Katie Vick kicks off a promising new run of Bala Club releases, bending indie-pop psychedelia and fresh new reggaeton styles to their will
Far as we can tell, the name Katie Vick refers to a notorious necorphilia storyline in WWF, and the artist(s) have resurrected it for purpose here, possibly to signify their canny blend of nostalgic ‘90s indie/grunge/hard dance/pop culture references with up-to-the-minute reggaeton and trap rhythms.
So yeh, ‘La Muñeca’ is a really strange, unpredictable turn of affairs. It starts in abstract terrain with the 10 minutes of disorienting, dream sequence-like sonics in ‘Girly Furry Attorney’ like some Animal Collective prototype warped into now, then promptly segues into the region bumps of ‘Pegao’, establishing a zig-zagging style that flows thru the album’s mosaic of fractured elements, from James Ferraro-meets-Scritti Politti vibes in ‘Oppress Me’, and the cocaine blues trap of ‘Okada’, to curdled fusion of goth synth pads and autotuned R&B in ‘Cemetery’, modern Ferraroisms in ‘Blacklisted’, and puckered synth-pop with ‘Weak (Orange + Round)’, and a scratchy indie-rock nod to princess of ‘90s American pop culture with ‘The Social Climber Starring Jennifer Love-Hewitt’.
Devilishly strong Bugandan techno psychedelia from Uganda/UK's Nihiloxica on their 2nd release for Nyege Nyege Tapes. Huge tip if yr into Shackleton, Mark Ernestus Ndagga Rhythm Force, Konono No.1, Ninos Du Brasil...
Where Nihiloxica’s first tape saw the Nilotika Cultural Ensemble percussionists and UK’s Jacob Maskell-Key and Pete Jones tentatively find their feet in a nascent mix of Bugandan drumming and raw electronics, this follow-up throws down four muscular tracks recorded live in single takes, demonstrating their skills toughened up by countless shows on road over the past 12 months and more; from Nyege Nyege Tapes amazing annual festival and clubs in Kampala, thru to stacks of European venues.
In the four burningly intense tracks of ‘Biiri’, the group’s cross-cultural dialogue becomes more fluid, urgent as a direct effect of their increased intuition. The results vividly feel like a natural evolution of their first release, with their keener focus on the loping undulations of the Baksimba (bass drum) groove and the plasmic mutability of Pete Jones’ synths rendering the full force of ancient tradition in a vividly unprecedented style.
While many pay service to the idea of a cosmic African music, ‘Biiri’ delivers it with effortless verve, coming off like Can and Bruce Haack’s wildest dreams with ‘Diggi Dagga’, then like Autechre meeting Shackleton in the swingeing, asymmetric rug-cutter ‘Baksimba’, before the thumping ‘Dubugwanjuba’ recalls a cross-continental echo of Mark Ernestus’ Ndagga Rhythm Force, and ‘Ding Ding’ utterly finishes off your dancing bones with raucous, red-lining distortion.
Curdled avant-pop from Joe Snape featuring a cast of intriguing players, making a return to Slip with a curious embrace of saccharine American indie-pop flavours, inspired by a stint in the USA that didn’t go too well. It’s shiny and smiley on the surface, but with a gritted teeth/teeth-gritting effect under the surface - highly recommended if yr into Kim Hiorthoy, Tunng, Múm...
‘Joyrobix’ is Brummy-abroad Joe Snape’s flooring return to Slip: a songbook of nimble, aching pop that wrings raggedy solace from dejection and displacement. Begun as a danceable refix of pieces for chamber ensemble toured the last three years, production on ‘Joyrobix’ stalled sharply in 2016. Instead of a self-confident exercise in documentation, the record twisted into a darker, more lyrical original: a period portrait of dislocation and burnout following Snape’s move to the US in 2015.
There’s still plenty of fun to be had. Between the adult contemporary guitars, gospel grooves, and Broadway melisma, the tropes of a musical America are present, correct, and indefatigably uptempo.
But even at his most playful, Snape sounds like a musical mind running on fumes, the optimistic experimentalism of 2015’s ‘Brittle Love’ audible only through a weary cloud, and the black dog never altogether quieted. Nor could it be: ‘Joyrobix’ sounds like a working-out – here manic, there taciturn – of a New World dream gone sideways.
Featuring Jesse Chevan on drums, Will Gardner on saxophone, Suze Whaites on oboe, J, Louise Snape on cornet, Owen Roberts on bass clarinet, Weston Olencki on trombone plus Laurie Tompkins and Suze Whaites on vocals.
Master drone se’er Kevin Drumm beckons you ‘Recline’ for this one, a 116 minute hypnosis session recorded in 2017 and issued as part of his regular, ongoing self-release series - now available on our site
Kevin recommends listening on speakers, presumably as there’s a lot of spectral information that needs the space to move and best be perceived. There’s a time-slowing quality to these tracks, a nasal quality to the tone of ‘I Know’ that perhaps focuses the sense on slow and heavy breathing, while ‘Yes’ has a more serene ,low-lying cadence that draws the eyelids down, and whether you’re asleep by this point or not, ‘Yeah’ seals the deal with anaesthetic effect to colour your dreams or sustain you in its cats cradle of drones.
One of Manny’s finest DJ/producers Anz offers this funked-up ‘Invitation 2 Dance’ on Finn’s 2 B Real following her introductory EP for Chow Down and production for grime gob Jammz
Built to spec as ammo for both her own sets and Finn’s, the EP shots flavas for all ravers in four parts, gearing up with a transition from ‘80s laser-funk chops to early ‘90s rave noise and hardcore breaks in ‘No Harm’, before ‘Helps Your Two Hips Move’ does it loosey goosey with spannered dembow claps synched to ghetto-tech electro bounce.
‘But At Least We Have This’ brings a big splash of colour to the EP with Todd Edwards-style vocal cut-ups and wavey AF G-funk leads on a skippy charge recalling Finn’s style, and the EP’s killer title cut winds up on a darkside electro pivot replete with pinging cowbells and vocoder vox.
Anz sez: “to the boys who used to muscle me off the decks at house parties. Play these ones loud.”
Montreal cellist and composer Justin Wright makes a memorable first impression with debut solo suite ‘Music For Staying Warm’, playing to the full spectrum of his sound ranging from improvisations to “drone” works and more “composed” pieces, all tied by a sensitive and calming soulful touch. Recorded with a quartet of violin, viola, cello and double bass in the Rocky Mountains, and cinematically sounds like it
“"Music For Staying Warm began when I was tasked with writing and performing a set of string works for a relaxation room at a chaotic all-night event in the heart of Montreal winter. It was a cold winter, and for me, a cold year, and when a cat curled up at my feet in the middle of performing these works, I felt like I was doing something right. After gradually developing these ideas many months after the first performances, I recorded most of this album during a residency at the Banff centre for the Arts, coinciding with a surprise visit from my long-time collaborator Kate Maloney.
What all of these tracks have in common, aside from being limited to string instruments, is an intention for you to relinquish your sense of anticipation. Conceptually, they were heavily inspired by particular styles of Ethiopian music such as the tizita, which often lacks any resolving cadences to leave you with it’s trademark evocation of longing without resolution.
So I guess there is a certain amount of irony in the name Music for Staying Warm. Drone III definitely isn’t warm. But refuge is just as often acceptance of where you are as it is an escape, and I hope that, whatever I was thinking when I wrote this music, you are able to contextualise it in your own life and find your own meaning."
Girl Unit delivers a ravishing debut album in ‘Song Feel’ for Night Slugs nearly 10 years since he debuted with ‘I.R.L EP’ on the pivotal London label.
Save for a couple of compilation cuts, Girl Unit’s been noticeably quiet the last few years, but ‘Song Feel’ makes up for lost time with some of his slickest chops, full of air-brushed R&B vocals and exacting feminine pressure emphasised by guest appearances from Kelela, Taliwhoah, Thast and Ms. Boogie.
Running thru ‘Song Feel’ you get the distinct impression this is the record Girl Unit has always wanted to make. From the sweetly polarised versions of ‘WYWD’ feat. Kelela in R&B and house mixes that bookend the set, thru the lush ’90s-style swerve of ’Stuck’, to the direct rudeness of ‘Pull Up’, the chart-ready brim of ’24 Hours’ and his rolling raver ‘Pure Gold’, Girl Unit plays to the full spectrum of his abilities in hyper colourful, rude and rugged style bound to resonate with heads on both sides of the Atlantic.
Breakcore hero/weirdo Bogdan Raczynski coughs up his first LP in over a decade with ‘Rave Til You Cry’ for Disciples, following their two Black Lodge releases.
Back in the late ‘90s and early ‘00s, Bogdan was a staple of the drill ’n bass scene, one a number of artists using tracker software to make the fastest, wildest breakbeats after D&B peaked and went pure neuro 2-step. He was also, and presumably still is, very fucking tall.
Many years later, he’s hardly changed, as ‘Rave ’Til You Cry’ catches him in gymnastic form across 18 tracks of kinetic rhythms and strange electronic atmospheres comparable with a fusion of Aleksi Perälä’s odd tunings and Christoph De Babylon’s brittle jungle styles.
Late ‘90s/early ‘00s style hip hop meets ‘80s Turkish film soundtrack samples and gritty Turkish rap.
“A side captivates by its voracity. Hi-tech and fierce beats drop with the sharp voice and flow of Ethnique Punch, delivering 14 – yes, f-o-u-r-t-e-e-n – short and punchy tracks. The diggin’ liveliness of Grup Ses is well present in the samples used, manufacturing beats that serve well the fast paced and nocturnal voice of Ethnique Punch. The first part of “Deli Divan” is pretty much a straight story. A good one.
But then comes the surprise. The other side. The same fourteen tracks without voice, just the beats. And here “Deli Divan” tells a completely different story. It loses the emergency, darkness and robustness of the A side, specially because the beats float on a limbo without a voice. But that limbo reveals the straightforwardness of the beats created by Grup Ses for this record. There’s a hidden narrative here, without the voice the short tracks connect like an outer world radio broadcast. But there’s no narrator. Just time-travelling beats that interlink past, present and future, synthetizing complex ideas in short bursts of 1 or 2 minutes. Delight it is.”
Impeccably slunky, slow and sexy ambient dance turns from Philipp Otterbach, an OG Salon Des Amateurs resident and co-organizer of the Substance club nights with Vladimir Ivkovic
Drawing upon decades of experience DJing between Düsseldorf and Berlin, Otterbach paints a singular worldview of dance music in ‘The Rest Is Bliss’ for Amsterdam’s Knekelhuis. Teasing the senses with fragrant traces of exotica in his opening ‘Interlude’, the trip soon becomes more ambiguously seductive/menacing with the hard-to-resist, insectoid syncopation and sci-fi sound design of ‘Dark Side of the Møn’ - those subs are proper! - before ‘The Weak Song’ turns another sharp corner into a strange ambient acidic dramaturgy pairing an enigmatic, lamenting female vocal with yearning 303 plongs and offworld electronics to totally beguiling degrees. Following this slow, mazy logic, the two parts of ‘The Roamer’ see us out in low key, shadowy style with thicc subs and stealthy, noirish gestures worthy of Bohren Und Der Club of Gore or Portishead in the first part precipitating a deliciously glassy, sparse closer recalling moments of Diego Herera’s ace SK U Kno LP.
'Signals Bulletin' is the new album from Jan Jelinek, made in collaboration with Japanese organist Asuna aka Naoyuki Arashi. It’s vintage Jelinek; immersive scapes fizzing with colour, anchored by determined organ drones, primed for achieving bliissful, contemplative equilibrium.
"Watching the Japanese sound artist Asuna playing the organ, some people might be surprised. Asuna is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.
I first met Asuna when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed 'Signals Bulletin'. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.
Whether using prepared organ, Casio keyboards or mechanical plastic toys, Asuna creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.
The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.
It is no coincidence that Asuna owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."
Jan Jelinek, Berlin 2018
Hyperdub’s Danielle Mana really comes into his own with the illusive animations of ‘Seven Steps Behind’, his debut LP and 2nd release under his own name, following years of work as Vaghe Stelle, and alongside Lorenzo Senni in One Circle
Twisting synthetic instruments to resemble semi-acoustic, chamber-like abstractions of grime and deconstructed club musics, Mana’s music now, more than ever, possesses an expressive electronic quality perhaps best compared with the work of Arca, or his former collaborator Lorenzo Senni.
From the proggy trance hymn ‘Myopia For The Future’ to the autotuned avant-synthpop of ’Soaking In Water’ Mana distinguishes his sound from the hyper-contemporary fields with big highlights such as the queasy, weightless R&B of ‘Talking / Choking’, and utterly unique pieces like the unpredictably morphing ‘Swordsmanship’, and the chromatic nose-drip reggaeton of ’Solo’. For our money it’s one of the stranger, more fascinating Hyperdub album in recent memory.
Ambitions is Prins Thomas’ 6th album and his second solo album for Smalltown Supersound (plus two duo albums with Bjørn Torske and Bugge Wesseltoft).
"Ambitions picks up from were he left off with Principe Del Norte. Still ambitious, but the tracks are shorter, more melodic and more concise. Prins Thomas also offers up his first vocal track, lead single "Feel A Love." Or to be precise, it's based around a sample of the track "Feel A Love" by one of the biggest pop-stars in Norway in the 70s and 80s, the late Alex (Naumik).
”The sun rises, the sun sets. This collection of new songs wasn't intended as an album at first. It gathers up loose ideas sketched down on my computer or hummed into my handheld recorder in the last 2 years with a shifting work environment, from hotel rooms in San Francisco, backstage in Osaka, on a plane from Miami to Chicago, my garden patio, and finally my B15 Studios in Asker.
The common thread was found later during overdubbing and reworking these sketches under the critical ears of label boss Joakim Haugland. Most of the tracks were finalized in the studio at the same time as my previous collaborative album with Bugge Wesseltoft. Bugge even kindly joins in on the album's closing track "Sakral".
Ambitions is my 6th album and I would like to thank the following people for their direct inspiration: Jon Christensen, Jaki Liebezeit, Haroumi Hosono, Daniel Lanois, Eberhard Weber, Shinichi Atobe and Ricardo Villalobos."
Prins Thomas, February 2019
Smalltown Supersound look to early Norwegian ambient music with Erik Wøllo’s ‘Sources (Early Works 1986-1992)’, taken from previously unheard tapes and remastered by Helge Sten (Deathprod). Made using a Roland MSQ700 sequencer in real time with multiple MIDI synths and modules, Wøllo’s music inside ‘Sources (Early Works 1986-1992)’ was written off the cuff and never really intended for release. Now 27 years later, it will surely appeal to a generation nurtured on synth music, taking in 10 magnificent, icy vistas that sound like pre-echoes of music to come from Biosphere and Arve Henriksen.
"Wøllo, who has been a professional artist since 1980, has covered a wide range of styles, from rock and jazz to experimental electronic and classical music. He was one of the first Norwegian composers who adapted a minimalistic style, building a bridge between grand symphonic realms and gentle, serene sounds. His musical statements range from slowly-drifting kaleidoscopic passages to epic soaring guitar melancholy, to upbeat ever-changing sequences and compelling melodies. Possessing a sense of drama and storytelling, Wøllo has been composing and performing music for films, theatre, ballets, and art exhibitions. As well as music for string quartets and large orchestras.
He has collaborated with some of the most respected artists in the ambient music world: Steve Roach, Ian Boddy, Byron Metcalf, Bernhard Wöstheinrich, amongst others. Sources joins Wøllo’s nearly 40-album catalogue.
Comprised of 10 previously unreleased tracks, Sources was originally recorded surrounding the album sessions that spun Dreams Of Pyramids(1984), Traces (1985), and Silver Beach (1986). This was the start of a very fruitful and inspired period for Wøllo, thanks to modernized technology like MIDI and inspiration from music from all over the globe.
“There was lots of new equipment coming out during these years, and this reflects the music I made at the time.” Wøllo says. “There was also a lot of great electronic music released. I was inspired by artists like Hassell, Eno and Budd. Also a big influence was Klaus Schulze after seeing him at the legendary Oslo club, Club 7 in 1984.”
The spacey sounds on Sources show a clear line of cosmic excursions between Wøllo’s early releases to modern day fellow Norwegian travellers Lindstrøm, Bjørn Torske, and Prins Thomas. Sources remained untouched, transferred from tapes that Wøllo had made years ago, before Helge Sten (Deathprod) mastered the material in his Audio Virus Lab. The collection was mostly created with a Roland MSQ 700 sequencer, in real time with several MIDI synths/modules recorded directly to either a 2-track stereo recorder or 4-track Tascam Portastudio."
IDM/electronica-geared techno, grime, and futurist hardcore with ADD composerly tendencies
“Xao returns to Astral Black with his new eight-track LP, Eternal Care Unit. Created after relocating to Germany and distanced from the UK sounds and scenes that had influenced his previous work, ECU sees Xao further explore the ethereal futurism displayed on 2017's Alloys EP. In keeping with the title (Eternal Care Unit is a medical slang term for the morgue), the release soundtracks the transcendental shift from the physical to the spiritual realm.
Over the course of the record's thirty minute running time, Xao traverses through the hauntingly beautiful soundscapes of tracks like the opening 'Embryno' to the sonic brutalism of 'Corvid Tendencies' and 'Vent Jockey', interspersed with the driving off-kilter rhythms found on the likes of 'Bernet Franca' and 'Blades//Savants’.”
Sublime private spiritual jazz-funk/fusion album, now hard to find. Finally available again, fully licensed and remastered, with original artwork.
"Led by saxophonist Daoud Abubakar Balew who studied formal classical music and received instruction from Frank Mitchell (Art Blakey & The Jazz Messengers) and Jackie McLean (Blue Note records), Ambiance incorporates Brazilian and Latin flavours with a righteous and soulful Afrocentric jazz edge.
This amazing and sought after LP beautifully starts with the haunting "The Clavicle" sampled by MF Doom on the Special Herbs beat series and contains other gems like the so fresh call for celebration, Fiesta composed by Gato Barbieri, the insane spiritual jazz fusion track Gida-Gida, and the killer modern soul cut 'There Is A Love' featuring the beautiful voice of Syreeta wright. This album is magnificent in its entirety, no fillers!"
Psyk gains some serious techno traction with 2nd LP ‘A Moment Before’ on Tresor
Arriving half a decade on from debut LP ‘Time Foundation’, its follow-up offers eight rollin variations on a furtive, slinky, minimal theme prefaced by an ambient intro.
Picks of the bunch are the buzzing subaquatic missiles ‘Deep Breath’ and ‘Waves’, also the gritty 303 flow of ‘Acid Test’ and the electro-trance wriggler ‘Artemis’.
The finely textured concrète grain richly detailed location recordings and ASMR-like vocals of ‘Waking, She Heard the Fluttering’ appears to be the first solo release by Alexandra Spence, or at least her first for Lawrence English’s Room 40
Taking cues from a three month trip to Europe, where she immersed in the UK - cold London, cheap pints, meeting David Toop and recording fences in Scotland with Chris Watson - and also swam in the nudist lake at Grunewald, Berlin, Alexandra turns those experiences into smoothen like a recollection of a dream, or the sounds of waking into a dream.
In its 45 minute lifespan, the piece demonstrates the artist’s keen ear for sonic ecologies, both macroscopic and microscopic, taking the listener on a heavy-lidded trip in and out of electro and acoustic dimensions from the serene gentility of ‘Bodies In Place’ thru the harmonic blush andASMR whispers of ‘Bodyscan’, to the mesmerising rustle of what sounds like a pocket dial in ‘A Soft Crackle’, with more SMR poetry in ‘Flora (For A Friend)’, and beautifully transportive tracts such as the 15 minute title track and gossamer tactility of ‘Sky and Sea Were Indistinguishable’.
Gladkazuka hit a strong seam of EBM/New Beat/proto-techno/wave-pop styles for Cómeme
Stripped to sexy, bare essentials ‘The Drop’ fires six slinky heat-seekers with highlights in the perky instrumental synth-pop/EBM of ‘Flancing Track’, the stately Dirk Desaever-like air of ‘The Drop’, and on an Elektroids tip with the hard-to-resits cruise of ‘El Coral’, while the coiled and slippery wave-pop of ‘Doblan’ comms in tight beat mode and a fluid ‘No Beat’ version.
‘Another Odyssey Of Waiting’ renders 38 minutes of barely-there presence from visionary droner Kevin Drumm
Self-released in late 2018, it’s a super quiet tract of peripheral, almost shimmering tones that seem to hug the walls of its imagined space like an organic film of bacteria, that eventually mass in choral harmony for occupant of said space.
‘bblisss’ comp contributor Ulla Straus diffuses herself into the sublime, gauzy ambience of ‘Big Room’ for Quiet Time Tapes
Arriving in the glistening wake of instalments by Kareem Lotfy, Debit, and peer Huerco S, ‘Big Room’ is Ulla’s definitive statement to date, convicting a sublime soul through 8 gaseous, harmonised dimensions with sweet highlights in the milky flow of ‘Sister’, and the vertiginous scale of ‘Net’.
Kevin Drumm’s self-released series offers this stealthy, glacially expanding, asymmetric drone passage
Rising from gauzy low end frequencies up the scale to quivering higher registers with incremental subtlety
Moscow’s Vtgnike follows his nose down ambient-electronica wormholes on return to Nico Jaar’s Other People
After emerging in the early half of this decade with a curious blend of footwork and electronica, Danil Avramov fell foul of Russia’s strict drug laws and did a stint before getting out in 2016 and releasing an LP on cult Russian label Gost Zvuk. He’s now back on Nico Jaar’s label with a more obfuscated, endearingly modest style somewhere between instrumental Detroit hip hop and cubist ambient threaded with nods to Footwork style chord progressions.
The results sit happily somewhere between the frayed computer jazz of Jan Jelinek, Actress-style iridescent greyscale tones and red-eyed drift of Lukid.
Abul Mogard's first new solo album since 2015’s ‘Circular Forms’, a staggering suite of widescreen landscapes painted in self-built modular synth strokes. Hugely recommended if you're into Alessandro Cortini, early OPN, Coil, Brian Eno...
Above All Dreams is Abul Mogard’s beautifully absorbing new album for Ecstatic, deploying six longform pieces for the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality - the result of no less than three years diligent work - it is arguably elevated to the level of his master opus; presenting a modular distillation of Mogard’s most intoxicating strain of hauntology.
Consistent with Mogard’s music since the sought-after VCO tapes c. 2012-2013, the allure to Above All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics thru maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months and years in the same way a more conventional “band” develops group intuition.
While hands-on, the intuitive evolution of process locates a newfound freedom in his music that implies a recognition of the metaphysical or post-physical, while Mogard explicitly points to influence from the Brazilian music of Tom Zé, Antonio Carlos Jobim and Chico Buarque, whose approach to shape and density, or perceptions of light and delicacy, also go some way to explaining the ephemeral intangibility of Above All Dreams.
The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of Quiet Dreams to the opiated depth of Where Not Even to the starlit awn of Upon The Smallish Circulation, and through the B-side’s keeling, 16 minute+ panoramas of Above All Dreams and The Roof Falls, the power of Abul Mogard’s dreams above all transcends sound, feeling and physics in a truly remarkable way that evades words or concrete notation.
Normal Brain’s near-impossible to find Japanese minimal wave obscurity, remastered and reissued for the first time.
“WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD, cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.
Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzuru’s fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance…), Lady Maid is a testament to the creativity of the early 80s’ Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.
Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, and…a Texas Instruments Speak & Spell! It’s elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!”
One of this century’s first true modern classics, this 2004 album from Supersilent member and experimental shakuhachi-style trumpet player Arve Henriksen has long been a reference points for Jazz music of the most quietly absorbing variety, containing what must surely rank as one of the most beautiful opening tracks of any album in recent memory...
We’re not sure what took them so long, but Rune Grammofon finally get around to pressing Arve Henriksen’s Chiaroscuro  on wax, rendering its sublime, otherworldly, etheric appeal on the format most befitting of its classic status. Replete with the breathtaking Opening Image and that beautiful cover art now blown up to 12”x 12”, this gorgeous record is quietly awaiting a slot in any and all collections of contemporary ambient, classical composition.
Originally released on CD as the second solo album by virtuoso Norwegian trumpeter and multi-instrumentalist, Henriksen - who was by then already esteemed on the jazz and classical circuit and for his work with the Supersilent ensemble alongside Helge Sten (Deathprod, who also mastered this LP) - this album deeply perfused and coloured the listening lives of ourselves and many, many others with an enchanted breeze of flyaway vocals, trumpet and percussion diffused with a sublime butterfly effect of electro-acoustic process.
"Chiaroscuro" ("light and shade") is quite an unbelievable listen - cinematic in a way that defies pastiche, a vast panoramic ocean of sound reduced to the most silent, heart-wrenching string arrangements, samples (courtesy of Jan Bang) and a whispered sweep of barely audible percussion (from Audun Kleive), hovering around Henriksen unique, mesmerising trumpet playing and broken voice.
Its incredibly gentle, diaphanous arrangements would, pretty understandably, end up licensed for TV and film, which is where many would have osmotically absorbed the likes of Opening Image without having a clue who made it. For us, it was a staple in our old shop, Pelicanneck [1998-2007] and therefore instantly redolent of the smell of fresh coffee and waffles and Carol Batton poetry. Over ten years later it still has that faintly nostalgic effect, but more in the comforting way of a ubiquitous classic which, no matter your exposure to it, will always hold a special place in your heart.
Alvin Curran’s outstanding mesh of soaring vocals, swooping subbass and glancing percussion in ‘Cante E Vedute Del Giardino Magnetico’  arrives as part of Superior Viaduct’s indispensable, educational reissue series for its first vinyl reissue since 1981. Bravo, SP. This is blowing our minds right now!
“American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early '70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.
Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen).
Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice – converging in an immersive realm of Curran’s inner / outer experiences.
This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.”
Magisterial, glacial, attention-demanding and powerful exposition of Buchla 200 synth tones mapped to acoustic woodwind and brass by a promising young composer; Stockholm’s Kali Malone. A strong tip to fans of work by Caterina Barbieri, Emptyset, Sarah Davachi.
Arriving in the resonating wake of her self-released solo début Velocity of Sleep , and flanked by the recently issued Organ Dirges 2016-2017 tape for Ascetic House, the Cast Of Mind LP gently but grandly expands the constellation of Kali Malone's solo releases, next to her Upper Glossa collaborations with Caterina Barbieri, a tape with Ellen Akrbro, and acclaimed live performances.
Joined by Yoann Durant (Alto Sax), Isak Hedtjärn (Bass Clarinet), Gabriella Varga Kalsson (Bassoon), and Mats Äleklint (Trombone), Kali’s Buchla 200 Synthesiser forms the basis for a quartet of diaphanous and slowly unfolding electro-acoustic landscapes that externalise a highly personalised form of emotive topography.
In the titular opener, wood and brass trace the swooning ellipses of Kali’s Buchla contours in stately procession suggesting a sort of resigned march to battle, before the Buchla appears to dominate in the warped streaks of Bondage To Formula, but listen closer and it’s harder to tell whether it’s electronic or organic sources so fully lending flesh to her rich sound field.
The answer to that question is much clearer in Arched To Hysteria, whose keening, hunched electronic forces hold powerful potential to conversely induce paranoia and heavily hypnagogic effects, whilst Empty The Belief yields a lustrous, Raga-like drone capturing a marriage of Buchla and bassoon at their most transcendent and steeply attractive.
This one should be filed for reference and safekeeping beside recent transmissions from Sarah Davachi, Anna Von Hausswolff, and Catarina Barbieri = properly good.
Ecstatic finally issue Abul Mogard's modular landscape paintings on 'Circular Forms'.
Unfolding through a 40 minute synthesiser suite in four parts, 'Circular Forms' is one of the most captivating examples of Mogard's deeply evocative music, drawing out a sort of direct emotional quality from his limited set-up of Farfisa organs and a self-built modular system.
At this point his backstory bears repeating: Mogard worked in a Serbian factory for most of his life, and upon retirement began making synth music to remind him the harmonic buzz and drone of heavy machinery. Between 2012 - 2013 he issued his first works on tape thru Steve Moore's VCO Records, followed most recently by a gorgeous split vinyl for Emotional Response.
But this one for Ecstatic is our favourite yet, framing three misty-eyed visions with perfectly suited titles such as 'Slate-Coloured Storm' and 'Half Light of Dawn' on the front, backed with the 16 minutes of slow and tortuous valerian bliss of 'House of the River' on the back.
Seriously, don't sleep on this one until you've got it home.
Italian techno producer Jacopo Bacci supplies his pulsating and steeply immersive 43 minute work ‘Throw Light Upon’ as a typically unexpected curveball on Joachim Nordwall’s iDEAL Recordings
Offering a masterclass in how to bridge deep ‘90s and modern techno spheres, ‘Throw Light Upon’ is all about extra subtle modulations of rhythm and tone, and in a way that is too often forgotten or lost-in-translation by current skools of techno praxis. The seamlessly sequenced 44 minute work reminds us the pure pleasure of locking in and staying there, recalling a time before dancefloor patterns were disrupted by health & safety, when a couple of garys and a pack of tabs would see you right for 6 hours spent in the control of a single DJ who could work you like a marionette.
This isn’t a DJ set, but it works very much like the ideal of a fluid deep techno selection, stealthily layering and introducing new motifs that form and recede around a rolling 4/4 ballast, incrementally and almost imperceptibly shifting gears to conserve energy and motion. Like an intangible scent or motif that jogs the memory, ‘Throw Light Upon’ subliminally gets inside the head and under the skin to remind of pure, classic techno from Plastikman, Mika Vainio’s Ø, Donato Dozzy, Nuel.
Finally, Amnesia Scanner, Bill Kouligas and Harm Van Dorpel’s A/V project arrives in album form, taking in unspooled/unravelling mixtape fragments, generative avant-EDM and cyberdrone topographies inspired by NSFW imagery and extreme banality. If you were into Haswell & Hecker’s amazing ‘Blackest Ever Black (Electroacoustic UPIC Recordings), or generally fascinated by PAN's sprawling, multi-faceted interests, this incredible album really is a kind of encapsulation of that limitless world of sound...
Amnesia Scanner, Bill Kouligas and Harm Van Dorpel’s prism-collapsing, algorithmic A/V project ‘Lexachast’ becomes extruded polyvinyl flesh on their sickeningly strong debut for PAN. Conceived in 2015 as an improvised performance between Bill Kouligas and Amnesia Scanner at London’s ICA, ‘Lexachast’ was subsequently developed into an online A/V work with visual artist Harm Van Dorpel, and is here presented in its current, full-grown form - a flux of sonic references to the fallout of avant-EDM and cyberdrone, resembling a swan dive into the uncanny valley’s darkside.
In a bold synaesthetic dialogue, Kouligas and Amnesia Scanner sonically respond to a dense flux of NSFW and extremely banal images raked up from the Internet’s underbelly (Deviant Art and Flickr) and layered by Harm Van Dorpel’s ever-evolving, image-sourcing algorithm. Through this process, they effectively give voice to the images and their morphed meanings, mirroring their abstracted, warped content with a sonic vocabulary of hypermodern dance musick.
The results speak to humanity’s ever-changing relationship and un/familiarity with the Internet, and the way it mediates the self. Simultaneously drawing upon our darkest thoughts, our existential traumas and their prosaic settings, Lexachast is acutely symptomatic of our epoch - taking age old concerns about who we are and the limits of new technology. It’s not pretty, but it is utterly fascinating - like a car crash witnessed in slow motion.
Haunting, enlightening, spellbinding; ‘Bush Lady’ is the definitive musical opus by Alanis Obomsawin. A member of the Abenaki Nation and one of Canada’s most esteemed and decorated documentary filmmakers, Alanis recorded ‘Bush Lady’ for CBC, Canada’s national broadcaster, in 1985, but was unhappy with the lead song, ‘Bush Lady’. She re-recorded the song and self-released it as part of new edition, which the marvellous Constellation have now picked up for this reissue, some 33 tours later
Combining her knowledge of traditional Abenaki songs, learnt in her home community of Odanak, with lyrics in french and english, and more modernist arrangements drawing from jazz and classical, Bush Lady paints an engrossing and unforgettable portrait of the venerable singer, songwriter, and storyteller which has somehow managed to evade the attentions of reissuers until now.
The 2-part, 13 minute long opener Bush Lady, Pt.1 + II make a transfixing introduction with Alanis’ mix of traditional and modern vocals dancing free over a tumpin’ drum and expanded with searching fiddle that beautifully tails off with her vocals in the 2nd part. Meanwhile, Theo, Pt. I + II find Alanis singing/speaking in french over a central, steady drum motif joined by the kind of lush woodwind you might expect from a mid ‘80s CBC release (think BoC feels), while Odana reserves the album’s lushest arrangement till last, with Alanis in chanson mode against a fittingly plush, almost filmic backdrop of strings and wind, and Of the Earth and of the Sea remains a timelessly universal message.
We wager some ears are about to fall madly in love with this album…
Bokeh Versions bring freshest, weirdest dancehall to market with Sikka Rymes’ ‘Love Di People’ - a big BIG look for fans of Equiknoxx, Slikback, Vybz Kartel!!!
““Incarcerated deejay touts Sikka Rymes as next big thing in dancehall” say the Jamaica Star headlines; referencing Vybz Kartel and Sikka’s cousin Shawn Storm, all of Portmore’s Gaza Nation dancehall royalty………..
So then we have Love Di People EP: Sikka’s first solid gold release after strings of strictly Vevo hits (‘Life of the Party’, ‘Nuh Change’) lie between his previous hook up with producer Genesis Hull (on Duppy’s 2016 Fresh Clipp’d). Genesis’ prods are pure widescreeen sub-tension and speed - now of Mexico City, he carries Sikka’s flow into gleaming new future chrome jobs of the dancehall chassie, the madness of 00s dancehall returns for global review. In This Time Of Many Dancehall Think-pieces: Live Long And Grow Strong.
The weight of two year’s of Drive demos caused Miro Tape to spontaneously burst into the world on Bokeh last year, we told you it was just a mixtape - Love Di People is the first wax seal on the Bokeh x Duppy Gun relationship, and not the last one of 2019. Founded by Sun Araw and M. Geddes Gengras, Duppy Gun pairs under-cover West Coast producers with Jamaican vocalists like G Sudden, Early One & others from their island HQs in Portmore & Spanish Town.”
Wheezing, light-heading krautrock flights from Seoul, S. Korea’s Tengger, arriving on their native Extra Noir a year since the label’s ace, eponymous comp which starred a peach by Cucina Povera
Tengger’s track on the ‘Extra Noir Vol.1’ set, ‘Breathe In, Breathe Out’ gives a good indication of the mediative yet physical effect they pursue with the soaring designs of ’Spiritual’, coaxing an unidentified array of analog electronics and seemingly acoustic sounding drones (possibly a harmonium, shruti box?) , as well as vocals, into sustained drones and pulsing rhythms that seem to fly between the mountaintops of the Hindu Kush and original longhair retreats in the Alps.
Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in 2012 and 2013 on Steve Moore and Anthony Paterra’s VCO Recordings, as well as a cassette only release last year on Ecstatic, never before available on vinyl. RIYL Alessandro Cortini, The Caretaker, Fennesz, Tangerine Dream, Brain Eno, Tim Hecker...
Abul Mogard’s relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music - using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realise a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker.
The nine tracks on Works are soused in an emotional richness that’s hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us.
The fact that Mogard hails from an area hardly well-known for its synth music, and that he’s of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magick surrounding this remarkable artist and his layered, emotional music.
May’s issue has a focus on indigenous voices, from cover star, Inuk singer Tanya Tagaq, to the “Native tongues alliance” of L.A.’s A Tribe Called Red.
The Primer is on the more than 50 year career of bass player William Parker, and Dylan Carlson does the Invisible Jukebox. Also includes features on Slip’s Julia Reidy, the Indian Classical scene in Bristol, and Chicago-based collagist Angel Marcloid. Includes all the usual news, reviews, listings.
First ever reissue of this Spiritual Jazz holy grail, remastered from the original tapes.
"Although his albums are full of the same qualities as those of many other star saxophonists / flutists playing spiritual jazz, Frenchman Michel Roques is often classed as a "supporting artist" or a "musicians’ musician", forever in the background, and often left out of the reference books. Adding to this lack of recognition is the fact that Michel Roques was seriously under-recorded: five albums as leader in a career of almost twenty years does not amount to much! Thankfully, in 1972, Pierre Barouh, boss of Saravah, records made up for the injustice by offering him the opportunity to record ''Chorus'' in studio, providing a continuity with the equally brilliant ''Safari'' made four years earlier.
An ambitious work, ''Chorus'' owes much to the unusual ‘augmented’ rhythm section, the inner structure of which is none other than that used in the Parisian trio of pianist Mal Waldron at the end of the 1960s: namely Patrice Caratini on bass (completed by the cello of the amazing Jean-Charles Capon) and Franco Manzecchi on drums (seconded by the percussion of Humberto Canto). Another notable singularity is that Michel Roques had the excellent idea of excluding the piano, traditionally employed in this kind of context. This didn’t prevent ''Chorus'' from being played on French TV in 1973 with a piano replacing the cello, and a different voice reciting the beat-style poems of Nicole Roques, that of actor Jacques Degor, occasional collaborator with Jef Gilson but far less convincing than Bachir Touré, wisely chosen for this recording for his style inherited from Afro-American preachers and capable of holding his own with the wild improvisations. In its own way, ''Chorus'' is one of the key albums mixing free jazz and spoken word ‘à la française’. It is also a militant concept album which has lost nothing of its political force."
Ivan Seal’s paintings have accompanied almost all of James Leyland Kirby’s output as The Caretaker over the last two decades. This comprehensive book, made to coincide with a long-in-the-making exhibition in Clermont Ferrand, France, provides a beautiful, in-depth look at their work together through 160 pages of artwork, essays and commentary from both Ivan Seal and The Caretaker, a luxurious and weighty hardcover tome marking the end of an era.
Featuring art made for The Caretaker, as well as many previously unseen paintings, the book provides closure to a project that came to an end last month with the sixth and final part of the 'Everywhere At The End Of Time' series. As most of The Caretaker’s music over the years has been released without text or even track titles included in the artwork, this is the first time there has been any written commentary provided by either artist for their work together.
Alongside an included 17 track CD of previously unreleased material from The Caretaker, 'Everywhere, An Empty Bliss’ is a beautiful final document from one of the most ambitious and longstanding projects in contemporary music, one that we’re sure will only grow in stature as time goes by.
Kenyan and Egyptian musicians meets Düsseldorf’s downtempo expert Jan Schulte on a swingeing, grubbing percussive tip nodding to classic Wally Badarou and cosmic disco vibings
Up top on ‘Mabomba Dance’ they set sights on the horizon for a 15 minute trek hustling Kasiva Mutua’s percussion with acidic synth wiggle and Ahmed Omar’s panting vocal, before a creamy breakdown takes them into a lusher 2nd half lit up with arcing synth chorales.
Down under, they contract to a nattier groove built from Jaw Harp and loose drums and framing a low key vocal from Rapasa Nyatrapasa Otieno in ‘Ruoth Radido (Nyangile)’, before traditional Kenyan strings appear on the dusty shuffler ‘Moso Radido Wuod Ndege (Nyatiti)’, and they wrap up with the tightest mesh of clipped clave rhythms and Adel Mekha’s balmy, plangent Arabic vox.
John Chantler’s Stockholm-based Edition Festival presents this fine book of essays and interviews, featuring Eliane Radigue, Sarah Hennies, François Bayle, François J. Bonnet, Annea Lockwood, Leila Bordreuil, John Chantler, Terre Thaemlitz, Frida Sandström, Seymour Wright & Jean Luc Guionnet, Nicole Mitchell & Fumi Okiji, Cara Tolmie & Stine Janvin, Christine Ödlund & Leif Elggren.
Since its 2016 inception, Editions has hosted artists from myriad aspects of the modern avant-garde spectrum. ‘Notes on Other Music’ provides handy expansion of the ideas running thru the festival, ranging from Kate Molleson’s essay on Eliane Radigue’s ‘Occam Ocean’ and the GRM’s François Bayle on the french institute’s custom soundsystem ‘For an Invisible Music, An Acousmonium’, to Louise Gray on ‘Annea Lockwood - Sound Streams’, along with Frida Sandström’s interview with Terre Thaemlitz, and “conversations” between Stine janvin & Cara Tommie, Christine Ödlund & Leif Elggren, plus photographs by Peter Brötzmann, Sarah Davachi, Ellen Fullman, Joe McPhee and many more.
Off civil duties, Beau Wanzer & Shawn O’Sullivan do rude and raw machine funk for The Trilogy Tapes
From ghetto-tech to kerb-crawling sleaze and nagging future primitivism, this one’s a strong payload. Up top they rev up the diesel-spitting Detroit funk of ‘Body Melts’ ready for some triplin’ action in-the-mix, whereas ‘Germ Identity’ does it slower, nastier on a snappy Pametex tip. Turn her over and they loosen up for the pendulous, blown-out drums and scurrying rhythms of ‘Pickle Eye’, and the wriggling, rusted chassis of ‘Metal Mouth Mob’ gets off on a rasping tribal buzz.
Veronica Vasicka’s curatorial sensibilities are at best on this compilation of Minimal Wave from around the world 1980-1991, collecting a range of material shared by a common purpose - music made in or for the bedroom. Features tracks by Unovidual, Autumn, Pink Elln, Karen Marks, Vorgruppe, Aural Indifference, Perfect Mother…
We’re instantly drawn to the blue, sluggish melancholy of Mensch Im Eis by Vorgruppe, taken from their 1982 7”, as well as the anaesthetising gauze of Iham/Echo’s exceptional Eagle , which could almost be a pre-echo of Teresa Winter, and likewise to Denial’s cover of California Dreaming, which could just as easily be a pre-echo of Carla Dal Forno, while those who like to dance when nobody’s watching will no doubt get along with Perfect Mother’s grinding Japanese EBM in dark-disco-da-da-da-da-run, and the Belgian reserve of Unovidual’s Dit Is Pas Het Begin.
Excellent, studiously well-crafted and addictive retro-vintage pop nodding to space-pop and gloomy soul in the style of Stereolab, Broadcast, Nico...
“Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet.
From the outset, Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin, featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the listener.”
Another Drexciyan evergreen comes up for air on reissue, packing some of their deadliest electro-techno missiles, bar none
Of course, we’re mainly talking about the immense title tune, ‘Digital Tsunami’, which is also found opening the seminal ‘Harnessed The Strom’ album. It’s a never-bettered archetype of Detroit electro-techno bristling with electric blue energy and Afro-futurist Detroit soul, driven by spine-tracing arps and uniquely evolved electro-techno DNA. The others are class too, including the wonky, prophetic sci-fi electro minimalism of ‘Aquatic Cataclysm’, the highly attuned electro-funk of ‘The Plankton Organisation’ and the blissed-out, wavey beauty ‘Birth Of New Life’.
Juju & Jordash hit the tiles with 2nd volume of their “No fuss DJ/dancer friendly” series
Up top there’s a percolated disco bubbler named ‘Flashback Slack’ and the flanging techno trip ‘Spooky Rhodes Slack’, while the flipside comes faster with the effortless juke flow and nose-drip synth tang of ‘Jupiter Slack’ and a skippy minter called ‘Heavy Swing Slack’.
The Movement box set includes the vinyl LP with its original iconic sleeve designed by Peter Saville, original album CD in replica mini album sleeve, a bonus CD of previously unreleased tracks, DVD of live shows and TV appearances plus hard backed book all housed in a lift off lid box.
"Out of the ashes of Joy Division, the remaining members decided to carry on recording under the name of New Order. The band’s debut album Movement recorded between 24th April to the 4th May 1981 at Strawberry in Stockport and featuring all new material, produced by Martin Hannett was released in 11th November 1981 on Factory Records. The vinyl LP of the original album is cut on 180g and features the 2015 remastered audio, presented in a replica of the original sleeve.
The second CD includes 18 completely unreleased tracks made from Demos, Sessions, Rehearsal Recordings and an Alternative 7” version of Temptation
Accompanying the set is a 48page hard back book which features photos and an essay"
A crucial Drexicya project comes back around on remastered 12” blessed with some of James Stinson’s heaviest basslines
First served on Tresor’s Supremat sublabel in 2001 and now given cat#Tresor.271, this 12” was a stone-cold warm-up for the killer LP ‘The Opening of the Cerebral Gate’. It opens with the moody, acidic electro squelch of ‘Power of the 3rd Brain’ and only gets stronger therein with chest-rattling subbass shockwaves and subaquatic pressure of ‘Disrupted Neural Gateway’, and another untypical streamlined winner named ‘Do You Want To Get Down?’, squaring up mad, slyding squares with zig-zagging synths and sparingly used vocals in one of oddest Drexicya grooves out there.
Dungeon Acid injects psychedelic vapours into steely Detroit-inspired acid/techno on his long awaited debut album proper, recorded and edited between 2010-2019 for his pals and admirers at Ideal Recordings. RIYL Underground Resistance / Börft!
Dungeon Acid has become the most vital of drummer and producer Jean-Louis Huhta’s many projects, following a musical arc since the ‘80s which has seen him variously play with crust punk group Anti Cimex (and tour the UK alongside Napalm Death in a van with no seats), become a member of cult Swedish rave band Lucky People Centre, play ritual rock tribalism with The Skull Defekts, and duel with electro-acoustic heavyweights such as Zbigniew Karkowski and CM Von Hausswolff.
Yet for all his stylistic versatility, Huhta’s heart has consistently been found in tough, driving and psychedelic strains of house and techno indebted to Detroit since the ‘90s - eventually ending up on Detroit’s influential FIT sound imprint last year. This inspiration comes out in unexpected ways across his first Dungeon Acid album proper; working within this square but malleable meter via persistently detailed tweaks and hypnotically layered productions, where he’s unafraid to push into the red or lower the tempo and croon like a shaman conducting ancient rites.
In 9 parts he effectively joins the dots between the psychy, punkish dance trax of Börft Records and the Motor City mechanics of Underground Resistance, generating a singular, machine-borne but organic flow with big highlights between jelly-limbed acid opening, through to steely warehouse hammers, a slow and skudgy hymn to nose drip dynamics, and two belting barrels of warped Biker Bar funk that would surely make the grade in the 313 any time between the early ‘90s and now.
Dungeon Acid is brilliant testament to the art of marrying mutually exclusive bedfellows as much as it is a masterclass in dare-to-be-different house and techno, all done with hard-won skills, natural personality and warmth, with history and future at the front of the mind.