UK techno heavyweights Karl O’Connor & James Ruskin whip out a deadly new OVR session on Downwards
Arriving 2 years since their ‘Easy Prey’ 12”, OVR’s 3rd studio release is defined by its spacious mixing and layered detail in three powerful dancers plus two handy locked grooves.
‘The World Remade’ is a proper juggernaut, rolling thru pelting percussion on 18 wheeler bassline with a pile of jazz mags on the passenger seat. It could easily go on twice as long, but there’s two locked grooves isolating the crunchy bass and gritted drums for DJs who want to properly roll out.
The B-side’s ‘Reversing Into Tomorrow’ tucks into more aerodynamic, stripped down formation, before they cuts loose with foul waves of tarry synth and noise scree in the grim roil of ‘New Departures’ - more of this, please!
Stripped-down, proggy acid and slinky electro from Nathan Micay (Bwana), making his 1st foray for L.A.’s ESP Institute
The A-side’s title tune is an effortless, stealthily building acid roller evolving with swanee whistle-like top line, eventually opening out with balmy pads.
On the B-side, he works the louche but punchy swagger of ‘Team Player’, with snaky post-punk baseline accentuated by electroid snares and urging vocoder voice.
Wolfgang Voigt (Gas) plucks out 12 airy beauties from Kompakt’s ranks for ‘Pop Ambient 2019’. Make sure to check for the gauzy country drift of ‘The Uncertainty Principle’ by Jörg Burger as The Black Frame, as well as Bluebird’s aeolian harp styles in ‘Last Train To Brooklyn’, Thomas Fehlmann doing a mean impersonation of The Caretaker in ‘Karenina’, and the stately keen of ‘Rot 2’ by Gregor Schwellenbach
"25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock’n’roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent “Around The World”, all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.
Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as “Chill Out” music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.
So once again, I had the pleasure to put together this year’s edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline “Ambient” might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland’s abstract-floral cover design that keeps on pleasing our sore eyes year after year.
Although each and every POP AMBIENT edition doesn’t shy away from diving into the relevant question of “What is contemporary discourse music” – in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers."
(Wolfgang Voigt Cologne, October 2018)
Houndstooth wrap up Throwing Snow’s three EPs of 2018 with bonus cut ‘V’, and a tranced-out Octo Octa remix
Throwing Snow’s finely honed melodic and harmonic sensibilities are firmly in place across ‘Loma’, lighting up ‘Myriad’ with see-sawing neon cadence; twisted into air-ripping, Clark-like figures on ‘Trébucher’; elusively riddled into the pitching design of ‘Minotaurs’; and with blistering form in ‘V’.
But our favourites are when it goes tough and rugged, as with the grubbing, gargling acid hardcore of ‘Tantrum’, and the unique percussive torque of ‘Vulpine’.
A real doozy from Finders Keepers' Cacophonic label - playfully psychedelic, abstract ‘70s concrète compositions by Dublin’s Roger Doyle, recorded at the inestimable Institute of Sonology, Utrecht. Keener types may recognise Doyle from his part in Operating Theatre on the superb ’Strange Passion’ compilation, and will surely be in for a welcome surprise with ‘Oizzo No’ - one of the most beguiling, unpredictable and varied sides ever heard from the Irish avant garde. Unmissable!
“This manifesto of outsider orchestrations, teenage symphonies and cultivated concrete is the debut album of experimental Irish avant garde and electro acoustic innovator Roger Doyle. A pianist, composer and improvisational jazz drummer with a penchant for experimentation that would marginalise him from traditional seats of learning in his native homeland but embrace him to the bosom of Europe’s leading forward-thinking research centres for electronic and computer music. Here he would piece together two highly sought after experimental albums before returning home to channel his multi-disciplinary work ethic into the agit pop theatrical company Operating Theatre and play a leading role in the burgeoning Irish new wave scene as an early signing to U2’s Mother Records.
A collection of some of Doyle’s earliest works as an indomitable scholarship student of composition at the Royal Irish Academy Of Music in Dublin and then as founding member and drummer of experimental jazz rock outfit Jazz Therapy (who would later become Supply Demand & Curve), this patchwork 1975 debut long-player draws from what was an already bulging portfolio that included academic assignments, living room compositions and soundtrack collaborations with Irish filmmakers.
Originally part-recorded and subsequently aborted when the would-be label vanished without trace overnight, Oizzo No was shelved indefinitely until a scholarship at the prestigious Institute Of Sonology at the University Of Utrecht in Holland afforded Doyle not only the opportunity to partially revise his humble opus in their state of the art studios (as well as those of the EMS Studios in Stockholm) but also the money to press a limited run of 500 copies and help further cement the foundations of his future status as one of Ireland’s leading and most versatile contemporary composers.”
Abstract knots of colourful, chromatic noise swept up in naturalistic chaos...
“Luminous, Stratous, Vigourous. Jan Nemeček folds time on his power ambient opus «Recurrences». Evoking memories of solitary journeys that turn into cosmic travel, these eight timeless songs combine fragile and organic textures with wide-screen, orchestrated waves of sound. Jan Nemeček lets his machines drift until they sing in character, creating luminous worlds filled with strangely familiar life-forms.
In his current solo work, musician and sound designer Jan Nemeček focusses on granular synthesis, deconstructed recordings and borderline sub bass movements.
He has been engaged in the Balkans’ vivid improvisatory and electronic music scenes since the early ‘00s. Until 2014, he co-curated the CC-based label Norbu. Jan Nemeček also collaborates in numerous projects focussing on the club context. He is a resident at Belgrade’s acclaimed underground institution Drugstore.”
Anther heavyweight haul of slow techno mutations from Mike Jefford’s Positive Centre, coming quick on the heels of ‘The Leaf Switch’ album for Opal Tapes with a stark, grungy, grumbling batch for Horo
“After making his initial mark with a grinding fog of slowed Techno on Sigha’s Our Circula Sound label, Michael Jefford aka Positive Centre has traversed the electronic BPM scale with a sonic signature of ghostly synthetics that make the switch between industrial aesthetics and illusory soundscaping.
Within this nucleus, Jefford’s recorded history as a Live Performing Artist, DJ and Producer has always reflected what at once can be microscopic whilst still being the largest object in view. Each track on Forever Optimum sets a different location and perspective on an active set of mechanics - like watching fragments in motion, reacting to different forces.
Having previously released for a range of Techno’s more adventurous labels includingSNTS, Stroboscopic Artefacts, Opal Tapes and not forgetting his own In Silent Series label. Positive Centre’s 3rd Album ‘Forever Optimum’ stands as a beautiful anomaly in the 2018 HORO catalogue. Continuing the point of the HORO label: being open to the beguiling musical arcs that keep us redefining our sound.”
With a CV that includes vocals for Timo Maas and doomcore for Invada, Anthony Tombling Jr. returns to Village Green as CUTS with a cinematic hat on.
“Summoning 11 widescreen, electronic compositions in response to global political and environmental breakdown, ‘A Gradual Decline’ addresses the planet’s current fragility using actual field recordings of ice collapsing from glaciers. Weaving these momentary, dramatic events directly into the DNA of the music, CUTS has sculpted rhythmic elements out of geological transformation.
A stark sense of urgency permeates ‘A Gradual Decline’. At times chaotic and alarming, the album’s siren-like tones and volatile, stuttered beats converge with synthetic gales of melody and glacial percussion. Elsewhere, the sense of precariousness is subtler, enveloped in gaseous chords that swell and evaporate, ethereal and dense guitars and distant vocals – all hallmarks of previous CUTS material - here honed into a concise, conceptual set.
“I have tried to make a record that feels like it’s all come from one place," explains Tombling Jr. “My only musical influence on this was William Basinski’s ‘Disintegration Loops’. Not the music, but the process. The idea of a decline in sound really suited the concept of this record. All this music and instrumentation trapped in this declining digital signal. I wanted it to sound brittle and precarious. I also wanted to avoid doing overly dark material, opting instead for something that was more fragile, melancholic and even hopeful in moments.“
Weighty wanz from Drone on Coyote
Cold shifting weight from the natty grime instrumental ‘Narroways’ to dubbed-out sinogrime in ‘Light Speed’, moody blue grime in ‘Probiscus’, and the flickering, skeletal drums and swollen bass of ‘Fangz’.
Hypnotic grey area incursions from ASC, the master of this sound
Taking all the time he needs to take us there, he unfurls some of the longest, most epic tracks in his catalogue across ‘The Outer Limits’.
All reaching over the 11 minute mark, at least, the 4 tracks are exquisite showcases of ASC at his most expansive, emotive, and rhythmically complex, ranging from swirling deep space polymetrics and vast drone shapes of ‘Arrival’ and the sloshing rolige and vaulted pads of ‘Redshift’, to 17 minute breadth of ‘Blueshift’ with its uniquely tucked percussive permutations and tumutuous synth arrangement, and the waning beauty of ‘Departure’.
One for the techno/bass dreamers.
Scorching, sprawling, lysergic psych and free jazz jams from Jibóia, a new artist from the fertile Portuguese undergrowth, picked up and presented on the ever-searching Discrepant label. Make sure to check the wild combo of sustained sax peal and pounding drums in ‘Diatessaron’, and the full-blown 15 minute Sufi whirligig styles of ’Topos’ if you like imagining yourself as a character in a frenzied Alejandro Jodorowsky scene...
“Earlier this decade, when Óscar Silva chose his alias Jibóia, he was already thinking of the variations his music would take on in each record. Jibóia is Portuguese for Boa constrictor and at his fourth record we got used to his instincts and ability to change over his sound and search for different collaborators to reach his intentions. After collaborating with the likes of Makoto Yagyu, Sequin, Xinobi, Ricardo Martins and Jonathan Saldanha in his previous records, in OOOO he goes deep into interconnecting his music with other musicians/past collaborators.
Joined by Ricardo Martins (Lobster, Pop Dell’Arte, BRUXAS/COBRAS, among other projects) and Mestre André (aka O Morto, Alacrau and Notwan), Óscar intended to create a record that sounded like Jibóia with the direct collaboration of the musicians that accepted the invitation. And what does it mean to sound like Jibóia? A fluent and rich dialogue between outer-world sounds mixed with a free jazz approach to rock, living in the limbo between what is fiction and reality. Meaning, it’s music that’s doing soul searching without any space or time barriers.
It flows as it should and in OOOO it’s no different. Inspired by the philosophy of Pythagoras and his concept Musica Universalis, that speaks about an inter spatial harmony created by the movement of the planets and the sound frequency it creates. It’s a poetic theory that imagines the sound produced by the movement of the planets and what we can listen to when we listen to the universe. The first three tracks are a reference to those frequencies and the last one, Topos, references an idea of accomplishment, of arrival and the sum of the experience.
So, yes, OOOO it’s a bit of a trip. A voyage of imagined sounds produced by three musicians in a constant dialogue and with a different focus in each track. Each of the first three tracks (Diapason, Diapente and Diatessaron) are developed with the focused on the instruments of one of the musicians, while the other two expand and enriches the range of the initial movement. First track focusses on Óscar’s instruments, the second one on Ricardo’s and the third on Mestre André’s. On the fourth and last one they explore the flux of ideas each one delivered to OOOO.
Topos doesn’t sum up the experience. It’s not intended to be a conclusion or an end to OOOO, it’s an open circuit of ideas that reinforces the free-minded rock that the three musicians explore, creating a new place where their music finds new routines. It just makes you want to go back to the beginning, again and again, reinforcing the feeling that Jibóia’s music belongs to this world without sounding like anything from this world.”
Whities 018 features four tracks that Alex wrote "around winter ‘16-‘17, as I decompressed from an episode of deep prang. While they bear out my mood at the time, they also chart a path of recovery through nature, slowness and humour."
A composer, a theorist, and an innovator, Harry Partch stands out among so many other American classical artists as one of the most eccentric. He notably rejected the tradition of composers like Beethoven and Bach for a lack of theatricality and drama, and took his greatest inspirations from Eastern Noh theater, frequently incorporating speech and dance into his pieces, as well as requiring participants to perform multiple parts.
"His theories reflected this dismissal, which sought to return musical tradition to those of the pre-Classical era, with a heavy focus on microtonality, and octave intervals beyond what was traditionally utilized. Many of the pieces he composed would prominently feature instruments of his own invention, including heavily modified string instruments, mallet instruments, and pipe organs. Over the course of his life, Partch released a number of records, soundtracked numerous films by Madeline Tourtelot, and wrote the highly influential text Genesis Of A Music, which would introduce his theories to a contemporary audience, and inspire fellow avant-garde composers as Lou Harrison, Ben Johnston, James Tenney, and even the famed experimental collective The Residents.
One of his most famed works was the stage play Delusion Of The Fury, a piece of performance art based upon the Japanese Noh drama Atsumori, while also taking cues from Ethiopian folk tales, Shakespearean tragedy, and ancient Greek traditions. Delusion Of The Fury is looked back upon by critics and historians as one of Partch's seminal works, making heavy use of his signature micro-tonal compositional style, as well as many of his own invented instruments. It is considered his confrontation with his own anger towards a world that frequently rejected him, and dealt him hardship. The play first premiered at the UCLA Playhouse in 1969, whereupon it was recorded by Columbia Records, and presented in a double LP format."
Bristol D&B hero DJ Die dishes up 8 of his classic cuts, remastered and repackaged on his Gutterfunk label
Worth a look in for the re-primed cuts of Die's classic rollers such as ‘Clear Skyz’ [Full Cycle, 1998], the militant steppers minimalism of ‘Play It For Me’ [V Recordings, 1995], and the smoked out ace ‘Reincarnated’ [Full Cycle, 1997].
Gilles Peterson spotlights a new draft of soulful cats from London’s burgeoning jazz and related scenes (and beyond) on the 13th volume of Brownswood Bubblers
All highlights in their own right, but for us a few really stand out: Al Dobson Jr.’s slick ‘90s R&B upholstery for Lynda Dawn’s ‘Move’ is right up there, as is the pointed hip hop of ‘No White God’ from Gaika collaborator, Oscar #Worldpeace, and the Spacek-like neo-soul vibrations of ‘Jury Judge Executioner’ by Alxndr London, another affiliate of Gaika’s The Spectacular Empire squad.
We Release Jazz presents its fourth release (following Ryo Fukui’s Scenery and Mellow Dream and Le Cercle Rouge’s soundtrack by Eric Demarsan), the official reissue of 1974’s Stuff Combe 5 + Percussion, a hard to find soul jazz jewel from a cast of illustrious jazzmen led by glorious Swiss drummer Stuff Combe.
"Recorded in Geneva, Stuff Combe 5 + Percussion finds Stuff Combe conducting an all-star ensemble consisting of Bob Jacquillard on bass, Francy Boland (The Chet Baker Quintet, arranger for Count Basie, Benny Goodman and the list goes on) on piano and electric piano, bebop and hard-bop legend Benny Bailey on trumpet, and Tony D'Adario on saxophone. The sessions ooze with funk, spaced out sounds, breathtaking solos, and moments of absolute collective wizardry. It’s soul jazz at its best with sci-fi and bossa excursions!
Born in Bern in 1924, Etienne Stephen Jean Gustave "Stuff" Combe had a wonderfully prolific career, playing all over Europe and the US and working with Buck Clayton, Bill Coleman, Stan Getz, Kenny Clarke, Oscar Pettiford , Art Taylor, Dizzy Reece, and Lucky Thompson just to name a few. He passed away in 1986, leaving behind a legacy that cemented him as one of the most important musicians in the history of Swiss jazz."
Dark blue bass functions from London’s Henry Greenleaf, pressing his debut 12” with Par Avion
Up top he works slack cowbells, offset bass and daubed chords into ‘Fold Together’ on a Parris-like tip, then recalling Beneath in the gullier stride of ‘Rolling Untitled’. Down below he runs the rugged suspension system of ‘The Way’, and a glancing, spiralling 2-step piece, ‘Half Under’.
‘So Right’ is a massive highlight of Marie Davidson’s blazing new album, ‘Working Class Woman’
On the original and its spanking new extended mix, Marie taps into a deep vein of Canadian synth-pop/garage-house/EBM, working ohrwurm vocals around a lean, muscular bassline, flickering rimshots and nimble dub chords in deadly simple but effective style.
John Talbot supplies a more sluggish ‘Pressure Dub’ remix working on a sort of druggy Go-Go bent. It’s not a patch on the OG, though.
Juan Atkins’ deep and moody ‘Skynet’  LP as Infiniti resurfaces for its 20th anniversary reissue on Tresor
Alongside his part in the 3MB album and on Model 500’s ‘Deep Space’, Juan’s work on ’Skynet’ ranks among his 3 crucial LPs of that decade. But where 3MB was very much a joint effort, and Model 500 rolled far out into jazzier, cosmic breaks, ’Skynet’ trades in pure techno and house in Juan’s patented style.
The results make for a slickly coherent album as well as a strong batch for the DJs, stretching out from the supple swang and floating voices of its title track, to the dub techno lave of ‘Walking On water’, a slinky percy named ‘Thought Process’, the deep techno-pop of ‘Postcard From The Future’, and the wicked, experimental arrangement of ‘Body Oil’.
A sought-after spiritual jazz slab recorded in 1981, now recut over 2 discs for optimal fidelity
“Another key document of the Los Angeles radical jazz underground, by way of Outernational Sounds.
A tour de force of spiritually energised independent jazz music, this is pianist and composer Kaeef Ruzadun Ali’s debut recording as leader of the Creative Arts Ensemble, as it emerged from Horace Tapscott’s legendary Pan Afrikan Peoples Arkestra,
PAPA mainstays like reedsman Dadisi Komolafe, drummer Woody ‘Sonship’ Theus and altoist Gary Bias are here; besides such veterans as Henry ‘The Skipper’ Franklin on bass, and George Bohannon on trombone. Kaeef’s sister B.J. Crowley provides visionary, sanctified singing.
Classic spiritual jazz, available again as an LP for the first time since 1981; with the recordings at full length on vinyl for the first time ever.”
After moonlighting on Planet Mu, Mr. Mitch comes home to Gobstopper with a wistfully romantic suite of UK-style electronic soul.
These are some of his most reserved, cooled-out and tender productions to date, moving from the nEurogenous synth strokes and talkbox riffs of ‘Restart’, thru the low-key electro R&B bumps of ‘Settle’, to the exquisite electro dembow tang of ‘Phantom Dance’ at the EP’s core, before introducing his own vocals in a way recalling Palmistry on ‘Show Me’, and catching a deep ambient house breeze with ‘Closure’.
Weapons grade remixes of The Soft Moon from a likely bunch of EBM, noise and industrial techno figures
Fresh from running amok with Ewa Justka and Manni Dee’s ‘London Isn’t England’, Ansome goes bare knuckle on ‘Burn’ with hospitalising results. Craow turns ‘Choke’ to rubble with unrepentant glee; ‘90s EBM producers Clément Perez and Daniel Myer a.k.a. Rendered remodel ‘It Kills’ as a whooping, galloping warhorse for taps aff in the dark room times; and The Horrorist does his grim NYC techno thing with ‘The Pain’.
In the pantheon of electronic music Terry Riley's 'A Rainbow In Curved Air' adorns a pedestal front and centre.
Taking inspiration from Hindustani classical music and the jazz techniques of Bill Evans and John Coltrane before him, Riley's minimalist psychedelic masterpiece can claim a direct influence on generations of musicians ever since, from the likes of Brian Eno at one end of the scale, right through to Oneohtrix Point Never or Emeralds at the other.
This "definitive remastered edition" portrays his pioneering tape delay techniques and virtuoso keyboard flurries in optimised glory, exposing the base root of so much Ambient, Techno, Electronic Pop and improvised experimentalism for oth first time listeners and those who who heard it first time around (anyone in between, too!). Includes both 'A Rainbow In Curved Air' and 'Poppy Nogood And The Phantom Band'.
Debut drop of peaktime rave sizzlers from Chontane and joeFarr on London’s THEM label
Arriving in the glowing wake of 12”s by Gaunt and Borai, the ‘Red Island’ EP is the first showcase of Chontane’s sound, impressively rushing up with the boisterous but tempered breakbeat rave rudeness and trancing lead of ‘Cluch’, along with the slathering slammer ’Swet’, and the Reece bass-fuelled stepper ‘Nedelia’, while joeFarr round out with a rabid industrial techno remix of ‘Cluch’.
Dense, seething dread dub biz from Japan’s G36 for Kevin Martin a.k.a. The Bug’s Pressure label
Backing up G36’s solid instrumental for the last Pressure release, Nazamba’s ‘Vex’, the seismic original instrumental appears here in bad company along with the deadeye trample of ‘’Militant’, a grumbling beast named ‘Them Vs Us’, and the ten tonne steppers momentum imposed by ‘Mass Surveillance’.
Played by Kahn, Don Letts, JK Flesh, Ossia!
Natty, dubbed-out action from Sydney, Australia’s OTIS Records
Check for highlights in Ghosts of Bookar’s electroid steppers dub ‘Rings Around Saturn’, abnd the stuttering and spooling dub techno stepper ‘Connexion Dub’ by Sleep D.
Erstwhile Coil guy Drew McDowell puts 50p in the meter for a 3rd batch of voluminous modular synth misshapes with NYC’s Dais Records
After testing out a mutant dancehall sound with Hiro Kone on ‘The Ghost Of Georges Bataille’, McDowell picks up where he left us with ‘Unnatural Channel’ , plumbing deep into the guts of his modular array to extract the most effluent and ungodly electronic prangs and machine gremlin voices.
A product of ritual, conceptual immersion, ‘The Third Helix’ projects 8 eight hallucinatory visions conceived for ritual immersion on the listener’s behalf, unravelling relatively simple units of sound into 3D webs of entrancing complexity along unfathomable spatial coordinates.
Depending your tolerance for vivid nightmares and psychotropic substances, the effect of ‘The Third Helix’ will vary from user to user, but in ideal conditions - dark room, inebriated, at night - it’s likely to induce the rarest sensations and push the most intent ears to the brink.
Off-centre dance music full of liquified percussion and breezy electronics
“Tech Startup founder Rafael and Timothy Crombie, aka A Psychic Yes, fortuitously met on a Berlin dance floor in late 2017. A long digital correspondence between Berlin and Seattle culminated in the inaugural release of the Seattle-based Tech Startup label: TS000001. The project is comprised of 5 tracks built up from initial recordings of percussion, trumpet, and synthesizers honed into drum-focused dance pieces in the melancholy Berlin winter of 2018. Split in function between the two sides, Side A features dancefloor-ready tracks, while Side B contains introspective songs geared towards a home-listening environment.
Field recordings of Scottish stone slates accent the opening track Stone Sound, a tribal-leaning dancefloor cut highlighted by syncopated, pounding percussion and discreet melodies. The organic, sparse breakbeat track, Spacemaker, is cloaked in bright, hazy melodies. In Delicated, a series of melodic characters move around one another in a foggy electronic atmosphere. Aldhini Theme emerges as the standout track on Side B, with undulating modulated noise that slowly builds into
a hypnotic slow-burner resolving on a melody. Capping off the project is 12059, an unedited, meditative bliss of drones and trumpet.”
C93’s David Tibet confesses his recent night traumas in a deeply absorbing tapestry of serene chorales, spectralist classicism and half-heard oneiric narrations in ‘The Stars on Their Horsies’; a seamless, single 39 minute piece he describes as “Textually based around two NightMares I nightmared recently..."
Tibet also informs that this CD version will differ from the LP, which was issued at his Stockholm ‘Channelling’ in April, 2018, although we’re not sure how, other than that the CD is logically better to experience the work as an unbroken spell, and let the alchemy of his tonal juxtapositions and hallucinatory mixing work its magick, only occasionally revealing glimpses of Tibet’s dream from below the surface,
Posthuman present their first vinyl album since 2010’s ’Syn Emergence’ with ‘Mutant City Acid’ on their Balkan Vinyl label
On ’Mutant City Acid’ they tweak out Roland’s little grey box in 10 parts roving from the seamless acid house excursion of ‘Into Gestalt’ into ‘Nightride To New Reno’, before gradually diversifying their patterns with the slow electro-acid of ‘Gods of Technology’, and the canny transition from slow acid into purring 808 dreamscape with side C’s ‘junk Bonds’, ‘Raid On Kyoto Quarter’, and ’Shellworld Industries’, and again hoping from knackered acid to ruddy acid techno and jacked up pressure on side D’s ‘Abaskan Control’ into ‘Transit System Error’ and ‘Wishmountain’.
Dazzling debut from Kahn, re-pressed.
'Like We Used To' is a powerfully built 130bpm swinger, stroking fragrant female vocal into orgiastic glossolalia over clipped 2-step and seasick subs copulating like Zomby and SBTRKT. 'Helter Skelter' is more exothermic, radiating stereo spirals of cascading lazer synths on a halfstep bump and grind akin to the recent Objekt 12".
Another highly enjoyable blast of Kiwi crud-rock, sounding like a gang of pals and their dog entertaining each other in the mid ‘90s. Which is exactly what it is. One minute it’s balls to the wall drum machines, the next its a detuned indie-pop ditty, and the next they’re sloping into drone rock hypnosis. Music from another time and place entirely. Ace!
“A dogroll is a cheap giant sausage of bad meat to feed your pets. Teen-X-Ray came from Hamilton, New Zealand, which is known for agricultural innovation, frosts, fog and Taniwha in the Waikato river. Live cows with windows permanently inserted into their bodies for research live on the edge of town. As Stefan "Smetal" Neville recalls: "Glen Frenzy asked me to join his new 'rock n roll' band Teen-X-Ray at a ska concert at the Hillcrest Tavern in Hamilton in 1993. He had probably already recorded most of the first cassette The Ballad Of Vince Neil using the karaoke sound on sound function of his flat-mates stereo. Then and now I would do anything Glen asked of me so I've been in X-Ray ever since."
Glen also recruited Dusk, his girlfriend's German Shepard who howled when she heard sirens. She would bite and claw at Casio keyboards. She didn't share her dogroll. Teen-X-Ray recorded their music on cassette decks, performed on top of kitchen tables and released many tapes on the Plop, M60 and Stabbies And The Rocket labels. Glen and Dusk got a reel-to-reel tape machine, moved to Upper Hutt, making noise long into the night. Dusk got into Neil Young and killing mice while Glen got into home brewing beer and computers. Stefan Neville moved to Dunedin but Upper Hutt became his favorite holiday destination and each visit would result in new albums. Upper Hutt is known for its pig hunting and for producing New Zealand's first hip hop group. Spirits Dogroll was compiled from recordings from 1994-1996. Teen-X-Ray is still active today.”
Charmingly raw as heck Kiwi Rock from mid ‘90s Dunedin - the crucible of Antipodean audness. Originally a tape edition of only 3 copies, the febrile drums, wickedly rudimentary guitars and sozzled vocals of ‘Leisure & The Elderly’ is a triumph of expression over technique
“As reported by Stefan Neville: "Clayton 'CJA' Noone and Jon 'Sugar Jon' Arcus are some of my oldest and dearest friends. I've been listening to their band Armpit pouring out infinite sweat and toe jams for 20+ years and I still can't work out what Armpit even is. They are the wrongest band I've ever heard. We were all part of the same gang in early 1990s Hamilton, New Zealand. Armpit would always happen in rooms next door. They would keep me awake with the eternal strumming of bad guitars through bad equipment, bottles falling over, people falling over, things catching fire and always lots of giggling. I saw them play at a party once where they were too wasted to plug in their guitar pedals. They wrestled with them giggling for about ten minutes and then gave up. They didn't make a sound but it's one of the greatest concerts I've ever seen. Their recordings are always confusing. They display their deepest awful humanity and their sweet, sweet hearts, all in the same mouthful. Scorched hateful noise, incompetent absurdity, smoochy crooning folk songs with poignant words and brutal sausage fingered editing to highlight the horror and hilarity. Leisure & The Elderly was recorded in Dunedin in the mid-1990s. Jon was doing a nursing foundation course and learned to simulate giving a skinhead a sponge bath. A classmate gave him some of her tortured poetry so Armpit blended it with a nursing textbook and disappeared into the room next door to record the album in one go, ping-ponging recordings with two tape decks."
Grade A, Kiwi crud smeared on wax for Italy’s intrepid Planam. Three parts outsider gunk hacked up and weathered to a nub. Not for the half-hearted or casual listener.
“Soibiast Anti-Culler was recorded in 1995 by the winterless north of New Zealand's Witcyst. Another monolithic skid mark serving of crackers plucked from the man's vast lifetime archive of sound making and beard. Witcyst makes his music with oceans of constant daily mutation. Machines get used upside down and back to front and inside out. Layers of string, tin foil and expired medicine are saved up to dazzle the eye. Parcels in the post come and go full of nostril hair and pamphlets and wool. What would that sound like through a funnel and a heavy metal pedal? Is the room shrinking? One knock for yes. Two for no. This audio is severely distressed and swollen. It is particularly buried and murky and howling here. Are they voices or organs? Meat or musical instruments? Is that a drum solo or decades of tape degradation? Are the hums musical or malfunctioning? It starts to sound like it was recorded inside your brain and has always been there. Who knows if it means any harm? And then it starts to sound like a basket full of wise puppies. Soibiast Anti-Culler is one of the most relevant works among at least a thousand albums Witcyst has originally released on cassettes and CDR's on his own Extemporaneous and Lifespace labels since the early 1990s.”
Housed in some of the maddest packaging we’ve seen in years, Little Skull’s ‘Ubique’ drifts and drones with an effortless, natural quality that gently colours the air around you. There’s a rich New Zealander soul at work in this one...
“One more top mysterious trace from the Little Skull legacy: Dean Brown's album Ubique (i.e. "everywhere" in Latin) marks the passing of time and people. This sense of loss is very present through the whole record; not getting around to saying the things we meant to say and making sense of the leftovers. Screaming calmly, Dean Brown's Little Skull has shrunk, even more, until his head is almost just sore meat - this music sounds like it was made to soothe that inflammation. Currently living in the UK, Little Skull is Dean's long running solo project. He plays all of instruments, even if it sounds like he is barely touching them and yet, his obscure personal fingerprints are all over the place.
His instinctive spontaneous playing finds ways to make them glow and fizz and ripple. The very complicated hand-made cover is astonishing. It incorporates religious imagery and patron saints expanding in space and creating a three-dimensional architecture filled with mysterious presences. Dean Brown is a New Zealander from Hamilton. A joke city to much of the rest of New Zealand, but its feral mongrel out-of-it-ness is well known to those that have lived there. Dean coped with Hamilton through his bands Negative Eh and Nova Scotia and then buggered off to other cities and other countries.”
Despite the break, this album can be seen as a direct follow-on from his previous Drag City albums - most closely resembling 1997's Bad Timing given its lack of vocals and the continuous passages of steel-strung acoustic guitar-led arrangements.
This all adds up to a seriously exciting release; Jim's cycle of Drag City albums (this being the first not to take its name from successive Nicolas Roeg films - following that logic this one should have been called Castaway) is one of the most revered bodies of work in American alternative rock. As this latest addition to that canon starts up, one of the very first things to strike you is that the production and mixing are undertaken in a fashion that is (to say the least) highly unusual by today's standards.
Seldom do you hear so much dynamic breadth in a contemporary record; this is not one of those releases that's had every ounce of life compressed out of it, instead O'Rourke leaves the quiet parts quiet and the loud parts... marginally less quiet. This is an album that's made according to old-fashioned principles, presented with vintage levels of clarity and warmth that benefit from being turned up for full appreciation. A decent amount of cranking will reveal countless layers of instrumental threads, and according to the great man himself there are around two hundred tracks used up in the recording of The Visitor - and that's two hundred tracks he's played himself. Given the long break, it's easy to forget just how brilliant a musician O'Rourke is; his production skills (as demonstrated on records by Wilco, Sonic Youth, John Fahey and Joanna Newsom among many others) are well documented, but since 2001 it'd be all too easy to think of O'Rourke's musical output as being restricted to occasional drone pieces, or the odd film soundtrack here and there for pals like Werner Herzog and Olivier Assayas.
The Visitor is a comeback of heroic proportions however - an auditory feast featuring acres of guitars, immaculately pieced together percussion elements, and all kinds of subtle yet elaborate arrangements for strings, horns and keyboard instruments. John Mulvey really hit the nail on the head when he recently described this as "a kind of folk symphony, a heavenly realisation of modern composition rescored for Laurel Canyon habitués", and it certainly feels every bit as substantial and gratifying as that assessment alludes. Don't leave it so long next time, please Mr O'Rourke.
Amazing record! Avant-pop enigma Leslie Winer slinks the plasmic, recursive matrices of Jay Glass Dubs in a brilliant but unexpected marriage of husky trip hop and psyched-out dub styles on Your Mom’s Favourite Eazy-E Song for Bristol’s excellent Bokeh Versions.
Finding common, scorched ground between Jay’s gutted structures and Leslie’s abyssal, esoteric insight, YMFEES serves to perfectly highlight the similarities and mutabilities common to both artist’s oeuvres, which have previously shared label space on The Tapeworm, and both share a keen lust for the dankest ends of the dub pool.
With Winer’s lyrics reprinted in swirling ellipses and contoured kerning on the inner sleeve, and presumably (and smartly) designed to mirror the elusive structure of Jay Glass Dub’s arrangements, the listener is offered some kind of star chart thru their no-man’s-land mental dub scapes of ricocheting riddims and droll reportage from the brink of consciousness.
In a dancefloor situation, we’d imagine these tracks to trigger some healthy bewilderment, as bodies get snagged on Jay’s cranky churn and heads spun by Leslie’s stream-of-non sequiturs in Woodshedded, or likewise bullied by the blown-out bass and genuinely spooked, over-the-shoulder vocal of About The Author. However, it’s most likely to be consumed in solitude, which is probably the most appropriate for really getting into the album’s strangest nooks, such as the deliciously OOBE-like detachment of No Famous Actors featuring Winer as HAL-like ghost in the machine, or the masterfully heavy-lidded drowse of Cogged featuring a barely-there Winer suspended above Dubs’ murkiest, hypnotic strokes.
What a beauty?! Don’t sleep!
Maverick producer Jim O’Rourke’s ‘Insignificance’ sees him in more ‘rawk’ mode.
The opener, ‘All Downhill from Here’ alone pops a hilarious pie into the face of your average O’Rourke follower’s expectations. It’s a red herring too, of course, because in Jim’s hands the screaming love of rock n’roll is still not just “only rock n’roll.” Instead, ‘Insignificance’ consists of rock plus: multiple musical allusions, layers of discreet noises, great playing from all the players and, to top it all off, funny pop-rock tunes laced with lyric arsenic.
‘Insignificance’ widens the screen of the O’Rourke sound, along the way you'll find a riff or two that one can truly ride. There’s more than one classic invitation for the lead vocalist to sneer and shout over it all - but of course, our Jim prefers instead more to murmur and moan quite melodically, to most sensual effect. There’s a spacious ballad to cool you down, then another one of those sick love songs in the mold of ‘Halfway to a Threeway,’ as well. Cut quickly with a skeleton crew after two years of indecision, ‘Insignificance’ brims with a newfound ‘immaturity’.
Peverelist re-presses the mighty "Roll With The Punches" after Drake sampled it...
The track is essentially quite downcast, but the elongated synth that comes in, flailing and oscillating with no set agenda halfway through the track, elevates it into the company of the most treasured tunes in your box - tracks that don't entirely make sense on first listen but which eventually plaster themselves to your mind with stubborn determination.
"Die Brucke" clings to a 4/4 template straight out of Berlin and employing cushioned pads and lilting Sino melodies, it's a soft breeze of a track that once again achieves so much with the barest ingredients.
“A musing on popular standards and an all-instrumental down mainstreet, USA. Come for the history lesson, stay for the coming of age statement! Jim's pop epic is a personal message, personally from Jim to you.”
Jim O’Rourke’s much loved country rock album Bad Timing  is now repressed on vinyl for the first time following its 20th anniversary of release. Recorded at Steamroll, the same site as his more explicitly avant-garde conceptions, this album is a subtler exploration of acoustic country rock proper, where O’Rourke only occasionally flashes his experimental teeth, gently ruffling the feathers of America’s sincerely loved down-home style in four breezy, extended works of lyrical guitar playing.
After a series of increasingly inward-looking, conservative LPs since her stunning debut, Julia Holter finally unleashes her imagination in technicolour once again on ‘Aviary’, an expansive observation of the ratchet madness that makes up the world today.
“Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” Out on October 26th via Domino, it’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements.
The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void
Aviary, executive produced by Cole MGN and produced by Holter and Kenny Gilmore, combines Holter's slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs. Holter was joined by Corey Fogel (percussion), Devin Hoff (bass), Dina Maccabee (violin, viola, vocals), Sarah Belle Reid (trumpet), Andrew Tholl (violin), and Tashi Wada (synth, bagpipes).”
Alga Marghen present this new edition - a vinyl-only first release of Eliane Radigue's pivotal, previously unreleased 'Opus17' - her last work made with feedback material.
It's one of the strongest, if not definitive, examples of Radigue's tactile and meditative approach to composition, an engrossing, intuitive refinement of the techniques and practice she honed over prior years at RTF's Studio d'essai under the guidance of Pierre Schaeffer and Pierre Henry's Studio Apsome, and later at the New York University School of the Arts. Created at the Fête en blanc - White Festival - in Verderonne on May 23, 1970, 'Opus17' breaks down to five pieces making up a voyage to the heart of the drone. Using various early tape techniques, Radigue meticulously peels the source samples in a discreet microcosmos of morphing, moebius-like loops and shimmering overtones, rendering their vibrational energy and unique accents with a poetic, dreamlike quality.
It opens with a shock on the 19 minute self-portrait of 'Etude', where she gradually transforms a looped passage of Frederick Chopin into an opiated, howling ghost of itself using practically identical microphone and tape feedback procedures to those on Alvin Lucier's 'I Am Sitting In A Room' (although it should be noted that she wasn't aware of this at the time), whilst 'the shorter 'Maquette' applies the same technique using a part of Wagner's 'Parsifal', but this time with the sample subtracted leaving only a spectral trace of grandeur.
Following this, we're floored by the roiling pulsations of 'Epure' - a sort of rudimentary pre-cognition of industrial and minimal techno building palpitating throbs into a dense yet delicate and ferric-rich flux, sharing rhythmic similarities with the aptly titled trip of 'Safari', where elliptic bass patterns melt and congeal in morphing shapes and curdled overtones with an alien, otherworldly quality presaging the like of Rashad Becker. Yet, the ultimate exposition of Eliane's time-dilating technique is found in the 22 and a half minute panoramic excursion 'Number 17', examining her sonic phenomena at microscopic level, homing in and expanding on its globular bass shapes and radiant harmonics.
Even by Radigue's standards, this is a breathtaking body of work, opening up whole worlds of sound from so little.
Properly Entrancing recordings of Eliane Radigue’s ferric alchemy come to light again on vinyl, this time on a better vinyl pressing with calmer surface noise allowing for a finer grasp of her pulsing, filigree microtones and pealing timbral partials. Also, that new cover art is....!!!
Stunning Alga Marghen issue of two previously unreleased masterworks by Eliane Radigue recorded at Pierre Henry's studio between 1967-68. At this time she was working for Henry at his studio, given the enviable task of organising his vast sound library according to different criteria for use in his future compositions and also helping edit his masterpiece 'L'Apocalypse de Jean'. During downtime she had access to an unrivaled array of equipment and created these two compositions. Jouet Electronique' (1967) or 'Feedback on magnetic tape' features two Studer and two Tolana reel tape machines - Radigue would set one to record another and manipulate the discrepancies of phasing feedback loops, or "larsens" with delicate, fine-tuned pitching, "slightly caressing certain potentiometers" to elicit a range of low pulsations and very high pitched sounds as though she were playing a rather unwieldy instrument. The results are ethereal and often alien, yet conducted with an uncannily restrained and human sleight of hand.
Even more visceral is 'Elemental I' (1968) or 'Feedback of natural sounds on magnetic tape' comprises four movements associated with the four basic elements: water, fire, air and earth. Thanks to her former employer, the artist, Arman, she now had a small, portable Stella Vox which she used to record sounds in open air during walks around her home in Nice, capturing the sea, the wind, the rain and fire to form a small sound library. The sources in each section are discernable, but transformed into breathtaking abstractions at her home studiio.
Astonishing archival works by Eliane Radigue, originally released along with Vice-Versa as a double pack, and now available as standalone LP. Listening to Radigue's music is a transformative, humbling experience. Her singular sound is best described by Michel Chion as "infinitely discreet... next to which all other music seems to be tugging at one's sleeve for attention."
Working since the late '50s under the tutelage of Pierre Schaeffer and Pierre Henry at RTF's Studio d'essai - the birthplace of musique concrète - Radigue created a body of work whose profound simplicity has only begun to be widely appreciated over the last decade or so. Preferring to work at night - once her children were asleep - her compositions were created using tones derived from an ARP 2500 synthesizer and manipulated on multiple tape machines, creating feedback loops and altering their pitch and duration to coax out quavering microtonal harmonics and ultrasound frequencies not usually perceived at their normal setting.
As practically anyone who knows her music will testify, there's really very little else out there that compares to the elemental tranquility and hallucinatory effect of her works. This album rescues three pieces from original tapes which have lined the walls of her flat in Paris for over 40 years: proposed for the 1970 Osaka Fair, 'Stress-Osaka' (1969) is beautiful and terrifying at once, sounding either like a 1000 strong squadron of B-52's heard from miles away, or a mouth-bound choir humming in unison, somehow subliminally joined by shrill gull-like hi-end repetition; the spectral beauty 'Usral' (1969) was employed for a kinetic sculpture by Marc Halpern, it's title "...a phonetic compression of ultrasounds slowed-down (ultra-sons ralentis in French)" reflecting the use of slowed-down Larsen effects from overlapping tapes to obtain her signature "progressive a-synchronized shifting"; the systolic suspension of 'Omnht' (1970) (one more night) is twenty minutes of slowly encroaching black bass mass and isolated, glassy highs, originally played from behind false dividing walls at a gallery instal and now leaving us for six.
An absolute masterpiece.
Re-press of the third single from Bristol's Punch Drunk imprint.
Heading away from the 4/4 crossover of "Erstwhile Rhythm", RSD comes to us from Bristol luminary Rob Smith (Smith & Mighty) here operating under the suitably abridged RSD moniker.
The Rootsy vibe has been retained, with A-Side cut "Corner Dub" shuffling into a steppas vibe with traditional stabs and echo-chamber vocals, although the bass and snare have definately been borrowed from the dubstep template circa 2007. "Pretty Bright Light" on the flip is much more robust and menacing, there's a breakbeat somewhere in the mix but it's obscured by enough bassweight and wobblestep to make it more or less unoticeable.
Sully’s golden streak continues unabated with two flash forward steppers for Rupture LDN
Rolling off the back of zingers for Uncertain Hour and Foxy Jangle and a remix of 2 Bad Mice, he synchs piquant arps with slow/fast footwork/halfstep patterns, virulent mentasms and achingly well-timed shockout breakbeat in the lethal ‘Dream Sequence’, whereas ‘Epoch’ commits to a proper ’96 techstep style with lip-bitingly strong vibes practically as good as anything from that original era, if not better - sacrilege to say, we know, but seriously this is breathtaking stuff!
Efficient Space offer an unprecedented survey of Australian dance music from the 1990s. Some real juicy peaches to be found inside.
“3AM Spares is a new compilation of Australian Electronic Dance Music selected by Andras and Instant Peterson, encompassing the darker sounds and later nights of the 1990s and beyond. Following on from forerunner compilation Midnite Spares, this double LP draws from local 12” releases, CDRs and the archives of community radio station 3RRR FM to make a diverse and pumping scene audible once more. No longer confined to beer barns and back rooms, this generation of producers, DJs, clubbers and ravers spilled out into pavilions, warehouses and paddocks, embracing a new culture of machine-metaphor and chemical love.
Future Sound of Melbourne’s warehouse triptych Resist The Beat embodies a time when the country’s youth united with juggernaut stamina, partying beyond the long arm of the law. Restored from the ARIA award-winning trio’s original DATs, this debut 12” incited label offers from Jeff Mills, Frank De Wulf and Carl Cox.
Released by the likes of Clan Analogue, Creative Vibes, Volition, DanceNet, Juice and Psy-Harmonics, this era’s material has evaded sufficient digital documentation until now, some lost in the decommission of Angelfire, Tripod and Geocities websites. Often these bedroom experiments and one-off collaborations existed solely for compilation inclusions, a plausible scenario for the mysterious Inner Harmony. In the case of Tetrphnm, graphic artist Jeremy Dower’s glacial sub-bass was digitised from the only known CD-R copy, preserved by the 3RRR FM library.
Many key figures of this narrative have deep roots in the DIY/post-punk family tree. Third Eye, the impressive evolution of Whirlywirld founder and industrial legend Ollie Olsen, finds common ground with I Will Go, a hypnotic concoction by Adrenalentil and Poets of the Machine associate Jandy Rainbow, a transgender artist whose liberated electronics trace back to 1978.
The most unique take on this new wave of dance music comes from Turrbal-Gubbi Gubbi woman and Stolen Generations survivor Maroochy Barambah. Recorded in New York, Mongungi incorporates two lines of a traditional Gubbi Gubbi song Gurri Nina Nami with the sound palette of tribal house, highlighting the broadening ways that identity and culture were being negotiated and manifested within club music.
A lesson in intelligent appropriation, Artificial’s Sobriquet remix bends one of the most looped samples of all time to fit a wired new generation’s interrogation of that thing called disco. Artificial’s ingenuity was vital impact to the scene, releasing three influential albums as one half of B(if)tek and establishing the WINK Awards - a music prize that recognised and encouraged subversive electronics. Her playfulness is mirrored in Blimp’s frisky garage house, recalling Paul Johnson, while Ian Eccles-Smith’s borrowing is comparatively more discrete on the chillout sampledelic collage The Slaughtering Eye.
Andy Rantzen returns to Efficient Space in two incarnations - as one half of Itch-E + Scratch-E ambient alias Screensaver, and in collaboration with General Electrik on Leather Lover, a cocked and loaded glimpse at the bottom end of Oxford street, originally recorded for the Club Kooky compilation Gay In The Life: Adventures in the Queer Underground. Reinventing himself as Hypnoblob, fellow Sydney Oz Wave artist Ian Andrews also gives us his pneumatic-drill-step Deep Down.”
Séance Centre serve an astonishing 2LP by L.A. composer and voice-over artist MJ Lallo, making good on the promise of her ‘Star Child’ 12” with a stellar showcase of wonderfully expressive glossolalia and bobbling drum machine patterns embedded in vast synth backdrops. What a find?! Big tip to fans of Jon Hassell, Laurie Anderson, Ramzi, Breadwoman, The Art Of Noise!!!
“Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters.
Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo’s flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo’s work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come.”
Autechre's classic third album from 1995, reissued for the first time in 15 years...
Completing the triumvirate of early Autechre essentials, Tri Repetae was the duo’s cranky contribution to mid ‘90s electronic music, and, like its predecessors - Incunabula and Amber - a record that completely defines certain aspects of that era for many electronica nerds, us included.
It’s possibly best known for including the peerless electro-trance swerve of Eutow - which could literally kill someone prone to AMSR in the right situations (not a bad way to gan) - whilst the rest of the LP cements some of Autechre’s sharpest, neck-snapping hip hop beats.
If you’ve only heard this album via download or streaming, or are only aware of their later gear, you’re in for total treat.
David Tibet pairs his apocalyptic prognostications with plush pastoral backdrops ranging from unsettlingly rose-tinted to beautifully melancholic, supplied by Andrew Liles, Ben Chasny, and various, nefarious associates of Coil, including bagpiper Michael J. York and Ossian Brown (Cyclobe)
““The Light Is Leaving Us All” is the new album from Current 93, everyone’s favourite Hallucinatory Cuneiform SuperGroup.
Three years in Her Making and Shaping, “The Light Is Leaving Us All” Spells WithIn Her 11 tracks.”