Armchair dwellers succour from A Strangely Isolated Place, marking 10 years of melancholy ambient/classical whimsy with ‘Full Circle’, a 17-track compilation of tracks by artists key to the label’s history an aesthetic, all pressed to vinyl for the first time
“The music presented in this compilation is probably the closest distillation of what has inspired ASIP over the past ten years. The ASIP website and its many versions; blog posts; guest mixes; even some of the older archived (now hidden) posts, were revisited to find the perfect tracks to put forward.
There was however, a few limitations in mind: (1) It had to be a track previously written about or featured in some capacity on ASIP from 2008-2018. (2) The track has previously not been released on vinyl. (3) The artist isn’t currently a part of the ASIP label family.
The end result isn’t a compilation of rarities, b-sides or label exclusives that you may have expected at a typical ten year milestone. Instead, it’s a compilation of music that has helped define ASIP as many people know it today. From drone and space ambient; to shoegaze inspired guitars; nostalgic electronica and melodic synthesizer music, Full Circle presents many of the elements that have been captured over the past ten years on A Strangely Isolated Place.
Pressed into the grooves of this record is some of the finest music to grace my ears that I felt passionate enough to feature on ASIP in the past, and now once more on vinyl - Ryan.”
It's that time of year again isn't it, and although we don't seem to get snow anymore in England (damn you global warming!) we are still just about capable of celebrating the birth of the guy who invented Coca Cola...
Stevens takes some of the classic traditional sounds of the season and places them next to compositions of his own to create something genuinely heart-warming and enjoyable without ever becoming cheesy or overwrought. Starting in 2001 and going to 2006 these songs have been pieced together with love by Stevens and his friends year after year, and that's what makes them so effective - his version of 'We Three Kings' might be heartbreaking, but his own composition 'That was the Worst Christmas Ever' is one of the most crushing pieces Stevens has ever put his name to, perfectly summing up the hopes and dreams of the season....
Colin Potter’s vaulted classic ‘A Gain’ bubbles up for reissue with Joyful Noise, presenting its first ever reissue proper of a UK synth classic (if we discount the augmented compilation of ’Entering Again’ released by Sacred Summits in 2014)
Recommended to Joyful Noise for reissue by Benjamin John Power (F*ck Buttons), who states “…the lines are simple but perfect… It’s incredibly well constructed”, Potter’s best known release prior to joining NWW is a totem of British synth music, an economically constructed yet lush-minded LP of spindly arps and blossoming harmonies that gives us life everytime we hear it.
From the steep 10 minute introduction of awe-inspiring arps and pinched melody in ‘On Entering York Minster’, to the heart-rending, proto-0PN flourishes of ‘Rooftops’, thru his scudding kosmiche piece ‘You Tell Me’, to the passage of curdled drone, scratchy drums and dissonant funk in ‘Mainland’, this is a 100% purchase for fans of England’s hidden reverse and far beyond...
Official reissue of Ryo Fukui’s highly sought-after masterpiece Scenery (1976), sourced from the original masters.
"Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come."
Impressively weird spins on boogie, dub, house and traditional Japanese themes from Yoshinori Hayashi, who’s built a solid rep in recent years via outings for Going Good and Jheri Tracks, leading to this standout debut album on Smalltown Supersound.
“Previous work by the Tokyo-based producer has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).
Hayashi presents his self-described “collage expression” throughout Ambivalence, which he produced and played in its entirety. Album opener, “Overflow,” is a club track inspired by Cecil Taylor. It’s freeform nature sets the tone for the album’s cosmic, hypnotic, and almost ritualistic approach.
Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo.”
Official reissue of criminally overlooked Japanese jazz gem Mellow Dream (1977) by Hokkaido pianist wunderkind Ryo Fukui, released in conjunction with the its legendary predecessor Scenery, sourced from the original masters.
"Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui’s work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio (Satoshi Denpo is on bass and Yoshinori Fukui is on drums) demonstrating their virtuosity for 9 exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, reminding us that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists.
After releasing the outstanding Scenery and Mellow Dream back to back, Ryo Fukui worked on developing his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing 2 live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore."
David Tibet pairs his apocalyptic prognostications with plush pastoral backdrops ranging from unsettlingly rose-tinted to beautifully melancholic, supplied by Andrew Liles, Ben Chasny, and various, nefarious associates of Coil, including bagpiper Michael J. York and Ossian Brown (Cyclobe)
““The Light Is Leaving Us All” is the new album from Current 93, everyone’s favourite Hallucinatory Cuneiform SuperGroup.
Three years in Her Making and Shaping, “The Light Is Leaving Us All” Spells WithIn Her 11 tracks.”
The Cradle is the artistic alias of New York City-based musician Paco Cathcart. His latest album 'Bag Of Holding' presents a more serene version of Cathcart's guitar-and-voice based songwriting, integrating orchestral arrangements, spirited collaboration, and brilliant production techniques to give way to The Cradle's most singular and focused work to date.
"In addition to working as a recording engineer focusing on analog mediums, Cathcart has honed his craft over the years as a member of bands such as Big Neck Police, Shimmer and Climax Landers, all the while prolifically crafting nearly 30 personal solo albums and experiments across various labels and self-releases. 'Bag Of Holding' takes all of these experiences and uses them thoughtfully to build a masterful, proper full-length album of highly personal and expressive orchestral pop compositions."
Epic, brilliantly curated two hour collection of new and exclusive material celebrating iDEAL Recordings' (1998-2018) 20th anniversary featuring JASSS, Stephen O’Malley, Jim O’Rourke (an epic 17 minute trance-enducer - honestly worthy of its own LP), Ectoplasm Girls, Robert Aiki Aubrey Lowe, Prurient, Puce Mary and many others...
We always say this - we hate comps - they’re almost always shite - but this one’s a bit of a mindmelter, featuring 20 new and exclusive tracks commissioned by label bossman Joachim Nordwall to celebrate the occasion of his label’s 20th anniversary, almost 1 track per year of going against the grain. Trust when we say that Nordwall's selection skills and sprawling network of interconnected artists has yielded a frankly ridiculous tracklisting, including a 17+ minute steamroom special from Jim O’Rourke, a pulsing electroacoustic killer from Stephen O’Malley, a rare new hookup between Prurient and Carlos Giffoni, brand new ambient/field recording peach from JASSS, an amazing fizzing drone tribute to Folke Rabe by Robert Aiki Aubrey Lowe, plus Puce Mary and Jesse Sanes aka JH1.FS3 on fine fine form, and just too many others to mention - over two hours of exceptional music.
The story of iDEAL starts out in London 1998, when Nordwall was living the hardscrabble life: working in an underwear shop near Liverpool Street station; living in a filthy Bayswater apartment; scoring industrial records from the Music and Video Exchange; getting drunk in cheap pubs, and dreaming of starting a new record label and platform. He called it iDEAL, and 180 releases, 20 years later, it has become an invaluable node for non-standard, wayward expressions of modern electronic noise in all its mutable variation.
iDEAL’s success and longevity may well be down to the way that Nordwall treated it as a social and artistic home, offering a place where mutually exclusive styles could bed down away from the mainstream or the genre police, and feed into a much larger, work-in-progress definition of fringe music. ‘The Black Book’ extends, in the spirit of the label, an idealised compilation of disparate possibilities connected by a sense of musical mystery and chaotic energy.
"Twenty. Not sure if its worth celebrating, or mourning. Anyways, we decided to compile an album filled with artists we are very close to, others we admire deeply and a few we feel connected to in different ways. THE BLACK BOOK is indeed a celebration, of musical mysteries, energies and connections. Three LPs, six sides of music.”
Long live iDEAL!
Black Merlin largely and unexpectedly drops the beats and commits to a cinematic, sub-tropical phantAsia with ‘Kosua’, a lush yet dread-filled album dedicated to the mystery of Papua New Guinea, the world’s 2nd largest island, and one of it’s most unexplored. A must check for fans of Rainforest Spiritual Enslavement
“Back in 2015 George Thompson AKA Black Merlin started a deep love affair with the remote island of Papua New Guinea. After his first album ‘Hipnotik Tradisi’, released on Island Of The Gods; George was intrigued to find a place drenched in culture and untouched by the western world.
In 2016 George planned his first solo expedition, venturing out to meet the Kosua Tribe. Over the course of the next two years George would record the sounds of the Kosua people. From their daily lives, ancient dance customs and wildlife. During one of these trips he spent 14 days alone in the jungle, getting in and out of the Mount Bosavi crater and further 3 days inside recording and filming his experience. These recordings and experiences formed the basis of his second album, Kosua.
Pop subversives Beth Roberts and Andrew Hargreaves (The Boats, Tape Loop Orchestra) pose their 2nd album as The Mistys with ‘Pregnant Mannequin’, following some five years on from their debut album ‘Redemption Forest’. It basically sounds like an incredible, saccharine shoegaze/dreampop album recorded to a salvaged D90 tape that's about to disintegrate, warbling in and out of time.
Referencing a wealth of pop archetypes via their uniquely claggy, recombinant filter to render a new vision for subversive pop music, Beth Roberts’ sugary vocals are smudged and buried deeper in the mix, processed with fizzing textures that only add an extra poignancy and a sense of struggle to the classic pathos of her voice. In key, Andrew Hargreaves lends some of his most sharpened, devastating hooks, bringing their project closer to a polysemous conception of ambient-EBM-pop.
The formative experience and naivety of 2013’s ‘Redemption Forest’ album has given way to a newfound complexity over the five year interim. It’s there in the sense of gauzy ambiguity that oozes through the record’s synth, drum machine and vocal construction, with results that speak to a mix of uncertainty and determination, asking and answering ideas of imposter syndrome that can sometime undermine the urge to self-expression.
The diaphanous scale of ‘Bite Marks’ welcomes us into their distant, yet familiar world, where the tape worn cadence of Beth’s vocals leave indelible marks on the mind in ‘Womb’, and ‘Velvet Water’ leads us down a pinched ginnel of darkwave pop, to arrive in the stately air of ‘Heat Death’. At their most forceful, they’re still a pair of tender souls, though, as in the push and pull of tempered rage and romance in ‘Cut by Degrees’, while ‘Celluloid Skin’ sees them offer a warm, fuzzy embrace of shoegaze-pop akin to The Cocteau Twins heard underwater, and the dark blue swells of ‘Blades and Boardwalks’ and ‘Metabolisms’ reveals their natural affinity to what was once called Witch House, and can now be heard as a modern form of cold wave or gothic synth-pop - styles that take their pleasure from a feeling of negative ecstasy, an effective inversion of ‘poptimism’.
Proper bittersweet and addictive pop feels on this one...
Electro-wave survivor Caroline Hervé a.k.a. Kittin (f.k.a. Miss Kittin) finds her place in the current scene with ‘Cosmos’ - her first album in five years - marking a strong, variegated debut for San Francisco’s Dark Entries
The original queen of ’00s electroclash cuts a elusive, haunting figure in ‘Cosmos’, largely leaving the dancefloor behind in order to better explore more oblique influences from the fringes of the last 40 years of electronic music.
Dropping the “Miss” prefix from her name (which was only added in the first place by party promoters, not by herself) signifies a return to Caroline’s roots and sharper, yet broader, definition of her own sound.
Essentially liberated from preconceptions attached to her prior work, Kittin pursues a strongly cinematic sort of sci-fi narrative format in ‘Cosmos’ that richly resonates with her influences, ranging from Jean Michel Jarre to Dopplereffekt.
From the track titles such as ‘Multiverse’, ‘Last Day on Earth’, to her stranger-than-fiction study on Trump in ‘#Metoo’, and especially in her finely sculpted, physical, organic electronics, Kittin really comes into her own on ‘Cosmos’.
Polish ambient composer Bednarczyk gracefully boomerangs back to Room40 with the diffuse structures of ‘Illustrations For Those Who’ nearly a decade on from his early couplet of ‘Summer Feelings’ and ‘Painting Sky Together’ landed on Lawrence English’s label
“Across the late 00s, Tomasz Bednarczyk created a series of acclaimed ambient recordings that married the unsteadiness of archival technologies with an extensive palette of pastoral timbres. These recordings quietly set a particular tenor of work for a new generation of Middle Eastern European ambient composers.
Following these recordings however Bednarczyk’s energies were re-directed with his time being split between a multiple of more techno oriented electronic music outings.
In early 2018, following the success of his New Rome project released in 2016, Bednarczyk began exploring a new approach to his more atmospheric works. Using an incredibly reductive set-up, he took single sources and exploded their potentials. Through a process of layering and synthesis, he was able to create incredibly minimal, yet dense sound textures from very singular materials. Within a matter of weeks he had devised a new way of approaching his more ambient compositional interests.
Illustrations For Those Who is the result of this first investigation. Each piece is singular in nature, in that its source is one synthesiser or instrument. The resulting pieces though are anything but singular. Rather, each of them maintains a detailed and rich sensibility built around complex cycling of sonic materials.
This edition marks out an important new direction for Bednarczyk and firmly asserts him as a continued force for ambient music emanating out of Eastern Europe.”
Piping hot from her knockout ‘Throne’ album, Heather Leigh joins the bellows-lunged Peter Brötzmann for a nerve-biting, romantic, and heavily arresting set of duets improvised on woodwind, brass and lap steel guitar .
“There is complexity in simplicity, and Sparrow Nights is Peter Brötzmann and Heather Leigh's most enduring record to date, and their first studio album. A series of emotionally rich and boldly elucidated tonal and timbral exchanges played like compositions on pedal steel and reeds, the tracks (released as a 6 track LP and 10 track CD) are cold-forged minimalist blues motifs dragged from instrumental laments.
After three years playing together Brötzmann/Leigh's connection and understanding is by now both cerebral and deeply invested in the physical and sensory possibilities of their combined sound, while retaining a melancholic distance. Within this duo there is fluidity – neither is the anchor – and these recordings sound with as much variety as the sea. At times Sparrow Nights carries the clarity and poeticism of still water and open horizon ("This Word Love"), and at others it contains the elemental and ferocious roar of white water breakers on black rocks ("This Time Around").
On their previous three live albums (Ears Are Filled With Wonder, Sex Tape, Crowmoon) the duo have developed an intimate and intense language that manifests here as a focus on power and control, where figures blasted of unnecessary decoration are drawn from the shadows and smoke of collapse. The studio setting also allows Brötzmann to bring a broader range of reeds than in live scenarios: where previously he has played primarily tenor, clarinet and tarogato with Leigh, here he delivers the heat of alto and the low pressure of bass saxophone and clarinet.
Brötzmann’s duo with Leigh continues to trace a fresh new arc in his trajectory, and this release also falls at a time when Leigh releases Throne, her most song-based record to date. Here as a studio duo they play a new-old blues for times of complexity, noise and chaos, continuing to redefine and re-sound possibilities for improvised music.”
Barn Owl’s Jon Porras (Elm) arrestingly redresses his sound from the ground up in ‘Voices Of The Air’, a diaphanous new album of tempered ecstasies crafted with the multi-timbral voices of the Yamaha DX7 synth
“Taking the Yamaha DX7 as his main instrument on Voices of the Air, Porras read about John Chowning's work with FM synthesis, where a sound waveform's frequency, called the carrier, is modulated with a frequency similar in range. The result is a nuanced and multidimensional voice, and the possibilities are endless. Yamaha specifically licensed Chowning's creations for the DX7, and Porras spent a sleepless weekend poring through the manual, figuring out how to build textures. Taking a conscious step away from improvisation, Porras used these new sounds "as a plastic source to shape and mold." He stacked, arranged and adjusted through digital synthesis and effects. "The process felt like mixing paint to get the right color and texture, then laying down a brushstroke, each day returning to the canvas to build on something I left there from the day before," says Porras.
Once he had the basic structures he experimented with them in live performance,e took the stand-up comedian route with new material and tried out performing it live, (kinda weird esp in the experimental music context ha) seeing what worked, what provoked reactions in the audience, how to perfect each composition to its ideal form. This process went from June 2017 to February of this year, when into he recorded the album at Gary's Electric Studio in Greenpoint with Al Carlson to record the album. Voices of the Air broadcasts these intricate balance of sounds that slowly set together like wet concrete. In their final forms, Porras has created an album of delicacy and power, one that is only fully realized by a listener ready to allow it to take full effect.”
Deerhoof plays the music of the shining!
"Stanley Kubrick has a troubled past with Deerhoof. An argument over whether Eyes Wide Shut was good almost broke up the band in 1999 and again in 2003. When Famous Class suggested a 7" of music from The Shining, the band waffled for three years about whether they thought they could do it justice.
But once a Halloween release date was proposed, Deerhoof couldn't resist. They got the score to Bartok's "Music For Strings, Percussion and Celesta" out of the library, and transcribed one of the 20s songs straight from the closing credits. Music that in the movie echoed from some ghostly, gilded past takes on a more urgent character in Deerhoof's versions, as if to underscore that the horrors of white supremacy, oligarchy, and domestic abuse are alive and well in 2018 America."
Pact Infernal’s Nastika piles forth a charred style of techno war funk for Horo
The middle-eastern horns and whirring rhythms of ’Yajna’ bear a striking resemblance to ‘Array The Troops’ from the Ancient Methods album in the best way, while ‘Black Sun in East’ stealthily brings the blood up with precipitous, widescreen sound design and powerful percussion.
‘Sati’ starts off in the shadows before again seemingly saddling up the same battalion as the Ugandan Meff’eads, and ‘Black Sun in West’ sets a scene of cadaver-trampling techno and carmine skies with a victorious feeling sinking in the gut.
Deep house torch carrier Kyle Hall plays it cool and grown-up on ‘Equanimity’, including engineering/mastering assistance from veteran hands Glenn Underground and Todd Fairall (The Roots, Slum Village) on two highlights,
Strong vibes at every turn on Kyle Hall’s first outing of 2018, using some proper technical nous to get right inside and optimise his grooves for the enduser. Up top that results in the full bodied drums, bass warmth and filigree, granular details of ‘Katastematic Pleasure’, ably brought to life in the mix by Glenn Underground, beside the subtly rugged, glancing funk flex of ‘4WRD Motion’.
On the B-side he works clipped drums and haunting jazz-soul choral cadence with lip-biting synth vamps in ‘No More Moon’, which benefits from gilded mix engineering by Todd Fairall, before ‘Ghosten 4 A 2nd X’ slinks low on plush, rounded subs and smoke curl chords in a superb piece of midnight 313 funk.
Pillars of the avant-garde, Oren Ambarchi, crys cole, and Leif Elggren captivatingly do very little on this barely-there, Ur-primitivist session for Antwerp, Belgium’s Ultra Eczema portal.
Vague in the extreme, this self-titled side documents their meeting at Stockholm’s legendary EMS Studios in July 2016. With nobody else about at the time, a strong arctic wind apparently blew open the windows onto Stockholm’s “mean streets”, and they made the best of a bad situation: “Ambarchi burned the studio carpet to stay warm; cole made a tower of stones to hide behind; and Elggren, with ice-cold resolve, tried using a microphone to connect with his fellow Elgaland-Vargaland citizens but to no avail.”
That tale may be true or not, but the recorded results would certainly verify that tableau to listeners with an active imagination. For us mystic-cynics, the results sound more like the trio are enacting a remake of scenes from Eraserhead in miniature, using close-mic’d breaths, wordless gibber, scrunched paper and the sound of EMS’s machines humming at rest to suggest a spectral dramaturgy that could be taken any one of a million ways, according to what happens on each listener’s internal silver screen.
Happa tests out a new, low-slung and mid-tempo style on ‘Argot’, backed with ruggeder remix reductions by Parris and Kowton
Leading on from his remix of Boothroyd’s ‘Pure Country’, Happa slows his roll to a whirring sort of electroid, dembow bump in ‘Argot’, sidewinding piquant arps down chromatic wormholes to a classy resolution recalling Arca’s bittersweet phrasing. ‘Wen U Relli Hit It’ follows that meter, but this time with a fruitier, melodic flow recalling psychedelic cumbia.
Paris reworks ‘Argot’ with a more patient, drier and darker approach just begging to be synched with something equally stripped down, rugged, while Kowton locates a chiming, latinate, UK house groove from he original wheeze of ‘Wen U Relli Hit It’.
Mills’ seminal techno arsenal returns in a 2018 repress
A blast from a much faster past, ‘Waveform Transmissions’ is definitive of mid ‘90s Detroit techno, when it was all balls to the wall beats and virulent synths built to be collided in the mix by jocks such as Jeffrey Mills, whose spin on that style holds an eternal influence over practically all techno artists in his wake.
"As barriers fall around the world, the need to understand others and the way they live, think and dream is a task that is nearly impossible to imagine without theory and explanation. And as we approach the next century with hope and prosperity, this need soon becomes a necessity rather than a recreational urge. Theories and subjects of substance is the elementary element that fuels the minds of our Axis."
Ultra Eczema unearth a mad set of demos by obscure Belgian new wave duo Plexigladz, revolving around an early version of their cult hit ‘Vervellng’ along with gobs of snotty no wavey, spiky cut-up tape works and hypnotic electro-folk drone jams. So good this one...
Drawn from the archives of Paul Bogaert (no relation to Jo!) and Joost Balis a.k.a. Plexigladz spanning 1978-1982, all material makes it first appearance on any format, which is surprising considering the strength and diversity of the gear on offer - a sound arguably comparable with everyone from MARS to TG and John Bender, but apparently made without any knowledge of those influential units or the wider, contemporary industrial/experimental scene.
In effect then, ‘The 4th Demention’ is one of those rare bodies of expression that seemingly came from nowhere, ex nihilo, and almost went unnoticed, save for the beady ear of Dennis Tyfus at UE. Thanks to his efforts, we have the pleasure of hearing these bona fide DIY boredom killers, taking in the gothic creep of ‘Verveling Demo’ beside the Robotic No wave battery of ‘I Hate’, and the bonkers honky tonk cut-up brilliance of ‘Pretty Depressive’, smudged into the concrete clangour of ‘Lech Ma’ and the dirge rock of ‘Tonight’ on the A-side, before switching styles to check off the Craig Leon-esque electro-drone whirligig of ‘Intro’, a strung-out psych jam named ‘Déjeuner sur l’herbs’, and the curdling electro-folk of ‘Sooner or Later’ on the B-side.
Throughout the 1960s and 1970s, folklorist William Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the roots of the blues. This DVD features seven films made by William Ferris between 1968 and 1975.
"In addition to being a groundbreaking documentarian of the American South, William Ferris is Joel R. Williamson Eminent Professor of History and senior associate director of the Center for the Study of the American South at the University of North Carolina at Chapel Hill. A former chairman of the National Endowment for the Humanities, Ferris co-edited the Encyclopedia of Southern Culture and is the author of multiple books. In 1991, Rolling Stone magazine named him among the top ten professors in the United States.
Films Included: Black Delta, Part I (1968) (b/w) Black Delta, Part II (1968) (b/w) Parchman Penitentiary (1968) (b/w) Give My Poor Heart Ease: Mississippi Delta Bluesmen (1975) (color) I Ain't Lyin': Folktales from Mississippi (1975) (color) Made in Mississippi: Black Folk Art and Crafts (1975) (color) Two Black Churches (1975) (color)."
Scudding acidic swingers and wild-eyed techno from San Francisco’s Taraval, razzing out on Four Tet’s Text label
Check ‘Aardvark’ for a galloping, swanging slice of peak rave pressure, or ‘Pumpkin’ for a more buckwild, percolated Chicago mutation, and ‘Basketball Cookie’ for a hyperkinetic techno trip.
NYC’s Falty DL emulates that tangggg with ‘A Taste of Acid’ for the ravers at Hypercolour
Meshing virulent EBM arps, dextrous Braindance chicanery, and keening electro-funk, Falty DL has just cooked up his strongest session in recent memory. His ‘Hype Funk’ is a razor-sharp nod to classic AFX and Luke Vibert riddled with mad, scurrying details, while ‘A Taste Of Acid’ follows on a slightly slower bent with wicked Cylobian licks (very ‘Lobster Tracks’!), before ‘Blush Acid’ tees up Heinrich Mueller-esque levels of arpeggiated intricacy, and ‘A C I D’ emulates the clammiest point of the trip with uncanny accuracy.
Dam-Funk swings back to his Garrett alias for a smoking 2nd ‘Private Life’ session on Music From Memory after the project debuted in 2017.
Vibes for eons on this one, hustling pure dusky hues from his synths and coaxing some of his smoothest drum machine patterns across seven tracks of gilded deep soul bliss.
Listen up for highlights in the luxuriant, creamy wash of ‘Awaiting The Light’, the grown-up romance of ‘Sitting at the Bar Waiting’, and the sizzling downstroke of ‘Stay’.
Blessed one, Jamal Moss vibes out under his own name for Seth Troxler’s Tuskegee label
Fair to say that Troxler has gotten the best out of Jamal here with four cuts primed for deployment on any ‘floor with feet and soul, twisting out from the funky acid jump of ‘Salvation is The Cure’, to the twirling arps and powdered pulses of ‘The Bad Blood 622 Project’, and especially in the raving jig of ‘R-Spirits Will Not Be Broken’ and the body-tangling, sub-harmonic groove calculations of ‘The Low End Theories’.
Hoof it all up.
‘Radikale Akzeptanz’ is the ruggedly sculpted debut of synth-pop deviation from Belia Winnewisser for Präsens Editionen, the label wing of Lucerne’s zweikommaseiben magazine
Widescreen in scope and caustic in texture, ‘Radikale Akzeptanz’ offers a definitive dose of Belia’s style following her 2017 split tape with L. Zylberberg, also for Präsens Editionen. Over its eight tracks, Belia scales form iridescent steepled drone and depth charge synth shocks to a transfixing piece of Skull Disco-esque dance music, covering everything from blistering dream-pop and shoegazing EBM between.
Heat-hazy funk and soul zingers riddled with killer drum breaks, all fresh outta 1980s Sudan via Kuwait. Holy grail business…
“I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album Jazz, Jazz Jazz ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Congolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait.
(Jannis Stuerz / Habibi Funk Records, 2018)”
Rampaging techno, industrial breaks and noise beasts from the dark underbelly of Athens
Following from his latest Vofa hook-up with Sawf, ANFS lets the chain off four evil cunters, swarmign in from all directions with the loose wrecking ball drums of ‘Dervisis’, then like Demdike Stare on a mission with the sawn-off breakbeat-techno of ‘Kounoupi’, before piling in with the blitzed drones and beats of ‘Salepsa’, and slowly extracting your spine thru the ear canal in ‘Komena’.
Spectacular new single from Dawn, glyding in on lush cosmic synth contours before droppign a major payload of rugged R&B referencing her roots in New Orleans.
Whatever preconceptions you may have about Dawn’s music, forget them and give this a go. We rate you’ll be surprised. Bodes very well for her new album of the same name.
Smudged ambient/house blissness from the widely-adored NYC producer and boss of the Incienso and Probito labels, shaping up his 2nd album three years after ‘Body Pill’ for Kieran Hebden’s Text
Across the 12 tracks of ‘Take Me With You’, Anthony Naples rudely works out of the lines, with tracks bleeding into one another, likely to the chagrin of any neat-ass DJs, but making for a deliciously keening, psychedelic effect that emulates the good hours of a mushy trip, or the effect of having multiple browser windows in the afterparty serendipitously fading into one another. Well, it does to our ears, at least.
‘Ke I Te Ki’ documents the prepared intuitions of Akio Suzuki and Aki Onda, performing live in 2015 at The Emily Harvey Foundation - former studio of Fluxus founder George Maciunas. The pair make particular use of the room’s acoustics by moving around a lot while they “play” electric fans, radios, stone flute, and other assorted ephemera, resulting a fluid dispersal of sound from all corners of the stereo spectrum. An immersive recording, prone to surprise...
“This album "ke i te ki" was recorded in New York City in Fall 2015 at The Emily Harvey Foundation - a SoHo loft-style art space that was once the studio of Fluxus founder George Maciunas. Nam June Paik and Shigeko Kubota, whom Akio met around the early ‘80s, used to live in the same building; another former resident and friend of Akio, Yoshi Wada, was said to have done some of the carpentry and plumbing. It is a historic building of New York avant-garde culture, and the last of the artist co-ops that Maciunas created in New York City. How could this not have an effect on the recording?
We had one day of preparation for the multi-track recording, performing for two nights surrounded by a limited but packed audience. The Emily Harvey loft is itself quite constrained, and Akio and I needed a significant portion of the floor to place our gear and roam around. Microphones were everywhere, since our sounds diffused across the space.
My role was to set an assortment of “scenes” with field recordings, sustained drones generated by an industrial electric fan, and electronic tones and pulses from radios, et cetera. Akio then built upon these with layers of melodies and rhythmic patterns, while we both engaged in fabricating distinctive texture and timbre. Akio kept changing his instruments—such as the Analapos, the stone flute, discarded objects, et cetera—bringing surprises and sudden changes, creating contrast and powerful tension.
“ke i te ki” in Japanese means the sound of an alarm, or a whistle to call attention to a hazardous event. We hoped to further develop our unconventional style by adopting a set of self-imposed rules related to the multi-directional soundscape, acoustical response to the space, implementation of visual elements, and so on. Akio suggested the name “ke i te ki” as a reminder to push ourselves further. It was a lesson for us in questioning ‘norms’ and exploring other possibilities. It’s having no determined limit or boundary.”
Erik Griswold coaxes charmingly off-kilter, rhythmelodic ribbons of sound from his prepared piano on return to Room40 with ‘Yokohama Flowers’, his 6th release for fellow Antipodean, Lawrence English’s label. RIYL AFX’s prepared piano works, Indonesian gamelan, African thumb piano music
“For over two decades, Griswold has been crafting a particular and utterly personal language around his instrument of choice. His preparations, which are in a state of perpetual refinement, are like a kind of lens; it is through them that a certain audio reading of his instrument is made possible.
It’s understandable then that Griswold would be inspired by the work of Australian experimental film maker Louise Curham. Like Griswold, she too reveals a very personal reading of her surroundings through a range of preparations and expanded techniques. Discovering her work through a series of collaborations hosted by Room40, Other Film and other groups, the pair slowly developed a strong approach to joint performance.
In many ways, these recorded works reflect upon those performances. Similar to her filmic works, which maintain an unfamiliar, yet tangible beauty; Griswold’s compositions remind us that the piano is never truly knowable, or known. Each composition collected here reveals another detail or way of knowing the piano. The preparations release something in excess of the instrument itself.
It’s in these extensions, these ruptures of familiarity, that the language of the piano is born and reborn. It is a state of perpetual discovery and resolution, framed in composition.”
‘The Last Days of Reality’ is a broodingly enigmatic Lionel Marchetti composition performed on acoustic and electronic instruments by Decibel, a new music ensemble from Perth, Western Australia. Concrète poetry in effect...
“From Cat Hope (Decibel):
I first met Lionel Marchetti in Australia during the Liquid Architecture Festival in 2010. Decibel were touring our Alvin Lucier program, and Lionel was on the same bill performing a live performance set manipulating electro-acoustic materials with dancer Yoko Higashi. I was so taken with Lionel’s performances and the resulting music, that I asked him if he would write a piece for Decibel.
I didn’t realise that he hadn’t done something like this before. The first work was “Première étude (les ombres)”, communicated as a text score, and premiered in 2012. I was asked by Lionel to make some recordings of ocarinas, harmonicas, and folk instruments – and I sent these to him for the creation of a ‘partition concrète d'accompagnement’– a fixed media part that is featured in the live performance. For this piece, the part comes from speakers beside each performer, and a bass amplifier beneath the piano. Like his own performances I had seen the year before, the work was naturally performative – with unique speaker and performer configurations, interesting and odd additional instruments. It was such a rich work, a remarkable combination of electronic, spatial, acoustic and textural music. The performers use the partition concrete as a score.
I visited Lionel in Lyon, France in 2014, recording flute improvisations in his studio. He used these as a basis for “Une série de reflets”, again communicating via text instructions and each performer having their own dedicated speaker to interact with. “Pour un enfant qui dort”, which again requested flute sounds that were this time part of the live performance as well as the partition concrète, was also written around that time. The next work saw a more ‘compositional’ collaboration - “The Earth defeats me" began as a graphically scored work written by me and recorded by Decibel in the studio. That recording was used to make the partition concrète which is now an embedded as part of the animated score file, thanks to the software we had developed to do so.
These works exist as live performances, but also as singular concrète works, when heard without the instruments. Working with Lionel has been remarkable: he has a singular way of thinking about sound and its relationship to works and images. Music concrete is a lifestyle for him, it is a way of thinking, communicating and being. These pieces enable the acoustic instruments to be part of that – extending the ideas in the partition concrete, using them structurally and texturally, as well as being part of them.
When I first met Lionel, I didn’t realise he was in Australia because it was originally planned he would be travelling with French composer Éliane Radigue, performing some of her electroacoustic works, as her preferred diffuser. I would commission a work for Decibel from Élaine (“Occam Hexa II”) in 2014 and it was during that process I realised the link between them. Decibel performed Lionel and Eliane’s music together – it is music that concerns itself with the incredible power of sound, but from the most delicate and dream like perspective.”
Rollicking industro-dub depth charges from Tribe Of Colin, leading on from a handful of deadly 12”s and a collab with John T. Gast
Up top he whips the galloping, cloven-hoofed acid steppers beats of ‘Was Gwan Tell Dem II’ through stumbling sequencer permutations to deadly effect.
Downtown on ‘W.A.N.S.O.T.S.P.’ he trims back to a blend of late ‘80s digi-dub with airy string pads and new age inflections for a woozy ambient style compatible with JTG or Lolina instrumentals.
Diagonal cough up another madness from Handy, jumping off from his bendy-ass ‘Smacker EP’ to test out slower, faster, and wilder styles on the ‘Mature Single Despots EP’
Effectively the Stretch Armstrong-like offspring of Cylob and EVOL, Handy is a pretty mad prospect, as proved across these four cuts, from the squirming electro-funk scrawl of ‘Pull Daddy’s Finger’, to the hyper kuduro-esque styles of ‘Crossword Bitch’, the jump-up daftness of ‘Toothless Sucker’, and the pinched rave pulse of the title cut.
Yeah You’s Mykl Jaxn & Elvin Brandhi wreak fresh havoc on Slip and Opal Tapes with KHOT<, where the improvising father/daughter duo steer their battered unit down the grimmest ginnels between Black Metal, freestyle rap and surrealist performance art. Making up their 3rd release of the year already, KHOT< follows the KRUTCH LP and VHOD tape with a typically obstinate and expressive new blast of avant guts sure to keep the dilettantes at bay and keep the pair’s cult following beguiled by their every move.
Refusing to lapse into anything that may be deemed conventional or commercial, Elvin sprays improvised verbal pebbledash against her dad’s cranky backdrops of piercing electronics and crippled beats in a way meant to keep everyone at arms length. And that’s where the “fun” lies, as any attempt to latch onto or follow Elvin’s exasperated yowls and pronged phrasing becomes even more difficult as her dad’s cheap infrastructure of inside-out Casio keyboard coupled with dictaphone both shields and distorts her wretched truths, fireproofing them against easy or half-arsed reception.
By their own admission; “This is the worst album Yeah You has ever made”, which conversely translates to a pleasingly foul experience for those already attuned to Yeah You’s dare-to-differ style, especially in the traverse from shrieking electronics to sourest BM gestures between Krutches and “Yeah You”, and again with the headlong plunge into rotted bleeps and techno squabble in Reap Your Defects and the burned out resistance of The Apologetic Extra Accidentally Invades Emblem?
Make no mistake, Yeah You are among the most vital, prickly and unmissable units in contemporary UK music, and KHOT< is yet another fiercely in/direct and cuttingly impulsive showcase .
Desire is an electronic music band from Montreal and Portland, Oregon. Their debut album, II, was originally released in June 2009 on the Italians Do It Better label. The band is made up of vocalist Megan Louise, producer Johnny Jewel (also a member of the IDIB bands Chromatics and Glass Candy) and Nat Walker (also a member of Chromatics) on synthesizer and drums.
'Montre Moi Ton Visage' rips us back to some concert venue in the early 80's with disingenuous crowd noises and heavy reverbs setting an epic scene before 'Mirroir Mirroir' turns on dark charms with lo-fi and deadpan vox from Megan Louise. It's all to his credit that you'll be beating yourself up thinking "where the f**k have I heard this before" when of course it's all original material. Following this, the simple but beautifully executed developments of 'Dans Mes Reves' will leave few heads blind to his talents, but it's the darker American allure of 'Colorless Sky' that you should be playing to your friends that need convincing.
You may well think we need another Ray Winstone gangster-flick like we need a another hole in the ozone layer, but for once we'll let it pass. Why? Because the soundtrack is an absolute corker.
Transposing the normal East End locale for 19th Century Australia, 'The Proposition' is a violent and dusty treatise on outback loyalties, written by the master of murder-macabre - Mr Nick Cave. As well as turning his hand to screenplays, Cave has also taken the soundtrack helm, drafting in long time Bad Seeds collaborator and Dirty Three front man Warren Ellis for aural backup; the result being a sonorous and deserted collection of sun bleached music.
Possessing an atmosphere that borrows heavily from classic chamber music, Cave and Ellis endeavour to invoke the isolation and bleak-beauty felt by the characters, with reoccurring motifs and splinters of left-field influences keeping things interesting. Whilst this translates to fractured church hymns one minute and avant-drone the next, it is when the ballads kick in that 'The Proposition' really hits home - carving real emotion from the heat-haze instrumentation and bourbon lyricism. A proposition well worth investigating...
Johnny Jewel and the Chromatics gang give up their previously subscriber-only peach, Shadow, for the rest of us mere mortals, slipping down very easily with five mixes of the bluish, somnambulant night-glyder feeling out a tender space between Joy Division and Julee Cruise.
Shadow is subtly carved to fit a fine spectrum of uses, from xmas disco-ready original, to a more spacious Michel’s Runway Edit and over to an expansive nine minute Last Dance of the Night Club Edit for when the original’s just too short, plus the beat-less End Credits and Michel’s dreamy Runway Instrumental.
Third album (1981) by the Belgian band Univers Zero. The title alludes to the short story of the same name by H. P. Lovecraft; the players read the story in studio, then proceeded to record the piece. A key release for the band. Ceux du Dehors sometimes suggests a darker and more complex version of the motorik minimalism of classical music contemporaries Philip Glass and Steve Reich.
"This album finds the group continuing to evolve and return to the more general and varied chamber music sound of their first release, except with more precision and skill. The tricky charts of percussionist Daniel Denis and new keyboardist Andy Kirk are executed with great panache. The labyrinthine compositions are typically filled with unexpected twists and turns, and angular repetitions of jagged riffs that accelerate, decelerate and mutate in passages of acute tension or quiet but ominous dread."
Brilliant electro jazz and post-punk clash from Lol Coxhill and some of Manchester’s most crucial innovators, recorded in 1979. Worth it for the psychotomimetic sequencer scrawl and deadpan vocals of ‘Relentless’ alone!
Documenting the unlikely coupling of British free jazz bastion Lol Coxhill and the sarcy synth pop don’t-wannabes known as Gerry And The Holograms this rare incognito full-length album bridges the micro-niches of electronic jazz and punk jazz from a band formed in 1979 at an axis where DIY and new wave hadn’t quite collided! With sprinklings of post-punk female vocals worthy of PragVEC and Suburban Lawns, featuring angular art rock paeans to voodoo dolls and closed-circuit TV, this privately pressed LP comes directly from the man who gave Martin Hannett some of his best ideas and wrote the “Blue”print for Manchester’s new musical order.
Imagine if Talking Heads became Mark E Smith’s backing band for a week before being sacked for wearing a Frank Zappa t-shirt while Eric Dolphy forgot to take his headphones off… If that sounds up your street, then you should be paying double. A genuine lost moment from the post-punk era with progressive pop credentials from the university of Alberto Y Lost Trios Paranoias before everyone got a job at the local Factory. Why are you the only person who doesn’t know about this?
Preeminent sound artists William Basinski and Lawrence English roll out the quietly breathtaking ’Selva Oscura’ as the first fruit of their collaborations spanning the past half decade and more.
Mantled in reference to Dante’s Inferno, ‘Selva Oscura’ literally translates to ‘Twilight Forest’, a title which serves as metaphorical device for the way Basinski and English’s lives in transit have serendipitously crossed paths over the years between Zagreb, L.A., and Hobart, in a variety of situations. On another level it also speaks to the nature of losing one’s way in place and time, which is beautifully reflected in the music’s disorienting, otherworldly ebb and flow flux.
Using a palette of sounds broken down, magnified and inverted from macro to micro scales and vice-versa, and mailed to each other between L.A. and Brisbane, the results map out vast tracts of psychic terrain that shift like the sands of time, with sounds perpetually rearranging themselves on the granular level to render a broader, slow moving tapestry of sublime, anaesthetic quality.
The A-side’s ‘Mono No Aware’ (Japanese for “the pathos things” or “a sensitivity to ephemera”) is a captivatingly transient and hypnagogic work of sferic tones and sprawling wide bass, lulling listeners into a state of lushest melancholy with the allure of a time-lapse video of autumnal weather patterns. ‘Selva Oscura’ follows with a discernibly darker and submersed appeal, as though the clouds have come down to us (or us to them?) and we’re left wandering the firmament, initially swaddled in a creamy grey-pink expanse marbled with pealing partials, before crossing oceanic basses and gently touching down to pinch ourselves.
Reissue of a wicked, rugged punk-funk/no-wave/jazz-fusion blast from Japan, 1983. Sounds like Les Vampyrettes meets 23 Skidoo at Haruomi Hosono’s studio for a proper lark. Not hard to hear why 2nd hand copies are highly coveted...
“Straight from the delirious minds of beautiful provocateur Kaoru Sato (who had previously released an album as R.N.A. Organism on legendary Osaka label Vanity Records) and unconventional genius Yuji "Banana" Kawashima, Lingua Franca-1 is a seamless voyage of spellbinding mutant funk grooves, joyful post-punk explorations, synth fantasies, sexy distortions, and fluid cool-no-sweat vocals. Constantly mutating in an almost biological way (similarly to Colored Music’s self-titled album), always mysterious and seductive, sometimes reminiscing of a freaky cross between PiL, Liquid Liquid, Bowie and Yello, EP-4’s debut is hard to label, although "Debonair Wave" could be a legitimate way to describe this Japan’s best-kept-secret of an album.
Defying the rules wasn’t limited to sonic experimentations for band leader Kaoru Sato. To promote Lingua Franca-1, he and his crew plastered gigantic (illegal) billboards all over Shibuya and Harajuku, announcing performances in four different cities on odd hours of the same day (May 21st 1983) - and yes the shows did happen. Other of his notable antics included originally sub-titling the album Death to the Emperor Showa causing a controversy (which led to censorship and a title-change), trying to release two albums on the same day without the concerned labels being aware of the plan or, in the R.N.A. Organism days, fooling Vanity Records into believing the demo he sent them came from a foreign band (it worked). Unique personality, unique music!”
Areissue of Infinite Sound's Contemporary African-Amerikan Music. This is conscious free jazz featuring Roland P. Young, originally released in 1975 on the eclectic 1750 Arch records.
"'1750 Arch was a beautiful Spanish-style hacienda,'recalls Young. 'It had a recording studio in the basement and the salon was a performance.' Young played solo gigs there and also in duo with cellist Chris Chaffe. He remembers it as a particularly 'transcendent' setting for concerts by this trio, with singer Aisha Kahlil and bassist Glenn Howell. 'What appeared to be 'experimental' was reaching for sounds and emotions that were unfamiliar. We performed at rallies in support of various causes; our ultimate goal was a blending of cultures.'
In 1968, Young was working as a DJ at KSAN, an underground rock station in San Francisco. 'Glenn used to call me when I was on air to comment about the music I was playing; he was a musician and I invited him to come talk about music, then decided to play. The pair met Kahlil at one of their concerts. 'A mutual friend introduced her and told us she was a good vocalist, loved our music and wanted to sing with us. We invited her to a rehearsal and soon after invited her to join the group. Infinite Sound came together easily; we had a shared intuition, and created a lot of music. Each of us would bring ideas to rehearsals and we would work on them. We talked about how to present our material and how compositions would flow; we were also conscious of how we dressed for performances, how we moved on stage, how we interacted with each other and the audience. On occasion we would invite dancers to perform with us, friends of Aisha.'
Contemporary African-Amerikan Music preserves a fascinating glimpse of the trio in action. Their compositions embrace mobile forms, with Howell's buoyant bass taking a role around which Young's horns and Kahlil's voice move. Rhythms dissolve into textures, and melodic shapes soften or flare into exuberant bursts of tonal color. The music's mood swings unpredictably from flamboyance to introspection. Moments of musical allusiveness mutate into passages of wild inventiveness. Tantalizingly, this was this trio's only release. Times have changed, yet increasingly in recent years creative artists have come to accept the need to erase musical boundaries and erode the constraints of aesthetic categorization." --Julian Cowley.”
K2’s ‘The Rust’ is an utterly crushing masterpiece of metal junk cut-ups from the ‘90s Japanese underground. Torrid torrents of elemental sonics in perpetual flux. Nothing to hang on to, just pure tonal punishment and decimated rhythms, now thankfully restored and repackaged by Hospital Productions.
‘The Rust’ was originally released by Kinky Music Institute in 1995 and history has proven it to be a classic of its sub-genre of metal Junk Cut-ups, which is distinguished from the more psych-based obsession of ‘90s J-noise in respect of its hacking, non-linear arrangements and rejection of any convention beyond pure concrete cacophony. Or as Hospital Productions puts it: “Kinky bass synth fills the holes in the body with pathological precision. The glory and decay of effects is applied without disinfectant. High energy distorted junk fetish.”
It will probably be snatched up in a second by Jap-noise freaks, but for anyone intrigued by Kimihide Kusafuke’s approach and effect on ‘The Rust’, you may be as surprised as us to learn he was also a member of Techno Menses, who made some amazing new wave electro in the ‘80s that sounds like a night in 1960s Blackpool on a handful of uppers. Go figure.
For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers.
"As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
.The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.
Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time."