Addendum to Italo hero Fred Ventura’s ‘Future Unknown: The Lost House Trax 1988-1992’ album, packing Alessandro Adriani’s extended edit of ‘Technologies’ plus four exclusives edging on New Beat and acid house
Adriani’s sleek arps and lip-smacking pads in the edit make for a big highlight, while there’s also a spot of Kraftwerk-esque New Beat electro in ‘Afraid To Dance’, plus the chunky jack of ‘Looking For The Western Beat (Year Zero Mix)’, the smooth dream house purr of ‘The Endless Journey’, and the wistful electro wiggle of ‘Lost Memories.’
Silent Servant injects Alessandro Adriani’s ‘Fuoco’ with potent EBM Funk
Mannequin boss Adriani unfurls an extended mix of his murky EBM trek across the front, riddled with virulent, searching arps and pinned into place by hard working snares.
But the real gear is in the remix by EBM expert Silent Servant, who adds cracking snare reinforcements, retuned arps and shearing metallic noise to the mix with a more strapping, stroppy effect for the muscle Marys and pencil-necked geeks with slick-down side partings.
L.I.E.S bossman Ron Morelli returns with his fourth solo album and a shift of emphasis away from greyscale industrial to more introspective landscapes investigating atavistic ambient themes - highly recommended if yr into Tod Dockstader, Laurie Spiegel, Chris Marker’s ‘La Jetée’ and Jeff Mills’ recent astral excursions.
For the first time on record, Morelli more or less completely mutes his drum channels and allows his sounds to freely float in imagined air. In the process he crisply reveals a latent, introspective side to his music that’s been occluded by noise in his clutch of grubby sores issued by Hospital Productions since 2013 - back when he changed his address from Brooklyn, NYC to the heart of the Parisian electronic music scene. As such the 8 bony diffusions of ‘Man Walks The Earth’ mark distance travelled from the gobs of 2013’s ‘Spit’, documenting a change of mindset from grizzled and paranoid to a more soberly contemplative and drily poetic expression of self.
Composed during 2015-2018, the 8 liminal zones of ‘Man Walks the Earth’ see Morelli switch out immediacy and brashness for a more considered longview of electronic music. In key with his previous work it’s a smart regression of sorts, but this time reaching back beyond industrial music to a primordial sound recalling Tod Dockstader dabbling at the GRM in ‘A Long Walk At Night’, or Laurie Spiegel glimpsing unseen worlds in ’Stone Tools’, while album opener ‘Fear Upon Seeing His Reflection In The Lake’ hearkens back to Delia Derbyshire and Daphne Oram’s etheric, Radiophonic abstractions, and the parting beauty ‘The Sun Beats Stronger As Each Day Passes’ recalls the enigmatic appeal of Chris Marker’s sci-fi soundtrack for ‘La Jetée’ as much as Jeff Mills’ recent astral excursions.
Following Collapsing Market’s archival issue of Iranian classical music, iridescent electronics by Ssaliva, and the amorphous environments of Metta World Peace’s ‘Zanclean’, Morelli’s new album presents a compelling perspective on the binds between socio-economics and cultural aesthetics that’s reflected in the LP’s sleeve art, Morelli’s own photo taken from the 86th floor of One World Trade Center, New York, detached and reframed by Ethan Assouline, characterising the basic human will to rebuild, only to destroy again.
Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.
"The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.
The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.
Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.
With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day."
Frisky, deep, rolling house trax from NYC on the label wing of skateboard mag, Jenkem
Working somewhere between styles we’d associate with the White Material label or The Bunker NYC, Acemo and Moma Ready ov the Haus of ALTR family team up as AceMoMa for the first time, working up the cantering house grooves ‘Nothing Crazy’ and ‘Ethereal Shopping’ alongside deep dives into ‘90s style jungle with their Rezzett-esque ‘Lucky Number 12’, and the air-stepping ‘Soul Deep Management.’
Rare Japanese electronic gem released for the first time ever on vinyl.
"Originally released in 2003 and conceived by Sora aka Takeshi Kurosawa. Re.sort is a miracle of Japanese electronica. Widely unknown but very necessary. Fragments and textures playfully flirt with each other, bossa nova and jazz records float in the air, an old phonograph sits by the sea. Leftfield that feels like a home away, where joyful nothings are everything. Sweet minimalism and micro melodies. Sora means sky. Let's drift."