Scudding hardcore bombs from DJ Skift packing suitably bunkered, rave-ready tekkers for Mother’s Concrete Cabin
Twysting the DNA of OG breakbeat hardcore with muscle memory updates of 2-step garage, grime and pinging electro, Skift lands on a super tight style somewhere to the darker side of Luke Vibert and also recalling those Remerge 12”s (rumoured to be holding an incognito Æ edit) or HATE’s cut ’n splice badness.
It’s no nonsense, on your toes, wide-eyed rave tackle; rinsing out ricocheting ’91-style breaks, mentasms and chewy garage bass in the first part, then flicking the pressure gauge up with a stampeding jungle tekno onslaught in the second, and shooting ‘ardcore shrapnel from the hip in the buck ’n bury garage swang of the final part.
Dutch master NWAQ mints his Last Age label with a trio of cosmic deep house specials that leave a lump in the throat and feeling like we’ve had a fistful of mandy.
Clad in beautifully fucked artwork by Jan-Robert Leegte that metaphorically reflects the music’s head-smudging nature, the ‘Above EP’ is another slab of peerless class by Jochem Peteri’s deeply adored project. Now in its 20th year of operation, NWAQ here augments his pursuit of the sublime with a new quota of compression and inherent, distorted artefacts in a manner that feels to continue an ongoing, double refractive dialogue with Actress’ spirited deep techno aesthetics, which are themselves influenced by early NWAQ and Ross 154 classics such as the recently reissued/re-pressed album ‘The Dead Bears.’
We’re in the presence of a completely singular, pioneering artist here, shimmering in proximity to his Ross 154 head-melter for Boomkat Editions, ‘Wherever You Go, I Will Follow’ but pushing the levels deep into the red; stressing an iridescent, fractally kaleidoscopic texture and tone that to our ears at least, evokes the feeling of an MDMA peak, as in those times where you’re practically kissing God, eyes wobbling and lips-mushing. Somehow spartan but lush, the results roll out from the squashed kicks and swirl ‘Above II’ into utterly ASMR-levels of scalp stroking bliss on ‘Above I,’ while ‘Dume’ lands beautifully sore on the B-side with writhing groove and textures that feel triple tumescent as ecto glow flesh, but equally elusive as in a dream.
It’s a new high water mark for the idea of “noise techno” and a perfectly nuanced new progression for one of this century’s greatest experimental ambient/techno/house catalogues.
From the opening strokes you know this is going to be good, and Into The Light’s exploration of Greek soundtracks does not let down - a big tip for Vangelis and Lena Platonos fans!
Suave, noir, and suggestive as you like; Into The Light are bang on the money for fans of ’70s/’80s synth and film music, and particularly of lesser known varieties, as it mercifully circumvents diggers’ problems with reading Greek artist names and record titles to serve a cherry-picked (olive-picked?) brace of soundscapes, cues and themes united by a beautifully allusive Greek “spirit.” Yet while rooted in a bygone era, it’s not hard to hear how this “spirit” has fed forth into modern Greek music, and can be found everywhere from the technoid cinematic drama of Xyn Cabal to the filigree wright emotion conveyed by Christos Chondropoulos in the contemporary sphere.
The album’s opener is a real diamond, unfurling the 10 min Deckard-gaze panorama of ‘Parados’ by Thesia in a very Vangelisian mode, before moving thru a string of immaculately sequenced cues and themes, spanning the lush analog synthesis of Yannis Kostidakis, bubbling jazz-fusion from Stamatis Spanoudakis, a glistening ‘Erotic Scene’ from Dimitris Papadimitriou; fantasy synth pomp in ‘Death at the Dried Champaign’; the Coil-esque FM synthesis of Giorgos Hatzinasios’ ‘The Death of Baby Jane’; electro-acoustic collage from Papadimitriou and Dimitris Lekkas; a steeply psychedelic 11 min stunner full of strange tunings from Haris Xanthoudakis; and perfect end scene in the chamber cello of ‘Karkalou’ by Charlotte Van Gelder.’
Quietly extraordinary dream-weaving from crys cole & James Rushford’s Ora Clementi duo, invoking an unpredictable, otherworldly play of light/shadow and top shelf electro-acoustic sorcery comparable with Robert Ashley’s Private Parts, Jane Arden & Jack Bond’s 'Anti-Clock' soundtrack, via Claire Rousay, Perila, early digital GRM.
Sylva Sylvarum’ documents a far more confident Ora Clementi than found on their barely conscious debut ‘Cover You Will Softer Me’ (Penultimate Press, 2014), here exploring a much broader variegation of carefully pruned synths, drum machines and instrumentation threaded with vocals ranging from sibilant whispers to ohrwurming dream-pop croon. In its mazy logic, remarkable levels of sensuality, and substantially satisfying length, the pair effortlessly suspend disbelief for its deep duration, creating a whole dreamworld unto itself that will reward repeated exploration.
Centred around notions of utopias as inspired by various literary texts, such as Francis Bacon’s titular tome of natural histories, cole and Rushford’s music takes its shapeshifting form across 15 parts that diffract time and imaginary space between a mosaic of ephemeral, blink-and-miss beauties such as the Julee Cruise-esque dream-pop of ‘Magic Mountain,’ to animalistic abstractions such as ‘Vulning,’ and more immersive depths of its longest parts, like the dazed avant-blues shimmer of ‘Nowhere Much Narrower,’ and a jaw-dropping 14 minute closing sequence making sterling use of Callum G’Froerer’s trumpet and trombone by Joe O’Connor.
Collected, the 15 tracks transcend the sum of their parts and have the rare power of some records to induce extrasensory feelings associated with microdosing LSD, with artful application of mic recording techniques achieving ASMR levels of skin tingle, and exquisitely warped details that mirror peripheral fractals one minute, and the sensation of looking the wrong way down a telescope the next, always most craftily oscillating a fine limen between lowkey everydayness and gently potent, magick realism.
It’s not really a record for sharing with others; it’s best consumed in private, later at night when the senses are most porous to this kind of ESP and a humbling, wholly absorbing genius.
In 2020, 4AD turned 40. Never one to be on time for a party, the label is commemorating that landmark this year with the release of ‘Bills & Aches & Blues’. The compilation features 18 of its current artists covering a song of their choosing from 4AD’s past: a creative experiment rooted in the spirit of collaboration and a snapshot of 4AD, 41 years after its inception.
"‘Bills & Aches & Blues’ will be released on double CD and double LP. The first 12 months’ profits from ‘Bills & Aches & Blues’ will be donated to The Harmony Project, a Los Angeles-based after-school programme for children from communities and schools that lack equitable access to studying the arts or music. ‘Bills & Aches & Blues’’ 18 recordings contain fascinating connections between artist and track. The earliest song chosen (by U.S. Girls) is The Birthday Party’s ‘Junkyard’, from 1981; the most recent are the two Grimes covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning) from 2012. Suitably, for the one band that bridges 4AD past and present, The Breeders are all over ‘Bills And Aches And Blues. They’re covered three times - ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt Eaters’ by their ‘90s contemporaries His Name Is Alive. Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’ ‘Where is My Mind?’ will feel comfortable to casual fans, however by contrast, much joy can be found in the album’s surprise choices, such as Air Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by new signings Maria Somerville and Jenny Hval. ‘Bills & Aches & Blues’ is named, arguably (as Elizabeth Fraser never published the lyrics), after the opening line of Cocteau Twins ‘Cherry- Coloured Funk’.
Perhaps too unique and uncoverable in their own right, their legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs SOHN’s cover. Some tracks unearth hitherto hidden shared DNA, such as Future Islands’ and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to reinvention. Aldous Harding distils the melodic essence of Deerhunter’s ‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco mn‘Junkyard’ and Bing & Ruth’s neo-classical instrumental ‘Gigantic’ are even more radical interpretations. Leading off the album, Tkay Maidza brings both her Art Rap and R&B game, but also an unexpected ‘80s synth pop template, to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times."
Volume I of the debut recording by UK Jazz musicians Ferg Ireland, Nathaniel Facey & James Maddren as Ferg Ireland Trio.
"Birthed from informal sessions in South London around 2013; the Ferg Ireland Trio combines three of the UK’s most exciting musicians. The trio is a vehicle for Ireland to consolidate his influences and explore the Sax/Bass/Drums format with an alchemical blend of intense spiritual jazz, broken beat flavours, angular swing and playful conversations.
This, their debut recording, was captured over the course of a summer’s day in 2017 and the result, stripped of artifice and any studio trickery, represents the pure expression of three great instrumentalists, as well as three great friends. Ireland (Kansas Smittys, Soweto Kinch, Ashley Henry, 22a), Nathaniel Facey (Empirical) and James Maddren (Kit Downes, Jacob Collier, Gwilym Simcock) have been playing together for over a decade, and this is reflected in the telepathy of their musical conversation. The twists and turns of their dialogue delve deep into the dark heart of modern jazz.
The compositions (all Ireland originals) draw on the post bop tradition, with lashings of London’s dance rhythms blended with the new fusion sounds emerging south of the Thames. In the opener ‘Stay Broke’, the Broken Beat scene is a clear reference, but smooth edges are bent into something more raw and ominous. Facey’s acerbic alto sound darts in and out of Maddren’s frenetic, polyrhythmic kit-work and Ireland’s deep, endlessly looping bassline. A soundtrack fit for the dystopian dance floors of the new decade.
Elsewhere, the trio sound authoritative whilst playing the proverbial out of a New Cross related blues - cat-like on ‘Mel’s Mood’, stately on ‘When You Know’. The latter’s latin-esque drums propels the music forward, even at its most serene moments. Most of the tracks on this record were first takes and have an immediacy that allows Ireland’s assured compositions to take unexpected directions. In the case of Lips, these boil over into a spontaneous furore, the faders left up to capture the vibe. ‘Confession’, the thematic culmination of all these twists and turns, is prefaced by a long brooding intro before the band stretch out with a flurry of burning solos and psychic interplay. The inescapable influence of John Coltrane is at play here, but the spirit of Eric Dolphy and the swing of the Sonny Rollins trio are also in the room."
Utterly sublime R&B/Sade-licked late night slickness from Portuguese-Danish wunderkind Erika De Casier, deploying whisper-soft pop that's injected with the lurching club-adjacent snap of Timbaland, Neptunes, Teddy Riley, MJ Cole and Sunship > jaw on the floor, tear in the eye.
When Erika de Casier's debut album "Essentials" dropped in 2019, it felt like a hidden gem - it was only a matter of time before her silken bedroom soul was shuttled further into the mainstream. So it's hardly a surprise to see the followup on 4AD - and it's the best record the label's released in years. De Casier makes music that sounds private, lo-fi and intimate, but has the earworm-y bombast of Brandy, Destiny's Child or Amerie. Her influence comes from her early teens, submerged in MTV R&B to nourish her spirit - but as the label notes point out, she's as much influenced by Aaliyah and Janet Jackson as house, garage and techno.
This sensual escapism is the beating heart of "Sensational", as de Casier whispers over neo-retro production that sounds like early Sade instrumentals stripped to the bone and assembled into new forms by a supergroup comprised of MJ Cole, Timbaland and Sunship. There's a garage-flecked clubwise swing that speaks to de Casier's European roots, but the songs have more sugared hooks than a library of '90s MTV soul full-lengths. Trust us, leave this one on repeat for a few spins and you'll be humming songs like 'Drama', 'Someone to Chill With' and 'No Butterflies, No Nothing' for the rest of the week.
Ice cool summer special = awe-inspiring, honestly.
More Goa-trance on 33-not-45 vibes from Alexis Le Tan and Joacim’s Full Circle on Crowdspacer
Making strong nods to the style pioneered, Fat Ronnie-style, by Vladimir Ivkovic, ‘Vol. IV’ builds up a stealthy head-of-steam with the screaming top lines and slow, jagged trance arps of ‘Alien Nation’ and with a more percussive emphasis in the B-side’s ’Shivering Shanti’ with its croaking acid riffs primed for slow-motion yoghurt weaving.
Handy first reissue of a classy and sought-after (read: dead expensive!) new wave gem from Japan, 1985, flush with FM synth flutter, glyding jazz fusion grooves and harmonised vocals with authentic Eastern touches - think Japan/David Sylvian, Prefab Sprout, YMO
“Asia Dream by Mu-Project is an incredible combination of eastern and western music made by Ryoichi Kuniyoshi and Kiyoshi Toba in 1985. This singular and very personal album transports us to an Asian dream. A mix of emotions, between nostalgia and melancholy crosses the music.
The refinement of the production is at the service of the sensitivity of the synth melodies and bring a pop side to this project. Asia Dream is definitely an album for lovers of avant garde synth pop music from Japan.”
Following the release of his debut on Barcelona’s Lapsus Records, Wordcolour lands on Houndstooth.
"The London-based producer invites us into his musical world as we journey through three highly detailed soundscapes, both emotionally resonant and functional for the floor. Wordcolour delivers the same sort of leftfield yet eminently danceable electronic stylings that one hears on the producer’s Lapsus Records EP ‘Tell Me Something’. With a background in jazz, pop and contemporary classical, Wordcolour has also previously produced music for TV and theatre. ‘Juno Way EP’ demonstrates his diverse musical knowledge with dynamic and engaging compositions, making nods to the best of contemporary UK experimentation, these cinematic tracks deftly switch between tempos all the while retaining Wordcolour’s own aesthetic signature."
Danish duo Vanessa Amara return to Posh Isolation with a delicate set of unedited live recordings that shines a light on their creative process. Haunting and tape saturated meditative ambient business, for fans of William Basinski, Felicia Atkinson and Taylor Deupree's 12k imprint.
Recorded between 2016 and 2020, "Music For Acoustic Instruments and Feedback" is a document of Birk Gjerlufsen and Sebastián Santillana's musical methodology. Lacking a studio or even a piano, the duo have instead had to rely on other peoples' homes or spaces made available to them. Since every space offers completely different sonic characteristics, the duo have been forced to establish exactly how the instruments - piano, accordion, pipe organ, carillon and bells - would sound when recorded and processed.
Over eight tracks, Gjerlufsen and Santillana document this process of trial and error as they investigate space, timbre and feedback. Fans of the duo's ornate ambience will no doubt find plenty to sink their teeth into, from the disintegrating Basinski-esque melancholia of 'Piano & Two Tape Loops' to the terse, medieval charm of 'Cembalo & Carillon'. It's a restrained yet majestic set of improvisations that revels in its relative simplicity. The truth is that while the music is relatively minimal, there's nothing straightforward about the duo's creative chemistry.
A keenly awaited, dead clean vinyl edition of Muslimgauze’s mesmerising ‘Narcotic’ finally lands as part of Staalplaat’s unending archival salvo for the late, great artist.
‘Narcotic’ first came out in 1997, in the years before his death from a rare blood disease. It falls deeply into the latter phase of his oeuvre with richly atmospheric dubbing and some of his most lip-smacking, syncopated rhythms executed in a way that came to define his best work, and would exert a huge influence over the likes of Vatican Shadow. Seriously, the mastering job on this one is HD compared with previous releases and makes for an ideal entry point for anyone who’s been wondering where to start with Muslimgauze’s sprawling catalogue.
Plunging us into his soundworld with the intoxicating mix of field recordings and super wide, spatialized drums in ‘Medina Flight’, the album proves why it’s often hailed among Muslimgauze’s best with a slow burning fever dream sequence of events between the ambient arabesque, ‘Ramadan’ and scenes of slithering drums and oozing acidic synths punctuated with ricocheting gunfire in ‘Effendi’, while ‘Nazzareen’ feels as though we’ve slipped off down some ginnel from Cheetham Hill into a private backroom session in Ramallah. The opiated wooze of ‘Gulf Between Us’ and his beautiful duet for 303 and santur (?) ‘Saddams Children’ hold up among his finest ambient vignettes, priming for the album’s three-part title tune and again, some of his most enchanting sampledelia brought to life as we’ve never quite heard it before.
The guess-again label R=A pull out a mystic beauty by Mitar Subotic (Suba) aka Rex Ilusivii (King of Illusions) following unarchived issues of his exceptional work by Vladimir Ivkovic’s Offen Music and Gilb’R’s Versatile in recent years.
‘Fool For Love’ is a poetic 23 minute synthscape rescued from the mists of time (recording date is unknown, but likely mid/late ‘80s) to reveal the most expansive iteration of Subotic’s profound sound in current circulation. It’s an extremely hypnotic trip, of the sort where perceptions of time and space slip away and sound becomes atemporal, synaesthetic and hallucinogenic. It’s definitely best received with eyes shut, where the ostensibly monotone drones will reveal their surreal internal fluctuations and inceptive nature like a magic eye painting deciphered within a dream.
Fans of Eleh or 0PN will be in their element with this one.
John FM makes a rare, killer outing beyond Omar-S’s FXHE with a standout EP forged in the contemporary Afro-American experience
Served with no additives or preservatives but bags of raw R&B soul, J.F.M.’s 4th solo 12” twists inspirations from Prince to Moodymann and his spar Omar-S across a handful of dare-to-be-different tunes formed over the past five years. For anyone outside Detroit, it supplies insight to how, as he puts it; “the world has been colonized by Americana.” On the most immediate levels we’re feeling the heavy swang of ‘February’, the blown-out bass and ansafone vox of ‘Lockjaw (7 Deadly Winnin’), and his rawly finessed hybrid of ’90s R&B and cloudrap in ‘Forever’, but we’ll hand over to him for disambiguation’s sake…
“the pieces themselves deal with common American themes that have been glamorized in the movie (our reality) the rest of the world watches as cinema - in horror and disbelief. Holster- a story about a shooting at a party from different perspectives. February- contextualizing a spiritual fight amidst the complexities of a relationship. Lockjaw- a celebration of the seven deadly sins, our inhumanities that sell ironically get people ahead. Forever- a want for overcoming setbacks, a cry to live in a place that isn’t built for us. Interim - a ‘meanwhile’ moment that never really ends- a battle of the people and their screams being the soundtrack for 400 years of oppression.”
This is ace! Prolific Detroit/NYC jazz drummer Gerald Cleaver serves a sterling 2nd album of electronic music, calling to mind Sun Ra, Terrence Dixon, Pekka Airaksinen, Dennis Weise
Attached with the statement “It is very important to me to stress the importance of Tribe. Community is everything" Gerald Cleaver pays homage to his spiritual home city Detroit’s important electronic music scene, also weaving strong influence from his decades playing in myriad NYC jazz constellations - playing skins alongside legends including Roscoe Mitchell, William Parker, Wadada Leo Smith, Marcus Belgrave, Lou Reed.
His drummer’s instincts at at the root of seven cuts cultivating FM synthesis, pulsing drum machines and touches of keys and trumpet by Cuba’s David Virelles and US player Ambrose Akinmusire, respectively, into wonderfully effervescent and playful works that remind us to many, many touchstones, but delivered with a verve and open-ended, psychedelic aesthetic that’s dead easy to get lost inside.
Legendary Turkish jazz drummer Okay Temiz (The Don Cherry Trio) lends his skins to a clutch of coiled, pendulous grooves by Belgium’s soFa and german musician Houschyar
Initially conceived in Istanbul, 2018 as a duo work by soFa and Houschyar, the recordings took a very smart turn after the pair paid a visit to the drum studio of Okay Temiz, one of Turkey’s most lauded musical figures. Drawing on well over a half century of experience since 1955, Temiz brings his serpentine percussion and home built electronics to the original grooves in six hip-swivelling parts, slipping down the groovehole somewhere between the likes of Tolouse Low Trax, Red Axes and even Christos Chondropolous with a mesmerising application of instinctive, arcane rhythmelodic tekkers linking middle eastern traditions to Brazilian styles via Berimbau and Cuica, plus self-built instruments that really lend the EP a unique tone and twang.
Amos Childs (Jabu) and Sam Barrett (Kahn & Neek) aka O$VMV$M have traditionally dealt in hazy, smoked out vignettes - seen across release for Idle Hands, No Corner and most recently providing music for the Manonmars LP.
Last clocked on Cold Light in 2020, the duo return to their spiritual home with a bad head on the mystic digidub charge of ‘Phase 4’, whereas the heavy troddin’ ‘Witch Linen’ works to a screwed systolic thrum spooked out with cackling samples and primed for still-glowing afterparties in the depths of autumn.
Ruddy acid gurgle and deep house from Dutchman Wendel Sield, minting the first release on Amsterdam’s Obia Records
‘Discharge’ trades in proper, juicy 303 tweaks laid down treacle thick in jack trak style, whereas ‘Code of Conduct’ loosens up with slinkier drum programming and wobbly acid lines, and ‘Ethic of Reciprocity’ takes a few notches deeper into floating deep house withe acid laid low under bittersweet chord progression.
Two tracks from 1970's Studio One in-house band Brentford All Stars.
"The next killer tune in the brand-new series of all- time classic Studio One party bombs available on super loud 12” - Brentford Road All Stars’ Greedy G is the ultimate reggae record to crossover into hip-hop. The all-time epic sample for Boogie Down Productions’ seminal ‘Jack of Spades’ and based on James Brown’s ‘Get on the Good Foot’. The flipside is another Brentford Road All Stars essential cut, ‘Granny Scratch Scratch’, the heaviest, funkiest dub monster ever. 100% essential monster tunes that rock any dancefloor."
Upper Wilds are Dan Friel, Jason Binnick and Jeff Ottenbacher.
"Dan Friel is a pillar of the NYC underground and arts scenes, having performed alongside Lightning Bolt and Black Dice, as well as collaborating with string quartet ETHEL and indie game Bleep Space. Upper Wilds channel Friel’s unbreakably ebullient spirit into mountainous rock music dripping with molten fuzz. The trio’s exploration of the interstellar expands in parallel to their increasing levels of bombast and precision. ‘Venus’ synthesizes the experimentation of debut ‘Guitar Module’ (2017) and the thunder of 2018’s ‘Mars’ into ten lean chunks of cosmic rock laden with scorching hooks. Mastered by Sarah Register, who has mastered Grammy nominated records for The Shins, David Bowie and Meshell Ndegeocello, among others."
Wicked gqom mutations from Tokyo’s MPC finger-drummer KΣITO, reinforced by Tolouse Low Trax and Kӣr remixes
After turning his hand to juke, KΣITO follows a run of gqom-inspired releases onto A’dam’s Knekelhuis, hammering out martial percussive trills and tense, stately strings inspired by the SA style in four parts. The results feel to loosen up gqom’s rigidity with his subtly offgrid patterning, at best in the flowing flourishes of ‘Kannon Yu’ and skewed with an Far eastern accent on the title tune, while ‘Ao Zora’ is the recalls the Indonesian rhythmelodies of Uwalmssa and co. Serbia’s Kӣr applies his signature rhythmic intricacies on a remix on ‘6th Street’ at a slower tempo that Tolouse Low Trax also holds to on his buoyant, reduced rework of ‘Kannon Yu.’
Mark Fell and Will Guthrie join forces for the second time this year with ‘Diffractions’, the 2nd in a two part series released via the new NAKID label set up by Koshiro Hino of Goat / YPY fame. On 'Diffractions' the pair push ever deeper into percussive R&D informed/inspired by Gamelan and Carnatic musics - massively tipped if you’re into anything from Autechre’s Confield-era abstractions to Milford Graves’ fluid drumming or even the insular soundworld of The Necks.
Rhythm has always been central to Fell’s work, from his icy, repetitive minimalist excursions with SND to his legendary run of unashamedly funked abstract house experiments as Sensate Focus. Here, he continues to excavate that rich seam with an ongoing collaboration with Aussie percussionist Will Guthrie; “Diffractions” pushing both artists’ interests into sharper detail, toying with polyrhythms and unusual tuning to uncover a suite of transformative fidget spins and sonic storm clouds.
“Diffractions” features another two lengthy pieces of future-facing percussive abstractions that blur the line between synthetic and organic. Taking the influence of gamelan and fusing it with the heaving computer music that Fell has obsessively picked-at over the last four decades, the duo here zoom into a sound that’s almost effortlessly engaging; each piece is almost twenty minutes in length but they shift and mutate into polyrhythmic outer-realms and eerie universes of microtonality that are hard to fathom in one sitting.
There are trace echoes of free jazz hanging from the rafters, the post-everything clatter of Humcrush and Food drummer Thomas Strønen’s mind-expanding solo material or even Autechre at their most confounding. The genius here is that just when you convince yourself that this music could only possibly have been generated by a computer, Guthrie’s unmistakably human flex edges into focus - playing with your perception - your expectations - in the most bold, innovative way imaginable. Basically, this record fucking rules.
Call Super aka Ondo Fudd does crystalline ambient house, disko-tek, slinky house and underwater electro on his 2nd 12” for The Trilogy Tapes
Picking up in the same shine-eyed zones as his ace ‘Blue Dot’ 12”, ‘Eyes Glide Through The Oxide’ seduces with a signature mixture of melodic allure and drift-away rhythm, puckering up with what sounds like spittle sucked thru a reed, set against gently sloshing, glassy rhythms and awning new age pads in the title cut, then laying out the lip-smacking late ‘80s disko of ‘Joyride to My Inside’, and playing out two driving but soft-geed house workouts, and finishing on the money with the iridescent electro flourish of ‘Fluenka’s Song.’
Maria Rossi graces Vladimir Ivkovic’s Offen Music with a special new round of plasmic vocal incantations. This stuff works like a book of spells, we tell you.
Descending from her cloud base somewhere above Glasgow, Rossi presents her most succinct suite of tunes in ‘Seesteyttää’ after a handful of progressively tight and impressive releases with Night School and Primordial Void since 2019. Her sound is now so familiar it feels like she’s been around much longer, channelling to our minds the layered vulnerability of Grouper and the arcane wonder of the Cocteaus, but with a contemporary concision that loosely places her in precious zones also shared by Teresa Winter and Orphan Fairytale.
The four songs here are dense but deeply enchanting, eliding inspirations from Finnish folk via rippling rhythmelodic synths and percussion, and subtlest vocal processing, to sound something like devotional music for an ambient love cult. Somewhere between the plaintive sway of ‘Walthamstow Suokellot,’ the chiming bliss pop of ‘Rushmoren Sipulihoyryt Saniaiset,’ and the ice cave ambience of ‘Selkeammat Vedet’ and ‘Taivaankappaleet.’ we ascended to a higher plane...
An absolute treasure of an album, CS + Kreme’s debut is an early contender for 2020’s best - a quietly seductive, deeply romantic and stealthily addictive long player in the most classic, enduring sense.
’Snoopy’ has got under our skin with its opiated elegance and spellbinding hooks over the precious few months we’ve had the pleasure of spending in its company. Through eight immaculate songs and instrumentals, the duo’s Conrad Standish and Sam Karmel expand on the stripped-down chamber-pop of their prized 2016 debut, absorbing aspects of baroque composition, ritualist psychedelia, spiritual jazz and avant classical into their patented framework of groggy 808 bass, slow-baked vocals and none-more-effective, hypnagogic atmospheres.
Where CS + Kreme’s debut 12” for Total Stasis irrevocably came to soundtrack a portion of our lives, especially its highlight ‘Devotion’, we suspect these coming years will be defined by the low lit allure and melancholy of ’Snoopy’. We’ve already lost count of the number of times it’s seduced us to the horizontal from the first strokes of warbly organ and Conrad’s velvet croon in ‘Saint’, only to find ourselves stunned by the hypnic tear-jerk of its denouement during the final stages of ‘Mount Warning’, and genuinely wondering how the fuck we got there/what time is it/where did everyone go?
Pay a little more sober attention to it, though, and you’ll discover the most tender, sensuous body of work inside, slipping from exquisite baroque trip hop in ‘Faun House’ to the divine, Coil-esque ritual prostration of ‘Blue Flu’, and enchanted neo-classical keys recalling Dominique Lawalrée in ‘Pussywhistle Tea’, whereas the groggy skronk of ‘The Whale’s Tail’ recalls a smudged and psilocybic instrumental echo of Leslie Winer’s downtown ennui, and ‘Slug’ could almost be a knackered Andy Stott with a dose of sleazy guilt.
We don’t say this often, but this album is practically perfect in every way. It’s like a therapist who calmly draws out your inner feelings and leaves you in floods of tears, feeling cathartic but bruised. And it may come as little surprise that CS + Kreme are intimately linked to HTRK, whose Jonnine Standish also supplies vocals secreted inside (...be kind to animals, aye), and with whom they share a deep musical pathos. If you’re still reading, you’re evidently intrigued, and we implore you to follow thru and cop the most affective album you’ll hear in 2020. We’d be very happily surprised if anyone surpasses this slab.
100% must check.
Raw and original house music from Mix Mup, leading on from his MM/KM link-ups with Kassem Mosse
Up top he herds the Detroit-modelled hustle of ‘Clear Drive’ with its wooden kicks and recursive FX opening out into lush synth pads and rude bassline, whereas ‘Flair’ is all about gritty, hypnotic motion in a Marcellus Pittmann or Howard Thomas style, and the B-side’s ‘Pa Toppen’ puts some strut in your pipe.
Beatrice Dillon meets Kassem Mosse for two higher register adventures on The Trilogy Tapes following their joint tape for Ominira in 2016 and a live collaboration at Tate Liverpool.
In a very smart move designed to simultaneously demonstrate their taste for extreme, puristic sonics and sidestep any preconceptions you may have justifiably built up from their respective catalogues, they’ve completely jettisoned the beat here in favour of two tightrope-walking pieces following glistening, highly strung partials over cavernous, swelling beds of subbass oscillator roil.
The effect is far closer to Kevin Drumm on a mad one or with a vertiginousness that will likely induce panic attacks in anyone who doesn’t like air travel or heights, ‘cause when they really get going it feels like the world has just been pulled from under your feet and, well, you’re fucking flying pal.
This is one of those TTT 12”s that’s sure to slice neeks down the middle. For our 2p, it needs to be heard on the loudest system you can lay your paws on.
Jay Glass Dubs’ metamorphosis into avant-dub-noise songwriting sloshes to new high water marks in ’Soma’, following a pair of ace twelves with a full 2LP of all-over-the-place brilliance for Berceuse Heroique, somewhere between @mbient pop, gnashing junglist drums and squashed trip hop - often all at once.
Keening between trampling, wrenched roots abstractions and sanguine dream-pop featuring vocals by Young Echo’s Jasmine Butt (Jabu), Athens-based Georgia Karidi, and newcomer Spivak, ’Soma’ continues the direction of JGD’s last few years into forms of alter-pop that come to resemble modernists such as Arca, but still with that primitive-futurist appeal rooted in dub and Greek myth.
The label cannily beckon you to think of the LP in terms of a “palimpsest”, or eternally overwritten work, where the scars and DNA of life, the voices of Bristol, Detroit electro and the amen break are overlaid in a complex, pagan-sacred geometry - everything at once - with hazy forms emerging from the ’Soma’, which translates from Greek as “Body”. But to put conceptual baggage aside, the results hit heavy and direct on the soul and locked down limbs.
Highlights such as ‘Your Raps’ balance a rude looseness with puckered melodies and almost gospel-like harmonies, and ‘Our Reversed Uniforms’ forges a trance arp-wrought trip hop featuring Spivak, smudged up against what sounds like Arca’s alien pop ballads in ‘The Wrong Frame’, and gnashing high velocity dance music in ‘Wagon Prophet’ that betrays influence from deep central and Eastern Africa in the modern day, while ‘Now Set Up’ is a wickedly dramatic, innovative spin on UK D&B rolige.
Lissom, soul jazz-fuelled house and broken beats from Aussie unit Close Counters, displayed by Melbourne’s Wax Museum
No doubt their ‘Flux EP’ is destined for sunny climes and times, brimming as it is with more juicy basslines, vocal harmonies and swingeing percussion than you wiggle a lolly stick at. fans of Amp Fiddler, Theo Parrish, or Dego will be in their element between the in-the-pocket hustle and blue-eyed soul vocals of ’Something In My Drink’ and the bumpty disco-house swerve of ‘Feel it,’ while \Up and Out’ loosens their belt for a some proper hip action, and ’Speak In Truth’ snaps the funk tight on a broken beat bustle.
OOOF! Upfront SA bubblegum house pressure from Morgan, dealt by flawless Amsterdam label La Casa Tropical
Hitting it hard and bright from the top, ‘Vakowana’ tees up UKF-compatible snares with natty keys and percolated bass in a style that actually feels too fast to be from SA back in the day, but it is what is; banging! There’s a straighter house version on the flip with more Bowlers-style piano house chops, but the A-side is all you need.
Deepchord’s Rod Modell and Viennese sound artist Marit Wolters’ induce ur states of mind with 74 mins of fathoms-deep amniotic sound suspension for Italy’s excellent Silentes programme. If you're a fan of Modell's most vaporous ambient dub excursions - this one's for you.
Following Modell’s thrilling change of tack into rapid techno on ‘Captagon’ in 2019, he again expands his palette here with a subtler fusion of his most ephemeral atmospheric timbres and Marit Wolters’ micro-sound design to endlessly nuanced and evolving/involving degrees. Any semblance of chord structures are less distinct now, smudged into a static but unfathomable infinity where it’s true that still waters run super deep.
Patient reception (preferably at night) will be rewarded with a finely gradiated fade into phosphorescing sferics and chasmic infrasound riddled with a haptic rustle that intensifies the breathtaking synthetic environment with a human touch. One for the believers, and followers of anything from Huerco S/Pendant to Bellows to uon or Pinkcourtesyphone.
Japanese “noise” masters The Gerogerigegege go quiet on the super limited vinyl edition of their 2019 tape for Tokyo clothing label Cav Empt, delivered via TTT.
Showcasing the flip side to their abject noise and playful cut-ups, ‘>(decrescendo)’ sees them ditch the noisy extremity for 40 minutes bathed in pastoral new age ambience and riddled with iridescent, melodic lines of thought that will probably mess with preconceptions of what they’re about (unless you’ve really delved into their catalogue stretching back to ’85).
Pendulous, offset and jazzy deep house flavours from Japan’s Yoshifumi Sodeyama (DJ Sodeyama) in flow as The People In Fog
The title ‘1977’ hints at the EP’s disco and jazz-dance flavours, coming thru in six svelte, richly bass-heavy groovers strung out with strolling double bass-lines, peppered with live percussion and vocal samples, and leading up to me spicier, driving acid and breakbeat cuts.
Deadly screwy weirdness from Aaron Dilloway & Lucrecia Dalt keenly anticipated first full-length communion, getting down with supremely grubby weirdo pop for Dilloway's cult Hanson imprint.
Ten years ago, Dilloway & Dalt met at a festival in Spain and traded releases - when Dalt was asked who she wanted to tour with in North America a few years later, Dilloway immediately came to mind. Needless to say, the pair quickly developed a keen mutual appreciation for eachother's work and began recording together - 'Lucy & Aaron' is the long-in-the-making result. The album was recorded in New York City, Berlin and Dilloway's base of Oberlin, Ohio, and feels both urgent and reactive - a true meeting of minds that balances the duo's respective ideas into something altogether new.
While both artists typically prize slow tempos in their work, they each bring a variable sort of intensity and diffusion of energies to proceedings, with Dalt’s unresolved pop forms kept perfectly frayed by Dilloway’s off-centre tape loops, and likewise with Dalt pulling her spar back from the brink of psychotomimetic possession by dint of her natural pop urges. Even though locked to a loop, the results are disorienting, approximating the feeling of drifting thru corridors that loop into each, a sensation aided by the track sequencing’s mix of imperceptible joints and jump-cuts, with the two relishing in gurning their vocals in hall-of-mirrors warp webbed with spindly synths and queasy grooves that screw us right into their perpendicular dimensions.
'Lucy & Aaron' feels unique and special; there's a general mood that evokes the essence of the "new weird America" movement of the mid-00s, but piped into a contemporary mold that defies easy categorisation. It's highly satisfying to hear two singular artists sharing an appreciation for each other's work while managing to transform that appreciation into art that celebrates not only their similarities, but also their differences.
The eighteenth release on Second Circle is the label's second exploration into an artists archival works; this time presenting a selection of four early tracks by theatre, film and music producer Can Oral under his Khan alias.
"Can moved to Williamsburg, New York in the early 90's along with good friend and fellow musician Jimi Tenor. Born in Germany of Turkish-Finnish parents, he would frantically start buying equipment (such as a TR808, TB303 and Korg Polysix) from junk shops across New York, becoming greatly prolific in his recordings which he would work on throughout the night. During the daytime though, Can set up and ran the now defunct Temple Records, a seminal Soho record store, and later label, largely importing Techno and Acid from Europe.
Though a small store, Temple Records would count musicians and DJs such as Björk, Tricky, Dee-Lite, Josh Wink and Joey Beltram among its regular customers. Also he would host many such guests to play live or DJ at his weekly Techno party “Killer” which was held at Save The Robots in New York’s East Village. Can Oral's nightly studio sessions eventually led to an almost inexhaustible discography with over a dozen monikers each representing a different aspect of his productions. SC018 focuses then on his early electronic works as Khan.
Named after the color painted studio where the EP was produced between 1993-1996, 'Blue Box Sessions' is a collection of four analogue machine driven cuts, covering different tempos and ethos within electronic music. Initially live recorded to an old DAT recorder, and without any overdubs, SC018 is a lost and found artefact to Khan's unquestioned raw talent and timeless relevance."
Winter Family is a duo made up of Ruth Rosenthal and Xavier Klaine. This new album was recorded in St Martin Church of Maxeville, France for a dance piece and was remixed in 2020, it has never been released before.
"I recorded the pipe organ there, inspired by the Alsatian philanthropist organist Albert Schweitzer whose slow, bombastic performances, limited by faulty technique, have always touched me deeply. In 2006, my aunt Loulou agrees to lend me the keys to the church. Ten years later, Loulou passes away, I play on this same pipe organ during her funeral. During the fall of 2018, in her room with old floral wallpapers, so cold, that I empty, surrounded by her missals and huge crucifixes I remix this pipe organs and the voice of Ruth. Through this late remixing, we wanted to deliver this woman from her agony, her eyes turned to the milkish Lotharingia sky and beyond, trying to illustrate this Catholic France of yesterday, as vain and terrifying as a month of November in this cold and humid garden, within reach of the incessant song of the A31 highway." (Xavier Klaine)
The Trilogy Tapes glean a keening enchantment of ondes Martenot and harmonium pieces from one of their earliest contributors, Accident du Travail, recorded in Strasbourg, 2014 and transferred to tape by Cooper Crain (Bitchin Bajas).
Très Precieux Sang makes for a welcome change of pace from the preceding run of TTT’s, slowing time to stately drift and and seducing with supple, spacious tone rather than running a body wild with rhythm.
Pairing the ondes Martenot - an early 20th century instrument famed for its theremin-like sound, and probably best known for its use by Oliver Messiaen, Edgard Varèse and Jonny Greenwood - with the harmonic glow of an old church harmonium; Julie Normal and Olivier Demeaux a.k.a. Accident du Travail cycle eight pieces that tread a fine line between haunting early sci-fi score and folk-wise nocturne, all captured in room recordings that call to mind the charged atmosphere of Gurdjieff recordings or chamber music from a lost civilisation.
Greek enigma JGD beautifully indulges esoteric dub urges and his own vocals for Berceuse Heroique following a string of celebrated experimental dub explorations for the house of Bokeh Verisons, Ectastic and The Tapeworm
Trotting on from his flips of Sade for BH, Jay Glass follows the ancient/futurist themes of his ace Not Glass collab with Alessio Natalizia (Not Waving) across four tracks taking cues from ancient Greek mythology, German kosmiche longhairs and the wigged-out studio experiments of African Head Charge, all galvanised with the modernist efficiency that underlines all his music.
Whether lighting up the militant snares and cinematic strokes of ‘Das Ding An Sich’ with up-to-date flashes of trance pads, or cannily smudging and updating late ‘80s/early ‘90s “ethnodelic” ambient strains in ‘The Controversial Control’, he excels at making the familiar uncanny and vice versa. He spends the A-side priming this kind of inverted sound, readying the EP for a remarkable turn of Martyn Bates-like vocals on ‘Urged To Be Cleansed While Bathed In More Blood’, along with the psychedelic spy funk dub centrifuge of ‘An Ambivalent Path’, before his vocals appear again weft into the majestic swell of horns and beatific choral swells in ‘Atremes.’
A four track EP from Anthony Naples, originally released on The Trilogy Tapes in 2014.
"I named it after an amazing place I visited in Colombia a few months before, and in honor of all the friends I made there." (Anthony Naples)
After dropping our AOTY in 2018, extraordinary percussionist/producer Eli Keszler distills his feelings on Manhattan under lockdown in a killer new suite of noirish NYC jazz rent with electro-acoustic magick - RIYL 0PN, Kenji Kawai, Elodie, Rashad Becker, Aphex x Squarepusher
One of experimental music’s most dynamic figures of recent years, Keszler’s bevy of solo sides and collaborations with everyone from Skrillex, 0PN and Laurel Halo to Jandek and John Butcher have placed him at a captivating crossroads of electronic, soundtrack music, new jazz, and the avant garde. His first album in 3 years, ‘Icons’ is his most broadly appealing and subtly gradated, with a level of emotive nuance, diffracted pacing and vaulted spatialization that beautifully comes to reflect the slow/quick/slow flux of the city during lockdown. OK, ye ye we don’t need to hear anymore about lockdown, but we’ve gotta admit this is one of the coolest, collected musical thoughts on the subject that’s emerged over the whole blasted period, absorbingly transmuting and relating a classically inner city, avant jazz blues ambiance for a new generation in a way that really hits home.
During the past 18 months the usually itinerant artist and performer found himself staying in one place for the first time in a decade, and the sense of tension between stasis and an urge to travel is at the core of ‘Icons’ Replacing international dates with bike trips around Manhattan island, Keszler draws on the experience of carving around the city’s empty streets, as well as those moments when it erupted into activity with protests and ambulances, effectively oscillating across lanes, up the side of buildings, and even thru them, to present a gyring-eye’s view of Manhattan’s unstable reality. From the dawning clangour of ‘All The Mornings in the World’ to the album’s elegiac closure ‘We sang a dirge, and you did not mourn’ expect a completely absorbing day-in-the-life experience as Keszler cycles thru freewheeling gear changes and plays of light dancing between its sound architecture and vertiginous proprioceptions.
93 minute collection of the electronic, ambient, prog, and kosmische side of the 80's-90's Paul Chain catalogue.
Paul Chain is widely revered in the Doom Metal underground, and rightly so, but this collection aims to highlight the many 'other' sides to his work. Anyone interested in NWW list or Mutant Sounds should investigate. Officially licensed collection bringing these gems to back to vinyl for the first time in 30 years.
A new collection of tracks, plus a DJ Python remix, from Sheffield's unperson now out on Negative Space [Ma].
"Hailing from Sheffield – a cultural hub for UK underground sound, having birthed bleep techno and many electronic stalwarts such as WARP – unperson has quickly defined his own unique lane of deeply atmospheric and percussive bass-laden electronics. He distinguishes himself with fwd production techniques, clever methodology and a unique vision; a delicate sound design and introspective melodies blend with moody atmospherics in a style that isn't confined to a specific era or genre besides his own.
'Struggles In Conjuring' exemplifies this and experiments with emotion in ambient textures, hypnotic patchworks and jagged breaks, as unperson journeys through personal grapples in a world that can seem hollow and fractured. The EP sees unperson step further out of the "corners of the club" than he has in his output to date; with an alluringly warm introduction, 3 tracks primed for peak dance floor dismantling and a remix from man-of-the-moment DJ Python."
Proper, doomy industrial techno traction from a new lamb to the churn on Kareem’s Zhark
Striking hard into Zhark’s most classic style, Derlich debuts with six tracks of hippo’s heartbeat kicks and possessive atmospheres that lock us right in the zone. Obviously benefitting from the best soundsystem you can lay hands on, the sound design is made to be played loud and all night long. The distanced pound of ‘Grey Area’ sets cavernous parameters where the chain-dragging beast ‘Rancour’ follows to the viscous churn of ‘In Your Black Eyes,’ plus the tunnelling industrial techno depths of ‘Ad Nauseum,’ the cold killing might of ’Shiver,’ and unsteadier trample of ‘Fight Response.’
Class trio of latin freestyle electro/techno inspired heaters by Brooklyn’s J. Albert, chasing a handful of downbeat outings with a return to the ‘floor
Giving it up for the NYC-Miami connection, Albert plays up to inspirations from vintage Frankie Bones and early Joey Beltram between the warehouse-ready wooden percussion and rave stabs of ‘Knock Knock,’ the coiled freestyle electro drums and proto-darkside leads of ‘Fully Torqued,’ and the nimbler parry of ‘Copal’ compatible with minimalist electro and breaks rollers.
Extra fruity Italo funk, chanson, streetsoul and Miami vibes from Bayete for the disco peacocks.
Buff stuff for all the retro club family, taking in abundant congas and latin freestyle-esque synth chops on ‘Alba’ and some hot vocals in ‘Guapa,’ whilst ‘Sancho’ gleams with sparkling FM synth slickness on an Chanson disco tip, and ‘Lily’ takes it bed ways with a kinky street soul wink.
High calibre, FFWD ambient techno and electronic ballistics from Berlin’s Exael, a pivotal producer in the current flux of activity surrounding the whole Experiences Ltd. and West Mineral Ltd. nexus.
Produced on a dying laptop, ’Flowered Knife Shadows’ sounds out a fine contrast of atmospheric pressure fronts, vacillating a rush of ghetto-tech suspension systems with more elusive, mercurial ambient gestures in alternately restless and sanguine styles that could be said to mirror the world’s palpable state of anxious stasis and upheaval. It’s one of the most dextrous volleys yet heard from this scene, and a must check for fans of Exael’s work in the Ghostride The Drift and Critical Amnesia sessions alongside his buddies; Huerco S., Ol, Perila, Special Guest DJ.
Known as Naemi to their mates, Exael leads out with a thizzing steppers remix of Arad Acid’s ‘Koch Metish’ that comes off like Rian Treanor or Second Woman with a head cold, and that sound design also informs the pinched high pressure point of ‘Quikgel’, and the strange, inverted breakbeat rave space of ‘Boneheaed.’ But the sublimated ambient thizz of ‘Fig Jelly’ triggers a change in the wind directions that leads to quieter, contemplative zones in the crackling pulses of ‘Anc’, to the sunken ambient noise floor of ‘Rotor’, and a coy but spiky kiss-off starring Zoe Darsee vocals in ‘Reality’s Sweetheart (Moon Pie Mix).’
Long-in-the-making sequel to 2005's unsurpassed "Superwolf" is more "Godfather 2" than "Garfield: A Tail of Two Kitties". Basically, way way better than it has any right to be.
At the beginning of lockdown last year, Matt Sweeney and Will Oldham shared a new song - their first since 2005 - promising a full-length in the works. They weren't kidding, after 15 years we're presented with "Superwolves", another collection of tangled jangle-rawk songs penned by Sweeney with lyrics from Oldham. Shockingly, it not only captures the rare, magical mood of the original album but surpasses it, adding a world-worn ease to everything without losing spark. Each song glistens and burns with an energy that's only really captured by artists confident enough in what they're doing that they no longer give a fuck what anyone thinks. Rather than just going through the motions, they play with form and expectation.
Songs are touching and melancholy ('Good to My Girls'), sugary sweet and unashamed ('My Popsicle), explosive ('Hall of Death') and stripped down to a whisper ('My Body Is My Own') and yet from beginning to end there's a coherence that allows you to read "Superwolves" like a good book. It's a timely reminder of the quality of Oldham's back catalogue, but he and Sweeney aren't looking back in time, they're offering us their own take on the state of the world right now, not just wallowing in doom and gloom.
Jana Rush, Dave Quam, Homemade Weapons, and Cardopusher lend solid remixes to an expanded edition of Clipping.’s 2016 ‘Wriggle’
The cranky follow-up to Clipping.’s debut LP with Sub Pop revolves a nasty chunk of Whitehouse’s ‘Wriggle Like A Fuckign Eel’ torn apart in its lead tune ‘Wriggle.’ The whole EP is is a prime example of the LA-based experimental hip hop crew at their rambunctious best, veering from grimy rap (’Shooter’) to cyberpunk jit (‘Wriggle’), jungle juke (‘Hot Fuck No Love’) and trilling rap noise hingeing on the iciest rimshots (‘Our Time’), plus a bashy new cut ‘Back Up 2021’ featuring bars by SB The Moor and Debby Friday.
Remixing, juke and footwork Queen Jana Rush accentuates the kinkiness of ’Shooter’ on a rugged af Chicago flex recalling earliest DJ Nate in her ‘Face Rearranged Remix’, while Portland, OR’s Dave Quam drags ‘Back Up’ to a sort of dark electro sleaze recalling Pametex joints. Seattle’s Homemade Weapons keep it close to Sub Pop’s homeland with a rolling, acidic step-up D&B conversion of ‘Wriggle,’ and Cardopusher yokes the same elements to hard snares and muscle-twanging arps in his EBM remix.
Marvellous suite of pseudo-ethnographic sounds and unreal field recordings from Andrew Pekler, tallying an engrossing debut for his Groupshow band-mate Jan Jelinek’s Faitiche (trans: a combination of facts and fetish).
Taking its cues from Claude Lévi-Strauss’ Brazilian travelogue, Tristes Tropiques and sounding not dissimilar to the washed-out new age meditation tones of early James Ferraro or Dolphins Into The Future, Pekler’s dreamy suite yields eight discrete scenes that feel like aural snapshots of planets discovered in no man’s sky; fanning out from burbling tribal rhythms in Feedback TT to the immersive 10 minutes of 4th world pygmy voices and light headed, hi-register thizz in Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy via the melted Hassell-isms of Humidity Index / Khao Sok (Chopped and Screwed) and the tangled pulses of A Savage Topography, always with a playfully involving, enchanted sensibility.