Holy mother of noise, what the devil have we here? Superior Viaduct cough up the 1st ever vinyl reissue of Basil Kirchin’s mind-blowing experimental masterpiece Worlds Within Worlds, which has bafflingly somehow escaped wider attention until now. While Trunk Records have done a fantastic job of returning Kirchin’s work to critical acclaim since their issue of Quantum in 2003, this very necessary reissue inarguably and surely reasserts the British jazz drummer and composer-cum-studio experimentalist among electronic music’s greatest pioneers. Trust, this is a record you’ve been looking for forever, but just didn’t know it existed!
Conceived as the follow-up to Kirchin’s Worlds Within Worlds parts 1 & 2, which were discernibly scored for a jazz sextet (including Evan Parker) and various bird, animal, and amplified insect sounds, and released on LP by Columbia in 1971, Kirchin’s 1974 follow-up of the same name contains parts 3 & 4 and finds him combining similar instrumentation with the sounds of a Gorilla, Hornbills, and Flamingoes in a heavily abstract, tape-processed style that’s just completely messing us up right now.
If any LP deserves the mantle “lost classic”, it’s this one. From the first seconds of distended, hellish moans and flanging analog artefacts in Emergence (Part 3) you know this is going to be a serious trip and it never once sells the listener short. For the next 20 minutes he unspools a fantasy tableaux of warped, grainy harmonics and warbling sonic oddity, smudging samples of autistic children in a Swiss community with the sounds of the docks in Hull, where he lived, to forge a practically unprecedented alternate dimension of atonal, arrhythmic immersion that genuinely feel like a transmission from the other side, much in the best way of music from Aphex Twin thru to Broadcast or NWW.
On the B-side Evolution (Part 4) follows suit into the void without the handrails of convention, effectively landing somewhere between the combustible, metallurgic experiments of Gottfried Michael König, Annea Lockwood’s Tiger Balm, and the vast, cosmic spectral music of Iancu Dumitrescu in terms of space and texture, with 18 minutes of dense, layered concrète chicanery that pulls the ear’s eye almost out of its socket in a seamless, keening traversal of metastable, decelerated sonics from Gorilla growls to submerged clangour and astral flange that uncannily parallels COUM Transmissions from the same era and city, although we’re pretty sure there was no crossover between the two.
Suffice it to say, this record is one of the best things to ever come out of Yorkshire or the British electronic music underbelly. Just fucking incredible, psychedelic music. Highly recommended!
Broken English Club flashes his industrial gnashers on the 1st part of a new LP trilogy for L.I.E.S.
Otherwise known as Oliver Ho, Broken English Club has become the bloodied ground for his most unrepentant, grotesque and personalised productions, a place where the bones of EBM/acid/techno rest in pieces beside the desiccated batteries of power electronics and the ghosts of late ‘70s/early ‘80s post-industrial styles.
Leading on from last year’s ‘The English Beach’ LP, Ho focuses his energies into 9 bitter cuts in ‘White Rats’, ranging from the coruscating noise guitar wizardry of the title cut and the clenched industrial strength force of ’Funny Games’ on the front, to thoughts about modern day Brexit Britain in ‘Animal Town’ - “barking nazi’s in plastic tracksuits” - along with the skudgy acid EBM burn of ‘Let’s Play’ and blown-out power electronics of ’Stab Boy’ on the other side.
RIYL Throbbing Gristle, Parrish Smith, Sandra Electronics...
Reissue of Charly Kingson’s hot disco platter, produced by Klaus Weiss in Germany, 1982, and shifting for triple figures on the 2nd hand market...
A-side is the horny Afrobeat funk fuss of ‘Born In Africa’ with its slithering bassline and call ’n response vocals, while B-side is juicy ace named ‘Nimele Bolo’, working a squirmign synth bass with chicken scratch guitar and horns for pure late night heat.
Ace 3rd group outing from John Howes’ Cong Burn clan, including deeper gems by Lack and Duckett...
Tending to intimate/introspective hours of the club and afters, Leeds-based Lack impresses with the grubbing undulation and dark blue pads of ‘Unttiled’ - imagine E.R.P. meets Batu - and Duckett also gets it right with the frayed groove and hyaline lead of ‘Lost In Israel’ recalling Actress and Morphosis gear.
Chekov plays it dead subtle and breezy with the dusty shuffle of ‘Spring’, and Haddon pushes the edges into out limits dub abstraction in ‘Anabiosis’.
The Bug finally steps it up proper with his first full length player since his 'Pressure' set laid down the industro-dub gauntlet with a fair clanging smack some 5 years back.
In that time we've seen The Bug become a linchpin of the South London Bass scene with unruly rave smashers released on Hyperdub, Soul Jazz etc directing us to the future sound of bashment and proper heavy bass musics. 'London Zoo' corrals a guest vocalist lineup featuring some of the finest ragga soundsystem toasters London and JA has to offer, with everyone from longtime collaborator Warrior Queen, to the legendary Tippa Irie and Spaceape, helping Martin to define his abstract heavyweight riddims in fine style.
The big 'n bashy wreckers from the 12"s are all here from 'Poison Dart', 'Jah War' and the punishing 'Skeng' but the set doesn't rely on these tried and tested cuts for support, ramming in a ruck of fresh material from the robo-ragga of 'Fuck*z' to the shockout drum styles on 'warning' or the apocalyptic finisher 'Judgement' with Rinky Ranking truly saving the best til last.
The production levels really couldn't be any higher and needless to say the bass is unbelievably heavy, thoroughly primed for home hifi and dancehall soundsystem testing. Proper heavy!!!
Andy Lyster’s Youth label wrest four stripes of punky blooze from Shamos, who steers away from the rugged house knocks of his Apron 12”s to nervier, faded headpieces in YO2TH.
Acquainted thru London’s NTS studio, Lyster and Shamos have conspired to reveal alternate aspects of the latter’s aesthetic, sidewinding from what sounds like one of Delroy Edwards’ Teenage Tapes cuts in the grungy wave stepper Found Grace to Lukid-esque alien tribalism in 13213132, then with a gristly, blank-eyed slug of EBM in TMF, and desiccated Detroit boogie in Nuws.
Lush, reticulated reggaeton, deep house and breakbeat fusions from man o’ many monikers, Brian Piñeyro (Deejay Xanax, DJ Wey, Luis) as DJ Python, following the sterling example of his ¡Estéreo Bomba! Vol. 1 for Antony Naples’ Proibito with an immersive expansion of that sound in Dulce Compañia.
Taking reggaeton along new, instrumental routes intersecting NYC’s rave history, DJ Python has pretty much cooked up his own style of deep reggaeton, a title which should probably be taken with a pinch of salt, but serves well to identify his angle amidst an upswell of LatinX producers who are spinning dembow beats and tropes into all kinds of new spaces - from DJ/Rupture and co, to Florentino and Kelman Duran, for example.
Almost as close to the sound of Ben Cenac’s Dream II Science, new age experiments from Laraaji, or even Andy Stott as any of the above, Dulce Compaña finds Python alloying reggaeton’s nagging, signature bump with chiming electronic meditations in Las Palmas, and with squashed jungle breaks in the style of his Deejay Xanax alias on Cuál, both setting the innovative, deviant agenda for the rest of the set, recoiling from eyes-shut ambient rave infusions on Todo Era Azul (Version Afuera) and its cosmic Siempre Dub, to something like B12 on holiday in Caracas with q.e.p.d, but also making room for more rugged swerve in Acostados and the acidic tang of Yo Ran(Do).
But if any one track is going to melt your pants off, it’s the plasmic, aerial ambient shuffle of Esteban, which provides the sweetest window on Piñeyro’s unique Python sound, and everyone will know what to do next.
The impeccable 12th Isle return with 'Palta Og Ti På Den Tolvte Ø’, a balmy suite of downtempo bliss-outs gently coaxed along by burbling rhythms by Palta & Ti...
“Seemingly drawing from a slightly different well of influence from that seen across their prolific back catalogue, the Aarhus duo – going by the less common shroud of Palta & Ti – have hereby woven together a stylistically varied yet tonally concentric 3 track EP. Having produced a wealth of some of the most lovingly referential and consistent music of recent times, the tracks making up “Palta og Ti på den Tolvte Ø” are slightly harder to pin down to exact genre markers. Each song is busy yet never overcrowded with elements; building concise and playful grooves which if forced we would say positions them somewhere in the ambient space between jazzy-improv-house and dubby, hypnotic electronics. That’s as absolute in adjectives as we would ever care to be...
Expertly crafted both technically and musically, we are more than excited to be able to present this to you as our fifth instalment.”
Autechre's classic third album from 1995, reissued for the first time in 15 years...
Completing the triumvirate of early Autechre essentials, Tri Repetae was the duo’s cranky contribution to mid ‘90s electronic music, and, like its predecessors - Incunabula and Amber - a record that completely defines certain aspects of that era for many electronica nerds, us included.
It’s possibly best known for including the peerless electro-trance swerve of Eutow - which could literally kill someone prone to AMSR in the right situations (not a bad way to gan) - whilst the rest of the LP cements some of Autechre’s sharpest, neck-snapping hip hop beats.
If you’ve only heard this album via download or streaming, or are only aware of their later gear, you’re in for total treat.
London’s dankest relay palpably paranoid pressures from the capital on The Bug's newly minted Pressure label, hopefully the start of an ongoing collaboration between the pair.
Spying those hours of the dance when the smoke machines are puffing but there’s nobody there yet, Fog finds them melding charred bass hustle with billowing greyscale atmospheres in a time-honoured style shared by both artists.
On the flip, Shrine distills their meditative intensity to more suspenseful degrees with exceedingly brittle drums bearing the huge, brooding weight of a slowed down dread bass and glowering pads = minimal fuss for deadly, concentrated impact.
Age Of is OPN’s eighth studio album and the latest chapter of a definitive American hauntological saga for this transitory, phase-shifting decade. It features Anohni, James Blake, Prurient, Kelsey Lu, Eli Keszler and others in various capacities...
Strewn across the prog-R&B vape chamber fantasias in Age Of, vocals often take precedence in a mix of auto-tuned Future-style soul, sadboy elegies, black metal croaks and warped stadium pop choruses, all in duet with 0PN’s signature synthetic chorales. The nature of film editing and writing music to imagery - as with last year’s Good Time OST - also seems to exert an increasing hold over his music, as the variation from scene-to-scene and range of voices in Age Of feels like an ensemble cast rallying around a patently visionary composer/director/artist.
In key with his (not hard to pronounce) moniker - it’s One Oh Trix Point Never, a play on the radio station Magic 106.7 - Lopatin’s music feels ever more like dialling into a chimeric, algorithmic radio station where anachronistic MOR and adult contemporary modulates with modern R&B, trap soul and Afrobeats in a very contemporary sort of hyperjazz-fusion that absorbs and transmutes emotional signals from electromagnetic ether - perhaps imagining Paddy McAloon alchemising with Future, James Ferraro mutually dreaming with Laurie Anderson, or Thomas Dolby jamming the airwaves with The Game.
After now spending some quality time with the album, we can safely hail it as one of 0PN’s smartest. Its lead single Black Snow, remains a total standout, and Prurient’s appearances, whether erupting from the choral froth of Warning, harmonising with Lopatin’s auto-tune on the David Gray-puckered Babylon, or the pop epic Same are all peak points. But we can’t ignore the excoriating excellence of We’ll Take It, which uncannily sounds a bit like Croww’s Slipknot deconstructions, and Last Known Image of a Song beautifully sounds like 4Hero gone ambient.
Concision and variation are key here. There really aren’t a lot of records that manage to collide pop and avant-garde worlds quite like this one.
Holuzam is a new label from Prícncipe Discos co-founders José Moura and Márcio Matos. The second release on the label is a sublime disco missive from Macau, China, recorded between 1989 and 1993, bubbling up from a blindspot to offer a stunning package of sounds lesser, or even never, heard beyond private archives or Portugal’s borders...
Dwart has been the vessel for journalist and musician António Duarte and his sometime musical partner, Manuela Duarte, since 1985. They played gigs at home in Portugal with Telectu in support, before moving to Macau - then a Portuguese territory in China - in search of new sources of inspiration. They would find it everywhere from Macau’s karaoke bars to the discos of Ghangzhou, over the border in the hot, humid megatropolis of South East China. The three tracks on ‘Taipei Disco’ are their best recordings made during this era, rendering a mouth-watering bounty of exotic late ‘80s dance music heavily inspired by Canton pop, and patently compatible with everything from kosmische disco and proto-Goa trance to the current swell of suave, retro-futurist styles from Pye Corner Audio and Legowelt to L.I.E.S.’ KWC releases.
The original ‘Taipei Disco’ is a 12 minute disco dream named after the only Guangzhou club which would play Anglo-Saxon pop and rock alongside the Canton pop standards.The club’s DJ would end up playing Dwart’s tune, and eventually invited him to play live keys over its backing track at the club. In 1993 Dwart recorded the exquisite ‘Taipei Disco (Live)’ track at the China Pop venue in Macau, replete with solos and extra strings, to a frontline of can-can dancers on the ‘floor.
Completing the story and this superb record is ‘Red Mambo (Impromptu)’, a balmier jam with members of legendary Cape Verdean group Os Tubarões, recorded in a packed studio on the 19th storey of a Macau tower block overlooking the water. A perfect ending to an exotic, coolly entrancing record spritzed with character and charm.
Zora Jones & Sinjin Hawke make their first significant foray outside Fractal Fantasy with the glass-cut brilliance of ‘Vicious Circles’ for Planet Mu
After building a serious rep over the last few years with guest-crammed compilations, killer remixes and acclaimed solo opuses, Hawke & Jones mount a concerted attack on boring dance music and head-in-sand-types with seven tracks of agile accelerations bending dancehall, Jersey, footwork, grime and vaporous sonics to their will.
Vicious Circles is perhaps the most varied yet concise showcase of their sound to date, demonstrating stellar sound design chops in the TCF-like escalation of the titular opener, which tilts over into the rest of the set, from the Manga-referencing mix of folk song and bolshy, Equiknoxx-meets-Timbaland styles of God, to fast fwd dancefloro mutations in Lurk 101, and hauntingly sheer dynamics on BabyboySosa, and a lump-in-throat finale sure to polish off the rave in And You Were The One.
High impact, trancing EBM techno from French act I Hate Models, backed with a deeper pounding by DJ Varsovie
The A-side’s arcing drama, ‘It Will Last Forever’ emerges from lush intro to deliver a severe 4/4 beating with a twist of sexy Gallic masochism. ‘Walpurgis Night’ weaves an etheric vocal from Zoé Zanias into a driving sort of cybergoth trance sound, and DJ Varsovie seals the vibe with a more streamlined remix of the latter.
Elephant Micah offer an alternative definition of ‘Americana’, which ultimately sounds the same, but with some detours into noodly electronics on their homemade “mutant” synth, alongside the usual laments and hoary guitars...
““What?” Indeed, “what” is the mantra of our moment. And Genericana aspires to be that moment’s soundtrack.
“WHAT is happening to our culture?” Americans ask themselves, in the era that sees entertainment, politics, and community life consolidated in a digital communications ecosystem. Responding, Elephant Micah has tuned its music to an appropriately disorienting pitch. For songwriter and recordist Joe O’Connell, that means remixing his own cultural experience, and questioning how “where we live” affects “what we sound like”:
“To me, ‘country’ music could mean any of the music we listened to growing up. When my sister and I were teenagers, in the 1990s, we put a lot of effort into trying to access alternative music. You had to steal Rolling Stone issues from the public library to find out about artists. Or stay up late when you could get in some different radio stations than you could during the day. I think of that whole experience as a ‘country’ music experience.”
In the place of “Americana,” the band offers Genericana. Evoking genealogy, genre, generic brands (and perhaps a bottled genie), the album title points the way to a different theory of what binds our culture together.
“I think Genericana just means ‘the stuff from which stuff generates,’” O’Connell explains. “It's a short hand way of shouting out to the stock elements that I'm mashing up in this music. I wanted this project to be sort of like a lucky mutation, that could lead to a heartier version of Elephant Micah for the digital world.”
Mining the aesthetics of the average compact disc collection, Elephant Micah makes room on Genericana to play with sounds for their own sake. O’Connell and company follow in the footsteps of songwriter-producers like Arthur Russell and John Martyn—artists whose descent into effects made their voices all the more poignant and personal. Frequently, Genericana also pays tribute to laid back club sounds, from dub to ambient techno--and to the resourcefulness of the producers who invented these genres.
“To make this record, we assembled a bunch of gear that was devalued or discarded,” O’Connell explains. “A cheap FM synth, some Hindustani electronics, and an old three-head tape deck to use as a ‘poor man’s Space echo.’”
At the top of this heap of equipment was something new. And in fact, there had never been anything quite like it before. Working from a series of manic band meetings and napkin drawings, percussionist and keyboardist Matt O’Connell brought to fruition a one-of-a-kind digital synthesizer. Its inspiration comes from the possibility of alternative playing interfaces—ways of interacting with digital instruments that aren’t based on techniques for existing instruments. Matt and Joe named this synth The Mutant, a title that’s right in key with the themes of Genericana.”
Filth-smith Helena Hauff fires up a raw-to-the-bone barrage of bleached drum machines and needle-fanged arps on ‘Qualm’ - the Hamburg assassin’s 2nd album for Ninja Tune.
Arriving at a point where Helena is a hugely sought-after DJ - a time when other artists have often played up to a more commercial style - she pulls no punches with a severely thistly album of extreme pH levels placing her love of Bunker bombs and noisy industrial dance music front and centre, in a way perhaps designed to keep the dilettantes at arm’s length, while offering a sweaty embrace to all madder ravers, cyberpunks and misfits.
Under the title Qualm - one of those words you can chew like gristle - Helena deftly and brutally gets what she needs from her machines, slaving a battered analogue array to the front of the rave and rarely sparing the whip for any of them. However, when more romantic or melancholy emotions come thru, they’re direct and never self indulgent, lending a fine contrast to the album’s harshest aspects.
In transitional flux of alkali and acidic extremes, Helena charts a heavy trip between the salty ghetto lash of Barrow Boot Boys and the bittersweet synth-pop of It Was All Fields Around Here When I Was A Kid which both bookend the set. In the frazzled space between, she laces up some absolute welters with raging acid of Lifestyle Guru, the screwface charge of Hyper-Intelligent Genetically Enriched Cyborg, and the switch from ‘floor-swilling 303s to night-vision pads in The Smell Of Suds and Steel, while her electro instincts bubble up in warped ways on Fag Butts In The Fire Bucket and the furtive, slimy creep of Panegyric.
But none of those would be so effective in an album context without the contrasts provided by her more fanciful missives, such as the salty lullaby of Entropy Created You And Me, the blood-curdled horror themes of Primordial Sludge, or the struggling nEuro pomp of the titular Qualm itself, which can possibly be taken as a sort of requiem for a rotting Eurozone at the vinegar strokes of late capitalism.
Gabe Gurnsey, the drumming dynamo behind Factory Floor, explores proper song-writing and dancefloor sensuality on his solo début LP ‘Physical’, including additional production by Phantasy guy Erol Alkan
Effectively offering a more fleshly take on the skinny asceticism of Factory Floor, ‘Physical’ revolves 14 disco and pop-toned pieces that vacillate between home listening and club purposes depending the user.
For the ‘floor, there’s some strong highlights in the darkroom acid sleaze of ‘Harder Rhythm’, the moodier Chicago/New Beat burn of ‘I Get’, and the darkwave EBM-pop pressure of ‘Night Track’, which all works as dance songs in their own right, but if you want to hear a cleaner break with FF forms, check for the creamy synth-pop shuffle of the lead single, ‘Ultra Clear Sound’, the druggy, grinding gynoid-pop of ’Temazzy’, and the muggy bass oscillations and Muslimgauze-like vibes of ’Sweet Heat’.
Solo début Lp by Brandt Brauer Frick’s Paul. Features a guest vocal by Nina Kraviz
“Apollo welcome Paul Frick to the fold. Frick is a Berlin-born music composer primarily known as one part of the group Brandt Brauer Frick. Stunningly despite a 20+ year history of making music ‘Second Yard Botanicals’ is his debut album.
With BBF keeping Frick inspired and busy since 2009, other ideas had piled up until a temporary break allowed him to fully dive into them – “While it took so long until I made my first album, it took about two months once I started.”
Exploring a vast number of instruments, field recording and deconstructed breakbeats woven with undulating filters and gossamer melodies, the album sees Frick drawing on the world around him in a free associative style ; “A word I sometimes had in mind was „Alltagspoesie“, the poetry of everyday life,” he explains. “The thought that however small and unimportant things and people are, they – or we – all hint towards each other, if not to say towards the whole. The fact that half of the pieces on the record are short miniatures has to do with that. Throwing something in and hearing what it tells.“
‘Second Yard Botanicals‘ at its core is based on sonic collage, from a genre point of view it’s highly eclectic, remotely echoing Frick’s classical composition background as well as his hip hop / trip hop past – “which is how I first learned using sequencers about twenty years ago”.
While Frick is coy about direct influences on his music, non musical inspiration played a key role – such as the novel ‘Anniversaries‘ by Uwe Johnson, which is divided into the 365 days of a year and weaves a large nonlinear picture; „It’s among the things that showed me on how many levels a piece of fiction can be able to resonate without falling apart completely.”
Besides the actual recording of instruments like piano, guitar and percussion, Frick sampled heavily from his twenty year deep sonic archive of performances and field recordings. “Mostly they were from unused sessions, forgotten projects that I rediscovered or live recordings of my chamber music pieces, using them as samples to make something new,” he explains. „Also chance recordings on the phone like the boomy snares in ‚Church 5 Loop 2‘ which Daniel (Brandt) played during soundcheck for a BBF gig in a huge church, or rain drops in the gutter of our studio backyard, and more things like that.”
Recorded in the band’s shared studio space in Neukölln and mixed by bandmate Jan Brauer the whole project was kept in house.”
Leathered-up EBM from the gimp-masked SΛRIN for Phase Fatale’s Bite label
Authentically skooled in the grease and spunk of classic EBM, SΛRIN takes what he needs from that style and leaves the rest to rot on his ‘Kuleshov Effect’ 12”, resulting four stripped-down and hungry killers aching for a dark room, smoke and strobes.
A-side spits out the clenched grind of ‘World Condition’ along with the dry, pulverizing drums and strapping 16th note arp of ‘Jigar’. B-side steps up the pressure with cold war samples setting the scene for a frozen, militant stomper that really sinks its teeth in, while the nihilistic ‘Nuke Me’ will put a rocket up the ‘floor’s collective ass.
NYC’s Forma regroup around iridescent axes of minimalist kosmische, ambient and techno tropes on ‘Semblance’, their playfully absorbing 2nd album for Kranky after a pair of early sides with Spectrum Spools
Revolving around George Bennett and Mark Dwindle with John Also Bennett (a.k.a. JAB and member of Jon Gibson’s live band), Forma continue in pursuit of a coolly intuitive and suggestively psychedelic sound on ‘Semblance’, meshing polychromatic harmonics with rolling, curling rhythms in a way that owes as much to Steve Reich as Alice Coltrane, Laurie Anderson and Jon Hassell, but with a disjointed sense of anachronism that time-stamps Forma in the flux of the present.
“Brooklyn trio Forma's latest LP continues their mission to "broaden the idea of what an electronic music ensemble can sound like." Semblance emerged from exploratory sessions at The Schoolhouse, the Bushwick loft where members Mark Dwinell and John Also Bennett live, then was tracked at Gary's Electric studios, where their previous album Physicalist was also recorded.
Inspired by polyrhythmic composition, the human voice, and conceptual improvisation strategies, the songs are striking in their textural detail and emotional nuance, alternately synthetic and sentient, futuristic and intuitive. Incorporating flute, piano, guitar, saxophone, acoustic drums and cymbals alongside an array of synthesizers, the record persuasively demonstrates the group's unique playing abilities and fluid chemistry - attributes they credit to "techniques we've developed to trick our electronic machines into mimicking the spontaneous character of live instruments."
Members George and John Also Bennett also cite as an influence their recent stint in minimalist composer Jon Gibson's ensemble, performing his 1973 proto-ambient masterwork Visitations. The long-form modal piece requires restraint and deep listening to execute, qualities especially apparent in the more muted moments of Semblance, such as "Rebreather" and "New City."
The group states the intent of the new album as "to be more direct and exacting", which it is. Over half a decade spent writing and recording together has distilled Forma's hybrid electro-acoustic interplay into an attuned and astounding language, capable of articulating impossible symmetries and reflective states.”
First time vinyl pressing of Swans’ 1996 nod to krautrock, featuring Michael Gira singing in German and previously only available in Germany
’Die Tar Ist Zu’ finds Gira and gang at a crossroads in their oeuvre, with 15 years of blistering rock behind them, they start to feel out new horizons on this album which would be explored in much greater depth on ‘Soundtracks For The Blind’.
“Swans' Die Tür Ist Zu (German for The Door Is Closed) was initially released in 1996 as a prelude to the (then) final Swans album Soundtracks for the Blind. It was only available in Germany and was only released on CD. It has been long out of print. It shares some material w the much longer Soundtracks, but on this record I sing in German. It has never before appeared on vinyl. This release now is a 2xVinyl release, with one of the 4 sides being an etching I designed. I am pleased to throw it out into the hungry, chomping mouth of Record Store Day - Michael Gira / Swans”
No rest for the wickedest Analog Africa, bustling retro-futurist with Gyedu-Blay Ambolley’s volley of electrified Ghainain highlife, from the disco beeps of ‘The Message’ to the dubbed-out ‘Simigwa Soca’ and the unmissable synthy disco heat of ‘Burkina Faso’. Impossible to find in any original form, this is just unmissable for the Afro-disco fiends!
“Prepare yourself for new directions in Afro-funk. During the 1980s, ghanaian bandleader Gyedu-Blay Ambolley began to experiment with electronic instruments, and the result was a potent cocktail of highlife, funk, exploratory synths and righteous vocals, the sound of a restless genius intent on pushing the traditional sounds of highlife into a brave new future. On July 20 Analog Africa will release a 12” containing four of Ambolley’s hardest-driving excursions to the outer limits of eighties funk.
By the end of the 1970s, Ambolley was already a legendary figure on the ghanaian music scene. A drummer, turned guitarist, turned bassist, turned lead vocalist, he rose to prominence during the late 1960s, serving with countryman Ebo Taylor in the Stargazers and the Uhuru Dance Band before launching his own career with ‘Simigwa-do’, the 1972 hit that propelled him to West African stardom. As a founding member of the Apagya Show Band and the Complex Soundz, he stretched the boundaries of highlife with electric instruments, funky rhythms and socially charged lyrics in Fante and English.
If he had retired in 1978, Ambolley’s place in the history of ghanaian music would have been secure. Instead, he dissolved the Complex Soundz and embraced the synthesizer. With a new band, Zantoda Mak III, he recorded ‘The Message’, a seven minute funk workout built on a highlife foundation, and decorated with shimmering synths. Recorded in 1980, the song became a hit that would change the direction of Ambolley’s music: over the next decade, electronic instruments played a much larger role in his sonic experiments.
‘The Message’ receives a long overdue re-release on this 12" along with three other peaks from Ambolley’s eighties output. The futuristic funk of ‘Akoko Ba’ strips down the rhythm, raises the intensity of the vocals, and adds a dose of serpentine saxophone. On the B-side, ‘Simigwa Soca’ sets classic highlife horns against an unshakable bass groove, while the incredible ‘Burkina Faso’ is Ghana’s great lost electro-funk gem, a sleek construction of robotic bass, call-and-response vocals, and fat stabs of slippery synth.
Difficult, if not impossible to find for decades, Analog Africa is proud to make Gyedu-Blay Ambolley’s extraordinary eighties recordings available to a wider audience.”
Seekersinternational and Bad Tracking rework The Bush Chemists’ digidub gem, ‘I Came I Saw’, teetering on the edge of dread and psychedelic lushness...
The OG version of ‘I Came I Saw’ from TBC’s Light Up Your Spliff’  LP is cut at 45rpm on the A-side, bringing the massive subbass and moody strings to life in acres of haunting negative space that will impress on a big rig.
Elusive dubbers Seekersinternational get certifiably MWI on the B-side, rinsing out ‘I Came I Saw’ with hazardous FX and wickedly unstable meter, with Bad Tracking - the noisy new addition to Bristol’s RWDFWD family - trampling the same elements into a blown out soundsystem tribulation.
Soundtracks For The Blind was intended to be the final studio album by Swans, released as a double disc epic in 1996.
The album finds the band's sound taking various disparate forms, from the droning ambient tones of opener 'Red Velvet Corridor', to the odd pulsing techno of 'Volcano' via more conventional (if that's even a word that can be associated with Swans) song-based recordings.
This is an album that's all over the place in stylistic terms, but given the volume of material, it takes on something of an epic feel, somehow making sense as a single drawn out narrative. The spooky dulcimers of 'Secret Friends' match up with the atmospheric dissonances of 'I Was A Prisoner In Your Skull' and the nerve jangling, haunted house songwriting of 'Her Mouth Is Filed With Honey'.
Finally, Roland Kayn’s breathtaking cybernetic salvo, ’Simultan’; one of the most important works by one of the 20th century's greatest (if unsung) composers; all newly remastered from original tapes and reissued for the first time since the original 1977 release by classical music label, Colosseum. Huge Recommendation for followers of work by Jaap Vink, Leo Küpper, Jim O’Rourke, Keith Fullerton-Whitman, Autechre, The Hafler Trio...
Italy’s Die Schachtel, following the lead of Frozen Reeds’ and their 16CD edition of ‘A Little Milky Way of Sound’ in 2017, have the honour of reintroducing ’Simultan’ into the wild. Presented to the highest possible standards on the format it was intended for, the unfeasibly complex dynamics and revelatory perceptive spaces opened up inside ’Simultan’ are bound to generate jaw-dropping reactions with Kayn's growing ranks of followers and even the most hard-to-please fans of outer-limit composition.
Collapsing ideas from electro-acoustic, concrète, electronic, and computer music disciplines into what he termed “cybernetic music”, Kayn methodically and effectively worked off-the-radar towards a form of Artificial Intelligence in music from 1962 until his death in 2011. Building on his earlier studies with seminal figures such as Boris Blacher and Oskar Sala (whose FX appeared on classic Hitchcock’s), as well as time spent playing organ and piano with Ennio Morricone and Egisto Macchi’s exploratory Gruppo di Improvvisazione Nuova Consonanza, Kayn devoted his life’s work toward realising what would become recognised among the most incredible, genuinely prism-pushing arrangements of sound ever recorded.
’Simultan’ is the first in a series of seminal Roland Kayn boxsets released between 1977 and his blinding masterpiece ’Tektra’ in 1984. While he had previously contributed ‘Cybernetics III’ to a Deutsche Grammofon split with Luigi Nono, ’Simultan’ was where Kayn’s ideas really came to fruition, and with results that practically document the birth of a new music, or a computer manifesting its first signs of sentience in sound.
Weighing in at six pieces clocking in at over two hours, it’s arguably a difficult, spasmodic birth when compared with the smoother contours and expansive arrangements of his subsequent releases, but that amorphous atonality and noisy unpredictability accounts for much of the attraction to ’Simultan’, which sounds like very little before it, or even since.
If you’re the insatiably curious, technically pedantic type, then many of your queries about Kayn’s music will be answered in the lucubrate liner notes included on the insert, which provide all the technical context one would need to know. But it’s better to just dive head-first into ’Simultan’ and let your head be consumed, dissolved into those micro-organismic diffusions and unfathomable chaos.
Mercifully this 2nd wind will prevail on further reissues of Kayn’s aforementioned run of boxsets up to and including ‘Tektra’. We advise making some space on your shelves and your calendar to spend some time with this incredible music.
Stones Throw serve two highlights from the reissued Prophet album on a very tasty 7”
‘Right On Time’ is a total diamond, emerging from serious spacetime synth warpage into a blazing ’84 funk swerve that doesn’t let go until it’s done. Prince and Dâm-Funk fans eat your purple hearts out.
Flipside he gets even funkier with the mad, pendulous, syncopated claps and chord chops of ‘Tonight’ doing strange things to our bodies if we go with his swing.
Wicked and wild.
Robert Aiki Aubrey Lowe’s incredible recordings with Harry Bertoia’s sound sculptures are here documented on a beautiful new edition for Demdike Stare’s DDS imprint, coinciding with his appearance on the cover of this months issue of The Wire magazine.
Lowe is something of a polymath; having started out as part of Math Rock outfit 90 Day Men and doom metal trio Om, he progressed to forge his own solo work (often under the Lichens moniker), as well as a slew of collaborations including work with Johann Johannsson on scoring both Arrival and Sicario, an acclaimed album with Ariel Kalma for RVNG Intl’s FRKWYS series, plus involvement in site specific video art and sound installations. His most recent work has seen him release diverse music for Type, Latency, More Than Human and, of course DDS - who have here presented what might just be the most beautiful Robert Aiki Aubrey Lowe artefact thus far.
in 2016 Lowe was commissioned by New York’s museum of Arts to contribute to a Harry Bertoia exhibition, which he undertook alongside video director Johann Rashid. He was asked to create sound recordings with Sonambient sculptures; metal rods and gongs that produce highly distinct, resonant sounds when struck, brushed or touched. Beginning in 1968, Bertoia set up an eighteenth-century stone barn on his property in Barto, Pennsylvania, to house these sculptures and from which he would go on to record works for his highly collectable Sonambient label, recently documented on Important Records' breathtaking box set and reissue series. Lowe was given full access to the barn, beautifully filmed footage of which can be found online.
Lowe’s work with these sculptures is unlike anything you might have heard from the original Bertoia recordings. Instead of serendipitous improvisation, Lowe weaves his way through the sculptures on a path that was mapped out in advance, imbuing them with a more “composed” and arranged feel.
As he explains to The Wire “The technique I developed in engaging with those sculptures was different than the ways i’d seen other people do it. It was sublime to be in that space with the air touching the sculptures and moving them, you had these sort of apparitions that were moving around with you”. As well as the familiar Sonambient sound palette, he subtly manipulates and feeds in vocal layers that take proceedings into ever more ethereal and haunting dimensions.
It’s a beautiful, inspirational recording from an artist that’s impossible to pin down. "i don't give a fuck. i do what i do, and that’s the end of it”.
An impossible-to-find, ’95 Memphis rap tape surfaces on vinyl for 1st time via Gyptology, a new "Egyptian Archaology" styled re-issue label
Leading on from Shawty Pimp’s ‘Comin’ Real Wit It’  - which was dished up by Delroy Edwards’ L.A. Club Resource and sold out within days back in 2014 - its sequel, ‘Still Comin Real’ reprises that woozy slow drawl on 11 slurps of syrupy goodness.
As to be expected, noise artefacts carry over from the original, short-run tape edition, but it wouldn’t be a proper, OG Memphis rap session without that haze of tape grit. Safe to say that Gyptology know this, too, and see vinyl as the most faithful, sympathetic form of preservation.
Thus, you can trust the sound is raw as; a distinct adjunct to the prevailing NYC and LA hip hop styles of 1995’s golden era, working with rude, stripped down production values and vibes that have significantly withstood the test of time, and since laid the roots for a lot of contemporary southern rap, hip hop and R&B.
Producer Richard Norris ov Beyond The Wizard’s Sleeve meets Icelandic classical tenor Finnur Bjarnason on the first fruit of their collaboration as The Long Now
Fresh from debut transmissions at Jodrell Bank’s Blue Dot festival, they unfurl a widescreen yet intimate sound between the combo of Thom Yorke-like electronics and vocals in ‘Restoration’, the Johann Johannsson-esque sensitivities of ‘Footsteps After Dark’, and the tremulous, glass-rubbed harmonics of ‘Hotel Du Lac’.
Properly bass-heavy techno drills from Berlin-based Canadian producer Nicolas Bougaïeff
Arriving nearly one year since the subtle innovations of his ‘Cognitive Resonance’ EP rebooted NovaMute after a dormant decade, Bougaïeff’s ‘Permutation Djinn’ renders the visceral, resonant acidic oscillations and below-the-belt thump of ‘Woke Up As a Copy’ and the cantering steed ‘Panic Time Tryout’ on the front, backed with the drag dynamics of ‘Little Djinn’ and the distorted hydraulic force of ‘No Escape’.
Jerman Gazz guys Max Graef and Julius Conrad on a super fruity fusion flex for Funkineven’s Apron Records.
Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations. One for fans of Tom Jenkinson, Kaidi Tatham, Herbie Hancock, Jimi Tenor.
Icy, ethereal dream-pop, like an amorphous, chimeric hybrid of Grimes, Kate Bush, and Julee Cruise. Highly intriguing…
“Hard to Please is the debut Sacred Bones 7" release by Bay Area artist Chrystia Cabral, aka SPELLLING. She released her first full length Pantheon of Me in September 2017 and it was self written, performed and produced in her apartment in Berkeley, California. SPELLLING’s powerful vocal range dances over compositions that vary from rhythmic and ethereal to crunchy and hypnotic, while all remaining singularly cohesive to her distinct and enveloping sound. Pantheon of Me was Bandcamp’s #4 record of the year in 2017 and they raved: “Cabral has it, from her careful sense of composition to her charismatic presence to her ability to communicate with her music straight through to the listener’s heart.”
Her newest tracks "Hard to Please" and "My Other Voice" (a cover of Sparks’ 1979 symphonic disco track) pair together to reflect on bittersweet passions of an obsessive romance. "Hard to Please" presents as dance music but journeys through a swirling climax to something more spiritual. On "My Other Voice" the power of SPELLLING's voice elevates this cover beyond an homage and to a unique vision entirely its own.”
Picture postcard-perfect post punk pop jangles from modern day Olympia, Washington, USA, recommended for obsessive fans of The Slits, The Raincoats, and Bush Tetras...
"The band’s mindset with putting songs together is about throwing everything at the wall to see what sticks. The music, as a result, is blanketed in chaotic discordance, a wild, vaguely confrontational jumble of jagged chords and shouted vocals. Comprising of Pascal Luther (guitar and vocals), Ella Svete (guitar and vocals), Aidan McNellis (bass) and Bryn Ackley (drums), Table Sugar began on a whim after 3/4 of their members met in art class at The Evergreen State College. That early “let’s start a band!” enthusiasm translates to their songwriting.” —Adam McKinney OLY ARTS”
Richard D James' classic album from 1992, re-pressed countless times but still sounding as vital as it did way back when. Still probably the most uplifting and nostalgic thing in the AFX catalogue...
Best electronic music album of the late 20th century. A proper gateway drug to the myriad microcosms of Richard D. James a.k.a. Aphex Twin. 100% essential in any collection.
Side for side, Jamaican Recordings pit two heavyweights inna dub soundclash i
Lee “Scratch” Perry’s Black Ark classics such as ‘War Inna Dub’ and Vampire Dub’ rhythms stepping up against Bunny “Striker” Lee’s ‘80s killers produced at Channel 1 and King Tubby’s studios.
Amazing proto-Drexciyan synths and alien electronics from Portugal, 1983, a first time reissue on Holuzam - a brand new label from the people behind Príncipe. Don't miss this!!!
Holuzam is a new label from Prícncipe Discos co-founders José Moura and Márcio Matos. Their first release is an expanded edition of Telectu’s freakishly immersive 1983 LP, ’Belzebu’; a 40min suite of sweltering, proto-Drexciyan synths, lilting Afro influences and subaquatic rhythms unavailable on any format since the original release, which now trades for triple figures in the 2nd hand market
Viewed from any angle, ‘Belzebu’ is an iridescent oddity in its field, and was certainly among the first of its ilk within the Portuguese music scene. It was the product of experiments by multi-instrumentalist and music writer Jorge Lima Barreto (JLB), and the co-founder of pop-rock band GNR, Vitor Rua (VR), whose shared interests dovetailed into a mutual fascination with unorthodox, improvised and electronic sounds, leading to these remarkable, home recorded conclusions in 1983.
During late 1982 and into 1983, JLB and VR channelled those notions, together with ideas picked up from the NYC minimalist and no wave scene during travels in North and South America, into a strangely prescient and non pareil sound. Homing in on a high pitched, chaotic granular squabble they termed ‘Belzebu Zero’ - which forms the original demo for the album and is included here as a bonus CD - the duo layered that sound with precise guitar strokes, drum machine, synths and FX to hypnotically immersive and dramatically alien effect.
On the A-side ‘Rotas Opera Temet’ they plunge into a 20 minute vortex of electric blue synth noise and scaly flutters recalling a prototypical Drexicyan soundtrack to a film about Atlantis. With the B-side, they take that idea fathoms further into the abyss, wrapping coruscating chords and ticking machine pulses to the high end squabble with a supremely heady sensation, especially when the rhythm opens out into a demented shift in the track’s 2nd half.
There’s a genuine genius at work in this record which is bound to enthrall and absorb listeners from myriad perspectives. Everyone from Jamal Moss fiends to Drexciyan divers and Craig Leon fans need to spend some time with this beautiful oddity....
Burial’s sophomore LP, originally issued in 2007 only a year after his pivotal debut, is another masterpiece of urban UK composition and innovative imagineering whose sense of melancholic space, pop-wise dexterity and dancefloor yearn has rarely been explored or surpassed since its release.
Where its predecessor was starkly paranoid, mostly instrumental, Untrue was gilded with gorgeous, cut-up R&B and UKG vox, and interspersed with segments of nocturnal reverie that played out like the OST for a yung UK romance that replaced posh, gurning actors with real life road characters and focussed on the spaces between - between the club and home; between night and day; masculine and feminine; waking life and dream life; Maccy D’s and alley doorways; being high AF and coming down.
It was and still is Burial’s love note to UKG and R&G, and by turns gave context and validated those genres for a lot of listeners who arguably wouldn’t have touched that sound, or at least dismissed it as pop pap or with some snide, racist undertone before Burial’s revivalist instincts hybridised it with trip hop and snarling D&B memes.
More positively, however, depending on which way you look at it, this album also opened the endorphin floodgates for a whole raft of f****e garage producers to get in touch with their feminine side, especially in contrast to prevailing, laddish dubstep rave trends, and, since that sound has faded away, it’s not hard to hear this album’s influence in the vocal processing of Mssingno, in the uneven, off-kilter swing and parry of Zomby, the patch-worked constructions of Jamie xx or Evian Christ, or in Deadboy and Murlo’s more boundary-pushing creations.
As with any album that gets a lot of attention beyond its putative scene, Untrue was an unintended red rag to the cynics and rockists - and even garage purists - but for almost anyone who recognises and appreciates that more modest, aching sort of electronic, UK street rave soul, it remains a really transcendent album that still grips like few others.
Black Truffle present breathtaking, mind-bending works from Alvin Lucier; premiering a pair of pieces written for and performed by Oren Ambarchi and Stephen O’Malley (Sunn 0))), Æthenor), and released thru the former’s indomitable Black Truffle label. Lovers of life-affirming avant-garde music of all stripes need to stop what they’re doing and check this one, pronto!
Both works offer an extension of Lucier’s “elegant explorations of the behaviour of sound in physical space” which have been ongoing since the ’60s, and includes his best known work, I Am Sitting In A Room , a piece that has practically become required listening for anyone with an interest in 20th century avant-garde music thought and practice.
Specifically, Lucier’s work places great focus on the infidelities of instrumental phenomena and closely tuned pitches, often using pure, electronically generated oscillations in combination with single instruments in order to both highlight and blur their tonal and timbral distinctions. This LP documents two works in this vein, firstly on Criss Cross, his debut work for electric guitars, written especially for Ambarchi and O’Malley playing one semitone each in duo, and secondly on Hanover, a much grander tribute to Lucier’s father, Alvin A Lucier, who is pictured on the sleeve in 1918 with the Dartmouth Jazz band.
The A-side’s Criss Cross is truly one of the heaviest things we’ve heard in years. With Ambarchi on the left channel and O’Malley to the right, the duo improvise on a single semitone, generating thick, viscous waves of wobbling oscillations that merge in transfixing formation at the middle . So far, so simple, but the effect - which alters brilliantly on headphones or with proper amplification - is just staggering, baffling the senses with a richly saturated, undulating sonic pressure to visceral, psychotomimetic ends.
The first time we heard this piece on headphones it just floored us, but then we tried on speakers and tried to conduct a conversation at the same time. The effect was something like an anechoic chamber - the conversation couldn’t happen because our voices sounded louder in our head than in the room. WTF?! Just to push it one step farther, I also tried listening on headphones while on a plane, and can only imagine what the EasyJet staff thought of my eyes rolling in back of my skull. Quite honestly, I haven’t heard anything quite like it since Zbigniew Karkowsi & Topher Davidson’s Processor, and that’s a proper percy.
The B-side’s Hanover is just as precise, but the intensity and tonal variation is multiplied by he number of players, including O’Malley and Ambarchi on electric guitars joined by alto and tenor sax, violin, piano and bowed vibraphone. Here the tones are far more pinched and slippery, streaking the stereo field in iridescent timbral dynamics and almost lilting cadence, and with a far more delicate, intricate appeal when compared to the other piece.
It almost goes without saying that a new Alvin Lucier work is worth your time, but in case you’re under any doubts - this LP is just astonishing, ingenious, preternaturally brilliant stuff.
The modern duchess of lo-fi dirge pop presents a sort of partner piece to her widely adored debut LP, You Know What It’s Like with four wistful songs distilling the spirits of post-punk and eerie chamber music.
We’ll cut to the chase, it’s pretty much all about the title track, The Garden, which operates shades away from the much cleaner output of CS + Kreme, but shares much in common with their dusky beauty, and of course distinguished by her sylvan vocals, phosphorescing from a lapping haze of tape noise and distant, quietly breathing synth figures that could happily loop off for twice the length.
The rest is lovely, too but we strongly recommend starting at the back and working your way in.
Further to Hailu Mergia’s ‘Lala Belu’ album, ATFA give up two more cuts from he same recording sessions
On the A-side, ’Yegojam Mamesh’ is a class little soul booster full of bustling, splashy drums and natty organ and synth vamps from your man, Mergia, whose beaming vocals are wildly contagious, whereas the B-side works a ruder instrumental funk tilt with hazy organ lines over robust breakbeats, building to a mean synth solo in patented, psychedelic style.
Four beautiful, exceptional ambient nocturnes bloom again on a very welcome 30th anniversary reissue, newly packaged together by Grönland for the benefit of your health...
David Sylvian and Holger Czukay’s Plight + Premonition  & Flux + Mutability  bouquets remain some of the most enigmatic ambient recordings of the ‘80s since their conception at Czukay’s converted cinema studio in Köln, 1986. But, while Sylvian was ostensibly coming to record vocals for the last track on Czukay’s Rome Remains Rome LP, the legendary Can figure ended up surreptitiously recording Sylvian improvising on whatever was at hand, only stopping the recording when the results started to become too “structured”, in effect capturing moments of less conscious, more freeform expression, and preserving them for what would become some of the most spellbinding and transportive recordings in either artist’s catalogue.
Recorded during their fateful first meeting just as glasnost was beginning to thaw the cold war, the two parts of Plight + Premonition tentatively mirror this transition from the shadow of nuclear war towards open windows of possibility in the dawning mists and gently windswept synths of Plight (The Spiralling of Winter Ghosts), and the again with a genteel flush of harmonic colour perfusing shortwave radio signals and glimmering keys hinting at the promise of seductively warmer uplands in Premonition (Giant Empty Iron Vessel). On the follow-up side, Flux (A Big, Bright, Colourful World) that horizon comes clearer into view with the earthy percussion of Jaki Liebzeit joining Czukay and Sylvian to beckon the light along with Can’s Michael Karoli and woozy, Hassell-ian Flugelhorn by Markus Stockhausen, son of Karlheinz, before the lead pair calibrate a mutual vision of reserved but quietly optimistic lushness in Mutability (A New Beginning is in the Offing).
Following suit from last Christmas' 'Truant', Hyperdub present three new pieces from the shadowy producer.
It's a fine salve for seasonal woes, ripping loose with running man-style rave breaks and darkcore motifs across the dystopian sonic fiction of A-side, 'Rival Dealer', whilst the flipside reveals a whole new dimension to his sound with the soaring harmonies, twinkling chime-trees and '80s power drums of 'Hiders' and the tortuous, cinematically edited narration of 'Come Down To Us'.
The heads will have a feast picking this one apart - what's up with all the references to sexuality or his newfound penchant for FM synth sounds? - and we can practically hear the synch departments licking their lips in anticipation already… but ultimately the sincerity and delivery still brings a salty bead to the duct. You know what to do.
Fresh outta Maccie D's, William Emmanuel Bevan aka Burial drops his 2nd solo EP of 2012 'pon Hyperdub.
Much like his 'Kindred EP', he focuses on long-form composition with two tracks hovering around the 12 minute and 14 minute mark respectively, taking license to really stretch out into fragmented, impressionistic and cinematic scapes strafed with elements of vintage hardcore, heartbreaking vocal samples and murkiest atmospheres.
Of course, you already know that, but it's great to hear him really running about as far from the club as he's ever done, leaving us with something to dance to in our bedrooms over the festive season, 'cause f*ck knows you'll want to escape inevitable repeats on the telling box.
Beneath's Mistry label draw the best out of Batu in this quaking two-headed beast.
With each release he seems to step further into his own sound, whilst also remaining true to a shared aesthetic/tempo with peers such as Beneath, Pinch, Lurka, and most recently, L.Sae on his home-brewed Timedance label. For this headstrong mission he comes with the noisy, technoid mutation of 'Dakalb' up top, alloying radioactive subs with rusted snare crack and floor-scanning sirens to murder the dance. Backa plate, 'Collate' runs industrialized roto-toms and scooping bass with the ruddiest junglist swagger crowbarred into a 130bpm template. They're both a big look those that know.
Standardly grim and grizzled monotone techno from Shifted’s Avian
introducing Desroi to the nest with five stealthy cuts, at best ion the Miek Parker-esque hydraulics of Lines Of Sight, the undulating turbulence of A Glimpse of Bliss, and his steely but chattering roller Dwell In Motion.
Karim Maas debuts in commanding style on UVB-76 Music, backed with a sick Huren remix
A new vent for Ruffhouse’s Tom Cooper, the Karim Maas sound operates shades away from Ruffhouse’s D&B missiles, edging a style of rolling D&B that’s equally porous to influence from noise and industrial techno.
The rolling steppers juggernaut ‘c_c_e_d’ gives a solid footing for subsequent departures into crushing sci-fi sound design on ‘Lizzard King’ and an obliterated remix of the dread rave scenes in ‘Cassette_A’ by industrial techno pioneer, Dave Foster a.k.a. Huren a.k.a. Teste.
Deeper in, ‘Zombissim’ works a murkier rut of pendulous grey area techno grit echoing the dread sentiments of Pessimist, and ‘Civilize’ takes that momentum to a logical conclusion with brute, bone rattling force.
Turbulent, gnashing techno-bass tackle from Killawatt, on a search ’n destroy mission for Tommy Four Seven’s label
‘Accupunk’ rages first with gut-socking bass hits and calloused noise to leave the dance reelin’, while ‘The Roamer’ lurches on a trampling industrial steppers’ momentum recalling recent Samuel Kerridge moves.
‘Polar Polemic’ churns with more viscous textures and pacing like a swaggering Ossia juggernaut, and ‘Glacia Systemic’ drop the energy levels into a tarry pocket of zombied bass torpor.