The gods at Stroom deliver another peachy double-header, facing off Kyoto’s classy 1984 synth-pop with the steamy blush of Zoë Sinatra’s 1990 gem.
Kyoto’s ‘Venetian Blinds’ fines the tightest line between flash funk and in-the-pocket cool, with Belinda De Bruyn glyding icy over blinding FM synth stabs and puckered bass hustle to jog a precious part of collective memory - it nails a vibe so well you think you know it, even if you never heard it before.
Zoë Sinatra’s ‘Mais Qu’Est-Ce Que Tu Fumes?’ hugs the B-side like a velvet bodysuit. Produced by legendary New Beat guy, Gery François (Teknokrat’s), it’s much slower and sexier than his club gear, destined for the after-party and quite possibly directing you to the cold shower Zoë mentions in the song.
Deluxe 3xCD box set edition of Obey the Time, the eighth studio album by Manchester ensemble The Durutti Column. Originally released by Factory Records in December 1990, the original 10 tracks have now been expanded to no less than 43.
The Durutti Column’s overlooked foray into early ‘90s acid house, techno and Balearic dance resurfaces, expanded with bonus discs of related material, and packaged with notes by Tony Wilson. In 1990, gassed on ecstasy fumes and weed pills, Reilly pulled influence from Acid House, rave and Balearic dance music into his singular style of lolling, latinate guitar playing with lovely and commonly overlooked results.
Aware of what could be done with a sampler - where one chord could trigger myriad more at the push of a button - Vini mostly self-produced ‘Obey The Time’, with some help from local studio whizzes such as Bruce Mitchell and Keir Stewart. The resulting album revolved natty acid house aces such as ‘Contra-Indications’ with Vini sailing over its rude machine groove, along with the balmier. dubbed-out ‘Fridays’, plus the utopian bliss of choral synth voices and Afro-Latin groove in ‘Neon’, while this reissue also includes ‘The Together Mix’ by local rave heroes Together (of ‘Hardcore Uproar’ fame), as well as Keir’s schism jungle mix ‘Kiss Of Def’, and the shimmering synth voices of ‘Zinni III’ exclusive to this boxset.
On the 2nd disc is a stack of ‘Related Works’ including a Select Magazine megamix of the album, plus compilation tracks ‘Dry’  and ‘Red Shoes’ , plus songs from unreleased albums, while the 3rd disc documents The Durutti Column’s concert at Manchester Uni’s Whitworth Hall, 23rd June 1990, aka ‘The Acid Guitar’.
Summer’s coming and this boxset could hardily be handier.
Imagine a J-Pop loving BoC doing a computer game soundtrack and you have the beautiful ‘Oneknowing’ by Lena Raine; composer of award-winning indie platform game ‘Celeste’, who recently collaborated with Hans Zimmer on the opening theme for The Game Awards 2018 (the Oscars of the gamer world)
A sterling addition to Local Action’s optimist-futurist aesthetic, Lena’s first solo LP proper (if we discount her soundtrack works) finds her putting a finely honed emotive and narrative sensibilities at the service of her own music. Separated from the need to accompany hopping pixels, she emotes a classically modernist melancholy that crisply but gently resonates with ‘90s trip hop, shoegaze and IDM/electronica prisms as much as the sort of Japanese new age ambient styles currently explored by Visible Cloaks.
Considering that the last computer game I played was probably Abe’s Odyssey, as a nipper, around 20 years ago, our knowledge of contemporary game soundtracks is limited to say the least. But no knowledge of that arena is required to enjoy ‘Oneknowing’, which is simply a beautiful album for home listening, utterly flush with ear-worming melodies and and a glowing pleasantness that’s just hard to shake, especially if you like anything from Tenniscoats to Ulrich Schnauss, Boards of Canada or 0PN.
Rude dub-funk experiments from 1986 Canada - think ‘My Life in the Bush Of Ghosts’ Eno at Tubby’s studio, overseen by Bill Laswell’s Material. Remastered from original tapes. 2nd hand copies aren’t cheap!
“Politico dub-collage practitioners Guerrilla Welfare came from Edmonton, Alberta, coincidentally the birthplace of prophetic media sage Marshall McLuhan. Armed with vanguard ideas taken from Steve Reich, Fela Kuti, Robert Fripp and Material, the duo of Curtis Ruptash and Brian Schultze adopted the “studio as instrument” mindset of Eno and King Tubby creating complex textural and polyrhythmic sonic insurgencies. They overdubbed drum computers, guitar, bass, noise-makers, mallet percussion, sitars, often accompanied by sampled vocals and found sound taken from TV.
Their pan-global, multi-media palette supported zeitgeist commentary — often, with a healthy dose of gallows humour — on gender, power structures, and sexual and geopolitical tensions in the late 80s. Their DIY bunker studio experimentations align them with genre defying dub-infused outfits like African Head Charge, Dome, Lifetones, Naffi, Woo, Negativeland and The Residents. The Nature of Human Nature captures Guerilla Welfare’s most formidable output, compiling tracks selected from their entire discography (two LPs and a cassette collaboration with poet Mary Howes), all originally self-released from 1986 to 1991. Remastered from the original tapes.”
Anne Briggs’ eponymous 1971 debut album, largely unavailable for 48 years, is widely regarded as a pillar of any folk collection. Re-issued here as part of the Topic Treasures series – the label’s classic and notable albums expanded in deluxe format with rare images, new liner notes (by folk aficionado/ journalist, Ken Hunt).
This 1971 release was Anne Briggs' first full-length album, arriving a long time after she'd become an established figure in the folk revival of the '60s. The material here is split between traditionals and original compositions, some pieces furnished with instrumental backing while others are delivered acappella.
The end result is an album that might pose quite a challenge to the casual listener, particularly when it comes to eleven-minute vocal-only narrative 'Little Tambling', which is beautifully sung, but ultimately requires your close attention. When unaccompanied, Briggs' voice takes on a truly haunting quality, sounding quite unlike the earthier intonations of contemporary Shirley Collins, and the fact that for much of the time she's singing incredibly old, hand-me-down laments only heightens the ghostly quality.
Scuzzy EBM/darkwave boppers and a sludgy beat off, by Marseille’s Cardinal & Nun
"Injecting energy into the dead, channeling chaos and turmoil into his music, he rips through four tracks with a rough yet somehow elegant approach...raw to the bone yet flawlessly arranged.
Synths that sound like guitars, guitars that sound like synths, metallic drum machines with a human touch and deranged vocals fuel this record til the end. Think Screamers meet Chrome meet Liasions with a healthy dose of southern california gutter punks on meth and you're in the right place. Marseille is where it is all happening right now and this is a documented confirmation of it!"
Arvo Pärt has become something of a yardstick by which so much contemporary classical music has been measured, and 'Alina' is arguably his most understated and beautiful piece of work.
Für Alina was first performed in Tallinn in 1976, and has become one of Pärt’s most-loved and widely appreciated works - regarded by many as an early, defining example of his signature tintinnabuli style. In the years since its release, Pärt has become the most performed living composer in the world, his approach to religious music seeping deep into our cultural landscape, from the avant garde to the mainstream.
Rendered with nothing more than piano and violin, this definitive ECM version from 1999 features Vladimir Spivakov, Sergej Bezrodny, Dietmar Schwalke and Alexander Malter providing alternate versions, handpicked by Pärt himself from recordings that were originally several hours long. It’s a masterclass in simplicity; an almost painfully beautiful rendering of emotional landscapes that, in the wrong hands, could have (and has, on many occasions, by so many) turned to schmaltz.
For better or for worse, 'Spiegel Im Spiegel' and 'Fur Alina' have both come to be seen as blueprints for a specific strain of solo piano and classical minimalism designed to manipulate and heighten emotive states, as seen in so many films, adverts and idents. In that respect, one could argue that these pieces are indirectly responsible for numerous heavy-handed, emotionally empty, easy-on-the-ear abominations over the decades. And yet, if you listen carefully, Pärt's ability to distil so much emotion and spirituality into his work from so little is ultimately impossible to emulate; regardless of how many times you've heard them, these pieces never cease to transport you elsewhere.
If you're new to Arvo Pärt, Alina is perhaps the perfect entry point for exploring his monumental, peerless canon.
Andy Votel and Sean Canty of Demdike Stare reunite for one of their occasional mixtape specials, a proper pearl riddled with unidentifiable shots of avant-garde, jazz, mechanical music and dream sequence sonics, recorded at exhibitions of Votel's' “fake lore” paintings/collages in Leeds and Gothenburg.
The latest in a long and highly collectable line of collaborations released sporadically over the last decade, alongside their work together as NeoTantrik and Slant Azymuth, these two solo mixes, while recorded 1000 miles apart, share a mutually restless spirit and are both riddled with a whole world of cut-up fragments of unknown provenance.
Canty’s side was captured in Leeds, 1/2/2019 and is the more oblique, full of insectoid percussions and off key discord, while Votel’s was recorded at Folkteatern, Gothenburg, and invokes a more highly cinematic, worldly feel that most acutely evokes his “fake lore” aesthetic, reducing influences of European science-fiction art, scholastic illustration, post-pop-art, Plakatstil and mid-century graphic design - the same influences that can be seen through his visual work.
If you’ve ever picked up any of the mixtapes these two have been involved with over the years, or indeed if you’re a Finders Keepers/Demdike head - you’ll know that this stuff is gold. Don’t miss!
Laidback, cinematic soul, jazz and hip hop flair from 2x Grammy-nominated drummer/producer Clever Austin, making his solo debut outside of Hiatus Koyote, and joined by luminaries such as Georgia Anne Muldrow, Jon Bap, Cazeaux O.S.L.O. + Laneous
"Born near the Blue Mountains in Australia and originally a hip-hop producer, Moss counts some of the world’s most acclaimed drummers and producers as his fans (Questlove, Pharrell Williams, Erykah Badu, Chris Daddy Dave, Flying Lotus).
Much like his Grammy-nominated work for HK, Pareidolia is a genre-bending sonic and emotive pilgrimage with virtuosic, percussive groove at its core. Conceived via countless nights in his home studio, it dreamily roams across 16 tracks which slowly unravel with the cinematic feel of a movie; all mixed and self-produced over a period of two years.
Guest appearances are spontaneous, late night drop-ins, cross town musical crossovers and moments of respect paid to established and emerging innovators. Touching Bass are proud to be the first UK label to introduce the mesmeric talents of Texas native, Jon Bap on first single “Blue Tongue”. Elsewhere, fresh from her well-received 2018 release on Brainfeeder, Georgia Anne Muldrow blesses “You Are All You Need” with her mercurial voice. Closer to home, Cazeusx O.S.L.O’s baritone spoken word grounds “Mothership Strip” and Brisbane-born multidisciplinary artist, Laneous (aka Lachlan Mitchell) croons on “Catapult”.
Pareidolia further cements a trans-global cultural exchange between the soulful sounds emanating from Melbourne and London.”
The Necks 18th album Vertigo is an eventful, kaleidoscopic tone poem set against a darkly shimmering background. Slowly but inexorably moving forward, it crosses many frontiers yet remains true to the mission and mood established in the opening stanzas of this cinematic 44 minute journey. A work able to be viewed either as a whole, or two symmetrical halves, Vertigo sees The Necks once again offer an excursion in sound that reflects both the light and darkness of some preternatural world.
Vertigo follows their acclaimed 2013 album Open, described by SPIN as ‘the most beautiful album of the year’.
In contrast to the sustained improvisations that are their live performances, The Necks’ studio albums take shape by way of intricate crafting brought to bear throughout the entire recording and mixing process. “The discussion this time really began in earnest in the session itself, where we started to pursue the idea of having a drone running from start to finish, off which we could hang ideas,” said bassist Lloyd Swanton “But like all Necks albums we ended up in a very different place from whatever our initial notion of it had been.”
Maintaining a teetering tension between suspension and collapse, Vertigo draws on a diverse palette of sounds created in the studio by Tony Buck (drums/percussion/guitar), Lloyd Swanton (bass) and Chris Abrahams (piano/keyboards), featuring everything from homemade instruments, extended instrumental techniques and marathon explorations of sonic textures.
One piece, at the same time two. Monochrome, yet multicoloured. Dark, yet incandescent. Expansive and still. Melancholic and exhilarating. The Necks. Vertigo."
Nicholas Britell’s score to Barry Jenkins’ award winning ‘If Beale Street Could Talk’.
"Britell’s score is a sonic landscape filled with brass and strings, a yearning and romantic yet understated and melancholy, warm composition which deeply resonates with the story."
Pascal Dusapin was born 29 May 1955 in Nancy, France. His music is marked by its microtonality, tension, and energy. A pupil of Iannis Xenakis and an admirer of Varèse, Dusapin studied at the University of Paris I and Paris VIII during the 1970s.
"His music is full of "romantic constraint », and he rejects the use of electronics, percussion other than timpani, and, up until the late 1990s, piano. He wrote 8 operas and an important pieces for ensemble and solo instrument. Here is for the first time his complete work for viola.
A unique artist, Pascal Dusapin continues his musical journey, formal and yet never dogmatic, offering his fiercely emotional music through a great range of diverse forms."
Dekmantel grip Australia’s Roza Terenzi for a fine showcase of her balmy, “quasi-cosmic” take on electro, ambient house and early rave nostalgia
Since emerging to acclaim with the ‘Planet Euphorique’ 12”, over the last year she’s dished up at least another 5 releases, leading to this, her highest profile release.
‘3.I.Y.’ gives a a nervy, range-finding start with clipped, squirrelly electro and breakbeat rhythms establishing cosmic coordinates, while ‘Bricks’ dips on the downstroke with pendulous ambient house groove and piquant nods to Arpanet. ‘Freak n Tweak’ then brings some late ‘80s hip hop swagger and floating bleeps recalling early B12, while ‘Open Me’ follows thru in a dreamy Detroit-via-UK style.
‘Panopticon Specularities’ is an ambitious and complex feat of avant-classical chamber architecting rooted in Turkish politics and cultural identity, effectively thawing the “frozen music” of the Hagia Sofia’s 1500 year old architecture. It is the bold debut proper by Berlin-based composer Turgut Erçetin for the ever-searching Edition RZ
Istanbul native, Turgut Erçetin (1983) studied composition and completed his doctorate studies at Stanford University. His work engages with sound as sonic entities that interact with time and space, with an inherent focus on acoustics and psychoacoustics. He uses computer-aided compositional processes to realise unique impositions of space and place that question notions of physicality and metaphysics: employing a highly technical approach to stage practically impossible soundscapes, bringing the meridian sounds of Istanbul - seagulls, ships horns, street noise, the muezzins’ call-to-prayer - and the uniquely purposed Byzantine architecture of the Hagia Sofia, once a venue for singing, then an Ottoman mosque, and now a museum where music is banned, via the CCRMA facility at Stanford, and into the performance space of a Berlin church.
Unable to actually use the Sofia Hagia for recording, Erçetin did the next best thing and modelled its architecture with a computer after gauging its space with sine waves and balloon pops. In the recordings they found the Hagia’s acoustics created specular reflections, localised echoes that highlight specific places, particularly int he 56-metre high dome, which gave the impression of sound descending from above, or from heaven itself. Applying this ancient crafty way of manipulating audience perceptions to the relatively modern idea of F-prisons, smaller cells introduced in Turkey in 2000, as a way of disrupting, segregating prisoners, stymieing their communications, he arrived at the belief that “one could be resilient and free form the solitude to which one is condemned inside and outside, as long as one can move.”
The four works in ‘Panopticon Specularities’ bring this idea of freedom of movement within space - and spaces within spaces - to light in remarkable ways that will have ears and eyes wandering across the whole soundsphere, bewildered and rapt. In effect he’s reverse engineering Goethe’s notion of architecture as “frozen music” by using the reaches of technology to “thaw” and make the building’s music liquid again. Directing four spatialized chamber ensembles in the same space, together with pre-recordings in anechoic chambers, to create a complex space of interaction between gendered voices, both human and instrumental, to wonderfully conflate the ideas of the Panopticon - an 18th century British prison design whereby all points are visible from the centre - and public squares where people of all social strata would see and be seen, establishing their identities and social status in the process, in turn revealing the power of freedom of movement.
Phill Niblock's Music For Cello collects three pieces from the 70's and early 80's, performed by cellist David Gibson. Since the late sixties Phill Niblock has been composing long-form acoustic drones with a focus on the rhythms and overtones that rise from closely tuned instruments. His highly original and influential music is an exploration of timbre, microtonality, stability, duration and psychoacoustic phenomenon.
"3 to 7 - 196 is very direct, aggressive, and gritty. The overtone patterns that are produced by the proximal pitches become more prominent with louder volume. So please, play this piece very loud. This was the first piece of mine in which the musician was precisely tuned, in which I chose exact pitches in hertz. We used a sine wave oscillator and frequency counter for the tuning.
Descent Plus has four cello tones descending one octave over twenty-two minutes, from 300 hertz to 150 hertz. David Gibson played these tones without lifting his bow from the strings, constantly retuning. I made four different scores, manually changing an oscillator to which he was tuning, for each track's recording. For the revision, we added six more tracks, with David playing long tones which were not descending. The second part of the recording was made nearly twenty years later.
Summing II (one of four parts) is mellow and sonorous. David plays two strings simultaneously, one of which is retuned for each successive recording of that pair of tones. This is a mix of an eight track tape. It's better played loud also." - Phill Niblock from liner notes
Including the albums: 'Affenstunde' (1970), 'Hosianna Mantra' (1972), 'Einsjäger & Siebenjäger' (1974), 'Aguirre' (1976), 'Nosferatu' (1978) 2LP.
The music of Popol Vuh is inextricable from the Werner Herzog films it soundtracks. Scoring Herzog's 'Aguirre', Popol Vuh, lead by Florian Fricke, established a longstanding relationship with the director, providing him with a milestone of electronic music which is now commonly acknowledged as a masterpiece. Fricke's innately moving compositions presaged the electronic ambient and new age genres, incorporating avant-garde classical, religious music, prog and krautrock themes into a substantial, harmonically rich sound. A
As fellow krautrock pioneer Klaus Schulze "...he went on to create a new world, which Werner Herzog loves so much, transforming the thought pattern of electronic music into the language of acoustic ethno music" perfectly reflecting the films inherent themes of humanity, religion and nature. Over the next fifteen years Fricke's musical evolution was charted by his work for Herzog, weaving increasingly elaborate instrumentation into the electronic fabric of his compositions.
This box set of remastered LP's offers some of those albums for Herzog on new vinyl editions for the first time in years, alongside some of Popul Vuh's other best known work.
Issued posthumously, ‘Petra (1991) For Two Pianos’ is the first ever vinyl pressing of music by Maryanne Amacher (1938-2009), one of the early “gurus” of electronic music, who is revered for her explorations of “otoacoustic emissions” - acoustic phenomena where the listener’s ears produce audible sound.
One of a handful of Maryanne’s works for tape, ‘Petra (1991) For Two Pianos’ joins her seminal Tzadik CD releases ‘Sound Characters (Making The Third Ear)’  and ‘Sound Characters 2 (Making Sonic Space)’  as only the 3rd official release of Maryanne Amacher’s remarkably unique music. However, where her first two albums were crucially created with electronic sources, this one aims to generate the same effect with two acoustic instruments simultaneously presenting pure tones, and in a way links her otoacoustic exploitations back to the phenomenon’s discovery by 18th century Italian violinist, Giuseppe Tartini.
This much anticpated Blank Forms release of ‘Petra’ is a recording of its American premiere on May 4th, 2017, at St. Peter’s Episcopal Church on West 20th Street, NYC, performed by Marianne Schroeder, a Swiss pianist specialising in New Music, and Stefan Tcherepnin - great-grandson of the legendary Serge.
Originally commissioned for the ISCM World Music Days in Switzerland, and written for two pianos, ’Petra’ forms a unique extension of Amacher’s electronic working methods, requiring a poised precision and patience from the players who segue from glacially reverberant serenity to passages of ragged dissonance, taking the music into realms shared by Amacher’s inspirations, Giancinto Scelsi and Galina Ustvolskaya, while also subtly manifesting the piece’s literary influence from sci-fi writer Greg Bears’s short story of the same title, where the gargoyles of Notre Dame come to life and breed with humans in an apocalyptic future.
The first part is ashen solemn, but struck thru with flashes of exhilarating high register colour, with lots of spooky action found in between the notes, where one can practically feel the church’s architecture impressed in-ear like a watermark. The 2nd part is much more dynamic, riddled with surprises and shadowplay, turning dread-heavy and rhythmically forceful before Schroeder and Tcherepnin gently bring the notes down like leaves on a slow-spiralling autumnal descent, conversely amplifying an uncanny space between the keys and leaving listeners utterly enchanted, aware of their space and presence in a deeply unique manner.
A mix of modern noise makers and experts in ancient music put the Italian Futurists’ original Intonarumori instrument thru its paces, while Einstürzende Neubauten’s Blixa barged provides spoken word commentary and history of the instrument and noise
“This album contains seven compositions, created by the Opening Performance Orchestra, Blixa Bargeld, Luciano Chessa and Fred Möpert. All the pieces relate to the theme of Futurism and employ intonarumori, instruments invented and used more than a century ago by the Italian Futurists in their noise compositions.
The Art of Noises, pertained to the entire 20th century. Published in 1913, in response to Francesco Balilla Pratella's Manifesto of Futurist Musicians, Russolo's text encompassed the fundamental ideas for the new music of the modern age. Radical ideas required original compositional approaches, as well as new types of instruments - hence the Futurists opted for the intonarumori.
The two quotations prompted us to give thought to creating compositions in which we would return to the early 20th century, when noises as means of musical expression emerged for the very first time. The typical instruments used by our ensemble, the Opening Performance Orchestra, are laptops, by means of which we conceive our fraction music, which can be briefly characterised by the slogan no melody no rhythm no harmony. Constructing three intonarumori, writing our own pieces for these instruments and performing works by other contemporary composers - Blixa Bargeld, Luciano Chessa and Fred Möpert, represented for us getting into close contact with the beginnings of the musical avant-garde, as well as returning to the historical roots of the music that had served as the basis of noise in art.”
Silent Servant injects Alessandro Adriani’s ‘Fuoco’ with potent EBM Funk
Mannequin boss Adriani unfurls an extended mix of his murky EBM trek across the front, riddled with virulent, searching arps and pinned into place by hard working snares.
But the real gear is in the remix by EBM expert Silent Servant, who adds cracking snare reinforcements, retuned arps and shearing metallic noise to the mix with a more strapping, stroppy effect for the muscle Marys and pencil-necked geeks with slick-down side partings.
Current 93 have dreamt a new album, Invocations Of Almost, using music from her FuturePast and her PastFuture, to accompany David Tibet’s art exhibition, Invocations Of Almost.
"The CD version of Invocations Of Almost is 59-minutes long, as it is launched on David’s 59th BirthDay, March 5, whilst he is in LA for the official opening of his show on March 9. There will also be a vinyl LP edition, which sings a slightly shorter version, mixed specifically for the 12”. The music on Invocations Of Almost will be played on a continual loop in The Begovich Gallery whilst the exhibition is open."
Mutant Beat Dance’s Jason Letkiewicz (Steve Summers) tells a grimy EBM story under his Opposing Currents guise for Interstellar Funk’s Artificial Dance label
“Throughout, Letkiewicz smothers off-kilter drum machine rhythms and throbbing, body-jacking synthesizer basslines in untold layers of hazy audio detail, creating a dystopian sound soup out of which alien electronic melodies, psychedelic acid lines and barely audible vocals emerge. At times, such as on angry opener “Lying Awake”, the extra-terrestrial “Dissolve” and foreboding “Shallow Grave”, we’re invited to dance in the darkness in celebration of impending doom. On other occasions, such as the poignant and melancholic closing cut “It Awaits”, Letkiewicz simply seems exasperated at the chaos that is life in the 21st century. It makes for a genuinely arresting and thought-provoking listen.”
Joakim revives his Jimi Bazooka edit series with four earthy disco and cosmic EBM tramples
It’s most valuable for the canny edit of The Force Dimension’s 1989 anthem ‘200 FA’ which was big across UK, Belgian and Goan dancefloors at the time, and appears here with emphasis on extended drum edits. Elsewhere he joins the dots between tribal styles via the Burundi Black meets digierdoo styles on the front, and a sloth-like boogie screw.
Asher Levitas sequences unreleased and unheard material from the excellent Paper Dollhouse into a 30 minute mix.
Drifting between electronics and spectral vocals, descending into noise but kept from the brink with sublime turns of phrase, the mix also incorporates field recordings made in-between the group’s North London and Suffolk studios to lend a displaced sense of psychogeography. B-side plays it all backwards...!
Variously described as “hyperactive, maximalist and alien,” “sharp and craggly,” “effervescent and menacing” and “poppy and industrial.”
"For fans of Flying Lotus, Machinedrum, SOPHIE, Squarepusher."
'Secrets of the Beehive' is one of David Sylvian's most acclaimed solo works. It was here that he refined his creative relationship with Ryuichi Sakamoto, who contributed string arrangements and piano to the album, and the two came up with a sound quite magical in it's ambience and warmth.
Out of print for over 30 years, David Sylvian’s 4th album ‘Secrets of the Beehive’ is another masterclass in sophisticated songwriting by the artist once claimed as “the most handsome man in the world”
‘Secrets of the Beehive’ was first released in 1987 and finds Sylvian growing ever more graceful in his artform,. Again, he’s joined by Ryuichi Sakamoto in some form on practically every song, but this time the jazz-funk swerve is more suppressed (definitely no Mick Karn bass on this one) in favour of a more theatrical, modern classical air to proceedings, woven with threads of latin acoustic guitar, rich brass, and cinematic strings to opulent effect.
Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback.
"Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe Oto arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe Oto in London.
Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe Oto in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers. Haino’s blues drenched guitar entices skittering notes from Butcher."
Tempo Dischi is an italian label created on a mission to discover and repress classics and rare gems of the italo disco, afro and cosmic scene.
"With the support from all the main players who has made that era magic, we work to put back on records stores shelves a piece of art that may have been lost but it’s still timeless. The first release is one of the key projects of the underground Italo Disco scene, probably not the most famous one, but surely it is among the most loved one by DJs and connoisseurs: Steel Mind.
‘It was the end of the '70s and at that time Disco Music was very popular. I was in a band called Caelestium, and we were playing in the most important clubs in Italyâ€¦Around the beginning of the 80s, I started to feel the desire to make a different kind of sound and I decided to start my solo project creating songs like 'Boss Man' and 'Lionel' that were closer to the Krautrock style’ recalls Piero Torsani, the producer behind this project.
These songs have become a cult for many djs, including Daniele Baldelli, Beppe Loda and Alexander Robotnick and they still sound contemporary. The Tempo Dischi collective is responsible of a club friendly edit of ‘Boss Man’. And after a deeper search into Pietro Torsani’s original music archive, an unreleased track has surfaced we could not resist to give to the world: 'Summer in The City’ featuring the voice of Marisa LucÃ , at that time singer of Caelestium."
Drummer for Animal Collective and Lifted, Baltimore’s Jeremy Hyman combines his percussive skills and painterly electronics in a lush trio of rhythm trips for Max D’s Future Times
Last spotted on a sorely overlooked split 12” with fellow B’more artist Co La (Matthew Papich, also ov Lifted), Hyman is in good company again on Future Times, following the mazy lines of his ‘Couch’ 12” into colourful new niches between the sloshing dreamscape of ‘Slide’, the hair-kissing, in-the-pocket parry and dub of ‘Madness’, and a relatively straighter deep house number recalling DJ Sprinkles’ styles in ‘Tinted Mirror’.