Nope, not the ‘90s house act, but rather Philadelphia’s original ‘80s synth trio, The Nightcrawlers, are subject of this revelatory compendium from Mexican Summer’s Anthology Recordings. Spanning 14 works in just over 2.5 hours, The Biophonic Boombox Recordings form a gateway to distant, lo-fi but fantastical dimensions
“Deep, diverse, and unheralded, the Philadelphia ambient electronic music scene of the 1980s is explored with The Nightcrawlers’ The Biophonic Boombox Recordings, an expansive archival collection documenting the hard-knuckled kosmische synthesizer trio’s home recordings self-released and distributed over 35 cassettes between 1980 and 1991.
Featuring the farthest reaching spacescapes of those cassette releases – improvised straight into the mic of a JVC Biphonic Boombox – none of these performances have been released beyond the original format, and essentially went out of print when Nightcrawler Peter D. Gulch got tired of dubbing them to blank tapes to mail-order through his Synkronos label and sell at live shows. Restored and recalibrated from the original cassettes, The Nightcrawlers’ music has never sounded better or so readily accessible.”
The crown prince of Japanese indie-prog-pop yields his Mellow Waves LP on vinyl, his first albumin over a decade, arriving some two years since his Ghost In The Shell Arise O.S.T.
"For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.
With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.
With 2002's Point, Cornelius' music took a quantum shift, going from sampling "found sounds" to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of "Drop" on his vocoder-infused cover of "Brazil", the album dazed and amazed fans and set the path for the next phase of his career.
2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.
The companion piece to the album Sensurround + B Sides, earned the nomination for "Best Surround Sound Album" at the 2009 GRAMMY Awards.
The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's "Best New Reissue".
Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu."
Japan’s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O’Rourke, Stephen O’Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino’s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics.
"SUMAC’s tenure is much younger than Haino’s, though guitarist/vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations, from the sedated drones of recent projects with Daniel Menche and William Fowler Collins to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.
For American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On, Keiji Haino and SUMAC met up in Tokyo’s Goksound recording studio to track a series of unrehearsed, completely non-premeditated sessions. Captured across several reels of tape, the collaboration harnessed Haino’s tension-inducing use of empty space on songs like “I’m over 137% a love junkie, and it’s still not enough” while pushing SUMAC’s dissident metal vocabulary on “What have I done (I was reeling in something white...)”. Throughout the course of its hour-plus length, American Dollar Bill pushes and pulls at the strictures of metal and bends the stylistic formalities of improvised music to create a sonic purge unencumbered by convention.”
DAF go balls-to-the-wall on their Conny Plank-produced Gold Und LIebe
Feat 10 strapping tunes including hi-velocity highlights in the hyper rock ’n roll swagger of Absolute Körperkontrolle and the earlier-written zinger Werschwend Deine Jugend, plus a popcorn-like charmer Liebe Auf Den Ersten Blick.
A massive influence on everyone from Powell to Helena Hauff, DAF are among the most important electronic artists of the ‘80s and a massive influence on electronic dance music ever since.
Karin Dreijer’s Fever Ray returns with the first release in 8 years since the celebrated self titled debut in 2009. She now tweaks the formula while retaining the enigmatic air of ‘80s synth-pop at the project’s core, redressed with rhythms better related to the modern Afro-Latin diaspora and underground fetish clubs, thanks to co-production by Príncipe’s NÍDIA, Peder Mannerfelt, Paula Temple, and Deena Abdelwahed.
Where Fever Ray was blue and black, achingly gothic, Plunge is ultraviolet and lusting, with Karin Dreijer aka Fever Ray poised like some gynoid harpy, enunciating her uniquely seductive, stressed and clipped syllables in a spectrum of screeches, naif sing-song, autotuned turns-of-phrase and etheric flights, all matched by equally piquant, urgent synthetic backdrops.
Highlights are myriad, striking from the front with evil, EVOL-esque synths wrapped to a industrialised dembow swang on Wanna Sip, and floating a superb blend of Errorsmith-like squeaks with railing reggaeton snares and a deliciously bittersweet duet with Tami T in A Part Of Us, whilst the NÍDIA-produced zinger IDK About You is surely primed for widespread dancefloor aktion, and the syncopation of giddy arpeggios and dancehall-meets-EBM drum programming in To The Moon And Back underline a piece of modern pop perfection.
There’s maybe one dud, when the folk strings spoil Red Trails, but ultimately this is a hugely satisfying listen, and a dead welcome return form one of this century’s most innovative pop stars.
Afro-Cubist house prophet Jamal Moss dons his Hieroglyphic Being robes for the most varied, layered and timbrally rich solo mission in his cosmic musical arc thus far. Think Sun Ra, Thelonious Monk, The Weather Report, Larry Heard, Marshall Allen, Pekka Airaksinen, Adonis, Miles Davis, Armando Gallop, Jon Hassell - but most of all think of deep Black musics and Chi house as a portal to other dimensions.
Armed to the gills and wingtips with the plushest hardware line-up we’ve seen on a Jamal Moss recording - organic flutes, piano, guitar, drums, alto sax, Hammond organ, Korg Triton, Linn drum, Korg DDD-1, DR 5 drums, Casio RZ1, Ensoniq Mirage Firelight CMI Series III, Moog Mother 32, Allen & Heath Zed 24 mixer - it’s perhaps understandable that the results feel more lustrous and grand than his usual, stripped and tracky results, seemingly pulling some influence from recent years work with instrumentalists such as Sarathy Korwar, Shabaka Hutchings, Orphhy Richardson and more.
In a subliminal and physical elevation and expansion of styles, the album shapeshifts thru 9 stages variously wrestling with and dancing around the ‘floor, making for one of the first Jamal Moss albums we’d genuinely say sounds as great on headphones, walking around absorbing sights, as it does on home stereos or jabbing you to dance.
The notion of rhythm and sound takes on mutant new meanings at the hands of meter-tweaking mavericks, YoshimiO (Boredoms/OOIOO), Susie Ibarra, and Robert Aiki Aubrey Lowe.
‘Flower of Sulphur’ finds the trio working together for the first time after meeting in various other configurations, with results that loosely fall under the improvised free jazz banner, but hold back from the brink by way of an underlying, rolling funk logic and a defined clarity of rhythmelodic texture, rather than the expressive mayhem ‘free jazz’ suggests. Think falling down a tessellating MC Escher staircase for an hour…
“Susie explains the idea: "We had all performed in different configurations before but never together as a trio. I think actually I have met each YoshimiO and Robert at different times when collaborating on larger works with Tarek Atoui. But we had not performed together as trio. I was very happy with the prospect to play a trio concert, as I could imagine the sonic palette could be very interesting, being that we each come from different aesthetic backgrounds but enjoy crossing into various sonic territories.”
The resulting recording of their collaboration, Flower of Sulphur, is a transfixing piece of continuous improvisational work which explores the direct relationship between the artists and their individual configurations. The album takes the form of the trio each playing their principal instruments with no specific goal other than the exploration of the space in that moment.
This spontaneous composition showcases the freedom and musical immediacy of all three artists’ ability to interplay as well as their individual unique techniques to create engaging experimental sounds. Flower of Sulphur was recorded at Roulette in Brooklyn in front of an audience; the trio are hoping to make additional live performances throughout 2018. The hour long instillation builds to a captivating crescendo elegantly fusing immersive layers, rewarding the listener with a true emotive experience.”
Dragon’s Eye Recordings proprietor Yann Novak unfurls a mesmerising, meditative suite of processed field recordings on Touch. Imagine the elegant protagonist of Richard Chartier’s Pinkcourtesyphone took a stroll at dusk with Biosphere in the L.A. ‘burbs…
“Yann Novak is an artist, composer, and curator based in Los Angeles. His work is guided by his interests in perception, context, movement, and the felt presence of direct experience. Through the use of sound and light, Novak explores how these intangible materials can act as catalysts to focus our awareness on our present location in space and time. Novak's diverse body of works – audiovisual installations, performances, architectural interventions, sound diffusions, recording, and prints – ask participants to reclaim the present moment as a political act.
His album Ornamentation was released by Touch in 2016. He also runs his own label, Dragon's Eye Recordings. In March 2018, Yann will be touring Europe, including dates in London, Berlin and others.”
Expertly researched survey of Japan’s golden age take on Jazz. Check for highlights in the nippy clip of ‘White Fire’ and ‘Unknown Polint’ for some proper dancers, or the likes of Takeo Moriyama’s ‘Kaze’ for a more sultry take on classic jazz tradition
“In the years following World War Two, Japan developed one of the most insatiable, dynamic and diverse markets for jazz. For a crucial period of little over a decade – from the late 1960s to the early 1980s – Japanese jazz culture progressed at an astonishing rate, producing an extraordinary array of artists, recordings and record labels that created some of the most forward thinking and impressive jazz to be committed to tape. This amazing journey is explored on ‘J Jazz’.
This compilation from BBE uncovers some of the most sought after and rare material from this period and pulls together key artists who shaped the post-war modern jazz scene in Japan.
‘J Jazz’ includes obscure and sought after rarities like the bass-driven power jazz of Koichi Matsukaze’s ‘Earth Mother’, the holy grail rarity of Aizawa Tohru Quartet’s ‘Dead Letter’ and the loping majesty of Takeo Moriyama’s ‘North Wind’. This collection takes the listener into deep spiritual jazz, post-modal impressionism and fierce dance-floor fusion with material from artists and composers whose names are generally only known to committed collectors of Japanese jazz. Fumio Karashima, Mitsuaki Katayama, Takeo Moriyama and Kiyoshi Sugimoto are among the names featured on an album aiming to shed a little light on the shadowy world of Japanese jazz clubs, tucked away in the neon backstreets. This music demands a wider audience and BBE are excited to deliver a landmark compilation, lifting the veil on this wonderful and mysterious area of the global jazz catalogue.
None of the tracks featured on ‘J Jazz’ have ever received an official release outside Japan before. The albums the tracks are taken from are extremely hard to find and often fetch huge sums on the collector’s circuit. Originally pressed in small numbers on independent and private labels such as Union, Johnny’s Disk, Whynot, ALM and VAP, these tracks are now available for everyone to enjoy.
Compiled by Tony Higgins and Mike Peden, both long-time collectors of Japanese jazz, ’J Jazz’ brings together the very best in modern jazz from Japan, recorded during a critical period of musical and cultural transition that saw composers and musicians not only assert a new artistic identity but also create a lasting musical legacy.”
November 2017 August 1988, Spacemen 3 embark on one of the strangest events in the band's already strange history. Billed as "An Evening of Contemporary Sitar Music" (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders' film 'Wings of Desire'.
"Spacemen 3's proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the "Sweet Sister Ray" of '80s Britain. Their signature sound is at once recognizable and disorienting - pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3's classic 'Playing With Fire' album. 'Spacemen Jam,' featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects."
Features maverick jazz keyboardist Ståle Storløkken (Supersilent) on a blast of Goblin-esque prog-funk and Giallo-style spy-funk theme
“Elephant9 blends the virtuosic precision of King Crimson and Yes with the jazz-fusion explorations of electric Miles, Weather Report and the Tony Williams Lifetime. Key and time signatures change constantly as the quartet helters and skelters between tightly composed sections, driving kosmische interludes and bucolic Canterbury excursions. Rolling Stone (US)
This sums it up pretty well when it comes to reference points, but it´s also necessary to add that Elephant9 have developed quite a personal and identifiable style - through previous albums, touring and close collaborations with Reine Fiske and Terje Rypdal.
On this, their fifth studio album, they are back to the core trio of their two first albums, with Ståle Storløkken (keyboards), Nikolai Hængsle (bass) and Torstein Lofthus (drums). “The Greatest Show On Earth” displays some truly astonishing playing and is a more dynamic, structured and focused album with all tracks clocking in between five and seven minutes.”
The Unknowable is a completely improvised, spontaneous group-composed body of music created by legendary saxophone and flute player Dave Liebman together with celebrated percussionists Adam Rudolph and Tatsuya Nakatani.
"Dave Liebman, whose legendary, more than fifty year-long, career has seen him work with Miles Davis, Elvin Jones, John Scofield, Chick Corea, Dave Holland, Bob Moses and Richie Beirach, collaborates here with Adam Rudolph, himself one of the deepest percussionists of the last half century, whose collaborations encompass Don Cherry, Pharaoh Sanders, Bill Laswell, Herbie Hancock, Omar Sosa and several members of the AACM, and with Japan-born percussionist and sound innovator Tatsuya Nakatani. The result of this extraordinary meeting of the minds is music that stems from the worlds of free and spiritual jazz, yet goes beyond; It is incredibly open, has no north, south, east and west, it is simultaneously music of all humanity and of the cosmos."
Certain to claim its place in pop-loving hearts everywhere, ‘Few Traces’ is a glorious introduction to the admirable optimism and romance of Mark Renner’s American songcraft. Few Traces surveys a near decade of Mark Renner’s scarcely released and unreleased material from 1982 to 1990, embracing and evoking the timelessness of his artistic statement: a wordless translation of the individual’s musical experience, met with the poetic expression of being here.
"Mark Renner first encountered punk while a teenager in Upperco, a country town in rural Maryland. Growing up on his family farm, he became a young acolyte of the British exports hitting not-so-distant Baltimore record store shelves in 1979 / 1980 and was baited by an area musician-wanted ad declaring Ultravox a primary touchstone.
This nascent band and a pair of other group experiments flamed out under the typical totem of despotism. In their ashes Renner began recording independently around 1983 with a portable four-track, electric guitar, and classic Casio CZ101 synthesizer. Aside from John Foxx-era Ultravox, Renner’s process was inspired by the period’s electronic pioneers venturing into deeper, romantic pop pastures: Yellow Magic Orchestra, Bill Nelson, The Associates.
With his tools and teachers in place, the blueprints for Renner’s sound were laid out – metronomic, skeletal rhythms built on sturdy yet singular drum machines supporting luminescent guitar and synth lines, Renner’s reverent voice guiding the fables and construction.
Most directly influential, Renner’s enthusiasm for Days in Europa, the third album by Scottish new wave band Skids, would lead to a correspondence and long-distance tutorship with Stuart Adamson. Before Adamson would achieve worldwide success co-founding the group Big Country, a chance friendship with Renner would impart great confidence in the young musician from Maryland, who, after a visit in Edinburgh, would then travel to London to demo an early version of “Half A Heart” featured in its final form on Few Traces.
The sum of Renner’s music is one-part literary, one-part painterly. The artist cites the individualism of Herman Hesse as a guiding force, and there are overt references to W. B. Yeats and John Greanleaf Whittier among other authors. Lyrical themes evoke the presence of the ancient past, much like early Felt songs or the spiritual visions of Van Morrison. (Tellingly, Renner cites Morrison’s 1980s albums made between Inarticulate Speech of the Heart and No Guru, No Method, No Teacher as musical influences.)
Apart from his writing, Renner explored music as a complement to visual language: many of the dream-like instrumental passages presented across Few Traces were originally implemented as sound elements for exhibitions of his paintings. Renner pursued wordless music as a pure aesthetic in its own right, pristinely balanced segues and open-ended compositions that lead to pasture but not without shepherd.
Compiled three decades after the music was originally put to tape, Few Traces collects Mark Renner’s early music but strives not to simplify or reframe it. (Mark is still active making music and painting) The instrumental explorations remain on par with the great ambient adventurers of the period (Brian Eno, Harold Budd, Roedelius), while the vocal and guitar-centric songs crystalize across similar terrains being transversed by Cocteau Twins and The Chills.
Few Traces highlights in intuitive sequence gems from Renner’s scarce discography and archive: the self-released debut All Walks of This Life (1986), the aptly titled follow-up Painter’s Joy (1988), plus early singles, compilation tracks, and exemplary songs that saw no original release. The collection allows an intimate look at an artist growing into their sound and surroundings, finding the in between echoes and spirituality of the individual.”
Sweden’s spikiest, boundry-oblivious rock group give one last hurrah with this eponymous slaughter for Thrill Jockey. Following more than a decade of defying categorisation and relaxing on labels as far flung as Diagonal and Important, Joachim Nordwall and co take this opportunity to blast out eight jams tangoing from the xmas-ready combo of noisy dub and sleigh bells in A Brief History of Rhythm, Dub, Life and Death to the shark-eyed krautrock drive of The Beauty of Creation and Destruction, via the Suicide-al Clean Mind, and the punk chutzpah of All Thoughts Thought.
A Message from Joachim Nordwall: “Our new album, simply entitled The Skull Defekts, marks the death of the band and an important farewell to those who have cared. It holds many echoes of our history but it is music that is present and now, and it’s hopeful in its own darkness. It carries some kind of positive desperation knowing what we knew while recording it. We worked with Mariam Wallentin as our fourth member on this one, and she brought in something new; new creativity, new blood. Her contributions were important.
The stuff I wrote for it was of course colored by the fact that we were not comfortable as a band. I think Fagge’s stuff was too. And there in the studio, we realized how much we love creating together. We love playing together but it just had to stop. The Skull Defekts might be our strongest album musically. It is the album that might be the most composed one. It is well prepared musically and of course holds improvisational parts, but probably less than before.
This is our last album. The Skull Defekts has been an important part of our lives. It is no longer.”
La Contra Ola is the fascinating 1st ever survey of Spanish electronic music during the post-punk and synth wave phenomenon which swept subterranean US and European scenes circa 1980-1986.
By their own admission, Spain was late to electronic music, mostly due the restrictive dictatorship of General Franco. But when Franco fxcked off in 1975, it was open season for sounds made with boxes and plugged-in guitars. You’ll find many of the best examples from that period in this set, ranging from the funked EBM swerve of La Fura dels Baus and Diseño Corbusier thru to the orientalist pop jitters of Lavabos Iturriaga and warped disco brilliance of Oviforia Sci, along with loads of other names you’ve never heard before.
Nowadays, although not necessarily synonymous with electronic music, the likes of Madrid, Barcelona and bits of the Basque country have a reputable electronic music scene, mostly a result of artists in the late ‘70s and early ‘80s artists figuring it all out on their own terms and from a distance to the usual electronic power hubs, variously updating old styles, importing from parallel scenes, and essentially imagining their own. In the past decade’s groundswell of reissued classic and obscure material, the likes of Diseño Corbusier’s El Alma De La Estrella and various oddities from Esplendor Geométrico, Luis Delgado and the Grabaciones Accidentales archive have been reissued and reappraised by the likes of Dead Cert Home Ents and EM Records, but now it’s the turn of the others to share the spotlight.
They’re generally all dancefloor-themed, or at least rhythm-driven and pop-wise, as opposed to avant or explicitly experimental. Aside from the better known Diseño Corbusier ace Golpe De Amistad, you’ll also come across their much rarer Meta Metallic  ace nestled next to the hoppin’ punk hustle of Zombies’ La Rebelión de los Objetos, and tentative 4th world/post-punk mapping recalling 23 Skidoo in Derribos Arias’ A Flúor. The aforementioned bendy disco bewt, Mao’s Children by Oviformia Sci is a really big highlight for the DJs, as are the fresh cuts of Moscú está helado and the wiry funk of TodoTodo’s electro bubbler Autogas and the Liquid G-alike EBM force of Himno from El Humano Marrano, while natty surprises keep on coming in the form of Derribos Arias’ Suicide-like dream-bop ditty Aprenda Alemán en 7 dias, and in the melodic fructose of Línea Vienesa’s Cangrejos en la cocina.
So yeh, as you can see and hear, there was a lot of quality gear coming from Spain during that fecund, pre- home computer period, which makes this set rather tasty as both a historical education and a class set of tunes.
Highly respected drummer and prolific composer Bobby Previte continues his Terminals trilogy with Rhapsody, a song cycle on the subject of transit and migration.
"Subtitled In Transit: Terminals II , Previte's newest work was scored for acoustic sextet and features fellow composer - improvisers in guitarist Nels Cline, harpist Zeena Parkins, pianist John Medeski, vocalist, alto saxophonist Fabian Rucker and vocalist - erhu player Jen Shyu. This latest major work, released on RareNoise Records in February 2018, comes on the heels of Previte's powerful prior RareNoise release, Mass , a nine-part work scored for choir, pip organ and heavy metal trio. Rhapsody was commissioned by the Greenfield Prize at the Hermitage Artist Retreat in Florida and had its world premiere on
April 21, 2017 at New College in Sarasota."
Well, this is just lovely; Hiroshi Yoshimura’s soothing electro-acoustic ambient suite, Music For Nine Postcards  is made available outside the Japanese market for the 1st time, unfurling the Tokyo-based artist’s delicate, minimalist masterwork inspired by Satie, Schaefer and Eno to whole new generations in need of blissed sonic respite. Unless you’re a bit wadded or simply helpless to the charms of early ‘80s Japambient records and bought a dead expensive original, it’s maybe likely that you’ll only get to hear this one via YouTube otherwise, so the opportunity to hear this beauty in full fidelity, at a reasonable price, is not to be missed!
"Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura remains tragically under-known outside of his home country. Empire of Signs–a new imprint co-helmed by Maxwell August Croy and Spencer Doran–is proud to reissue Yoshimura’s debut Music for Nine Post Cards for the first time outside Japan in collaboration with Hiroshi’s widow Yoko Yoshimura, with more reissues ofHiroshi’s works to follow in the future.
Working initially as a conceptual artist, the musical side of Yoshimura’s artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design – all existing not as side work but as logical extensions of his philosophy of sound.
His work strived for serenity as an ideal, and this approach can be felt strongly on Music for Nine Post Cards. Home recorded on a minimal setup of keyboard and Fender Rhodes, Music for Nine Post Cards was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building’s architecture.
This was not background music in the prior Japanese “BGM” sense of the word, but “environmental music”, the literal translation of the Japanese term kankyō ongaku given to Brian Eno’s “ambient” music when it arrived in late 70’s Japan. Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space: music not as an external absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it.
Erik Satie’s furniture music, R. Murray Schafer’s concept of the soundscape and Eno’s ambience all greatly informed their work, but the specific form of tranquil stasis presented on releases like Nine Post Cards is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of its construction. This record offers the perfect introduction to Hiroshi’s unique and beautiful worldview: it’s one that can be listened to – and lived in – endlessly."
Anthony J Hart (Imaginary Forces, Basic Rhythm) adopts the Hi Tek moniker as producer for East Man’s Red, White & Zero; a grime/dancehall/ project inspired by London’s vital relationship between mixed, working class cultures, inspired by conversations with theorist and academic Paul Gilroy - alumni of the late, great Stuart Hall. Features bars by Saint P, Darkos Strife, Killa P, Eklipse, Lyrical Strally, Kwan. RIYL The Bug, Blackdown, Alex Deamonds.
“London’s young people have been seen as a problem by governments for many generations now. Their distinctive street cultures stretch back into the nineteenth century when, just like today, a stylish public presence signified danger to respectable people. At that time, Britain’s class conflicts were being re-made amidst all the glorious fruits of a global empire. Divisions like class and sex had different shapes and tempos that hardly resemble the machinery of our increasingly networked and unequal world. Religion, racism and nationalism were all important, but work, exploitation and poverty supplied the fiery core of politricks.
These days, Britain’s imperial wealth and prestige are long gone. Today’s young people are excluded and marginalized, confined and criminalized, yet they remain at the heart of the vital, energetic best of our city. Their energy and imagination drive London’s convivial culture. They duck and dive just like their predecessors. They hustle, they suffer and they survive. Even where knives are common, most of the problems that come up get resolved without murderous violence. The defining experience of their precarious situation is more likely to be fear or anxiety than warfare between gangs. Their violence is more likely to turn inwards on to their loved ones and family members. There are many forms of self harm and self medication.
Yet the space in which those youthful lives unfold has contracted. The scale on which life is lived has shrunk. Moving around can be expensive. Surveillance is constant. Dignity and certainty are difficult to find and hold on to. It can be hard to feel comfortable outside the spaces and places you know best. Those familiar circuits are marked out by the roadside shrines of dead flowers that show just how vulnerable you can quickly become.
We have been losing London to Babylon but we are busy making a new place. The edges of the city have become fertile. The weeds grow up explosively between palisaded concrete boxes and the litter-strewn greenery. This is not zones 1 and 2 where houses and flats are capital rather than buildings to live in. The music that comes out of that edgy world isn’t what it was a generation ago, but it’s still fundamental--necessary for life.
These shocking sounds can be a part of healing and repair while staying faithful to the pressures that forged them. Musicians can’t make a living from their creativity, but their listeners can’t understand this historical moment unless they get to grips with its local rules, meanings and poetry. This is not America. Even without words, this music speaks for itself and tells a story. It calls out to be understood while seeking ways to escape interpretation.
We are always more than either this or that. We are more than either black or white."
Paul Gilroy 2017.
U.S. Girls is the protean musical enterprise of multi-disciplinary artist, Meg Remy, presenting her sixth studio album ‘In A Poem Unlimited’.
"Remy’s second release for 4AD, which also includes ‘Mad As Hell’ - a clarion call for pacifism - was tracked in collaboration with Toronto-based instrumental collective The Cosmic Range and features arrangements by long-time contributors Maxmilian Turnball and Louis Percival. The dizzying buffet of live grooves on ‘In A Poem Unlimited’ represents an inversion of the dusty, sample-based minimal textures of ‘Half Free’, Remy’s euphoric 4AD debut.
Steered into focus by Remy and mixer / co-producer Steve Chahley, ‘In A Poem Unlimited’ features disco employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); moody, slow-burning funk (‘Velvet 4 Sale’ and ‘L-Over’) and earnest synth anthems ‘Rosebud’ and ‘Poem’, which form the album’s emotional core.
‘In A Poem Unlimited’ features dark meditations reflecting charged atmospheres that directly precede and follow acts of violence. Many of the songs are character studies of women grappling with power; how to gain and exert it spiritually, as well as desperate strategies to mitigate its infliction. Remy also rallies against the public lies told by political and religious leaders and, more crucially, questions the lies we tell ourselves in order to survive. While U.S. Girls, denoting the plural, is no longer a misnomer, ‘In A Poem Unlimited’ may be Remy’s most individually distilled protest to date.
‘In A Poem Unlimited’ album opener ‘Velvet 4 Sale’ concerns a female narrator imploring another to buy a gun for protection, impressing that the only way to change men is for women to use violence. Remy says, “Men are lucky women (and children) have yet to take up arms. And although I hope this never happens and I completely disagree that violence is ever effective, this very idea was ripe for a song."
Made in celebration of the 90th birthday of Musique concrète pioneer, Pierre Henry, this epic collection was personally selected and remastered by the composer himself just prior to his death last year; including nine works released for the first time ever on any format - all remastered by the man himself.
The 12 CD boxset Polyphonies is a mind-blowing summation of more than 50 years work by restlessly pioneering composer, Pierre Henry (9th December 1927 - 5 July 2017) - the undisputed godfather of musique concrète, who laid the groundwork for much of electronic music as we now know it. Counting 29 works, including no fewer than 9 premieres, Polyphonies serves both an historic education and an engrossing reminder of Henry’s influence over developments in 20th and 21st century music.
There’s nothing that we can add to the reams of writing on Pierre Henry. We can only reassert what’s been said in numerous articles, essays and academic texts, that, technically, Pierre Henry was among the most important and ardent manipulators of ‘concrète’ sound - that is, physical sounds extracted from their environment and abstracted through various process of effects, to re-sound or resonate in new, different ways and meanings.
He’s French, so philosophy was always integral to his practice, but the proof is in Henry’s pudding, as his persistent pursuit of sonic spectres and metaphysics brought a world of new sounds into tangible physicality. Whether through animation of inanimate objects, or a re-spatialization of whole scenes of reality, Henry heard a possibility for alteration in almost everything, and acted on his urges with remarkable insightful results.
Many of Henry’s compositions are broadly known to followers of early electronic music, while even casual observers will likely know his Psyche Rock piece as the influence behind Matt Groening’s Futurama theme tune. However, even the most hardcore Henry heads won’t have heard the 9 premieres in this boxset, including the hyperreal dynamics of Chronicles terriennes, the deconstructed piano clatter of Études transcend antes pour un piano imaginaire, his rhythmically seductive Pleins jeux and the atonal fuss of Kyldex, or the deep space radiation of Astrologie, and likewise the entire 12th disc of 2016 "Remixes" (re-masteres, really), completed by the artist before losing he lost his sight. Ears were definitely still working, though!
It’s fair to say that our perception of sound and electronic music may not be the same if it were not for Henry’s way of listening, dissembling and re-sequencing the sound sphere, parsing and re-parsing it for an ever elusive meaning. In the process he’s thrown up more questions than answers which will puzzle and trigger more ideas, most likely for the rest of time.
Spread over a massive six discs and further bolstered by a pretty darn exhaustive book that interviews the surviving members (Williams passed away in 2001), 'Out Of Cold Storage' is testament to the unbridled virility of This Heat - with all the music very much rooted in its era, yet also utterly timeless. Comprised of their five studio albums ('This Heat', 'Deceit', 'Health and Efficiency', 'Made Available' and 'Repeat') plus an incendiary set of live action culled from their 1980/81 heyday, 'Out Of Cold Storage' allows everyone to get hold of these classic recordings in pristine form - a real treat given the eroded bootlegs and mp3s that have been doing the rounds for years.
Born out of the UK crucible that existed in the period immediately post punk (before it earned capitals and morphed into genre all of its own...), This Heat formed through the restless response of three twenty-somethings who felt impelled to document their corner of 1970's London. Already faces at the more severe end of the prog-rock scene, Charles Bullen and Charles Hayward were joined by non-musician Gareth Williams - a catalyst that would see them recording vast quantities of work then editing the results down into consumable chunks of aural fortitude.
Ranging in style from the avant-rock of their eponymous debut, through to the political polemic of 'Deceit', This Heat are spiky without the need to resort to high-kicking comparisons with the likes of Orange Juice et al., with their output always a couple of steps removed from their retrospective peers. Unafraid to disrupt their reputation through creative right-angles, the likes of 'Repeat' and it's central 20 minutes of looped drones and rhythms (think Can in a chiller cabinet) are seemingly at odds with 'Health And Efficiencies' melody etched high - yet rather than cause tension, these juxtapositions merely heighten the band's appeal and allow you a glimpse into moments of creative perfection.
Vast, comprehensive and thoroughly indispensable, 'Out Of Cold Storage' proves that the endless vault combing perpetrated by labels can sometimes come good. Six shades of fantastic.
Jonny Greenwood presents an elegantly poised OST for Paul Thomas Anderson’s ‘Phantom Thread’, performed by The Royal Philharmonic Orchestra, the London Contemporary Orchestra, and an ensemble including himself and Oliver Coates, among others
“With Phantom Thread, Oscar-nominated filmmaker Paul Thomas Anderson paints an illuminating portrait both of an artist on a creative journey and the women who keep his world running. Phantom Thread is Anderson’s eighth movie, and his second collaboration with Daniel Day-Lewis. The film’s soundtrack includes eighteen compositions by Greenwood. It was recorded in London with a sixty-member string orchestra conducted by Robert Ziegler and is featured more prominently in the film than any of Greenwood’s scores have been before. In addition to the Academy Award nomination, the Phantom Thread soundtrack is up for a BAFTA and was nominated for a Golden Globe. Its many other accolades to date include Best Score prizes from film critics’ associations in Boston, Chicago, Los Angeles, Phoenix, San Francisco, Seattle, and St. Louis.;
The composer spoke to Variety about the process of creating a score that reflected the film’s romance and glamour: “We talked a lot about ’50s music, what was popularly heard then as well as what was being written and recorded. Nelson Riddle and Glenn Gould’s Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections; Ben Webster made some good ones.” Greenwood continues, “The smaller groups, and solo players, work like close-ups [and] not necessarily to accompany [a] visual, but rather, to focus your attention on and make you feel directly engaged with the characters. The bigger orchestral things often worked best for drawing you back to see the bigger situation.”
Anderson and Greenwood’s previous collaborations include the soundtrack for Academy Award–winning There Will Be Blood (2007), The Master (2012), and Inherent Vice (2014), all released by Nonesuch. Indiewire says of their collaboration: “Paul Thomas Anderson fans are well accustomed to how instrumental Jonny Greenwood’s music is to the auteur’s body of work. Whether it’s the foreboding strings in There Will Be Blood or the discordant percussion in The Master, Greenwood’s original scores expertly capture Anderson’s tones. This fact is especially true in Phantom Thread, which marks the fourth collaboration between Anderson and Greenwood.”
Matthew Herbert shapes his unique instrumental palette to a brooding, autumnal play of orchestral and electronic tones matching the mood of ‘A Fantastic Woman’
“A Fantastic Woman is a 2017 Chilean drama film directed by Sebastián Lelio (Gloria). It was selected to compete for the Golden Bear in the main competition section of the 67th Berlin International Film Festival and It has been selected as the Chilean entry for the Best Foreign Language Film at the 90th Academy Awards, making the December shortlist.
The acclaimed drama tells the story of Marina (Daniela Vega), a young transgender waitress who moonlights as a nightclub singer, falls in love with Orlando (Francisco Reyes), a divorced man who is a few decades older. As they plan for their future together, Orlando suddenly falls ill and dies.
Marina is forced to confront his ex-wife, who doesn’t want anything to do with Marina and asks her not to come to the funeral. Over the next few days, as Marina tries to get things in order, she has to endure insults and slurs from the police and Orlando’s family members.
Electronic music legend, Matthew Herbert (Herbert, Matthew Herbert Big Band, Dr Rockit…) brings his unique talent and has crafted a wonderful score which mixes classical orchestral elements with more electronic compositions.”
Mats Gustafsson: Tenor, baritone and bass saxophones, live electronics. Johan Berthling: Electric and double bass. Andreas Werliin: Drums, percussion and feedback.
"For 20 years Rune Grammofon have made a habit of releasing music that is beyond easy classification, in later years typified by Swedish trio Fire!, consisting of Mats Gustafsson, Johan Berthling and Andreas Werliin. All three are highly accomplished musicians, but Fire! music is not "difficult" in the sense that jazz and especially free jazz is often perceived.
Very much a tight knit unit with three equal players, Fire! has been likened to powerful guitar led trios such as Cream and The Jimi Hendrix Experience, but with Berthling´s heavy, doom laden basslines being such a typical identifier, we can´t help but thinking of Black Sabbath´s debut album when it comes to hypnotic impact. The Hands is the trio´s sixth album and once again displays a totally uncompromising and intriguing mix of (mostly) heavy, dark and intensely burning music whether one decide on calling it jazz or rock.
The album closes on a quiet and reflective note with the appropriately titled "I Guard Her To Rest. Declaring Silence". And we say it´s easily their best so far. Gustafsson, Berthling and Werliin came together in 2008 with the idea of a fresh approach to improvised music, with a number of influences from free jazz, psychedelic rock and noise.
Their debut album, You Liked Me Five Minutes Ago, was released the following year to wide international acclaim. The trio is also their vehicle for rekindling their instrumental skills and playing outside their comfort zones, or collaborating with prestigious guests such as Jim O´Rourke (Unreleased? 2011) and Oren Ambarchi (In The Mouth A Hand 2012). A parallel but no less powerful project is their gargantuan Fire! Orchestra, previously a 30 piece behemoth. Now scaled down to a "mere" 13 piece, and for the first time including a string section, a new album is expected in autumn 2018."
Susanna Wallumrød commits her fourth full suite of cover versions with Go Dig My Grave for her home-baked label.
Working again with Giovanna Pessi, who assisted on her first set If Grief Could Wait, as well as invaluable input from longtime partner/production spar Helge Sten (Deathprod), Susanna demonstrates a rare versatility with singular takes on songs by everyone from Henry Purcell to Joy Division and Lou Reed (including a bonus on CD not found on the vinyl), and with particularly spellbinding results in the latter two of those names.
If we try to pick out why we’re more attracted to the ‘pop’ songs, as opposed to the traditionals such as The Three Ravens or The Willow Song, that may come down to the fact their simplicity seems almost overbearing when rendered in such high-fidelity - almost like receiving a folk performance in a white cube gallery or sterile space, as opposed a barn or pub backroom - yet, conversely, the recordings of Joy Division’s Wilderness and Lou Reed’s Perfect Day become devastating thru their clarity of their conveyance, aided in no small part by feral fiddles and accordion in the former, and embroidered with kalimba and fiddle on the latter.
So yeh, some work, some don’t. But when they do, christ, she’s good.
Incredible collection of mid-late 80’s experimental works from the hugely influential Italian avant-garde composer Luigi Nono, including works for contrabass flute, clarinet, treated voices, strings and electronics.
Editions RZ present a necessary reissue of their 1990 LP release, now backed with three legendary recordings, 'La Terra E La Compagna', 'Caminantes', 'No Hay Caminos, Hay Que Caminar'. Collected, they form a great access point to Luigi Nono's unique, carefully realised, yet unfathomably vast world, one equally informed by avant-garde musical studies and his commitment to socialism.
In the best possible sense, it's very difficult to accurately sum up the sounds inside, other than in terms of a visceral, haptic approach and stunning spatial awareness. Highly recommended.
AtomTM returns to raster to complete his series that has begun with Liedgut and continued with Winterreise.
"The 7 tracks, created in collaboration with russian singer lisokot, are subdivided into 3 pieces of 2 minutes each and 4 pieces of 3 minutes each, intentionally reflecting the 3/4 time of a classic waltz. throughout the release, lisokot’s delicate vocals are put into different relations to atomTM’s rather cool machine music, either complementing or contrasting each other. in the same line, the 3 shorter “leitmotifs” provide the main theme that is taken up repeatedly in the course of the release."
Without question, some of the most beautiful Quiet music you'll likely ever hear, compiled in a 4 hour-long triple disc set.
'Fremde Zeit - Addendum' collects five pieces of engrossingly etheric, liminal composition by Jakob Ullmann (1958), the widely acknowledged master of quiet music and cover star of The Wire magazine.
For us, as we'd imagine many others, this is a striking first introduction to the devoted German minimalist's very particular body of work. Comprising 4 hours of barely-there strings, percussions, wind instruments and voices prefaced by the instruction "Please choose, for each piece, the volume settings of your sound system so as to just barely mask the ambient sounds in the room", this is music made for concentrated listening, recorded and specifically designed to give listeners "the opportunity to hear more, and better" by the simple but essential notion that "We hear better because we make an effort to hear better."
With this is mind, we're invited into a sound world which actively, yet effortlessly and sublimely challenges our perceptions of space and time with a compelling, transcendent effect akin to that of listening to music by, say, Eliane Radigue or Morton Feldman, yet with an alien, detached appeal entirely its own. Due to their extended durations - no piece is shorter than 34 mins, and over an hour at the longest - we form temporal impressions which blur the boundaries between our immediate space and the apparent vastness of the recording, teasing our sixth sense to wander on a knife edge of trepidation and somnolence.
Yet, musically, it covers a far more subtle spectrum of emotions and cabalistic atmospheres casting metaphoric allusions to "…antiquity, to the Middle Ages, to the Baroque, to the 20th Century and to the present" by means of its extreme dilation of space/time and anticipation, and relegation of distortion or any untempered gestures.
Once you've heard this music it should come as little surprise Ullmann studied sacred music in Dresden from 1979-1982 - his music could be the lingering resonance of an Arvo Pärt piece played in a huge cathedral, and it carries the weight of history - spanning over 18 years of work, the results are duly, deeply considered.
A revelatory package, whose impact will surely emerge and manifest as slowly, yet powerfully, as the music itself.
This is one of the few instances of Korean Classical Court music that we’ve stocked, and every time it stops us in our tracks. To our native western sensibilities the music is captivatingly slow and dissonant, and with a measured, stately quality of its own. These recordings of compositions made in the 15th century are totally fascinating, maybe an acquired taste, but arresting any way you hear them.
"Yŏmillak is the most extended piece of orchestral court music surviving in Korea and it has for many centuries been used for royal processions and at banquets. Yŏmillak is the piece notated in the oldest surviving Korean score - a score contained in the Annals of Sejong, written in 1454.
The piece originally consisted of ten movements, but three were discarded over time, leaving just the seven movements heard here, and different variants evolved, distinguished in terms of orchestration and size; two of the later (19th century) versions, Kyŏngnokmugang Chigok and T'aep Yŏngch'un Chigok are contained here. The final piece, Sŏilhwa Chigok, is an additional orchestral suite."
"We would like to point out that this piece is extremely quiet. Please choose the volume setting of your sound system so as to just barely mask the ambient sounds of the room"
Jakob Ullmann: "voice, books and FIRE is the result of my reflections about the relationship between music and language: language as sound and language as text, the numerous relationships between texts of different cultural and religious traditions, between the work of the human spirit in the present and in the past and the questions arising from the problem of understanding these different traditions, languages and texts and representing them in a present, which has lost knowledge about substantial parts, even of its own tradition and history."
In Jakob Ullmann's 2nd release through Editions RZ, solemn, practically whispered incantations and creaking extended vocal technique of eight singers play in half-lit, wide open mid-air against the phosphorescing resonance of viola, violoncello, saxophone and flute. Recorded 1st July, in the Abteikirche Neresheim. Recommended
Quiet music conceptualist and practitioner, Jakob Ullmann's 2nd release and first with Editions RZ was first issued in 2005.
It yields a single 73 minute piece written for an ensemble of thirteen solo strings and up to three additional solo parts arranged to explore the filigree infidelities of their range between almost "pure", natural harmonics to diffuse noise at the lowest threshold of perception thanks to masterly feats of restrained technicality and the composer's vision.
Of course, this is much more than an exercise in academic or technical exactitude. Ullmann's score elicits the players to play at the edge of their nerves and skill to reaffirm the piece's sureness and manifest the slightest differentiations, sustaining our attention in pensile equilibrium so that the most minor shifts in pace, tone, timbre ensure optimal effect, and live up to the piece's conceptual power.
Expertly compiled selection of Tudor's essential performances of works by John Cage, Morton Feldman, Christian Wolff, Sylvano Bussoti spanning 1955-1963.
"Includes "Music For Piano 21-36", "Variations 1", "Variations II", "Winter Music", "Piece For Four Pianos" (including performance by Feldman), etc. Essential document. "David Tudor, pianist -- a profession, a vocation, a life. From 1950 until around 1965, David Tudor was the epitome of the pianist who could simply play anything. In fact, David Tudor was no longer a name, but an indication for instrumentation as dozens of pieces were written 'for David Tudor.'
As early as 1960, after having conquered all of the challenges posed by serial piano music, Tudor began to differentiate between composers who filled him with life and those who left him cold -- the focus of his repertory became crystallized. The main criterion for his choices were shaped by the part he would play as interpreter in the composition. He distinguished carefully between having a free choice among prefabricated parts -- generally called aleatoric, as for example, Stockhausen's 'Klavierstück XI' (dedicated, as his 'Klavierstücke V-VIII', to Tudor) -- and indeterminate actions. In the first case, they have a tendency to 'put me to sleep,' whereby pieces that are less limiting led him to say, 'I feel that I'm alive in every part of my consciousness.' The program of these CDs portrays these distinctions." --Frank Hilberg"
Features two long-form tonal compositions, Sovereign of the Center (1972-1974) and the engrossingly slow movement of The Realm of Indra‘s Net (1974), running to 60 minutes total.
"Both works on this CD form, in a manner of speaking, bookends for another piece of mine, The Winds Rise in the North. The first of the two, Sovereign of the Centre, was my initial attempt at putting a new musical way of thinking into an ensemble rather than solo form. The second, The Realm of Indra's Net, builds on musical "discoveries" I made in the course of revising The Winds Rise in the North.
It is a hybrid work in as much as it is an "acoustic-tape piece" (not music concrete): There are four tracks of solo violin mixed down in different track combinations. (The one heard on this CD is a full-track mono version of the work.) Both of these pieces reflect a general shift in my musical thinking, which occurred in 1968 with Chimyaku (Japanese for "barely moving") scored for solo alto flute. It was with that work that I began to compose "slowed-down" music, like slow motion images in film, not merely slow music such as that of Feldman. H.G. July 2009 - January 2010"
Edition RZ document the first 30 years of Berlin’s Inventionen festival in this cornucopia of contemporary electro-acoustic composition, including work by Iannis Xenakis, Trevor Wishart, Boguslaw Schaeffer, and Ricardo Mandolini, among many others.
Established by the DAAD (German Academic Exchange Service) and Berlin’s Technical University, the festival is focussed around presenting premieres of recently composed works alongside “classics” of the genre by Xenakis, Cage, Nono, Stockhausen, and the output of the GRM in Paris, with the subsequent aim of connecting a number of other institutions such as BEAST (Birmingham), CCRMA (Stanford), and EMS (Stockholm).
Marking the festival’s 30th year upon its release in 2012, the box set offers a massive, 17-part DVD rendering the first ever performance of Xenakis’ Bohor using Ina-GRM’s famed Acousmonium speaker array, beside a 75 minute Trevor Wishart suite entitled Encounters In The Republic of Heaven, and the video for Rolf Enström / Thomas Hellsing’s Fractal (1984), whilst the first CD includes the audio of the latter, plus highlights in Takehito Shimazu’s microscopically detailed Zytoplasma, and two Boguslaw Schaeffer pieces, including the remarkable Berlin 80 II, and the 3rd disc, a CD, is given to the diverse, percussive, noisy and poetic Elektroakustiche Musik of Argentina’s Ricardo Mandolini, which proves to be some of the most striking material in the set.
One of only two CDs to bear his name at the top, Edition RZ’s Michael Von Biel collection presents a hardcore haul from the nebulous 1960s avant garde, including one blinding, 13 minute piece of electronic composition commissioned from Von Biel by Karlheinz Stockhausen - his tutor at Darmstadt - which resulted in him repeatedly breaking the sliders on the desk during its creation! No messing, it’s worth it for that one alone - you won’t find it anywhere else! (just checked youtube and discogs) - but his patent taste for noisy dynamics and twist on convention elsewhere on the CD also make this a bit of a must, if you’re into that kind of thing.
“2004 release. Michael von Biel's musical production at the beginning of the 1960s was clearly marked by the expansion of the musical material. "Quartet No. 1" (1962) and even more, "Quartet No. 2" (1963) are noise compositions whose expressiveness rests essentially on the discovery of new sonic possibilities and performance techniques. Bowing with excessive pressure, playing behind the bridge, leading the bow in a diagonal direction, hitting the tip of the bow on the body of the instrument -- these are the techniques with which the sound of the strings enters into the realm of noise. Whereas in the first quartet, the areas of musical sound and instrumental noise are still largely set off against one another, in the second quartet, the concept of a music based solely on noise is realized without compromise. Both of the compositions Quartet with Accompaniment for string quartet and cello (1965) and "Jagdstück" ("Hunting Piece") for 2 trumpets, 2 trombones, 2 horns, 2 tenor tubas, contrabass, tape, e-guitars and electronically amplified barbecue grills (1966) are based on the contrast of divergent sound worlds. Before attending the composition courses of Karlheinz Stockhausen in Darmstadt for three years in a row starting in 1961, von Biel studied one year with Morton Feldman in New York where he met David Tudor and John Cage. Earlier than for most European composers, approaches in aesthetic thinking which couldn't have been more different from one another collided in his consciousness, and this occurred at a point in time when their music-historical consequence could not yet be foreseen.”
Vol.II of Edition RZ’s documentation for the Inventionen Festival which ran between 1982-2010. Following Vol. I, Horatio Radelescu’s String Quartet No.4, this volume collects nine pieces by Hildegard Westerkamp, Salvatore Sciarrino, John Cage, Sainkho Namtchylak, Joe Jones, Giacinto Scelsi, Masanori Fujita, John Driscoll.
Hildegard Westerkampf opens with a ten minute electro-acoustic study based on the sentence from Indian mystic Kirpal Sing, When there is no sound, hearing is alert, which she feathers out ionto Whisper Study (1975-79) from the festival’s 1986 edition. Salvatore Sciarrino’s Sciarrino: Codex Purpureus (1963-83) For String Trio follows in tense, quiet fashion from the 1994 festival.
John Cage’s super sparse Cage: Music For Piano 55-63 (1956) from the 1992 festival is an exercise in purposelessness, following structureless notation - “Nosies were crotchets without stems”. Sainkho Namtchylak’s haunting overtone singing and gong work in, Namatchylak: Roots And Vibrations (1994) comes next, from the 1994 edition of the festival.
Joe Jones Solar Orchestra (1982/90), is a binaural recording of the titular, solar and wind powered installation at work at the TU Berlin, 1990. John Cage’s Music For Piano 78-84 (1956), a piece dictated by the I-Ching, is performed by Herbert Henck and recorded at the 1992 festival.
Giacinto Scelsi’s Scelsi: From 20 Canti Del Capricorno (1962-72) (No. 1, No. 4) For Voice (And Additional Instruments) is written for and performed by japanese vocalist Michio Kirayama, including some remarkable extended technique trills and microtonal singing, recorded at the 1992 festival.
A strong highlight of the set is Fujita: From Jü-Jü-Shin (1986) For 15 Buddhist Monks, a complex 23 minute piece written 1200 years ago for the Shingon-Buddhist sect and recorded at the festival’s 1986 edition. John O’Driscoll’s kinetic sculptural sound installation A Hall Is All completes this volume.
Edition RZ present Hermann Scherchen’s “realization” of J.S. Bach’s late period chamber work, Musikalisches Opfer or Musical Offering, which was completed by Bach in 1747 and is here recorded under Scherchen’s direction in Berlin, 1949, some years after he returned to city, and before he quit the Berlin Broadcasting radio station due to rival cold war sides jamming their signals.
Apparently comparable to the famous Goldberg Variations and the Art of the Fugue compositions (which is lucky, ‘cos they’re the only Bach bits these ears are ((sorta)) familiar with), Musikalisches Opfer was written in dedication to Prussian King Frederik the Great, and also includes a fugue theme penned by the King, which Bach treated “according to all the rules of counterpart”.
Scherchen’s “realisation” - so called as the studied master of Bach’s compositions (some 20% of his recordings were Bach compositions) preferred the term over “interpretation”, which implied, for him, a reliance on emotional reading - is a studiously technical representation of the original work arranged for instruments that were available in Bach’s day: 2 violins, viola, violoncello, flute, oboe, English horn, (oboe d’amore ad lib.), bassoon and harpsichord.
The results are, or course, utterly timeless. Would sound great mixed with some Bassline or Monta Musica, though.
Strong debut album by one of China’s most distinctive new industrial/dance music producers, Tzusing, for L.I.E.S.; portraying the Shanghai-based artist’s full breadth of kinky darkroom rhythms and sleazy cinematic arrangements.
Under the title 東方不敗, meaning Invincible East, the record wraps an armoury of powerful percussion and native instrumentation around a narrative locus based on a swordsman character in a Jin Yong novel “who must make the ultimate sacrifice to attain knowledge and transform”. Coupled with the artist’s own observations on living in, and travelling around, Asia, it’s an urgent and gripping listen with a versatility and varied topography lending itself to DJ use and soundtracking industrial subterfuge alike.
日出東方 唯我不敗 starts out like ’05 sino grime or dubstep from a parallel dimension; Digital Properties trades in secretive choral code at a killer New Beta momentum which decelerates into the the wind-tunnel chug and pealing cyber-tribal chant of Esther.
His signature triplets last heard on A Name Out Of Place wickedly come into play against sheer electric blue synth tone in King Of Hosts; we’re put thru an intense, Americanised club drill in Post-Soviet Models; and Torque Pulsations both literally and physically lives up to its name with a belly and spine-twysting EBM tattoo.
Nonesuch presents the début release of two major new Steve Reich works; Pulse , performed by the International Contemporary Ensemble, and Quartet  played by the Colin Currie Group, who both, respectively, gave the world premiere performances of these pieces.
“Reich says, “Pulse, for winds, strings, piano and electric bass, was completed in 2015 and was, in part, a reaction to Quartet, in which I changed keys more frequently than in any previous work. In Pulse I felt the need to stay put harmonically and spin out smoother wind and string melodic lines in canon over a constant pulse in the electric bass and or piano. From time to time this constant pulse is accented differently through changing hand alternation patterns on the piano. All in all, a calmer more contemplative piece.”
He continues, “Quartet, when mentioned in the context of concert music, is generally assumed to mean string quartet. In my case, the quartet that has played a central role in many of my pieces (besides the string quartet) is that of two pianos and two percussion. It appears like that or in expanded form with more pianos or more percussion in The Desert Music; Sextet; Three Movements; The Four Sections; The Cave; Dance Patterns; Three Tales; You Are (Variations); Variations For Vibes, Pianos and Strings; Daniel Variations; Double Sextet; and Radio Rewrite. In Quartet, there is just this group alone: two vibes and two pianos.
“The piece is one of the more complex I have composed. It frequently changes key and often breaks off continuity to pause or take up new material. Though the parts are not unduly difficult, it calls for a high level of ensemble virtuosity. The form is one familiar throughout history: fast, slow, fast, played without pause. The slow movement introduces harmonies not usually found in my music.”
Marking 20 years of Prurient and Hospital Productions’ concurrent paths, the epic 3 hr 20 minutes of Rainbow Mirror inarguably ranks among Prurient’s most compelling statements. While still the blood child of Dominick Fernow, the album’s massive scope demanded more hands on board, with Jim Mroz (Lussuria) and Matt Folden (Dual Action) lending their expertise before post-production by Shifted and mastering by Paul Corley cemented this towering work of Doom Electronics for the ages.
Offered up as ‘a portrait in perpetual tension’, and housed in cover art created as the first collage in the pre-recording era of Prurient, Rainbow Mirror draws on the project’s roots in order to locate itself in the modern day. What it finds in the process is that little has changed since Prurient and Hospital Productions’ conception in ’97 - the world is still a torrid, evil mess beyond control, and one that needs notions like Prurient to try and define its heaving mass more than ever.
Like Frozen Niagara Falls before it, echoes of the old world riddle the long, stark corridors of Rainbow Mirror, too. But here those echoes are more fragmented, distant and entropically obfuscated, emulating the effect of trying to find your own image in a hall of mirrors, or locating yourself drowning amid the clamour of more than 3 billion other people online, all saying the same, mundane shit at the same time.
With a length and intensity proportionately reflective of the world’s increasing socio-political tension and rate of homogeneity, Rainbow Mirror holds firm as a space to immolate the senses in preparation for the ever nearing eschaton.
Mule Musiq push off a promising new reissue label, Studio Mule, with 13-tracks of Japanese disco, boogie and soul music collected on Midnight In Tokyo. Compiled by Toshiya Kawasaki. Mastered by Kuniyuki Takahashi.
"At mule musiq, we've focused on shining light on the many aspects of what electronic music can be, putting out house, techno and ambient releases on our main label, while releasing alternative-leaning dance music through our endless flight imprint. but with the launch of our new label, studio mule, we are stepping away from electronic club music for a bit. the label will not be tied to a specific genre, as we will instead focus on releasing any kind of music that we feel is a little bit different and interesting, but somehow make sense in this day and age. for our first batch of releases, we will be focusing on japanese music.
To be honest, i have been watching the recent rise of global interest in japanese musicwith a skeptical eye, not sure of how to feel about all these labels overseas licensing great albums that were birthed in our country. but then, i was told by somebody i greatly respect that i should do something similar with mule, and put our own spin on it, which sounded like a good idea to me. after a period of procrastination, i finally got around to doing it. we are starting things off with a compilation of japanese disco, boogie and soul music that we selected from a modern dance music perspective - the kind of songs that we feel would intrigue music fans across the world.
The compilation starts off with the Afro disco classic "Mi Mi Africa" by harmonica player Nobuo Yagi. "Silver Spot" is a jazzy fusion disco track taken from composer, arranger, and multi-instrumentalist Nobuyuki Shimizu's first album (1980), released when he was 19. The track features singer Epo. "Samba Night" is by vocalist Keisuke Yamamoto and his band Piper, from their masterpiece second album Summer Breeze (1983) -- a delightful city pop number for fans of Tatsuro Yamashita. "Akogareno Sundown" is a Japanese soul classic, sung by singer Haruko Kuwana (sister of Masahiro Kuwana). Produced by Mackey Feary Band, known for the soulful classic "A Million Stars". "Koiwa Saiko (I'm In Love)" is a mellow and groovy track by singer Aru Takamura, the great-grandchild of sculptor Kouun Takamura. It can be thought of as Japan's answer to Cheryl Lynn's "Got To Be Real". "What The Magic Is To Try" is a cult electropop track by Honma Express, a project helmed by producer Kanji Honma. Hailed as Japan's Trevor Horn, he is also known as the producer of legendary techno pop band TPO.
"Colored Music" is a song by Colored Music, a duo of pianist Ichiko Hashimoto and her partner Atsuo Fujimoto. Taken from their sole album (1981), the Japanese rare groove treasure is a mesh of new wave, synth pop, and jazz influences. The dubby electronic new wave disco "Electric City" is a B side of pop idol group Shohjo-Tai & Red Bus St Project's debut 12" single. "Love Is The Competition" is a breezy disco jam by Okinawa-born bilingual artist Hitomi Tohyama, originally featured on her album Next Door (1983). Taken from Mariah project's diva Yumi Murata's first album (1979), "Krishna" is a funky and soulful rockin' disco cut. Reminiscent of Chaka Khan's "I Know You, I Live You", "Live Hard, Live Free" is a song by jazz vocalist Eri Ohno who is known for her work with DJ Krush. "Rocket 88" is a melancholic disco number by singer Minnie originally released through Sapporo's independent label Paradise Records. Closing out the 13-track compilation is Japanese disco staple "Tokyo Melody", sung by Shoody and backed by Tetsuji Hayashi's disco band the Eastern Gang.”
Johnny Jewel ov Chromatics returns with the picture postcard-perfect scenes of Digital Rain, his first new album proper since Windswept , which included his work for the recent Twin Peaks: The Return soundtrack.
In the most classic sense, Johnny evokes his themes with beautiful subtlety and clarity throughout the entirely instrumental suite of Digital Rain, using filigree synthesis and a rarely paralleled feel for narrative to convey the sensation of rain on skin or hail on a roof, precisely evoking all the feelings of nostalgia you’d arguably associate with electronic music’s cinematic representations of rain, romance, and enigmatic intrigue.
It’s an ideal album for creating your own movie on the fly, acting as a sort of soundtrack to your life, likely to turn late night drives for a pint of milk into the most dramatic scenarios, or maybe turn your next commute into a Love on a Real Train (Risky Business) situation. Might want to be careful with that 2nd one, though.
One for the lovers.
Detroit dynamo Jeff Mills expands his soundtrack repertoire with the score for And Then There Was Light, a Japanese thriller based on Shion Miura’s novel, Hikari.
Perhaps an unexpected turn from the techno overlord, the results are arguably more palatable than his orchestral suites, and clearly demonstrate his composerly ability to match electronic music with a range of moods, emotions.
For us, the best parts play to his strengths, as with the dextrous rhythm programming and spatial detailing of The Bond of Death, the lilting rhythmelodic cadence of The Little Ones. But there are also some surprising moments in the noisy chaos of The Players Of Consequence and Lost Winners, which give way to a storming appearance of his techno classic Hypnotist in the final climax.
‘Brasil’ was recorded in Rio de Janeiro in 1994 with a host of legendary Brazilian musicians including Sivuca, Raul de Souza and singer Joyce Moreno and has remained one of the key defining early releases from the Soul Jazz record label. Out-of-print for over 20 years, the album has now been fully digitally re-mastered for this new 2018 edition.
"The album was recorded at the height of the first wave of interest in Brazilian music in London in the 1990s. Joyce and a group led by husband, drummer Tutty Moreno, had just been Davis (and future head of Far Out Records) to perform in front f over 2,000 new young fans. Singer-songwriter Joyce had been a living legend in her native Brazil ever since the Bossa Nova movement of the 1960s and had made her first record when she was just 20 and she was described by Antonio Carlos Jobim as “one of the greatest singers of all time.”
Joyce Moreno agreed to be involved in the project to record an album in Brazil produced with a UK sensibility and Tutty Moreno’s group signed up as the house band for the project. Stuart Baker (founder of Soul Jazz Records) and Joe Davis then flew to Rio de Janeiro, searching out studios and rehearsal spaces.
During this time in Brazil more artists signed up for the project, including legendary figureheads of the Brazilian music Sivuca (who brought his own group) and trombonist Raul de Souza. Other key figures included singer / guitarist Celia Vaz, who worked extensively as arranger with the legendary Quarteto Em Cy and drummer Dom Um Romao; Wanda Sá, who played in Sergio Mendes’ original seminal bossa nova group Brasil 65 (during which time she married the artist Edu Lobo) and legendary saxophone / flautist Teco Cardoso, whose bio reads like a who’s who of Brazilian music and includes work with Edu Lobo, Dori Caymmi, Baden Powell, Joao Donato, Carlos Lyra and others.
The final piece to this Brazilian jigsaw was the addition of percussionist Pirulito, whose magically create the massive sound of Rio’s Samba Schools live inside the studio. The album was recorded over one hot summer, mixed in London and then released at the end of 1994.
Over 20 years on and Soul Jazz Records’ ‘Brasil’ album manages to capture both an important cross-cultural musical moment in time between Brazil and London while at the same time sounding as fresh as if it was recorded today. Following the original success of this album Soul Jazz Records’ continued its love affair with Brazil and went on to release a host of Brazilian albums including classics such as ‘Tropicalia’, ‘Brazil 70’, ‘Bossa Nova’, a Bossa Nova cover art deluxe book with Gilles Peterson and releases by Sergio Mendes, Baden Powell, Edu Lobo and more."
Warp original, George Evelyn aka Nightmares On Wax, brings up the label’s Yorkshire roots with his 8th LP Shape The Future. Currently stationed in Ibiza, the sunniest corner of Yorkshire, N.O.W. hells as close as ever to his roots in soul, hip hop and dub with a lush downbeat suite riddled by his subtle but delightful production tics and signature, “Eaze-y” vibe.
Again, N.O.W. proves himself something of a J Dilla or King Britt of UK downbeats - ok let’s just call it trip hop - with a timeless, gently offbeat style of his own, equally adept at bringing in live players as he is chopping out patterns on the sampler and blooming them to life the studio.
You can trust it’s all laid-back as usual on this one, but if you’re looking for highlights keep ‘em pealed for the deliciously slompy beat and soul aura on Tell My Vision featuring Andrew Ashong, or likewise for the dusky string orchestration and swaggering groove of Shape The Future at the LP’s core; an excellent a cappella aside, entitled and presumably starring Tenor Fly; and the Francis Bebey-like Afrobeat-electronic charms of Gotta Smile.
DAF’s Conny Plank-produced 5th LP, Für Immer is the darker, stripped down follow-up to their better known early sides, Alles Ist Gut and Gold Und Liebe.
Like those LPs, it probes a fine, ambiguous line along fascistic imagery and lyrics with tracks such Kebab Träume reflecting on Germany’s relationships with Turkish immigrants, and EBM obsessions with health and beauty manifest in the title of Die Götter Sind Weiß. It’s possibly hard to think of how an act could deal with these topics in the modern day without an avalanche of social media pain.
Things were different back then, though. Or were they? Either way, check out the likes of Im Dschungel der Liebe or Verlieb Dich in mich for some proper danefloor rockets.
Beats In Space pull together volumes I + II of Palmbomen II’s Memories of Cindy together with 11 new cuts from he 4LP boxset, completing a deeply dreamy session of knackered house and gauzy synth-pop among the most defibntivie this scene has turned out.
Operating inside a now-crowded prism, Palmbomen II’s sound still sticks out from the milieu by dint of his sensitivity to textured grooves and a hazy lense of mixing trickery which frames a deeply nostalgic and melodic new age soul at its core.
Palmbomen II’s sound is displayed in all its low-key glory here, bubbling up with subliminally effective grip in the metallic acid tweaks and haunting female vocal of pyrotechnomarco and the gorgeous ethereal hymn, Forever Afsluitdijk, before giving the ‘floor something to bump with in the raggedly dubbed proto-house chops of IAO Industries, and then turning to Troma-style romance themes with Transportzone Meer, and hugging the tape tightly with his frayed, synthy slow jam Dancing & Crying.
It only gets lusher, bittersweeter in the new-to-our-ears 2nd half, which was previously only available in a limited edition 4LP boxset. From the curdled acid dream house squirm of Ultimate Lovestrory Fantasy thru the exquisite choral percolations of Wilco’s Funeral to the rugged rub ’n tug of Disappointment Island and Teresa Winter-esque coos in Cyber Tears and John Hughes movie soundtrack cues of Can It Be this new batch only serve to cement Palmbomen II’s status, right up there with Hype Williams, 1991, lueke, BoC.
On his 7th studio LP, Nils Frahm shows off the results of recording in his new, bespoke studio, based in the legendary Funkhaus on the bank of the Spree in East Berlin. Frahm’s signature, melancholic solo piano works share space with runs into 4th World soundscaping, illusive rhythms played on organs-as-drum machines, and gingerly crafted posh tech house minimalism.
“Since the day Nils first encountered the impressive studio of a family friend, he had envisioned to create one of his own at such a large scale. Fast forward to the present day and Nils is now the proud host of Saal 3, part of the historical 1950s East German Funkhaus building beside the River Spree. It is here where he has spent most of his time deconstructing and reconstructing the entire space from the cabling and electricity to the woodwork, before moving on to the finer elements; building a pipe organ and creating a mixing desk all from scratch with the help of his friends. This is somewhere music can be nurtured and not neglected, and where he can somewhat fulfil his pursuit of presenting music to the world as close to his imagination as possible.
His previous albums have often been accompanied with a story, such as Felt (2011) where he placed felt upon the hammers of the piano out of courtesy to his neighbours when recording late at night in his old bedroom studio, and the following album Screws (2012) when injuring his thumb forced him to play with only nine fingers. His new album is born out of the freedom that his new environment provided, allowing Nils to explore without any restrictions and to keep it All about the Melody.
Despite being confined within the majestic four walls of the Funkhaus, buried deep in its reverb chambers, or in an old dry well in Mallorca, All Melody is, in fact, proof that music is limitless, timeless, and reflects that of Nils’ own capabilities. From a boy’s dream to resetting the parameters of music itself.
Words from Nils, October 2017:
“In the process of completion, any album not only reveals what it has become but, maybe more importantly, what it hasn’t become. All Melody was imagined to be so many things over time and it has been a whole lot, but never exactly what I planned it to be. I wanted to hear beautiful drums, drums I’ve never seen or heard before, accompanied by human voices, girls, and boys. They would sing a song from this very world and it would sound like it was from a different space. I heard a synthesiser which sounds like a harmonium playing the All Melody, melting together with a line of a harmonium sounding like a synthesiser. My pipe organ would turn into a drum machine, while my drum machine would sound like an orchestra of breathy flutes. I would turn my piano into my very voice, and any voice into a ringing string. The music I hear inside me will never end up on a record, as it seems I can only play it for myself. This record includes what I think sticks out and describes my recent musical discoveries in the best possible way I could imagine.”