Born Free boss Samo DJ clears his archive of three ruff cut house gems for Born Free 31
Scaling from field recordings and woozy flutes to heavy-lidded house swing and more abstract, cut-up textures in Zsou, then rolling out a super smart electro-house thing in Janet, pecked with cowbells and dusty dub chords, and cutting zig-zags across the rug with Mannen från Mallorca.
We were gonna write summat on these but decided to copy/paste these sales notes cos they're just too fucking funny. nice one Alan.
"Serial killing was one of history's greatest art forms. Now it's becoming almost impossible to get a skull-drilling startup off the ground unless you murder for the corporations or governments where you have highly organized protection from any enforceable law but at the expense of sacrificing all the glory for the anonymity required to maintain employment. So, unfortunately, the days of any zit topography random commoner being able to string together a few killings to hit the big time before being caught has almost come to an end. Sad. This record, the third and final volume of my new three-LP set called Heathen Folklore, could serve as somewhat of a manual of inspiration on how one could start such a career, as risky and unpopular as it is. It gets much more fucked-up than the previous two LPs, and sometimes I think it's the best one due to that aspect.
I'd have to give it one more listen but I also think this is the LP with coded messages that could trigger an unsuspecting listener to start his/her career in extreme behavior. But killing isn't everything you know. There are many more ways to express yourself and reach the top of the charts these days. In fact, I saw Burt Bacharach three weeks ago gripping a huge fucking machete while chasing modern dance music architects off his champion ship and into deep water where they hopefully became shark bait. And to set the record straight, Jimi Hendrix did not fake his death and become Morgan Freeman nor was Hunter S. Thompson directing snuff films. But most of that other weird shit you hear about these days is probably true. And I'm working on a film called 'Being Alvarius B.' where all of you loser fucks crawl into my brain and see yourselves from my perspective and then commit collective suicide because you finally realize I was right all along. And I am. Can't wait to make more albums so I can write these album descriptions. Cocksuckers."
A masterpiece of Italian ’70s free-jazz, N.A.D.M.A.’s Uno Zingaro Di Atlante Con Un Fiore A New York is, by any measure, a super rare and sought-after record (2nd hand copies trade for over £170) which makes this first ever vinyl repress fairly invaluable to free-jazz nuts and investigators of this prime period of Italian music.
In five parts, Franco Pardi (Alto saxophone, Bugle), Otto Davis Corrado (Baritone and Soprano Sax), Mino Ceretti (Contrabass), Ines Klok (Harp, Tmbura, Violin), Davide Mosconi (Piano), Gustavo Bonora (Viola, Violin), and Marino Vismara (Violoncello) democratically hinge around percussionist and band-leader Marco Cristofolini, falling well off-centre of jazz convention in head-melting variations of Afro-American and Indian lines of thought that sprang from the well of ‘60s jazz.
“Within the history of the Italian avant-garde, N.A.D.M.A is as obscure as they come. Mosconi later came to note as a solo artist and photographer, and Pardi and Vismara within the worlds of visual arts, but beyond a scattering of releases, Uno Zingaro Di Atlante Con Un Fiore A New York is the lone document to have surfaced from most of its contributors. Details surrounding the band and the record are incredible scarce.
Despite the mystery, with hindsight, they rise as a definitive gesture of the movement to which they belonged. The Italian avant-garde is among the most rigorously democratic of any of the movements within 20th century sound. Like their more well know peers in Aktuala, N.A.D.M.A grew from this spirit, but realized it in far more radical forms. They are among the wildest of those connected to the movements of free-improvisation and jazz. The group's lone 1973 release is unlike anything else of its day. Soulful as hell, it blends a remarkable range of instrumentation and cross-cultural reference -- a wild imagining of the potentialities of modal folk traditions, gathered in the writhing aggressive form of free-jazz. It is an album so remarkable and striking -- among the greatest and most accomplished European efforts within the form -- that there is no explanation for why it has remained so unacknowledged through the years. It is a towering, bubbling, brilliant achievement in sound.
Uno Zingaro Di Atlante Con Un Fiore A New York is among the greatest documents of Italian music, and among the most important within the canon of European free-jazz. As seminal as they come. Not to be missed on any count.”
Die Schachtel reboot their Zeit Composers Series with Untitled Noise’s eponymous and self-explanatory session of arrhythmic, atonal sound pressure. Untitled Noise is the duo of Michelle Lombardelli and Luca Scarabelli’s debut release, articulating noise as noun and verb in voices ranging from raging tirade to slow, crushing techno and dark, blue jazz tones. A strong look for followers of Prurient, Kevin Drumm, Masami Akita.
“For the last hundred years, the line dividing music from visual art has grown increasingly obscure. Music has provided inspiration for countless artists, while art has offered the conceptual terms for music to break its own rules. Particularly within the contexts of punk, and experimental music, art schools have fed the ranks -- gifting countless rebellious and visionary minds. These are open worlds, between which positions and ideas freely meet and speak. Within it all, there lies an often unmentioned realm, far less easily defined, skirting beyond tangible grasp -- sound and music made by visual artists, which might not be music at all. Joining Die Schachtel's already singular catalog of ambitious sonic adventures from Italy, this is the strange, incongruous territory of Untitled Noise, Michele Lombardelli and Luca Scarabelli's debut release. Michele Lombardelli and Luca Scarabelli are two respected visual artists who have been active in the Italian contemporary art scene for many years. While joint their project, Untitled Noise, is positioned outside of sonic manifestations of visual, artistic, conceptual terms, it cannot be entirely dislocated from this spectrum of thought. While it is not art in the visual sense, it equally makes no claims toward music, something which only the intellectual frameworks of the art-world tend to allow. Untitled Noise is a gathering a phenomena -- challenges, organizations, and interventions through sound -- an occupancy of those territories which exists just beyond our ability to define.
Evolving over four sides of this double LP -- each dedicated to a single work, one sliding seamlessly into the next, the album is an aggressive, textural gesture in noise. Built from electronic sources and tradition instrumentation, shifting between pure abstraction, sublime drone, rhythmic pulse, and broken flirtations with jazz, it rises as a melting pillar in sound. Drawn from recordings in both studio and live contexts, Untitled Noise marks the return of the Die Schachtel's sub-imprint Zeit, dedicated to ambitious contemporary gestures in sound. Where music meets the realms of art, and what is known falls away; A joining of worlds, which not to be missed.”
Superorganism are a sprawling, multi-limbed collection of international musicians and pop culture junkies.
"They number eight in total - recruited from London, Japan, Australia and New Zealand - seven of whom now live together in a house in east London. It was in this house, in January 2017, that the collective had their Big Bang moment, the track ‘Something For Your M.I.N.D.’.
The track caused a huge stir online and across airwaves, played on air by Frank Ocean, Annie Mac and Zane Lowe before being taken down for a copyright claim. Now, with the sample cleared (and the song featured on the new ‘FIFA’ soundtrack), live performances lining up and debut album almost done, Superorganism are now ready to take on the world."
Sophomore album from thr trio of Zak Riles (Grails), Tyler Trotter (Strike City), and Britt Walford (Slint). Features guest members of Rachel’s, Tortoise, Torres, Shipping News, and more RIYL: John Carpenter, Slint, Grails, John Fahey, Goblin.
"When Watter first appeared fully formed in 2014 as a trio featuring founding members of Grails and Slint, most assumed the mercurial group would vanish into the ether just like the foggy echoes of sound they crafted on their debut album, This World. Instead, they toured the US with their longtime friends in Om, and returned home to begin work on an ambitious new recording studio, from which their new album, History of the Future was born. Located on the same tiny rural Kentucky road as the old Rove Studio, where many Will Oldham records were made, multi-instrumentalist Zak Riles’ new studio – dubbed Earthwave – was literally built from the ground up on the rolling hills of his picturesque farm. It has quickly become a place of great inspiration and tireless creation.
Loaded with vintage analog gear and stunning views of deep sunsets reflecting across a serene lake, the studio has drawn many of Kentucky’s most talented musicians in the spirit of collaboration, the fruits of which are on stunning display across the ten songs that make up History of the Future. As with their first album, the songs on History of the Future evolved from many long days and nights of improvisation, experimentation, and collaboration. In many ways, the guests – which include, among others, Britt Walford (Slint), Dominic Cipolla (Phantom Family Halo, Torres), Rachel Grimes (Rachel’s), Bundy K. Brown (Tortoise), and Todd Cook (Shipping News, The For Carnation) – and the gear were as vital to the creative process as the core duo of Riles and multi-instrumentalist Tyler Trotter. It is this exploratory nature that breathes life into Watter, and turns ephemeral into eternal."
CoH Plays Everall is a remarkable turn by singular synthesist Ivan Pavlov, who pays tribute to the late UK electronica/industrial pioneer John Everall (Tactile/Sentrax) with six transmutations of analog material originally meant for a collaboration between the two artists, plus CoH’s Hunger collab with Jhonn Balance ov Coil.
Working somewhere between Powell’s recent New Beta jaunts, Lorenzo Senni’s circumvented trance arpeggios, and the rapid ear movements of Gábor Lázár, it’s by far some of the most colourful, kinkily swung gear we’ve ever heard from Pavlov aka CoH, but trustingly articulated with a cold northern melancholy.
Proceeding from Hallow Ground’s reissue of CoH’s Soisong and their recent issues of Dedekind Cut and Siavash Amini records, CoH Plays Everall is a real credit to their catalogue, not least as a great tribute to Everall, but also as one of the rarest glimpses of CoH in kinetic action, gambolling between electric blue nEuro-trance pulses in 2016 to the TCF black MIDI styles of Wavetrap and the hyper, head-pinching strobes of Overbeat with an energy bordering on gleeful that we’ve hardly heard from CoH before.
Seriously, any lovers of razor-sharp, forward electronics from Errorsmith to Lorenzo Senni need to check this, pronto!
Tuff-edged industrial techno outta Greece
Shunting the old skool Surgeon-style charge of Hollow Systems, then on a brokken flex with Choose Yr Illusion, and the cloven hoofed clatter ov The Theme (Where Were You In ’17?), leaving local hero Jay Glass Dubs to shatter Choose Yr Illusion in a weightless psychedelic version.
Echospace presents a deluxe vinyl edition of his Radius project, Obsolete Machines, nuzzling your cochlea with a painstakingly restored demo of Steve Hitchell’s earliest work, initially recorded live to tape between 1995-2000, now restored to gauzy bliss and handsomely repackaged. Oceanic, intergalactic, timeless; total manna for dub house ambient fiends!
The first plate rolls out 20 minutes of low-lying, billowing dub chord cloud dynamics with Ethersonic, backed by the stately stepper Etherscapes on a kinda thrumming, danker Ruff Way flex, beside the silty shift of Oscillation Range.
On its 2nd plate, you’ll find cv313 reshaping and reprising Ethersonic over both sides, convecting near enough 40 minutes of waterlogged dub chords, subterranean bass and scratchy percussion in the Reshape, and a more direct, upfront sort of steppers house in the Reprise.
Lock up your pets; Blackest Ever Black let Regis off the leash in two seek and destroy missions - his first new 12” in three years - coming quick on the heels of the unarchived Live In N.Y.C. 12” for Veronica Vasicka’s Cititrax.
A-side’s Version 1 is the greedier of the two, roving with that look in its eye from the first mauling bar of grumbling bass and incendiary distortion, thru a serpentine groove dissolving EBM, industrial noise techno with slow-burning, venomous effect until the final passage of paralysing strings by Asylum Ensemble.
B-side’s Version 2 appears to start on the dissecting table with the SAW-like sound of knives sharpening and talons clicking in the background, before untangling one of his fiercest lemon endeavours; a bitterly gleeful tussle of strapping EBM bassline and whipcrack snares with an over-the-shoulder vocal in the breakdown, before calving off into the abyss.
We can think of few artists who can come out of hiding so occasionally, yet remain at the front of their game, as Karl O’Connor does with The Master Side in both versions.
Take note, the master is in session.
We were gonna write summat on these but decided to copy/paste these sales notes cos they're just too fucking funny. nice one Alan.
"Volume One of three new LPs I am releasing simultaneously called Natural Wonder, this is the more melodic, savvy one and you might like it. Maybe I'm lying and it's the innocent, straight record so maybe you should get Vol 3 (ABDT 059CLP) instead if you're in a darker mood. But that's not really true either. Or maybe it's one of those records that grows on you the more you continue playing it... like a cancer. The musicians who played on all three albums don't deserve to be involved in these kamikaze promotional descriptions so don't blame them for any of this. They played so well on these records, in fact they play much better than you do, and their performances deserve a 'Whammy,' which is the awards show where I'm in charge and the winners get to shoot members of the music industry academy dead in their seats.
That's where it's all headed you know. . . . The modern world of record making has become so fucking dull and obedient that someone has to ram a poison dagger up your asses and since you're all under hypnosis, I promise you won't feel a thing. I could pay Dougie Jones to write this piece to match your intellect or hire a publicity company to promote it but who really gives a fuck? I'm still making records for myself and the rest of humanity doesn't speak my language anyway. By deciding to write my own album promos, I can perform some market research. For example, this album description text will undoubtedly be copy/pasted by most online retailers onto their respective sites because they don't write their own new album reviews or get too excited about music, they simply want to create the illusion that they're in business to sell records. So I could put something like: Fuck all website retailers that copy/paste this description onto their site because they are too fucking cheap, lazy or chicken shit to have an opinion to write individual album reviews -- and they probably wouldn't even notice while doing it. Anyway, back to my new album. These songs are pretty good, most likely way better than your songs, and I don't even have time to be a real songwriter, so what does that say about you? It says that you suck. And most of you do. But you should buy my new three album set because it's probably as good or better than any other LPs that will be released this year. But if you aren't ready to go all-in with confidence, then forget it. I don't want any mudskipper sub-species of the crayfish to buy my records. There are always a few speculators who'll pick up the extra copies you won't buy anyway."
Never previously issued on vinyl - a super rare Library Music LP from Japan - the sublime soundtrack for a 1986 runway show of Japan’s Mitsuhiro Matsuda’s Nicole brand.
"Jun Fukamachi’s highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda’s Nicole clothing brand and never officially available before.
Only ever distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand’s Spring and Summer collection, Fukamachi’s moody magnum opus has become a sort of Holy Grail for fans of Japanese ambient, jazz, and synth music alike…and rightly so!
Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka aka The Soul Searcher:
If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun’s music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen.”
MC/Producer Rocks FOE draws strength from the everyday struggle between internal and external forces, tells you all about it on a set of blocky UK hip hop big beats and more up-to-date trap and rap beats, with highlights in Fight The Good? Fight and the slow soul stroke of Red Hand of Ulster, saving best for last with Into My Own Hands.
“Rocks FOE returns to Black Acre with new, eight-track project ‘Fight The Good? Fight’ — a dark and conceptual record built around the notion of, according to Rocks himself, “everything being an internal and external battle”.
A powerful lyricist and complex story-teller, Rocks’ sound combines hyper-fierce spitting with his own, abstract beat sketches. Having released his impressive debut EP, ‘Legion’, back in 2015 — a raw, self-produced grime-rap hybrid — he has since remained dormant to the outside world, bar a quick-fire feature on Commodo’s ‘How What Time’ LP in 2016.
Written over the course of that period and entirely self-produced, ’Fight The Good? Fight’ digs deeper than ever before into Rocks’ psyche, drawing on both religious elements — “I was more or less force fed it when I was younger” — and his own experiences for much of its lyrical inspiration. He talks money, love, confusion, happiness and ambition to tell the story of his own every day battles.
Musically, ‘Fight The Good? Fight’ also broadens horizons, with Rocks widening his scope to take in sounds from beyond the sprawling urban landscape of his home town of Croydon. On tracks like ‘Nitty Gritty’ and ‘Into My Own Hands’ for example, the two tracks that bookend the record, he flows at trademark lightning speed over crunchy rap beats, but its on cuts like ‘Downpour’ and the wandering spoken-word of ‘Red Hand Of Ulster’ that he unmasks a new, more vulnerable guise. Toning down his flow to reflect and take stock, it is in these solemn, inward moments that Rocks shines the brightest.
Comfortable spitting acapella, off-beat or even in spoken word — over straight-up rap beats or woozy Commodo instrumentals — he has long been considered one of the UK’s most compelling young lyricists, but on ‘Fight The Good? Fight’, Rocks addresses his demons, calls out bullshit and comes of age proper.”
Almost 25 minutes worth of extended versions of tracks from the Negative Fascination album...
If we've got any gripes with Silent Servant's stunning debut album 'Negative Fascination', it's that some of the dancefloor tracks were just a touch short. He's heard our collective prayers and corrects that with these extended mixes, due out on 12" shortly. Album closer 'Utopian Disaster (End)' is now nearly 2 minutes longer and primed for hypnotic DJ use with a Sunn 0)))-like outro.
'Strange Attractor' is nearly twice as long and with a more subtle, building sense of tension and release, while 'Invocation Of Lust' is slightly extended for DJ play (and this only just occurred to us - doesn't it sound a bit like Maxi Jazz is about to come in with "I can't get no…"?). DJs, dancers, you know what to do… TIP!
Japan’s highly collectible City-2 St. Giga label return with this string of rugged ambient house pearls by Anthony Naples.
For his 2nd EP of the 2017 so far, Naples cooks up a very satisfying breadth of variation and vibe in Love No Border, roving from swung deep house with nagging acidic synths and tropical drum machine hits synths in The Vision (Mix NY) thru the reverberating acid house coordinates of Uforia, and a lush vignette named Glo on the A-side, to the rudderless disco loop froth and grind of Moon on the Beach on the B-side, following into a cold wave pinch entitled Age, and the Shinichi Atobe-esque floating strut of Speak To Me More.
Think quick if you’d like a copy…
Thunderous EBM tumult from Spoiled Drama, a new name to the fray on the Fleisch label outta Germany.
Check it for body-grappling highlights in the steaming charge of Another Death Experience, the strapping, churning bulk of Axiom, and the snotty banger Kisses Are Out Of Fashion, especially if you like Nick Klein, An-i or Broken English Club.
Expanded (with 8 new tracks) version of Princess Nokia’s self-released debut mixtape, 1992 including the recently released single G.O.A.T. along with standouts such as the haunting, sharply pointed Brujas and the brassy bang of Kitana.
Assuming you’re cool af and already know the original mixtape, we’ll step right onto the new cuts, covering golden era hip hop in ABCs of New York and the backpacker beats of Goth Kid, plus a pure heat-seeking missile in the stuttering keys and drill bounce of Flava, and checking out on a deep south party flex with Chinese Slippers.
Heads will roll for this one!
Charmingly loose and dusty jazz-house chops from Max Graef on Schwarz 12
A new label related to the Oye Record shop in Berlin. Check it for a smart twist on the STL-via-Theo Parrish aesthetic in Thrillhouse + Bonus Beat, for a neatly damaged piece of percolated ghetto jazz in Unbiskant, and a pair of tricksier dancers’ specials in 2 Cool For You and Really Graef Bro.
We were gonna write summat on these but decided to copy/paste these sales notes cos they're just too fucking funny. nice one Alan.
"This is Volume Two of my new three LP set, and it's called A Mark Twain August. Now don't go asking me what the fuck that title means but I will say that it may be my favorite of the three. My 'fans', all 133 of them, are pretty smart. I used to think only 67 people mattered on earth, now it could be far less, but it's beginning to trouble me how I've actually accumulated 133 fans. So if you're not a moron, I don't mind if you buy this record. I made more copies than I have fans so I need to expand on the audience a bit but I don't want fucking idiots buying my albums. A brand new car loses value the moment you drive it home, but my records will always go up in value (like my Dodge Ram Van which tripled in value when I drove it off the lot) so this is also an investment opportunity. If you were to walk slowly on a hot bed of coals you may discover that Don McLean never actually drove his Chevy to the levy and that the singer-songwriter is dead, just like all the poets.
What do contemporary poets and the entire Indonesian population have in common? Most of you cannot name even one of them. Homo Sapiens now love to complain and act as if they know how the world works by 'expressing' themselves on their social media networks -- that's become the new poetry. And I think there are only nine people writing songs today that I respect, I'd have to check to make sure. And the Thinking Fellars were a great band -- I could name a dozen more from the past 30 years that I'd call contemporaries, but that's about it. . . . And I almost forgot to mention that Mark Twain's old banjo appears on this record. Oh and this is better than that Wolf King of LA album by Papa John Phillips, for all those who got mesmerized by it 30 years after it came out. There's only three or four good tracks on that and A Mark Twain August has six great tracks on it, at least. "
Kenny Dixon Jr's 'Forevernevermore' was his third album and is perhaps his definitive opus - a pure, deep, late night Detroit classic that has birthed countless immitations since its release in 2000.
It really is pretty definitive - and it holds up beautifully almost 20 years later, from his take on Chic's 'Don't you want my love' to 'The thief that stole my sad days' - there are just too many certified classics here to mention. Quite apart from anything else, Forevernevermore manages to sound experimental, sophisticated, fucked and joyous all at once - making reference to classic Piano House one moment, and deepest Techno the next, his vocal narrative offsetting pure euphoria with a sharp dose of Motor City realism.
In terms of classic House music, few have come close to anything you'll find on this album - a perfect distillation of light and shade from one of Detroit's greatest ever.
Sugai Ken follows in the vein of RVNG Intl’s Visible Cloaks release with an exquisite meditation on traditional Japanese percussion and 4th world electronics ruptured by unpredictable runs into more abstract terrain. RIYL YMO/Haruomi Hosono, Visible Cloaks, Foodman...
UkabazUmorezU works like a stage set or a variegated series of sonic scenarios, at once smartly demonstrating his compositional versatility as well as a dilated vision of the connections between Japanese tradition and western-rooted electro-acoustic practice. In a way it resonates with Visible Cloaks’ perspective on Japanese electronics as much as Foodman’s dextrous mutations of Chicago footwork, but still it’s weirder and more enigmatic than either of them.
In his own words, UkabazUmorezU is intended to reflect a “style that conjures [the] subtle and profound ambience of night in Japan.” Arguably, for someone who has never visited or experienced night in Japan (us), it does so as richly as a Murakami novel, sensitively using electronic instruments and process to emulate and evoke an intimate sense of the spiritual, supernatural recalling the effect of, say, Kenji Kawai’s Ghost In The Shell OST, but again, with a more elusive, amorphous and playful quality of his own.
Ultimately it’s a beautifully and subtly suggestive album, skillfully making use of pregnant lacnuæ and negative space, but also riddled with flighty melodic figures, and prone to wonderfully disorienting jump-cuts that ping us from serene garden and temple scenes to stranger, bestial ginnels of the Japanese mindset with an effortless sleight-of-hand.
Daft, haywire, hardware techno jams. Clifford Sage’s artwork is great, though.
“Alien Jams presents a new release by Wilted Woman called Home Listener. After releasing the amazing "Diary of a Woman" on She Rocks! earlier this year, WW is back with this sublime 5 track EP. From the onset, playful synth patterns mingle and coalesce, spiralling towards dizzy culminations. At times wobbly and disjointed, WW creates stunning compositions that would work magic on the dancefloor. Each track of Home Listener feels like its own paranormal entity, living organisms that develop and grow as the music unfolds.”
Brooding but ecstatic electronic fancies for fans of Posh Isolation, Lettre D’Amort’s Chams is the 1st release on Parisian label, Abîme.
“Lettre D’Amort is a deeply personal collection of songs that were born out of transcendental experience Chams had during his teenage years. Growing up surrounded by the Alps and raised by an alpinist father, he always felt like those high mountains looming over him were "sacred places where the beauty and fear of nature merge to shape a unique atmosphere of vulnerable plenitude."
A few years ago, he went on a solo journey across the Alps and came back a changed man. His solitary journey had compounded his view of the Alps as a place of beauty and fear, and that nature is to be admired from a wary distance. From then on he started making music with the aim to translate the epiphany he had in those high altitudes into a work of art. This EP, which features on the front cover a photograph taken by his father on one of his expeditions across the Himalaya, is the first accomplished result of this project.
In terms of the sonics Chams has created, what is striking is how the EP is one of contrasting impulses. On the one hand, Chams employs bright and minimal sonics and upbeat melodies that have something of a childhood naivety to them. On the other hand, these sounds compete with darker impulses which refuse to give over to the optimism that we are initially presented with. Nowhere is this more evident than on 'Ultraviolence', where agonised screams compete with a beautiful synth melody. These two contrasting impulses evoke the childhood and upbringing of Chams, who recognises that nature is something to be both admired for it's beauty, and feared for it's tempestuousness and inability to be tamed. Despite Chams holding these two impulses in a tension with one another throughout the EP, the work as a whole is unified and coherent in its aims, and serves as a wonderful introduction to a producer wrestling with the fundamentals of life.”
Reginald Omas Mamode IV follows last year's self-titled debut album with 'Children Of Nu'.
"The 20 track album draws influence from the world around us, everyday life. As we witness rising poverty, global events, political and ethnic divisions - these factors prompt some of Reginald's themes and call for humanity to recognise we are all interconnected. We are all related. We're all brothers and sisters with common ancestry, common history and a common origin regardless of race, geographic location or belief systems. Love and compassion are universal feelings/practices we all should embrace and apply to all aspects of our lives, our interactions and our relationships, regardless of the kinship'. - Reginald Omas Mamode IV Children Of Nu' encompasses Reginald's musical and sonic influences - Afro Roots music through to jazz and soul. It draws from Africa as much as the west, an attempt to make a record that can exist in many contexts, the present, the future and past.Recorded with freedom - most tracks remain from the first take - the process of creating 'Children Of Nu' was an open ended development from a natural, intuitive, starting point. Made with minimal thought of how tracks would end up, the music was led through the creative process. Born of a moment, each track is an attempt to capture that instance, mood, feeling or subject.
Last year's self-titled debut album was warmly received, collecting critical success including Mojo ( A brand-new-retro delight'), Mixmag ( Peckham beat brilliance'), Record Collector ( Equal parts D'Angelo to J Dilla'), The Wire ( Soul music turned all the way inward') and a Bandcamp Album of the Day ( Breathing lifeforms that are equally steeped in hip-hop, funk, soul and jazz'). It was also nominated for 'Album of the Year' at Gilles Peterson's Worldwide Awards 2017. Along with Mo Kolours, Jeen Bassa, Henry Wu, Al Dobson Jr and Tenderlonious, he's helped forge in the 22a co-operative what The FADER calls a kaleidoscopic patchwork of hip-hop, house, and groove investigations bound by one thread: a timeless belief in rhythm as a universal language’.”
The first of 2 x 10”s, The Spectacular Empire I features Gaika coming from a noisy, abstract intro to square up alongside Miss Red on a piquant, sepulchral dancehall mutation, Battalion
Then merging from billowing Ben Frost-style digital scree to emote autotuned on a beat-less streak of Reese bass and finger-pop percussion, descending into a trap-trance blowout.
1st ever international vinyl release, newly re-cut over 2 x LPs for optimal frequency response. Now also includes Blood Shed Dub from the classic disco plate series, with sleeve notes by Michael “Dub” Shore and Steve “On The Wire” Barker. Check for the synthy squeeze of Displaced Master and pre-echoes of radge UK ‘ardcore and dubstep in the wild Drilling Equipment.
“Originally issued as a cassette on the ROIR label alongside the likes of Bad Brains, Suicide and The Contortions, this second album from 1983 is an uncompromising collection of heavy dub manners and experimental studio soundscaping. Dreader than dread roots rhythms sit alongside delay-baked post-punk instrumentals such as “Drilling Equipment” and “Synchroniser”.”
A smart handful of synthesists take Texas’ S U R V I V E to the ‘floor for Relapse.
Salon Des Amateurs’ Lena Willikens reshapes Cutthroat with a sleek, slow-rolling kosmiche-disco chassis; Not Waving accentuates the Ballardian sensuality of High Rise with a writhing tangle of acidic synths, oil-smear pads and purring, gear-shifting groove mechanics; Blondes’ Sam Haar revises Wardenclyffe as an increasingly ecstatic sort of dissonant techno traum; and Justin K Broadrick leans in on Other as JK Flesh for an insistent, stygian industrial chugger, morphing into seething jungle pressure by the close.
Torn Hawk hitches his wagon to UTTU for a tightly packed EBM session called Worm Quest, taking the examples of his Men With No Memory 2x7” down wilder back alleys of industrial dance music.
The four tracks fall somewhere between Gatekeeper’s EBM maulings on their Giza 12”, and the hi-energy Swedish EBM of Cats Rapes Dog, packing as much hi-tech funk torque into every second between the robocop dancer Wormquest and the new beat-nodding promo sample stabbed into Drain The Club on the A-side, then strangely recalling early ‘90s AFX in the taut clatter and martian melodies of Homeschooled Weirdo, saving something like a VHS Head sound with angular DX7 twang and tense techno ructions in The Paramus Achievement.
Reissue of a rare and prized Sun Ra live recording, notably starring the first ever appearance of Pharaoh Sanders on wax, and a scarce outing by Black Harold.
“"To understand the significance of the word 'featuring' on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.
The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.
“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or handdecorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. “We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”
- John Corbett (excerpt from the liner notes)
Blurring the lines between time and space, Ko Shin Moon mixes acoustic instruments from various regions of the world, analog devices, traditional music, electronic arrangements, sampling and field recordings.
"As the soundtrack of a patchwork journey, the band’s first LP conveys one along a succession of hybrid territories, imaginary sound landscapes, multicolored collages: Acid Dabke, Turkish-Greek Disco, Cosmic Raï, New Beat Molam, Tibetan Ambient, Synth Wave Hindi Filmi, Rickshaw Dance Music…"
Wobbly, mid ‘80s UK dub wonders, including a daft take on the BBC Radiophonic Workshop’s Dr. Who theme. Check for the infectious, propulsive stepper North Of The River Thames, a riff on Augustrus Pablo’s East Of The River Nile.
“Hauntological dub taking the mystical eastern melodica scales pioneered by Augustus Pablo and applying them to a unique mix of re-versioned cult themes and roots rockers.
Doctor Pablo was a key member of Creation Rebel as well as contributing to such canonical albums as Cry Tuff Dub Encounter Volume 1 and some of the early Hitrun Records sides, a pre-cursor to On-U Sound. It is also the third album appearance by the Dub Syndicate. Features the much-loved dub re-rub of the theme tune to classic British science fiction show Doctor Who.”
Natty, rickety dubs with psychedelic boogie flavour; thunk of it as balearic music for the banks of the Mississippi
“Left Ear re-introduce another ten lost tracks from Nicholas Georgieff and Virgil Work, St Louis' basement electronics duo Workdub.
The release spans material from 1989-95 and includes recordings from their sole LP and both cassette albums. Workdub’s music hardly fits into a vacuum and some might even say it’s otherworldly. Tracks like “Reach for the Stars” and “Lunar Module” reflect dreams of space-age exploration, all the while their investigation into drum machines, synthesizers, samples and digital fx’s matched with their organic live instrumentation work to create a unique atmospheric dubbed out sound.”
On his 2nd EP for Tresor, BNJMN refines his sound to a sort of keening, grittily textured greyscale techno.
Body Reflections Pt.2 steadily scales his sound from expansive, booming techno ambient techno recalling earliest AFX in Undulations, thru the slower, decayed techno bulk of Lyra to a Ben Frist-like sore point of tectonic noise quake and noise in Earth Shock, expelling any reserves of energy in the heavy-lidded but still-driving Severance, to the anxious resting point of Ghost Faction, which is arguably the most impressive ambient work in his catalogue.
Digickal mysticism from 1985 London, helmed by the master Adrian Sherwood, starring highlights in the steppin’ sino-dub ov Forever More, on a tuff but mellifluous soul flex with Forever More, the sharp-edged, recursive ricochets of Wellie, or those mad sliding chromatics in Out and About.
“Increasing access to new studio technology resulted in this splicing of dub reggae DNA with cut-and-paste sampledelia. Anticipating the later work of labels such as Def Jux, Wordsound and Anticon, this 1985 album paired crack Jamaican session musicians such as the Roots Radics’ drummer Style Scott (by this point the instrumental leader of Dub Syndicate) and The Congos’ Ashanti Roy with Public Image Limited’s Jah Wobble and Keith Levene, not to mention the restless mixing desk boundary-pushing of producer and de facto member Adrian Sherwood. A more reggaefied take on the industrial funk Sherwood was making with Tackhead during the same period, lovers of digidub, outernational sounds and even the wilder reaches of 80s hip-hop will find much to get lost in here.”
Ambient shoegaze duo Aris Kindt launch the new Kingdoms imprint with their second album, Swann and Odette.
"Picking up where their first record (2015â??s Floods) leaves off, Swann and Odette is an evolutionary leap forward for the duo. The sonic palette is deeper, the grooves more sparse and the melodies are given more room to seep deep within a mix so expansive it feels almost tactile."
Creamy acid house trax from Norway’s Tom Ace and Bejjer, buffed up for release by Ulli of Ullis Tapes.
Tom Ace is a N.A.T.O. fighter pilot by day, but makes lushly balanced, gently insistent acid dream such as this 12”s A-side, Return To Pollyland, by night.
Wingman for this mission is Bejjer, who keeps up his side with a simmering ambient waltz called Idiopathic Brain Modulations recalling the vibes of Moon Wheel or 1991 at their most tranquil.
Dawn People’s ‘The Star Is Your Future’ is a studio collaboration between New York musicians Nick Forte and Peter Negroponte.
"The pair’s mutual disregard for musical categorization results in a genre-bending ride on the nine-track album, which portrays their diverse backgrounds while maintaining a sense of accessibility, continuity and purpose.
Both veterans of the underground experimental scene, the duo entered into the project preparing to make a serious racket. In time, their mutual appreciation for breezy 70s jazz fusion, Krautrock and library funk became apparent, setting the course for the sessions. In the summer of 2016, they started tracking live jams with drums and electronics at the Outlier Inn studio in upstate New York with engineer Josh Druckman. As the tracks took shape, Forte and Druckman arranged the material and Negroponte overdubbed guitar, synthesizer, bass and percussion. Finally, the tracks were handed to Abe Seiferth for mixing and post production.
Dawn People’s dense, funky and psychedelic music is the result of the wide range of musical influences of the collaborators. Nick Forte’s resume spans influential hardcore punk band Rorschach, post-punk outfit Beautiful Skin and recent underground sensation Raspberry Bulbs. With Dawn People, Forte digs deep into his own childhood nostalgia: making mixtapes from the early NYC hip hop show ‘Rap Attack’, watching Christian Marclay experiment with vinyl on the TV show ‘Night Flight’ and his first musical instrument, the Casio SK1 sampler keyboard.
Peter Negroponte is a virtuosic drummer and guitarist whose influences are rooted in rock & roll, jazz, funk, fusion and free improvisation. In reaction to his brief stint at the New England Conservatory, Negroponte sought to transcend what he felt to be an esoteric approach to making ‘experimental’ music by forming the psychedelic art-rock-noise-funk band Guerilla Toss. He has worked with an array of contemporary DIY labels such as Feeding Tube, NNA Tapes, Digitalis and John Zorn’s Tzadik.
The sound of this album harkens back to a time not too long ago, in the early to mid 90s, with groups like Air, Cornelius, Stereolab, Tortoise and Cibo Matto. All these artists combined a love of Krautrock and David Axelrod records into a lushly produced jigsaw puzzle of live instrumentation, editing, sampling and immaculate production. It is a genre that Pitchfork’s Eric Harvey recently described as “recombinant pop,” which is applied to “adventurous, sample-driven and style-copping music.”
‘The Star Is Your Future’ shifts aesthetically and dramatically between sections and phrases, woozy in the best way and never unfocused. Together, Forte and Negroponte have cobbled together a dazzling scope of sonic elements to create something cohesive and mesmerizing.
For fans of Cornelius, Air ‘Virgin Suicides’ OST, Beastie Boys ‘Check Your Head’, Stereolab."
Indiana-born, everywhere-based singer-songwriter Peter Oren possesses a remarkable singing voice, low and deep and richly textured: as solid as a glacier, as big as a mountain.
"Similar in its baritone gravel to Bill Callahan, a hero of his, it rumbles in your conscience, a righteous sound that marks him as an artist for our tumultuous times, when sanity seems absent from popular discussions. His voice is ideally suited to confront a topic as large and as ominous as the Anthropocene Age. That term is relatively new, reportedly coined in the 1960s but popularized only in the new century to designate a new epoch in the earth’s history, when man has exerted a permanent—and, many would argue, an incredibly deleterious—change in the environment. Sea levels are rising, plants and animals facing mass extinctions; it may be humanity’s final epoch, which makes it a massive and daunting subject for a lone singer-songwriter to address, let alone a young musician making his second full-length record.
But Oren has both the singing voice and the songwriting voice to put it all into perspective. The songs on Anthropocene, his first album for Western Vinyl, are direct and poetic, outraged and measured, taking in the entire fucked-up world from his fixed point of view. Oren attracted the attention of Ken Coomer, the former drummer for Wilco and a producer in Nashville. Together, the duo assembled a backing band featuring some of the city's finest session musicians, including keyboard player Michael Webb (John Fogerty), singer Maureen Murphy (Zac Brown Band), and guitarists Sam Wilson (Sons of Bill) and Laur Jaomets (Sturgill Simpson). On Anthropocene they provide stately backing for Oren's songs, with drips of pedal steel and quivers of strings subtly reinforcing his observations about the state of the world. "Throw Down" bristles with energy and resolve, penned for "the people on the far, far left," Oren says, "the anarchists and the rioters.
There's not often a voice that's trying to understand those people or defend those positions."
Finders Keepers unveil a real pearl from their stewardship of Ciani Musica Inc.: presenting Suzanne’s ‘Silver Apples Of The Moon’-like electronic score for Gian Carlo Menotti’s satirical opera for children; ‘Help, Help, The Globolinks!’
“As faithful guardians of the Ciani Musica Inc. studio vault, Finders Keepers twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in multi-disciplinary electronic music, Suzanne Ciani. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theater production for children of all ages not only further reveals Suzanne's vibrant and versatile skills as an experimental musician and narrative sound designer, but also highlights her European heritage -- working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department).
Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the '80s which called for a new approach to the music and sound effects -- all of which would make their world premiere in New York high school theaters in April of 1980. Suzanne on the original: "The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production." For Help, Help The Globolinks!, Ciani would give Menotti's well-traveled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality. Unlike many successful electronic composers, Suzanne managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema; within the realms of opera and education Suzanne found her perfect channel -- scratching her other cosmic cinematic itches with android music in The Stepford Wives and as "the first female composer to score a major Hollywood movie" with The Incredible Shrinking Woman (1981).
Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl's Aniara or Remi Gassman's Electronics (CACK 004B-LP), this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Ciani's combined roles as an abstract artist and an astute technician are in equal measures here, a rare duplicity which is essential to The Globolinks!.”
ASC baffles your internal metronome with the railing rhythms of Point Of Origin his latest dispatch from he great area twixt D&B, techno and concrete electronics.
Last Known Coordinates locates him travelling at high velocity driven by clod-hopping drums and fine-tuned bass propulsion; Point Of Original clocks him keening into halfstep gravity; Ground Tracer identifies a thrumming techno sound compatible with Regis or Mønic rollers; Collider works out rollicking mechanics recalling the new Sam Kerridge sound.
From the lo-fi, sparse folk-melancholy of her 2010 EP, ‘Strange Cacti’, to the electrified, polished rock ‘n’ roll bursting from 2016’s beloved and acclaimed ‘MY WOMAN’, Olsen has refused to succumb to a single genre, expectation or vision.
‘Phases is a collection of Olsen’s work culled from the past several years, including a number of never-before-released tracks. ‘Fly On Your Wall’, previously contributed to the online-only, anti-Trump fundraiser ‘Our First 100 Days’, opens ‘Phases’, before seamlessly slipping into ‘Special’, a brand new song from the ‘MY WOMAN’ recording sessions. Both ‘How Many Disasters’ and ‘Sans’ are first-time listens: home-recorded demos that have never been released, leaning heavily on Olsen’s arresting croon and lonesome guitar.
The B-sides compilation is both a testament to Olsen’s enormous musical range and a tidy compilation of tracks that have previously been elusive in one way or another. Balancing tenacity and tenderness, ‘Phases’ acts as a deep-dive for longtime fans, as well as a fitting introduction to Olsen’s sprawling sonics for the uninitiated."
What does the sun sound like? L’Orange, L’Orange, Gregg Kowalsky’s (Date Palms) first solo album in eight years, might have the answer.
"Its vivid music – sourced from analog synths and mixed on a laptop – arrives in rays of sound that shine skyward. There are many moods in each track, but the overarching aura is one of brightness and optimism. Hence the album title, which nods toward the radiant hue of our life-sustaining star.
The warm atmospheres of Miami (his birthplace) and Los Angeles (his home of 3years) infuse the luminous ambience of L’Orange, L’Orange. Kowalsky points to the album’s second track, “Maliblue Dream Sequence.” Its lapping synth waves mirror the time he spent working on the record at a friend’s home in the beachside city of Malibu. But you can hear echoes of blue “Tuned to Monochrome,” to the rising rhythm of “Pattern Haze,” to the sandy layers of “Ritual Del Croix.”
L’Orange, L’Orange isn’t just about brightness and bliss. It’s also about engrossing your mind – creating an omnipresence not unlike that shiny orange orb whose ubiquity defines our days and whose absence fills our nights. For Gregg Kowalsky, music can have that same kind of overpowering effect. The sounds of L’Orange, L’Orange can calm your nerves, warm your mood, and maybe even enlighten your mind."
Definitive compilation drawing together the original Digital Soundbwoys of Jamaican Dancehall culture, compiled with the help of Steve Barrow.
Reggae music is made to be played in the Dancehall, it is a functionalist music of the highest order and in the early 1980's when producers started switching onto digital instrumentation, and found they could produce far more powerful and effective sounds to play on their friends rigs, the whole culture of Jamaican music changed irreversibly.
This first volume of the two part vinyl set collects a wicked selection of out-and-out classics from Yellowman's 'Bam Bam', Tenor Saw 'Pumpkin Belly', Chaka Demus & Pliers' international 1992 hit 'Murder She Wrote', Junior Murvin's nut crackin' 'Cool Out Son', Ini Kamoze's Taxi sound special 'World A Music', Cutty Ranks' 'Chop Chop' and tonnes more nice-up sounds. Of course there's the obligatory and massively interesting liner notes too from Steve Barrow and the glorious full colour picture sleeves in classic Soul Jazz style. If you're into any form of dance music today, you really have to pay your dues and invest in this wicked set of pure dance history.
London’s First Terrace Records bring together two generations of electronic sound explorers on one disc; pairing Portland, Oregon’s Holland Andrews, aka Like A Villain, with Seattle’s K. Leimer, veteran of Savant and Palace Of Lights, for a stark contrast of incendiary extended vocal technique and free-floating ambient structures.
On her side, Holland follows up her role in Peter Broderick’s The Beacon Sound Choir with an escalating transition from glacial, elemental vocal layering to flammable, airborne harmonics and a primal/futuristic climax that sounds like Björk in duet with Diamond Galas while sharing a massive bottle of whiskey and battered microphone. By the end of the 20 minute piece you’ll understand its alternative title; I’d Rather Not Talk About It.
The B-side catches K. Leimer in wistfully elegant form with the hazy recording of what sounds like a Japanese lady speaking in German, embedded in swelling strings and arcing electronics on Chance Favours Pattern, before shapeshifting between selector-acoustic ambient in the Eno vein with The Melancholy of Departure (1916), the flustered percussion of Noise Coiled Sleep, and autumnal tones of Small Coloured Enclosures.
Idle Hands put a dork on it with stripped, bouncing techno tax by Berlin’s Johanna Knutsson and Hans Berg
“Following a run of local transmissions from A Sagittariun, Crump, Rob Smith and Atki2, Idle Hands turns its attention to Berlin and the straight-up, no-nonsense techno thrust of Johanna Knutsson and Hans Berg. Both respected artists and DJs in their own right, the pair have been turning out 12s together for The Free Spirit Society, Klasse and Crime City Disco over the past few years, but most importantly they've been steering the excellent UFO Station Recordings as a vessel for their punchy, primal techno tracks.
The sound on this EP taps into the pure form of stern, dark dancefloor tackle favoured at Idle Hands – no extraneous filler, plenty of space in the mix, but equally built with warmth and personality rather than monochrome functionality. If you need further proof, just look to the fact the EP is named after a Swedish soap opera from the 90s.
The bleeps and bass tones that pulse through Taggen are so finely crafted they need not skip and dance around the arrangement. The melodic interplay on Klimax is subtle but ultimately uplifting and optimistic where so much techno concerns itself with oppressive gloom. Bimbo finds the pair embracing a more psychedelic approach, but even here the modulating effects processes are kept within certain boundaries so as to not dilute the impact on the floor. After all, this is music to dance to, to be felt over a large system (where possible).
Moving from leftfield bass excursions to minimalist 2-step, UK techno and now onto this much more continental sound, theMälarviken EP continues to widen the range of Idle Hands' musical tastes without losing sight of the complete picture.”
Unknown Path investigates areas of the grey area akin to Aught’s Xth Réflexion in Pathfinder, Vol.1
Yielding a static yet kinetic sound built from charred bass, textured drums and billowing noise artefacts.
Over the space of three years, two singles and countless gigs, including tour supports with Teenage Fanclub and Real Estate, Glasgow’s Spinning Coin have determinedly - and with single-minded purpose - made their music heard
"Beautifully rough-hewn guitar pop that takes in frustration, escapism but also gracefulness and splendour, in equal measure. The five-piece now announce that their debut album ‘Permo’ via The Pastels’ Domino imprint, Geographic Music. The band will also be performing with Girl Ray and Dinosaur Jr. this autumn."
Tokyo-based D&B MC and producer, Maiko Okimoto aka Lemna, throws her hat into the grey area with Urge Theory, a stony-faced follow-up to her sci-fi steppers project, Ourea, with Sam KDC.
It’s a rugged exercise in monotone, numbed D&B pressure, moving with a silty brownian dynamic from the viscous momentum of Dice thru what sounds like a frozen T++ piece in DLPFC, to the pounding hypo-techno pressure of Metamorphosis, harnessing tearout synthline in the wild-eyed raver, Blot.
RVNG Intl parse Pauline Anna Strom’s incredible new age recordings on this collection of boundary-smudging synth journeys, containing material originally released between 1982 and 1988. They've spent almost a decade trying to bring this collection to life, kudos to them once again for compiling and conceiving it with so much care and attention to detail.
Drawn from seven obscure tape and vinyl releases made between 1982 and 1988, Trans-Millenia Music lives up to its mantle with a sense of ancient knowledge transposed into the contemporary future of the 1980s, realising a latent, transcendent sound that was perhaps just waiting for technology to catch up so it could speak freely.
Through the circuitry of pioneering synth tools, the blind composer and keyboardist from San Francisco feels out a spectrum of unfathomably celestial and synaesthetically-heightened sound colour along myriad, psychedelic vectors, haptically connecting diffuse spatial coordinates with a gossamer web of FX and morphing filter envelopes.
It’s music for oceanic introspection, beckoning listeners to fall deep inside themselves and diffract profound visions through their own lens, where you can interpret her descriptions of sonic flight in Crusing Altitude 36,000 Feet and In Flight Suspension, or decode the entheogenic synth voices of Mushroom Trip according to your own understanding of the cosmos and its play of energies, and draw your own meanings.
Gorgeous music, highly recommended if you're into Suzanne Ciani, Laurie Speigel or indeed Midori Takada.
Riveting compendium of stark, raw blues by an erstwhile sparring partner of Loren Connors, recently salvaged from an old shoebox of tapes, restored by Taylor Deupree and mastered by Carl Saff.
"I would go as far as to say that the few recordings that exist of these Robert Crotty sessions are among the finest and most beautiful blues documents of all time." -- Loren Connors
In the years 1978 to 1981, Robert Crotty would show up on Loren Connors’ doorstep in New Haven, Connecticut with his tiny, almost toy guitar. The two would then spend hours playing acoustic blues, the likes of which was absolutely staggering in its truthfulness.
Robert Crotty with Me: Loren’s Collection (1979-1987) is the first anthology of the late bluesman’s work, as selected by his former playing partner. These are the unheard tapes of Crotty and Connors communing with the spirits of Delta and County Blues through their own revisions of standards and tingle-inducing improvisations. These also some of the legendary Connors' earliest available recordings showing the development of iconoclast guitar style and vocal moan.
Crotty was a New Haven lifer and linchpin of the region’s blues scene yet, he never achieved much recognition outside local bars and house parties — until now. The album features never before heard recordings, unseen photos, liner notes by Connors and Crotty’s brother plus a bonus CD: the first-time reissue of Crotty’s ultra rare sole LP Robert Crotty Blues and Prove It! 7-inch -- both released on Connors’ private St. Joan imprint in the late 1980s.”