ASC plumbs the depths of the grey area in his latest album of D&B/techno/dark ambient mutations.
Seriously when does this guy come up for breath? Hope he has good ventilation in the studio. Anyway, ’Realm of The Infinite’ is up to par with anything else in his catalogue. Whether alloying classic Reese bass with IDM hyperstrcutures in ‘Nocturne’, rolling out serpentine acid techno in ‘Nautilus’, ‘90s trance in ‘Black Rooms’, or scuba diving into slow techno on ‘Arsenic Bite’, and endlessly reverberating, underwater dynamics on ‘Aphotic Zone’, the results are exactingly up to standards one would expect from ASC.
Gripping suite of free-metered, tormented vocals and sampledelic arrangements drawing from tradtional Iranian music and contemporary electronic noise, landing somewhere between Zoe McPherson, Ash Koosha, Ghédalià Tazartes and Moor Mother
“History of Heat is an experimental narrative and cinematic pastiche of all original and self recorded material. A chaotic mix of sounds both analog and digitally produced recalls a warlike interpersonal breakdown. The mood established by the lyrical content of the piece is meant to be demanding, enclosing the listener within a unique and compelling cocoon of otherworldly sound. the Album is framed within a discursive love story which reflects larger relational problematics and interpersonal traumas. looped vocals act as incantations woven in and out of lyrical singing and spoken word. The instrumentals embrace chaos and intensity. Improvised violin and broken down beats compliment and balance the melancholic overtones which flutter above off the grid rhythms in this charged ficto-personal account.”
Dozzy reworks a highlight of his ’Sintetizzatrice’ album alongside a remix previewing his forthcoming album for Lorenzo Senni’s Presto!?
On the rework of ‘Parola’ he turns Anna Caragnano’s vocal into a mesmerising rhythmic mantra syncopated with rolling drum machine groove in masterful style, while his floating prog-house/trance remix of ‘12H.5’ gives some taste of what to expect from his upcoming LP for Senni’s label.
The missing link between Afrofunk and early NYC rap = probably the first ever recorded Ghanaian hip hop track from 1985
Inspired by the prevailing winds of early ‘80s hip hop from USA, Free Youth’s Terry, Abed and Lenny (that’s them giving the Jacko poses on front cover) laid down the discoid fast rap of ‘We Can Move’ in 1985. 35 years later it still pays up on the promise of the title, and comms backed with a slightly relaxed ‘Drymbago 2019 Instrumental Version’ that leans more to the Afrofunk side, emphasising the horns, guitars and groove in turn.
OG copies are pretty much impossible to find or at least super expensive.
Reissue of killer Clock DVA-related gear from Adi Newton’s industrial dance project TAGC, including two exclusive Richard H. Kirk remixes, freshly dubbed by Newton
Perhaps best known for the extended 12” mix of saucy classic ‘Big Sex’ - included in its original form here - TAGC were extant between mid ‘80s and mid ‘90s, when this Side Effects compilation marked their departure with a collection of highlights from 1985’s ‘Ha - Zulu’ EP, 1986’s ’ShT’ mini album, 1987’s ‘Big Sex’ 12”, and 1989’s ‘Broadcast Test’.
It’s worth checking for the Cabs or 23 Skidoo-esque industrial-funk fusion of ‘Zulu’, then the grim cut-up collage of ‘Further & Evident Meanings’ and the cold dubbing of ‘New Upheavil’ off ’ShT’, and the prickly electro oddity of ‘Broadcast Transmission 1.’ We’d probably advise tracking down the ‘Big Sex’ 12” for a better, longer version of that cut, and Adi Newton round things up nicely with a slippery, extended dub of RHK’s ‘Zulu’ remix.
Recorded by Steve Albini, the first album in 13 years from legendary Sicilian rock unit Uzeda
“Last year Uzeda celebrated their 30th anniversary as a band in the most appropriate way they knew: They hosted a weekend music festival in their hometown of Catania, Sicily, and filled it with all of their closest friends' bands. That weekend as they played host to scores of similarly legendary bands (including Shellac, The Black Heart Procession, The Ex, Three Second Kiss, and a reunited June of 44), Uzeda cemented their reputation as Italy's national treasure of underground rock music. Now, one of the longest-running punk bands on the planet returns with their first new album in 13 years, Quocumque jeceris stabit.
The title Quocumque jeceris stabit comes from the famous inspiration phrase that loosely translates in English to "Wherever you throw it, it will stand" – a testament to the resilience and adaptability of Uzeda. Like a buoy in turbulent waters, virtually everything around the band and its members has changed significantly since their last album, Stella, was released in 2006 on their previous longtime label, Touch and Go Records. They've endured the passing of friends, family, collaborators and business partners. What they've never lost is their will to continue to inspire and draw inspiration from all of those around them, in life or otherwise.
Recorded, as always, by longtime friend and collaborator, Steve Albini, Quocumque jeceris stabit sees Uzeda picking up where they left off, albeit with the sands and scars of time cutting new creative paths within the reputable map through which Uzeda have traveled for the past four decades. Vocalist Giovanna Cacciola's fragile, dynamic rasp still cuts through the jagged guitar of husband and fellow Bellini member, Agostino Tilotta, while the rhythm section of bassist Raffaele Gulisano and drummer Davide Oliveri provide the sturdy foundation on which all Uzeda songs are built. But there's something noticeably different now, a kind of melodic tension that was always hinted at but perhaps never fully displayed until now. It is a sound and a feel that Uzeda was made for, and one that unquestionably defines them.”
Late-running UKF player KG links with Scratcha DVA on a lush redraw of the now classic late ‘00s style
In early 2018 KG made a scorching debut for Goon Club Allstars with ‘808’, a track she made during the original UKF era circa 2008-9. 18 months later she’s back with sets of bangers alongside Hyperdub don Scratcha DVA, cooking up the simmering deep Funk dish ‘Touch’ with nods to Cooly G’s R&G vocal touches, whereas ‘Strings Of Death’ draws from both grime and Gqom in Scratcha’s DRMTRX fashion, and ‘Baga Drmz’ wedges a snippet of KG’s ‘808’ zinger into a proper, bolshy hybrid of Zulu Gqom trample and rude UK flavours.
Perhaps best of all is the feminine pressure of ‘Touch (Reprise)’, where they strip out loads of the original to leave a thizzing, weightless, mid-air beauty.
Funky Thai psych fanciers Khruangbin dub up their ‘Con Todo El Mundo’ LP.
“Globetrotting Texan trio Khruangbin present ‘Hasta El Cielo’, the band’s glorious dub version of their second album ‘Con Todo El Mundo’. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist.
The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t find this a surprising release. Dubs of tracks from their first album ‘The Universe Smiles Upon You’ appeared on limited vinyl releases of ‘People Everywhere’ for Record Store Day 2016 and ‘Zionsville’ on the BoogieFuturo remix 12”. The especially eagle-eared will have caught a dub of ‘Two Fish And An Elephant’ playing over the credits of the track’s celebrated video.
“For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The first dub albums we listened to were records mixed by Scientist featuring the music of the Roots Radics. Laura Lee learned to play bass by listening to Scientist Wins the World Cup. His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of Con Todo El Mundo.””
"Ypsilon" is the second collaboration between Uwe Zahn (Arovane), Porya Hatami and Darren McClure .
"The trio have also worked together on numerous collaborative projects between each other as duos, and "Ypsilon" album finds them back together, ever expanding their shared aural ideology into new territories. Their 2016 release, “Veerian,” [eilean rec.] focused on free-flowing soundscapes, whereas this new album incorporates more overtly melodic sequences and rhythmic elements to widen its horizon. As on “Veerian,” Zahn, Hatami, and McClure paid meticulous attention to sound design for “Ypsilon.” The inclusion of subdued beats adds a swing to the textural layers, and arpeggiat- ed sequences imply rhythm and momentum.
Other tracks remain blissfully ambient, taking time to unfold and breathe without any rhythmic framework. This balance between gentle propulsion and beatless sound- scapes, melodic and ambient, lends the album a unique character and takes it into fresh new areas of experimentation for the trio. "
New on Touch; a first vinyl edition of ’There Where The Avalanche Stops’, a compilation of indigenous folk styles recorded at the National Folk Festival of Albania in 1990 and originally issued on CD
Revealing a spectra of folk styles to the vast majority of us who have never visited the quinquennial folk festival, held in a castle overlooking the town of Gjirokastra in southern Albania, the set speaks to the remarkable breadth of unique instruments and styles native to the region since ancient Iliryrian times (pre-Roman).
It’s a truly enchanting collection presenting selections from six of the 26 participatign districts - Vlora, Gjirokastra and Lorca from the south, and Shkodra, Debra and Tropoja from the north - and covering a gamut from spine-freezing, elegiac, layered vocal harmonies to bouzouki-sounding strings and flutes, and pinch-yourself scenes of pastoral bliss in the ‘Untitled Melody’ piece that is worth the price of entry alone.
Can’t afford a holiday this year? This LP will surely suffice.
Pittsburg’s deep techno maestro Shawn Rudiman sets his sights on night skies with ‘Autonomic Pilot’ for Tresor
Bending cues from classic Detroit to Berlin with signature finesse, Rudiman covers all bases between the club ‘floor and your bedroom floor inside, sweeping from fine-grained but grand ambient electro structures in KNSR’ and the wide-open, pendulous motion of ‘Too Far Gone’ to a sleek but tuff acid-electro piece ‘Erotique Feedback’ on the front, before taking in the Schulzian synth licks of ‘Past The Edge’ along with the glistening, harmonised techno pressure of ‘Eyes Forward’ and a sublime nod to Derrick May & Carl Craig’s ‘Relics’ interludes in the synth pads of ‘Backwards Tomarrows.’
Raw and original house music from Mix Mup, leading on from his MM/KM link-ups with Kassem Mosse
Up top he herds the Detroit-modelled hustle of ‘Clear Drive’ with its wooden kicks and recursive FX opening out into lush synth pads and rude bassline, whereas ‘Flair’ is all about gritty, hypnotic motion in a Marcellus Pittmann or Howard Thomas style, and the B-side’s ‘Pa Toppen’ puts some strut in your pipe.
Highly sprung disco ballistics from Tilburg’s Ben Penn, serving up your RDA of synth-dripping funk on Young Marco’s Safe Trip label outta Amsterdam - home to those excellent compilations of Italian Dream House 89-93 .
Sounding for all intents and purposes like a long-lost gem dusted down from an attic in Suriname or Nigeria c.1983, both cuts demonstrate a reel mastery and sensitivity to analog machinery and recording techniques that will soon d amazing on proper sound systems, inside proper discos.
Spare Hobby catches him gliding at full wingspan with vocoders, bouncing bassline, organ vamps and fizzing disco drums like some newly discovered Francis Bebey beauty - party guaranteed, we tell ya - before Carrera really gears up with revving bass work balancing the fancy, Italianate plumage of his Siel Orchestra 2, Korg Micro-Preset, and Korg R3 synth bursts.
This is f×cking amazing - a second volume of desolate, ambient themes from David Lynch’s sound designer and mixer of choice Dean Hurley, one of those behind-the-scenes guys whose work most subtly colours the popular imagination. If you’re into anything from Deathprod to Badalamenti to Mica Levi’s 'Under the Skin’, the more ascetic end of work from Leyland Kirby / The Caretaker, or Aphex Twin’s ’Selected Ambient Works Vol II” - this will rule your world.
Having operated and managed David Lynch’s Asymmetrical sound Studio for 13 years, Dean Hurley only appeared on our radar a couple of years ago with his sound design for the third season of Twin Peaks, and the first volume of his Anthology Resource which collected some of that work. During those 13 years - a period that began just before ‘Inland Empire’ - Hurley was basically there to create, mix and edit any sound artefacts Lynch required - a process that evidently allowed him the freedom to innovate through pretty much limitless experimentation. As a result, Hurley is now without question one of the most striking sound designers and supervisors working in film & television right now, steering well clear of overly emotive/manipulative cliche and instead focusing on the minutiae of sound in a way thay recalls the classic, pre-digital era.
His Anthology Resource is an ongoing series curated from his work for film and television in the library / production music tradition, as well as a series of albums in their own right, with this second volume 'Philosophy of Beyond’ collecting 12 pieces made in residency for Art Gallery of New South Wales’ event Masters of Modern Sound, and contributions to Eddie Alcazar's feature film ‘Perfect’ - mostly assembled from tape loops and field recordings.
While it’s fair enough to wheel out a usual list of ambient/atmospheric comparisons with ‘SAW II’, Brian Eno, Leyland Kirby, and indeed David Lynch’s own early work with Badalamenti, that’s really just to show what class Hurley is operating in - his music clearly possessing its own, menacing magick that stays with you long after the music has stopped, just like the imagery he is so highly adept at scoring.
‘Dragon Wave’ is a slo-mo tribal tripper from Amsterdam’s Dazion, b/w the beautiful, aghivering figure of ‘VX LTD’, which sounds like it got separated from AFX’s SAW 85-92 sessions and somehow turned up in Holland 25 years later
“Urgent: it has come to our attention that the Safe Trip organisation has taken to the water in a bid to spread their coded musical messages far and wide. We understand that they have recruited young operative known as Dazion, a keen windsurfer, to develop a method of broadcasting their addictive and mind-altering musical missives wherever there is a suitable body of water.
Our operatives tracked Dazion to a remote spot on the dutch coast, where he was spotted trialling this new technology with his favoured F2 dragon board. As he rode the choppy waves, we were able to detect and record rhythmical electronic music emanating from the board itself. we enclose this recording, which features the kind of tribalistic, delay-laden drums, swelling electronics and exotic melodic refrains that are known to inspire frenzied dancing in members of the public. we have christened this recording “dragon wave”.
After exiting the water, Dazion packed up his top-secret windsurfing technology and drove to a backstreet address in a quiet area of Amsterdam. There, in a light industrial unit, he continued to tinker with the technology, testing it out by broadcasting another musical composition. this was more poignant and melancholic in tone, utilising spacey electronic melodies, gently bobbing chords, heart-aching guitar flourishes and a tough but broken rhythm track. the recording – code name “VX Ltd” – had a huge impact on us emotionally and even reduced one operative to tears.
It is our belief that the Safe Trip organisation will only increase in strength with Dazion’s involvement. We recommend watching the waves and winds intently for further developments.”
Quick on the heels of his last 12” with Young Marco’s Safe Trip, Darling blesses the label with two nimble electro beauties here
Loosely working around the groove with latinate suss in the lush swerve of Sim and locking off some superb, whirring electro syncopations and chirruping alien voices in Moon Fleet.
Young Marco and his pal edit a 1989 Dutch hip-house version of Harry Belafonte and co’s ‘Day-O’
As you might expect from that line above, it’s primed for the party in both the chunky ‘Past Fire Edit’ and a ‘Past Fire Dub’ if you’re trying to play it cool.
Darling coughs up the light-footed 1st of 2 new 12”s for Young Marco’s Safe Trip, chasing the vibes of his début for Voyage Direct and the JPS session into frothiest headspace.
When She Hates Me rolls out on a lissom, uptempo flex with nimble arps and spumes of cosmic melody fixed to an effortlessly cantering groove. On the other hand, Isle Of Red works out an adroit, percolated sort of Afro-techno chiming with avian thumb piano melodies and beautifully melancholic chord developments sure to get the ‘floor in a lush lather.
Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and coincides with Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.
"Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle.
In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspi- cious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until re- cently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.
Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter grow- ing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pi- oneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer."
Young Marco Sterk looks to his distant roots in Indonesia on 2nd LP ‘Bahasa’, a typically sweet-natured and breezy collection of ambient tradewinds and colourful rhythmic plumage, assisted by input from Mike Kivits (Aardvark) and Jonny Nash and The Desa Babakan Gamelan Ensemble
“In 2014 Young Marco travelled to the islands of Indonesia, visiting several islands within the archipelago including Bali. The voyage was on invitation by Island of the Gods Records; allowing Marco to immerse himself in the Indigenous culture that still exists in Indonesia. For Marco it was also a look back to his Indonesian roots, with his late grandfather born and raised in Indonesia. The brief was to capture the spirit, ambience and atmosphere of the islands as part of the labels ‘Island Explorer’ album series.
The project embodies the ‘east meets west’ approach the label has become known for in regards to cultures colliding. A respectful collaboration between local musicians who have played to their gods, unchanged in thousands of years alongside Marco’s contemporary expression. They are connected only through the universal language of sound and a mutual willingness to collaborate and experiment.”
Young Marco’s Safe Trip follow their dispatch of Japanese siblings Satoshi & Makoto’s CZ-5000 Sounds & Sequences with an unexpected pair of stepping, driving, melodic house tracks.
In a Corner of Asia unfurls a coiled stripe of firm 4/4 donks and wheezing organ melodies that sounds like it was put down live and direct to tape any time between 1990 and now.
Tous Les Jours is one for fans of Stinson/Donald’s more debonaire electro-house jaunts, authentically tending to their Japanese electronics setup with a clarity and melodic touch that originally inspired a lot of Detroit guys and can also be heard in the floating minimalist structures of Shinichi Atobe.
Rare-as-chuff Belgian modal jazz diamond from 1969, reissued for the first time by Finders Keepers. OG 2nd hand copies trade for the price of a month’s rent and bills. You know what to do
“The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7″ from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7″ for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.
This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.
Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.”
Exceptionally skewed, killer and asymmetric dancehall mutations from the same label that gave us that amazing Paradon’t EP a couple of years back, this one sounding like the missing link between Demdike Stare, Schaffel and Slikback 🔥
"'No idea how to categorise this! I would have called it experimental dancehall but irel.ier who made it says it’s not! Besides i don’t care how you call it - it bangs! When I played it out in Pudel (Hamburg) people were losing their shit and someone screamed in my bleeding ear “MASTERPIECE!!” so let’s just call it that!
We made 300 copies. They feature a beautiful image of your inner ear Haeckelified by some naive AI and the title (gang guan li) skilfully handwritten in Chinese calligraphy on the flip in iridescent colours.'"