Outernational fever dream psychedelia and free jazz from Portugal on Discrepant’s Sucata sublabel
"It could as well be an ethnographic soundtrack from another planet as the trio of Mestre André (saxophone, electronics), Bernardo Álvares (contrabass) and Raphael Soares (drums) dwelve deep into the outer realms of what jazz/electronics music can sound like.
Urban shamanism, magical practices and ancient/future world views collide in unsuspecting ways on this out there tape.
An unique sound from an unique trio, 'Alförjs has a very special place among what is out there of more intriguing and radical in this final stretch of the 21st century's second decade."
‘Moto Perpetuo’ is an absorbing study on impossible physics from drummer Michael Anklin and producer Kilchhofer for the carefully plotted Marionette label
Following the tangled paths of their previous releases, including Burnt Friedman’s roiling percussions, Soundwalk Collective’s textured field recordings, and Max Loderbauer’s abstract synthesis, Kilchhofer & Anklin combine all the above into the mazy energy transfers of ‘Moto Perpetuo’, where the duo strive to manifest the idea of ‘Moto Perpetuo’, or perpetual motion - where no energy is lost but also where energy is constantly being created - in a series of kinetic electro-acoustic environments informed by the natural world.
“A fluid concept of time where the Rhythmic Pulse constantly shifts is at the heart of the record.The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat.
Kilchhofer and Anklin draw inspiration mainly from their rural surroundings, mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails - on a never ending quest for an "ur-klang“; a primordial, ancestral music.”
‘Mãe D’Água’ is a live recording of Lisbon’s Mestre André (laptop) and Carlos Godinho (objets) conducting research into aural alchemy, using an array of hand-played objects and the vast reverb of an old water tower in the centre of Lisbon to conjure this naturalistic but surreal 30 minute soundscape.
"Banha da Cobra is a project of Lisbon based artists Mestre André (laptop) and Carlos Godinho (objects). Stream of research and electroacoustic sound intervention, Banha da Cobra starts from the sonic imaginary of handcrafted, ritualistic and traditional activities and landscapes. The compositions are made as sound ruins, based on an ecology between the sustainability of the sound nature of the found - structures, places, objects, etc. - and their appropriation and transformation.
The collecting inherent in this project of archaeological character is complemented with processes of alchemical manipulation like musical creation in real time. On Mãe D'Água, Banha da Cobra present a live recording of their concert/performance on a 4x4 channels system at Mãe d’Água, 21st of September 2018 within the context of Lisboa Soa festival. Mãe D'Água (Mother of Water) is an old water reservoir located in the center of Lisbon. It used to be the main reservoir for Lisbon being fed by a massive 19th Century aqueduct."
The Cinematic Orchestra are back with a new album.
"Founding member Jason Swinscoe and longtime partner Dominic Smith have enlisted album contributions from collaborators old and new: Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend (vocalist on Bonobo’s 'First Fires’), Dorian Concept and Tawiah (Mark Ronson, Kindness), Miguel Atwood-Ferguson (Flying Lotus, Anderson Paak, Thundercat, Hiatus Kaiyote) features on strings and photographer and visual artist Brian “B+” Cross collaborated with Swinscoe and Smith on the album’s concept. The record was mixed by multiple Grammy winner Tom Elmhirst (David Bowie, Frank Ocean, Adele) in Jimi Hendrix’s legendary Electric Lady studios. The album artwork comes courtesy of The Designers Republic™ (Aphex Twin)."
Lush, floating vocal studies and diaphanous ambient electronic from Alis, the artist who used to be known as Subeena.
‘Paper cuts’ is a pleasant experience, convecting a meditative vibe between her Aïsha Devi-alike ritual ‘Papercuts’, the anaesthetised space and harmonic hues of ‘BCC: me’, and the blue/grey skied atmosphere in ‘Rely (Could I)’, before shifting into more blunted, folksy ambient-pop dimensions with the etheric ‘Status’ and the glossolalic keen of ‘water’.
Anthoney J. Hart (Imaginary Forces, East Man) remoulds jungle, garage and grime influences into his ‘New Style’ for Hypercolour’s rave-ready Sneaker Social Club sublabel
Leading on from his 2018 Arcola 12”, the London-based producer scavenges and galvanises classic tropes into fiercely mutant riddims, pranging out from the clipped, in-the-pocket swagger of ‘New Style’ to the rare groove vacuum styles of ’Too Nuff’ up top, then throwing down the whipsmart electro-grime pneumatics of ‘London Warehouse’ and the nipped ’n tucked SND 2-step styles of ‘Ready Again.’
Breezy breakbeat house and downtempo ambient from ANF, otherwise known as the producers behind Dust-E-1 and Priori
Playing deep into Pacific Rhythm’s romantic aesthetic, ‘Mauna Kea’ unfolds between the title tune’s rolling breaks and lip-smacking acid line, the chill-out room special ‘Chi-Motion’, and sweetly pie-eyed moments in the swinging hustle of ‘State/Fucntion’, while ‘Mary Lynne’ heads out into pastoral, Borealis/Balearic vibes.
Pushing layers of classical strings to breaking point with red-lining noise, ‘Fos’ is a 13 minute addendum to ‘Hades’ , which it shares the same artwork. Another sore blast from the ace Bedouin Records.
Codek’s minimal, slow Afro-disco burner is given a necessary cosmic remix by Danielle Baldelli & Marco Dionigi in two chugging versions, backed with a darker spin on the same elements by Whatever/Whatever in a longer darker mix, before taking it down under on the edit.
Frothy, swinging deep house gilded with glistening synths by AFK and Bludwork for the house of 100% Silk
“South Cali classmates AFK and Bludwork come from oceans apart -South Korea and Georgia, respectively - but their intertwined social /sonic chemistry are proof that true vibe unions transcend geography.
The pair initially bonded over teacher pranks and 420 habits before rendezvousing off campus to link rigs and jam live electronics, eventually culminating in the six smog-smeared low-key bangers comprising their vinyl debut, Loyalty N Service.
Alternately coastal and concrete, the songs slide between smoky sunset house ('Akina Memory,' 'That Pain') and funked up warehouse bass ('No Equal,' 'Searchin'), tag-teaming melody, MIDI, and drum machinery into compelling composites of Pacific motion and emotion.
Blud is blunt about their bond: 'AFK is one of my most cherished friends; I'd do anything for this guy.' This is music from the heart and for the heads, pensive and propulsive, loose and liquid, raw and rising. 'One of our biggest inspirations is the Rush Hour films. We're the best Black and Asian duo since those guys.’”
Theo Parrish & Marcellus Pittman’s 2002 outing for Trackmode avail;able to download for the first time
Make sure to check all 11 minutes of their double deep, grubbing beatdown ace ‘Evidence Of The Fifth Green Foot (long)’ and the supremely low key hustle of ‘Equality of Patience (Short)’.