A crucial piece of the Loren Connors jigsaw falls into place with this first ever vinyl reissue of Hell! Hell! Hell! Hell! Hell!, now presented on wax some 20 years after the original CD issue thru The Lotus Sound. Leading on from his classic Long Nights [Table of the Elements, 1995], it takes that album’s blues-noise textures into even starker, scorched ground surely irresistible to anyone snagged by his other works, for their anomalous nature if nowt else.
Revolving around 12 works in under 20 minutes, Hell! Hell! Hell! Hell! Hell! is a succinct album that sparks and growls with an anger and anguish that distinguishes it from much of his other work. It’s hardly a rager, but there are flashes of an undisclosed pain that seem to sear thru on the many of the A-side cuts, fulminating dense walls of distorted sound like heavy shag smoke that cloaks your listening space in yellow-grey palls.
He spends much of his energies churning up this intoxicating sound on the A-side, so that by the B-side he’s back to a more reserved, but still gripping, sort of expression, including some exquisitely tender, even barely-there pieces, vacillating between burned-out blues and devastatingly strung-out nocturnes, all with the sort of minimalist efficiency of expression that we really value over here.
Not to be missed!
Moiré gives Lapsus Records’ C.E.E. sub-division a slick start with four idiosyncratic edits of classic and obscure dancefloor vibers landing square between the original sounds of Actress or Trevor Jackson or some hooky Jamal Moss’ edits.
We could be here all day trying to pick out the original samples - which are easy to hear but harder to place (although definitely know two of ‘em) - but basically there’s some delicious Detroit/UK bleep pressure, 2017 style in Drama Garden, a string-swept tribal jammer named Phone Calls, an excellent use of classic Italo snippet wedged into the salty blips and acid squelch of Kode1 Edit, and the wonky triplet donk of Futura for your wiggly pleasure.
UR.’s man from L.A., Santiago Salazar (S2, Galaxy 2 Galaxy, Los Hermanos) lays out his deeply involving, signature take on house and techno in full length format for Rekids
Scattered with proper danefloor gems such as the poised deep house push of Saturated Fear, tweaky acid funk in Aspirations For Xol, and the entrancing hi-tek sophistication of Prolonged Effect, along with some excellent diversions showing off his keyboard flair.
“Aspirations For Young Xol is Santiago Salazar’s second album. AFYX was made from personal experiences ranging from the growth of his son into adulthood, to memories of growing up in Bassett California, a struggling Latino suburb outside of Los Angeles.”
“Choir Boy” was what the kids called singer/songwriter Adam Klopp in his early teens when he fronted punk cover bands in Cleveland, Ohio. An intended insult, the label seemed fair and fitting in a way, given Klopp’s religious upbringing and angelic voice.
"After high school, Adam left Ohio for college in Utah. While his career as a student would prove short-lived, he integrated into Provo and SLC’s underground music and art scene,left religion behind, and called his new band “Choir Boy”.“It seemed funny to me as sort of a comical reclamation of the mocking title I received from “punk” peers as a teen. While serving as a weird reflection of my childhood and musical heritage.”Since Choir Boy’s gorgeous debut LP on Team Love records in 2016, the dream-pop outfit has gained a cultfollowing online and in underground circles. Adam’s stunning vocal range, layered compositions, and heartbreaking melodies are backed by musical partner Chazz Costello on bass (Fossil Arms, Sculpture Club, Human Leather) - and along with a rotating cast of players, create the perfect blend of nostalgia-laced romantic pop music we’ve been waiting years to hear. Dais is proud to announce the new single “Sunday Light” b/w “Madeline”.
The new songs are a continuation of the strong compositions and songwriting evident on last year’s album, and a showcase of Choir Boy’s musical talent. “Sunday Light” is a coming of age story, and touches on the frightening aspects of religion, ritual, and secrecy through the eyes of someone discovering the truth behind the door for the first time. Strong vocals backed with strings and reverbed keys – it makes for majestic, but haunted nostalgia.“Madeline” is the quintessential B-side heartbreaker – “…a pessimistic commentary to an accumulativeexperience with love and romance. Ranging from memories of young love to hopelessness in adult relationships”, this ballad impresses with beautiful and delicate arrangements, the slow motion soundtrack for a hopeless young romance."
More cutthroat D&B by Seattle’s baddest, sustaining the pressure of his Negative Space album and Traitors EP in four breathlessly taut and fierce new tunes.
There’s two that you really need to know. Heiress is a mean af demonstration of rolling breakbeat pressure and divebombing lixx punctuated with brutal stop/start chops; Nabilone recalls the dankest ends of Soundmurderer’s work for Rewind/Rephlex.
Icelandic composer Ólafur Arnalds reissues and revives his debut album in form of a special remastered 10th Anniversary edition titled Eulogy For Evolution 2017.
|Following its initial release in 2007 and coinciding with Ólafur’s 30th birthday, label founder Robert Raths gifted the chance for this record to shine a second time.
Eulogy For Evolution is a journey from birth to death, transporting the listener through life itself. Originally written as a teenager, the record has now been restored with the help of his friends, remixed by Ólafur himself and remastered by Nils Frahm. The cover art was redesigned and enhanced by Torsten Posselt at FELD using the original photographs taken by Stuart Bailes during a trip to Ólafur’s home in Iceland in 2007.
To experience the record in the present day is not only to experience the past, but also the sheer timelessness and relevance of these compositions, and the ambition Ólafur has had from the very beginning. “Fast forward 10 years, our relationships and knowledge in sound have matured, but you can still hear this urgency in Óli’s songs that caught my ears to begin with”, states Robert Raths."
Reenter a world of sinister whimsy and oneiric eccentricity with Moon Wiring Club’s YDA of weirdness in Tantalising Mews, a conceptual album that unfolds as part of snakes & ladders-like boardgame based on a dream by the artist involving decaying discount carpet shops and missed trains. Think ‘90s VHS boardgame Nightmare/Atmosfear, but based in a unchronic steampunk UK town populated by spectral chocolatiers and anthropomorphic apparitions.
The typically surreal sounds on the vinyl are intended as a background musicke for the game, with 40 minutes of smeared ambient inference and twilight tones imagined as a sort of Eno-esque Music For Boardgames which underlines and enhances the gameplay with a not-too-distracting quality, before subtly increasing the tension in line with the game’s own timeframe. While this has long been a central theme and structure to myriad computer games, it’s fairly safe to say that this is the first time a PS1 Playstation has been used to make the music for its archaic antecedent.
On the vinyl, Moon Wiring Club rolls the dice on a thoroughly elusive sequence of eldritch sound, using the PS1’s FX to emulate melted shellac, gaggles of ghosts and the imagined environmental sounds of an eerie parallel dimension that lies just behind our own reality. Of course, you can play the record without the game for equally disorienting effect...
Hour Logic  was Laurel Halo’s 2nd EP under her own name, following her emergence into underground consciousness with King Felix  and the Antena  tape which we still remember snagging our attention way back when.
It was one of the striking jewels which turned a lot of folk onto L.A.’s pivotal Hippos In Tanks label, which has been defunct since 2015 following the untimely death of its influential proprietor, Barron Machat. We’re not sure if this re-release reactivates the label proper or not, but, either way it serves a strong reminder of that exciting phase in electronic music, as well as a fine measure of just how brilliant Halo was at the start, and how far she’s travelled since then.
Over its six songs/tracks/imagineerings, you can hear all of the elements which in place which Halo would later refine into some of the most unique astro-R&B-techno in circulation right now. Detroit funk, kosmiche impulses, indie-R&B vocals, new age pads - they’re all there, tessellating in Laurel’s floating, hardware-sculpted hyperspace with the sort of hi-tek jazz spirit that links the likes of her roiling tribal bewt, Head, the adroit rave ecstasies of Speed of Rain and the glorious Strength in Free Space to her latest releases.
ESP-Disk toss this Ayler / Cherry bomb back into the ring more than 53 years after it was conceived to soundtrack Michael Snow’s film, Walking Woman - or New York Ear and Eye Control, as it’s also known.
Joined by John Tchicai (alto sax), Roswell Rudd (trombone), Gary Peacock (bass), and Sunny Murray (drums), they swarm and rove the soundfield of Snow’s NYC loft on July 17th, 1964 with anarchistic, freely improvised democracy that mirrors the streets and sounds storeys below the session.
Gorgeous and thought provoking split LP from these two notable synthesists. Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world, making use of electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, secrity systems, advertising and the sounds of discharges and activities of Tesla's own devices - recorded all over the world. Eleh's composition makes use of a new kind of spaciousness and was composed for piano & Serge STS modular synthesizers. Though Tesla was not a consideration when the piece was recorded, it takes on a new meaning and is well paired with Kubisch's.
From Christina Kubisch:
"The fgure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. He was the one who invented radio controlled devices and other new technologies beyond the generally known limits of technology. Tesla had been picking up radio signals in New York since 1895 receiving them as far as thirty miles away. He wasnot only an inventor whose work was the basis for the development of many electrical inventions and communication techniques of today but was as well a very special person, a visionary who was inable to realize many of his ideas because of money problems and as well his “diffcult” character.
I discovered his work during my studies of electronics in Milan at the end of the seventies. In that period I started to use the system of electromagnetic induction for my sound installations. Tesla had invented and patented the frst telephone amplifer in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifer with incorporated small coils to listen to the sounds in my installations.Later on my work with electromagnetic induction had developed into the series “Electrical Walks”, city walks with special headphones which make audible the usually hidden electromagnetic felds around us. In 2012 I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got a special permission to test tem. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece aboutelectrical remoteness. Tesla grew up in a remote small village in Austria (now Croatia) where electricity, radio, cars, telephones, movies etc. were unknown. As a boy he loved nature more than everything else. But already at the age of 36, in 1893, his inventions made it possible that the world expo in the city of Chicago was illuminated by one hundred thousand electrical lamps.
The new technologies concerning light, radio, radar etc. were developing with such an incredible speed since then like today the components of the digital world. I always asked myself what Tesla would have thought about the internet, google, twitter, facebook, apps etc. Was this the vision he had in mind when he invented his system of wireless transmission of electrical signals? His working places were full of big heavy coils, oscillators, metal towers etc. by which he tried to transfer energy without wires. Today we almost forget that digital communication and storage is not based only on invisible remote waves in the ether but that it needs server rooms which are much bigger and heavier than Teslas equipment. “Teslas Dream” opens with the magnetic felds recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Teslas devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual felds of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. The composition ends with the sounds of a luminous advertising, recorded recently in a shopping centre in Las Vegas, accompanied by the faint vibrations of other signals from the ether. Tesla wanted to reach the most remote places of the earth with electrical energy. Nothing today is remote anymore.
The glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch. The original electrical feld recordings were made in Austria, Germany, Slovakia, Britain, Czech republic, New York, Las Vegas and the Hoover Dam."
Rainforest Spiritual Enslavement’s amazing first release is the final instalment in this reissue series remastered by Paul Corley and cut to vinyl for the first time after its initial release back in 2012 as a 4 x Cassette release made in a run of just 16 copies. It features 40 minutes of dank psychedelic ambience, reanimated and spatialized with hi-end studio black magick.
Completing the reissue cycle of Rainforest Spiritual Enslavement’s ambient invocations, Papua New Guinea  is rendered in this new remaster by Paul Corley (0PN, Tim Hecker, Ben Frost) and sacrificed to vinyl for the first and last time on Hospital Productions. Slotting alongside 5 previous vinyl reissues of the original tape editions released over the last 12 months, Papua New Guinea loops back to the start of the saga, affording a clearer and more immersive way into one of Dominick Fernow’s most (oc)cultish projects.
The eight track dosage of Papua New Guinea generated a wave of speculation as to its shadowy provenance back in 2012. It sounded little like anything else in circulation and left heads genuinely floundering for answers to its riddling track titles and extreme aesthetics; a steeply evocative combination of near-infrasonic sub-bass tones and cold but humid environmental sounds laced with slow, looping, tribal rhythms.
It took at least another year before the project was revealed as an outlet for Hospital Productions capo Dominick Fernow, who had been quietly taking the opportunity to explore a sound putatively unfamiliar to his better known projects. Yet, with hindsight, it’s now easier to hear RSE as an inverse, endothermic alternative to the raging energies of his Prurient output or the searing, propulsive combustions of Vatican Shadow, for example.
In stark contrast to proceeding instalments’ increasing track lengths, Papua New Guinea is comprised of eight relatively concise parts, with each side of vinyl relating to one of the original tapes. The A-side seeps into consciousness in frightening style with Paul Corley’s remaster now bringing the long, slippery sub-bass descent of There Are Many Powerful Spirits Living In The Hills And Stones And It Is Not A Good Idea To Disturb Them to life with uncanny psychoacoustic subtlety, before hypnotic rhythms take possession for the duration and the listener is eventually deposited at the bombed-out ambient ecology of The Spirit Was Angry And Froze The Bulldozer So It Could Not Move. The Bulldozer Is Still There Today. What occurs between those points defies description in the manner of the strongest psychedelics, and likewise, requires deep immersion for full comprehension.
Taking Place In The Foyer was originally released in a run of just 14 copies on double tape back in 2012 and is now available on vinyl for the first time as part of the ongoing Rainforest Spiritual Enslavement reissue series.
The newly remastered, first and last ever vinyl cut of Taking Place In The Foyer forms the penultimate instalment in Rainforest Spiritual Enslavement’s necessary reissue scheme. Originally appearing second in the series, it then served to only heighten the enigma of a project which was, as yet, undisclosed as the work of Dominick Fernow, who’s maybe best known for his transgressive Prurient output, and the Muslimgauze-inspired rhythmic reportage of Vatican Shadow, as well as overseeing the ever Hospital Productions imprint.
On its original release, each of RSE’s hand-duplicated and super limited tape editions were rabidly devoured by Hospital Productions disciples with little or no firm knowledge of the project’s provenance, this one included. Understandably they became coveted items for hardcore disciples and new admissions to the label’s occult mass alike, often fetching multiples of the original retail price on the 2nd hand market.
Taking Place In The Foyer is among the most cherished of the early RSE instalments. Following and diverging his unheimlich path, these four tracks find Fernow broadening his temporal scope and entrenching the spirits farther from home, covering bleaker terrain with the trudging momentum and shuddering conclusion of Spot A Witch By Changes In The Person’s Behaviour, whereas In New Guinea Police Don't Have The Petrol Money To Search For The Witch Murderers locates him toiling aleatoric at some dank workshop, and the unanswered CB radio crackle of Bodies Of Suspected Witches Are Dumped In The River Or Buried In Toilet Pits sets up the petrifying closing scene of Sorcery Killings.
RSE can be taken as a minimal, supernatural-focussed adjunct to Vatican Shadow's war commentary, invoking a more abstract, visceral and haptic sound, leaving us stranded in a tropical-rain streaked AR soundscape....
Debut release from Dust Witch. A 5-piece synth outfit that recall the heyday of 70's prog rock. Their sound is tight, complex and densely layered - recalling Goblin at their most fluid, and Yes during their most wigged out moments.
"What sets them apart from their current synth wave contemporaries is not only their exceptional song writing skills but the addition of live drums & guitar which gives their dense sound an extra kick, and a very human element missing from most current synth acts operating today. This 7-Inch single, pressed on 140g vinyl features artwork by Daniel Danger."
Exquisitely tight and loosely expressive beauty from the erstwhile Sun City Girls member, making his 6-string sing like a phin from Laos on the 20 minute A-side, then in three more typical, virtuoso improvisations on the B-side.
“Road to Siam shows Richard Bishop on a musical trip from the Iberian Peninsula all along through North Africa and the Orient to the Far East. "Mekong" is an improvisation on 6-string guitar based on the particular sounds of a traditional three-stringed instrument known as a phin, which originated in Laos. "Mekong," which was recorded in Phitsanulok, Thailand in December 2013, is a typical Richard Bishop track, elegantly liquid and hypnotic and Bishop's first new track in years. The B-side of the 20-minute long vinyl-only 10" features "Alhambra Drag," "Sand Shuffle" & "Coronado's Broom," which are highlights taken from digital-only available albums.”
The second in a special edition sub-series of actively anti-western music - an ultraheavyweight of contemporary global avant-art, composition and improvisation, it reaches new heights.
"Tashi Dorji - an exceptional guitar playing soul from Bhutan - came through the Lower Rhine Area and stopped for arecording at Ivory Tower. A soulful afternoon and evening resulted in a relaxed, playful record showing the skills andtalents of Tashi in full. Eyvind Kang (whose art I was first confronted with when I heard him play on Sun City GirlsGhost Ghat Tresspass/Sussmeier from “330.003 Crossdressers From Beyond The Rig Veda") employs a rarely-heardviola technique.
We call it plucking art. The Viola is played not with a bow, but plucked with the fingers of the righthand, resulting in a completely distinct sound. Eyvind Kang is a master and has reinvented this special technique.Two solo viola tracks (one a cover of an Albert Ayler piece), with melodies of outstanding beauty and fragility developinto perfection. Two additional tracks also feature Indonesian cello player Krusnedi Sukarwanto from Surakarta, andGhanaan percussionist Yah Amponsah, performing koncrong style."
Among slowly unravelling coils of oscillations and intermittent fragments of semi-formed loops, instruments both electronic and acoustic resonate gently against each other over an ever-evolving soundbed of textures. A meeting of minds and those exciting first sparks of inspiration soundtracked by celestial, otherworldly tones and free-flowing spoken word. This was how Virginia Wing and XAM Duo spent two cold days at the start of January 2017.
"A weekend escape in the frozen industrial district of Bradford became an archive of improvisations that were later sculpted into an all-encompassing full length. Within minutes of the four playing together for the very first time their ideas quickly grew into one single-minded theory; that of free-thinking, acting on instinct and each having the patience to allow even the smallest of initial ideas to grow organically into fully-formed pieces of music.
Condensed from 48 hours down to 48 intense minutes the group’s recordings create an all-encompassing new universe of sound with references from the mutated world percussion of Holger Czukay, the transportive saxophone of Pharoah Sanders, and the devotional music of Alice Coltrane. Over the course of the album’s wide-eyed exploration, the group’s first ever steps of creative collaboration unfold in unexpected ways, whether it be on the inhibition-free wonderment of lengthy opener ‘Birch Polygon’, or the hopeful, throbbing ambience of ‘Good Roads Fair Weather’, with its minimalist piano and vapour trails of saxophone.
This overflow of collective creativity was captured live via half a dozen haphazardly placed microphones before being mixed dutifully and beautifully by close and trusted companion of the band, Misha Hering, who’s one-take, effect-laden sonic portraits were very much in keeping with the free-improvisation of the original session. With a few choice overdubs placed in and amongst to add further texture, the result is nothing short of stunning; meditative and warmly fluorescent, like a half-recalled melody teetering on the edge of a pre-cognitive memory. A spiritual record, perfect for a late-night diversion set to heal the souls of those willing to take it into their hearts."
Dark Entries present a welcome reminder of Group Rhoda’s art-pop delicacy with Wilderness, the Oakland artist’s first release since her Max + Mara side and the sublime couplet of Out Of Time [Night School, 2012] and 12th House [NNF, 2013] which first brought her to our attention.
Pairing poetically abstract, observational lyrics with exquisitely adroit drum programming and lissom synth contours dripping with hooks, Wilderness forms a subtle refinement of what we remember from Mara Barenbaum aka Group Rhoda’s earlier releases. There’s a fluid, direct simplicity to her work here which betrays its elaborate construction in a way similar to the best Heinrich Mueller productions, with intricately evolving rhythmic calculations blossoming sleek and infectious arrangements certain to spark imaginations at home or on headphones, as well as seduce bodies on the ‘floor.
And just like Heinrich Mueller, Group Rhoda effortlessly remains true to original ‘80s machine styles while patently refreshing their templates with timeless effect. One can hear it in the supple, acidic bent and deliquescent starburst dynamics of Trespass, in the almost digi-dub budge of The Ice House, and like Suicide in Detroit on June, while Mexi Meri is like a perfectly measured mix of Gina X Performance and Arpanet, and sea or Be Sea hints at a certain Patrick Cowley-esque subaquatic electro sensuality.
New, 1st ever 2-sided pressing of Bells , a legendary record documenting Albert Ayler and his most powerful band performing at The Town Hall in NYC in 1965. Historically acknowledged as one of the most important 20 minutes in free jazz, in parts due the electrifying performance and the first appearance of Charles Tyler on vinyl.
Albert Ayler's Bells is a 20 min revolution in jazz, recorded live at Town Hall NYC, 1965. With Albert and Donald Ayler on sax and trumpet respectfully the brothers are aided by altoist Charles Tyler, Lewis Worrell on bass and Sonny Murray on drums. The ESP label originally released 'Bells' as a one-sided transparent vinyl disc- a move that shocked the jazz avant-garde world at the time and matched the subversive and profound musical statement within. As Dan Morganstein wrote in Downbeat, July 15, 1965 - "whatever one's reaction to this music, there can be little doubt that it contained the spirit of jazz. some may dismiss it as untutored, primitive, or merely grotesque, but it certainly has the courage of its convictions."
Glasgow psychonaut label Invisible, Inc wrap up five disco transport systems on Invisible Family EP#2
Guiding the dance down deeper, tripping avenues from the Pye Corner Audio-in-S.E. Asia vibes of Konzel’s Haptic Didactic, and a Secret Circuit’s freak Afro dub of E.S.P. by Apiento & Co. on the front, thru to the comic Italo knocker Dancing In Orbit by Gazeebo (great name!), a furtive fusion of deep disco and post-punk in Natural Sugars’ Riddurum Invaders, and the ‘floor-dissolving deceleration of Journey Inward courtesy of Der Kundalini.
Home Age is the first proper Eleh full length since 2012's Homage To The Pointed Waveforms.
These new pieces seek to expose the inherent musicality of pure electrical currents via high resolution Serge STS synthesizers. Like early Eleh work, Home Age is inward looking, domestic and deliberate but also slowly emotional and revealing as if peering blurry eyed through a window. Melody, harmony and counterpoint are suggested but not revealed.
Neil Landstrumm strips away his silly, wonky bits to reveal focus on early bleep techno styles with success in A Death, a Mexican and a Mormon
Faithfully cadging from classic, turn-o’-the-’90s UK styles in all four parts with strong combos of biog subs, electro pads and trippin’ blips.
Idle Hands swing another local label debut into place with Crump’s pendulous garage-house-dubs on Ice & Spheres.
Following suit with Crump’s previous form for Banoffee Pies and Extended Play, he neatly pursues the European house meets Bristol bass formulæ of Idle Hands’ 12”s from Leif, Matt Karmic, Christian Jay.
Ice & Spheres starts out dank and moody af but soon warms up into something like nimbly textured 2-step take on Wolfgang Voigt’s strident Studio 1 output, while the brighter, spry momentum of Mechanisms recalls the feathered dub-house of Freunde Der Familie.
Dirty Songs is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth) and Mark Sanders (drums). The album is released by Audika Records, best known as custodians of Arthur Russell's archive.
"Directed and produced by David Toop, this album reacts against our poisonous present, inspired anti-nostalgically by similarly reactive records and live performances from the 20th century: The Soft Machine and Pink Floyd 1967-68, The MC5’s Kick Out the Jams, The Stooges, Sun Ra’s Cosmic Tones For Mental Therapy and The Heat Is On by The Isley Brothers.
It's the musical offshoot of a project conceived by artist Maxime Rossi, originating in (among other things) speculations on the (then unreleased) legendary Pink Floyd "John Latham” recordings (1967) and FBI investigations (1964) into subversive and obscene messages supposedly buried within the recorded lyrics of The Kingsmen’s “Louie Louie”.
Developed through conversations between Maxime Rossi and David Toop and through support from Fondation Fiminco & MRAC, these ideas metamorphosed into the band and recordings known as Dirty Songs, existing both as audio recordings and audio-visual elements of Maxime Rossi’s installation Christmas On EarthContinued, exhibited at MRAC in November 2017."
Pender Street Steppers revive Nu Groove and Balearic vibes in their louche, dreamy, dubbed-out style with Raining Again for the estimable Mood Hut label.
The drizzly, atmospheric Vancouver sound in full effect here, pushing off with the shimmering sway and wistful guitar expressions of Raining Again, dipping into dub experimentation like some West Coast ‘80s anomaly on Mirror (Dub), and floating in Italian dream house/NYC garage space with Molto Bene on the A-side, then giving it up to Lee Scratch Perry in disco mode with Blackboard, and sounding like some fusion of BoC and NWAQ at the sauna on No Need.
Mr. Bongo catapult us back to ‘70s West Africa, specifically The Original Sound of Burkina Faso, with a sterling collection of songs spanning a golden age of music when folk, funk, blues, highlife, disco, psyche, latin, rock and soul were all plugged in and stirred up in the pot with unique, deadly flair.
To pick a few highlights, make sure to check the Afro-Latin swerve on Jeunesse Willa by Abdoulaye Cissé, the frenetic highlife hustle of Kombissé from Bozambo, the hugely infectious calypso dancer Whisky Et Coca Cola and the Kuti/Brown bangs of Super Bar Konon Mousso from Amadou Balaké, a blinding disco bimmer from John Oumar Nabollé, and the cascading psyche-soul of A Son Magni.
Arch sludge slingers, Adrienne Davies and Dylan Carlson ov Earth, joined by Brett Netson for the occasion of their Live At Third man recording - a run though four classics, starting with a drag thru The Bees Made Honey In The Lion’s Skull, taking in the diesel-blowing chug of Torn By The Fox of the Crescent Moon from their Primitive and Deadly  slab, and then with a formidable version of Old Black off Angels of Darkness, Demons of Light I, and then going old testament Earth with a quaking rendition of High Command from the classic Pentastar: In The Style of Demons.
“The Blue Room at Third Man shook with the sludge-drone majesty of Olympia, Washington’s Earth. Anchored by duo Adrienne Davies and Dylan Carlson, this band has an integral spot in American music by bringing a low-frequency uproar and six-string extremism to the forefront of the experimental, punk metal underground. More concisely, they are widely considered the pioneers of drone metal.
The band built their reputation on widely respected albums, starting with Sub Pop and moving to current home Southern Lord. Using the device of repetition, the band disarms and transforms first impressions with a performance so plodding and insistent that each song is stretched to its limits. The set spanned their catalog with four choice compositions, employing powerful guitar drones and Davies’ precise, slow-motion percussion swirling throughout.
The Blue Room at Third Man shook with the sludge-drone majesty of Olympia, Washington’s Earth. Anchored by duo Adrienne Davies and Dylan Carlson, this band has an integral spot in American music by bringing a low-frequency uproar and six-string extremism to the forefront of the experimental, punk metal underground. More concisely, they are widely considered the pioneers of drone metal.
The band built their reputation on widely respected albums, starting with Sub Pop and moving to current home Southern Lord. Using the device of repetition, the band disarms and transforms first impressions with a performance so plodding and insistent that each song is stretched to its limits. The set spanned their catalog with four choice compositions, employing powerful guitar drones and Davies’ precise, slow-motion percussion swirling throughout.”
The precious catalogue of game-changing Kenyan guitarist George Mukabi finally comes to light beyond the record collections of East and Central Africa thanks to this compilation issued thru a triumvirate of ace labels outta Oregon; namely Mississippi, Olvido, and Raw Music International.
This record gives a fascinating, intimate listen to his unique, intricately rhythmic finger-picking style, joined by harmonious vocals sung in Kiswahili by Peter Akwabi, and punctuated by infectiously tight percussion played on a fanta bottle.
“An almost mythical giant of African guitar, whose reinvention of acoustic fingerstyle quickly spread from western Kenya throughout East Africa, before his tragic death in 1963. Spellbinding guitar lines, sweet harmony vocals, every melody an instant classic, and a life story steeped in legend.”
The first new recordings by Sir Richard Bishop since his 2015 Tangier Sessions, two fantastic and elegant tracks & two pearls by Alan Bishop aka Alvarius B who explains why a hunting lodge is not a proper place to raise a child.
Dark Entries returns to the New Jersey basement studio of Smersh to unearth an 18-minute jam session from 1989, backed with two contemporary remixes.
"Smersh was the duo of Mike Mangino and Chris Shepard from Piscataway, NJ who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Between 1981 and 1993 they released over 40 cassette albums on their own Atlas King imprint. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond New Jersey, leading to releases on dozens of other labels from around the globe.
“Sideways” was taken from a cassette titled ‘100’, which refers to a 100-minute jam session the band recorded to tape on June 12, 1989 in Piscataway. The track was composed and performed by Mike, utilizing a Roland TB-303, TR-606, SH-09 and an ARP 2600. A frenetic hybrid of techno and acid with driving EBM style beats, “Sideways” weaves intricate industrial noises with synth melodies that drift in and out of phase. On the flip are two fresh remixes by different aliases of prolific Ann Arbor producer Tadd Mullinix. As JTC, he expands the sound palette, adding organ stabs and lush pads, drawing on Detroit deep house and UK garage.The Charles Manier remix features chanted vocals on top of an array of pulsating synths, stark percussion, and post-punky guitar effects. Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley."
UK techno boscher Chris Finke delivers UK garage with all the panache and wallop of a caveman in his Bodyjack cut Hotshot
Which Special Request rewires with jazzy finger pops and extra curvy subs.
Precise-tooled D&B rollers and steppers from Breakage, teeing up the flinty drums and chest-puffing pressure of Ric Flair Strut with signature dexterity, and stepping off with swooping subs and late ‘90s jungle vibes in Sanctuary, embedded with a super lush breakdown.
Peppermint Lounge’s sleazy, sticky, emotive EBM synth-pop beauty Perfect High comes back up for air via Dark Entries, sporting the Radio Version A-side and Instrumental on the B-side, just like the original. The only difference between expensive 2nd hand copies and this one is the remastering, touched up by George Horn for optimal effect, 33 revolutions round the sun later.
UTTU catch Frak dicing with more funked up US house and disco styles
Dancing up the spicy organ vamps and ruddy acid bass lixx of Lane Escape, then like a rawer, Landcruising Carl Craig in Protes, before stomping out the early UR-like techno tattoo, Long Fork and some gritty ghetto-fonk in Large Function.
ASC grabs his DPV for a trio of subaquatic techno tracks with Emmanuel’s Arts Collective, backed by a turbulent remix from Acronym.
Axis fathoms the scene with scanning sonar bleeps and and hydraulic momentum, Sentinel scuds forth with clanking drag co-efficients turning the dance plasmic, before Restricted Area reveals a kilelr sort of D&B techno hybrid for fans of Pessimist or Regis.
After shots fired on Antony Naples’ Proibito and Mister Saturday Night, Hank Jackson gets bendy on new label, anno
Three tracks swerving from frayed electro rhythms and floating pads recalling early Laurel Halo in Gacx, thru a dense thicket of distorted electronic noise in Snake Pit, to something recalling the emulsified ‘tronics of Huerco S’ Pendant alias.
A striking proposition for fans of Maja S.K. Ratkje, Meredith Monk, Hildur Guðnadóttir, this new release on Sonic Pieces features a stunning clutch of stately, oneiric neo-classical, avant-garde and electronic gestures by Denmark’s experimental quartet, We like We - revolving Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice).
Like their debut A New Age of Sensibility  for The Being Music, which was also mixed by Jacob Kirkgaard, the all female quartet dash genre distinctions with a totally beguiling sleight-of-hand, with each member putting their classical training at the service of freedom of expression and playfulness, rather than stifling themselves into convention.
The result is a haunting, at times surreal, and often unpredictable clash of traditions and energies perhaps best described in terms of its vivid colours, volume changes and proprioceptive and temporal chicanery. The four proceed to converge, swarm and disperse across ten pieces with preternaturally organic dynamic.
While opener I’m Not For More gives the LP a hushed, folkwise beginning, then seamlessly melded with electronics, they continue to defy expectations at each turn. Whether shimmering like some Far Eastern ambient fantasia meets Maxwell Sterling’s Hollywood Medieval styles in Endless Harmonics, or turning inwards to focus on Spunk-like extended vocals and instrumental techniques in Distance, which acts as prelude to the almost ‘marish flares of Forest Sketches, or then probing the limits of spatial and tonal perception, Ligeti-style with the air-curdling, hair-curling tension of Time Is Local - Seventeen Days, you can call us captivated, to say the very least.
Yet another beauty from Sonic Pieces. If you were into their sublime Jasmine Guffond side or the recent slices by Christopher Berg and Otto A. Totland, your time will not go amiss here as well!
Christina Nemec, a.k.a. Chra - a collaborator and Viennese peer of Peter Rehberg - trades in unheimlich, sonorous, central European depression systems in her 3rd solo side, following from Empty Airport  and a 2016 split 7” with Pita for her Trost Jukebox Series. RIYL Lustmord, Carl Michael Von Hausswolff, stringent the abyss until it stares back.
“On her latest release, chra aka Christina Nemec is sketching out a psychogeographical map, that guides you to the border of the internal and external world - ‘on a fateful morning’ lets you enter a sphere where the imaginary and the subliminal cross. Evoking abstract images that transcend reality, chra installs an autarchic time-and-space-continuum of vague, nocturnal beauty. Pastose bass drones, airy ambient synths and processed audio-samples form a hypnotic stream that lets you enter an altered state of mind. By subtly intertwining musical and non musical sounds chra is weaving an intensely atmospheric, poetic tableau of emptied spaces left to our imagination. It's the pulse of arcane memories that is filling these sonic landscapes, operating deep within our subconscious. ‘on a fateful morning’ is haunting music to play in the dark - conspirative, uncanny, with a dystopian smack.”
Judging by he cover, you’d be forgiven for thinking this is Andy Stott’s vinyl pressing of live recordings made at the 2nd of two New Order live shows in 2015, performing in support of their Music Complete album.
Includes True Faith, Restless, Singularity, Blue Monday, Love Will Tear Us Apart, 586, a guest vocal from La Roux on Tutti Frutti and People On The High Line, and even a snatch of Wagner’s Das Rheingold.
The Greek collaborator of Arovane and Dictaphone stakes out his most wide-appealing solo side to date, turning inspiration from Arvo Pärt and Max Richter into rich cinematic soundscapes...
“Seductive and cinematic soundscapes between ambient, drone and indie-neoclassical music: these are the best words to describe Hior Chronik's style. A style that captures ears and soul, bringing you into an imaginary world, arousing emotions, making the mind wander to distant places. This is the goal of the Greek musician, now living half of the year in Athens and the other half in Berlin.
You can hear it in his new record "Out Of The Dust", produced by himself, mixed by John Vallasis and mastered by Francesco Donadello at Calyx Studio, Berlin. I tried to combine ambient and drone sounds with strings and piano following a harmonic direction", Chronik explains. I wanted to make a soundtrack for a movie that was never shot'. The mood is melancholic, but not only that: There's a dark side, but I made it run parallel with bright soft melodies', Chronik continues.
And on the topic of his music influences: It's hard to specify what exactly they were, but I think I'm close to Max Richter and in some ways to Arvo Part. Besides that, true inspiration comes from my life experiences, even the small little things: books, films, people I meet, travels. And being close to nature: I would say that's the base of everything'. After three solo records and two in collaboration with Arovane, Chronik is now ready to launch his new work Out of The Dust'. The title is a political quote about how we can fight against the crisis, but also against the existential anguish of surviving. A movement of no fear and the beginning of a new life', he explains.
On how he developed the songs, he says: I recorded piano, trumpet and strings in their analogic sound, then I used effects as I always do for the ambient and drone sounds'. Out Of The Dust' shows a personal and unique style that brings Hior Chronik's music to a wider audience. His sound is able to embrace at the same time the delicate piano themes and the dark ambient/drone tones, while at the same time searching for new territories to explore in the neo-classical scene.”
Karl Records catch Konstrukt and Keiji Haino in collaboration as you’ve never heard them
Veering from a killer spin on Turkish psych disco with wigged sax, wails and electronics harnessed to a disco thump on the 1st track, thru to mathy free jazz, exothermic outbursts, and a thrashing avant-punk piece, then coming to rest on a cooler ‘70s jazz-fusion tip. We’d love to hear someone deploy that 1st cut on an unsuspecting disco crowd!
Loke Rahbek meets his label mate Frederik Valentin (KYO) on their maiden collaboration - an elegant, often ravishing suite of synth gestures where Valentin tempers the more saccharine tastes of his peer, and vice-versa Rahbek softens his jazzier angles, both helping to realise a sweeping cinematic sound with stylistic parallels found in Maxwell Sterling’s Hollywood Medieval and Japanese electro-jazz.
“As old friends circling around the same scene this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin’s studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments.
“During Japan’s Edo period (1615–1868) the phrase "the floating world" (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance—with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts.” - Wikipedia
Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don’t require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek & Frederik Valentin’s debut outing conjurer's a world both sensual and abstract as it moves casually alongside fantasy.”
This latest instalment in Soul Jazz Records’ Deutsche Elektronische Musik series delves deeper into the German nation’s vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.
"The music of Deutsche Elektronische Musik 3 ranges from the introverted pastoralism of Hans Joachim Roedelius and Bröselmaschine, to the angular and futuristic electronic experimentations of Klauss Weiss, Pyrolator, Deuter, Michael Bundt and others, to the proto-punk of La Düsseldorf and the heavy space, progressive and cosmic rock of Missus Beastly, Niagara and Dyzan.
The music on Deutsche Elektronische Musik 3 was all recorded in the 1970s up to the early 1980s, at a time when forward-thinking German electronic and rock groups were searching for a new musical identity in order to separate themselves from both the cultural legacy of post-world war two Germany as well the ‘cultural imperialism’ of USA and UK rock. In this process German groups created some of the most unique and inspired music, the defining motorik beat alongside a host of ethno-musical influences from far afield – including Turkey, India, Brazil – as well as the musical and futurist possibilities of developments in electronics and technology itself.”
Tigersushi fill a particular, serene niche in contemporary French music with ‘Musique Ambiante Francaise’, a serenely seductive suite of ambient or beatless works spanning their esteemed roster; from I:Cube to Etienne Jaumet, Mondkopf, The Mole, and Essaie Pas (Marie Davidson + Pierre Guierineau).
“It all started when Apollo Noir, Tigersushi’s latest signing came to me with a split 12” he wanted to release, including his own track “Inspiring Images & Visual Power. Chosen With Love & Dedication” and Glass’ “Heart”. I loved the tunes but wasn’t convinced that releasing a 12inch for those 2 songs only was relevant, so I proposed we extend this split EP to a full French Ambient compilation and we all got excited by the idea. There’s never been one although there’s an undeniable interest in that genre from a broad spectrum of French musicians. A few days later, me, Apollo Noir and Charlotte (Tigersushi’s lieutenant in chief) compiled a short list of names we were interested in and within just a few weeks we put together this compilation. Amazingly, 95% of the artists we contacted agreed to participate.
Another surprise is how those 18 tunes come together in such a homogenous way, this stroke me the first time I listened to the whole record. Maybe it’s a result of the fascination for old and new analog machines shared by most of the musicians featured here. Maybe it has to do with a long French lineage of experimental electronic music (Pierre Schaeffer, Pierre Henry, Jean Michel Jarre, and all the lesser known synth library music and score composers...).
Anyway we couldn’t be happier with the result and we’re already excited to work on the second chapter.” Joakim”
Hot at the heels of their Live At Third Man session, ADULT. task a crack squad with remixes of their Detroit House Guests album tracks.
Juan Mendez a.k.a. Silent Servant fills the brief with devilish style on a breathless, bruxist EBM remix of We Chase The Sound, where he buries Shannon Funchess’ vox deep in the wires, before she chops herself up into gasping sparks and spat syllables in her own, ruddier, angular take on the track.
The legendary Barry Adamson is perhaps a surprising choice for the remix of We Are A Mirror, but handles the spiky groove and Douglas J McCarthy’s vocal with iron mitts and spunky aplomb, before Liars head the opposite direction to everyone with an arid, cinematic ’Savannah’ remix of Breathe On making filigree use of Michael Gira’s original vocal.
Erstwhile Murkage member and current media darling Gaika follows thru on Warp with electronica hooks and trap beat buoying his autotune vox on CHOP, before putting a UK styled acid- prefix on psychier ATL styles with SMOKE BREAK.
Clark coughs up two balls of anthropomorphic rave on Warp
Gunning for peak times with the cavernous bangs and harmonic hypersonics of Honey Badger, then swanging out with a funkier variation in the AFXian dissonance and kick drum permutations of Pig.
Pour Le Club! is Simo Cell’s 2nd and strongest batch for Livity Sound
Twysting out four permutations of UK Bass, techno and D&B with best results found in the tense, robotic swagger of Stop The Killing and the subtly nudged footwork/jungle swang of Feel Di Kouala Vybz compatible with Equiknoxx and Errorsmith as much as minimalist grey area styles.
After leaving us hanging since his F.X.H.E. 12”s, Detroit’s John F.M. stretches out on Trilogy Tapes with two deeeep, head-swimming house trips.
On Ricochet he takes the opportunity to really go out there with two minutes of cubist bleep jazz then joined by a reverse-edited kick that carries the track thru ten minutes of expressive chords and latinate percussive inflections.
…And Then Leave is more direct, stepping in with early ‘90s rave phrasing alloyed to roving tribal drums like some earthier take on early Kevin Saunderson, or a Gary’d up Carl Craig.
TR One join DBA with four deep ’n druggy house explorations in their A Month Has Passed EP
Maintaining an off-centre pressure from the titular tribal stepper thru the buoyant kosmische chug of The Boutique Of Neverending Dreams, an NYC organ rider called The Printer (That Stole My Time), and the acidic deep techno dive Road To The Sea.
New Energy is Four Tet’s first album in two years
Leading on from the Morning / Evening set to a new age-inflected sound encompassing hang drum pieces with Tom Baker thru to modular synth input from Kaitlyn Aurelia Smith, all produced on a laptop computer using Ableton Live software to control and mix VST plugins as well as manipulations of audio recordings.