Time Machines is widely ranked among the most important releases by arcane sound chemists Jhonn Balance, Peter Christopherson and Drew McDowell. Now remastered and reissued for the first time under the collective Coil moniker, their classic chemical songbook is primed to irrevocably intoxicate a whole new batch of listeners twenty years since original release.
The now-classic chemical songbook Time Machines is one of the most focussed yet dilated works in all of Coil’s sprawling catalogue, and perhaps one of their definitive releases. It faithfully attempts to emulate or describe the effect of their favourite, mind-expanding psychedelic drugs in sonic terms, conveying their putative virtues thru the abstract contours and complex harmonic definition enabled by modular synths and electronics.
In no small feat of imagination, they take as long as needed for the effect to take hold in each part, with 7-Methoxy-β-Carboline- (Telepathine) modelling the slow, transportive effects of what is commonly known as yage or ayahuasca, and again taking over 26 minutes to really fall under spell of 4-Indolol,3-[2-(Dimethylamino)Ethyl],Phosphate Ester- (Psilocybin), in attempt to reflect the tweaky course of a magic mushroom trip.
Likewise, they reflect the relatively brief effect of 5-Methoxy-N,N-Dimethyl- (5-MeO-DMT) - DMT, my mate Dimitry, or HD goggles as Tony Twitters calls it - with scarily realistic clarity and timing, while 2,5-Dimethoxy-4-Ethyl-Amphetamine- (DOET-Hecate) relays something like the buzzing tone of what is better known as Mcat or khat, or some similar derivative/substitute of speed.
Like the chemicals themselves, the music is best taken under caution, and while results will vary from user to user, the outcome is likely one that will leave its mark on you for a while.
For the discerning digger, a previously unreleased haul of rare library cuts c. 1971-1979, picked out and dusted down from London’s Cavendish Music vaults by Mr Thing and Chris Read
“Join two of BBE’s most prolific artists and compilers, Mr Thing & Chris Read on a voyage into the mysterious, strange and wonderful world of Library Music, courtesy of Cavendish Music. Founded in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe.
During the Library Music heyday of the 60s and 70s, thousands of original instrumental tracks were produced across a broad range of genres for companies like Cavendish, who then created vinyl and tape collections, often arranged by theme or mood, for their customers in radio, television and film. Cult British TV shows such as The Sweeney and The Professionals as well as documentaries and feature films relied heavily on these catalogues, and companies like KPM, De Wolfe and Boosey & Hawkes went a long way toward defining the sound of British popular culture at the time.
Never commercially available, music created for these libraries that never made it to the promised land of TV or Radio was destined to languish in Cavendish Music’s vast London vault; only recently unearthed by a new generation of DJs and producers searching for rare gems or a perfect sample.
Mr Thing & Chris Read were first invited to examine the contents of the Cavendish Music archive in 2014 as part of WhoSampled’s ‘Samplethon’ event in which producers created new tracks against the clock using sample material mined from the catalogue. Whilst digging through box upon box of records and tapes looking for interesting sounds, the pair also discovered a host of 70s library music which has not only stood the test of time, but deserves to be heard in its original form.
From dramatic big band numbers reminiscent of Lalo Schifrin’s film scores to atmospheric proto-hip hop instrumentals produced before the genre’s existence, right through to fairly straightforward jazz and funk cuts; this amazing collection of music is sure to inspire and delight DJs and beat-makers the world over.”
Arthur Russell collaborator Steven Hall reprises the Nirosta Steel alias in a reissue of his album, Dry Ice, comprising tracks witten between ‘80s and ‘90s which he originally issued on his Buddhist Army label, and is now remastered for this edition and the digital age.
We’d recommend checking out the concrete disco of Atmo, the dubbed out disco of Heaven / List Of Boys (Medley), and the super sub-heavy yet effervescent house-pop ditty Lite Nite for that authentic downtown NYC sound that we’d wager you’re looking for.
Bristol’s No Corner celebrate 5 years of singular-minded dub mutations with a killer gangbang of classic and new, exclusive gear from El Kid (Sam Kidel), Asda, Seekersinternational, Spiritflesh, October, Jabu, Andy Mac & Ossia, Lurka, Lily, Hodge, October, O$VMV$M, Mark, Japan Blues and more.
Since its inception in 2012, No Corner the label has been a wide open meeting place for contemporary dubbers of all stripes, setting a rooted yet loosely mutable precedent that strongly echoes Bristol’s sound system heritage and is best defined as a product of that city’s post-punk, house and dubstep-drenched environment.
At 28 tracks wide, there’s a lot to take in, so we’ll head to our highlights. The Asda tracks by Seb Gainsborough (Vessel) and Chester Giles (Jabu) exemplify the breadth and dilated focus of the label somewhere between dub poetry, chamber music and concrète, best in the wist of The Desire for Light and Stars and Jubilant Songs, and no less in Japan Blues’ cracking, dub-weighted remix. Filter Dread’s Oddity meanwhile renders lushly vaporous traces of techno and up-to-the-second electronica, and Vessel’s Psychosis remix of We Need Mirrors by El Kid (Sam Kidel) spies a lesser heard, cranky niche of their industry-dub aesthetics, whereas Seekersinternational dub it hauntological on TekWeh.
However, the main thrust of the set leans towards recent, new and upcoming No Corner sounds, taking in the elusive smoke curls of Hodge’s Body Drive along with new introduction to the label such as Kinlaw with the hall-of-mirrors chords of d.3 Hash and Lurka on the weightless pressure of Friday Night Sit In The Dark, plus highly promising new projects in Spiritflesh’s echo chamber excursion, Ever Impending Doom, an exclooosey SKRS dub, TroubleRoundDiCorner, a steeply abstract one from Robin Stewart (Giant Swan), and the gully drill of Wu-Yen’s Splurge.
Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
Career-spanning retrospective of Matthew Puffett’s Detroit-inspired Future Beat Alliance output, drawn from 20 years of releases on Tresor, Delsin, Void Records and Eevonext, plus a few unreleased archival joints.
Henrik Schwarz’s Between Buttons label is pleased to announce its second release, Aphorisms, is a six track debut record from Syrian musicians Khaled Kurbeh & Raman Khalaf Ensemble.
"Raman Khalaf and Khaled Kurbeh are now based in Berlin but hail from Syria, and that shows in the music they have been making together since 2015. The years since have seen them perform at the likes of CTM, at the BBC Arabic Festival in London and Potsdamer Tanztage as well as on Piano Day at Funkhaus. Their sound mixes up Raman’s oud playing and vocals with Khaled’s piano and synthesisers, and ranges from largely acoustic, such as on this EP, to more electronic when performing live.
This new record was written by Khaled and Raman and was later recorded with an ensemble of Berlin based musicians. They have diverse backgrounds that range from formal classical studies at conservatories to virtuoso jazz musicians and include Tom Berkmann on bass, Moussa Coulibaly on djembe, Ashraf Kateb on violin, Matthias Ruppnig on drums and Nora Thiele on percussion.“The record was written over the last two years and blurs lines between written music and improvised playing,” says Raman. Khaled then adds, “The pieces articulate our reflections on different topics such as solitude, absurdism, the simple man, and despair in a fictional musical narrative, hence the title Aphorisms.”
The music itself fuses ambient, jazz, minimal and world styles right from the off. Opener ‘Toska’ is an epic cinematic opener. It’s warm and gentle with oud and violins making for their own little chapters in the overall story.
‘Interlude’ is an absorbing passage of piano, double bass and synth and then ’To Kafranbel’ is nimble and dynamic as keys and oud sounds dance about. ‘Al Baseet’ is another upbeat number with hand claps and oud bringing a nice sense of groove to the Iraqi-style vocals up top, while ‘Shamal’ is a snippet of a long, bass driven studio live jam with claps, djembe and percussion before the pensive pianos of ‘Einsamkeit Impromptu’ round things out in tender fashion."
One of footwork’s original architects - among those who saw its transition from booty-jukin’ ghettobass to the style we know it as - Traxman claims his spot on Teklife with the inimitable Tekvision
Percolating the pressure in eight parts between the weightless turn of Be Gagen with DJ Earl, to go solo with killer work in the booty-cubing Drop It Down, to James Baldwin-Sampling funk minimalism with Control Ya Bitchezzz, chopping MJ into footwork style on Gone Girl, and straight killing it with the staccato ear worm of Twist Da Party Out, and his freaky AF Whop Line.
CPU hail the 2nd album by retro-futurist ‘bot, AB2088, previewing two LP tracks on his first ever vinyl release, following their issue of his Sagittarius album and Natural Sciences’ recent release of NXPCHOIR.
A-side, All The Eyes dispenses a rudely swung piece of Red Planet electro funk laced with curious, probing melodies, strangely enough sounding shades away from certain sections of instrumental UK grime.
B-side, on TX0 he follows that line down a sino-electro-grime wormhole, hingeing off cold woodblock drums and sparse, arcing arpeggios in a dark space somewhere between Arpanet and Scratchy.
In the slipstream of her World Of Waking State album, Steffi Doms rolls the album’s ‘90s AI, Detroit and Dutch techno themes into these DJ tools
Keeping the acidic pressure fluid and rolling with the stealth techno missile Exit The Ego, and smart electro hydraulics in The Big White bang.
While the righteousness of blackness is at the heart of the Rastafarian faith, this collection illustrates how black pride remained a central theme, if not the defining essence, at the very core of all the music created at Studio One Records.
"Black Man’s Pride is the striking new Studio One collection of deep heavyweight reggae featuring Horace Andy, Alton Ellis, The Gladiators, Sugar Minott, The Heptones, Freddie McGregor, Cedric Brooks & more.
In order to understand the centrality of black identity in the music created at Studio One, we need look no further than Clement ‘Sir Coxsone’ Dodd who, who created the first black-owned record company in Jamaica.
In similar fashion Alton Ellis’s defining ‘Black Man’s Pride’ brings up emotions that are at the heart of many of these uplifting songs. Alton Ellis’ birthplace was the Trench Town ghetto of Kingston, also the birthplace of The Wailers, Ken Boothe and many other Studio One luminaries.
Clement Dodd established a musical empire firmly rooted by the core musicians working at Studio One many of whom came out of the Alpha School for Wayward Boys, run by Roman Catholic nuns, whose luminaries include Don Drummond, Johnny Moore, Leroy ‘Horsemouth’ Wallace, Cedric Brooks, Vin Gordon, Tommy McCook & more.Many of the songs featured here come from the transitory phase in reggae at the start of the 1970s. After the exhilaration of Ska and following the cooling down of Rocksteady. While reggae awaited the arrival of roots, Studio One’s vocalists were already producing some of the moodiest music imaginable! Here are 18 heavyweight tunes, both classic cuts and super-rare tunes!"
The breakbeat-techno surgeon in efficient effect with a 2nd plate on his Poly Kicks label.
Luv Mix rolls out stuttered breaks and teasing, filtered old skool riffs on a barrelling B-line up top; Tenner Eclipse does a screwface swagger on the backside with shoulder rolling groove underpinned by wobbly Reese.
Tessela holds court on Poly Kicks following Haroon Mirza’s 50 Locked Grooves with a taut, tracky pair of rave tools.
The bustling rhythmic hypnotism of With Patsy re-routes the hardcore continuum back via Africa where he strips back the breaks to a reveal an intricate, pulsating charge of rugged micro-rhythms in Swimming.
Aces, both of ‘em.
rRoxymore leaves a smart 2nd mark on DBA with the harbinger house of Prodome and more mutant, tribalist electronics in Thoughts of an Introvert, Pt.1.
It’s really all about the 1st cut, building bendy funk on a tense, gasping refrain that lures the ‘floor into a malleable state where the breakdown’s vocal about the doomsday clock and impending apocalypse takes on a strange, juxtaposed poignancy.
As convention dictates, Wata Igarashi, Function and Marcio Shuttle furnish the obligatory remix session for Sigha’s Metabolism album.
Wata Igarashi gives two sleek overhauls of Black Massing, a rolling, pill-bellied Dusk Falls mix, and a stealthier, star-eyed Daylight Breaks take deferring the trance gratification with expert timing.
Function meanwhile takes Down along rabbit hole deep techno vectors in signature style, then Marco Shuttle melts the edges of Morning Star into a slow cascade of plummeting subs and shimmering, Vangelis-like synth brass flares.
Nice turn-up for the books; two of SCSI-AV’s finest moments, Lost System’s Saturnian Trax and Lost Trax 2 are revived and expanded for reissue on Delsin
Packing the soaring acid techno mastery of The Saturnian System and the Drexciyan electro-acid of Self Destruct Sequence from the 2006 release, along with the sublime Derrick May styles of The Sequel, and Convextion-like vibes in Birth, from their 2010 follow-up 12”.
Great call for any classic, deep ‘90s techno fiends.
Kosmische-toned techno momentum from Avalon Emerson
Following fluttering trajectories on One More Fluorescent Rush and rustling up some digital dust with the grubbing drums and squawking avian electronics of Finally Some Common Ground.
Reginald Omas Mamode IV follows last year's self-titled debut album with 'Children Of Nu'.
"The 20 track album draws influence from the world around us, everyday life. As we witness rising poverty, global events, political and ethnic divisions - these factors prompt some of Reginald's themes and call for humanity to recognise we are all interconnected. We are all related. We're all brothers and sisters with common ancestry, common history and a common origin regardless of race, geographic location or belief systems. Love and compassion are universal feelings/practices we all should embrace and apply to all aspects of our lives, our interactions and our relationships, regardless of the kinship'. - Reginald Omas Mamode IV Children Of Nu' encompasses Reginald's musical and sonic influences - Afro Roots music through to jazz and soul. It draws from Africa as much as the west, an attempt to make a record that can exist in many contexts, the present, the future and past.Recorded with freedom - most tracks remain from the first take - the process of creating 'Children Of Nu' was an open ended development from a natural, intuitive, starting point. Made with minimal thought of how tracks would end up, the music was led through the creative process. Born of a moment, each track is an attempt to capture that instance, mood, feeling or subject.
Last year's self-titled debut album was warmly received, collecting critical success including Mojo ( A brand-new-retro delight'), Mixmag ( Peckham beat brilliance'), Record Collector ( Equal parts D'Angelo to J Dilla'), The Wire ( Soul music turned all the way inward') and a Bandcamp Album of the Day ( Breathing lifeforms that are equally steeped in hip-hop, funk, soul and jazz'). It was also nominated for 'Album of the Year' at Gilles Peterson's Worldwide Awards 2017. Along with Mo Kolours, Jeen Bassa, Henry Wu, Al Dobson Jr and Tenderlonious, he's helped forge in the 22a co-operative what The FADER calls a kaleidoscopic patchwork of hip-hop, house, and groove investigations bound by one thread: a timeless belief in rhythm as a universal language’.”
The first of 2 x 10”s, The Spectacular Empire I features Gaika coming from a noisy, abstract intro to square up alongside Miss Red on a piquant, sepulchral dancehall mutation, Battalion
Then merging from billowing Ben Frost-style digital scree to emote autotuned on a beat-less streak of Reese bass and finger-pop percussion, descending into a trap-trance blowout.
A smart handful of synthesists take Texas’ S U R V I V E to the ‘floor for Relapse.
Salon Des Amateurs’ Lena Willikens reshapes Cutthroat with a sleek, slow-rolling kosmiche-disco chassis; Not Waving accentuates the Ballardian sensuality of High Rise with a writhing tangle of acidic synths, oil-smear pads and purring, gear-shifting groove mechanics; Blondes’ Sam Haar revises Wardenclyffe as an increasingly ecstatic sort of dissonant techno traum; and Justin K Broadrick leans in on Other as JK Flesh for an insistent, stygian industrial chugger, morphing into seething jungle pressure by the close.
Various, incongruous styles from Isolated Lines SBIRE label
Crossing lines from the bright, spacious club deconstructions of Riven by La Vie C’est Facile, to a trio of murky, snaking techno plays taking in the lunky swagger of GDLM by Larson, the clunky rolige and upward tilting synths of Isolated Lines’ Lift, and, term, some chunky, swanging house by Ockham & Soloporunbesso.
Never previously issued on vinyl - a super rare Library Music LP from Japan - the sublime soundtrack for a 1986 runway show of Japan’s Mitsuhiro Matsuda’s Nicole brand.
"Jun Fukamachi’s highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda’s Nicole clothing brand and never officially available before.
Only ever distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand’s Spring and Summer collection, Fukamachi’s moody magnum opus has become a sort of Holy Grail for fans of Japanese ambient, jazz, and synth music alike…and rightly so!
Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka aka The Soul Searcher:
If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun’s music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen.”
Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.
Situated in Frankfurt's thriving techno scene (and it´s holy label trinity of Playhouse, Klang and Ongaku), Flügel and Wuttke succeeded with their own and unique take on a sound that owed as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall.
This epic set includes their best material circa 1992-1998, including a host of previously unrleeased pieces.
Precision-tooled rolige from el mysterioso, Forest Drive West
Following his D&B outbreak for Hidden Hawaii with two slinky wrigglers for Livity Sound; a swinging deep techno piece recalling vintage Convextion circa Ebullience, and the crankier, UK style lag of Escape with its hip-slipping swang and cold, dank clammy atmosphere.
Strong one for followers of Kowton, Peverelist, Simo Cell
What Mortazavi and Friedman have in common is their shared expertise in uneven, cyclical rhythms – the foundation of their trance-like art music, which is both subtle and ecstatic.
"Through repetition and improvisation in the studio they create “numbers” – groove-based pieces played on a variety of drums (Mortazavi mainly plays the Tombak) mixed with electronics. Natural, i.e. given, motion patterns provide the musical backbone. This results in a precisely timed harmony between the electronic sounds and live grooves.
Thanks to the extreme acoustic range of the Tombak and his extravagant technique, Mortazavi merges perfectly with Burnt Friedman’s signature sound and repertoire, which seems to belong to no specific place or time.”
Jim Jupp (Belbury Poly) and Jon Brooks (The Advisory Circle) metamorphosize into The Belbury Circle, incorporating their pal John Foxx on two tracks of Outward Journey.
Pulsing with proggy soft trance riffs and draped in nocturnal atmospheres, it’s one for driving your car late at night thru the conurbations, commuter villages and gentrified docklands of a pensive Brexit Britain, turning up two standout moments in the John Foxx-led highlights of Forgotten Town and the beautifully wistful Trees, with plenty of time of reflection over your milky tea on Café Kaput and the twinkly gaze of Departures Inc, with a wistful guitar solo worthy of an Alan Partridge-style despairing breakdown in a lay-by.
Diverse batch of deep, blue house styles by new name, Jorge C, on Wouda’s Dopeness Galore.
Check for highlights in the more off-kilter, percolated jazz percussion and pensile chords in En Esíritu, and the slippery, acrid garage soul vibes of Dando Notas.
Coming in two parts, this is the A-side of The Bug’s double-AA single, squaring up with longterm spar Flowdan for a gruff spin on Baby Cham’s Ghetto Story, where Flowdan chats autobiographical on a caustic ride built exclusively from a soviet-era drum machine, layered and tweaked for bashment-crushing, soundsystem-testing impact.
Lots of play from Mala, Khan, Mumdance, Kode 9, Elijah & Skilliam...fiya!
Fresh from his work on Björk's upcoming Utopia album, Les Fleurs Dul Mal is the absorbingly grotesque sophomore album by pioneering artist, DJ and label owner Eric C. Burton aka Rabit, who, along with regular collaborators such as Chino Amobi (NON) and Elysia Crampton, is in part responsible for defining the contemporary conflux of avant club, folk and noise musics.
On his solo follow-up to Communion [Tri Angle, 2015], Rabit indulges his fascinations with psychedelic themes in an ambitious attempt to locate his sense of self amid increasingly chaotic environments. The result is a personal milestone for the artist; a riveting tableaux of hyper sensual texture, colour and melody forming a densely detailed and layered prism through which to peer at the abyss between reality and our shared hallucinations.
In aesthetic and intent, Rabit boldly embraces the vacuum left by the late, great Coil; realising a genre-agnostic consolidation of folk, new age, drone and noise tropes transcended thru acousmatic processing and modular synthesis, in this case fittingly provided by erstwhile Coil member Drew McDowell. In the process he potentially triangulates Les Fleurs Dul Mal with records by fellow Coil fiends, Elysia Crampton’s Demon City and Chino Amobi’s Paradiso, who all essentially project bold, new links with Coil’s canon.
Unfolding in 12 movements like some future classical tragedy, Rabit gestures his sounds with a remarkable freedom of rhythmic meter and freehand strokes that belies its meticulous construction below the surface. Cecilia’s vocals and the sharp strings of opener Possessed suggest the spirit of Baudelaire’s text heard at street level, while the dissonant stress of Bleached World - a secret weapon ’til now - expresses a beautifully bittersweet anguish, and the recursive curdle of Ontological Graffiti catches in the throat with uncannily emotive effect.
The Whole Bag locates his firmest dembow rhythms, but buried under collapsing sidereal pressure, and Cecelia’s return in closer Elevation perfectly emulates something like new age tristesse, which defines the record’s humanity in the face of such uncompromising synthetic sensations.
Celestial Trax leaves the club in pursuit of more meaningful ideas and broader textural range on their debut album for NYC's PTP.
“PTP present the debut album by Celestial Trax (real name Joni Judén) entitled 'Nothing Is Real,' which he describes as a departure not only in sound but also geographically and spiritually from his previous output, having found an increased interest in mysticism and the esoteric.
Taking inspiration from a quote by Anton Chekov, "if you want to work on your art, work on your life," Judén aimed for the album to be a true representation of his voice at this time. He felt a need to distance himself from the distractions a creative hub like NYC can often provide, not wanting to become too influenced by the city's current trends, and instead shifted his focus inward to cultivate a more meaningful self-connection: this journey and struggle thus serving as the main inspiration to the writing.
In beginning 'Nothing Is Real,' Judén had reached the point of creative purge, deleting almost all samples, sample packs, and software synths. Fueled by ideas of rebirth and true self-projection, he amassed a library of field recordings from New York City, plus samples from his own cassettes, vinyl, and Youtube search history - utilizing every sound source he could come across in his studio whilst trying to spend as little time as possible on the computer screen. The result being an album less concerned with achieving a masterful polish and sonic bombast, instead aiming for more organic textures where noise and imperfection reflects the human experience, with recurring themes of existentialism, surrealism and nature permeating throughout.”
Chafik Chennouf debuts a powerful, deconstructed take on ballroom dynamics for Opal Tapes, backed with faithful remixes fromLucy, Mondkopf and Katsunori Sawa.
If Emptyset piled all their attentions on MAW’s classic Ha! stab, it may well come out sounding like Ferrequinologie, where Chennouf turns that basic unit of modern dance currency into a bewildering recursive maze of pronged rhythmic suggestion against a black hole backdrop. With Hanneton he adds only the slightest hints of percussion in a staggering, grimier, weightless style recalling The Sprawl, and The Observer Effect folds in sparing melodic hooks with a sensitivity to space and inference that reminds us of Phork’s output.
Although we find quite enough to get us dancing in Ferrequinologie, for those who need firmer instructions, check out Lucy’s thrumming techno remix, while Mondkopf retains the piece’s amorphous signposts in a more gristly turn of events.
Vincent Koreman indulges a Drexciyan fantasy with H-World: Adapted Gills under his Drvg Cvltvre guise
Embarking with the slow subaquatic descent of Adapted Gills part 1, synthesising strange deep sea creatures and motifs in Adapted Gilsl part 2, and getting his Stinson funk on with Subatomic Metropolis, and some ace slow-fast pressure in The Enewetak Experiment.
Dark Matters give STL room to roam free with two durational house and dub pieces plus a contemplative downbeat.
In temporal declension, he starts out widescreen and gaseous for the first half of No More Words, all clogged filter fuzz and melted subs, before loping on the offbeat in his typical dub-house swagger for the 2nd half. Maybe too deep for the club but canny at home?
On Smooth Selector he equally takes all the time needs for ten minutes of lagging bass bumps and claggy atmospheres recalling one of Rhythm & Sound’s slow-motion specials, before NWAQ-style keys and twinkle out of the mix along with chords that place it closer to Moritz Von Oswald and Juan Atkins’ Borderland output, and he lets the sediment/sentiments settle in the Detroit hip hop downstroke of Out Of The One.
Always got time for this guy and sound.
Wet, socking techno trample from Stockholm’s Shxcxchcxsh
Pushing off their Rösten label with four idiosyncratic sound designs ranging from the weathered grain of Stämma #1, to the alien synth voices communicating thru the fog of Stämma #2 and Stämma #3, and more distended, blown-out structures in Stämma #4.
Vivienne is the artist name of Evelyn Privitera. A first year student at Goldsmiths, studying fine art, Evelyn started writing this album when he was just seventeen. Stud is Vivienne’s debut release, signed after meeting at an Objects Limited workshop when he started sending songs to the label.
"‘Stud' is a mixture of acoustic singer -songwriting and electronic textures that are held together with Vivienne’s mixture of soft, feminine and punk vocals. Its topics range from self-reflection to playful angst with a lo-fi feel throughout. Lyrics are based on the complex emotions of a person finding out about their sexuality and identity. As Vivienne himself explains “Stud is emotional longing and apathy and hatred disgustingly writhing alongside a sexuality that relies entirely on traumatic experience and feeds on dangerous situations and bodily functions.”
Gqom Oh! showcase another new Durban artist to the northern hemisphere with Emo Kid’s Gqomtera EP, featuring strong highlights in the mean af charge of Futuristic Gqom, on the cold, electroid Zulu knocks of Digital Response.
“Durban's 23 year-old producer Emo Kid presents Gqomtera on Gqom Oh!. The record actually explores sgubhu, a strain of South African dance music that shares many stylistic parallels with gqom, though it is always written with a 4x4 beat. Like DJ Lag before him, an artist widely considered the king of gqom, Emo Kid is also considered a pioneer in Durban. At eight tracks long, Gqomtera provides a comprehensive overview of the sgubhu sound, with the aim of taking the listener on their own "Durban Journey". "I wanted to show the uniqueness of my own style which I would describe as more musical," Emo Kid explains, "you can feel the music when you listen but it still hits hard with that gqom flavor."
That gqom flavor, powered by hard, fast, uncompromising drums, provides a solid core from which everything else functions. Bright, shimmering trance synths are featured on "Futuristic Gqom". There's also space for harder, deeper cuts, the charging pace and power of "Insimbi Yase Dubane", and the anthemic "Asbambeki" featuring local crew TLC Fam. Capturing the raw, street sounds of his city, Emo Kid is the latest Durban artist to take the music global and with Gqomtera, he puts sgubhu firmly on the map. Includes a download card with four bonus tracks: "Enkwarini" featuring vocalist Fawell, "Ground Shaker", "Digital Response", and "Isukile" featuring Mapopo.”
Karin Dreijer’s Fever Ray returns with the first release in 8 years since the celebrated self titled debut in 2009. She now tweaks the formula while retaining the enigmatic air of ‘80s synth-pop at the project’s core, redressed with rhythms better related to the modern Afro-Latin diaspora and underground fetish clubs, thanks to co-production by Príncipe’s NÍDIA, Peder Mannerfelt, Paula Temple, and Deena Abdelwahed.
Where Fever Ray was blue and black, achingly gothic, Plunge is ultraviolet and lusting, with Karin Dreijer aka Fever Ray poised like some gynoid harpy, enunciating her uniquely seductive, stressed and clipped syllables in a spectrum of screeches, naif sing-song, autotuned turns-of-phrase and etheric flights, all matched by equally piquant, urgent synthetic backdrops.
Highlights are myriad, striking from the front with evil, EVOL-esque synths wrapped to a industrialised dembow swang on Wanna Sip, and floating a superb blend of Errorsmith-like squeaks with railing reggaeton snares and a deliciously bittersweet duet with Tami T in A Part Of Us, whilst the NÍDIA-produced zinger IDK About You is surely primed for widespread dancefloor aktion, and the syncopation of giddy arpeggios and dancehall-meets-EBM drum programming in To The Moon And Back underline a piece of modern pop perfection.
There’s maybe one dud, when the folk strings spoil Red Trails, but ultimately this is a hugely satisfying listen, and a dead welcome return form one of this century’s most innovative pop stars.
30/70 are the latest collective to emerge from Melbourne's buzzing scene.
"Lovingly referred to as a community rather than a band, 30/70 is, at its core, a quintet made up of Allysha Joy, Ziggy, Henry, Thhomas & Jarrod that swells up to an 11 piece ensemble as and when the music calls for it. The sound of 30/70 is a cosmic mélange of boom-bap dynamics, neo-soul harmonies and jazz-funk licks, all steeped in a deep spiritual tradition reaching from Alice Coltrane to Kamasi Washington.
Despite their influences coming from across the pacific, the 30/70 sound is unmistakably Melbourne. The band came of age in the wake of Melbourne’s soul scene hitting global success, a local phenomenon which shone a light on the Northside community and paved the way for a new generation of bands to take this sound and make it their own. Melbourne’s relative isolation could in fact be a blessing in disguise. It's resulted in a pressure cooker of talent; a tight-knit, well practiced network of musicians who’ve put in the hours, paid their dues and are ready to explode into the wider global consciousness. 30/70 are leading the pack with their latest offering.
Working closely with and Paul Bender of Hiatus Kaiyote and Jamil Zacharia to produce the forthcoming record entitled ‘Elevate’. The resulting recording is a sublime statement; at once a cry for help and a call to arms, it balances delicate poetry and potent aggression with ease - all of this done with a beguiling pop sensibility. This collection of songs, their second studio effort after their debut LP, ‘Cold Radish Coma', is set to elevate them to the international stage. Under the management of Wondercore Island (Hiatus Kaiyote, Oscar Key Sung, Daniel Merriweather) and with the release set to drop on Bradley Zero's Rhythm Section Intl. (Al Dobson Jr, Silent Jay x Jace XL, Henry Wu), 30/70 are ready to take their message from Northcote to the world.”
Kjetil André Mulelid – piano Bjørn Marius Hegge - double bass Andreas Skår Winther – drums
"Following in the footsteps of In The Country and Espen Eriksen Trio, Kjetil Mulelid Trio is the third piano trio to appear on Rune Grammofon. Although they can be placed in the same musical landscape, it´s also fair to say there are certain obvious differences. There´s a solid dose of youthful playfulness and curiosity at work here, at the same time they show an assured maturity that belies their age (26, 26 and 29).
The music is based on compositions by pianist Mulelid - inspired by everything from psalms to free jazz - but there is also room for collective improvisation. It can be energetic, rhythmically complex and harmonically rich, but also intimate and with a beautiful melody. They work purely with acoustic sounds and timbres and are constantly reaching for new ways to express themselves within these frames."
Glasgow’s premier exponent’s of modal disco, Richard Youngs, Luke Fowler, Michael Francis Duch, and Paul Thomson aka AMOR lock into a sterling 2nd excursion for Night School
Committing the plaintive, bluesy jag of Higher Moments - think Jandek-meets-DJ Sprinkles - and the more uptempo urgency of Amnesia, where Youngs’ distinctive vocals seem to run around the room, chasing his own echo on a tight but skewed groove recalling a Polmo Polpo oddity.
Farväl Falkenberg is an album by Erik Enocksson and a soundtrack to the movie of the same name. It is 10 years old this year and in celebration of that Posh Isolation is rereleasing it in a remastered version with new artwork, giving it its first widespread LP release to date.
"When Farväl Falkenberg was originally released, the record label responsible, Kning Disk, wrote in their press release “— having not only created a lush record full of thick, backcountry piano and raw, acoustic guitar waltzes, Enocksson has more importantly produced an album that effortlessly translates the feeling of isolation (both geographically and emotionally) in an intensely personal way you don’t often come across.” With such a statement it seems only natural that now 10 years later it should find a new home via Posh Isolation. “It is hard to overstate the importance Erik Enocksson’s work in relation to the discography of Posh Isolation.
Years before we met, his release “Apan” completely changed how I thought of music. Something similar happened when i later heard Farväl Falkenberg for the first time. I was in a car going from Prague to Berlin sitting on the backseat, the person next to me had tears down her cheeks in the middle of the first song, by the end of the record the whole car was silent and remained so for the rest of the drive. It is rare to witness music with such effect and it is not often that a record could have that effect still, ten years after its initial release. I think Farväl Falkenberg can. The work of Erik Enocksson has been an inspiration since the first time i heard it and i imagine it always will be. It is in honour to be able to present this work again now on its 10th year. -Loke RahbekAsking Enocksson about the record and what to say of it he said; “When I turned twelve my dad took me out back to fire a shotgun for the first time”
Eminent DJ Helena Hauff returns to her hardware for the 1st time in years with the banging, queered box jams of Have You Been There, Have You Seen It for Ninja Tune.
Expect a salty, raw selection of house and electro in all four parts: filtering her own breaths and murmurs with anaesthetised pads and merry-go-round melody on the recoiling jack of Nothing Is What I Know; then with dangerously brut bass in the smelly acid sock of Do You Really Think Like That? and its electrode counterpart Continuez Mon Enfant Vous Serez Traité En Conséquence, while exercising her Drexciyan funk muscle with live and direct-to-tape style on the wistful Gift.
Let’s just say it’s all perfectly juxtaposed at odds with the Mall photo studio artwork.
Retrospektiv is a full spectrum exhibition of Thomas Brinkmann’s contributions to techno and experimental electronics over the last 20 odd years.
From slamming, full throttle bangers to off-kilter dancehall and downtempo trips with vocalists, all unified by principle of dub minimalism, it’s a perfect entry point for anyone intrigued by one of Germany’s most distinctive techno exports as well as a strong refresher for anyone who’s been aware of his work over the years, especially so in smarts such as the raging noise techno assault Livelong, the robotic ragga experiment 2 Suns, and party-ready house steppers such as What You’re Doin or the breezy Margins.