Trevor Jackson coins the Pre- label with four diverse kosmische electronic experiments written under his Dark They Were and Golden Eyed and Design Your Dreams aliases c. 2010-2014, following the final parts in his Playgroup puzzle, and ahead of the launch of his Post- label.
Where the last few years since and including his Format album have been spent on or around the ‘floor, this session is for the road or your magic carpet, catching your man spinning out 13 minutes of frothy arpeggios and pulses on Design Your Dreams, which contrasts steeply with the darkside descent of Another Time, and likewise the 31 minute slow aciddub vortex Boundary Echoes, and the abstract tonal whorl of The Lesser Light.
Oooshh! this strange, funky devil is a rare-as-owt gospel soul oddity from Detroit circa f**k knows (maybe late ’70s?), now newly dug out and dusted down as Jazzman’s 26th Holy Grail release. If those quizzical faces or masked dude on the cover haven’t piqued your interest, the music surely will
“Known in the record-collecting world as an incredibly rare album with just a handful of known copies, Jazzman Records present for the first time the full-length album reissue of the Two Sisters From Bagdad album as performed by LaVice & Co.. Originally intended to be sold alongside performances of LaVice Hendrick’s ambitious but ill-fated musical theater production, the album’s scarcity was swiftly ensured as Two Sisters From Bagdad ran for just two weeks at Detroit’s Bethel A.M.E. church amid poor attendances due to scant promotion. With only a handful of copies sold in that brief window, many of the remaining copies were subsequently destroyed in a basement flood, meaning that until now few people have ever heard the album in its entirety.
A varied set of jazz and gospel infused funky soul, Two Sisters From Bagdad was composed and orchestrated by two precocious young talents, E.J. Garrison and Rhodia McAdoo. It’s an album full of surprises, and is notorious for the heavy funk workout Though’s Were The Days. Not only have Jazzman Records unearthed and faithfully reissued this true obscurity as the 26th part of their ongoing “Holy Grail” series, but through interviews with Garrison and McAdoo themselves, they have uncovered the beguiling back story to the music, the play and the life and times of its original creator, the late LaVice Hendricks. As always the detail is revealed for the first time in Jazzman Records’ extensive new sleeve notes.”
Members of Total Control and Grass Widow converge a mannered, almost eldritch-tinted style of synth-pop crossing lines with Group Rhoda, John Foxx, Carla Dal Forno, HTRK
“THE GREEN CHILD is the long distance musical collaboration of Mikey Young and Raven Mahon, who met in 2013 when their bands, Total Control and Grass Widow played a show in Oakland, California. They started writing songs together in Australia in 2014 and the project has been on a slow burn since. Their self-titled debut album is the culmination of few years of putting ideas together internationally and periodically recording in Mikey's home studio. Some of the lyrical content and the band's name was inspired by Herbert Read's 1935 utopian, communist, sci-fi novel called The Green Child.
With such a choice name, it's no surprise that The Green Child draw their sound from an illusory past as much as they stalk into pastures new. Broadly retro-futuristic in scope, verdant acres of lushly evocative synthesizers and blippy drum machines underpin most of their upbeat yet decidedly uncanny songs. Raven's calmly scenic and measured vocal flits like a will-o'-the-wisp throughout the tracks, proffering a guiding hand as she walks us through the often eerie, electronic concoctions.
'Traveler' opens the album all redolent, beat-minded and labyrinthine. Twisting melody lines swirl and envelop like a sandstorm, whilst Raven coolly projects on a "solitary man" lost to "green oblivion". Similarly, 'Her Majesty II' glistens with its playful yet plaintive vocal and iridescent arpeggios, whilst 'Bertha' slows things down with tumbling chimes and stately use of space.
The Green Child are adept at atmosphere, their songs are refined from gently unfolding ideas that never fail to realise and build to their potential. Tracks like 'Walking Distance' (featuring Al Montfort on saxophone) and 'New Years Eve' are exercises in evolved composition with ideas budding off and blossoming into truly resonant dimensions. The band's cover of 'Marie Elene' (by Keith Pearson) and closing track 'Destroyer' are further crowning achievements, both pieces subtly handled with poise and ample melancholic grandeur. The Green Child fix their sights on the heights they want to reach within their songs and much like the project itself don't want to rush to the finish line. When it becomes more about the unfurling journey, why not take the time to enjoy the trip and burn slower?”
A welcome surprise from Nik Colk Void and Peter Rehberg, aka NPVR, 33 33 finds the Factory Floor lass and Editions Mego boss gelling in predictably fractious formation, smudging the boundaries between techno, noise, avant-garde and whatever the fuck else you want to call it.
The results are uncompromisingly abstract, visceral yet completive, finding a balanced, symbiotic equilibrium where neither attempts to outdo each other. Rather, they converse in free-flowing and jumpy dialogue, roiling from the gremlin-chatter electronics and stilted rhythm of Meantime, Pt.4 thru the piercing harmonic chaos of Twin Cases and the ruptured, throaty acidic gargle of Free Founder and the mercurial noise blatz of DEABG (#1 &2) with a logic that will only be properly known by them, but we can all have fun chasing its tail.
Ekman comes back to bang on The Trilogy Tapes with a 3rd plate of raw, bloody-nosed electro knockers in Onomatomania after the Entropy (2014) and Aphasia (2015) sessions.
The dutch producer pull few punches between the harsh hydraulic electro-techno of Onomatomania 1, the biting point primitivism of Onomatomania 2, and the grimacing, brutish force of Onomatomania 3, saving the snap jawed acid of Onomatomania 4 to eat whatever’s left on yer bones.
Memotone’s follow-up to the overlooked ace Chime Hours finds him fully indulging his more avant, abstract inclinations in strong blend of instrumental virtuosity and electronic processing with often spellbinding, unpredictable results.
Philadelphia’s Dave Coccagna a.k.a. Chaperone vacillates textured, greyscale noise with moments of solemn solo piano keys and rhythmic noise in his cloudy session for Bedouin Records’ Bastakiya Tapes.
Redshape cuts rug with swaggering style via the razor cut but splashy drums and pendulous bass work of Blink
Strongly owing to an enduring passion for the hi-tek funk of original Chicago and Detroit house and techno, whereas the Blink (Tunnel Mix) is a dedication to the Tunnel Club in Paris, and works to a more linear, sexy sort of Franco-Teutonic darkness.
Proper Italo-boogie peacockery from Tuffcitykid Philip Lauer on the A-side’s acid-etched roller Arumba, and the preening ace Prosito
Backed with The Golden Filter on a fidgety electro tip with Aya, and muscular, haughty house in Black Spray.