Dead sought-after Library slab of wild and hairy disco drum rhythms and electronics from 1978. For use in pornos, sleazy bars, churches...
“The first ever repress of this Klaus Weiss musical masterpiece. And it's the first of the all new Trunk library series that is a coming this way. Time Signals is an incredible thing on many levels and for many reasons, and you will not find an original without a mortgage.
It's classic German experimental sounds and rhythms that only Klaus can really get away with, and over the years cues have turned up all over infamous hardcore porn as well as sports programming and maybe some sinister wildlife documentaries too. This is electronic, rhythmic, peculiar, and will make your brain hurt at times.”
Fiercely bass-heavy club pressure volleyed in from USA’s Distal for the good of your glutes.
On Psychologic he’s got that grasp of layered, booming bottom end that Black-rooted American music does better than most firmly on lockdown. It’s there and present under the sparking chops and hazy chords of Psychomagic in an Adobe Home on a warped B-more bounce, whereas Icy 92 goes innnnn on a cowbell-struck Chicago booty slap, and Bullets Through Water deploys it at a frenetic footwork pace.
However the last two are also notable for a finer balance of high end registers, squirting an acidic, chromatic rainbow of pads over the crudely rugged bass jabs of Red Pill Jam, and Above Nimbus polishes off properly with a hybrid, hardcore rave mutation splicing classic vocal stabs with radioactive midrange flares and razor trap beat.
The ‘queen outsider of Berlin Avant-Pop’ returns with a new album exploring social indignation and identity deconstruction for Klangbad. Think somehwhere between Space Lady, Inga Copeland and Ectoplasm Girls, featuring Faust's Joachim Irmler.
Berlin-based Russian Mariya Ocheretianskaya makes a swift return with a new Mary Ocher album following last year’s self-titled ‘sub-religious’ endeavour alongside her drum unit Your Government. The grandly-titled ‘The West Against The People’ was produced by Ocher in collaboration with Klangbad co-founder and Faust don Hans Joachim Irmler, with the aforementioned Your Government featuring heavily among the album’s thirteen tracks along with a guest spot from German wave icon Felix Kubin.
The grandiosity of the title and themes explored by Ocher is more than matched by the sweeping drama of the music, at times recalling the bizarre DIY stylings of Space Lady or Inga Copeland. For the most part however, this is Ocher’s eccentric story to tell, and it’s a wonderfully psychedelic and varied listen that retains a certain cohesion that has you coming back for more.
In the first few tracks alone, Ocher veers from Ectoplasm Girls-style spectral drone on Firstling, Pt. 2, to Avant poppers with allusions to psyche-rock. At other points, there are odd soundtrack compositions reminiscent of something you might hear on an Andy Votel mixtape, whilst Kubin seems to bring new levels of bizarreness out of Ocher on album closer Wulkania.
Brilliant and weird - highly recommended.
Sun Araw totes one of his most surreal, daftest fancies with The Saddle Of The Increate, despatching the band’s first new recorded material on Sun Ark Records since the psychedelic excursion, Belomancie .
With only a few trips made on Sean McCann’s Music For Public Ensemble and alongside Laraaji on Professional Sunflower and the S. Araw “Trio” XIII to quench our thirst in the meantime, this loosely strung and sprawling set renders Cameron Stallones and the gang at their most ir/reverent and dare we say, North American; delivering a subtly funny and playful suite that’s more Billy Crystal on magic beans than Alejandro Jodorowsky on mescaline, as far as desert trips go.
Incorporating a phalanx of drummers including Butchy Fuego, Jon Leland and Caitlin Mitchell, plus Dave McPeters on pedal steel, Sun Araw come off like a gang of cattle-ranchers who lost their herd a long time ago and subsequently decided to follow old dirt tracks deep into the desert, navigating their way by the stars and with only a batch of turnt haricots for sustenance. What ensues is a progressively light-headed and sorta-mystic journey of discovery following an unstitched narrative which leads them right up to a sincere yet lysergic cover of Bob Dylan’s I Shall Be Released - as previously worn by Jef Buckley, Joan Baez, The Deftones, Nina Simone.
As you might expect from a trip to the desert with Sun Araw, you’ll lose your own herd quite quickly, and mirages, fata morganas and the like become commonplace; with expectations perpetually teased and thwarted from the fusion of heat-warped synth strokes and pitch-bent steel licks in A Golden Boot thru the quicksilver clip-clop of A Chute, and the tropical, latinate influences that creep over the border into Orthrus, which also features McPeters’ pedal steel at its most plangent; with Campfires framing a charmingly ludicrous scene of quiet, acousmatic rustle pierced by parping modular spurts, and even allowing for a spot of sun-dazed native folk dance in the jerky boned jig and processed croon of 40 Hooves, serving Sun Araw at his most alien and yet uncannily familiar.
This is exactly what psychedelia should be for us; weird, silly, cryptic, inexplicable - not earnestly unimaginative and derivative. It would take a fool to accuse Sun Araw of the latter, and this album should hopefully be a smoke signal to all those pedestrian churners who call their music “psychedelic”.
Thrumming techno polymetrics from the Grey Area already bigged up by Mumdance; recalibrating your roll with four monotone and undulating rhythms that teeter between needlepoint hi-hats and pulsating hydrolicks, cavernous reverbs, and underwater steppers.
RIYL Sigha, ASC, Akkord…
The Salford collective return with an album length rebuke at the ever-growing shit-stain that is the current political regime.
With many modern day musicians content on stockpiling social media kudos or chasing sync money, leave it to Tesla Tapes antagonists Gnod to offer up a dissenting voice against the post-Brexit, alternative truth-heavy, fascist malaise 2017 is currently descending into. Never a band whose sound you should second guess, the clear anger and intentions of this album’s title is more than matched by the politicised fury and antagonism unleashed within.
“It seems like we are heading towards even more unsettling times in the near future than we are in at present.” reckons Gnodder Chris Haslam. “2016 was just the beginning of what I see as the establishment’s systematic destruction of liberalism and equality as a reaction to the general public’s loss of faith in their system.”
With this renewed creative focus driving the band, ‘Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine’ embellishes their hard-edged rock repetition and heavily-dubbed out underbelly with a darkly-satisfying new hue.
Steve Rutter keeps modulating his style with the latest B12 seemingly looking to Tricky and late period dubstep for inspiration in the vocal-fragranced downtempo trips of In Vain, at least his 10th release since remerging c. 2015.
Feels like 9am Sunday in a musty Chorlton flat surrounded by empty Oranjebooms and you can’t fight the feeling any more; it’s time to go home.
Sought-after Herbert 12" from 1996 dusted down and re-upped for the house fiends twenty years later.
Got To Be Movin’ packs strong cues from ruder Dance Mania and Chi sounds into a proper bumpy, chunky ride that also sounds pretty banging at 45rpm -8, in case you swang that way.
Underneath, there’s the suave electro-disco whistler, Fat King Fire, and the grubbing hustle of Housewife.
Amsterdam-based Japanese label Soundofvast hosts the return of Romanian producer, Sorin Rastoaca under his Vid alias with the rolling tech-house minimalism of Sunshineset and a bittersweet ambient interlude backed with the darker, rugged house heft of What Do You.
This 175 page A4 sized new book covers Martin Hannett and the equipment he used for producing sounds with Joy Division and early New Order plus for Happy Mondays, Buzzcocks, Nico, Magazine, Stone Roses and U2. It also covers Strawberry Studios which was opened and initially used by 10CC for their best albums and singles and block booked by Factory and Hannett from 1979 for many of the post punk recordings.
"There’s also a section on Hannett and Tosh Ryan's Rabid Records and Absurd Records, which were an influence on Tony Wilson of Factory Records. The book was conceived originally as a companion book, about Martin Hannett’s equipment, to Chris Hewitt’s other book “Martin Hannett - Pleasures of The Unknown” and the DVD “Martin Hannett - He wasn’t just the 5th member of Joy Division”.
As material was being collected for this second book on Hannett, the project expanded to include a lot about his work at Strawberry Studios, Stockport and subsequently a section about Strawberry Studios in the years before Martin Hannett started to hire the place and then another section developed about the Rabid Records HQ on Cotton Lane in Withington, Manchester. Rabid was probably the first punk label to put bands into Strawberry Studios. If Rabid and Factory couldn’t afford to record the whole session at Strawberry Studios then they would use Pennine in Oldham and Cargo in Rochdale. Martin Hannett would bring the tapes to Strawberry for final mixing.
The headstone at Martin Hannett’s grave in Manchester’s Southern Cemetery states “Creator of The Manchester Sound”. He certainly created the Manchester punk / post punk sound and a lot of that he created in Strawberry with his array of electronic toys shown in this book. You could also credit Strawberry Studios with creating the earlier pre-punk Manchester sound. Graham Gouldman obviously wrote material for Herman’s Hermits / The Hollies, Eric Stewart was a Mindbender and when they recorded as Hotlegs and then 10cc they clearly put Manchester on the map and the studio was also used pre-punk by Manchester area bands like Barclay James Harvest and Sad Cafe.
The common thread running through Strawberry Studios operation, Factory Records operation, Martin Hannett and Tosh Ryan’s Rabid / Absurd Record labels operation, was that they all believed that bands and the music industry should not have to go off to London to record and put records out. They believed in the bands from Greater Manchester towns as a force to be reckoned with and wanted to create a Manchester-based music industry. As 2017 is the 50th anniversary of Strawberry Studios and the 40th of Rabid Records we can be thankful that these musical pioneers in Manchester Rock laid those foundation stones."
Best believe he’s back; almost 2 years to the date since Hieroglyphic Being’s Worst DJ Ever mixtape (Reel Torque Volume 5), Chicago’s finest returned to the borderlands of Manchester/Salford for a truly blinding, freestyling session at the shabby palace of dreams, a.k.a. The White Hotel, instructing us to make sure this one was definitely recorded as he’d spent some heavy time prepping for it. And thank f*ck we did, ‘cos it’s easily one of the best, longest, most intuitively gratifying sets we’ve heard him play. Fair to say we’ve heard him DJ more than a few times, too.
Perched in the DJ booth/crow’s nest, incense burning and smoke machine on constant, Jamal Moss delivered us to the disco gods with an unrivalled selection cycling thru wavy obscurities, EBM knockers, symphonic disco strings and acid house rippers with a totally savant rudeness. If the smoke wasn’t so dense you could have seen him, head tilted to the sky and utterly commanding the vibe like a starship admiral channelling astral coordinates on a mission to different dimensions.
Track ID’s were attempted in reel time, but Disco Dave Adams and The Trippin’ Pigeon soon gave up pecking and got down to shredding imaginary rug, harmonising to Dan Hartman’s Relight My Fire and bouncing off the walls to the likes of Front 242, Sleazy D and myriad others with a fervour rarely experienced before - aside from other Jamal Moss/Hieroglyphic Being sets - and all right until the dawn was piercing the skylight and turning the smoke-filled room an uncanny shade of blue very similar to the colour of this tape’s artwork.
It was one of those nights that participants should not be able to fully recollect, but the vibe stays with you long after the moment. Such a buzz to be right back there in the thick midst of it with this tape. All hail the Hieroglyphic Being, massively recommended to all dancers!!!
Joy Orbison makes up for five years of no solo releases by starting his own label, Toss Portal, with a brace of four sticky, bouncing UK techno experiments.
It’s hardly like he’s been asleep for the last five years - he’s kept his workmate up both in collaboration with Boddika on SunkLo, and with Herron as CO/R - but the last we him solo was on Ellipsis way back in 2012, so you can consider this one a tad overdue.
We can hear traces of the SunkLo sounds riddled all over the Toss Portal EP, but it’s also possible to see where Boddika’s Breaks-ier styles were holding him back, as the reticulated funk of Rid cuts loose with a proper feminine pressure that recalls his earliest Joy O work, while the grumbling, cranky Walworth Window morphs with a more messed-up, kinkier appeal of his own, and Rite Ov even introduces a lilting reggae vocal, Main Street or Rhythm & Sound style, on a sloshing steppers groove.
You need this one for the original "Produzione", originally released in 1973 on Piero Umiliani's LP "Problemi d'oggi", an amazing mix of acoustic percussion and electronic experimentation, considered by some as the first example of techno / trance music ever recorded.
The newer reworks by Gerardo Frisina are completely unecessaery.
Person of Interest, Angel De La Guardia kicks out a handful of swanging, mutant house slugs in Eclipse for his buddy, J. Albert’s Exotic Dance Records.
Up front the pendulous Skyline (Angel’s Theme) marries whistling melody with thistly garage swing, and Eclipse imagines a fusion of effervescent breakbeat house and raving mentasms that never happened way back when, but sounds so good now.
Flipside he plays it down on a bumpy Theo Parrish style hustle, but returns to the rave from a more delicate angle with the dilated yet sleepy Jersey styles of En Route, and checks out with he acid greaze of Lost1 (capri).
Music From Memory follow up the enchanting Suso Sáiz retrospective Odisea with a far more recent survey of the Spanish ambient and new age pioneer’s contemporary output, Rainworks; spanning wistful ambient vignettes to mind-engulfing drone, brittle concrète and drifting solo piano studies commissioned and written in 2016.
Highly regarded for his work with Orquesta De Las Nubes and Música Esporádica for Grabaciones Accidentales (home to Finis Africae, Luids Delgado, Randomize) in the early-mid ‘80s, Sáiz has followed that path ever since, resulting collaborations with Steve Roach and dozens more releases over the interim.
Rainworks finds him still feeling out a sublime, etheric otherness, bringing to life a series of atmospheric pressure systems with a deft, elemental touch in key with the original commission from Hidraulica, Tenerife (Canary Islands), gradually expanding and contracting in ambition from the opening arabesque to the abstract yet richly evocative tract of A Rainy Afternoon at the album’s perimeter.
Wonderful side of spare piano airs, south Pacific instrumentation and field recordings from Lieven Martens (Dolphins Into The Future), based on the writings on Robert Louis Stevenson...
“After two sold out concerts in Tokyo and Osaka, we treat ourselves on a trip to Okinawa and the Ryukyu Islands. After spending a little time in the main city of Naha we took a ferry to Tokashikijima, a small island surrounded by coral reefs, mother-of- pearl farms and infested by an aggressive and poisonous snake. Aharen, a classic small beach town stuck in a fabricated memory of 80’s surf movies, was to be our home for just a few days. While walking through its snake infested bush and through its lagoon, while photographing, the Tombeau De Robert Louis Stevenson, a composition I was hinting at in live environments, became reality inside a patchwork of history, of coral reefs. While walking on the beach, more or less solitary since tourist season was just a few months away, while listening to the gorgeous sound of a small motoric fishing boat working on the reef – an ever-pleasing sound -, and to beautiful synthesized steel drum music coming from the local junior school.
In the end the piece became so simple, an almost clinical exhibition of sound, that it became a difficult world entangled in meaning. Like a coral reef that is so pretty, yet dangerous, vibrant, endangered, complex, slow, fast, all at the same time. (…) Since I already figured out how to present my idylls – in a possible dark sense of the word – in the various forms, presented as a storytelling collection in four parts. Being a portrait (which could be a secretive self-portrait), a comment on ethnography, an exotic illustration and a ritual.
The latter used in the most mundane sense ever, since I’d like to stay far away from a sensational bubblegum approach to (religious) pseudo-ethnography, to the copying of ethnic behaviour, or to approaching it as something odd or weird. These behaviourisms unavoidably invoke the end of all rituals, thus making the world a duller place.”
The high priestess of dark blue operatic viscera, Diamanda Galás presents her first new slab in nearly ten years
Dispensing a mixture of live recordings and covers, with a selection of performances unflinchingly captured live in Paris, Copenhagen, and East Sussex, along with studio recordings of her takes on vintage Thelonious Monk and Jimmy Van Heusen songs.
Cologne-based Dame, Lena Willikens, debuts on Cómeme with a cracking EP of darkside dancefloor mystique heavily influenced by '80s wave heritage.
Her 'Phantom Delia' EP pits years of experience DJing on the radio and at her residency for free-spirited Düsseldorf nightspot, Salon Des Amateurs, together with a rarified knowledge of classic wave musics, outernational rhythms and weirdo techno.
The result: a delicately patterned, phantasmic meld of styles; slipping gears between the furtive, droning EBM of 'Howlin Lupus' to the poised Dominatrix ambience of 'Nilpferd' (mistress, do that "ja, ja, ja" thing again, bitte), to the spunky ghost-house of 'Mari Ori' and the creepy-as-f**k, titular closer, which would make a fine soundtrack to stalking the red light district of Düsseldorf in search of Kraftwerk's studio.
For anyone with a kink for those blink 'n miss Kunstkopf 12"s, Tolouse Low Trax, or just good old fashioned wave music…
Almost a year in the making, with tracks having been mislaid or buried underneath piles of original demos, then reconstructed and remastered, this compilation aims to highlight the core elements of French Synth-Pop from it's earliest incarnation to newer acts influenced by the earlier protagonists distinctive sounds and imagery.
"Many of the tracks are completely unreleased or are early demos. For the aficionado we hope this fulfils a rediscovery of old classics or to the late-comer a decent collection of tracks that serve as an introduction to the uniqueness of French Synth music and the burgeoning new scene.
Conceived and curated by Jason B Bernard. The album comes in a luxurious digipak and is limited to 500 copies. Artwork by Oleg Galay and remastered by Martin Bowes @ The Cage"
It’s Repitch’s 5th anniversary and they’re celebrating in style with Dys Functional Electronic Music; a 16-track album featuring bullets from label regulars such as Shapednoise, Ascion, D. Carbone, AnD & Gaja, alongside an extended, international circle of peers including Pinch, Sote, Skudge, Nuel and Mike Parker.
Pinch gets the party off on a dank footing with No Justice - kinda like that guy who’s telling gallows jokes to attendees on their first drink - and sets the vibe for a session which only gets more twisted messy as it goes on, turning up memorable highlights in Nuel’s hyper fluid D&B roller, Biopunk - definitely a first person on the floor tune - in the wretched noise convulsions of Shapednoise’s 0.1dbhisdoi’fioa (shouldn’t have tanked that bottle of vodka so early), and the guy with all the drugs up his face at once, Sote on the raging Operor, whilst Skudge get all deep in the backroom with the tales of his trip to Thailand in Buchla.M1000, and Mike Parker is among the last to leave with the pulsating sub-aqua dynamics of Ilium_Curve.
Glasgow’s Spinning Coin made their first impression on the world at large with 2016’s ‘Albany’ / ‘Sides’, their debut 7” single on Geographic.
"Tellingly, Spinning Coin are part of a tradition of socialist independent pop from the Scottish region, one with a strong history of DIY creativity against the odds. With ‘Raining On Hope Street’ Spinning Coin reveal another, beautifully moving side to their music: it’s a heartbreaker, a gloriously affecting pop melody.
In many ways Spinning Coin catch what’s in the winds of their times and ‘Raining On Hope Street’ understands the complexities of the heart along with the intensities of lived experience."
A brand new Buddha Machine made in collaboration with Philip Glass, released to commemorate his’ 80th Birthday on 31st January 2017.
Seven loops of distinctive and hypnotic works by Philip Glass featuring piano, organ & voice. Significantly improved sound quality and built in speaker as well as headphone output.
Totally Killer 2nd album from Anthony J Hart (Imaginary Forces) as Basic Rhythm for Type, decimating and distilling jungle, grime and garage into their common and most affective dancefloor denominators...
Back with that spice for Type, Anthony J Hart gets down to UK rave fundamentals on a killer 2nd LP under his Basic Rhythm pseudonym. Where his more prolific Imaginary Forces output is all about the push ’n pull of power noise and post-rave techno dynamics, Basic Rhythm fixes a steely focus on the physics of the UK’s hardcore continuum; decimating and distilling jungle, grime and garage into their common and most affective dancefloor denominators.
Basic Rhythm offers Hart up as a sort Leyden Jar battery or vessel storing decades of absorbed and condensed pirate radio transmissions, and The Basics can be heard as his disciplined attempt to parse those muscle memories and sensations into something tangibly, rudely physical but, most crucially, leaving aside those bits he considers unnecessary in a defragging process of mental sonic décollage - breaking down outmoded values and replacing at a distance from the original medium.
What remains forms a kind of refreshingly eviscerated halcyontology, recollecting and rinsing out the good times spending his p’s on new shells at legendary shops such as Music Power (Ilford) and Boogie Times; listening to Rude FM 88.2, Unity 88.4, Pulse 90.6, Weekend Rush 92.3, Kool FM 94.5; cutting dubs at Music House; and swanging his jaw at legendary venues and club nights like Stratford Rex, Temple, Labrynth, Telepathy, Slammin’ Vinyl and One Nation.
In reducing those aspects to a pointillist vocabulary of sawn-off drums, harness-straining subs and tessellating, tussling stabs of flava, he leaves a spare air prompting ambiguous reading of ‘dread’ and ‘ecstasy’, depending on the listener’s own reception/perception. It’s a dichotomy at the core of E18’s postcode-warring sublow shift, explored in the crevices between rap and grime in Fake Thugs, or the way Silent Listener (Adore) is intended to illuminate dank bedrooms, whilst the ructions of Cool Breeze (Summer In Woodford Green) and the fractiously mapped road rave styles of Blood Klaat Kore lend an overlapping sense of deep topographical study to the mix.
Lindstrøm & Prins Thomas’ remix makes Beck sound like Panda Bear banished to a viking diskø; Kölsch reaches for the lasers and the WKD blue in the elephantine trance pop of his remix fro Little Dragon and Flume’s Take A Chance.
Northern Spain’s Jasss returns to Mannequin’s Death of The Machines series - which she kicked off in 2016 - with a 2nd shot of harness-straining EBM noise and slow, seksi, mutant chugalug.
No Complicate knuckles down to raw, fleshly synth noise and bony rhythms on the A-side, arching up from a cavernous intro before unleashing a streaking, needling lead that will elicit winces and jackal grins in equal measure.
On No Chance she drags the tempo right down to a 100bpm grind riddled with expressive synth voices and barking stabs, deferring another beastly lead line until it’s required, and promptly resetting the track with electrifying force.
Illicit jackers’ craic from the transatlantic badboys Willie Burns and DJ Overdose; whipping up the urgent, bucking acid track Sonny And Ricardo Give Good Advice backed with a bare bones Beat Mix for the DJs.
Paul Rose (Scuba) fixes trax from Isaac Reuben, Bleak, Markus Suckut and Antonio Ruscito on the first release for his Who Whom label.
Following his entry on Scuba’s Fabric 90 mix and smaller 12”, Isaac Reuben opens affairs with the misty-eyed strings, deep surging chords and driving kicks of Machines, and Bleak tests the big room ‘floor reflexes with the palpitating techno footwork of In My Soul.
Markus Suckut’s Acid Landscape proceeds to ice the room with glacial 303 modulations and glancing rimshots, and deep Italian techno specialist Antonio Ruscito glides on deepest systolic pulses to the the edge.
Bank Records NYC enlist an Unknown Artist (purportedly Lyubocha, who was last spotted on Opal Tapes’ Contemporary Dance compilation) for their 10th volley of grotty dance trax.
Abakan feels out murky techno space between 154 and Lee Gamble which gets more acidic in the proceeding Krusheniye, whilst Novaya Kalami drags that vibe underwater with soggy bass hits and mottled brown acid flow, and Trauma rolls off the bone with a more rugged swang.
Mondo issue of the stop-motion animated masterpiece Coraline.
"The soundtrack to Coraline is as haunting as it is whimsical. With the help Budapest Orchestra and Choir behind him, composer Bruno Coulais captures the dark child-like imagination of the titular protagonist with menace and aplomb."
Brusque, Ballardian EBM techno and industrial clangers from Oliver Ho in his Broken English Club style.
The A-side’s Accidents & Romance clamps down with rottie-toothed 16th note synth snarls and back-breaking kicks whilst the owner chats like a man possessed, somewhere above the escalating madness.
B-side, Country Life bucks up some recoiling and lustrous EBM funk that burns on contact, backed with a descent into crushing industrial torpor with Private Death.
'I'm Not A Heaven Man' is label bossman Stephen Bishop aka Basic House's second album, following the issue of his 'Ambrosias Vol.1' for Norway's boutique Koppklys imprint, and sketches an often bleak soundworld streaked with cryptic chiaroscuro electro-acoustics, ritualist drone, edge-of-the-planet ambience and tape-ground industrial house patterns.
At times it recalls an opiated, sleep-paralysed version of Andy Stott, maybe a darker adjunct to the frayed and abstract environs of Aaron Dilloway, or a more diffuse Thought Broadcast, especially in the deconstructed warehouse interzone of 'Teenage Dog', the sludgy lilt of 'Perishing' or the submerged digital scree of 'Green Dome (Bottomless)'.
But ultimately there's something more elusive, a haptic appreciation of grain and space that we can't place our finger on and should keep us returning to this gem gone 3am when nothing else will fit the atmosphere of glowing computer screen, creaking house timbers and EVP hallucinations.
Reeko, Blawan, Stenny and Shifted weigh in heavy duty remixes of London’s Pris for his Resin label
Blawan goes on brute and monotone with a rumbling, knotted remix of Dodeca and Stenny keeps it flowing off centre in a nervier rework of Reef. Shifted impresses with the intricate scree and recursive rolige of his take on Devil In The Detail, and we catch Reeko at his most sullen on a gravelly version of Reef.
Berlin’s Laura ODL and Eva Geist a.k.a. As Longitude carve out five grubby ruts of dubbed-out acidic chug for Amsterdam’s venue-turned-label Knekelhuis; pulling the ‘floor along at 100bpm pace thru the wavy oddity Black Rice to the piquant percolations of Pink Is Orange on the A-side, and then from the stumbling triplets of Kalte Füße to the Colin Potter-esque kosmiche hypo-dub of Blauer Part and share an analog bubblebath with Sharks Are Coming.
Icy polyrhythms, stinging acid, modulated reflections, and hallucinatory waves percolate through the latest solo EP from Rrose. Starting deceptively crisp and dry, all three tracks ooze with the kind of slow building, multi-layered intensity that typify Rrose releases.
Composed by Dario Marianelli, KUBO, continues the masterful legacy of Laika Animation Studio's filmography: Incredible visuals, and craft - and equally as powerful soundtracks.
"This Dario's second time composing for the studio, this time dabbling in Japanese instrumentation to bring our titular hero's journey to life."
Divided: Mind stretches out Ena’s sound with 13 introspective slices of developed ambience.
"Fresh from collaborating with Rashad Becker for the Atonal Tokyo edition, Divided: Mind contains the kind of innovation that allows Ena to adapt perfectly to this electronic improvisation environment."
Lushly sentimental nostalgia for early-mid ‘90s electronica; like Special Request reworking B12 in the epic, rolling breakbeat hustle of Lost Illusions; or a long-lost FSOL archive salvage in the majestic Aura 96 (Kino Mix); then with Jesus arms for the sunrise in Gaia’s Requiem.
Diario de un Monstruo is a homage to the 1981 album Diary of a Madman by Ozzy Osbourne. It is another (and some might argue, inevitable, addition) to the ongoing Monster series of releases.
"To say Liles’ recording is a cover version of the original Ozzy album is far too simplistic and misleading. This recording adapts motifs and hooks from the original music but is in no way similar. It is a complex tapestry that is woven from many fine threads and at times is a confusing and incomprehensible MONSTROUS interpretation of the classic album. Anyone expecting a hard rock L.P. will be sorely disappointed.
Liles has been obsessed by the original album since its release 36 years ago and has been collecting various L.P. pressings and ephemera associated with Diary of Madman for many years.”
Queen of the NON collective, Nkisi makes her solo debut proper with an urgent showcase melding Congolese dance rhythms with Belgian techno and gabber inspirations.
The singular producer, based between Brussels and London, has been throwing down some of the sickest DJ sets online via her NTS show, among others, for the last few years now, alongside her work in curating and managing the NON collective beside Angel Ho and Chino Amobi.
Landing after a string of digital releases, Nkisi’s Kill EP explores the breadth of her rooted, forward and deadly sound: kicking off with the militant dancer’s sensuality of Kill’s hopping polyrhythms and transition from smooth to salty trance electronics, pursued by the downstrokes contours of Can U See Me at her slowest and sweepingly atmospheric.
The other side is a totally different affair, closer in tone to the insistent pressure of her radio and club sets. MWANA comes on like darkside renegade from a Petchy show, all driving snares and bolshy toms pinned into place with sticky EBM bass hits and sky falling pads, then the acid grobble of Parched Lips goes on like something from a lost sect of Spiral Tribe that ended up in a central African republic.
The followup to ‘Oh! Mighty Engine’, ex-Slowdive feller Neil Halstead is again scratching his folkie itch on ‘Palindrome Hunches’.
It would be too obvious for him to go back to his ‘Souvlaki’-era experimentation I suppose, but just for good measure the album kicks off with the Red House Painters-ish ‘Digging Shelters’, a track that might be just as melancholy as anything he’s ever penned. It’s not going to convince desperate Slowdive fans, but it’s a great start to an album that manages to blend the alt-country jangle of Mojave 3 and the whimsical qualities many thought Halstead had left behind. More than just reverberating dream pop, ‘Palindrome Hunches’ is bursting with jangling diary entries, wide reaching influences and genuine heart.
Banana Stand Sound showcase California’s 140bpm sphere with four tracks from the west side.
OH91 goes in with gut-wobbling halfstep pressure and starry lead synths on Meditation; Nights & Serotonin’s Jazz Lick gets mad on a broken, tribal tip hearkening back to original Benga and Hatcha styles; TryTryDieDown wins outright with the R&G bling of Boo; and Crix Saiz brings it back to root on the trapping halfstep lean of Warrior.
Fractious new club music from Shanghai, China’s genome 6.66Mbp label; throwing down Rui Ho’s delirious debut collage of militant dembow trills, wild descending synthlines and acrid bleeps in Ru Meng Ling, before tagging in Why Be for a smarter remix tempered with bell/gong hooks and more punchy drums that jab in the right places.
Genome 6.66Mbp slice off a bleedin’ cross-section of Shanghai’s underground sound in Genome Compilation Vol.1.
18 tracks wide and crammed with up-to-the-second deconstructions of grime, dembow rhythms, and turnt US club music, it coughs up some smart highlights in the likes of CUSTOMANE’s weightless grime riddim, The Second Encounter; on SWAN MEAT’s sore AF R&B noise extraction, Shadow play w-rules; and the helter-skelter cyber rave pelt of Loom by Hyysxl.
RIYL Kamixlo, Tzusing, AYYA
New, unreleased and scarce tracks pulled from Harbinger Sound's diverse roster of artists, feat exclusives from Sleaford Mods, Consumer Electronics, Steve Ignorant's Slice Of Life plus tracks from Pain Jerk, Sudden Infant, Phil Julian and load more...