You’ve definitely seen their name on a poster over the years if you live in the UK, and now, if the mood takes one, Hey Colossus can be heard on vinyl for Luke Younger aka Helm’s Alter label
“Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.
Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.
From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.”
First issue of a funky Afro-disco and reggae classic from Nigeria, 1979, plucked out by Australia’s Isle of Jura Soundsystem. That stepping title track is a peach!
"Isle Of Jura digs deep going back 40 years for the reissue of Harry's 1979 album which is something of an undiscovered gem that touches upon Disco, Funk, Boogie, Soul and Dub. Harry passed away in 2012 and we’ve worked closely with his son on the reissue.
Harry Mosco is best known as the founder of legendary 1970s Nigerian Afro-Funk band The Funkees. Originating as an Army band after the Nigerian Civil War they lead the wave of upbeat music produced by young artists in Nigeria in response to the darkness of the recently concluded civil conflict. Following a notable hit single ‘Akula Owu Onyeara’ the band split in 1977 and Harry pursued a solo career.
‘Peace & Harmony’ was Harry’s third LP continuing the rich vein of form found in previous albums ‘Country Boy’ and ‘Funkees’ (For You Specially). He was a visionary who wrote, arranged and produced each song on the LP assisted by Mark Lusari on engineering duties (P.I.L, Jah Wobble & Prince I), whose Reggae and Dub influence can be felt on title track ‘Peace & Harmony’ and ‘Peaceful Dub’. The LP contains two certified floorfillers of Studio 54 era Disco Funk in the shape of ‘Sexy Dancer’ & ‘Step On’ and two slow jams, the soulful ballad ‘She’s Gone’ and horn lead album closer ‘Do It Together’. Mr Funkees was printed on the cover to help record buyers make the connection between Mosco and his former band"
The first release on Chained Library, an icily minimal and pointed suite of industrial ambient electronics recalling the styles of Werkbund, Litüüs, The Radiophonic Workshop
Recorded 2012-2013 and first issued on tape in 2014, [..(].’s ‘Unnamed’ session feels only half-human in the best way, as simple gestures appear to become automated and spiral out into slinky permutations of their minimalist parameters, with only the slightest nudges giving variation to their hypnotic shapes. That applies to much of the tape, form the singed gauze of ‘A1’ thru the pulsing arps of ‘A2’ and the criss-crossing liens of ‘A5’, thru the Delia Derbyshire-like tones of ‘B1’, but if you’re still paying attention tot he end you’ll be rewarded with the fuller phrasing of ‘B5’. Enigmatic is the word.
Karen Marks’ remarkable ‘Cold Café’ gem with its proto-Sleng Teng bassline heads up this compilation of lesser known archival cuts by the Aussie post-punk singer
Appearing on both Efficient Space’s ‘Sky Girl’ comp in 2016, and Minimal Wave’s ‘The Bedroom Tapes’ set, Efficient Space now package the stunning oddity ‘Cold Café’ with its original, country folk-styled B-side, ‘Won’t Wear It For Long’, plus the smeared brass and tremulous vocals of ‘You Bring These’ off the ‘Terra Australis’  compilation, and rawer, previously unreleased demo of ‘Cold Café’ and the scuzzy, Vazz-like pop of ‘Problem Page’.
Seriously, ‘Cold Café’ is right up there with Berntholer’s ‘My Suitor’ or Dome’s ‘Cruel When Complete’ in terms of addictive, ghostly early ‘80s “pop” songs
First reissue of a rare, heat-seeking Highlife classic from Ghana, 1982, primed to liven up any party, BBQ, or any under-the-weather types. OG copies trade for a stack, you do the maths!
“Hard-to-obtain, vintage highlife from three true giants of the sound; Ebo Taylor, Pat Thomas & Uhuru Yenzu. Originally released in 1982.
In 'Hitsville Re-Visited', the mighty trio add a dose of uptempo funk into traditional highlife grooves.
The legendary Ebo Taylor was involved in many funk and highlife records to emerge from Ghana in the 70's and 80's. He worked with bands such as Apagya Show Band, C.K. Mann as well as Pat Thomas, on this, and several other records.
Taylor recorded another album with Uhuru Yenzu in 1980 – 'Conflict' – which is also available on Mr Bongo.
Pat Thomas career began in 1969 with the ‘Broadway Dance Band’, leaving a year later to join the ‘Uhuru Dance Band’. He then played with Ebo Taylor’s ‘Blue Monks’ and finally formed the ‘Sweet Beans’ in 1973 where he really made his name.
Thomas and Taylor's careers span more than 50 years now and they both still tour to play around the world.”
NYC-based Ravi Binning’s cult “post-noise” project Thought Broadcast transmits its first significant release in 4 years with the magnetic pull and static torpor of ‘Abduction’
With his eponymous 2012 debut with Olde English Spelling Bee still fondly remembered like a psychedelic fever dream you can’t get over, Thought Broadcast has intermittently projected everywhere from BEB’s Krokodilo Tapes to Editions Mego and his Hierodule Editions label over the years, but there’s been nowt since 2016.
‘Abduction’ makes up for lost time with half an hour of severely worn-down mechanical rhythms and stone-rubbed ambient texture that sounds a bit like Alberich or Black Mecha recorded from across the street during a heavy fog. It’s misanthropically unsociable and ultimate loner bedsit gear, revelling in negative ecstasy in a way that dilettantes to this sound often miss.
Fresh from his highlight of Svbkvlt’s ‘Cache 01’ comp, Gooooose drops a killer flux of IDM/jungle/New beats in their 2nd album proper, backed with remixes by Sote, Sam Kerridge, and Nahash
Brilliantly following his nose along ribboning routes of rhythmic investigation, Gooooose plays on a sweet spot between the sort of frenetic late ‘90s/early ‘00s breaksploitation of V. Snares, AFX of Hrvatski, and the kind of clipped, hypermodern computer music you’d expect to find on FLUF or from Co La.
Their seven original cuts buckle and warp with an infectious tension between looseness and precision, serving dancers with myriad options for interpretation in each cut, from the hyper-jungle vortices of ‘Plasma Sunrise’ and ‘Integer’ at the front, thru to more rotted drums and Plaid-like melody in ‘Rusted Silicon’, and onto Jlin-esque balletic proprioceptions in ‘Resort’ and the dextrous tribalism of ‘Along The Synthetic River’, while allowing for more enigmatic space in the mix with ‘Uncanny’, and the shimmering keys that perfuse ‘Lab White’.
Currently also exploring mutant 160bpm terrain, Sam Kerridge proves an apt choice to remix ‘Integer / Along The Synthetic River’, tying a Photek-style drums in Autechrean knots, while Nahash reorganises ‘Plasma Sunrise’ with a sack of gabber bass hits, and Sote impresses most with a Persian Electro-Acoustic rework of ‘Lab White’, diffused into glorious hyperspace harmonics.
Recorded during time spent in upstate New York with Dave Fridmann, the five songs that make up ‘A Fine Mess’ gradually emerged as a body of work with a narrative and flow unto itself. The title track, the BBC 6 Music-playlisted ‘Fine Mess’, then received further production from Kaines and Tom A.D. and mixing from Claudius Mittendorfer, who had first worked with Interpol as engineer on ‘Our Love To Admire’.
"The resulting set is a living, breathing postcard from the band to their fans as they tour the world throughout 2019 and a linear continuation of the visceral and contagious energy set loose with ‘Marauder’.
Echoing its title, the artwork for ‘A Fine Mess’ is illustrated by a series of lost images, recovered from an abandoned police station in Detroit, MI. Amongst the rubble in a crumbling evidence room an undeveloped roll of film, dated ‘1-20-96’, featured latent images of a breaking and entering scene, the rooms in chaos. From the beguiling refrain of the title track, to the soulful topsy-turvy of ‘No Big Deal’, cathartic chorus of long sought-after live favourite ‘Real Life’, anthemic swell of ‘The Weekend’ and angular shades of ‘Thrones’, ‘A Fine Mess’ is a bracing and distinct entry in Interpol’s oeuvre."
The mini album Wild Chamber by upsammy.
"In many ways Spring seems to the perfect seasonal match for upsammy: no matter the tempo nor intensity, her style is colourful, restorative and carries a tangible promise of new beginnings. So Wild Chamber arrives at the right time, but it is an evergreen package – eight songs to slot into different situations, to speak to different moods, yet come from the same heart.
A mini-LP that captures dawn mist, reflecting-pool shimmer, and occasional flashes of brilliant blue light. Swells of bass sag and yawn, time signatures switch up and break down, drums stutter and charge, and gossamer melodic trails are traced like ice skates atop a thawing lake. Innumerable shards of ideas are present, yet the music is airy and uncluttered. Wild Chamber is upsammy at her most pure, sketching sonic miniatures with a precise eye and an inquisitive ear quite unlike anyone else’s right now"
Members of Hills & Goat loosely vacillate free and spiritual jazz, psychedelia and pastoral kosmiche as Djinn
“Neither inherently good nor evil, the DJINN have been heralded in Arab culture since the Pre-Islamic period, located somewhere on a spiritual plane between humanity and the realm of deities. A mysterious force, their influence - essential between angel and demon - has subsequently extended to mythos, religious belief and folklore far and wide, from the malevolent spirits that originally haunted deserts and inspired poets to the archetypal Western genie in a bottle.
Yet also, the DJINN’s name has been interpreted as meaning “beings that are concealed from the senses”. This makes the word a fitting moniker for an album which, despite being shrouded in mystery, manifests an unknowable yet intense spiritual force. Their first release - also the first ‘proper’ jazz record to see released on Rocket Recordings - is manifested as equal parts hidden and otherworldly influence.
Formed by the talented musicians of Swedish bands Hills and GOAT, DJINN foray into numerous quarters on a far-reaching metaphysical quest lasting the course of this record. It’s a psychic travelogue which frequently encompasses full-throttle free jazz - as in the blistering ‘My Bank Account’, with its echoes of the transcendent extrapolations of Albert Ayler, and the more loose ‘Algäbannem’, which nods to the demolition derby that John Coltrane and drummer Rashied Aliengaged in via ‘Interstellar Space’.
Yet this is an album of a wild and wilful variety of textures and headspaces - whether entering into astral jazz or new age ambience akin to the later devotional work of Alice Coltrane, as on ‘Le Jardin De La Morte’ ,or entering into Don Cherry-style small-hours auras as on the reflective and hallucinatory thumb-piano-assisted bliss of ‘Fiskehamm Blues’, all excursions into the unknown are marked by potency of delivery and singularity of intent. Titles such as ‘Djinn and Djuice’ might make the listener suspect that a certain levity is present here, yet such self-deprecating tones are entirely belied by the modus operandi of creators who engage with a rare sensitivity and sensuousness in their playing - nodding to the traditions and stylistics of the records they love whilst using them as a springboard into dimensions unknown.
It’s a record made with deftness and restraint where necessary, yet also one unafraid to jump in the deep end in search of rich atmospheres and intoxicating soundscapes. “The world is full of magical things patiently waiting for our wits to grow sharper” - thus once remarked Bertrand Russell, he whose very name is bastardised by DJINN to moniker the drifting, hallucinatory ‘Rertland Bussels’. A mighty array of such things on offer within these eight tracks, amidst a soundworld that any intrepid psychic explorer should be delighted to sharpen their wits for.”
Blawan & Pariah’s Karenn kick off their Voam label with 4 grizzled and hardass techno functions
Noticeable by an absence of duo recordings since 2014, Karenn spent the past five years pursuing solo projects; Arthur Cayzer aka Pariah most notably with 2018’s ambient album ‘Here From Where We Are’, and Jamie Roberts via his Ternesc label with last year’s ‘Wet Will Always Dry Album’.
On ‘Kind of Green’ they reprise the direct but twysted aesthetic of early Karenn recordings, gearing up with the tunnelling pressure and slithering acidic layers of ‘Rek’, then keening offroad with the title trak’s warped swing and deliquescent contours. Flipside they really bare their fangs with the nagging grind and sprung buck of ‘Salz’, before rounding up with the drily skeletal but big-boned stepper ‘Newt’.
Folk-Blues trooper Mike Cooper and French rock band Hifiklub present a craggy psyche-rock soundtrack setting music to a 1907 text and the images of Robert J. Flaherty’s silent film ‘Man of Aran’ 
Filmed over two years on the inhospitable islands off the Irish west coast, ’Man Of Aran’ was 3rd documentary feature film made Robert J. Flaherty following ‘Nanook of the North’ - in 1922 the world’s first commercially successful documentary film in 1922 - and ‘Moana’, which was set in the south seas. While the latter film may seem the most natural choice for Cooper, whose work often revolves the south Pacific, the Aran Isles clearly provide a colder streak of inspiration for Cooper and Hifiklub, who describe the Atlantic-lashed rocks with salty licks of psyche guitar and starkly primitive drums, while Cooper hollers John Millington Synge’s text ‘The Aran Islands’  with a conviction that brings the words to life and takes listeners right there.
Bolshy electro and concrete tuff bass swag from Bonka, a new artist on Semtek’s Inta label
The debut Bonka 12" opens with ‘Pootek’ featuring Solpara, whose shuddering 808 bass weight tremors are a result of the two Uni mates reuniting after 10 years apart and getting so raucous in the studio that the neighbours came down to complain. While ‘whendialupbecomeform’ turns cues from a Lana Del Rey song into a more laid-back sort of electro-soul with dreamy pads, before they piss off the neighbours again with the dry percussive clout of the B-side’s granite-cut swagger, sitting somewhere between Modern Love’s G.H. and the badboy Beneath.
After a two year pause, Tom Dicicco returns to the ‘floor with a set of slompy, swanging acid and offbeat electro joints for M>O>S sublabel, Cos_Mos
With distinctive swagger he cooks up the dazed, sloshing acid bumble of ‘Varykino’ next to the jelly-limbed acid-electro swing of ‘Laser Life’ up top, before really showing off his acid chops with the warehouse charge ’99 Rising’, tweaking it out from gunky bass up to nose drip tang, leaving ‘Quiet Theory’ to dance out a trickier formula of air-stepping, Arpanet-like electro syncopation.
Devilish jungle-dub-techno and 2-step ballistics from René Pawlowitz (Shed, Wax) in Hoover mode. Ordarrrrrrrr!
Following in the slipstream of his wicked outing as The Higher for XL, the Hoover tracks are a more aerodynamically tucked and efficient, synching razor-cut breaks, reverberant dub chords, guttural sub and sparing diva stabs on the A-side, whereas the B-side steps off like a freshly trimmed and faded El-B, Menta or Steve Gurley pushing the tempo to 160bpm, or even Errorsmith and I-Sound’s Disco Consultant alias when the piano chords come clambering in, before delivering a scything roundhouse of mentasms, Photek-style drums and even samples of John bloody Bercow seckling the rabble over more pianos. Who says Germans don’t have a sense of humour?
Unmissable for that one at the least!
Issued just as Bala say goodbye to their cult club night, Rulez’ ‘Hyper.Puteria’ epitomises the label’s current, grimy indie-pop/R&B/reggaeton aesthetic
Leading on from highly enigmatic EPs by 2 Mothers and label co-founder Katie Vick, Rulez follows his ‘Intentions’ production with a tightly wound sound landing somewhere between early Timbaland’s late ‘90s/early ‘00s R&B eccentricities, fashion party fetish pop and dead cold dembow rhythms, turning out choice moments in the ohrwurming vocal and dragged down dembow of ‘Loba’, the heavyweight traction of ‘Beg’, and the razor-sharp arrangement of ‘Diva’.
M.GG unfolds an epic, multi-dimensional tapestry of terra-forming electronics ranking among his most vividly abundant and ecologically sound with ‘I Am the Last of That Green and Warm-Hued World’
“I Am The Last of That Green and Warm-Hued World came into existence after M. Geddes Gengras’s father appeared to him in a dream and suggested that he read Stephen King’s The Dark Tower: The Gunslinger. The vivid, post-apocalyptic locales visited in the book, which range from mountain ranges to atomic water pumping stations to interdimensional portals, directly inform the auditory spaces that Gengras draws into life with this album. While ambient music often reaches the listener with a host of external signifiers meant to ground the music in some semblance of the physical world (see: oceanic album art, song titles that evoke specific images), Gengras’s music achieves a rare degree of topographical intricacy by virtue of his wide, dense mixes and the contrasting textures presented by his interlocking tiers of synthesis.
Over the course of five extended sessions that range from 11 to 22 minutes each, the album sinks into passages of near-complete stasis and crests into segments animated by intermittent bursts of melody and muted, techno-adjacent drum tones, settling into discrete atmospheres that percolate at different degrees of rhythmic complexity. All the while, M. Geddes Gengras allows individual elements to generatively interact and twist around each other to the point that no two moments present the same exact sounds. A far cry from willfully repetitive, loop-based ambient music, I Am The Last of That Green and Warm-Hued World extends before the listener as a fluctuating, self-contained biome, with the components of each composition carefully stacked together and charged with their own trajectory through time and imagined physical space.”
Aseethe’s ‘Throes’ is a work of corrosive beauty and colossal weight. The trio of guitarist/vocalist Brian Barr, drummer Eric Diercks and bassist/vocalist Noah Koester craft tectonic slabs of doom through minimalist approaches to composition.
"Minutely selected textures built on simplistic, repetitive motifs become mountainous. With each cycle of repetition, their towering riffs, bludgeoning drums, and inhuman howls become increasingly hypnotic and reveal subtle intricacies. The recursive nature of their songs coupled with their glacial pacing make masterful use of restraint to create moments of genuine surprise.
‘Throes’ was recorded at Steve Albini’s Chicago studio Electrical Audio by Shane Hochstetler (Jon Mueller, Northless). Aseethe drew from their expertise in utilizing noise and drones to develop a sonic world uniquely their own, dually aesthetic and foreboding. Barr, who composed and arranged the bulk of the music, drew inspiration from his recent solo work live-scoring films, relying on instinct as a compositional tool to interplay with the rigid structures throughout.
Aseethe remain one of the most distinctive and relentless forces in heavy music operating today. Through their ability to constantly evolve and incorporate new sounds and disparate influences into their music, they stand at the vanguard of forward-thinking bands like labelmates The Body and SUMAC. ‘Throes’ is Aseethe at their most daring and focused, building monuments of anguish while thrusting into the void."
Working a strange transition from G-funk to spy theme intrigue and brassy swagger, Jameszoo & Metropole Orkest’s ‘(rolrolrol)’ heralds their full length ‘Melkweg’ album imminent on Flying Lotus’ Brainfeeder
Nottingham-based composer and multi-instrumentalist Thomas William Hill returns to Village Green with ‘Grains Of Space’, his second album for the label following 2017’s multi-textured ‘Asylum For Eve’.
"‘Grains Of Space’ started life as a series of minimal loops, recorded using a viola da gamba - a stringed instrument most popular in the Renaissance and Baroque eras - and aloop pedal. Using the negative space within each loop as the primary drive for composing, Thomas began a process of ‘joining the dots’, allowing the silence to dictate the next layer, informing the length, pitch and timbre of notes.
Using those recordings as the foundation, Thomas began incorporating a wide variety of other instruments into his palette, including bowed metallophones, gongs, Tibetan singing bowls, African kalimbas and metal tongue drums, as well as drum machines and analogue synthesisers. From the tense, opening drones of ‘Carriages’ to sparser, more lyrical works such as ‘Curvature’ and ‘Refract’, Thomas again demonstrates profound compositional insight, crafting highly poignant moments rich with harmony and texture. Complementing this, a more developed sense of pulse and rhythm characterises much of the album, such as the propulsive undertow of ‘Willow’ and the tactile, modernist polyrhythms of ‘Furnace’ and ‘Tongue’.
‘Grains Of Space’ also sees Tom collaborating and cowriting with a number of other musicians, bringing trumpet, violin, double bass and harp together to provide a broad and varied form to each piece."
Benjy Keating brings his Palmistry sound into sharper focus with more confident songwriting and full-bodied production in ‘Afterlife’, but at no expense to the careful, puckered minimalism that defines his style.
Notably featuring production from SOPHIE on single track ‘Water’, and Mechatok on ‘Rovin’, plus beats from Equiknoxx, Benny Blanco and Cashmere Cat, ‘Afterlife’ also finds Palmistry delegating vocal duties to Miami’s Toian and Ghanaian artist Klu, who all fall neatly into his gossamer fine and precise reggaeton/dancehall/R&B sound without messing up the balance.
The SOPHIE-produced, Afrobeats-like pressure of ‘Water’ is an obvious highlight, but the biggest surprise is saved for the titular closing shot, a skeletal but sweetly rugged 2-step garage style that we’d love to hear him explore more, while his minimalist aesthetics are pushed to their most tender and effective in the fluttering marimba and blushing pads of ‘Sway’ and the gorgeous use of choral synth harmonics and Burial-esque atmospheres in ‘Vexed’.
Quite simply, ‘Afterlife’ is a subtle but huge step on from ‘Pagan’, primed to play over and again.
Killer, ’93-94-spirited hardcore jungle from Luke Blair (Lukid) in Refreshers mode
Dewy-red-eyed for the original rush of the early ‘90s, at that point when ragga clashed tekno and breakbeat hardcore and everyone was f**king happy, the 2nd Refreshers volley catches the vibe in its frenetic flux, running from the ragga chat and clattering breaks of ‘Pork Pie’ to the thizzing peaks of ‘Got Me Weak’ on the front, then with a summery gangsta roll recalling early AGCG in ‘Double Dip’, before wickedly playing out the cheap kids sweets/party drugs nostalgianalogy in the unyielding, jaw-trembling come-up of ‘Whizz’.
Robert Hood’s minimal techno masterpiece enters orbit again for first time since 2001
Originally found on the ‘Internal Empire’ album and also released as a 12” in 1995, the lead cut is an all-too-short piece of whirring Detroit mechanics flecked with icy trills and slinky gear shifts as only he can do. Handily, the 12” offers a slightly extended version with ‘Master Builder (Sandman Option)’ giving it a highly effective nip ’n tuck that gets right under the skin of the dance, while ‘Quartz’ strides out with filtered organ motifs on a whipsmart groove.
Toulouse Low Trax, Benoit B, K100 Signal and Bartosz Kruczynski remix the new age ambient dance charms found on Into The Light’s 2017 Akis compilation
With 1990’s ‘Into The Light’, which lent its name to Akis’ debut LP and this label, Tolouse Low Trax isolates its rhythmic spine and subtly teases out a reticulated groove in his super minimal but gripping style. The Aegean breeze of ‘Ecological Awareness’ is given a glowing, silky remix by Berlin’s Benoit B, and spun muggier by Greek project K100 Signal, while Bartosz Kruczynski gently handles the nostalgic analog bubblebath of ‘Christmas’.
Co-habitant treads on most sensitive melodic nerves in their exquisite debut and sole release for Chained Library
The eponymous Co-habitant release trades in a distinct style of filigree, pealing, high-register electronic minimalism that uses sparse ingredients to absorbingly meditative effect.
The A-side’s swaying figure in ‘a.003’ is a particular highlight that we could easily listen to on loop for hours, while the B-side has us utterly rapt with the transition from mechanical rhythmelody and fascinating reverberant overtones in ‘b.002’ thru the isolationist SAW II tingles of ‘b.003’ and the sallow ripples of ‘b.004’.
A real gem, this one. Don’t sleep!
Anonymous members of UVB-76 weigh in a 2nd 12” of dark ambient/noise/D&B as 4 6 2 5
On ‘Sedition’ they dance with the ghosts of late ‘90s warehouses, where shuddering dancehall bass hits and swarming grey noise set the scene for rolling breakss to fade in, flex out, and drop back into the murk. ‘Crown Of Nails’ follows with a more bolshy attitude, arriving from sheets of ambient noise with a barrelling, turgid bass recalling styles from Pessimist’s Blackest Ever Black album, but heard from the engine room of a hulking great freight liner awaiting demolition.
Carl Craig follows Stacey Pullen’s lead to mix the 2nd volume of ‘Detroit Love’, starring a slick and funky selection of cuts Kevin Sanderson, DJ Minx, Mr. G, Derrick May, Ectomorph, The Dirtbombs, and many more
The 1hr 37 min mix appears alongside its components, turning up highlights in Gay Marvine’s kinky bathhouse remix of ‘Credit Card’ by Interdimensional Transmissions’ BMG & Sal P; the twisted jazz-techno of ‘Boss’ by Brain; Floorpan’s gospel techno rework of Sophie Lloyd’s ‘Calling Out’; Derrick May’s all-time classic ‘ is It What It Is’; and the rude electro swivel of ‘Satori’ from Ectomorph.
‘Morphic Dreams’ is the sophomore LP by Alessandro Adriani, including guest input from Simon Crab (Bourbonese Qualk) and Shawn O’Sullivan (Led Er Est, Civil Duty)
A crucial cog in the wave machine with his Mannequin Records, and a gatekeeper to one of Berlin’s most feted clubs in his role as programmer of Säule in the guts of Berghain, Alessandro Adriani is by many measures a key player at the intersection of retro-futurist Industrial, EBM, post-punk and techno. Leading on from the cinematic vision of his debut LP, 2016’s ‘Montagne Trasparenti’, his follow-up is defined by its dancefloor-ready stance and is full of dead-on jak beats extracting what he needs from Italo, Industrial and EBM, to galvanise 11 tracky trax of bare bones rhythms and fanged, fleshly arps in his dry style.
Falty DL leans on a proper brukbeat flex, channelling varying degrees of 4Hero/Dego and jazz/hardcore/Footwork-related rhythmic madness for UTTU
Straight out of the gates he runs needlepoint drum programming and helter skelter jazz keys at 150bpm with dizzying flair in ‘Untitled 111vgr’, before ‘Beast’ trims back to a 125bpm electro ride with vacuum sealed production for freshness.
On the other side his hardcore darkside electro urges come into play on ‘One For UTTU’ in a way recalling classic Octagon Man/J Saul Kane, before turning on a 2-step pivot, just like they did in the late ‘90s, and ‘Piano 4_9_18 feux master Erie 25%’ session off on a downstroke recalling Roza Terenzi/D. Tiffany’s ambient electro gems for Euphorique.
FatCat’s up-for-it sibling, FCR serve another warped acid dose, this time from Brighton’s Matthew Hodson aka Matths
Rolled out in the chromatic wake of Ali Berger’s 303 session, Matths builds up a head of cosmic techno steam akin to a harder edged Border Community cut with the astral trajectory of ‘Loop’, then brings it down to a low flying night-flight with ‘Velocet’.
Beautiful Swimmers gather a lovely set of obscure boogie, house, new age soul and electronica gems for the 2nd compilation from Croatia-based festival, Love International
From Plunky’s sweet sax bleat in ‘Africa Sunset’ to Spirit Garden’s plush piano house, the set covers all the right bases with nuggets to be scored in Harlem Gem’s mid-tempo boogie-soul-house ace; Mark Goddard’s new age house bubbler ‘Tiny’s First Journey’; KW Griff’s unmissable B-More soul winner ‘Be Ya Girl’; and the crystalline, rude UK techno/electronica of 1995’s ‘Whiddon On Down’ by The Horn.
More unknowns than you can shake a cocktail stick at. Must check!
Ultra-purist electronic brilliance from the elusive Elizabethan Collar, now known as Eliza B.C., following tapes in 2014-15 for the cult (now defunct) Aught label with a debut LP for its spiritual successor, Chained Library
Mesmerisingly ascetic to the Nth, Eliza B.C.’s eponymous LP is a masterclass in stringently stripped down and visceral hardware craft. As with their two handfuls of material for Aught, their follow-up explores devilish permutations of rhythm and texture with a strong taste for variegated repetition and noisy - but not distorted - tones, with results that echo Hamburg’s enigmatic Werkbund crew as much as aspects of Sote or Hecker & Haswell’s music.
In each of the 5 parts the artist gives voice to their machines in the uncanniest ways. The A-side opens with what sounds like a ELpH that crawled out of Coil’s studio to warn of future catastrophe, if only we could fully comprehend its fractal garble, while the proceeding two parts commit to pulsating, keening techno minimalism, and deviant, asymmetric automations that open out with a darkly melodic cadence on the B-side, before ultimately arriving at a freefall of piquant, shatterproof arps with discreet modulations sustaining the suspense to weightless, static, yet urgent effect.
Berghain/P’Bar resident Ryan Elliott returns to Ost-Gut Ton with three stripes of deep Berlin/Detroit techno, some six years since his previous EP
Caught in mid-flight between his former home city and his current, ‘Paul’s Horizon’ opens out with full wingspan pads powered by sleek 313 engine in a style recalling classic Shed across the A-side. On the flip he adopts a stealthier approach with the rolling bassline and duskier strings of ‘Martinsville Morning’, and pushes the tempo and pressure up again with the rollicking hydraulics of ‘Grafton Road’.