Astral Industries complete the circle of Chi with this collection of previously unreleased island-dwelling ambient evocations from Hanyo van Oosterom.
After revisiting Kim Cascone’s sublime Heavenly Music Corporation project, London label Astral Industries return to scratch their archival Chi itch one more time. ‘The Kallikatsou Recordings’ is the second collection of music from the period prior to Hanyo van Oosterom and Jacobus Derwort forming the Chi project. Like last year’s ‘Bamboo Recordings’, inspiration comes from van Oosterom’s extended visits to the Greek island of Patmos where he developed a deeply personal connection with a mythical rock structure called the Kallikatsou.
This previously-unreleased collection comes from music van Oosterom worked on over several years from the nineties onwards, drawing peace of mind from the Kallikatsou and channeling it into drones, soundscapes, samples and field recordings. Collated together as two long form pieces rich in deeply-textured ambience, van Oosterom orchestrates a half hour journey through becalming, evocative waters that represent a fitting finale to the Chi archival saga.
For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers.
"As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
.The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.
Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time."
Totally Killer 2nd album from Anthony J Hart (Imaginary Forces) as Basic Rhythm for Type, decimating and distilling jungle, grime and garage into their common and most affective dancefloor denominators...
Back with that spice for Type, Anthony J Hart gets down to UK rave fundamentals on a killer 2nd LP under his Basic Rhythm pseudonym. Where his more prolific Imaginary Forces output is all about the push ’n pull of power noise and post-rave techno dynamics, Basic Rhythm fixes a steely focus on the physics of the UK’s hardcore continuum; decimating and distilling jungle, grime and garage into their common and most affective dancefloor denominators.
Basic Rhythm offers Hart up as a sort Leyden Jar battery or vessel storing decades of absorbed and condensed pirate radio transmissions, and The Basics can be heard as his disciplined attempt to parse those muscle memories and sensations into something tangibly, rudely physical but, most crucially, leaving aside those bits he considers unnecessary in a defragging process of mental sonic décollage - breaking down outmoded values and replacing at a distance from the original medium.
What remains forms a kind of refreshingly eviscerated halcyontology, recollecting and rinsing out the good times spending his p’s on new shells at legendary shops such as Music Power (Ilford) and Boogie Times; listening to Rude FM 88.2, Unity 88.4, Pulse 90.6, Weekend Rush 92.3, Kool FM 94.5; cutting dubs at Music House; and swanging his jaw at legendary venues and club nights like Stratford Rex, Temple, Labrynth, Telepathy, Slammin’ Vinyl and One Nation.
In reducing those aspects to a pointillist vocabulary of sawn-off drums, harness-straining subs and tessellating, tussling stabs of flava, he leaves a spare air prompting ambiguous reading of ‘dread’ and ‘ecstasy’, depending on the listener’s own reception/perception. It’s a dichotomy at the core of E18’s postcode-warring sublow shift, explored in the crevices between rap and grime in Fake Thugs, or the way Silent Listener (Adore) is intended to illuminate dank bedrooms, whilst the ructions of Cool Breeze (Summer In Woodford Green) and the fractiously mapped road rave styles of Blood Klaat Kore lend an overlapping sense of deep topographical study to the mix.
Fractious new club music from Shanghai, China’s genome 6.66Mbp label; throwing down Rui Ho’s delirious debut collage of militant dembow trills, wild descending synthlines and acrid bleeps in Ru Meng Ling, before tagging in Why Be for a smarter remix tempered with bell/gong hooks and more punchy drums that jab in the right places.
Genome 6.66Mbp slice off a bleedin’ cross-section of Shanghai’s underground sound in Genome Compilation Vol.1.
18 tracks wide and crammed with up-to-the-second deconstructions of grime, dembow rhythms, and turnt US club music, it coughs up some smart highlights in the likes of CUSTOMANE’s weightless grime riddim, The Second Encounter; on SWAN MEAT’s sore AF R&B noise extraction, Shadow play w-rules; and the helter-skelter cyber rave pelt of Loom by Hyysxl.
RIYL Kamixlo, Tzusing, AYYA
Chicago’s Dance Mania OG, DJ Lil ‘Tal on the bucks ‘em out for Germany’s Footjob label.
He does that inimitable Chi thing with the banging disco looper Who Came To Boogie, which Phonk D duly dilutes to a European electric slide style on the remix.
Back to the good stuff; DJ Lil ‘Tal brings the big ass toms on the DJ-ready tattoo of Jack Your House, and then dials in the disco funk chops on Buzz The Doctor.
Purple-bruised Dutch techno-house from Mark Du Mosch, effortlessly commanding your jack with four tracks of driving, messed up late night music.
The Red Hour is a straight winner accentuating recoiling kicks and slinky tropical rhythms with a payload of intensifying electro disco noise. Fusillade follows at a stealthier pace with grubby bass and cranky, militant snare tattoo clad in dank Lowlands atmospherics.
Special Forces meanwhile nails a killer deep and minimal techno swing laced-up with virulent 16th note arpeggios, and Vigil burns with amore blunted, brooding vibe between arcane New Beat and industrial vibes.
On his first Metamatics EP in a decade, Lee Norris gets back to classic fundamentals with the woozily insistent electro of Bodypop for his revitalised Neo Ouija label.
Announcing reentry to a scene that’s been primed for this sound via recent output from Call Super, Plaid and Objekt, the Bodypop EP is riddled with loose and slippery electro rhythms and warm pads that should slip very easily into contemporary sets, particularly in the fluid warm-up tackle of the title track and with sharper 303 contouring and piquant synth tone in the nocturnal gaze of Image 2 Image, whilst Midge Image offers a more pinched but swollen electro variant flaring with brassy sci-fi dissonance and Moor Mist introduces some gorgeous, if ghostly chorales to E.R.P.-like rhythms with poignant effect that should run a shiver down the dance floor’s collective spine.