Fronted by The Boredom's Yoshimi, this album is a complex affair that doesn't stray anywhere near the bridle-path of unlistenability...
OOIOO (pronounced oh-oh-eye-oh-oh apparently) make pysch dipped rock that is pleasingly whimsical whilst retaining a formidable bite. Fusing tribal rhythms, punk, hip-hop and organic (often Beach Boys-style) pop might sound horrendously Jazz World Stage, but somehow OOIOO pull it off with considerable aplomb. Featuring appearances from Cibo Matto, Sean Lennon and Seiichi Yamamoto.
After a series of classic yet quickly recorded albums, Brian Eno took two years to complete Before And After Science, releasing it in December 1977.
This record marked a return to ambitious rock music, with 'King's Lead Hat' seeing a release as a single. The line-up of contributing musicians here is particularly impressive, with Fred Frith, Jaki Liebezeit, Kurt Schwitters, Robert Fripp, Conny Plank, Dieter Moebius and Hans-Joachim Roedelius all helping shape the album's far-reaching experimental pop sounds.
“Two years on from the release of his debut album called ‘Natureboy’, Dario Rojo Guerra, aka Natureboy Flako, is back with a new six-song EP on Five Easy Pieces.
"‘Natureboy Flako’ is a self-titled collection of music culled from over 200 recording sessions since Guerra moved from London to Berlin in late 2015. It’s the first work that unites the artistic identity of Flako with that of the Natureboy persona at the heart of his debut album, and is the debut for a new artist name: Natureboy Flako.
Moving away from the live instrumentation of his debut LP, ‘Natureboy Flako’ is the most electronic-sounding record he’s made, using old analogue equipment such as Korg's MS-20, ARP Odyssey and Roland’s SH-2000 synthesisers, as well as new instruments such as Arturia’s MiniBrute. Where previous songs relied on overdubs, most of these songs were recorded in one take, with little overdubbing, making it his most live record to date.
As with 2015’s album ‘Natureboy’, the six-song EP sees Guerra searching for musical balance. Both sides of the record offer contrasting energies, with the A-side featuring some of the heaviest tracks he’s made and the cinematic B-side made up of more reflective compositions. However, both sides are equally propulsive, with driving arpeggios forming the backbone of much of the EP.”
LOOKY LOOKY is the new project from JEFFREY SFIRE and IAN CLARK, both residing in Detroit, Michigan.
"The pair met in the late '90s when Ian was performing as one half of LE CAR with Adam Miller of ADULT. Ian also recorded under the moniker PERSPECTS, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as SFIRE on CockTail d'Amore Music and Ultramajic. The duo released their 8-track debut album ‘Part Flamingo’ in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP’s: ‘Part Flamingo’ and ‘Nurse Coven’. They’re loose, fun pastiches of '80s movie soundtracks with accompanying imagery.
For the Flamingo Boots EP we chose 4 songs from the album which the pair extended for maxi 12” throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright ‘80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California."
In late 2013, Preoccupations (then known as Viet Cong) released a small-run cassette EP only available on tour. Over the course of a year, Matt Flegel and Scott Munro worked in their basement studio with a mess of old and run down equipment to build a set of fresh material.
"Joined by bandmates Daniel Christiansen and Michael Wallace, the band completed work on an debut cassette. What emerged from the studio was a mixture of sharply-angled rhythm workouts and euphoric 60s garage pop-esque melodies, balanced with a penchant for drone-y, VU-styled downer moments and became a hard-to-find classic."
TOBIAS BERNSTRUP is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998.
"Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias’ external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album Re-Animate Me was released by Tonight Records followed by two limited 12” singles for the song “27” and the Italian version “Ventisette”. 27 is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the Re-Animate Me recording sessions.
The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup’s music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of “Ventisette”, the Italian translation of the song “27.” Both versions of “Ventisette” are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo “Dirty Money” a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets."
Brian Eno's debut solo album, Here Comes The Warm Jets was first released in January 1974, and although it retained some of Roxy Music's glam tendencies there's a pioneering driving force that grounds the record in art-rock principles.
Fourty years on it still feels like a genuine classic, skipping playfully and expertly through pop genres with a host of artists from very different backgrounds: members of King Crimson, Hawkwind, Matching Mole, Pink Fairies and Roxy Music itself all help make this a unique and musically dense experience, but it's the experimental production and intense mixing of the album that proves to be most enduringly impressive.
'Taking Tiger Mountain (By Strategy)' is surely one of Eno's most distinct albums, assisted by a stellar prog-rock cast of Soft Machine's Robert Wyatt plus Phil Manzanera and Andy Mackay of his former group Roxy Music.
It was on this album that Eno developed his system of pre-determined options for the creative process which he still uses today.
All shades of the lo-fi funk spectrum, from R&B swangers to New Jack flow and melancholy soul burners. Standardly PPU.
“We are gonna call this one Dwight's Baby... "On The Rocks" Written and produced by Dwight Sykes for L.U.S.T. Productions. The album he would have released in 1980 is complete. Cell phone shadow photography by Dwight Sykes.”
Torn Hawk’s spirit quest reveals proper aerobic mystic goodness under the wonderfully suggestive title Men With No Memory, following up the dramas of his Union & Return album with four genre-agnostic turns folding EBM, psyche and dub into striking new prisms that hold up to dancefloor pressure and closer scrutiny at home.
The title track kicks off the first plate with a fugged-up whorl of country guitars and lurching dub nodding at Sun Araw before spiking out with taut EBM drums that really come into play on the B-side’s Poser, one of the rudest, sickest electro cuts we’ve heard this side of Gesloten Cirkel’s album in recent times.
With Butterfly Knives opens the 2nd disc into a flanging metallic wormhole sounding something like a disco on the other side of the TV in Cronenberg Videodrome, then spitting us out at the psychey new wave enigma Stealing Geodes From The Nature Company, and the natty closer, Not Quite Music.
RIYL Beau Wanzer, Gesloten Cirkel, Willie Burns for daaaaays
DJ Sotofett and Finnish electro duo Jesse entwine pineal visions of psychedelic electronic dance music on Twotinos, their collaborative debut for Sähkö’s sister label, Keys Of Life.
Like the breezy DJ Sotofett mix of Jesse’s Pohja for Wania which preceded this LP, Twotinos unfolds a freestyling mix of loose percussion and synth fondlings swept up in seductively wide, wandering sound designs. However, with much more room to manoeuvre in here, they take the magic carpet much farther out from the blissed cosmic dunes of Fear Mix (Fearmix) and the intoxicating disco nightflight, Orga Fit to the mazy byzantine dub trip(tych) of Autiomaa and a hard-to-resist Indo-Afro-disco-psychedelic beauty called Kuume (Last Gitar), with the cradling dub tranquility of Puhallus (One Mo, Pad Conga Vocoder Mix) at its conclusion, likely to leave many hankering for another chapter of this saga.
Deep, strident Detroit house from Omar Harper aka OB Ignitt
Hitting it right on the sweetspot with the hypnotic strings and swing of Juiced Up, then slipping into the ruggedly debonaire drive of Weekends and the late, late night-turned-early morning vibes of Hello Day with that inimitable 313 blend of pressure and soulful elegance.
More absolutely killer minimalism from the undisputed master of the genre - Mika Vainio.
Kolmio is a masterclass in pristine minimalism that sounds like a pre-cursor not only to the precise tone arrangements of Alva.Noto but also to the bleep-driven reduced Techno of Hawtin, Sleeparchive et al.
Soul Jazz Records’ new release ‘Soul Of A Nation: Afro-Centric Visions In The Age Of Black Power - Underground Jazz, Street Funk & The Roots Of Rap 1968-79’ is released in conjunction with a major worldwide art exhibition, ‘Soul Of A Nation: Art In The The Age Of Black Power’, which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.
"The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X and Martin Luther King and the rise of the Black Panther party.
Featuring ground-breaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness Of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, ‘Soul Of A Nation’ shows how political themes led to the rise of ‘conscious’ black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.
The ‘Soul Of A Nation’ exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States. Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane and Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O’Grady and Betye Saar. Stuart Baker (founder of Soul Jazz Records) will appear on the panel for a ‘Soul Of A Nation: Art In The Age Of Black Power’ discussion at the gallery as part of the show.
‘Soul Of A Nation’ comes with extensive sleevenotes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album format comes with full colour inners and bonus download code and full sleevenotes / photography."
Australia’s Cop Envy deposits his 2nd 12” of rugged, Kowton-esque drums and claggy vibes on Sydney’s Templar Sound following a debut for Opal Tapes’ Black Opal in 2016.
As Templar Sound have it, Cop Envy “submerges the pulse of Detroit beneath the ghosts of British hardcore.” in four tracks, getting into gear with the dank bleep rolige of Sshake, before sparking off a killer jungle tekno sound replete with flinty snares and shark-eyed reese bass on Head Mark, landing square between Demdike Stare’s Testpressings and Mumdance & Logos output.
With Kay he yokes back to a sort of swinging dark techno meets UKF sound akin to older Mosca 12”S, and checks out with the balance of romantic rave pads and hard working tribal shunt with Sister Chord.
Lal and Mike Waterson’s 1972 folk-noir masterpiece ‘Bright Phoebus’ has long been recognised as one of British music’s legendary lost records.
"Following the parting of ways of The Watersons and freed from the strictures of folk orthodoxy, Lal and Mike Waterson’s love of words allowed them to serve the needs of their songs in ways that weren’t possible when singing already written songs.
Featuring performances from Lal, Mike and Norma Waterson, Martin Carthy, Richard Thompson, Ashley Hutchings, Dave Mattacks, Tim Hart and Maddy Prior, amongst others, the album is now recognised as a forward-thinking benchmark for the genre.
Fans include Arcade Fire, Stephen Malkmus, Billy Bragg, Jarvis Cocker, Richard Hawley - the latter two performed the record themselves in 2013 on the ‘Bright Phoebus Revisited’ tour. This will be the first time since its release that the album will be widely available. Under the supervision of David Suff (Topic/Fledg’ling) and Marry Waterson (daughter of Lal), the album has been remastered from the original tapes."
Technicolour give up four edits of a freely expressive session between Afro-cubist electronic producer Hieroglyphic Being, far-reaching percussionist Sarathy Korwar, and sax-tooting jazz-cat Shabaka Hutchings (Sons of Kemet, The Comet Is Coming) extracted from their live broadcast for NTS on the iconic Lightship95 Studio - a floating studio moored at Trinity Buoy Wharf, London.
We’re most partial to the EP’s delectably mercurial wonder, Dimensions Of Frequency & Vibrations, where all three beautifully move as one free, full spectrum unit, and then the loping psychedelic blow-out of Ashrams. A real head-full of fusion styles going on in this one. Don’t sleep!
" Our trek starts with album-opener “Winter Is Cold” which somewhat fi¬ttingly shares its title with the 1969 Wendy & Bonnie song of the same name. Bouncy, alternate ¬finger-picking marks a gentle beginning, safely and surely generating momentum while setting up the story through a frank quatrain The album title seems to refer to the contrast between what our elders tell us and the perspectives we form out of our own experiences. There's a vacillation between idealism and realism, and it expresses itself musically in the hairpin turns from gentle folk into brazen experimental flourishes, like on “Funeral Potatoes.”
The track opens with lilting, somber, Satie-esque piano, but at the halfway point, typical choices of song structure and transition are discarded in favor of a screeching, static-washed loop of violin and feedback that transcends the formality of songcraft, becoming something altogether more daring and collage-like. The more band-driven songs on 50 Million recall an early-1990’s style of production in the way chorus-twinged electric guitars and tight, papery drumbeats point our mind’s eye to the West Coast sunset, like on the mid-album standout “Gravy Days.”
Sallee decorates the background of most songs with hushed humming that could stand alone as a minimalist-ambient choral album, and when employed on her songs, elevates the ¬final product to an astral level. Sallee’s gift lies in pitting the familiar against the unexpected with a delicate assuredness, never compromising the one for the other. These kinds of debuts can sometimes feel like an over-promise of what is to come, but in the case of Caroline Says there's clearly plenty more thread to be unraveled. It'll be a pleasure to see where the next bus ride takes us."
Digital Soundboy’s in-house guy, Mark System rolls out hard on Exit
With the searing hardstepper, Break Glass; a natty 8-bit jump-up number named 600K; some evil Virus styles on Obnox; and darkside lash of Dissolve.
On her captivating 4th solo album, Montreal’s Sarah Davachi - highly regarded for her majestic, coruscating synth compositions - divides her attentions equally between a purely instrumental palette of strings, piano, voice and organ with an enveloping, often ecstatic and mystic effect recalling Áine O’Dwyer’s recent Locusts wonder as much as Ellen Fullman’s works for long stringed instruments. Blown away by this...
Rather than mining ancient synth hardware for its unique tones, in All My Circles Run, Davachi applies the same exploratory approach to acoustic instruments with glacially tense results that quietly light up the liminal borderland between her spheres of electronic and acoustic practice when contrasted with her previous recordings. As the title perhaps suggest, you can consider these new pieces as discrete strands in a sort of diffracted spectral venn diagram of her sound.
The results will ring true with anyone who has heard her previous releases, whilst also offering another perspective on her tonal ontology, pin-pointing her acute feel for pealing, plangent overtones in For Strings, which opens out with a raw beauty and scale reaching heights strikingly similar to Áine O’Dwyer’s recent LPs, or by Charlemagne Palestine for that matter, whereas For Voice is a deeply sober, sombre piece again precisely focussed on those fluttering points where consonance/dissonance are near indistinguishable.
The solo piano piece, Chanter follows that slope into lower tones, slowing the heart rate to the point where we can almost perceive the notes as gauzy, keening and candle-flickering blurs, before her sound starts to coalesce in lustrous, upward facing drone in For Organ, burning with a quiet optimism which is sublimated into the exceptional parting passage of For Piano, where the pensile strings, gently cascading keys, and floating organ (and possibly voice?) ebb and flow with a magic intensity redolent of an imagined, smudged meditation by Emahoy Tsegué-Mariam Guèbru and Pauline Oliveros.
Unique, killer tribal techno rhythms from Harmonious Thelonious for DISK, following that superb Paradon’t 12” with a broader, layered and textured batch of knobbly grooves and hypnotic patterns.
Marking a subtle line in the sand from their previous output on DISK’s defunct sibling label, Diskant, the tracks here carry more weight for modern ‘floors, feeling as though he’s unlocked some secret drum kink which allows his rhythm to flow more effortlessly and deadly.
Uptown, he shakes out the unsteady intricacies of Sketches to sound like some inversion of techno, D&B and ancient, psychedelic drum rituals, before yoking his drums to a strobing 16th note synth in Manta Mantra, which is about the most perfect balance of tribal music and mesmerising, electrified Düsseldorf styles that you could hope for.
Downtown, he brings a sort of Konono No.1-alike tang to Shackleton-esque drum cadence in Ayranman, whose title punningly plays on the Turkish name for Ironman (what did you think?), and then trips out with another old skool Shack-style roller named I Found A New Way of Loving You.
3 TEENS KILL 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz.
"There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album.
He was a music lover who understood how to avoid covering over the band’s non-musicality. Their debut 7-song mini-album No Motive was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks."
Pye Corner Audio's darkling synthetic transmissions had been hovering under the radar for a couple of years before 2012's Black Mill Tapes collection on Type brought them to a wider and grateful audience. Now, Martin Jenkins finds himself equally lauded by the likes of Sandwell District's Juan Mendez and Minimal Wave's Veronica Vasicka as by the UK hauntological set - a testament to the scope and adaptability of his stygian productions.
Nonetheless, this album release feels right at home on Ghost Box, and it follows Jenkins' contribution to the label's 7" Study Series last year. If The Black Mill Tapes focussed on the unheimlich but decidedly driving meta-techno side of the Pye sound, Sleep Games gives as much time to exploring its more abstract and oneiric peripheries. Nonetheless, rhythm is foregrounded throughout: from the woozy, tape-warped Boards of Canada-ism of 'Sleep Games', via the Xander Harris/Umberto-esque giallo-disco chug of 'The Black Mill Video Tape' through to the distant, dubby pulse of 'Palais Spectres' and the rolling toms of 'Underneath The Dancefloor'.
Eschewing the tweeness which has arguably softened the impact of recent Ghost Box releases, Sleep Games is refreshingly drug-hazed and zonked-out yet shark-eyed, minimalist and full of post-apocalyptic, cold-wave menace: you can more easily imagine this stuff soundtracking a car ride through the deserted industrial zones of coastal America than a ramble round the Belbury parish and its bucolic environs. At the same time, this feels like a Ghost Box release through and through: 'Print Through' is a radiophonic seance right from the grimoire of Eric Zann, 'Deep End' has the school textbook sci-fi sigh of classic Belbury Poly and 'Yesterday's Enemy' the occult public service broadcasting vibe of early Advisory Circle.
Dean Blunt’s Babyfather and Warp’s Gaika flip Drama and Glow from 18+’s Collect album for Houndstooth in their own image.
Babyfather reheat Drama as a crispy, downbeat Meditation Mix VIP with new vocals and more stoned flow, sounding something like an early evening scene from south London.
Gaika’s Zicatea Dub of Glow is much more messed up, elusive, with full sunken subbass and smudged vocals swirled in a sort of cyber echo chamber. One of the strongest things we’ve heard from the divisive producer.
Originally released in 1983, 'Woman' is one of the several songs performed by Ivana Spagna before she became famous with the 1986 smash hit 'Easy Lady'.
A perfect balance between italo-disco, 80's electronic and dance music, finally officially repressed with the full involvement of the author, coming with the original picture cover.
This is DJ Hell’s fifth studio album, his first in eight years.
"The techno revolution 30 years ago, where boundaries, walls and our own guarded natures came crumbling down? The archaic establishment-challenging attitude and forthright energy of the punks? The long-awaited eruption of gay culture that had burned and yearned since the dawn of mankind? Dare you travel even further back? Rewind two hundred years to the romantic revolution where men like the blitzed Berloiz helped us transcend our physical limitations for suspended moments of fantastique disbelief… All of these moments have shaped us, our music and our culture. Each movement comprising artists who – like us right now – are trying to make sense of the uncertain world, the chaotic present and the fearful future. Artists like Hell.
Welcome to the future…Reflecting over his participation and contribution to myriad cultural movements since the late 70s, his passion of ever-evolving musical form and our current socialpolitical landscape, Hell taps into our collective rich histories, our combined fears and our mutual desires to create his most personal, ambitious and thought provoking body of work to date: Zukunftsmusik.
His fifth studio album Zukunftsmusik fuses some of Hell’s strong signature motifs (his passion for subversion, his great kosmiche canvases, sudden throbbing bursts of dancefloor dynamism, subtle songcraft) yet it sounds unlike anything Hell has ever created before. There are very few big club singles. A delicate balance of classical dramatic orchestral tension and evocative futuristic synthesis runs throughout. Dark and light, hope and fear, fast and slow, day and night… Over the course of one hour Helmut Josef Geier invites you on a musical trip of a lifetime; his lifetime, your lifetime, music’s lifetime."
DJ Nigga Fox pushes Príncipe to new conceptual limits with the remarkable 15 Barras - a four-part movement of virulent acid, screeing strings and crowd noise unfolding over a seamless 20 minute arrangement. It’s just mad on so many levels, right up there with the Afro-cubist abstractions of Jamal Moss and Nolan Reusse at their best.
Originally conceived as the soundtrack to an installation but ultimately arriving on this one-sided piece of wax, 15 Barras trades in Nigga Fox’s usual dancefloor intensity and immediacy for something more slow burning and experimental in structure and duration.
An elasticated 303, or 303 emulation, is the glue that holds the piece together, coming in sticky waves of jabbing, writhing rhythm, accreting diced chants and swells of clamouring crowd noise that eventually hinge around a splintered claps and trills of hollow, wooden blocks of percussion at ruggedest angles.
Drop this at the right point in the dance and you’ve got at least enough time for a really leisurely slash, and maybe even roll a zoot before returning to the dance and finding everyone melted in some kind of Cronenbergian amorphorgy.
Stroom 〰 win big again with reissue of DJ Bert & Eagle’s little-known, cult Belgian organ 7” I Am Your Master / Import, newly restored, remastered and re-cut to 12” for the DJs and collectors.
Known to belgo-philes as an early example of the crossover between Italo-disco and Belgian dance music, call it Belgalo if you will, was the first release by Christoff Wybouw, who would go on to make some A-grade New Beat and early rave techno in his time.
The A-side’s Import is a natty beauty rolling out cascading arpeggios on a jazz organ that was purportedly also played by Arnold Schwarzenegger prior to purchase by Wybouw’s mum’s nursing home. Whatever, it’s a maaad bit of popcorn dance music, perching Wybouw’s dubbed-out, Dracula-inspired lyrics on a proper perky little groove certain to light up any wayward ‘floor.
On the B-side, I Am Your Master goes one step beyond with a more hypnotic, sleepwalking sorta groove possessed by minor key drones and fetishistic lyrics. Again, it’s very Belgian-sounding and brooding in that off key, sizzled style that we absolutely love around these parts.
And if you’re really feeling it, then it’s also worth looking out for the DJ Savio and Peet Need edit on Red Laser Records’ EP2…
Low key, nocturnal R&B from Canadian nightingale Forever, with production by Patrick Holland aka Magicwire and Church recording artist Project Pablo.
The vibe is nice, if a tad limpid, with June Moon aka Forever’s vocals burnished round the edges with Project Pablo’s shabby chic production, with much of it wistfully erring to the sort of late ‘90s trip hop soul you’d imagine The Observer to champion in a weekend supplement, but with some stronger moments in the dreamy R&B of Heaven’s Mouth which has already proved its worth with more than 300,000 plays on Spodify.
On the first of 2 EPs spawned from the Glass LP, Illum Sphere gives its highlights some room to breathe alongside compatible remixes of LP cuts by Machine Woman and Equiknoxx.
Cut at 45rpm with a side to itself, the moody electro-house of Fall Into Water opens out to reveal its subtle, spectral analogue texturing while getting more purchase on the low end thump.
Remixing, Equinknoxx’s Gavsborg turns album track The Journey into a supple, minimalist dancehall riddim oscillating between menacing bleep coda and deep blue trance pads - a much darker turn than you may have heard on Equiknoxx’s Bird Sound Power LP - wheras Machine Woman scrapes and bends Paradise into her own personal vision of gynoid sensuality.
Includes a Floating Points disco edit...
“A few years ago, Melodies family members Floating Points and DJ Red Greg got their hands on a couple of original 70s obscurities. While these standout records shone brightly in their own right, the two DJs saw the potential to create their own edits behind the scenes, finely attuning the original versions to modern-day dancefloor standards. Of these new recordings, they cut only five copies for themselves and a few DJ friends of theirs.
Today, Melodies International is very proud to bring you MEL006 and MEL007. Fully licensed, lovingly mastered to the highest possible standards and carefully edited to dial up that dancefloor enjoyment, these two ‘You’re A Melody’ classics weren’t originally meant to get official releases. But due to popular request, they are now available to play and share in very special moments at parties around the world.
MEL006 arrives as a 7-inch, with the original version and the edit on the flip. First released in 1979 as a three-minute up-tempo library recording, “Disco Baby”, one of 10 tracks off a record available to license for film, radio, television and other media, held some hidden magic that would only get uncovered almost four decades later. Informed by years of combined dancefloor experience, Floating Points and Red Greg have slightly tweaked the original material, realising that played in the right context, it can become a true disco anthem.”
Oustanding V-O-D set shining a light on Galen Herod’s revelatory catalogue of drily witty and hook riddled synth-pops from Phoenix, Arizona circa 1983-1988, pulling material from some four cassette releases onto vinyl for the first time. Together with the Recordings 1979-80 and Recordings 1980-82 collections it completes a comprehensive overview for one of the most brilliant - if under-regarded - synth pop song-writers and producers of his era.
As heard on his prior V-O-D salvos - both solo and in Tone Set with his KAET radio colleague Greg Horn - Galen Herod was a dead funny chap who laced his charmingly lean but bright machine animations with wickedly off-the-cuff observations about life in mid-west America in a droll way that should resonate with and raise a chuckle from anyone who’s experienced life beyond the big cultural centres. It’s a music that defies frustration and boredom with silly wisdom and instinct, and still sounds uncannily fresh today because of it.
Across the course of four tape albums included - plus a pre-Tone Set bonus The Compact Man which opens the set - we follow his development “from home-brew synth pop to a sort of Dinosaur Jr sound” as the wigged out and deadly funky strains of Looking for the Perfect Love and The Pig Story from his Glad To Be A Human  tape give way to subtly more layered and rounded sound in the electro-country twanger of Maybe I’m A Martian and the creamy boogie contours of Dumb Questions from the Food For The Mood  album, to some excellent Arthur Russell/Dinosaur Jr vibes in Everything Is Happy and Nice from the Bite The Wax Tadpole  tape, although the flowery jangles of Where the Heck is Mr. Fun  are passable.
Essentially it’s crammed with some of the nattiest ohrwurms you’ve (probably) never heard, and if lyrics likes “i hate the mid-west / there’s no culture / it’s like stale yogurt / there’s nothing but pickup trucks that don’t work / i hate corn / we didn’t get to see ET till the last week” tickle you like they do us, it’s really a no-brainer!
First ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name.
Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes in two versions: a limited collector’s edition (LP and bonus 7" housed in sleeve with silver gilt printing, Japanese obi, and 24-page liner notes) and a standard LP.
The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers alongside Joe Hisaishi and Ryūichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film’s musings on the nature of humanity in a technologically advanced world."
Peverelist does Peverelist on his 3rd album of Bristolian bass techno prisms, Tessellations; his first for the Livity Sound label, forming a typically stripped, acute treatise on the flux of dub, techno, D&B and ambient electronics that make up his soundsystem DNA.
Rooted in the ‘90s but curved and toned for 2017, Pev’s sound is economically functional but not without a crucial sliver of emotive, sensual/textural pressure that bleeds thru in each cut. It’s hardly hands-in-the-air material, yet his slow-burning vibes are arguably more satisfying and subtly impressive in the immediacy of the dance and for the long run.
Across a neatly plotted 48 minutes he systematically investigates and consolidates all stripes of the Peverelist sound in a way that builds on the experiments of 12000 Seconds  whilst reprising and refining the heft of Jarvik Mindstate .
The roiling modular tones of opener Burning Seas offers a rare, beat-less iteration of his sound before the session properly gets under way, vacillating the pressure between Under Clearing Skies dense electro-bass pulses and strobing dub chords, and the wide open lushness of Still Early, then twisting into the latinate shimmy of Sheer Chance Matters and the spiralling trills of Wireframes, which sounds almost like Plastikman meets Unique 3.
Further Inland brings a lot of originality and feeling with a misty-eyed mesh of airy Detroit/Berlin arpeggios and serpentine house swang, cooling down into the tribalism patterns of Brinks and Limits and closing on another rare, beat-less vision, Plateau from which to survey his rolling topography and then dive back in again.
Killer Filtered disco-house nourishment from Apron Records
Pairing SSJJ’s ruff cut, Stevie-sampling swanger, KIM4SW on the A-side with the pendulous, Thriller-esque boogie peach, KLY (XXXX) from Devin Dare, the Brooklyn duo who linked with Funkineven for APRON10 back in 2014.
The 2nd of 2 x EPs highlighting cuts from Illum’s 2nd album, Glass, backed with tripping Hieroglyphic Being and Beau Wanzer remixes.
On the A-side he takes the opportunity for a 45rpm, side-long cut of the rolling Red Glass, allowing its Actress-style cloud of analogue dust mites and silty harmonics to bloom out to the edges.
The B-side contains Beau Wanzer’s powerful rework of Fuel The Fire, packing those subs right below the belt, beside Hieroglyphic Being’s hyaline Chicago house reduction of Red Glass.
Hyper colourful and shiny modular synthesis and effected Clarinet ecstasies from the American contemporary avant garde...
“As the duo Golden Retriever, Matt Carlson and Jonathan Sielaff have explored an ocean’s worth of sound. Primarily working with the intersection of modular synthesis and amplified/effected bass clarinet, the duo has done eight releases for labels like Thrill Jockey, Root Strata, and NNA Tapes. Their music combines an intense emotional immediacy and meditative focus with strong melodicism and an organic, naturalistic approach to experimental electronic sound. Rotations features the duo expanding their sonic palette to incorporate a full chamber ensemble. The results of this stunning collaboration are meditative, lush, and emotionally arresting.
Rotations began when Golden Retriever received a grant from Portland’s Regional Arts & Culture Council to organize and perform new works. The public performances took place in October of 2015 at Portland’s historic The Old Church. For the performances, Golden Retriever created a series of pieces for an expanded ensemble that included piano, strings, wind instruments, percussion, synthesizer, and pipe organ, which became the foundation on which Rotations was built. While their duo recordings and performances are typically developed from studio improvisations that evolve into specific musical structures, in this case Golden Retriever began with simple acoustic compositions, improvisations and fragmented ideas between bass clarinet and piano and used them to develop melodic and harmonic themes. After transcribing the various parts into notation and adding layers of additional instruments, the result of their collage process creates the effect that Golden Retriever are playing the ensemble as their instrument, and through careful arrangements, have integrated improvisation and composition.
Through the course of the creative process of choosing, editing and arranging the pieces, the duo saw a clear theme: a meditation on the cyclical nature of life and on going through something difficult but emerging on the other side of it with hope. Pieces such as “Pelagic Tremor” tell the story of a tumultuous seascape, stormy and churning. “Tessellation” weaves a tapestry of overlapping patterns that are impenetrable and sifting. In contrast, the sounds of “A Kind of Leaving” (whose title is a reference to a Bei Dao poem) evokes quiet and contemplative imagery, and “Thread of Light” is perhaps Golden Retriever’s most minimal piece to date, finding beauty in simplicity. Within each piece, the instruments cycle together rhythmically, harmonically, and texturally. And the album itself forms a cycle made up by the ebb and flow of each piece that is both dynamic and engaging.”
Outstanding debut album from Príncipe’s first lady, Nidia Minaj, following up the huge buzz around her debut 12”, Danger  with a 14 track portrait of a thrilling yung artist following her instincts for the good of dances everywhere.
Since that electrifying Danger 12” she really left us hanging, with only Pra Fachar and the raucous Festive delivered on compilations in the meantime to keep us sated. Now, after carving up clubs and festivals all over the shop, she’s followed her nose and fed that energy into a battery of unpretentious, hard-hitting and bittersweet aces; a full clip of short sharp shocks designed to be flung in and out of DJ sets and light up BBQs and parties with infectiously driven rhythms and stinging, hi-tension rhythmelodies.
You want highlights? Run come get ‘em in the maaaad synths of Biotheke and militant snares of Shane Noah; from the trampling force of Toma; in the hard but homesick melancholy of I Miss My Ghetto; and especially in those super succinct shots of wrapped vocals such as Indian and Mulher Profissional, and the lip-bitingly strong grind of Puro Tarraxho.
Biggest tip to fans of killer new dance music!!!
Sea-shanty house, anyone? In the hands of anyone but Bullion, a tropical house cover of the Blue Peter theme could be a shocker, but TTT know their onions and Bullion’s Blue Pedro is getting us to reach for the auld dancing clogs.
The B-side’s Muy Quimeda is also pretty nifty, this time on a swirling sort of Italo-disco-techno impulse licked up with swaying chorales from he savannah, and if that doesn’t get you then the ruddy Afro-electro-boogie swerve of Spin2Glory should see you right.
Ben Frost convulses a new EP of original solo material recorded with Steve Albini. Vast systems - unstable, overloaded, and on the verge of collapse were fed into an array of amplifiers inside a cavernous studio. Behind the glass, Albini committed this to tape, slashing at it intermittently with a razorblade and more than two hours of music was recorded. The Threshold Of Faith EP is the first release of music from those sessions.
Frost fully bares his teeth on five tracks inside, entering with the electrical storm and depth charge detonations of the title track, and hunting down an apocalyptic muse throughout the rest of the EP, from the nerve-gnawing string convolutions of Eurydice’s Heel (Hades) to the chromatic chamber vision of Threshold Of Faith (Your Own Blood), and with shuddering, tempestuous torque in The Beat That Don’t Die In Bingo Town. The finale climax, Mere Anarchy errs a bit to heavy into his cheesy side for us, though.
Integral to the ruptured flow of the album, All That You Love Will Be Eviscerated (Albini Swing Version) catches a quietly dynamic moment from the master engineer, rendering a hyaline cloud of intensely bright and sparse tones that could shatter at any moment, whilst Janus member and Björk remixer Lotic sends the same elements flying in corkscrewing militant drum rolls that sound like Chino Amobi’s wildest dreams.
Denis Mpunga and Paul K.’s early ‘80s African electro experiments refreshed by Tolouse Low Trax, Interstellar Funk, Prins Emanuel, Androo and Dazion for 2017 in typically timeless style for Music From Memory.
We point you straight to the B-side for the EP’s highlights; firstly for Tolouse Low Trax’s loping remix of Veronika II, which operates at the balmiest end of the day/dancefloor, and secondly to the Interstellar Funk perspective on Intermezzo II, lit up with a reverberating, radioactive synth line over dusky drums and foreboding yet seductive tropical atmospheres.
Beautifully by-passing our expectations, performance artist/musician Pan Daijing’s first major work Lack yields a spellbinding demonstration, or “purgative finale”, to her improvised live performances over the past two years; offering a far more nuanced and probing suite of electronic gestures than her gnarled handful of slamming, salty tapes and 12”s for Bedouin Records, Power Vacuum or Noisekölln Tapes since 2015.
Extracted and edited from field recordings and live documentation of her concerts made in Europe, China, and Canada, Daijing aptly describes the album as “an opera piece”, from the soaring soprano and flustered strings of Phenomenon thru the convulsive industrial throb of Act of The Empress, to the possessed folk energies condensed in The Nerve Eater and the closing trance induction of Lucid Morto with an effect recalling something like Diamond Galas conducting a court ritual with Black Mecha and Jani Christou.
Daijing’s process is multi-disciplinary, featuring improvised sound and movement that feed off one another in a painstaking mental and physical practice that draws energy from the moment. The reduction and selection of the recordings which make up the album felt “more like a psychoanalytical process” explains Daijing, feeling like “this absurd, mad person ‘acting’ out the sounds… All things naturally came out of me”, and in the edit she effectively detaches and controls the listener’s gaze, offering what could be viewed as an almost voyeuristic document of those intimate, private energies.
Big Dada snaffle Wen for the Carve + Gaze EP, making up for a notable absence from release schedules with four shots of his sharpest, coolly dynamic material to date, hitting square between the eyes of Zomby, Logos and Actress with mutant twysts on UK grime, electronica and weightless dimensions.
The chromatic pirouettes and splintered electro-grim pulse of Plinkz makes a striking pineal pinch at the front, where Femme II follows into a severe reduction of 2-step grime in key with his earlier 12”s, but diffused in-the-mix with broader proprioceptive suss.
However, Blips is the undoubted highlight for anyone who likes their grime gyroscopically weightless and up-to-the-second, spinning out a sort of Korg Triton inception that blossoms inwards to something like a Lee Gamble or TCF nightvision, and closing with the razor sharp cyber-sino-sidewinder, Cascade.
In the same week that Livity Sound captain Peverelist becomes Drake’s latest fancy, Mosca joins the Bristol label with a killer rudeboy spin on UK soundsystem music that slots right in...
Don’t Take This The Wrong Way is a masterful display of electro-dub technique, zipping up cattle-prod drums and absolutely devilish subbass movements with the kind of nimble dub FX last heard on his White Mice cut from NSM004. Think Pev meets Joe with a pair of 1000psi Air Max and you’ve got the gist.
On the B-side, as the titles implies, Peyote Stitch is a trippier number revolving around a carousel of bleeps fed thru echo box FX and slanted to a latinate hustle that links all his releases thus far, right back to his early ones for Night Slugs.
Really good twelve this!
For this re-issue the original Spanish pressing has been lovingly restored, preserving the sound quality, letting you listen to it the way it should be heard, in the here and now.
"Even though Reuter satisfied his parents' expectations by completing five years of studies in classical musical, his passion for the inauspicious sounds of Brazil never truly disappeared. On the contrary, after meeting the slightly older, Bossa Nova inspired, up-and-coming guitar player and songwriter Agustin Pereyra Lucena on the university campus, the young musician took the proverbial bull by the horns and made a massive leap of faith. On the one hand, he accepted the offer of several studio recordings (1973 'Climas' and 1975 'Ese Dia Va A Llegar'), and on the other, he declined the request of his parents to inherit and run the private family school. At this moment in 1975, Guillermo Reuter made a clear, wholehearted decision, aware of all its consequences, and chose his own music as his further purpose in life. Music, which he finally – thanks to Jacques Subileau and 'Guayabas' for that matter – could record without compromise and thus give free rein to his creativity.
The recordings of 'Candeias' took place shortly after Subileau's invitation, in October and November 1975, in the Buenos Aires based studio 'Sound Center'. To realise his vision Guillermo Reuter surrounded himself with four superb musicians, who he knew from previous recording sessions: Agustin Pereyra Lucena on guitar, Uruguayan drummer and percussionist Carlos Carli, Brazilian bass player Darci Soave, and the young flute player Rubén Izarrualde. Reuter himself plays the Fender piano on all tunes (despite “Zimbao“ on which he played the upright piano) as well as 12-string guitar. The idea of adding a horn section to some tracks was quickly scrapped, mostly for financial reasons. Recorded in nly a few brisk spring days (which is November on the southern hemisphere), you can feel the sheer enjoyment of the musicians in this masterpiece of timeless, universal music through its unbridled playfulness. Starting with 'El Tren De Tom', the album's first track, where the sound of a departing locomotive announces the beginning of a journey. A journey that winds it's way through the contagiously melodious, cunningly arranged and in every detail, profound world of Guillermo Reuter and his project Candeias. All of which is overseen by their heraldic spirit animal, the Toucan, which is the bird we first see on the album cover. The name Candeias, which means candles in Portuguese, was chosen democratically by all four participating musicians. The album's carefree, casual happiness is never superficial or forced. For instance, 'Paolinho', driven by Izarrualde's flute, is rooted in the folkloristic tradition of Northern Brazil and emphasizes Reuter's almost academic approach towards his compositions. 'Managua' employs the Cuban Guajira rhythm and is probably the song of the album that best expresses the harmonic interaction of the four musicians extraordinaire. Throughout the whole album, Reuter's training in classical compositions interweaving with his love of Jazz and Brazilian music, in particular, is almost tangible.
In his homeland of Argentina, 'Candeias' will never be released. Subileau's personal connections took the project to Europe, Spain to be precise. Here, with changing line-ups, Reuter played live regularly between 1976 and 1978. His playmates in Candeias (expandable from quartet to septet) include f.e. the Cuban saxophone player Paquito d'Rivera, the US trombone player Bill Smith, the Brazilian percussionist Rubem Dantas and the Spanish flute/saxophone player Jorge Pardo. Further recordings never happened, though. The European Jazz scene at that time was much too volatile and in turmoil. Talents like Reuter were mostly getting booked as session musicians and were swamped by endless touring, leaving them little time to pursue their own projects. After his father had died towards the end of the 80s, Guillermo Reuter returned to Argentina and only infrequently returned to Europe for occasional live gigs. Back in his hometown, he made a living writing compositions for commercials and from intermittent gigs in local jazz clubs. He operated a music store for some years, worked as a composition teacher and acted as a program manager for various music and live venues in Buenos Aires. During this time he never stopped writing own songs. His fascination for South American folklore and its rhythms, from Brazil via Uruguay to Argentina, continued to increase, even until this day. In 2004 Guillermo Reuter wrote a song, 'El Gorgojo' (The Bug), which won the first prize at the international Latin Jazz Contest in La Habana and was praised by the French film music composer Michel Legrand, one of Reuter's personal idols.Having now Notes On A Journey, more than forty years after its initial release, introducing 'Candeias' to a whole new audience is also in the interest of its creator. For Guillermo Reuter, this album was and is a lifework, which has never lost momentum and significance. It is a record, which simply stands the test of time by bringing pure joy over its full, entertaining length, and is going under the skin at the same time.
With the stunning new quality 'Candeias' will find a much bigger following this time round. Come and join the club.".
Philip Budny’s Move D approved debut for Edinburgh’s Lionoil Industries serves a slick trio of deep house budges backed with a crispy remix from Church’s Seb W.
“With a recent sell-out self-release from Telfort and a highly anticipated debut from Hi and Saberhägen on Huntleys + Palmers, the cast of this debut 12” sampler is as strong as Plutonian steel!
Newcomer Philip Budny begins our journey with a crystalline aural interpretation of the waterfalls of Bali, ahead of Hi and Sabes' rhythmic raga. On the flipside is a meditative offering from Telfort, reminiscent of a smoky hangover after a rave in the dungeons of Kinshasa, before chief commanding officer Percy Main’s finale zooms 50 years into Sheffield’s funktopian future with a bumpy dancefloor robo-killer. We reside in the heavenly land of Caledonia and wish to share these experiences with the world around us and the planets beyond. We invite all regardless of multiversal location in joining us on our celestial celebration.”
Amazing 1983 album produced by Adrian Sherwood and featuring members of Crass, Flux of Pink Indians, Family Fodder, African Head Charge, London Underground and Art Interface for a groundbreaking dub industrial masterpiece.
"In the summer of 1983, Annie began work at Southern Studios on what would be her first full length endeavor which encompassed all of her creative assets at that time. Employing the expertise of legendary dub producer Adrian Sherwood to realize this vision, Annie pulled together members of Crass, Flux of Pink Indians, Family Fodder, African Head Charge, London Underground and Art Interface to recordher groundbreaking dub industrial masterpiece.
Upon its initial release by the unofficial Crass off- shoot label Corpus Christi in 1984, Soul Possession started the avalanche of activity that would include dozens of releases and collaborations with Nurse WithWound, Coil, Current 93, Swans and Marc Almond Dais Records proudly reissues “Soul Possession” on vinyl for the first time in over 30 years in a limited edition pressing featuring the original artwork by Eve Libertine . NON-RETURNABLE. Many influential characters graced the stage of Max’s Kansas City within the creative zeitgeist of New York City during the late 1970’s, but one local native named Annie Bandez thrust herself into the downtown scene with her punk ensemble Annie and the Asexuals, establishing her nom de plume Annie Anxiety(later known as “Little Annie”) and colliding head-on with the social norms of contemporary punk culture entangling the city at that time.
After a couple years of disintegrated pursuits in New York, Annie relocated to England, finding herself at the doorstep of the famed anarchro-commune Dial House headed by activist Penny Rimbaud. It was here thatAnnie Anxiety established herself as a singular artist and voice with her debut 1981 single “Barbed Wire Halo” on seminal Crass Records and forging a creative alliance with Crass members Penny Rimbaud and Eve Libertine. As the landscape of punk in the United Kingdom was shifting towards a more diverse,multicultural focal point, artists such as Annie Anxiety found themselves exploring musical signatures in styles such as dub reggae and rocksteady."
Remastered from original tapes by George Horn at Fantasy Studios in Berkeley.
"Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7” singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company. Rich released his debut solo album ‘Mayan Canals’ in 1981.
The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder.
Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7” single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.
The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich’s archives"