to a full and immersive 25 minutes of giddily uplifting electronics and softest blue eyed soul vocals inside, firmly set to soundtrack balmy evenings everywhere, while ‘Everybody’s France’ is a gently psychedelic three-part tapestry lilting from folk-soul sung by Sandro in the first part, to bring the huskier tone of Andre Ethier on board for the Leonard Cohen-like kitchen sink observations and shimmering meld of lap steel guitar and lapping congas in Part II, with Dan Bejar of Destroyer joining in for the 3rd part of woozy psychedelic country.
“Sandro Perri returns with In Another Life, his first new solo album since the acclaimed Impossible Spaces from 2011 (which garnered a Best New Track and Top 50 Albums of 2011 from Pitchfork, among many other accolades). Perri has been called “one of the most singular producers in contemporary music” (Boomkat) and his long affiliation with Constellation through various electronic and singer-songwriter guises (Polmo Polpo, Glissandro 70, Off World) has produced a uniquely adventurous and iconoclastic discography. In Another Life expands on this in peerless fashion.”
‘Solipsism’ writes a line under Mike Simonetti’s tenure at IDIB, the label he co-founded with Johnny Jewel in 2006 and brought to worldwide acclaim, before leaving in 2013 to pursue solo work and the Pale Blue project at his 2MR label (Two Mikes Records) with Mike Sniper of Captured Tracks
As one of those characters who naturally shapes the wider world, before humbly moving on the next project, Simonetti has lead an illustrious career arc from his days at punk label Troubleman Unlimited to his crucial role in establishing the resurgence of disco/synth/soundtrack styles which strongly prevail in 2018.
The 12-track ’Solipsism’ clears Simonetti’s archive of unreleased goodies conceived for TV commercials, runway soundtracks and film scores during his tenure of IDIB, where he released his debut album ‘Capricorn Rising’ in 2011. The set spans entirely unreleased business, including a stack of tracks made for a thwarted Hollywood movie project and one outtake from ‘The Magician’ sessions.
DJs and dancers should listen up for the sublime slow disco pulse of his ‘Through The Clouds’ ace and the ambient techno suspension of ‘Los Angeles’, while lovers of the cinematic IDIB aesthetic will get their kicks everywhere from the slowed-down Gqom-like sci-fi pressure of ‘A Prayer For War’, and the drizzly introspection of ‘Requiem’ and the soaring Tangerine Dream-esque ‘Acceptance 2’.
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.
"Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield.
The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).
Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger.
Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world."
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono has put his unmistakable stamp on hundreds of recordings as a session player, producer, and auteur of his own idiosyncratic musical world.
"Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums.
After Happy End’s amicable break up in 1973, Hosono released Hosono House, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180 degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual Hosono House was one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent.
For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. The songs on Hosono House display the breadth of Hosono’s talents, from the hushed acoustic folk of “Rock-A-Bye My Baby” and the country twang of “Boku Wa Chotto” to the New Orleans funk of “Fuyu Koe” and the unexpected breakbeats in “Bara To Yajuu.” Lauded by artists such as Jim O’Rourke and Devendra Banhart, Hosono House remains a touchstone of the early phase of Hosono’s career.
Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world."
Deep house craftsman Lawrence coaxes out trademark slinky bass warmth and playful drums on his 8th album since emerging at the turn of the century.
A perennial favourite of house heads in the know, the Dial Records co-founder continues to find iridescent variation within his style on ‘Illusion’, inducing the lushest hypnotic states with beautifully woven square bass and cirrus pads in ‘Treasure Box’ and the feathered flight of ‘Yu Yu’, while ‘Flaunting High’ seduces with some of the strongest bass work his side of Terre Thaemlitz, and ‘Transitions’ makes a lovely foray into midnight jazz-toned electro-house.
There are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall.
"On her 10th studio album, ‘Wanderer’, Marshall resets her dials, offering a collection of winding, wondering narratives all perfectly imbued with the kind of yearning and warmth that have made her one of the most distinctive and beloved artists of her generation. Held aloft primarily by Marshall’s own guitar and piano and featuring appearances by longtime friends and compatriots, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey, the new album ‘Wanderer’ is a remarkable return from an iconic American voice."
Air Texture hand the reins of ‘Vol. VI’ to Steffi and Martyn for a 26 track set of atmospheric IDM, electro, techno and D&B from friends, family and their favourite artists, including pieces from Stingray, Mosca, Actress, Shed, Herron and many more...
“The Air Texture series asks two producers/performers to provide a selection of unreleased music. The only guidance is the music should not be main floor bangers; other than that, the label gets out of the way, allowing them autonomy over their selection. For Air Texture Volume VI, Steffi and Martyn were asked to step up. Exciting, since as residents at Berghain/Panorama Bar, two of the most important dancefloors in the world -- how would two such respected artists approach our experimental ethos? Bringing together contributions from veteran producers such as Total Science, As One (Kirk Degiorgio) and Stingray, as well as contemporaries Actress, V.I.V.E.K. and Shed, the artists explain in a press release that the selected tracks are all "unique interpretations of a leftfield, non-linear aesthetic". Double-CD version features Synkro, Appleblim, Answer Code Request , dBridge and Lewis James, Tracing Xircles, Samuel Pling, Herron, Steffi, Afik Naim, Mosca, Novocanemusic, Mesak, FaltyDL, 214, Basic Soul Unit, Barker, Late Night Approach, Martyn, and KiNK. Double-LP version features: Steffi, Tracing Xircles, Basic Soul Unit, As One, Martyn, Afik Naim, Late Night Approach, and Answer Code Request.”
Hans-Joachim Roedelius meets Gotan Eject founder Christop H. Mueller in etheric space for a 2nd time, reprising the serene buoyancy of their 2015 debut across a longer, broader, and immersive 2nd collaboration finding the sweetspot between Latinate fancy and ambient tranquility
“In 2015 their debut, IMAGORI, was released on Groenland Records. It is an album that readily demonstrated how well their musical visions fit together. Roedelius’s soundscapes joined Christoph H. Müller’s electronic productions and beats and they entered into a dynamic symbiosis that gave rise to music that, instead of uniting two worlds, created a new one.
That process continues seamlessly. The title itself implies as much: IMAGORI II. The second joint album from these electronic music virtuosos shows new facets of their collaborative efforts and reveals all the new discoveries there are to be made when two explorers join forces. IMAGORI II’s twelve tracks oscillate between tender and hard-edged, between science fiction and the Garden of Eden; they call forth organic orchestral sounds that then fragment; they create moods ranging from melancholy to euphoria and are all the while accompanied by Roedelius’s filmic pathos, which has no use for extravagant gestures and instead tests the limits of minimalism.
Language is employed strikingly often; for instance, on the first track “FRACTURED BEING,” which is sung by “Miss Kenichi,” alias Katrin Hahner. The song “ICH DU WIR” is a family affair in which Rosa Roedelius gradually allows the listener to observe how soundscapes allow deconstructed language to fuse into structured form once again. Then, on “LA VIE EN BLUE” we hear Christoph H. Müller’s daughter illustrate the boundlessness of her father’s music in while singing in French.
Thus, we witness new experiments on IMAGORI II that are well aware of the foundations they are built upon and that sometimes let us forget the present with their future-oriented perspective while never descending into pure escapism. The twelve tracks allow the listener to close his or her eyes and enter a dream that could not sound more beautiful – we experience this phantasm as IMAGORI II. It contains no fractures, merely passages that provide a plane on which something new emerges.
The album ends with a song that could not be more defining and that recapitulates the production’s musical harmony one final time: “HIMMLISCHER FRIEDEN.” Hopefully, this will go on for a long time.”
Organic melds of plaintive vocals, primordial techno and rustic folk with subtle electronic backdrops. Recorded in Talinn, Estonia and recalling elements of Cucina Povera, Fönal Records’ Paavoharju...
“The presiding spirit of “Muunduja” (Shifter) is a state of being between states, the warping of time’s arrow using sound. Maarja Nuut & Ruum’s music often lures us into unimagined conversations with elements of our psychic selves that we may have otherwise forgotten. Whether the listener reacts through out-of-body experiences, glitches in cerebral programming, or old fashioned magic is immaterial. We experience the phenomena presented to us, and we take new insights from them.
Essentially the recording of two musicians’ inner travels, “Muunduja” is a release that relies heavily on gesture and spirit. Rich, rounded and expertly arranged, the music is also presented as a series of contrasts, heavy on shifts of tone, texture and mood.”
Marie Davidson is a synth-pop star for our times. Her belting 4th solo LP, ‘Working Class Woman’ is a definitive reflection of her character and current sound, including road-tested zingers from her powerful live show along with genuine surprises, while introducing a whole new wave of listeners to her charms.
In hot pursuit of the more ‘floor-friendly styles on her ‘Adieux Au Dancefloor’, and marking distance travelled since her cinematically sculpted ‘Un Autre Voyage’ for Holodeck, Marie’s 4th album inseparably binds the sound designer and dancefloor aspects of her sound in a sleek, witty, and totally captivating album which, for all it’s vintage touchstones, feels very symptomatic of 2018.
Her grooves are firmed up to direct functionality while the arrangements are as varied as anything from her intricate earlier works, resulting in big highlights on her live show favourite, the playfully raunchy EBM of ‘Work It’, and the rabid drum machine razz-out ‘Workaholic Paranoid Bitch’. But the amazing late ‘80s synth-pop-house of ‘So Right’ and the album’s two bookends of sardonic and sensual vocals, set to respectively pensive and sublime backdrops, really set this album apart from the crowd.
As the legendary Art Ensemble Of Chicago celebrates its 50th anniversary, Soul Jazz Records release a new, fully re-mastered edition of the group’s seminal 1970 album ‘Les Stances à Sophie’, which features the great singer Fontella Bass on the opening track ‘Theme de Yoyo’, a stunning 9-min opus that continues to startle and compel new audiences today.
"The Art Ensemble explored many areas of popular black music during their career. For instance, their ‘Ancient to the Future: Tribute to the Masters’ album covered songs by artists such as James Brown, Fela Kuti and Jimi Hendrix. This however, remains a pinnacle moment in their exploration of black dance music.
‘Les Stances à Sophie’ was recorded in Paris in 1970 and features regular Art Ensemble members (Lester Bowie, Joseph Jarman, Roscoe Mitchell and Malachi Flavors) alongside newly recruited drummer Don Moye and guest Fontella Bass on vocals and piano. Fontella Bass already had a successful career as a soul singer - ‘Rescue Me’ was her biggest hit in the Sixties. She and Lester Bowie first met in St Louis while working with legendary rhythm and blues producer Oliver Sain. Vocals (and lyrics), alongside a constant drum and bass beat, were new elements to the music of the Art Ensemble at this time. Musicians such as Ornette Coleman and John Coltrane spearheaded the free jazz movement at the start of the 1960s.
Far from simply defining a musical concept, they also began to redefine the concept of the African-American musician in society. A new period of self-respect and spirituality among musicians paralleled the Civil Rights Movement led by Martin Luther King and Malcolm X, encouraging self-determination and empowerment in every African-American musician. The Association for the Advancement of Creative Musicians (AACM) was formed in Chicago in 1965 by Muhal Richard Abrams with members including future Art Ensemble of Chicago members Bowie, Jarman, Mitchell and Flavors, as well as others including Anthony Braxton and Amina Claudine Myers. The AACM explored experimental music and began promoting concerts, teaching music and Black history and offering spiritual guidance to youngsters in the Chicago community.
Out of this The Art Ensemble was formed in 1968 and in June 1969 the group headed for France. ‘Les Stances á Sophie’ was originally released on EMI France in 1970 and later in the US on Nessa Records. Soul Jazz Records first released the album in 2000. Now ten years out of print, they are releasing it once more in this new fully re-mastered edition. ‘Les Stances á Sophie’ came about when Israeli film director Moshe Misrahi befriended the group and asked them to record a soundtrack to a (then unmade) French New Wave film of the same name. During a two-year period in France the group recorded an astonishing amount of music - over fifteen albums recorded for various labels such as BYG, Freedom, Nessa, Arista and EMI - before returning to America in 1971 to continue their journey. The Art Ensemble Of Chicago’s musical soundtrack remains perhaps the definitive release from this period, a stunning exploration of radical jazz music and, with with the rare addition of vocalist Fontella Bass on ‘Theme De Yoyo’, an unashamedly powerful celebration of Great Black Music."
A tremendous collection of recordings from famed Fluxus poet and artist Jackson Mac Low (1922-2004). Originally published on New Wilderness Audiographics as a cassette in 1977, these recordings have been cleaned up and remastered by Sean McCann in 2018.
"Jackson’s beautiful text formulas are supplemented by stereo multi-tracking, creating a spatial jungle of wordplay. One gem of this CD is the live foray into tape manipulation from 1966 featuring the assistance of James Tenney and Max Neuhaus. It is fabled that they took Jackson’s voice and slowed it down to a guttural thunderstorm during playback, resulting in a manic blend of words darting through a black cloud of reverberation.
Only a small amount of Jackson’s sound poetry is available, making this collection a delight to swallow and digest. Produced with Charlie Morrow, we are thrilled to re-present this history to the ears of both young and old."
‘Music Of Southern and Northern Laos’ ‘Music Of Southern Laos’ presents an outstanding set of recordings made by Laurent Jeanneau (Kink Gong) in the landlocked, mountainous, South East Asian country as well as the Luang Namtha & Phongsaly provinces, a rare collection from a region which has been generally overlooked by the recently burgeoning ethnographic musical industry.
Replete with Jeanneau’s lucubrate liner notes and detailed track descriptions, it’s a totally transportive survey for both beginners and studious ears; covering a remarkable range of styles from the almost sea shanty-esque cadence of the qeej - bamboo pipes fitted with a reed - to quietly intimate acapella folk song; a beguiling demonstration of extended breathing/singing techniques on the tot, a fresh green bamboo played with reed; and thru to ululating songs about solitude; a rolling percussive piece played by a shaman; and a mad, buzzing piece somehow played with the palm of the hand on a bamboo tube.
Highlighting a region and musics usually obscured from the the recently burgeoning ethnographic musical industry, ‘Music Of Southern Laos’ offers a rare overview of folk styles from the Champasak, Attapeu, Sekong & Saravan provinces bordered by Vietnam and Thailand, and home to a panoply of marginalised ethnic communities which Jeanneau places particular focus upon.
Given their proximity to Thailand, the music of Southern Laos perhaps understandably bears resemblance to the Thai folk-pop style of Molam in their singing, as documented in some of the LP’s most charming pieces, such as the slow, elegant sway of ‘Lao Lam Saravan’, but our personal highlights are the beguiling instrumentals, including the mesmerising metallic scrapes and glances of ‘Brao Lave Gongs’ from the Brao minority, as well as the beautifully drowsy ‘Alak Gongs’ of the Alak minority, played by three elderly performers surrounded by crowing cockerels and tropical fauna.
Colour us utterly enchanted.
Mount Kimbie show off their record collections on a fine DJ-Kicks mix and compilation stuffed with glassy-eyed electronica, exploring its roots and branches in industrial, electro and experimental techno
Replete with an exclusive Mount Kimbie song, ‘Southgate’, but surprisingly swerving the post-dubstep sound they were instrumental in shaping, Kai Campos and Dominic Maker serve a hypnotic ride around the last 30 years of electronic music, highlighting liminal stylistic connections between Madalyn Merkey’s gaseous ambient hues and the dreamy lean of Taz & Meeks’ percolated stepper, ‘Obviously’ via classic industrial peaches from Severed Heads, a choice piece percolated synth voices and jacking house from Reg Burrell’s N.Y. House’n Authority, Terrence Dixon’s Afro-styled Minimal Detroit mix of Efdemin, and up-to-the-moment aces such as object blue’s haunted warehouse jacker ‘Even In You’, and the sloshing groove of Rupert Clervaux & Beatrice Dillon’s ‘IX’.
Italian artist David August blends ambient-pop with Nico Jaar-like grooves, blues vamps and Giallo soundtrack-styled motifs in ‘D’Angelo’, his follow-up to a self-released ambient album and prior outings with Solomon’s Diynamic.
Sublime charms from Hood co-founder Richard Adams...
“The Declining Winter return after a three year lay off with what is perhaps their strongest statement to date. Pushing on from the pastoral blueprint of the long sold out ‘Home For Lost Souls’ (2015),‘Belmont Slope’ is a bold and varied album, extending the boundaries of their earlier sound, introducing pop sensibilities and daring electronic flourishes.
Truly a Northern English album, Belmont Slope is a haphazard car ride across the M62, a love letter to the hills of Yorkshire and Lancashire, a paean to desolate beauty, unattainable love and lost friends. The Declining Winter is the brainchild of Hood co-founder Richard Adams, an ever changing collective who emerge blinking into the daylight from their Yorkshire enclave with a unique blend of pastoral and lo-fi pop, shimmering electronics and rural post-rock."
Well, this is just lovely; Hiroshi Yoshimura’s soothing electro-acoustic ambient suite, Music For Nine Postcards  is made available outside the Japanese market for the 1st time, unfurling the Tokyo-based artist’s delicate, minimalist masterwork inspired by Satie, Schaefer and Eno to whole new generations in need of blissed sonic respite. Unless you’re a bit wadded or simply helpless to the charms of early ‘80s Japambient records and bought a dead expensive original, it’s maybe likely that you’ll only get to hear this one via YouTube otherwise, so the opportunity to hear this beauty in full fidelity, at a reasonable price, is not to be missed!
"Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura remains tragically under-known outside of his home country. Empire of Signs–a new imprint co-helmed by Maxwell August Croy and Spencer Doran–is proud to reissue Yoshimura’s debut Music for Nine Post Cards for the first time outside Japan in collaboration with Hiroshi’s widow Yoko Yoshimura, with more reissues ofHiroshi’s works to follow in the future.
Working initially as a conceptual artist, the musical side of Yoshimura’s artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design – all existing not as side work but as logical extensions of his philosophy of sound.
His work strived for serenity as an ideal, and this approach can be felt strongly on Music for Nine Post Cards. Home recorded on a minimal setup of keyboard and Fender Rhodes, Music for Nine Post Cards was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building’s architecture.
This was not background music in the prior Japanese “BGM” sense of the word, but “environmental music”, the literal translation of the Japanese term kankyō ongaku given to Brian Eno’s “ambient” music when it arrived in late 70’s Japan. Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space: music not as an external absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it.
Erik Satie’s furniture music, R. Murray Schafer’s concept of the soundscape and Eno’s ambience all greatly informed their work, but the specific form of tranquil stasis presented on releases like Nine Post Cards is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of its construction. This record offers the perfect introduction to Hiroshi’s unique and beautiful worldview: it’s one that can be listened to – and lived in – endlessly."
Chromatic conjurer Tim Hecker meets traditional Japanese Gagaku musicians from the Tokyo Gakuso ensemble on ‘Konoyo’, a dreamlike dramaturgy of noise, dissonance and aching melody recorded during several trips to Japan
The Canadian’s 9th solo release ‘Konoyo’, like its predecessor, ‘Love Streams’  also finds Hecker drawn to acoustic instruments and collaboration with a larger ensemble or collective, this time working with the Tokyo Gakuso ensemble after commanding an Icelandic choir on his previous album. However, the results here have a different purpose, swapping out ecstatic density for an intently refined and spacious approach, allowing his processed sources to ring out beautifully un/true in a sort of parallel dimensional harmonic spectrum.
In ‘Konoyo’ Tim Hecker effectively establishes a whole new set and lighting design to stage his patented play of paradoxes - lone/collective; organic/synthesised; consonant/dissonant - with the synaesthetically heightened skill of director, set designer and conductor rolled into one. The results are thus among his most subtly yet richly theatrical or cinematic, riddled with romantic, if abstract, narrative and a yearning pathos, and effectively collapsing myriad traditions - electronic, acoustic, Western, Eastern, classical and new age - into a spellbindingly sonorous, mercurial triumph.
SOPHIE presents one of 2015's defining records with the immaculate electro-pop of 'Product'.
Since emerging with a flash remix of Auntie Flo's 'Highlife' in 2012, SOPHIE has infused a minty fresh digital air to modern pop music with a procession of stunning solo singles, co-productions for PC Music's QT, and production credits for Japan's queen of J-pop, Namie Amuro, Mad Decent's LIZ and erm, songwriting for Madonna's 'Bitch I'm Madonna' alongside Ariel Pink.
We'll assume you're already au fait with the record's previous singles - the ecstatic, 'Bipp' and heart-rinsing emultion of 'Elle', or the textural hyper-sensuality of 'Lemonade' and 'Hard' from 2014 - so we'll skip to the new stuff. Msmsmsm ratchets his sound with ambassador-grade trap potency, whilst 'Vysee' sounds like '07 electro-bassline updated by Florian Hecker for a Japanese sex hotel. But it's the final run of cuts that really sends us reeling; 'L.O.V.E.' leaves everyone for dust with its visceral production values, teasing melodies and pointillist edits, whilst the lazer-crafted 'Just Like We Never Said Goodbye' is one of 2015's strangest bubblegum pop hits-in-waiting, or at least one of its most hyper-affected sensations.
In the best sense, this is a record that should divide opinion like few others, and which side of the fence you land on says a lot about your grasp of current, mediated culture. For our 2p, it's the sexiest, provocative, and uncannily tactile grip of tunes we've heard in years; a massive recommendation!
Exquisite pickings from Jonny Nash and Suzanne Kraft, highlighting gems from the first three years of Melody As Truth on the label’s first CD release. Tipped for the romantics and those who still own a functioning CD player
“The music presented on this compilation, “Framed Space” consists of a selection of works from the first three years of Melody As Truth.
Disc One features the work of Jonny Nash, comprising of tracks from “Phantom Actors” [MAT1], “Exit Strategies” [MAT2] and “Eden” [MAT6]. Two unreleased tracks feature on the disc, “Treasure” and “Sayan”. “Treasure” was recorded with Gigi Masin in 2014. “Sayan” was recorded in Bali, during the same recording sessions as those that resulted in “Eden” [MAT6].
Disc Two features Herrera’s work as Suzanne Kraft, comprising of tracks from “Talk From Home” [MAT3] and “What You Get For Being Young” [MAT5]. Two unreleased tracks also feature on the disc, “Meetings” and “Seven Day Turnaround”. “Meetings” was recorded in Amsterdam shortly after Herrera relocated to the city in 2015. “Seven Day Turnaround” was made during the “What You Get For Being Young” sessions, also in 2015.
The music on “Framed Space” is intended to give the listener an insight into the first chapter of an ongoing story.”
Sister collection to “The Flesh Creeping Gonzoid & Other Imaginary Creatures.” Studio out-takes, deleted obscurities, compilation appearances and vinyl and download releases.
The DVD included is an extended version of the very limited DVDR of “Life Is An Empty Place”. (N.B: DVD may not play in all territories – it is REGION 2). All discs are over 75 minutes in length and feature a wealth of previously unreleased material. The discs are housed in individual card sleeves. Box includes a 4 page insert with the track-listing. Limited to 500.
Amazing jazz slab from Japan, 1983, feat drummer Takeo Moriyama and a crack squad of players. First time vinyl reissue (also available on CD) of a highly sought-after 2nd hand release
“BBE Music is proud to present the next instalment in the J Jazz Masterclass Series: ‘East Plants’ by Takeo Moriyama, one of Japan’s finest jazz drummers.
A genuine ‘under the radar’ album known only to a handful of Japanese jazz collectors, ‘East Plants’ is now available once more, reissued for the first time as a double 180g LP, with exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated. ‘East Plants’ is also available as CD and digital formats. This reissue is fully endorsed by Takeo Moriyama himself.
Originally released in 1983 on the Japanese VAP label, ‘East Plants’ is an essential album in the J Jazz canon. It’s an album that distils several key characteristics of Moriyama’s music: clearly articulated and inventive rhythms, open yet orderly arrangements, and an accessible groove balanced with a graceful control.
‘East Plants’ features no piano, just percussion, bass and reeds. From the luxurious raga-like build of the album’s hypnotic title track and the fierce post-bop workout of ‘Fields’, to the stately modal track ‘Kaze’ ( as featured on the sell-out BBE compilation, ‘J Jazz: Deep Modern Jazz From Japan 1968-1984’), the album was, until now, a rarely acknowledged masterpiece. ‘East Plants’ shows Moriyama’s quintet at their most transcendent: delicate layers of percussion by Yoji Sadanari, a warm and pliant bass from Hideki Mochizuki, with colour and texture provided by the eloquent reed work of Shuichi Enomoto and Toshiko Inoue. And, overseeing it all, Moriyama’s discreet yet commanding drumming.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series will feature rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.”
‘Mandy’ is the exceptional final soundtrack realised by dearly departed composer Jóhann Jóhannsson for the film directed by Panos Cosmatos. A supporting cast of Stephen O’Malley, Kreng and Yair Elazar Glotman, plus production from Randall Dunn ensure a majestic final missive and one of the most rich and varied releases in Jóhannsson's canon, taking in elements of metal, drone and doom ambient, even retro-futuristic synth work...
With a crack squad including O’Malley on guitar and additional production from gifted sound designers Randall Dunn, Pepijn Caudron (Kreng) and Berlin’s Yair Elazar Glotman (Ketev), the results lurk like blinking red eyes in a dense nocturnal forest, swarming in formation from widescreen romance to petrifying, plangent cues and pockets of heart-sinking gloom, saving the gnashing guitars for when their bite is felt strongest, but equally knowing how to send shivers shooting down the spine in moments of sublime, contrasting relief on the ‘Memories’ theme.
Jóhannsson's deft approach to sonic extremities is the real eye opener here; far removed from the emotionally driven demands of his more mainstream work for hollywood, here we're taken through grinding, industrial metal scrapes one minute and insanely rich ambient textures the next - with no concession to soaring emotional cues. Not that Jóhannsson ever really succumbed to much of that; but nonetheless - it’s a total pleasure to hear him reach into those darker recesses on Mandy - a soundtrack that’s likely to be remembered as one of his best.
R.I.P to a true master.
Autechre weigh in the labyrinthine 8 hour ‘NTS Sessions’, parsing the guts of their hard drives for gold and other precious materials dating back to 2011
The duo were initially commissioned to do a DJ residency on NTS, following their show from early 2016, but what transpired is closer in approach and results to a super extended Peel Session, featuring stacks of reworked material along with exclusive new notions generated by their infamous ‘System’ of software patches.
Given so much time to roam, they explore a full spectrum of meters, tones and alien machine feels ranging from succinct hyper-symphonies to an hour long closing passage of unfathomably deep ambient music, all sequenced with a non-linear narrative arc influenced by the stunning 3rd series of Twin Peaks, and with distant echoes of their seminal, freeform Disengage shows for Kiss firmly in mind.
Call it an album, call it a radio show, call it a massive excuse to lock yourself away for 8 hours, either way ‘NTS Sessions’ is a vital dispatch from the North Face models, with material such as the squirming tech-step of ‘North Spiral’ and the slimy electro of ‘Four Of Seven’ from the 1st session, or the footwork-esque ‘Gonk Tuf Hi’ from the 2nd, and the free-floating structures of ‘Cluster Casual’ off the 3rd volume offering some deeply satisfying rhythmic convolutions for the dancers, whereas the preponderance of durational cuts, including highlights such as the hour long ‘All End’, the breathtaking visions of ‘Turbine Epic Casual, Stpl Idle’, and the plasmic wormhole of ’Shimripl Casual’ reach deep into the most abstract, amorphous nooks of their sound in a way comparable with visionary work from Roland Kayn or Iannis Xenakis.
In other words, it’s fuucking mint.
Eighteen months since their first issue, Woe To The Septic Heart!'s long delayed 2nd release finally dawns upon us.
Comprising entirely new and previously unreleased Shackleton material - including collaborations with vocalist Vengeance Tenfold and musical spars Andreas Gerth (Tied & Tickled Trio) and Kingsuk Biswas (Bedouin Ascent) - it's also his most shocking and invigorating body of work. What strikes us first and foremost is the newfound vitality and visceral impact of his sound here. Any signature murk is replaced with a lysergic lucidity and rendered in widescreen 3D that consumes the senses with ultra-vivid potential.
The CD entitled 'Music For The Quiet Hour' features your venerated protagonist and his mystical interpreter, Vengeance Tenfold in the extended format we've long wished to hear them, astral projecting cut-up passages of Tenfold's apocalypse-baiting text over five meticulously crafted sonic topographies which stretch to the periphery of the mind's eye and ever further into inky blackness. This combination of poetry/spoken word and dark ambience clearly calls to mind Deathprod's 'Reference Frequencies', but the choking bass pressure and timbral cadence are innately Shackleton, just presented in a vital new form. But, perhaps the most subtle yet striking new element is the wheezing, scaling tonal spectrum siphoned through the Italian drawbar organ module which inspired the title of 'The Drawbar Organ EPs'.
Effectively forming an album in their own right, it's here that we find more condensed, rhythmically structured episodes reminding of his recent live shows - which are, in our humble opinion, the finest in the world right now. Meditating on late '60s/early '70s Reich-ian rhythm phasing, stained with carmine Italian horror vibes, driven by wanton Junglist and post-punk torque and enveloped by a universal consciousness alluding to Alice Coltrane, it will take longer than we have right now for these tracks to settle in fully, but we can assure you that they're of the rarest, most precious substance. Unmissable.
Calling time on one of the most important electronic acts in existence, Pan Sonic bow out with their immense final album, 'Gravitoni'.
It's a typical feat of overwhelming sonic physicality from a duo who've owned the rights to the 'Power Electronics' tag ever since 1994 and the release of the 'Panasonic EP'. Working together, Ilpo Väisänen and Mika Vainio opened the blackest vortex to a world of unadulterated electronics wrested from homemade and circuit bent hardware, creating an uncompromising vision of techno concrete that built monolithic structures in the shadow of their predecessors Einstürzende Neubauten, Throbbing Gristle and Pierre Henry.
'Gravitoni' feels like they've abandoned all hope, taunting an oncoming apocalypse with two fingers clutching an exposed 1/2" jack lead and a granite glazed look that tundra wolves wouldn't f*ck with. Whereas previous album 'Katodivaihe' offered some respite with Hildur Gudnadottir's arcing bows, here it's just two Finnish blokes with an arsenal of brutal beats and lucid tones. From the outset of 'Voltos Bolt' introductions are dispensed with in order to get down to business, a landslide of skull crushing bass hits and molten silicon slurry to encase your cochlea. Next 'Wanyugo' perhaps suggests they've spent time in Northern England, picking up the lingo and developing a bellicose attitude to match, swaggering with the darkest synthlines around and bristling with kinetic potential. Meanwhile, a false start in 'Corona' trips into a murderous noise and 200bpm gabber assault executed with such intent that you could even imagine them having a wry smirk to each other in the studio. With 'Radio Qurghonteppa' fear not, your speakers aren't about to cave in, they've simply managed to create a bass frequency that makes it sound like your cabs are coming apart from the cone. That's all.
In 'Trepanation' they bust out the rusty iron, sucking up elemental black metal power and stripping away all the camp sh*t, leaving a bloodied pile of still fizzing Euronymous at their feet, scalp (skull tip attached) in hand, still not smiling. The final section of the album presents three sublime visions of tonal darkness, from the pitch black electro-acoustic spaces of 'Väinämöinen Dreams' to the deliberate passage of 'Hades' where we mix our myths and Thor drops Atomic subbass bombs outside the gates while a choir of droning Gregorian sirens lure us inside. Then, we're treated to an extreme panning recital on 'Twinaskew' before finally being delivered at the death disco with the most astonishing moment on the album - 'Pan Finale', stretching a classic 1980 Cure tape loop to Zombiefied Paisley-concrete drum patterns and shuddering in the presence of an almighty buzzsawn synewave.
The music on the ‘Rebajas’ box represents the dawn and early period of Bitchin Bajas. In the time of their conception, none of these releases were issued on anything other than vinyl. Maybe a cassette too, for some of them.
"It made sense: analogue synth music recorded on analogue tape - why wander from the warmth of the original signal path? It sounded great. So why now? Well, there’s finally enough material to make a really deep listening experience. The limitless vast that Bitchin Bajas’ music implies even in its smallest sampling is well-served by a multi-disc set: put all of it in your CD changer and let it rotate endlessly. Go with the music, away from the world for an interminable amount of time. It will still be here when you get back and your mind will be quieter when you return.
From the beginning, Bitchin Bajas have made music to enhance the moment they and you are sharing and details above and beyond that have been relatively unimportant. In the time since then, they’ve gone from a one person band to a duo, then a trio. That information, plus the recording and original release details, the additional personnel and the original jacket, label and insert artwork for all the releases is included here, along with a few schematic details, to provide a true overview into the parameters of their world. What’s more, additional information can be heard in the material in its transferred-for-CD form, which has corrected inadequacies in several of the original pressings.
Plus, all the Bitchin Bajas material can now be heard without any surface noise. If you ever worried that scuffs and scratches would take you out of your sensory deprivation bliss-out (in or out of the tank), that ends here. So too ends the first Bajaian epoch - when the band return with new music, it will be moving away from even the most recent material on ‘Rebajas’, released earlier this year. Moving, always flowing - but with ‘Rebajas’, the whole Bitchin Bajas thing to date is captured in the unending amber of digital sound."
Brilliant, prickly meeting between The Raincoats’ Ana Da Silva and enigmatic Japanese vocalist Phew, who pursue a tempestuous mix of avant-garde vocals and variegated electronic backdrops, from post-punk rhythmic noise to lysergic, outernational ambience.
“A bracing odyssey in industrial noise, Island is full of absorbing textures, tactile beats, and a masterfully dynamic compositional style. Each cavernous track feels like a conversation, and out of the ominous dark comes a generative hope. Ana and Phew contribute pointillist bits of spoken word in each other’s native tongues of Portuguese and Japanese, reflecting on isolation, friendship, and nature. The quotidian is made profound.
A gripping mood is set by the shared stoicism and subtle playfulness of these two cult punk icons. Each song was collectively composed by both Ana and Phew, who exchanged files via email. At times, Island evokes the sinister throb of Phew’s recent Light Sleep album (which in turn recalls Suicide). Island’s logic is one of wise minimalism. There is a feeling of discovery that will be familiar to Raincoats fans—a sense of poetry and inquisitiveness, of intuition and invention, of new languages taking shape // Ana da Silva is a founding member and songwriter of the pioneering post-punk band The Raincoats.
Across four daring full-length records, The Raincoats helped shape the timeless notion that punk is what you make it to be an act of raw expression, not any one sound. The Raincoats have offered creative and spiritual inspiration for several generations of artists, cited as a formative influence by Kurt Cobain, Carrie Brownstein, Bikini Kill, and Sex Pistols’ John Lydon. They set a crucial precedent for feminist work within a DIY punk context, marked all the while by Ana’s poetic lyrical style and innovative noise guitar playing.”
‘Katodivaihe’ (‘Cathode’) is one of the last, and arguably among the greatest, of Pan Sonic’s classic run of albums between the mid ‘90s and their final outing, proper; ‘Gravitoni’ 
Replete with three staggering collaborations with cellist Hildur Gudnadottir amid some of their slinkiest, deftest yet most crushing workouts such as the trilling driller ‘Hyönteisistä’ with Ilpo’s influence written all over it; in the icy electro tang of ‘Laptevinmeri’; the powerful spatial sculpture of ‘Haiti’; and the chainsaw revving dancehall wrecker ‘Tykitys’.
Gaika presents his debut album, Basic Volume, after a blistering pair of self-released mixtapes 'Machine' and 'Security' and Warp-released EPs 'SPAGHETTO' and 'The Spectacular Empire'.
"The 15 track collection is co-produced by Gaika, with additional production from similarly forward thinking contemporaries, including SOPHIE, Dutch E Germ, Dre Skull and DADRAS, Aart as well as previous collaborators including Jam City, Nick Leon and Frank Ocean’s Blonde and Endless collaborator Buddy Ross.
Named after his late father’s technology company. Speaking about the album, Gaika says, “BASIC VOLUME is collection of alchemical parables for all the Immigrants who wander the earth in search of themselves”."
Anthology box set of Stereolab’s 'Switched On' compilations of singles and rarities, originally issued between 1992 and 1998.
Contains Switched On, Refried Ectoplasm [Switched On Volume 2], and Aluminum Tunes [Switched On Volume 3].
Reverse board clam shell box with disks in individual card wallets and insert.
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" “Dispassionate Furniture”. This September, twenty years later, Dais Records is proud to announce ADULT.’s seventh full length album: THIS BEHAVIOR.
"The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin’s kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making – looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.
The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.’s return to aggressive and energetic dancefloor mastery. Album opener, This Behavior, alongside the follow-up, Violent Shakes, (which ascends into synths wailing like warning sirens over Kuperus’s commanding vocals) set the stage for an on-edge listen, while the heartbreaking “Silent Exchange” unfolds as a beautiful sad synth dirge. Perversions of Humankind breaks the mood – driving the listener into a slow and low groove before the frantic album midpoint of Irregular Pleasure. Does The Body Know? is the album’s post-punk anthem, with irresistible singalong “we’re out of order – we’re undefined!” The latter half of the album drives forward with “On The Edge (You Put Me…)” and “Lick Out The Content”, refusing rest and demanding movement and response. Everything & Nothing emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of In All The Debris, a goose-bump inducing slow electronic mantra that closes the curtain on a massive album."
The stunning and ground-breaking album from the composer and saxophonist Chris Bowden, first released on Soul Jazz Records in 1992 to widespread critical acclaim.
"Now 20 years on a new wave of current jazz artists led by the likes of Kamasi Washington in the USA and a host of British artists - Shabaka Hutchings / Sons of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - have brought this original ground-breaking album into the limelight once more as a pivotal starting point, sharing many of the aesthetics of these current artists at work today.
Musically all are inspired by the spiritual jazz of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry et al paired with a modern electronic music sensibility. Chris Bowden’s ‘Time Capsule’ has stood the test of time like few other albums (as the title of the album suggested), and remains a pivotal, wholly-successful and original experimental musical collage, a radical inspiration and forbearer to many of the best progressive jazz and electronic artists working today."
Seven is the magic number. Indeed, not only do psychologists theorise that the human brain can only memorise a sequence of this length, but Pigs Pigs Pigs Pigs Pigs Pigs Pigs - the Newcastle-based maximalists whose riffs, raw power and rancour have blazed a trail across the darker quarters of the underground in the last five years - have made a second album in King Of Cowards which does its damnedest to take consciousness to its very limits.
"Moreover, another notable seven is dealt with here - that of the deadly sins. As vocalist and synth player Matt Baty notes “For a long time I’ve questioned how and where guilt can be used as a form of oppression. When can guilt be converted into positive action? After typing all of the lyrics up I realised I’d unwittingly referenced every one of the seven deadly sins throughout the album. That’s my fire and brimstone Catholic upbringing coming into play there!” Building on the momentum this band has built since their January 2017 debut Feed The Rats, this opus sees them entering a new phase as a sleeker and still more dangerous swineherd.
The Iggy-esque drive to dementia, Sabbath-esque squalor and Motörhead-style dirt may still be present and correct, yet the songs are leaner, the long-drawn-out riff-fests sharpened into addictive hammerblows and the nihilistic dirges of yore alchemically transformed into an uplifting and inviting barrage of hedonistic abandon. “The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which” So George Orwell noted at the end of a certain slim volume. King Of Cowards is nothing less than just such a metamorphosis, one in which - in a blur of primal urges and beastly physicality - this band shows us just which animals are really in charge of the farm."
Produced by Helge Sten (Deathprod), ’14’ is the latest blinder from his avant-jazz-supergroup with Arve Henriksen and Ståle Storløkken, a.k.a. Norway’s Supersilent...
Arriving more than 20 years since the trio’s debut, ’14’ finds their improvisational formula of trumpet, voice, keys and electronics generating some of the most phantasmic sound images imaginable.
At only 33 minutes wide, ’14’ is also one the shortest Supersilent albums in memory, revolving around 12 succinct pieces ranging in length from 1 minute to nearly 6, and tiled like an abstract, tessellating mosaic of ideas, rent in 3D by Sten’s bespoke Audiovirus system of analog oscillators and vintage tape machines.
Incredible,evocative and fuucked up music for late nights and isolation - a huge recommendation.
'Autobiography' is Jlin's soundtrack to the staged life story of eminent dancer and choreographer Wayne McGregor, which opened in October 2017 and is still running at Sadler’s Wells, London.
For an artist whose début album opened with a track called ‘Black Ballet’ - in reference to the art of Chicago footwork - the synchronicity between Jlin’s music and McGregor’s choreography is patently obvious, and this album is perhaps one of the smartest unions between those disciplines that we could hope for.
Jlin’s music has always driven us nuts in the best way - calling to mind a statement by Steve Goodman some years back, in which he effectively stated that the most exciting music to him is one that physically demands the body to move in unfamiliar ways, as he first experienced with the radical, muscle-memory reprogramming rhythms of hardcore and jungle in the early ‘90s, and especially in relative context to what preceded it.
In that sense, Jlin’s releases have persistently provided some of the most sensational music we’ve heard this decade, sparking our minds and bodies into action in the rarest, maddest, most inexorable ways by essentially, physically breaking and disrupting the mould of the same old, same old line-dancing music that too often passes for club music.
For Wayne’s ‘Autobiography’, Jlin renders his life story in a compellingly intricate musical language of syncopated pointillism, percolating her drums and symphonic orchestrations in weightless formations that mirror bodies in flight, touching the ‘floor as little as possible. But that’s only 2/3rd’s of the story, as Jlin vacillates these elegantly hardcore rhythms with gorgeous, beat-less moments of pastoral lushness, classical keys and glyding ambient pauses which, by contrast, better highlight the cyclonic torsion of her expressive rhythm programming, while simultaneously demonstrating the distance travelled between Footwork’s roots in the streets of Chicago, and its unique similarity with the so called “high art” of western culture.
Don’t get it twisted tho, we’re highlighting an obvious distinction, it’s not about prizing one over the other, but celebrating and acknowledging the brilliant results of this unusual but evidently, completely natural-fitting union of styles and patterns.
Under the Canaxis 5 name, In 1969 Can’s Holger Czukay and Rolf Dammers - his classmate from lessons under Stockhausen - made the cult detournement of ‘Folkways - Music Of Viet Nam’
Originally issued in the same year that Can came into being, Canaxis 5’s sought-after experiments on ‘Technical Space Composer’s Crew’ would also be issued by Munich’s Music Factory, who were also behind the debut release of The Can’s ‘Monster Movie’. Fair to say they’re both cult records, but the Canaxis 5 side is definitely the more experimental of the two.
On the A-side’s legendary ‘Boat Woman Song’ they hijack the aforementioned Folkways, taking its Vietnamese voices to a parallel, synthesised dimension of swirling dynamics and hypnotic widescreen drones owing much to the influential abstraction of Karlheinz Stockhausen’s electronic works. With the B-side’s ‘Canaxis’ they combine the Vietnamese vox with samples of Capella Antiqua München, imaginatively crossing vast time and space via synth wormholes to pave the way for so much 4th world and new age exploration to follow.
Inland’s debut LP is an epic electro-techno-acid set stemming from his soundtrack to a video installation by conceptual artist Julian Charrière
“Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière’s visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia’s Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as “The Year Without Summer”, with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers – and listeners – down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.”
The American singer-songwriter’s 8th studio album in pursuit of classic folk and country spirits...
“The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography.
Following the release of 2016’s acclaimed Strangers, Nadler’s relationships were put to the test as she left the Boston area on tour. She wrote throughout 2017 about this tension, and ended up with three times as many songs as she needed. But after reviewing the demos with her co-producers Justin Raisen and Lawrence Rothman, Nadler wrote a flurry of tight but no less intense new songs in the week before arriving at Rothman’s Laurel Canyon studio, House of Lux, in early January. She considered it a challenge to herself, applying new strategies and structures to the craft of “slow music” she’s honed over the last 15 years. From that group of songs came nearly all of the singles on For My Crimes, some of the most indelible of Nadler’s career.”
A total peach comes back into circulation with Holger Czukay’s beguiling, heavily grooving ‘Full Circle’, starring crucial input from his Can bandmate Jaki Liebzeit on drums and Jah Wobble weilding the bass
Instantly loveable for the grooving punk-disco ear worm of album opener ‘How Much Are They? - a big anthem in mid ‘80s Belgium and elsewhere - listeners will also encounter the muggy dub of ‘Where’s The Money?’ and the playfully exotic concrète-jazz-funk of ‘Full Circle R.P.S. (No. 7)’, along with a ghostly blues piece ‘Mystery R.P.S. (No. 8)’ on a classic Can tip, and the psychedelic come-down of ‘Twilight World’.
Stone cold classic!
Murcof renders a panoramic suite pairing dramatic choral vocals from the ‘Goldberg Variations’ with symphonic electronics to soundtrack Patrick Bernatchez film, ‘Lost In Time’
“In Lost in Time, two parallel narratives intertwine: e first follows a helmet-clad, faceless horse and rider adrift in an indeterminate landscape of ice and snow, quite literally lost in time and space, while the second seems to allude to a strange scientific experiment. Lost in Time plunges us into perpetual renewal, each ending leading to a new beginning.
The protagonists – two beings bound by a certain mutual dependence – are forever trapped in a time loop where life and death ceaselessly rotate.The use of what are almost exclusively black figures against white landscapes produces a menacing, otherworldly atmosphere that is also stunningly beautiful. The original soundtrack of the film, blends the aria of the Goldberg Variations sung by Les Petits Chanteurs du Mont-Royal with a composition by Murcof.
The soundtrack also exists as an autonomous work entitled Lost in Time (Goldberg Experienced.05). Coproduction Musée d'art contemporain de Montréal and Casino Luxembourg. With the support of the Conseil des arts et des lettres du Québec and the Canada Council for the Arts. Composed by Murcof, the soundtrack of the film Lost in Time was the subject of a previous double album co-produced by Patrick Bernatchez and the Casino Luxembourg in 2014.”
Who better to inter Fabric’s long-running series than the demon DJ Kode 9 and his accomplice, Burial? Yeh, nobody’s shouting Craig Richards, so this will have to do.
So it’s basically NOT a new Burial album, or even a Kode 9 & Burial album, but it is one of the strongest mixes in Fabric’s near 20 year history, cataloguing and webbing 37 tracks from the ‘ardcore ‘nuum, following its breakbeat and techno roots thru to its branches into US footwork, the distant echoes of South African Gqom, the avant R&B of Klein and Dean Blunt, and latinate and sino futurisms, with precisely no dubstep in-between.
The result is a mix as fragmented yet fluid as the London roadmap or those aerial shots used on the ‘Burial’ album cover, forming a mosaic of interrelated ‘ardcore styles grouted with the trademark fuzz and patter of drizzle heard on Kode 9 & Burial’s two preceding mixes for Mary-Anne Hobbs. In the first third, they probe a line from Klein and Cooly G thru outright Gqom killers by Julz Da Deejay, Roman Rodney and TLC Fam, and introduce Hyperdub newcomer Nazar along the way.
In the 2nd third, the breakbeat hardcore badness of Jungle Buddha’s ‘Drug Me’  and Intense’s classic ‘The Quickening’ bookend a rush of raving footwork aces such as DJ Spinn’s ‘Make Me Hot’ and DJ Tre’s lethal ‘House Hybrid’, before the final third slips from trancing ‘90s techno and acid thru to freakier footwork, an overlooked Sino-Detroit breakbeat ace by Claude Young, and the breeziness chops of Proc Fiskal.
Ultimately it’s a lesson in keeping your ears wide open to all styles in the present, while also keeping an eye in back of your head for vintage freshness, and pulling up records from well trodden areas - keeping the polystylistic and hyperstylized spirit of hardcore burning into 2018.
Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit.
Holger Czukay’s debut solo LP ‘Movies’  is, quite frankly as mad as a bag of squirrels, but super playful and cool as fuck with it. It’s his first record after striking out from Can, and he clearly had a lot of ideas brewing and ready to get out
From the Afro-inflected lilt of the guitars on his sardonic disco workout ‘Cool in the Pool’, thru the expansive future jazz and krautrock hybrid ‘Oh Lord Give Us More Money’, to the curiously fragrant balm of ‘Persian Love’, and the lysergic, grooving WTF?ness of ‘Hollywood Symphony’, this one is bona fide seminal, unique and utterly worth your time.