Dälek return to Ipecac for their new album, ‘Endangered Philosophies’.
"Pioneers of alt hip-hop, Dälek features rapper / producer MC Dälek, producer / live electronics Mike Manteca and turntablist DJ rEk. With roots in the mid-90s DIY scene, Dälek have consistently released groundbreaking albums, starting with their 1998 debut EP, ‘Negro Necro Nekros’, to 2016’s ‘Asphalt For Eden’, hailed by Pitchfork for its subtlety and restraint, saying “on ‘Asphalt For Eden’, hip hop ascends into the noosphere.”
Mogwai return with their 9th studio album which was recorded with producer Dave Fridmann at his Tarbox Road Studios in New York State.
"Every Country’s Sun, named after a friend’s lack of knowledge in how the universe works, takes two decades of Mogwai’s signature contrasting sounds and distils it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way."
Icelandic composer Ólafur Arnalds reissues and revives his debut album in form of a special remastered 10th Anniversary edition titled Eulogy For Evolution 2017.
|Following its initial release in 2007 and coinciding with Ólafur’s 30th birthday, label founder Robert Raths gifted the chance for this record to shine a second time.
Eulogy For Evolution is a journey from birth to death, transporting the listener through life itself. Originally written as a teenager, the record has now been restored with the help of his friends, remixed by Ólafur himself and remastered by Nils Frahm. The cover art was redesigned and enhanced by Torsten Posselt at FELD using the original photographs taken by Stuart Bailes during a trip to Ólafur’s home in Iceland in 2007.
To experience the record in the present day is not only to experience the past, but also the sheer timelessness and relevance of these compositions, and the ambition Ólafur has had from the very beginning. “Fast forward 10 years, our relationships and knowledge in sound have matured, but you can still hear this urgency in Óli’s songs that caught my ears to begin with”, states Robert Raths."
Collaboration between French ensemble Astrïd and American pianist and composer Rachel Grimes.
"Rachel Grimes is best known for her chamber music project Rachel’s, a hugely influential group formed in 1991 in Louisville, Kentucky, releasing six studio albums between 1995 and 2005. She has also released a string of contemporary classical works in recent years on labels such as Temporary Residence. Astrïd is a collective of four musicians based in Nantes, releasing records on Rune Grammofon and Home Normal.
After years of mail and email back and forth over the ocean, from Nantes to Kentucky, astrïd invited Rachel to come for a residency to make music together and play shows in France. They gathered for a few days, here and there, in 2012 and 2013 to write songs in Cyril and Vanina’s home studio in the countryside.
The compositions found on Through the Sparkle glow with a unique, connected energy and a pure, instinctive musical understanding. Considered contributions from all sides allow the pieces to unfurl naturally. Each note and phrase feels like it simply couldn’t be placed anywhere else in the album.
Charming, gentle and cinematic sounds are found here in abundance. Melodies circle and reveal themselves without force, allowing the listener to focus and explore the depths of what is on offer. Musically, Through the Sparkle is an expansive and evocative album. There is a presence to be felt throughout, from Cyril Secq’s emotive tremelo’d guitars of M5 to the darker, more haunting mood of The Theme, to the tension in Mossgrove & Seaweed. Strings and woodwind coalesce around intricate piano and guitar movements creating a wealth of harmony and melancholy.
Through the Sparkle is a record of miniature symphonies, of elegant restraint. A gracious and generous offering from a group of musicians at one with each other and at the top of their game."
Kompakt’s Total series gracefully approaches adulthood with its 17th annual showcase of family and friends, rounding up material issued over the last annum alongside a grip of eight exclusive new bits.
For highlights, we advise checking out Danny Daze / Shokh’s rave-ready charge Aire; the lean tribal swerve of Dawn by Locked Groove; some lush early ‘90s house pressure in Voigt & Voigt’s Tribute To A Greek God; or the wistful breakbeat budge of Weval’s Metazoa for something a bit more off kilter.
Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music.
"Born in Oslo on 23rd August, Rypdal was already a star at home in his teens with pop-rock group The Vanguards. This was followed by the timely and inevitable passage through psychedelia with quartet The Dream, releasing their only album, Get Dreamy, in 1967. In 1968, still only 21 years old, Rypdal released Bleak House, the first, quite extraordinary album under his own name, fully showing what direction he was moving into. Min Bul, his trio with Bjørnar Andresen and Espen Rud, followed with their only album two years later. Rypdal and fellow Norwegians Jan Garbarek, Arild Andersen and Jon Christensen were quickly picked up by Manfred Eicher, starting his ECM label.
The quartet released Afric Pepperbird in 1970, only the seventh album on ECM, and Rypdal would follow with Terje Rypdal the year after. The four of them would soon establish themselves as pillars of a progressive jazz movement in Norway and indeed Europe. Rypdal was at an early age also drawn towards contemporary composers like Ligeti and Penderecki, and would later write a number of symphonies and genre-crossing orchestral works. He would also revisit his rock roots on several occasions. Terje Rypdal has received a number of awards, including three Norwegian Grammies (Spellemannpris), the last being the honorary award in 2005. Sky Music is a humble and heartfelt celebration of an inspirational artist and truly unique guitarist that hasn´t fully received the due credit and recognition he deserves for over 50 years of music making.
Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, we put together a Rune Grammofon all star band including keyboardist and long time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman´s Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio) and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced while Hans Magnus Ryan (Motorpsycho) added bits and pieces and Jim O´Rourke beamed in his exquisite contributions to "Sunrise" from Tokyo. Bill Frisell, Nels Cline and David Torn delivered their solo interpretations, Cline with the aid of cellist Erik Friedlander. Sky Music is their birthday present to Terje Rypdal at 70."
Microtonal music for violas and viola da gamba performed by Nadia Sirota & Liam Byrne. Includes download codes for 38-minute film by Steven Mertens and all digital audio
“Tessellatum is an album and a film, with music composed by Donnacha Dennehy and animation by Steven Mertens, performed by violist Nadia Sirota and viola da gamba player Liam Byrne. The film and the music both work with the idea of man vs. nature. Steven Mertens’ electric animation toggles back and forth between man-made geometric perfection and the natural oddness of the deep ocean. Donnacha Dennehy’s addictive timbres move between tuning systems created by humans and the ones found in natural resonance. As a result, the two works of art support and enhance each other, using the same form and structure to create an incredibly moving work of art.
All fifteen string parts were performed by Nadia Sirota and Liam Byrne on viola and viola da gamba. The album was recorded in Iceland’s famed Greenhouse Studios by Paul Evans and mixed by Valgeir Sigurðsson. Produced by Nadia Sirota. “
20 years since they peaked out with a seminal, eponymous techno album, Thomas Köner and Andy Mellwig’s Porter Ricks return with a super robust, dynamic new LP of hydro-tech mutations for Tresor, following up the gritty example set on last year's Shadow Boat 12”.
Tough but deep whatever way you view it, Anguilla Electrica revolves around a signature Tresor sound in effect, toiling well into the trench between aerobic proprioception and psychoacoustic sound design with an immersive, sensational impact that’s just as bracing on headphones as when felt over a big rig - although we’d definitely recommend the latter!
Its six cuts are optimised to a pair of LP's, giving nuff room for the likes of their scowling, skudgy title track and the distended, subaquatic stepper Scuba Rondo to fully flex their thrilling dynamics over a side-a-piece, while elsewhere they perfectly reprise the elemental psychedelia of their early releases with the pendulous swang of Shoal Boat and the sloshing skanker, Port of Tangency.
But if we’re talking about techno psychedelia in terms of amorphous dexterity and elusiveness, then the most impressive examples are reserved to the breathtakingly intricate flux of Sandy Ground, and no doubt the near-weightless, water-treading abstraction and unquantised polymetrics of Prismatic Error.
Take it as a firm yet mutable reminder of what’s possible within the dub-tech-noise paradigm; a deeply smart way of consolidating keening experimental impetus with proper dancefloor pressure.
This double CD is the follow up to 1999’s The Swinging Reflective album. It features an array of Steven Stapleton’s favourite releases that are either his remixes of other artists, collaborations or have been co-written with individuals who have worked extensively with NWW. All tracks are remastered and some have been slightly or comprehensively remixed.
Artists here include: Sunn O))), Faust, Sand, Band Of Pain, Aranos and a host of others. This set is packaged in a heavy board, gloss laminated 6 panel digipac. Disc One 1/Rock n’ Roll Station - Colin Potter 2/Disconnected - Faust 3/Electric Smudge - Freida Abtan 4/The Squarewarp Paradox - Graham Bowers 5/Easy Listening Nightmares - David Kenny 6/Gloakid With Phendrabites - Band of Pain 7/Cruisin’ for a Bruisin’ - Andrew Liles 8/Painting with Priests - Christoph Heemann
Disc Two 1/Tidal Whirlpool – Aranos 2/Ash on the Trees (Slices of midnight) - Sunn O))) 3/Livin’ with the Night - Lynn Jackson
4/May Rain (Chromanatron) – Sand 5/Rock Baby Rock - Larson/Fritz Müller 6/Cabbalism III - Blind Cave Salamander
For the first time, Warp make B12’s seminal Electro-Soma - one of thee blueprints for ‘90s electronic and UK techno - available to download; packing the original LP - itself drawn from their earlier EPs - together with a stellar haul of rarities and early cuts.
A staple of ‘back to ours’ sessions and psychonaut’s playlists since the turn of the ‘90s, Electro-Soma I, as it’s now titled, was compiled by Warp’s Rob Mitchell from Michael Golding and Steve Rutter’s early EPs as Musicology, Redcell and 2001, all self-released by the duo between 1991-1992 on their B12 label.
It’s some of the lushest, visionary electronic music of its era, unfortunately titled IDM - as opposed to what?! - when it actually, faithfully, and patently ripped from the early styles of Detroit’s 2nd wave. But absolutely nobody is holding that against them, as the music they recorded offered a uniquely lush, even sentimental, and technically adroit spin on the 313 sounds they had clearly fallen in love with.
To this day, the emo electro of Hall Of Mirrors, the kaotic harmonix of Metropolis, and the AI bleep ’n bass of Telephone 529 still sound beautifully misty-eyed and have the capacity to freeze a spine on contact. And unless you were a bit of an super fan, the tracks forming Electro-Soma II are likely to generate a few surprises for those familiar with the original LP or EPs, especially in the mystic electro-stepper, Transient Pathways and the head-first ambient immersion Go With The Hiss.
Hype Williams get a pretty headstone with the Rainbow Edition, hustling ’20 joints strictly for the whip …& ppl 2 fat for fedoras’. Trust it’s a suitably smoked out final missive from the duo behind some of the most beguiling records, downloads and mixtapes of the last decade.
According to the duo, Hype Williams officially gave up the ghost in 2011 with their One Nation LP for the sadly defunct Hippos In Tanks (R.I.P. Barron Machat), with any subsequent live shows as HW done to fulfil contractual obligations. The pair went their own ways with solo projects from 2012 onwards, again resulting some of this decade’s most celebrated releases in the likes of Babyfather’s BBF Hosted By DJ Escrow and Lolina’s Live In Paris.
Now seemingly scraped from some lonely iTunes folder and reduced to the lowest bitrates, the 20 tracks of Rainbow Edition hold tight to the hard-bitten, tarmac level, shit camera-phone grain and fidelity which has framed their work since the self-issued High Beams download and their Han Dynasty I 7” for De Stijl back in 2009, all effectively, metaphorically finding virtue in the tension between soulful resilience and worn down daily grind in a way that hyper glossy, bloated studio productions can never grasp.
Whether the rough diamonds of Rainbow Edition form an archival release, a false restart, or even the work of others, is a moot point. What is easy to grasp, though, is the fact it physically exists, and features some real nuggs inside such as the airborne drill blowouts, Ask Yee and Cocksucker Blues or the very John T. Gast-like 6 minute meditation, Spinderella’s Dream.
So for (possibly) one last time, HW’s simulacra presents a severely compressed and bittersweet perspective on waking life that’s as sur/real as it gets right now.
Fiercely dynamic, meter-mashing and speaker-buckling electronics by the Mouse On Mars man. Mastered for digital by Rashad Becker, who said the intense nature of the album meant that to master for LP would “mutilate the spectrum and phase of the material”.
“Jan St. Werner summons flux and fragmentation on Spectric Acid, building up the record's blistering, locomotive beat structures around the correlation of musical spectra. Their movements triggered in part by peaks in frequency envelopes, rhythms buckle and fracture according to a complex logic that slides past aural perception and harmonic resolution; a “phenomenological alchemy” (Rădulescu) takes shape among unsteady synthesizer whirls and stammering percussive phrases. The effect is deadly, paralytic; but listeners willing to surrender to Spectric Acid’s movement might find themselves taken to wider horizons of trance. Crucially, Werner turned also to the ceremonial rhythms of West Africa in his shaping of Spectric Acid’s bending timescales, and one can hear a clear impress of Vodoo drumming in the way rhythmic patterns cross converse, teeter off-beat, and rapidly redouble.
Though it shares with 2016’s Felder (Fiepblatter Catalogue #4) a desire to spill beyond metric linearity and notated time, Spectric Acid strays from that record’s breathy spatiality towards more pointed concerns with motion and the liberation of rhythm. In pursuit of this new direction, Werner borrows, on the one hand, from the structural techniques championed by the Spectralist school of the 1970s; breaking free of the tempered system through a focus on frequency and timbre, spectral composers like Gérard Grisey and Horațiu Rădulescu introduced sweeping, tectonic temporalities untroubled by notes and intervals, refining what Edgard Varèse before them had evangelized as a fragmentary, atomistic approach to form given to a “[constant] changing in shape, directions, and speed.”
A record both brute in force and exacting in its sensitivity to perception’s effective limits, Spectric Acid offers fresh glimpses of the deft compositional grasp Werner has developed across over two decades of practice, whether in Mouse on Mars and Microstoria or on his growing log of solo records. Treat it less as a document than a potent sonic distillate, to be taken on an empty stomach for full effect. - Walker Peterson Downey”
In annual sequence, Fred P deposits the 3rd and final batch of FP-Oner works spanning esoteric jazz, field recordings and driving NYC/Berlin club music
“Children are laughing and playing in the back, a baby screams happily: handsome field recordings welcome the listener to the final chapter of Fred P's Fp-Oner trilogy for Mule Musiq. The New York City native's 7 features tunes for deep meditative club use and beyond. 7 brings the listener house music full of cosmic realities, odd jazzing moments, Japanese spoken word pop, synth spheres for ambient use, and an overall outer-national atmosphere that handsomely dances between roughness and subtle, tuned-in deepness.
Fred P explains: "I chose to base this project on numbers in order to impart a bit of depth and substance. '5', '6' and '7' have a meaning in both the literal and esoteric sense. We as a species are a combination of matter and energy, so it is a matter of relating the two in harmony. . . . It's like a testimony to the human condition and how we relate to treat and mistreat one another. . . . So rather than doing a project that highlights ego posture, my intent is more about what can I give to the listener." At large, the trilogy is a journey inward -- compelling, mesmerizing, and enchanting.
Fred P produced the final chapter mostly in his studio in Berlin on various synths and with a bunch of mysterious samples, all later organized and programmed in Ableton. Fred P explains further: "This project has a beginning, middle, and end. The record 5 (MUSIQ 048CD/187LP, 2015) was intended to introduce a meditative energy within a rhythmic construct, as the number '5' represents the dynamic and unpredictable. . . . The album 6 (MUSIQ 055CD/200LP, 2016) is of an earthly and more harmonious discord. I attempt to bring the inner conflict in the form of natural unnaturalness. The raw energy of the search in this project I think is self-explanatory, which is the point I believe to show how flawed one can be but express very specific themes honestly. Finally, with 7 my goal is to merge the two into balance, as one focused state of mind, as '7' is the thinker beyond understanding or beyond the illusion."
Listen deeply, open your doors of perception, dance the atomic mess around, stay small, be true, and don't forget, Fp-Oner's music is a traveling zone with a universal meaning. It can mean many things to different people. "Light Years" features Minako.”
Betty Davis was riding high in the 70s. A new record label, a series of high profile relationships, and intensely sexualized live performances made her a rising star. It seemed like everything was aligned to take the music world by storm.
"So Betty and band got back into the studio where she would act as writer, producer, and performer, creating what she thought would be her definitive release... What emerged was the unapologetically uncompromising, self-referential 1975 album Nasty Gal. Now - thirty-five years later - Light In The Attic Records is proud to announce the first official CD reissue of this final label-release by unparalleled funkstress Betty Davis.
The re-release features new liner notes by John Ballon (writer of the Wax Poetics Betty Davis cover story in 2007), original album art, complete lyrics, beautiful digipak, full color booklet, rare photos, and interviews. Ahead of its time, Nasty Gal shows Betty digging deeper into her musical and cultural expression than ever before, and delivers from every angle. This is Hendrix and Sly Stone inspired funk-rock at its finest. From the title track's mutant groove and grunt to her onetime husband and jazz legend Miles Davis co-written ballad ("You and I"), this lady will tear your heart out! Betty's time is now..."
Dirter offer a strong taste of the rekindled Avant Garde Festival in Schiphorst, Germany with this exclusive compilation of cuts by Qluster, Asmus Tietchens, faUSt, Nurse With Wound and many more artists who are affiliated with or performed at the three day festival in Northern Germany.
On yet another stunning number from Unseen Worlds, Carsten Schulz aka C-Schulz arrives in the wake of their incredible reissues of Carl Stone and Laurie Spiegel records with a mind-bending batch from the fecund experimental nexus of ‘90s Cologne.
With C-Schulz releases scattered between Frank Dommert’s Entenpfuhl label - where he debuted in the same year as Jim O’Rourke - and the likes of Schimpfluch, Extreme and MoM’s Sonig - including many alongside probing input from Markus Schmickler - it’s maybe fair to say that C-Schulz’s distinctive oeuvre and artists genius has been sorely overlooked, until now, that is.
Frühe Jahre contains 20 wildly diverse examples of C-Schulz’s genre-agnostic agenda drawn from the early phase of his small, but arguably perfectly formed, catalogue between 1989 and 1991-ish, documenting an artist who patently dared to go beyond his classical training and explore new frontiers between early techno and acousmatic music, industrial and avant-pop, with something approaching a savant appreciation of juxtaposition and stylistic innovation.
He would later study A/V arts and work for a number of German broadcasters, but it’s worth bearing in mind that Schulz had barely turned 20 by the time Frank Dommert released his debut, Jahre Später, which provides one of this set’s highlights in the psychedelic horror collage of Wir beide sind verwandt, and sets the tone for a wildly, widely inventive overview of his variegated work.
There’s slow-mo New Beat-type sleaze in Barbapapa, along with hi-NRG disco scrabble in Kurze Flitze and industrial swagger on Meister, but just the tip of a large, oddly shaped iceberg, which reaches right down to the warped drone feedback works of Borkup and some messed-up vocoder psychoacoustics in Tri-Top, plus a few canny twists on space age lounge music in Klang and Reis recalling some kinda NWW cut-ups, and head-curdling drone of Himaal.
You could hardly ask for a madder wormhole to fall into. Check without delay!
Loren Connors’ Family Vineyard reissue Hisato Higuchi’s compelling 2003 debut, She; newly expanded with two bonus tracks from the original sessions and remastered by Taylor Deupree. Family Vineyard were the first label to release Higuchi’s music outside Japan with Dialogue , so their reissue of his debut EP of “Tokyo’s laborer’s blues”, replete with new artwork by the quiet man himself, is pretty apt.
Our memorable first encounter of Higuchi’s barely-there sound came with his part of the Tsuki No Seika Volume Four 7” split with Zelionople in 2011, and after being reminded of that song’s frail beauty with his most recent side for Root Strata, Kietsuzukeru Echo = 消え続けるエコー this reissue offers an often shocking demonstration of his formative phase, a sound riddled with noise and blistering distortion in a way we would never have predicted.
Those gender-uncertain vocals, precise acoustic strums and the hiss of background noise are all in place from his later releases, but the seemingly haphazard bursts of neon fizz and electrical disturbances that light up and sharply contrast his acoustic parts lend She a whole other, thrilling dimension that boldly messes with expectations or presumptions.
As Family Vineyard put it, “the delicate song textures of She capture the utter feeling of loneliness and a sleep-deprived mind staring off into a blurry sky”. And it’s not hard to see that imagery hauntingly reflected in the new cover artwork - a distant red cross (pharmacy or church?) in acres of negative space - as much as the music, with sublime scene-setters such as the ghostly peal of Sirens sharing late night headspace with the sallow strums of Ghosts Ghosts and its pranging shards of noise, which also feature in a new Ghost Ghosts (Alternative take) and the solitary intimacy of Speed.
Lucid Locations is Second Storey’s 2nd album for Houndstooth after Double Divide . Increasingly filigree modular designs filleted into electro-techno-IDM styles with a melancholy keen akin to Rephlex or Detroit Underground releases.
“Second Storey returns to Houndstooth with a sublime presentation of bass driven, meticulously crafted tracks that again deftly display a balancing act between the delicate and the riotous. Alec Storey’s new LP is informed not only by his own movements between the Suffolk countryside and London, but by the recurring patterns of displacement taking place in the larger world, the dizzying effects of disorientation and recalibration.
These songs are sonically and emotionally complex experiences laden with reflections on exodus and homecoming. While Storey was negotiating his sense of home on a personal level, the U.K. was critically reconsidering its own identity and its rules of hospitality at the same time. And notably, London was in the midst of a purge of the institutions that helped cement its important status as a forerunner of nightlife culture.
Inevitably, such disruption was put to use by the artist. In his words “Towards the end of my time in Suffolk there was the terrible news of Britain leaving the EU and also fabric was heinously closed down. This on top of me feeling somewhat isolated affected the music i was writing…I wrote 3 very angry tracks in the 3 days after the closing.” It can be heard in the electro backbone and industrial tooth grind of “Ajunlei”, in the Drexciyan stomp of “No Such Location”, and on tracks like “Off Beat World” a monster of a jam that has jazzy angular percussion jerking in every which way.
It is not all fisticuffs though. Significantly, Storey also has a true penchant for creating music deeply rooted in bass and rhythm that immediately asks the body to respond, all the while subtly working away on the listener with an ulterior motive to coax them into contemplation. “Covehithe” -named for a cliff adorned beach Storey escaped to as a teen in Suffolk is a perfect example of this, with all of its misty falling synths and murkiness. Similarly, using field recordings of spoken word and street drumming sourced from the respective locales named in its title, “Manhattan to Moscow” has a low slung feeling even though it percolates at a handsome 155 bpm.
Disruptive yet somehow settling- it is a sublime achievement to evoke such disparate sensations from a listener.”
One of our favourite artists in the world right now, David Burraston aka NYZ presents the second of two CDs for Entr’acte, each revealing particular aspects of a sprawling practice knitting algorithms, sound installation and self-built synthesisers in some of the strangest recordings imaginable.
As you might have guessed from the title, MCRNTL - a contraction of micro- and macrotonal - catches Burraston divining new ways between the waves, stepping away from systems of 12-tone equal temperament into curdled smears of harmonic mulch and convolution that hold genuinely new and compelling sensations for the listener.
Without, as the promo says, “getting bogged down in any deep, confusing theories about anything whatsoever”, Burraston/NYZ presents nine pieces, some forty minutes of music, all selected for the pure and frankly fucking weird, pleasure of it. Of course, if you need to look at it that way, there is a wealth of complex chain reactions and semi-organic systems at play in MCRTNL, but the glacial pace and somnolent atmospheres serve to reveal those processes in a manageably intuitive, enjoyable manner with broad appeal to listeners who’ve grown bored of so much harmonic convention in electronic and avant-garde music.
Forming a spellbinding exploration of NYZ’s infamous banks of FM synthesisers, each controlled thru his patented Cellular Automata hardware system for generating note and control data, the results range from succinct, rhythmic arabesques to gaseous drones and chattering machine voices that feel at once familiar yet deeply unheimlich at the same time, mostly thanks to the level of detail with which Dave Noyze can control the tuning of individual notes or “generate complete tuning tables in some cases”.
In the cases of MTNAM_2::FM60PP3 and MCRTEO, it sounds like he’s zoomed in and expanded on mercurial moments of AFX or Autechre tracks, focussing in on their nasal drip tang and melted string zing with a delightfully perverse quality, whilst LM_8101MT sounds like a band of brass-touting mice conducted by David Lynch, and MTNAM_7_SRi::station=>MONO feels as though it’s performing otoacoustic origami on yer inner ear, whereas MTNAM_3:: XNOTNL and GRAYMATTA feel as though he’s alternately emulating a lonely ship at sea in your ear canal, and then slowly sealing it in with concrete.
Ultimately, this process allows NYZ to explore a finer range of sounds, and with it a finer spectrum of emotional analogues and the less distinct, more ambiguous spaces between the notes. It can be taken like a kinda counterintuitive form of jazz played by machines, or oblique abstract sketches rendered in colours imperceptible to the eye, but either way they’re some of the oddest, unsettling works in circulation.
If you’ve ever wondered what Google streetcar’s dreams sound like, we implore you to check David Burraston’s beguiling FLD RCRD, the first of two remarkable new NYZ albums for Entr’acte.
As Dave Noyze, Noyzelab or just NYZ, the award-winning sound artist/scientist is regarded among the most inquisitive minds working with algorithmic music and electronics right now. He’s perhaps best known for the remarkably in-depth Syrobonkers! interview with Aphex Twin, whilst in recent years a brilliant glut of his material has turned up on tapes and download for Computer Club, Meds and Gamma Mine that rank among the strangest releases we’ve heard this decade. To put it plainly, if you’ve ever been wowed by music from Roland Kayn to Autechre, AFX or Lee Gamble, you really need to hear FLD RCRD!
Collated over five years, the research documented on FLD RCRD is typically varied, combining many strands of Burraston’s praxis - sound installations, self-built synthesisers, and interests in chaos/complexity theory - in four varying degrees of flux. Blending real location recordings with studio recordings of his Cellular Automata - an algorithmic system used to trigger and modulate FX - Burraston subconsciously breaks down distinctions between artificial and actual, hypothetical and hyperstitional with a genuine sort of electro-acoustic alchemy in three algorithmic parts, plus a fourth cut of hyperreal, yet untreated, field recordings making for comparably stark contrast.
On two parts, FLD RCRDST::On Walden Snow and the 20 minute FLD RCRDST::FM80PcellorgNSW he mixes location recordings with studio recordings of Cellular Automata playing and sequencing his synths and FX, whereas CPM DRNL is a completely artificial simulation of imaginary space brought to life by his Cellular Automata, and for a strong, if subtle contrast, Lindisfarne Refuge Hut presents real, untreated recordings containing no additives - just the uncannily hyperreal sound of birds, vehicles and the North Sea.
In concept, the recordings live somewhere between Burraston’s unprocessed telephone wire recordings, made with Alan Lamb in his native NSW region for Taiga Records, and the sort of playfully curdled algorithmic results found on his ALG 118B tape; effectively activating his panoramic screen grabs with a sort of rudimentary artificial intelligence so they end up crawling with strange, plasmic figures and fractals in a way that recalls a synaesthetic allegory to Google’s deep dream images. Especially when held up against the vividly textured audness of the untreated third track, it all makes for some of the most compelling, beguiling music we’ve heard this decade.
These are sounds much lesser heard or seen, vividly describing and bringing to life a series of spaces and places with the sense of wonder that we’d imagine was experienced by, and drove, important tonal explorers such as Stockhausen, Gottfried Michael Koenig or Roland Kayn in their respective days, right thru to their modern antecedents in Chris Watson, Autechre or Russell Haswell.
The Vinyl version is just the original album, remastered in 2015, overseen by Prince Himself. The 2CD and 3CD editions is where it's at basically, both include a second disc of previously unreleased tracks from the vault which quite frankly is something many of us thought we'd never get to hear outside of dodgy bootleg versions. The 3CD version also includes an extra disc of b-sides and edits, plus a previously unreleased concert filmed in 1985.
2015 Paisley Park Remaster of the original tapes from the soundtrack, presenting an unheard vision of the album overseen by Prince himself before his untimely 2016 passing. The 2nd disc: From The Vault & Unreleased boasts eleven gems unearthed from the heart of Prince’s storied vault. Additionally, all of the material is taken from the source and mastered by Bernie Grundman, the mastering engineer who worked on the original album.
Includes a 2nd sic - From The Vault & Unreleased boasts eleven gems unearthed from the heart of Prince’s storied vault. Six tracks that have never been released or distributed in the collector or bootleg community include: “Possessed” - the ’83 Prince solo version, never heard before; “Electric Intercourse”- the studio version not known to exist before it was discovered at Paisley; “Father’s Song” - a full, five plus minute version that prior to this fans could only find a minute and half snippet of in the movie; “We Can Fuck” - a track that has never circulated as the full, 10 minute version with these lyrics; and “Katrina’s Paper Dolls” - a finished master of the song, which has previously only circulated as a demo. Additionally, all of the material is taken from the source and mastered by Bernie Grundman, the mastering engineer who worked on the original album.
In addition to the Original Album (2015 Paisley Park Remaster) and From The Vault & Unreleased, the Purple Rain Deluxe - Expanded Edition presents a third disc of Single Edits & B-Sides, as well as the concert DVD Prince And The Revolution Live at the Carrier Dome, Syracuse, NY, March 30, 1985. With audio and video restored from the original production master tape, it offers an exclusive vignette into the passion and power of his legendary live performances during one of the artist’s most celebrated eras
First ever presentation of The Lower Depths , Charlemagne Palestine’s epic, systematic 3-part investigation of his trusted Bösendorfer grand’s capacity to produce notes lower than any other piano. Keener observers may have noticed a track called The Lower Depths on his Godbear LP, which was reissued last year by Oren Ambarchi’s Black Truffle, but this set was recorded at his famous red and gold loft on North Moore Street in Tribeca, and predates that recording by some ten years.
Totalling nearly 3 hours of works made over 3 consecutive performances at his loft space, the recordings effectively describe a transition in cadence from the centre of piano’s keyboard in CD1, to a register two octaves below in CD2, finally arriving at its thrumming Lower Depths before dramatically rising back up again in CD3, all offering a raucous, transfixing testament to the man’s genius in stunning full flow.
As Palestine himself refers to the trilogy of pieces as being “like a soap opera… you get your share of tears and laughter… i watch the afternoon ones that aren’t as visionary, keep it real, the yicky ones” you should have some idea of the typical levels of melodrama and emotion that he puts into these works, which while definitely avant and experimental, also work on an immediate and transcendent level meant to be understood and felt by anyone with ears and an empathetic heart.
With pedals pressed for maximum sustain throughout all parts, Palestine wreaks increasingly intense havoc right on the line between ecstasy and violence across the trilogy, coursing from jagged, jabbing flurries and their lushly discordant harmonics in the first, to panic-raising levels by the time he really hits the lower ends in track 2 of Part 2, and then really gunning for the Bösendorfer’s bowels in a jaw-dropping, thunderous descent, then spiralling back up for breath in a manner that may leave listeners with the bends.
Of course, that’s a simple description of the work’s general dynamic, but the nuance lies in the way Palestine can simultaneously bathe us in fire and still give us the chills, baffling the senses with its majestically chaotic yet sublime clangour. If you’re susceptible to the power of his glissandi as much as us, we rate you’ll fall hard into this one.
Sombre solo piano introspection fleshed by strings and subtly gilded with field recordings of a stormy Yorkshire
“Following his celebrated moogmemory project, Matthew Bourne returns to the piano for Isotach. Once again, spontaneity is the keyword where Bourne is concerned, catching on tape that pregnant moment when a piece begins to form.
Skeletal piano motifs, an aching use of space and sparing cello arrangements are deployed to devastating effect. Recorded in his rural Yorkshire home, Bourne’s piano placed to overlook the moors while he works, the album title is a nod to the weather, which played a part in its creation. The recordings took place during what Bourne describes as “extreme weather”. If you listen carefully you can hear the wind and rain picked up on the microphones, the sparse instrumentation providing the calm in the eye of the storm.”
After attending college and getting deeper into computer music, Sam Obey began releasing music as Obey City. The project quickly took off with EPs for LuckyMe, forming the Astro Nautico label with his best friends, multiple tours and collaborating with Kelela and Flatbush Zombies. Now, as Sam O.B., he returns to what his oldest confidants know he’s always had up his sleeve: his voice and his bass guitar.
"‘Positive Noise’, the debut album by Sam O.B., is not a ‘journey of a record’ but it’s also not Party Time USA. It’s nuance; cloud patterns; like good progressive jazz. Like the refinement of refinement, the elegance of elegance. Sound propelled by its own smoothness. A coolness that isn’t cold. The earnestness of an old friend. Expanse. Experimentation. Actual warmth.
Sam O.B. is (and has always been) a man of classics. When you hear the sax on ‘Salt Water’ you’ll understand this ambition with precision. Arpeggiated horn delay and female ‘oohs’ fall like geodesic rain. The blasting synth leads on ‘Midnight Blue’ and ‘Nearness’ waver and find their way. The sing-and-play harmonies of ‘Sirens’ refer to the stunning bliss of smooth jazz, which has been in Sam’s arsenal of interests for longer than anyone can remember.
‘Positive Noise’ also has a strong anchoring in the thick pulsing rhythmic stylings of 70s and 80s disco and funk grooves. Sam is a dedicated vinyl collector, having curated DJ residencies around NYC (Hot Sounds Island, Astro Nautico, The Lot) that practically worshipped smooth jams."
Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months.
Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked.
'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song.
The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once.
"Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.
An amazing selection of works by American composer Robert Ashley, Alga Marghen's release The Wolfman compiles tape music from 1957 to 1964.
The earliest composition is 'The Fox' a stuttering, half-broken recording of a story being read out with a creepy delivery by Ashley. The broken tape sequences are somehow tinted by darkness - a fragmented, discordant flow of sound that can barely prepare the listener for 1964's 'The Wolfman', a scouringly ferocious noise piece that rivals anything you'd hear in modern times from Wolf Eyes, Prurient or even Merzbow.
It's just incredible, and almost impossible to place within the wider context of music being made in sixties America - you really have to hear it. As an accompaniment, 'The Wolfman Tape' takes away the vocal elements of the recording, resulting in a more subdued collage excursion. Finally comes the three-quarter-hour piece 'The Bottleman', conceived as a soundtrack to a George Manupelli film. This hollowed out drone work is a deeply subtle exploration of tonality, quietly plotting out a tundra-like sonic plain with an eerie sense of harmonic fluctuation.
It's a breathtakingly good conclusion to an album that reveals a visionary figure in electronic music - one you may never have encountered previously, but whose output should be regarded as being of immense historical value. Very highly recommended.
Immersive, transporting and deeply arresting music from the revered autodidact and audio oddity. If you've never encountered Ghedalia before, this is an excellent place to start, welcoming you to a whole other world of exotic, electro and acoustic sounds, composed between 1979 and 1987 according to a genuinely far reaching and individual agenda.
"More than 5 years after the CD edition of Eclipse totale de soleil and Transportes, Alga Marghen finally decided to also reissue the first and forth LP by Ghedalia Tazartes including both on one CD. Ghedalia Tazartes is a nomad.
He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies… The greatest trips were made in the deep end of the throat: the extra-European music open the ear to Ghedalia's intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others.
The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!"
Polymath James Leyland Kirby must surely have one of the most confounding CV’s in the business...
He spent years taking the piss out of the music industry with anthems rallying against the (VV)MCPS, he notoriously fell out with various well known record labels for reasons you’ll just have to google, goaded Aphex Twin with a series of ‘tributes’ and channelled his love of everything from Falco (Rock Me Amadeus), Chris De Burgh, Frankie Goes to Hollywood and Stockport karaoke nights into a stream of increasingly bizzare 7”s back in the early noughties. But at the same time he was responsible for releasing some of the very earliest material from Boards of Canada (Hell Interface: 1997), made a ruck of frankly groundbreaking industrial electronic records, brought New Beat to the world’s attention and, in 1999, made his first album as The Caretaker, a project that would go on to release some of the most loved Ambient/ Lynchian albums of recent times.
Since then he’s also produced an incredible suite of releases under his own name, scored various film projects and released three EP’s under the ‘Intrigue & Stuff’ banner which are, for our money, so ahead of their time they might just start sinking in properly by the end of the decade. All of which brings us to ‘Watching Dead Empires in Decay’, a new album recorded under another of Kirby’s pseudonyms ‘The Stranger’ and released on Modern Love, a label that has been close to Kirby through these last eventful 15 years. It’s a dream album for the label: perhaps the most ambitious of Kirby’s career so far. It’s complex, singular, enigmatic, percussive, dark, and you just can’t work out how it was constructed.
Gone are the sampled 78’s of The Caretaker, but it also doesnt exactly sound electronic - you just can’t quite fathom how any of it was put together: Field Recordings? Found Sounds? Sheets of metal scraped and hammered? Drum machines re-wired? It’s stark and unsettling, haunted, even troubling - but often just beautiful. It starts with the sharp clang of opener ‘We Are Enemies But Not Here’ before the woozy percussive crawl ‘So Pale It Shone In The Night’ sucks you into a bare landscape: somewhere between Eraserhead and Fumio Hayasaka’s music for Akira Kurosawa.
And then there are moments that break through the tension with clarity and familiarity, nostalgia even: ‘Where Are Our Monsters Now, Where Are Our Friends?’ could have been made by Boards of Canada if they had taken a turn into more noxious terrain back in 1998, while ‘Spiral Of Decline’ offsets the drum programming you’d most likely associate with a Powell record with an oblique sense of timing and space. It all ends with ‘About To Enter A Strange New Period’, an unusual, vaporous coda that offers no resolution - it just shuts proceedings down with nothing settled.
Bewildering and brilliant freeform rock, jazz, and cut-up tape music from 1979 by a would-be collaborator with NWW - included on their legendary list! RIYL Ghedalia Tazartes!
"Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s.
Not content with manhandling a toy piano on 'Tango' (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on 'Incontrolablslaooo' and 'Faits Divers,' moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of 'No More Dirty Bla Blaps,' the Portsmouth Sinfonia-like spoof Dixieland of 'Rideau,' the distressing punk of 'Signe Particulier' and all manner of fields recordings and cut-ups in Berrocal's Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979)
Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jaques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWW's second album, but that's another story."
Éphémère I & II' (for tape, or to be played with various instruments) are two previously unpublished masterpieces which represent a very specific moment in the creative life and catalogue of Luc Ferrari.
"Luc Ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performer's intervention (a perspective he decided not to develop in future researches). 'Exercises d'Improvisation', a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the GOL collective with Brunhild Meyer-Ferrari for an LP to be issued on PLANAM), directly comes from the two works presented here. Éphémère I' (or 'L'ordinateur ça sert à quoin?' i.e. 'What's the use of computers') is a 27 minute piece for tape only, created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a 'sea-like' continuum.
Éphémère II' (or 'Lyon 75' after the only recorded realization) is a 51 minute tape piece with guitar improvisation. The electronic repetitive structure reminds some of the most radical works of American composer Terry Riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind.
The end of this long suite lead us back into more abstract and live-electronic sonorities. This very intense work can be placed in a context between scored music and totally improvised music. First press limited to 500 copies in tri-folded digipack sleeve. Please note: these 2 previously unpublished pieces revealing a hidden part of Luc Ferrari poetics are not included in the INA 10CD boxset. Only available on this CD edition."
One of Charlemagne Palestine's best-known works, "Four Manifestations On Six Elements". "Two Perfect Fifths, A Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre, sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals.
"In this genre of his work Palestine feels akin to a kind of sound alchemist - blending elements over and over again through the years searching for the Golden Sound - the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, In The Rhythm 3 Against 2, for Piano" (1973) the elements introduced are now elaborated upon on the piano.
The resonant Bösendorfer allows Palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different as Palestine reinterprets these simple elements listening within them for variations of amplitude, mixture and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano in not used, thus focusing on its rhythmic aspect. Gradually by adding the sustain pedal the external rhythmic pattern begins to internalize becoming an inert part of the whole tymbral fabric - a piece expressing the battle of rhythm versus timbre for dominance.
In "One + Two + Three" a third fifth is added - variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work."
Captivating avant-garde pieces layering a recording of a solo piano recital with field recording of a storm
"Utopia Andata e Ritorno is the title of the new composition by Walter Marchetti, recorded in Milano in 2005. It has two parts, each one CD long. The first part, 'L'Andata,' puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a 'piano concert'.
The second CD, 'Il Ritorno', reverses the direction of the first record and literally destroys itself. In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotal in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. 'L'Andata' is one of the great works of music of our time, or, as José Luis Castillejo remarked, 'it may be the best modern piano concert since Brahms.' In the second part, 'Il Ritorno,' sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare.
Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. 'Il Ritorno' announces the end of musical avant-gardism and its technocratic aspirations. It points to the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. 'Il Ritorno' is such a problematic work also because its subject is failure and impossibility."
Lavish 4CD box set includes the complete Ghedalia Tazartes recordings previously issued on cd by Alga Marghen, plus a new mini-cd titled "les danseurs de la pluie".
"Diasporas-Tazartes" is the cd edition of tazartes' first and fourth albums, "Transports" is the cd edition of Tazartes' second album complete with four bonus tracks. "Une Eclipse Totale De Soleil" is the CD edition of tazartes' third album with a long bonus track. "Les danseurs de la pluie" gives title to the complete anthology and is a 12 minutes mini-cd, presented on creative disc, including four previously unavailable tracks: two 1977 recordings from the Eclipse Totale sessions of a very wild and residential nature; and two colossal new pieces recorded in 2005."
Tresor back up Detroit boss DJ Stingray’s Kern Vol.4 selection with a powerful collection of electro-techno missiles, as deployed in his mix. Exclusive, new gear barges shoulders with not-so-recent and vintage weaponry ranging from his own NRSB-11 duo with Gerald Donald to AFX, Professor X, Herva, Gesloten Cirkel and more.
The oldest cut is probably the classic, Kraftwerk-sampling Professor X (Saga) - a big 313 tune since 1989 - by erstwhile N.W.A. affiliate Mik Lezan aka Professor X, The Arabian Prince, whilst rarest cut is probably Syncom Data’s squeaky Musik Politik, which previously appeared on an obscure Cunker Records tape in 1998, making its first vinyl appearance here, as does his slamming Detroit girder Nationalised.
Of course they all sound strong, but when you hear them in the mix at Stingray’s hand, they truly come alive. Now’s your turn…
Wildly unpredictable, strangely exotic and magically eccentric art music recorded 1979-83 spanning jerky post-punk, drones, cut-up collage, noisy blues-rock skronk and improvised electro-acoustic dubbing. An important and outstanding release. Fans of Wire/Dome through The Residents and Ghédalia Tazartès should invest, we don't think you'll be disappointed.
"First in a series of alga marghen editions documenting the activities of the It's War Boys underground label, founded by Amos (of The Homosexuals fame) in the late 1970s. The original LP was issued in an edition limited to 300 copies (most are on blue vinyl but there are some on pink vinyl and a few on black). The material was recorded from 1979 to 1981 but wasn't released until 1983 due to problems with the silkscreened sleeve. The band only put out this record, a real hidden gem. Lepke said that he wanted it to sound like a Beach Boys LP by using lots of different studios but it was mostly done on a cassette machine with a primitive 'surround' function.
If The Homosexuals were a strange prospect and their music should fit into a similar spot as that of angry young men like Wire and Magazine who carried their penchants for art-school angst in the midst of proto-thug posturing, Milk from Cheltenham were even a more extreme band. Not only progressive with a certain artistic notion (a reference could be found in This Heat, Family Fodder and Chris Cutler's bands Henry Cow and the Art Bears) but also closer to more primitive sound experimentations of a cryptic and sinister Residential perspective. This release finally documents one of the most important projects developed in the scene explored by The Homosexuals.
First compact disc edition including a previously unreleased track titled The Geek. Graphics reproducing the original graphic material from the early 1980s. Digipak first edition limited to 500 copies."
Life is a mystery. What’s more impressive is that some people are gifted with the ability to express this mystery in an artistic way.
"The ten very different titles devoted to different languages and proverbs take us on a journey throughout the emotional worlds of human existence. Or can the interpretation be psychologized at this point and should we rather speak of the journey throughout his sentiment? Mario Hammer's music is a time of reflection and pondering. He calls it life experience. We may be part of this realization and perhaps will be aware of how often we can find ourselves within the tracks.
It is both the creativity, as well as the enormous sensitivity to sounds and sound colors that make up this album. For fourteen months Mario Hammer, in collaboration with Josef Steinbüchel, has developed an emotion and sound carousel that not only touches our senses, but also stimulates us to think.
The album is pleasantly and gently opened with the track Y'aburnee (Arabic) and triggers an emotional chaos, almost by mistake, by its clever composition. Can I be selfish when it comes to the death of another loved one? Tarvotur (Icelandic) gives no answer to this question, because instead, tears may be the answer. It is up to each individual to decide whether these tears spring from sadness, joy or anger. They are present within this track, proving to be an excellent way to answer a question that may have no answer, as Mamihlapinatapai (Yaghan) represents us further. The proverb encompasses the meaning of a wordless but meaningful gaze shared by two people, who wish to initiate something, but still hesitate to take the first step.
Is Je L'ai Câlissée Là (French) the end of this story?
At first it seems so, because the track moves us into a thoughtful, and increasingly saddened mood, and comes to a conclusion, abruptly ending with something that one felt as beautiful, as romantic and grand. Soft tones embrace the painful thought of having to send this only person away, someone who has held this hand for so long and would never have willingly let go, but in the end did just that.
The deep impulses that lead the track Tenalach (Irish) after a thoughtful phase, suggests something different. Pain is part of love. Both are indispensable in a rhythmic and mutually dependent combination. It makes no difference whether we cover up feelings, or lie to ourselves with a view into the sky, life consists of Gezelligheid (Dutch), as the corresponding track expresses greatly. A mesmerizing mixture of slow and fast rhythms fit into an unstoppable, yet pleasant ride."
Revered west coast DJ/producer Kutmah takes a massive mind-dump with his long-overdue debut LP, Trobbb!, forming a 26 track mosaic of sawn-off beats and ragged atmospheres that works just like a mixtape of exclusive, original material.
“The record features an incredible cast of guests - Gonjasufi, Jonwayne, Natureboy Flako, Ta’Raach, Jeremiah Jae, Zeroh, Zackey Force Funk, N8NOFACE, Sach, Akello G Light and DJ Chris P Cuts - spanning experimental meditative, Zennist loops; crackly oddball beats and abstract raps; as far as outright punk/noise and even folk/blues. At its heart it’s an incredibly sentimental record, heavily referential to his past but also future-facing, and not just in its sonics. “I wanted to make a record for loners. You know some records have that ‘Hey! I'm at a festival!’ sound? Well I wanted to do the opposite of that”.
The album was recorded in Berlin in Winter. Being in a foreign country around the holidays when one is supposed to be with family… that emotion of isolation weighed heavy on Justin: “For three weeks during this time I didn't speak to a single person… I had no internet and no phone.” Accordingly, half of the record fits this season and these emotions. In Spring the sun came out and the flowers were blooming: “I started to cheer up a bit and so did the beats,” says Justin. “I like that there are polar opposite vibes on the record. Hopefully I'll hear from some punk kid that they only like Part One, or from some hip-hop head that they only like Part Two… or some beat head saying they only like the instrumentals.”
Close friend Dario Rojo Guerra (aka Natureboy Flako) played a key role in piecing the album together with Justin, acting as engineer and occasionally producer, in addition to providing a set of trusted ears.
There’s a definite sense of contemplation and memory with “TROBBB!”. The title is a reference to Justin’s school days in Brighton. He would go to Egypt to visit family in the summer holidays and come back to school suitably tanned. One bully took to calling him Black Belly Button until one day Justin took retribution with his fists. The cover photo, taken by Justin himself is in itself highly symbolic: “It’s my homegirl Angela at lunch break at Hoover High in Glendale around 1992. We would always try to go where no dickheads were hanging out, so we would go chill by the bleachers and take photos of each other.”
0PN’s Cannes Award ’17-winning OST for Good Time - a soon come crime thriller by NYC’s Sadie brothers - unfurls in all its future-classic glory on Warp to coincide with the film’s release date.
Adding to Daniel Lopatin aka 0PN's increasingly impressive soundtrack portfolio - now counting four major films since work on 2013’s Bling Ring (although IMDB has some prior credits) - this one is arguably his most refined and memorable from first impressions. It appears that before the film was even started he’d established a symbiotic relationship with the directors, sharing their vision of how the music would inspire, score and relate to their visual aspect.
We can safely say it sounds like the soundtrack to a gritty American thriller and all that it entails, but 0PN also brings a level of idiosyncrasy to the plate that makes it highly enjoyable in its own right, especially in the luscious, belly-flipping rush of The Acid Hits and the widescreen tracking of Hospital Escape / Access-A-Ride or the creamy float of Leaving The Park, which is instantly identifiable as an 0PN piece, whilst Connie finds him heading off on TCF or Lorenzo Senni-esque vectors, and you’ve probably heard The Pure And The Damned featuring Iggy Pop, which sounds uncannily like its about to drop into Lou Reed doing Perfect Day at any moment.
At long last legendary producer Martin Hannett’s wild dedications to Delia Derbyshire and her work at the BBC’s Radiophonic Workshop is revealed to the world at large thanks to Dandelion Records, who’ve previously issued Hannett’s unreleased studio outtakes with Joy Division. If you were into Hannett and Steve Hopkins’ The Invisible Girls album or, indeed, anything by Delia Derbyshire; you need to check this one!
The 18 tracks of Hannett’s Electronic Recordings - Homage To Delia Derbyshire were sourced from sessions at the hallowed Strawberry Studios in Stockport filed under that title by Hannett and range from kooky electronic bachelor lounge miniatures to some really cranky space rock and one absolutely unhinged 10 minute part of alien madness that’s worth price of admission alone. And it’s total speculation on our behalf, but some of the languid guitar pieces bear a striking resemblance to Vini Reilly’s Durutti Column sound. Just saying.
Both masters of bending time and space, it’s no wonder that Hannett was influenced by Delia’s work as a young lad watching the tellybox in ‘60s Manchester, and thus it’s not hard to draw a line between that appreciation of wigged out tone, echo and space that Delia provided Hannett, and the judicious application of FX he would come to apply on classic records by Magazine, Joy Division, Early New Order, The Stone Roses and The Happy Mondays in coming years.
Aside from the first track which we’re pretty sure appeared on The Invisible Girls set, it’s all effectively a missing piece of the puzzle of British electronic music, forming a discernible bridge between progressive eras in a way that’s much harder to trace between modern music.
Formed by the improvised journeys of the formidable Bardo Pond and experimental ensemble Kohoutek, these compositions take you on a cosmic voyage through kosmische, drone, noise, prog and free jazz.
"Purveyors of psychedelic rock, Bardo Pond have the outward specifications of a rock band but the rivers that converge into the band’s oneiric flow have their headwaters in the outlands of ecstatic jazz, free noise and the avant-garde."
Military snares set a sharp cadence beneath the score’s eerie synths and strings, instantly reminiscent of ‘Skeleton Tree’ by Nick Cave & The Bad Seeds and the beautiful ‘Hell Or High Water’ score.
“Together we made a score that was both light and dark, propulsive and meditative at the same time. We developed a kind of ‘spiritual electronics’ that captured both the melancholy and the terrible absurdity of the Afghan war,” Cave and Ellis said in a press release. “It was a great pleasure to work with David Michôd, who is not only an extraordinary filmmaker but a musician too. Our favorite score!”
Erased Taper Sofia Ilyas turns to the prolific electro-acoustic experimenter to launch her new Float platform.
The latest in an extensive schedule of Andrea Belfi album releases comes courtesy of Float, a new platform founded by Erased Tapes label manager Sofia Ilyas. The Berlin-based Italian is no stranger to conceptual whims – see his clutch of Room40 LPs for evidence of that – but ‘Ore’ is less concerned with such matters.
Instead it finds Belfi honing in on a detailed study of percussion and rhythm, recorded at the Saal 3 chamber music room of Berlin’s Funkhaus. As soon as the drum roll kicks in on Anticline, Belfi embarks on a devious session where rhythms fluctuate with intensity but remain central to composition, underpinned by queasy strains of electronic manipulation. If you can imagine Nils Frahm conducting Cologne Tape, you’re halfway to getting a grip on this Belfi album.
Playful cabaret featuring spoken word over mutant glam grooves by Berlin legends Gudrun Gut (Malaria!) and Beate Bartel (Liaisons Dangerueses, CH-BB), issued by Gudrun’s long-running Moabit Musik label
“Sirens is the new album from Canadian spoken word poet Myra Davies, with music by Berliners Gudrun Gut and Beate Bartel. Myra Davies is back with a new packet of witty stories and poetic reportage in a dynamic current of electronica by Berliners, Gudrun Gut and Beate Bartel. Movement is a major theme. Davies's eye, insightful yet detached, wanders assertively over land to sea to outer space, through time; past to present to future. Her observations and reflections on art, culture, convention, capitalism, express instability and the contingent, even conjectural, nature of existence. Yet, they suggest (without promising) the possibility of optimistic resolution. For Davies, the personal is political and art is more so.
The album includes a three-track riposte to Götterdammerung, the final opera in Richard Wagner's Ring Cycle. Two tracks tell the story. The third, "Do Ya", links the epic to us. Wagner was called "the great seducer" because he aimed to "take" his audience in an emotional gut grab that's been described as "artistic rape". No invitation here to sink hypnotically into the dark ambient tones Gut and Bartel provide for Davies, who, in telling the story, frequently pops out of it to comment. Indeed, the point of revisiting this end time for übermenschen is to draw attention to the eagerness with which people give themselves to art, politics, love, war, consumption, work, religion, pop culture, technology, vanity, and thus to bondage. Fortunately, the message is delivered in a tempestuous roil of words and music; This is a Pandora's box of biting zeitgeist - past, present and future - propelled by beats, contrapuntal dynamics, broken rhymes, scraps from here and there, and fragments of great white dead men.
A personal note from Myra Davies: "The word 'siren' contains both allure and danger warning. Come hither. Stay away. Such isometric emotional dualities can drive a person around a post like a work donkey. I question such 'native' impulses and the romantic notion that emotion is the seat of authenticity, our true core. Our minds - amygdala included - are colonized. Yet the human brain is flexible. It's possible to take territory, to write our own code. 'Your mission, if you choose to accept it.' Thanks for listening." Davies and Gut have worked together since 1991 on several releases, notably Miasma 1 (1993), 2 (1997) and 3 (2002), and multi-media performances.”