Komodo Kolektif return with the follow-up to their 2017 EP “Sumantras”.
"With “Sundada” we see the group delve even deeper into hypnotic territory with an even stronger focus on their Indonesian gamelan instruments, wall-shaking basslines and trance-inducing percussion. A dual focus on tribal primitivism in parallel with a futuristic vision of the possibilities provided by their vast arsenal of electronic gear and processors, the overall outcome has produced something beyond 'world music' that is positively ritualistic.
Again aided by veteran Seattle-born multi-instrumentalist Jon Keliehor (James Brown, The Doors, Peter Murphy/Bauhaus, The Daily Flash, Emotional Response, Optimo Music) on suling (Indonesian flute) and percussion, Komodo Kolektif seem to have explored even more meditative and profoundly esoteric avenues than they did with “Sumantras”.
Much of the material is a refinement and distillation of what has been featured in their live shows for almost a year and a half and which has been met with rapturous applause at the likes of Convenanza festival in France to Sonic Cathedral & Ulrich Schnauss' Ambience Chasers in London.
Other pieces are the result of improvisations; experimenting with the Indonesian sarons, gendèrs and kempul at their disposal (courtesy of Gamelan Naga Mas of which two of the group are long term members) to create new patterns that resonate to both eastern and western ears.
Komodo Kolektif have received praise and plays from Hardy Fox (The Residents), JD Twitch (Optimo), Andrew Weatherall, Peter Power (Multi Culti / Voodoohop) and many more."
Melody As Truth’s Jonny Nash and Suzanne Kraft make time feel precious, sublime yet impending with the slow urgency of their 2nd outing as MATstudio.
Aside from the pair’s more polished productions, both solo and in collaboration, their MATstudio output reveals more steeply psychedelic and abstract space between the notes of Nash & Kraft’s respective, mutually admiring styles. Across the two pieces it feels as though we’re hovering somewhere in the studio during the session, or even pulled into the slipstream of their FX contrails and gently toyed with, like a cat with a piece of fluff in weightless space.
“MATstudio was born out of the working processes of our Amsterdam studio. Many hours are spent here experimenting with new methods, tools and ideas. This process allows us to continue developing our interests in merging multiple production techniques to create a personal language.
MATstudio works are collages of improvisations, experiments and accidents. Many of the fragments are the results of filtering our ideas through new production techniques and tools. Some feature friends and collaborators. MATstudio works are an ode to the infinite possibilities that result in keeping a curious mind and a desire to learn.”
One to watch, Amsterdam’s upsammy jumps back on Die Orakel with four writhing examples of her mutant electro style
The whirring mechanics and dreamy pads of ’A Walk In Twilight’ easily ranks among the most original new electro workouts we’ve heard from the recent wave; ‘Bronze Goddess’ feels outs a quasi-speed, subaquatic electro zones; ‘’Shaky Limbs’ slides into space between early Laurel Halo and Batu; and ‘Branches On Ice’ pushes the meter up to get freaky with acidic Dolphin squeals and splashy electro-techno hydraulics in a distinctive style upsammy can safely call her own.
Clay Rendering return with up a majestically gothic trip to the west with 2nd LP ‘California Black Vows’ channelling ‘90s grunge, shoegaze and stoner rock in their unique style...
"California Black Vows' chronicles the groups’ move away from the comfort zone straight into the dark heart of the west. Since their last album, the band relocated from the suburbs of the Midwest to the sinister shine of Los Angeles. The cover’s icicle is the last remnant of their time in familiar surroundings. More change was to follow. A duo for most of its existence, Clay Rendering’s core of Mike and Tara Connelly chose to invite two allies into their closed circle. The enlisted are Sera Timms of Black Mare on bass and Joe Potts of Sollilja on drums.
“California Black Vows” is the follow up to 2015’s “Snowthorn,” also on Hospital Productions. The warning bell sounded with their inclusion on Vatican Shadow’s Berghain mix, released this past March. A couple of EPs surfaced since the the last full length, but the band has spent most of that time molding the new 4 piece incarnation from the ground up and discovering the sounds and directions that new blood brings, while also acclimating to their new surreal setting. The result is a dimly lit journey into the wild nightside, where nothing is for sure. Where everything is tantalizing. Where Peg Entwistle appears thru a distant haze. Where the small hours creep by, never to return. Masks are off. A hypnotic trek into the center of Clay Rendering’s unique brand of gloom rock commences.
The album reveals itself slowly for the first minutes of “Blood Into Wine”, until the refrain opens wide and dives headlong into the deep. It’s a statement of intent. Whatever happens after this, we are in it together. From there, things rev up with uncertainty and a nervous edge. “Another Roll of the Iron Dice”...whose number is up? Tara takes on more vocals than previous records, haunting the nocturnal ocean with “Once in the Well,” “Black Vows” and “Take Hold.” Strangers come and go and dance and die in “We Wait.” Questions remain unanswered in “Don’t Understand You.”
With Dylan Neal (Thief) on production duties, Clay Rendering have delivered their fullest and most fleshed out album to date. The immediacy of the recording gives the feel that these songs are taking shape as you hear them. Guitars melt over the keyboards and synths throughout the proceedings. The record is filled with a noir life force that transitions back and forth from desperate wails to moonlit hymns. The vocals are clearer and more direct than ever, letting you know exactly where Clay Rendering stand. The bass provides the heartbeat of the mission. The drums ensure everything lands in its place. Insomnia, frantic flailing, body language, staring into the forced and artificial landscape, finding solace among the chaotic foliage...all these things play a role. The comfort has been shed. Foreboding stars in the western lands bring out the strangest parts in us all. “California Black Vows” is the howling cry to let those parts show their teeth and the soothing voice to let you know it will all be over in the morning.”
Seth Troxler & Phil Moffa’s sci-fi storytelling project fully spreads its wings on the full LP canvas of ‘Lost Souls of Saturn’, their debut album for R&S following a string of 12”s since 2017
“R&S present the eponymous, debut, full length album transmission from Lost Souls Of Saturn. Epic in scope, time and space, this multidimensional mind trip is for fans of Mark Leckey’s ‘Fiorucci Made Me Hardcore’, David Morales’ Red Zone dubs, Don Cherry’s ‘Organic Music Society’, The Orb’s ‘Ultraworld’ and KLF’s ‘Space’ and much more besides.
This ambient house masterpiece combines flavours gathered from across the galaxy, stewing them up into a delicious primordial soup. Old sci-fi soundtracks, acid, free jazz, avant garde, musique concrete, world music and more all whirl around an underground-dance-music axis.”
Air Max ’97 diversifies his bonds in collaboration with LOFT and TSVI on two tracks in the follow-up to his ‘Nacre’ album
Gwan dolo, the Aussie producer dives headlong into the sticky wormhole of ‘Turgor’ with its wild jazzy drum shrapnel and hyper-cubist bass shifts, while ‘Falling Not Walking’ reprises that jazziness within a sorta warped dubstep framework.
However, the best dancefloor tackle is in the collaborations. On ‘Paroxysm’ he teams with TSVI for a taut, swaggering spin on neuro D&B tropes, then on a reticulated, hyper jungle flex in tandem with LOFT on the fractious zinger ‘Xhrinicibles’ in a way recalling the needle-point programming of Rockwell’s ‘Reverse Engineering’.
Precision tooled melodic IDM/electronica from Ochre with a reissue of a Toytronic LP from 2004.
"The third release is from Christopher Scott Leary, who over the last two decades has produced a plethora of material under his pseudonym, Ochre. 2019 marks 15 years since the original release of “A Midsummer Nice Dream” in 2004; on British label Toytronic, which pushed Leary to the forefront of the experimental electronic music sphere. To celebrate the release’s fifteenth anniversary, Lapsus Records will reissue a special collector’s edition of this IDM classic in the form of a double tri-colour vinyl release, remastered by John McCaig (panicStudios). It will also include a full-colour print of the new artwork, redesigned by Portland (Oregon) illustrator Nathaniel Reeves, who has worked alongside Ochre for over ten years.
This special deluxe reissue entitled “A Midsummer Nice Dream (15th Anniversary Edition)”, features unreleased material from the same period and includes three bonus tracks on its vinyl version, six on its digital version, making it a truly unique release. It therefore offers a golden opportunity to rediscover an album that navigates through several genre domains such as ambient, IDM and experimental electronica in its purest form, stylistically reminiscent of the likes of Autechre, conveying a sound considerably ahead of its time. In its entirety “A Midsummer Nice Dream” is undoubtedly one of the most remarkable electronica glitch albums to be released in the 2000s, when the genre experienced its zenith, largely thanks to the advent of significant breakthroughs in digital production tools.”
L.A.’s mndsgn yields a hypnagogic hip hop doozy on Stones Throw, making strong nods to J Dilla at his loosest with 14 ’Snaxx’ that satiate any listeners’ taste for woozy and red-eyed downbeats
““I think of all the posthumous Dilla leaks, and how I’ve always been just as, if not more inspired by the stuff that was never supposed to come out. Albums should be proper meals, but every now and then a snack can really hold you over.”
Album cycles come around about once every two years, but Mndsgn, aka Ringgo Ancheta, is constantly making music. He wanted to do justice to his prolific creativity, so rather than let unreleased tracks wither and die on his hard drive, he decided to put out two records ahead of his next studio album, and the concept of Snax was born.
Snaxx (2 ‘x’s) follows with beat-heavy production including favorites from his hybrid live/DJ shows like “Deviled Eggs” making an appearance. On his Boiler Room TV show Breakfast with Ringgo, he welcomed artists like Anderson .Paak, Knxwledge, Swarvy and Ahnnu to jam and/or converse in his studio. Snaxx has a similar vibe of having friends come visit, an atmosphere Ringgo compares to inviting friends round for dinner and providing “something to chomp on” while preparing the meal. A few of those friends include close collaborators, Pink Siifu and Jon Bap.
Though Mndsgn’s sound always has one foot in the world of hip-hop, it never sticks with a single genre. His 2014 debut Yawn Zen’s dreamy atmospheres and languid beats felt ambient, even psychedelic, and 2016’s Body Wash took a different approach entirely, repurposing influences from 1970s and 1980s boogie and R&B into a conceptual, cosmic epic.”
Dark garage and dubstep skippers from Etch and north London MC, Nico Lindsay, also introducing Tranq Sinatra
Up top ’Don’t Wanna Know’ goes on dark and shadowy like an El-B rhythm with an early grime-style sing-song vocal, whereas ‘Predator vs Prey (Toxin)’ leans back on a gully sort of halfstep dubstep/grime lurch with Nico Lindsay’s delivery recalling Trim. On ‘Photosynthesis’ Zak Brashill aka Etch tags in Joe Naitsri aka Tranq Sinatra on a tight, triplet-metered garage/grime swing.
Knox-Om-Pax lets the light into his cavernous spaces with a light-footed album influenced by Berlin techno and L.A. sunshine and featuring cameos by Silvia Kastel and Nightwave
“On ‘Ways Of Seeing’ Konx-om-Pax has switched up the mood and hit gold. He has made an album that is filled with joy and sunshine, saturated with the classic feel of Berlin Techno. Tom Scholefield has moved on from the dark ambient and brittle rave of the first two Konx-om-Pax albums, which were a reflection of his hometown Glasgow's electronic music scenes. After a recent move to Berlin, the textures of Glasgow's musical strains have fused into an accessible and friendly mix of poppy melodic electronica built from a stricter 'less is more' sound pallete, closer in spirit to the music of his adopted city. It is also a record which was made in opposition to recent music he has been hearing, in particular the troubled, dark and noisy experimental music coming out of Berlin. Tom wanted to focus on more joyful qualities, making this a record imbued with warmth and happiness, a panacea to the darkness and disorientation all around in 2019.
Having a social scene full of producers has also influenced the album. The opening track 'LA Melody' came from staying with Ross Birchard (Hudson Mohawke) at his house in LA, hanging out in the glorious sunshine with him and Lunice working on tracks. "Initially Ross asked me to write some melodies to use in a project he was producing, but I ended up liking it so much I decided to keep the riff. I generally write music alone, but being around other producers gave me a certain excited energy that reminded me of after-parties back in Glasgow where Ross and myself spent our youth together. Spending time in Clark's studio also helped me improve my workflow and sequencing the album by seeing the way he does things". On 'Säule Acid' he collaborates with Silvia Kastel and in 'I’m For Real' the vocals of Glaswegian DJ/producer Nightwave filter around the track.
Stripped away to just the good bits, 'Ways Of Seeing' is a pleasure to listen to.”
Frank Timm’s 2016 collection of cut-up disco killers is now available to download officially
With his early 2019 debut album ‘Love Remedy’ still burning brightly, ‘Sound Sampler Vol.2’ is another fine reminder of Frank Timm’s dancefloor genius, jacking your body between the grungy acid disco of ‘Track 440’ in his Soundstudio guise, the staggered and filtered disco loops of ‘What You Feel’ under his Soundhack alias, and the percolated Chi-house doozy of ‘Relief (demo)’ under his Soundstore moniker.
Widely praised saxophonist/producer Ben Vince channels classic No wave, post-punk and jazz in the follow-up to his acclaimed ‘Assimilation’ album and hook-up with Joy O. Features guest input from Jacob Samuel, Kenta Sekine, Rupert Clevaux, Bianca Scout ++
“Following on from last year’s rapturously received Assimilation, London-based saxophonist, improviser and producer Ben Vince returns with Don't Give Your Life. Over the last few years, Vince’s solo saxophone and electronics performances, along with his work in the clattering post-punk troupe, Housewives, have helped him quickly establish a considerable reputation among those in the know.
Where his first releases under his name honed in on his meditatively layered and looped saxophone lines – placing him in a lineage beginning with the Time Lag Accumulator works of Terry Riley and stretching into the icy expanses of John Surman’s 1980s recordings and the hypnotic riffing of Gilbert Artman’s Urban Sax – Assimilation saw Vince branching out to work with high-profile collaborators such as Micachu and demonstrating his deep love of the outer reaches of club music (also evident on last year’s collaborative 12” with UK bass music bigwig Joy Orbison).
Don't Give Your Life is the strongest work yet from an artist whose work demonstrates a risk-taking, omnivorous appetite for the new while also digging deeper and deeper into a unique sonic sensibility.”
Errorsmith, Kyoka, Renick Bell, Nene H, Dylan Henner and more remix Eomac to bits
With the frantic original ‘Transmutation, Redemption, Forgiveness’, Errorsmith extracts and tightens up the groove with teetering, stilettoed kicks while emphasising the vowels of the vocal in wildly daft style. It’s one of the big highlights along with Renick Bell’s hyper-angular algorithmic decimation of ‘Lower Your Gaze’, Okkre’s gnashing hardcore techno ‘rush RISE’ remix, and Eomac’s own, pendulous VIP of ‘Being, Not Object’.
Youngsta’s dubstep stronghold displays heavy wares from across the scene, ranging from Drill-influenced styles to cold halfstep
If we’re playing favourites, Nomine is right up there with the tightly sprung ‘Judas’, and Taso smacks it with the icy drill hybrid of ‘Air’d Out’, and Youngsta brings a deadly swagger to ‘The Last Judgement.’
As Chocolate Hills, ambient elders Alex Patterson (The Orb) and Paul Conboy (Metamono) play up to a fluffy conception of olde English atmospheric music
Still dreaming of gently bucolic electronic utopias while the England of younger generations slips into droog-like ultra violence and numbing torpor, it’s perhaps a blessing that they still have enough residual MDMA in their system from the early ‘90s to keep their vision sparkling and positive.
Over the two sides of ‘A Pail of Air’ Patterson and Conboy use samples of English voices to lend a perceived elegance and humour to their music that might go amiss by some. The results are a milky boomers’ dream sequence of sonic head rubs and pats on the back, connoting a sort of keep calm and carry on vibe.
A Lovely Music touchstone, ‘Trust In Rock’ is what happened when the ‘70s West Coast experimental avant-garde made rock music. Now issued for the first time, this is a proper piece of history that would come to inform Lovely Music’s earliest releases...
“Trust in Rock documents the last evening of an epic concert series held at Berkeley’s University Art Museum in November 1976, featuring an all-star ensemble of the Bay Area’s most unclassifiable musicians performing works by “Blue” Gene Tyranny and Peter Gordon. Tyranny’s cycle “No Job, No Warm, No Nothing” contains songs “concerned with influence, trust, self-reliance, and having to re-do what is true for you;” three songs by Gordon, with lyrics by Kathy Acker, are complimented by two earlier instrumental works. Their combined band crossed styles and institutions and time, and was assembled from the effervescence of the Bay Area scene in the 1970s. It included Gordon on saxes and the RMI Synthesizer; Tyranny on the piano; local video-performance artist Patrice Manget on vocals; Carl Young on saxes; composer-performer-guitarist Paul Dresher, who played in Tyranny’s band Edge of the Road along with percussionist Gene Reffkin; Steve Bartek of the Mystic Knights of Oingo Boingo on bass; and Mills College student Janet Cuniberti on the funky Clavinet and RMI Synth. Though some of the works on Trust in Rock also appear on Gordon’s Star Jaws and Tyranny’s Out of the Blue, many others are available here for the first time. Trust in Rock contains nearly two hours of what Ear magazine called “NEW MUSIC FOR ROCK BAND.”
Except: by 1976, the idea of a capitalized “New Music” had increasingly lost its punch for Tyranny and Gordon. Rock and Roll, likewise, was nearing an apparent generational expiration. The way out of this impasse was trust in rock, which was both description and command. Rock, for this all-star cast of Bay Area heads, became a perpetual revolution that could be serious, playful, polemic, focused, technical, and lovely. And you can hear it in the music: Tyranny’s songs swing from intimate and profound to blissful and joyous, with solos on saxophone, piano, synthesizer, and electric guitar over interlocking rhythmic and melodic cells; an ecstatic performance of Gordon’s “Machomusic” gives a single pitch the real Rock’n’Roll treatment; and Acker’s lyrics on “God’s a Man,” “When Baby Gets Wet,” and “Cloves and Cinnamon” pulse with transgressive sexual energy. This is neither New Music nor Rock as anybody had previously understood those terms, but something else entirely—a kind of transcendent synthesis that audibly reveled in its newfound energy.
On Trust in Rock, Tyranny, Gordon, and their band played at, with, and through not only the generic boundaries of New Music and Rock, but also the stylistic boundaries of minimalism, jam bands, and punk. Tyranny had quit Iggy Pop’s band in 1973; Gordon had already moved to New York and began playing with Arthur Russell and Rhys Chatham. That night in the University Art Museum, playing saxophones and and synthesizers, they were not afraid to trust in rock to get them where they needed to be. This was a band that was not afraid to “listen to the interior state of something,” as Tyranny later put it: they put their trust in rock, and this album lets us hear what happened.”
Ambient house don Anthony Naples rolls his soul out in ‘Fog FM’, the NYC producer’s 2nd album proper following 2015’s ‘Body Pill’ and last year’s ‘Take Me With You’ mixtape.
While Naples own releases have been thin on the ground in recent years, he’s kept his hand in behind the scenes for the Proibito and Incienso labels, and clearly devoted good times to this lush 10 track set swimming between bubbling strains of deep, electroid, and dubbed-out house and techno.
Over the course of 61 minutes Naples trades in his most hypnagogic styles in a stealthily deliquescent manner that melts from the fuller bodied silhouette of ‘A.I.R.’ into deliciously illusive, psychedelic swing by the end of the album with ‘Aftermath FM’. What happens in between is a sweetly dazed dream sequence taking in the Shinichi Atobe-esque dub-house thizz of ‘Fog FM’ and pulsating, sexy techno on ‘Purple Iris’, along with desiccated but sublime ambient pockets in ‘Channel 2’ and ‘Channel 3’, as the album begin to gently wilt into its final state with the serotonin-infused bath of ‘I’ll Follow You’.
File in your summer 2019 folder for hazy good times.