Haunting, deeply mystic tribal folk disco dub from 1976, plucked out and dusted down by Isle Of Jura Records for necessary reissue. Exactly the kind of gear you’d expect to hear from the cosmic discos of Italy to the stylish discotheeks of Belgium and on balearic sets in the pre-house mid ‘80s, pre-echoing the styles of Burundi Black. Includes a previously unreleased Extended Version and the glorious Anambra River.
“For the next official reissue Isle Of Jura goes back to 1976 to resurrect ‘Anambra’, the jewel in the crown of Dub, Soul & Funk outfit Ozo. ‘Anambra’ is something of a classic, a unique song that’s slow, ritualistic and spiritual, mixing African & Nyabinghi drumming with a Buddhist Sanskrit mantra ‘Om Mani Padme Hum’. An alternate version ‘Anambra River’ appears for the first time on the same 12”.”
A bit of a stunner, this, from mystic Hungarian composer László Hortobágyi, recorded in 1986 for Hungaropop, and just now resurfacing in its revised 2006 form thanks to the Australia-via-Amsterdam label, Lullabies For Melodies. Worldwide credentials in check, the record also follows a worldly path, consolidating far flung ideas from Hindusthani music, bioastronomy, polynesia polyrhythmia, ancient Bali gamelan, Shruti systems and cathedral design (we could go on, and on) in a manner that defies belief and practically does so in its own sonic language.
Looking on the back cover like a monk who can shoot lasers from his eyes if you disagree with him, Hortobágyi is clearly in possession of some other, supernatural knowledge or power, or at the least he’s definitely done some heavy reading and listening. But, speculation aside, his travels and musical skooling in India since the ‘60s are a concrete source of inspiration for this sound and aesthetic, which, in a classic double refraction of ideas between East-West, is filtered thru and played by the traditional music preservationists, Gáyan Uttejak Orchestra (named after the school of musicologist, V.N. Bhátkhánde) and comes out beautifully altered in translation on Transreplica Meccano.
Noted as a masterpiece of his extensive catalogue, Transreplica Meccano is Hortobágyi’s solo debut. As far as we know, this remastered 2006 revision - previously unissued on any format - is faithful to the 31 years old original; a flying carpet woven from incredibly intricate threads of archaic musical possibility, meshing processed samples with flute, bass, trombone, modular synth, voice and strings and Indian instrumentation such as been, tabla, sitar according to classical Indian instrumental techniques and advanced synthesis.
We can hear certain parallels between this sound and 4th world musics by Hassell, YMO and co, but it’s maybe better compared with the output of Rex Ilusivii, if anyone, who also shared a fascination with Indian music which came out sounding quite futuristic gothic from his Serbian base c. the late ‘80s. We don’t want to say any more for fear of dissolving Transreplica Meccano’s enigma, or cos there’s simply too much going on to properly grasp, but we hope you’ve checked the samples and are also spellbound by now.
One of electronic music’s most curious properties, Nat Fowler aka Novo Line expands upon his Braille Satellite EP with two new cuts for this special release commemorating an impromptu tour van rave at Braille Festival in summer ’17, held deep in the dark woods of Lithuania.
Coming off the back off his mutable Dyad for Ecstatic - one of thee best records of this year, if you ask us - this session offers a broader survey of Novo Line’s Atari ST-borne style and displaced pattern with five tracks ranging from the Suicide-esque In A Fix featuring vocals by fellow van traveller Paul Arambula, to a superb consolidation of doom metal and computer music in the crushing bunny tracks.
In A Fix kicks the EP into action with Arizona’s Arambula singing a lullaby about the van over what sounds like a Suicide groove trapped in slowly solidifying amber, before Movement 3 (Last Pythagoras) picks up where Novo Line’s Movements (2016) left off in a skudgy of skewed synth tunings and squashed Boss jakbeats. The stomach-churning, atonal discord of bunny tracks takes pride of place at the centre of the EP, while sScalarr locates a gripping example of how Novo Line is effectively using the outmoded Atari ST like a guitar to generate highly personalized, distorted tunings - think of him as some Kevin Shields of the old beige box - and Finished World presents one of his very most demented sluggers, practically splitting at the seams with turgid, blow-out bass and riddled with wickedly gurning synthlines.
Chicago OG’s Ron Trent and Harry Dennis (The It, Jungle Wonz) reprise their duo last heard on Ron Hardy (Dedication To You) with the deepest house treat of Breeze, backed by jazzier functions on the B-side.
Breeze is the big danefloor tune, featuring Dennis laying it down and dubbed out over one of Trent’s signature, wide basslines and rooted percussive hustle. Monterey (Album Version) catches them both strolling on a jazzier vibe, which Trent strips down to the bare essentials, leaving room for more instrumental expression on synth and keys in Aquatic Movement 1.
Back on the Something label, STL closes out 2017 with Sighted (The Drive of Life)
Giving up two parts in his signature, rugged blend of dusty drums, dub chords and atmospheric disturbance with 15 minutes of M-Series-on-Safari vibes in Monkey Island, and the grubbing hustle of Intergalactic Quantum Web, then reaching out into proper, spectral abstraction with the electro-acoustic plongs and small sound scree of LSS Recording -A-, plus a trio of loops.
Mor Elian cooks up four lean, subaquatic electro tools for Delta Funktionen’s Radio Matrix label.
Check it for the crisply punctuated hydraulic momentum of Gamma Gulch and the darkside scio-fi flow of Starlight Mesa.
The bastard offspring of Matthew Herbert’s label, Accidental Jnr comes with Master H’s debut
Lodging a bumpy, off-centre mix of tribalist drums, chants and acidic electronics somewhere between the label’s Bambooman release and Herbert hisself.
Forgemasters - Shards ov Light is the 21 minute soundtrack to late photographer Shaun Bloodworth’s (R.I.P.) documentary Forgemasters celebrating Sheffield’s history, “from small-scale handmade tools to large-scale forging.”
One for the kinky French soundtrack fiends: 1st of two volumes presenting the 2011 CD compilation on vinyl for the first time.
“Rising out of the smoky Parisian Mai 68 shrapnel and claiming his stake as the first French vampire movie director, the inimitable father of European Horrortica, Jean Rollin (1938-2010) has smudged the painted face of surrealist cinema for over five decades. Dragging his roots from beneath the Letterist/Situationist movements, avant-garde theatre, Belgian fine art groups and entwining them around the minds of sexual revolutionaries, the European comic book cognoscenti, the Parisian free jazz and rock scene, Rollin stopped at nothing to bring his macabre phantasies of zygotic vampirism and back- ward blood cults to Gallic cinemateques and beyond. Celebrating the immortal legacy of the late director Finders Keepers Records have compiled a detailed and comprehensive music cabinet of some of the finest musical moments from his initial directorial decade (1968-1979) that provided a much needed platform for the freak rock and free jazz that mirrored the distorted erotic visions in his own mind’s eye. Imagine Gong-Gone-Wrong meeting the Art Ensembles Of Châteauroux… Fantasy pop groups mutate and thrive within.
Featuring early recordings from mod rockers Unity, free jazz legends Barney Wilen, François Tusque and Jean-François Jenny-Clark and musical co-conspirators to Walerian Borowczyk and Fernando Arrabal, this collection unites a wide range of previously unreleased material with some of Finders Keepers’ most collectable Rollinade vinyl moments for the first collection of this kind featuring music over forty years old.”
Nourishing electronic gristle from Scando noise heroes Lasse Marhaug and Jon Wesseltoft, who chew up a right fuss at “the best studio in Oslo” for their 1st collaborative slab with Bologna’s Holidays Records.
It’s maybe best described as a case of the battle-scarred veteran duelling with a spunky newblood, as the omni-talented Marhaug brings decades of experience crossing noise, jazz, experimental electronics and extreme metal to the table, perpendicular to Wesseltoft’s electro-acoustic praxis, as heard over the past decade in collaboration with indomitable figures such as C Spencer Yeh and Okkyung Lee.
While they neglect to mention where exactly “the best studio is Oslo” is located, the duo properly put it through its paces over five intensely and intently detailed pieces, firstly building Arches from a mass of crumbled electronic scree, then coming off like a prime Masami Akita piece with the delirious flux of Cyberiad, and drawing us into something like a back alley in the plagued zones of When’s Black Death with the visceral virulence Nature Lovers. The flipped gives freer rein to the LP’s title Nature Lovers with subtler sketching of space and narrative logic in Cultivated Leisure recalling the shape of Rashad Becker’s Notional Species, and Cable Cemetery latches onto more direct, pulsating and bifurcating rhythms with a purpose that recalls some kind of cyborganic creature coming to life.
Alga Marghen return to David Behrman’s pioneering electronic experiments with this astonishing collection of live recordings marrying microprocessors with violin, sax and electrified Mbira between 1986-1989, all previously unpublished on any format. While Behrman’s name is synonymous with 20th century avant garde sonics - often checked in the same breath as John Cage, or alongside peers Gordon Mumma, Robert Ashley, Alvin Lucier - it may be difficult for curious neeks to grasp his wide-reaching, exploratory practice, which is where you can consider this LP a seductive and ear-dilating portal to his freely improvised, beautifully mercurial world.
Music With Memory was realised at the behest of John Driscoll and Mathias Osterwold, who conceived the phrase to describe the mixture of then newly available, portable “microprocessors”, or computers equipped with memory, with “real” musicians, namely Takehisa Kosugi (Violin) and Werner Durand (Soprano Saxophone) respectively, at their concerts held at Eiszeit-Kino in Kreuzberg, Berlin, 1986. Along with a later recording of Behrman and Fast Forward making electrified zithers sound like dizzy harpsichords, the collection renders some of the most immediately gratifying yet playfully challenging work that we’ve encountered in Berhman’s catalogue.
The A-side’s 23” piece Interspecies Talk was commissioned by John Cage and Merce Cunningham as music for the 1984 Cunningham Company dance, Pictures. It features Kosugi in flighty duet with Behrman’s electronics, which consisted of pitch sensors, or “ears” as he calls them, triggered by the violin phrases to create indeterminate “situations”, rather than “set pieces”. Whilst on one level comparable with New Age and 4th world precedents, Behrman and Kosugi’s work extends beyond those conventions to plot out gloriously absorbing new realms of gambolling chromatics and slooping phrases informed by, yet unbound from, tradition.
On the B-side, Behrman’s Circling Six finds Werner Durand’s Soprano Sax in the same role as Kosugi’s strings, used to trigger the computer in a duet of piquant yet smoothly contoured cadence and harmonised loops that sound like chorales of Welsh aliens in jazzy conversation. By comparison, the final 5 minute piece All Thumbs makes for a sweetly anomalous contrast, and maybe even the highlight for some listeners, us included. Here, Behrman and Fast Forward, transform traditional African thumb pianos - known as kalimbas or zanzas - in delicious, rhythmic flurries and twanging recursive clusters, simultabneously acting as a brilliant piece for dance, if the mood takes you, or perhaps even imagining Bach jamming with ancient Egyptians using their alien overlords’ leccy supply.
If you’re into any modern electro-acoustic works by Jim O’Rourke, Oren Ambarchi or Keith Fullerton Whitman, you owe it yourself to dive headlong into this one.
Batu, Bambounou and Parris rework tracks from Sampha’s debut album, Process in crafty style on white label for Yung Turks.
After years of exclusively instrumental production, the lord of the Timedance, Batu proves a dab hand with vocals for the 1st time, processing and drizzling Sampha as a plasmic presence over and between his liquified bleeps and anxious bass to stunning effect in one of his most detailed, subtle yet infectious plays yet.
Bambounbou also brilliantly rises to the task with Incomplete Kisses, filleting Sampha into a Reichian tizzy of phasing, percolated choral voices precipitating a tangle of modular bass knocks and warped chromatic convolutions by the track’s end - really not what you might expect - and you trust Parris to eaze the vibe by turning Blood On Me into a mix of precise, pointillist vocal chops and wide, smudged subs, reserving the vocal proper for prime emotional soul punishment.
Horoscope leaves another festering welt following his excellent 'Misogyny Stone' slab for Wharf Cat, which, like this one, recalls a fetid fusion of vibes associated with Prurient, aTelecine, Pharmakon. No poseur, Horoscope trades in grim films of textured noise, field recordings and synthesis that strongly warrant those comparisons, serving to render a unique, low lying and abstract perspective on life as a rat gnawing the big apple.
“Nature Will Keep Growing Even After You Have Lost Everything is HOROSCOPE's tenth release. It is easy to glamorize a sort of faux authenticity through negativity. When curating your experiences through creative practices, with the intention of being viewed in a certain way, you ultimately can't go past yourself. This is an ode to New York City. Using a mix of loops, treated field recordings of the city and modular synthesis, you transcend yourself and the reasons for creating by making a brand new landscape within your own purview. Recorded at 278 Broadway apt 4r in Brooklyn and this is the third HOROSCOPE release by Ascetic House.”
Following up from Finders Keepers’ reissue of “In Alpha Mood” back in 2015, sister label Dead-Cert (run in collaboration with Demdike Stare) finally give life to these restored, previously unheard archival recordings of harmonisation of biofeedback techniques and hypnotic synth sonics from Ami Shavit. Part outsider electronic album; part physiological experiment; part work of art; this is not your average new age record…
With an enviable private collection of synthesisers amassed during his travels to the US in the early 1970’s and shipped home to Tel Aviv (where he was an established kinetic artist, as well as a professor of both philosophy and Art) Ami’s main focus was the desire to combine his love of electronic music acts such as Tangerine Dream, Philip Glass and new synthesiser technology, with his interest in the relatively new technique of biofeedback - a process in which technology was used to relay information about the body’s functions in order to enable a change of physiological activity.
Combined with his understanding of alpha brainwaves (primarily attributed to a function of the brain that deals with relaxation), Ami embarked on an experiment with what he called 'Alpha Mood' - a state in which the brain works in relaxation and in which music is used as a means of helping induce its own meditative state.
The fruit of that experimentation came in the form of a single privately pressed LP aptly titled In Alpha Mood which was limited to only 500 copies and distributed exclusively by a longtime friend, agent and owner of a small local record shop in Tel Aviv. Five 1/4 inch tapes (including the In Alpha Mood master tape) represent the only remaining artefacts of Ami’s experiments - the rest having been either lost, given to friends or simply thrown away.
Undated and unannotated, these raw studio recordings proivde a rare glimpse of Ami at work in his attempts to perfect his technique and reach the plane of Alpha Mood. The A-side’s Neural Oscillations sounds like Tangerine Dream on a magic carpet flight, but the LP really comes into its own on the B-side with the much slower meter and raga-esque phrasing of Alpha Rhythms 1, and most particularly in Alpha Rhythms 2 where Shavit chills out on the distracting top lines to focus on a wide, spongy, sluggish bass tone and icy melody with a transfixing appeal recalling Robert Aiki Aubrey Lowe’s contemporary practice.
'Colleen Et Les Boites A Musique' ("Colleen and the music boxes") is Colleen's most arresting and sublime offering to date - constructed entirely from the impossibly beautiful sounds of chiming music boxes.
Opening with the clanking and winding of 'John Levers the Ratchet', this is the perfect introduction, as if the record were being wound like a music box to run across its 40 minute life-span before returning to stillness.
The music box has, of course, been used before within a contemporary framework (Aphex Twin's "Nanou" for one), but the way Schott composes seems so obviously matched with the mechanical and naïve qualities we hear that she seems to own the concept.
"Colleen Et Les Boites A Musique" is in fact so sublime that her output to date seems to have been merely leading up to this serendipitous moment - concept and execution coming together for a wondrous display of simplicity and beauty. Like the soundtrack to your favourite half-remembered fairytale, you won't find a warmer, more inviting record this year.
Boy Harsher find a fine line thru EBM and darkwave synth-pop with ineffable élan on their debut for Ascetic House, neatly benefitting from mix and master by Maurizio Baggio (The Soft Moon, Merchandise).
Their Country Girl EP sounds like it was dialled in direct from 1986, with sleek, rolling bass arps, glass-eyed gynoid vocals and lusting synth pads seemingly construed for the dry-iced runway of the mind. It could just as easily soundtrack a hi-end fashion show as lure you into a redlit basement, feeling out immaculately realised vibes between the effortless flow and ache crooning of Motion thru the wickedly skizzy light/dark/light twist of Country Girl, to the early ‘90s synth-pop sensuality of Underwater, and with super infectious freestyle inflections that funk up and counter Jae Matthews’ perfectly aloof vocals in Westerners.
Transfixing Venezuelan field recordings from the private archive of amateur ethnomusicologist Oswaldo Lares, ranging from completely unique percussive patterns to acapella songs and remarkably electronic-sounding marimba pieces. Must be heard to be believed, ‘cos we bet a billion bucks you’ve never heard any of these before!
"After a concert of Kenyan singer Ogoya Nengo in Berlin in 2015 in a pleasant conversation Guillermo Lares told me about his father, Oswaldo Lares, a studied architect who, parallel with his professional activity, began to make field recordings of the traditional and indigenous Venezuelan music from the early 1960s onwards up until today.
His search and fascination for finding the musical roots of his country led Oswaldo Lares to visit the rural villages outside Caracas, investigating the many and varied musical cultures of the region and the complex relationship between Venezuelan folk music and its various origins, including the African (música afrodescendiente).
The vast amount of music documents in the form of sound recordings, photographs and videos accompanied by notes and studies reflect the scope of this entirely self- taught sound engineer's work and represent a passionate documentary, making his work today one of the most comprehensive and systematic that has ever been assembled by a single person in Venezuela. Oswaldo Lares as an ethnomusicologist remained an amateur in the most direct meaning of the word: amare. Whereas most studied ethnomusicologists travel around the world to explore far away continents and foreign cultures, Oswaldo began to devote much of his spare time to the generally overlooked folk traditions that existed right in his very neighbourhood.
Currently Guillermo Lares has started to promote his father's work through the Achivolares Foundation, turning it into a living archive that preserves an essential part of Venezuelan musical memory. It is a pleasure and honor of our label TAL to support the invaluable work of Oswaldo and Guillermo Lares with this album."
First in a series of Six albums by The Caretaker to be released over the next 3 years, slowly cataloguing the stages of early onset dementia. Each album will reveal new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness...
Embarking on the Caretaker’s final journey with his first release in four years, Everywhere At The End of Time sets off with the familiar vernacular of abraded shellac 78s and their ghostly waltzes to emulate the entropic effect of a mind becoming detached from everyone else’s sense of reality and coming to terms with their own, altered, and ever more elusive sense of ontology.
The series aims to enlighten our understanding of dementia by breaking it down into a series of stages that provide a haunting guide to its progression, deterioration and disintegration and the way that people experience it according to a range of impending factors. In other words, Everywhere At The End of Time probes some of the most important questions about modern music’s place in a world that’s increasingly haunted or even choked by the tightening noose of feedback loops of influence; perceptibly questioning the value of old memories as opposed to the creation of new ones, and, likewise the fidelity of those musical memories which remain, and whether we can properly recollect them from the mire of our faulty memory banks without the luxury of choice
As the first in the series, and despite its typically frayed loop construction, this volume is the most lucid, as subsequent instalments will continue to move into faded obscurity and material erosion. We’ve only ingested this first volume so far, so we cannot predict whether the ensuing journey and results will be lush, tortuous or, perhaps more likely, an ambiguous weaving and unpicking of the two and all interstices between.
We encourage you to join The Caretaker on this, his final journey thru the endless haunted ballrooms and mazy corridors of his wasting mind...
Stunning side of inverted atmospheric recordings bringing the background into the foreground - one side of processed sheep recordings, plus one side of softly plangent bell or gong recordings, both relating to installation works, all appearing on vinyl for the first time. If you loved Tomoko Sauvage’s Musique Hydromantique or crys cole and Oren Ambarchi’s Sonja Henies Vei 31 and Hotel Record LPs, you need to check this out!
“"I have worked together with sheep before" - says Henning Christiansen - introducing the performance he did in front of the Brucknerhaus in Linz in July 1988. But this time he went beyond, building a "Concert-Castle" with hay blocks where thirty sheep could perform music. Another time the animals - Christiansen's obsession and passion - become the musical instruments used for his compositions: "Originally most of instrumental sounds derived from animal voices or other sounds of natural phenomena. The violins, for instance: someone found out that stretched intestines, dried bowels, could produce a sound. This has simply been civilized, refined".
Schafe statt Geigen (Sheep Instead of Violins, 1988) and "Verena" Vogelzymphon (Bird Symphony, 1990) first appeared as a small CD edition issued by Galerie Bernd Klüser in 1991. Both works, each one occupying a full side of this LP edition, extend from one of Christiansen's long standing conceptual strategies - deploying recordings of animals as stand-ins for musical instruments, sheep and birds respectively. While each work allows these source to take the natural lead, at times masquerading as field recordings, both feature subtle tonal and electronic interventions by the composer, creating strange and brilliant compositions which shift the terms and subjects of music as they were long understood. Accompanied by a twenty page booklet featuring drawings and texts by Henning Christiansen, as well as pictures of the performance by René Block.
"The background, the space where music happens is what I want to put into the foreground."
Metavari gives extra synth flesh to his re-scoring of Fritz Lang’s ‘Metropolis’ with this batch of new edits, including extra augmentations by Sarah Davachi among others in the accompanying download code. Definitely a strong look for the sci-fi nostalgia mob!
“‘Symmetri' is Metavari's sophomore studio release led by electronic musician and composer, Nathaniel David Utesch, and debut studio LP on One Way Static Records. The work is a stand-alone edit of Metavari's 'Metropolis' re-score from Record Store Day 2017; introducing new and reconfigured material in addition to selections from the soundtrack.
Metavari is the stage name of Indiana-based electronic musician Nathaniel David Utesch and is best described as the intersection of nostalgic electronics, ambient soundscapes and off-kilter synth pop music. Since 2008, Metavari have toured extensively in the US; sharing the stage with notable acts such as This Will Destroy You, Maserati, Tortoise, Titus Andronicus, Anamanaguchi, The Appleseed Cast & Small Black.
Written and produced over the course of 20 months, the lengthy writing time stretched across a whirlwind season surrounding the miscarriage of Nathaniel and his wife's first pregnancy and coincidentally ended just after the success of their second. Nathaniel said of the writing, "The record was drenched in an incredibly dark season of our life and yet concluded at nearly the opposite. I quite literally finished the record with my newborn son in my arms." While much of 'Symmetri' was written as a re-scoring of Fritz Lang's 'Metropolis,' it's still almost impossible not to hear the disparate tug and pull from Nathaniel's personal experiences during the time of the recordings.”
Deadly Afro-disco and boogie baddness from Ivory Coast, 1982 - trimmed of the fat and leaving behind three prime pieces on this 1st ever reissue, including the trance-inducing psych-disco belter ‘Bian Kou’, a hornier funk soul workout in ‘E Clôlo’, and the slinkier soukous of ‘Miokouna’
“Kalita Records are extremely proud to announce their first release, the three choice cuts from NST Cophie’s (Ernest Koffi’s) super rare private press Ivory Coast 1980 Afro-disco album ‘Mon’Da Center’.
After moving to Paris in 1976 and having played with other well-known bands such as N’Bamina, Osibisa, and with numerous artists including Jimmy Hyacinthe and Papa Wemba, ‘Mon’Da Center’ was Ernest’s first solo album. Recorded at Studio Caroline in Paris’s 20th sector over the space of one week, this self-funded ultra-rare album regularly exchanges hands for eye-watering prices.
Pretty much unknown except to the most hardened of diggers, ‘Bian Kou’, ‘E Clôlo’ and ‘Mioukouna’ are guaranteed to set any dance floor alight, with hypnotic Afro-disco grooves, killer drums and angelic female vocals .
We hope that you love the tracks as much as we do, and invite you to join us in celebrating the musical world of Ernest Koffi!”
Following his Pacific Alley album for L.I.E.S., Krikor Kouchian serves this killer soundtrack to the documentary 'Arabie Saoudite: Les Liaisons Dangerousness' on a deluxe presentation for Jean Carval and Low Jack’s Editions Gravats. Where the French TV program focusses on the Saudi royal family’s support of Wahhabism and the West’s appeasement of Saudi foreign policy, Kouchian underlines and accentuates the content with a brooding blend of mirage-like electronics and drum machine geometries that take on a gauzy new life thru the tape format.
In tone and aesthetic Kouchian’s soundtrack feels close to the use of melancholic ambient motifs in Adam Curtis documentaries on the same subject, as the Parisian artist conjures a sort of furtively ephemeral and mystic feel that matches the clash of ancient religion and crude oil-soaked modernity explored by the documentary. However, where Curtis’ soundtracks tend to collage recurring motifs, Kouchian’s emotive nudges are perhaps less ambiguous, lending a decidedly dark, looming shadow to proceedings.
Highly Recommended if you're into Gigi Masin, Low Jack, Terekke, Newworldaquarium, Boards of Canada!
Ideal recordings follow up aces by JASSS and Vanligt Folk with an album of insane, hand-cranked, lo-fi anti-music in Gabi Losoncy and Allen Mozek’s Good Area’s Macbeth, coming off the curled back of their sides for Kye, Recital, and Hanson Records. Sounds like a sedated Yeah You or Smegma jamming with anguished alley cats on a battery of garbage cans...plus, that artwork!!!
“Once upon a time, there were two very difficult people who loved music very much. They loved music so much that they stayed together despite having clear signs that it was not necessarily the right thing to do. They made music together, or next to each other, and everything that happened, happened in the music. It was all whatever, but they still like it.
iDEAL presents Macbeth, Good Area's second LP (first one was on Graham Lambkins great KYE label). It's the best material they ever did, and their last one ever. Lo fi beauty for anyone into the calmer parts of BRAINBOMBS, maybe The DEAD C, or for you worshipping the Siltbreeze catalog OR just anyone insane enough to get into deep, weird stuff.”
Excellent second solo album from Thom Yorke, reissued.
He's joined by regular production foil Nigel Godrich, credited with production and editing, and his Radiohead bandmate Colin Greenwood chimes in with beat programming on 2nd song, 'Guess Again!'. It's a melancholy thing built from tenderly bruised bass and a filigree palette of "silver darkness" shot thru with fluoro tones reflected in the sleeve art's colour scheme.
Highlights include the feathered 2-step and phasing chords of 'The Mother Lode', the buoyant techno pulse of 'There Is No Ice (For My Drink)' and a future-fave closer, 'Nose Grows Some' are Thom Yorke at his most bruising, and, when coupled with the charms of Basinski-esque, decaying keys in 'Pink Section', or the lushly skewed harmonies of 'Interference' make for his most engrossing record yet.
Like a bag of alluring but unidentifiable pop confectionary from a stranger, Profligate’s Somewhere Else album is a deeply uncanny pick ’n mix of familiar yet surreal flavours for anyone with a wonky sweet tooth for post-punk, dream-pop and mutant industrial tastes.
The latest on Brooklyn’s Wharf Cat Records keeps up their reputation for picking fringe delicacies (think Horoscope’s Misogyny Stone, or Joey Agresta’s Let’s Not Talk About Music) with Profligate’s follow-up to a string of collaborations and releases for Not Not Fun and Unknown Precept over the past five years.
While those releases all demonstrated Noah Anthony’s diverse palette and knack for songcraft as Profligate, the addition of Elaine Kahn on vocals now arguably takes the project somewhere new and more absorbing, somewhere between Throbbing Gristle at their most contrary, and Broadcast dabbling in lo-fi, rhythmic noise.
Glass mastered CD packaged with custom silver/chrome sticker in resealable poly sleeve
59 minute of free-floating ambient dub techno bliss, threatening to be engulfed by the sheer size of it all, but keeping the listener dangled just above and at the centre of it all.
“A haunting of the spirit and soul, a near-hour long journey into some of Phase 90's most ominous territories yet. The darkest side of Dub. Field recordings extracted at The Detroit Masonic temple, an alleged location of supernatural and EVP Phenomena. Recorded live in the mix for an art installation exhibit held in Ann Arbor, MI. 2016.”
The second of six LPs issued under the title Everywhere At The End of Time, cataloguing The Caretaker’s fictional first person account of life with early onset dementia.
This second stage takes a more wistful tack as our protagonist gradually realises that all is not well and begins to rummage deeper into the recesses of his mind, masking emotions of grief, loss, fear and uncertainty.
As The Caretaker’s short term memory functions begin to more rapidly erode, the loop-based punctuation of the previous instalment begins to subtly unravel, leading his mind to drift off and ponder upon fuller segments of tea dance strings and horns which appear uncannily more inviting, seductive, and now almost even more tangible than the abbreviated reels of earlier editions.
Loop points wilt away in autumnal greys and russet rustles as new information becomes more difficult to process, making it more preferable for The Caretaker to back pedal down memory lane toward an opaque smudge of half-forgotten/remembered spaces, places and un/familiar faces which provide more comfort and clarity than the world around him.
The tracklist spells this transitional flux in poetic terms, wending from the fading beauty of A Losing Battle Is Raging to the exquisitely tense yet plasmic strings in Glimpses of Hope in Trying Times and the lilting resolution of Surrendering to Despair, before Still Feel As Though I Am Me basks in glowing embers that turn to a Quiet Dusk Coming Early, and the waltzing bliss of Last Moments of Pure Recall leads to the unshakeable pangs of sadness that light up The Way Ahead Feels Lonely like short-circuiting synapses.
It feels strange to recommend undergoing this experience, albeit in such an impressionistic and detached manner, and yet it feels like a conversely enlightening one for these strange, disingenuous and unpredictable end times that we inhabit right now.
The Icelandic banger-builder tests out bendier acid-electro and techno styles in the Geothermal Sheep EP for his bbbbbb label.
The image of AFX and Rephlex Records looms large over all four cuts, but twysted with a 2017 gurn, resulting the sawn-off electro jolts and curdled Braintrance pads of Soda Sugarlicious, the scrunched and booming shapes of Klobbalegt_ix_ (Original Mix), an early ‘90s AFX-style roiler in Drab 2, and one frenetic slingshot of flashcore/drill ’n bass in yer focking face on 2 mewtwo 5 [GRX230P018] B-) aprilgabb2 (Original Mix).
Bokeh Versions light up a necessary reissue of Tradition’s long-lost outer-dub oddity Captain Ganja and The Space Patrol, pressing up a damn fine and deeply psychedelic reminder of North London’s contribution to the worldwide dub sphere c. 1980 - years before Scientist and Jammy battled the space invaders.
As a secretive and sought-after outlier in Tradition’s catalogue of lovers rock and dub aces, Captain Ganja and The Space Patrol represents the group’s most esoteric and experimental urges in full effect, springing dub’s mutable framework with a sample bank of crying babies, radiophonics and library soundtrack FX and then swirling the whole thing in Paul Thomson’s cosmic synths and keys.
From the red-eyed bachelor lounge vibes of of The Breathtaking Blast thru the lush recoil and tumble of Subaquatic Swerves and the pealing oddness of The Creepy Crawl to the bawling infants perfused around Rocket Repairs’ warbly melodica and decaying drums, it’s clear to hear how this album provides perfect context for Bokeh Versions’ previous releases, from the loose schematics of Seekersinterntional to the plasmic plong of Jay Glass Dubs, and even the label’s colourfully warped charisma on the whole.
It’s totally primed for a long, hot summer…
Omar-S does that deep and gritty house hustle like no other with one last jag of the year.
Up top the 313 OG metes out the ragged blues-jazz stomp and pivot of Dancer’s Anthem, loosely chopping up some unidentified samples into a stuttering scuff and parry, wickedly keeping in a fragment of audience applause which becomes a percussive layer in its own right. It’s achingly strong this one.
Downtown, his Odawa swerves to a cooler swang with signature, ruff cut drums and a nipped ’n filtered disco bassline keeping the pressure simmering down low until a natty garage hook lets it out in the final quarters.
That A-side’s gonna get all the play…
After debuting Native and Rupert Clervaux’s CLX project, Laura Lies In deposit a raw, grimy synth noise session by Den Haag’s Jan Katasma aka Nukubus and one half of Syncom Data.
Under the title Para - which could be taken metaphorically as in-between, or as in the mental condition, - the Dutch producer spits out six gobs of masticated, livewire electronics and caveman donks with a primitivist alacrity that makes many other noisy techno or rhythmic noise folk sound a bit too fussy.
Up top, that means the lop-sided, distorted oscillations of Para 1, the early electronics oddity of Vonk, and a ersatz tribal tumper called Para 2, while down below he comes off like a Black Mecha blast from another planet with Para 3 and the head pinching intensity of GellAC, while Fear The Mindkiller sounds like he left the machines running after Syncom Data’s Den Haag 12”, only to return years later and find they’ve mutated into gristly twysts.
The Echospace plot thickens with DC Trax’s The Octal Years overview, collecting triple deep cuts from Rod Modell's archive, plus a few unreleased goodies, all dating to 2001-2006. We still return to the original Defragment: Parts 1 - 10 on 12” from time to time, so this new archival edition is very handy indeed. Prime picks for the dub techno connoisseur.
“In reflection of the many years of development of the DEMF/Movement festival since its inception coupled with the near 15-year anniversary of these releases (and the first live appearance of d e e p c h o r d @ DEMF w/Mike Schommer) we're pleased to announce the continuation of our archival edition. Many of these releases (originally appearing on Octal Records) took center stage on the walls of the dance room @ Record Time (circa 2001) canned by Detroit Legend, Mike Huckaby. This release will mark the fourth installment to the coveted series and returns to form with a stone cold classic from the DC vault. The first time ever released on CD (including unreleased material), lovingly remastered and assembled by Rod Modell.
Great measures, focus and time were spent to preserve the analog warmth and sonic integrity of the original masters. For those who don't know, these releases are considered by many some of the most inspired and influential sounds to emerge from Detroit well over 15 years ago -- a blueprint was set here for many artists to come, a step in the evolution. Expect gorgeous plumes of sound deeper than the ocean floor -- a rich analog tapestry made in the heart of Detroit, Techno City.”
A totally haunting song about and for a dead horse, performed at the site of sacrifice, as protest against the Vietnam war.
“On January 30, 1970 Henning Christiansen and Bjørn Nørgaard - a figure nearly radical as Christiansen himself - hit the Danish national consciousness when a large portion of the Danish population watched a TV broadcast performance piece in protest to the Vietnam War. Hesteofringen (The Horse Sacrifice) features the work Min døde hest (My Dead Horse, 1970) OPUS 55 for piano, voice and violin (green), a beautiful haunting fragile song featuring a poem written by Bjørn Nørgaard and performed by Lene Adler Pedersen, accompanied by Nørgaard and Christiansen on piano and (green) violin. Laden with metaphor, this beautiful, sad lullaby, is as simple and unusual as anything in Christiansen’s output. Previously unreleased.”
The third of a six album cycle cataloguing The Caretaker’s fictional first person account of life with early onset dementia, presenting some of the last coherent memories before confusion fully rolls in and the grey mists fade away. In this crepuscular, autumnal phase, recollections phosphoresce and wilt in advancing stages of entropic decay, steadily approaching a winter of no return.
Continuing to mirror the progression of dementia, using nostalgia for ballroom as an allegory of the disease, The Caretaker’s musical flow in places becomes more disturbed, isolated, broken and distant. Singular memories, and all their connotations, begin to atrophy and calcify, crumbling away with each rotation of the record - sometimes in curt scene cuts, others in quietly breathtaking reverbed fizzles; like tea lights extinguished, never to flicker again.
These are the last stages of awareness before we enter the post awareness stages, where those memories become completely detached from comprehension. On stage 3, the haunted ballroom's repertoire becomes increasingly muddled, pealing off in recursive contrails from the gestures of Back There Benjamin, to snag on the stylus in starkly reverberant knots on Hidden Seas Buried Deep, or worn down to calloused nubs such as To the minimal great hidden, and Sublime beyond loss, all leading up to some of the project’s most uncanny detachments in Libet Delay and the coruscating brass shimmer of Mournful Cameraderie, which beautifully suggest the mercurial nature of memory and its recollection.
Trevor Jackson flexes his wiry EBM muscle as PinkLunch, reviving his old moniker for a full LP of darkroom sleaze from the top drawer of his cabinet.
Douglas J McCarthy of Nitzer Ebb joins in on definitive album highlight, On The Floor, and Chloé Raunet ov C.A.R. lends gynoid vocals to the slow, ruddy jacker Inamorata, but Jckon is left to his diverse for the rest of the album, working out finely calculated variants of EBM and darker, electroid house music with highlights in the blank-eyed swagger of Other Side, in the haughty acidic thrust of Load Warrior, and with a doom core thirst recalling The Horrorist in A.N.T.I.
Brilliant reissue of Maria Monti's Il Bestiario, originally released in 1974 and a prime example of the avant-garde art-song of the 1970s.
"Known for her renderings of Italian popular songs, Maria Monti is an Italian singer and actress with a noteworthy career: cabaret singer in the '60s, ambitious avant-garde folk artist in the '70s, and starring in films by directors as such as Sergio Leone's Fistful Of Dynamite (1971) and Bernardo Bertolucci's 1900 (1976).
Il Bestiario is a near perfect emblem of the fascinating territory gained through collaboration. It enlisted the radical poet Aldo Braibanti as its lyricist, features arrangements and synthesizer from Alvin Curran (Musica Elettronica Viva), the baritone saxophone of Roberto Laneri (Prima Materia), as well as the soprano saxophone of jazz legend Steve Lacy.
The result is absolutely stunning, musically unique within the respective outputs of its participants' long and noted careers. Unquestionably one of the most beautiful and neglected albums of its decade."
Paleman rolls into ’18 with a heavy duty trio of UK bass techno girders on his personal label.
Skulking somewhere between the Swamp 81 sound and the dank styles of Regis, Pinch or Pessimist productions, PLMN 002 investigates fluoro grey interzones of the modern UK warehouse, establishing a cold and cavernous spatial dynamic with the shark-eyed swerve and deadly pressure of Paranoid Loop on the front, then cutting a more shadowy figure in the monotone colours and serpentine momentum of Fingers, and isolating that ghostly energy at its nerviest, clammiest with a pendulous acid mutation called Cliffview Spider.
Not to be missed!
German jazz-house, originally issued in 2001
Reissued in abridged form with Walkin’ Thru Circles [Full Expansion] on A-side and the subtler swing of Walking Thru Circles [Thump Mix] on the B-side.
Pangaea overhauls Loleatta Holloway’s obscure ‘90s house nugget Stand Up as a sort of dabke-meets-UK bass play for Salsoul.
Hingeing around a sub hit and scream stab reminding of his Inna Daze 12”, Pangaea replaces snatches of Holloway’s vocal around a snaky break broke right off some Omar Souleyman tune, resulting one of 2017’s smartest, most effective curveballs.
Beautiful outsider Italian Library obscurity reissued for the first time. Imagine Can jamming with the Velvet Underground at an observatory in the Mediterranean and you can almost taste the acid zing on these grooves.
"Perhaps the most bizarre artefact to emerge from the phenomenal world of Italian Library music. Originally scored for a 1978 RAI television documentary, the album titled Tuscan Castle and Country Seat conforms to nothing you know or understand about library music. Studying composition under maestro A.R Luciani, the young Teisco composed innovative home studio recordings that parallel the outsider technique of French soundtrack composer Francois De Roubaix.
With little resemblance to the standard cues usually found on library music LPs, this is stoned underground psychedelic music of the most eccentric kind. Imagine lyrical Moog oscillations drifting loosely over baroque and hallucinogenic atmospheres, or alternatively, think the DIY guitar jamming of the Velvet Underground and Dream Syndicate mixed with the electronics of some lesser-known Krautrock band. Wherever this recording sits among the dusty shelves of forgotten stock music, it is highly personal, deeply rewarding and without a doubt the most mind-blowing library record you will hear this year. This record is soon to be an outsider classic."
Perhaps the most important contemporary torch carrier for cold wave pop, Martial Cantarel yields his strongest work to date with ‘Lost At Sea’; a richly evocative collection of songs and instrumentals that doesn’t shy away from up-to-date sounds, but uses them inventively and nimbly at the service of the ‘floor and with an ear-snagging sharpness when consumed on headphones.
“Since composer Sean McBride unveiled his first utterance as Martial Canterel almost 2 decades ago, he has produced a body of work both substantial and alluring within the field of live analogue electronic music. Effortlessly fusing a variety of styles and influences, Martial Canterel is one of the premiere outfits utilizing analogue electronics and modular synthesizers. In particular FM synthesis is employed to produce clustered polyphonies and organic atmospheres - a staple of his signature style.
Three years have passed since Martial Canterel’s last full length album Gyors, Lassù was released on Dais Records. During this down time, McBride found himself in a state of flux, ebbing back and forth between material displacement and musical aestheticism. His expert pedigree in electronic sound and arrangement bridges the gap created by an undecidability between life at home and abroad - his new album, Lost At Sea, is an attempt for the artist to locate common ground, mutating fable with reality, exteriority and interiority.
The album's introductory track, Giving Up, has all of the hallmarks that Martial Canterel has utilized in the past…melodic chorus, upbeat rhythm and classic sequential dynamism. Where the song diverges is in its core theme of nature: nature’s return to a period of restoration after the failures and recklessness of humankind. Although this first glance refamiliarizes one with the tight, upbeat appeal typically found within the genre, Lost at Sea quickly takes a more serious and sobering tone.
The slower pace of songs like Scampia and Puszta yearn for McBride’s complex love affair with far flung destinations. Re-evaluating the political strife and social unrest in these historical locations, McBride delves deeper into political and geological reference points creating symbolic representations using mechanized percussion, white noise and various sine waves.
The conceptual nature of Lost at Sea reaches even deeper depths within the waveforms of Astralize, a track based upon academic Donna Haraway’s pre-civilized theories of human neglect after the ‘azstralization’.”
Alga Marghen sublabel, Planam presents the original LP edition of 'Handcut' from Giuseppe Ielasi and Nicola Ratti's Bellow project.
On their 2nd release as a duo they have concerned themselves with "…a simple technique of cutting/destroying and amplifying vinyl records with contact microphones, creating new grooves and physical loops while capturing the sounds on a revox tape machine with long tapeloops." These loops are then subtly embellished with effect pedals and sine waves, resulting in an enigmatic array of frictional textures, ghostly melodies and effervescent reverb strongly reminiscent of The Caretaker's compositions, but with a more mysterious, unexplained clutch of source material and the presence of deep, rumbling subbass apparitions.
The label likens it to "a sort of atmospheric and modern electronic music recorded at the beginning of the twentieth century on 78rpm shellac records", and we'd be inclined to agree, but there's also shapes and tonalities which wouldn't have been present in that era, from cochlea-kicking bass hits to supple subbass frequencies.
At the risk of repeating ourselves, this is another immensely captivating and uniquely esoteric Senufo Edition, and highly recommended to listeners with a taste for slowly immersive tone and texture. Letterpressed sleeve printed by Ben Owen/Middle Press and Photographic insert by Amadeo Martegani - just beautiful stuff from end to end.
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.
Laraaji brings his cherished Vision Songs to life, playing zither, Casio keyboard, gong and vocals interspersed with charming anecdotes, all documented live at London’s Brilliant Corners, September 2016. Reissued for the 1st time by Numero, Laraaji’s Visions Songs  was the sublime, gospel and soul-infused follow-up to his Celestial Vibration  and Ambient 3 (Day Of Radiance)  collaboration with Brian Eno. Blessed be the listener who gives some time to this one.
“A live, 92-minute improvised session by Laraaji based on his 1984, Vision Songs material. Until now only fragments of Vision Songs have been released, tracks such as “All Of A Sudden” found their way into the New Age / Ambient music scene. Owing to it’s unique sound, it became an underground hit and there’s more where that came from. This crossover of New Age and Gospel Soul, led by Laraaji’s vocals – channelling meditations of new thought - is distinctive in his discography. Here, you'll find a recording capturing the spirit of a particular moment in time: of Laraaji playing Vision Songs to an intimate audience 32 years after it was first recorded in his Manhattan bedroom.”
Exciting new label Lost Futures tap “into the inherent idealism of rave” with this killer 1992 techno session by Arno Peeters, Sander Friedeman and Richard van der Giessen aka CultureClash, who were originally conceived at the behest of Irdial Discs’ Akin Fernandez for an hour long live performance on his Kiss FM show.
For the first time, that show has been edited to individual tracks and made available on vinyl, some twenty five years after various failed attempts to properly release its seminal slice of dancefloor history. Fans of Psychick Warriors Of Gaia, Underground Resistance, Muslimgauze or Utrecht’s U-Trax need to check this one, pronto!
Originally converging under the moniker, The Awax Foundation, the trio from Utrecht recombined their vast, personal reserves of ethnic and traditional music samples from across the world with an Atari 1040ST, a cheap mixing desk, synths and FX to effectively assuage techno’s increasingly masculine stomp. The results essentially picked up where their fellow countrymen, Psychick Warriors Of Gaia left with 1989’s tribalist EBM templates, pushing farther along those lines to a loose, driving, hypnotic sound which swerved accusations of “ethno-techno” appropriation thanks to their sincerity and results which have evidently stood the test of time.
CultreClash thus stands a temporal crossroads which perhaps resonates more with our modern times than any other. In 1992, a decade after the swell of new age, and years after the future-primitive thrust of Chicago house, or even Detroit guys fetishising Japanese electronics and synth-pop, the techno movement was in full flow, cosign to the grasp of white europeans who, on the one hand, wanted to make it more commercial, for bigger raves and the charts, while on the other hand, others wanted to explore its esoteric, aerobic mystic potential, such as these Dutch dudes.
The results of their endeavour form a killer set of DJ tracks and a necessary time capsule from that era, hingeing all kinds of mad polyrhythms, chants and sampled instrumental tones around rolling kicks and natty electronics. In the wrong hands that could have come out terribly, but these guys got it bang right with tracks like the febrile, heatsick ace Bad Dream, or like a tuffer NAD with the brooding NYC-Nonplace vibes of Mystic (House Dub) or the mesmerising acid fuss of U.U Inlands (Halal Edit) and the rolling breakbeat bustle of Zitarz, while making room for more spacious, wistful rave kisses in the sloshing, Muslimgauze-like Mama Africa and Asian Approach, or the sufi-esque dervish, Yatiyaña.
CultureClash weren’t the first and won’t be the last to try this sound, but they did it with timeless style and effect that totally deserves this reissue, which we can’t say about many other similar attempts.
One for the dreamers of the dream.
Borderline-bonkers double feature presentation of near-mythical dadaist songcraft from 1981.
Picked up pressed to vinyl for the first by Alga Marghen sub-label Planam and A Tree In A Field 30 years after it was originally released, Die Welttraumforscher's cherished 'Herzschlag Erde' is reissued alongside its unreleased follow-up 'Verdunkelt die Sinne', together providing your recommended annual dose of esoteric Swiss/Alien electronic folk music. Much loved of largely German-speaking freaks like Mouse On Mars, Harald "Sack" Ziegler, Yello's Dieter Meier and German astronaut Hans-Joachim Roloff, Christian Pfluger aka Welttraumforscher (roughly translated to "Explorers Of The Dream World") shaped a strangely sinister and alternate reality with his sporadic catalogue of releases. 1981's 'Herzschlag Erde' cassette was his first, and hailed by the few who know it as one of his most essential.
It draws on a beguiling blend of science fiction, metaphysics and dadaism through illustrations, lyrics, and his music to create an impenetrable sense of mystique which has only been exacerbated by the fact that he rarely, if ever, plays live. The music itself is wildly playful, yet with deeply warped undertones, with really explain its cult status. It's much stranger and less self-consciously pop than much of the DIY tape stuff from this era that's been resurfacing recently, and therefore should be checked by anyone wanting a trip out of the ordinary.
Yasuaki Shimizu’s Music For Commercials  is here given a much needed first ever reissue some 30 years since it appeared on Crammed's Made To Measure library music series, which also included editions by Tuxedomoon and Hctor Zazou. Very safe to say that if you were enchanted by Visible Cloaks’ Reassemblage LP or their Fairlights, Mallets & Bamboo mixes, this one is a must!
In 24 parts Shimizu unfolds a tightly packed lattice of crystalline gems and vignettes crafted for TV commercials, plus the 15 minute Ka-Cho-Fu-Getsu piece for a Computer Animation Video which is practically worth the price of entry alone.
Presumably titled after the corporations who employed him, you’ll find stacks of super sweet, pastoral 4th world emulations patched from keys, sax, gamelan, drum machines and electronics for the likes of Seiko, Ricoh, Sharp, Honda, Knorr and Bridgestone, each as exactingly cute and piquant as the last.
Known for his numerous albums, soundtracks, and collaborations including with the likes of Ryuichi Sakamoto and Bjork, this is perhaps Shimizu's most sought-after and influential work and one that perfectly encapsulates our collective yearning for peace and quiet in an increasingly commercialised, chaotic world.
Epic 10 CD Box Set containing all of Maurizio Bianchi's early 90's LP's, plus 18 previously unreleased tracks, a 30 minute live set from 1983 and 35 inserts. Limited Edition of 200 numbered copies.
"Exclusive presentation of the complete M.B. / Maurizio Bianchi recordings from the early 1980s originally issued on LP. Starting from Sterile Records' "Symphony for a Genocide" to Broken Flag's "The Plain Truth", passing through DYS' "Mectpyo Bakterium" and all the records privately issued by M.B. on his Mectpyo Sound. A slipcase with 10 CDs reproducing the 10 LP issued between 1981 and 1984, plus all the tracks by M.B. from international LP compilations and a large selection of tracks from international K7 compilations. Each CD reproduces the original artwork and layout, with a new numbered inlay card. Also included is a 84 page booklet with original atworks and collages, M.B. playlists, interviews and reviews, as well as essays by M.B. on S.P.K., Whitehouse and Come, T.G., Monte Cazazza, Metabolists, Conrad Schnitzler and excerpts from the "Dictionary of the Ultra-Glaciality". Edition limited to 200 numbered copies, including the following CDs: Symphony for a Genocide (1981) Harsh waves of electronic pulsations overload the circuitry causing sensory breakdown. Maximum electronics! Also included are the 3 tracks from the 1980 "International Compilation 1" on Die Form's Bain Total. Menses (1981) The two long siutes "Yra" and "Scent" pessimistically excludes any possibility to survive. Suicidal album. Death is a pleasure after a side of this record. Also included are the two tracks from the Hater's "Nowhere to Play" compilation (1982), as well as the very early "Milan Bruits" from Der Plan's "Fix Planet" compilation (1981). Neuro Habitat / Moerter Unter Uns (1982) M.B.'s at his creative peak. There are actually melodies present, dense and dark that mutate into harsh electronic outbursts. Also included is "Plutoniumetrio" from the Come Organisation's "Fuer Ilse Koch" compilation (1982). Regel (1982) M.B. experimentation with noise syndrome has developed into a powerful stylistic electronic music, coherent and dynamic. Also includes "Acido Prussico" from Broken Flag's "Neuengamme" compilation (1982). Mectpyo Bakterium (1981) Two extended electronic pieces which may prove to be the best compositions M.B. has created. Also included are two tracks from "40 days/40 Nights" and "International Frienship" compilations (1983). Das Testament (1982) A pulsating and visionary work dedicated to those who will suffer in the future for our choice to irreparably spoil our natural and social ambient. Also included in 30 minutes of M.B. live in Milano on January 1st, 1983. Endometrio (1980-81) M.B. takes the distance from the movement of the industrial bruitists, presenting what he calls "biologic music", sounds synthetically produced by the manipulation and transformation of pre-recorded electronic sources. Also included are excerpts from various international compilations on cassette (1980/1983). Carcinosi (1979/1982) This record represents an injection of new, more open-minded and anti-conformist methodologies. A disquieting sound dilutes and coagulates. Also included are two tracks from Broken Flag's "Axis Sally" (1983) and "Frankenstein Juke Box" compilation tapes. The Plain Truth (1983) A very atmospheric records including two long suites titled "The Plain Truth" and "M.B. 55 T.D. 56". Also included is an exclusive interview recorded at Radio popolare, Milano, on January 1st, 1983. Armaghedon (1984) Soundtrack to the film with the same title. The most obscure and elusive M.B. output. The original LP was never distributed, most of the copies were destroyed by M.B. after its release.
Finders Keepers unveil a real pearl from their stewardship of Ciani Musica Inc.: presenting Suzanne’s ‘Silver Apples Of The Moon’-like electronic score for Gian Carlo Menotti’s satirical opera for children; ‘Help, Help, The Globolinks!’
“As faithful guardians of the Ciani Musica Inc. studio vault, Finders Keepers twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in multi-disciplinary electronic music, Suzanne Ciani. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theater production for children of all ages not only further reveals Suzanne's vibrant and versatile skills as an experimental musician and narrative sound designer, but also highlights her European heritage -- working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department).
Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the '80s which called for a new approach to the music and sound effects -- all of which would make their world premiere in New York high school theaters in April of 1980. Suzanne on the original: "The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production." For Help, Help The Globolinks!, Ciani would give Menotti's well-traveled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality. Unlike many successful electronic composers, Suzanne managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema; within the realms of opera and education Suzanne found her perfect channel -- scratching her other cosmic cinematic itches with android music in The Stepford Wives and as "the first female composer to score a major Hollywood movie" with The Incredible Shrinking Woman (1981).
Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl's Aniara or Remi Gassman's Electronics (CACK 004B-LP), this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Ciani's combined roles as an abstract artist and an astute technician are in equal measures here, a rare duplicity which is essential to The Globolinks!.”
Trevor Jackson heralds a 2nd mind-dump of vintage material on Previously Unreleased Volume 2 with this six-track sampler of swaggering dancefloor pressure.
The tracks all hearken back to the era of Jackson’s Playground album, trading in a satisfyingly smooth ’n gritty flow of vibes between the slow acid disco bounce of Memory Per Voice thru the haunted filter-funk and wooden drum knocks of Long System, to patch of grubby skronk on Work It, saving two highlights for the mutant post-punk dub stepper See Yourself, and the natty skank ov Stand Down (Dub).