Mix Mup and Kassem Mosse deuce down a trio of slompy, dish-rinsing house deviations on the 3rd TTT X Palace 12”, following there examples of Theo Parrish and Omar Souleyman X Rezzett.
We’re all over the A-side like last night’s dinner on unwashed plates, loving those sloshing, pitch-bent drums that sound like someone washing a Roland machine in a saucepan under a cold, running water whilst Laraaiji doodles in the background, or something.
Chorus Beach is it’s drier counterpart on the B-side: a squeaky fresh slow house swinger elevated with mystic, discordant pads; and Watching Gischt hustles a deeply rude and loose house style somewhere to the left of Theo P and STL.
Sydney-based jazz trio triosk and jan jelinek from Berlin have opened up a common equation. The title reflects their production method : jelinek mails selected samples and textures to australia, Triosk use these as a basis for composition and recording, the enhanced material then returns to Berlin for Jelinek to finalise.
But the mileage covered does not become audible - "four different instruments multiplied by four different approaches make one sense". Triosk and Jelinek play together with eerie assurance and emphatic sensibility. Archetypal, dissolving jazz elements correspond to repetitive patterns not known to the genre, electronics and acoustics circle each other but remain conjoined. A perfect evolution from the micro-contained glitch-house that Jelinek has adapted so brilliantly - forever searching for a myriad colour of jazz traditions and influences that have finally expressed themselves with a less contained form on this wondrous album.
Perhaps geographical circumstances have something to do with the fact that Jelinek and Triosk approach a similar musical task from completely different directions - but the result is a deep, timeless and brilliantly executed slice of machine soul music for the mellowest of blue nights - and another maverick album from a man who can seemingly do no wrong.
Future Times' Max D and fellow DC mainstay Jackson Ryland team up on a set of improvised, tweaky steppers that straddle the line between Carl Craig/69 and A Guy Called Gerald. Free as fuck and fresher for it.
Beautiful Swimmer Max D and Jackson Ryland have been improvising and overdubbing together since 2018, looking to create quick, dextrous tracks rather than labored studio workouts. This debut long-form release highlights their playfulness and broad musical knowledge, as they work their way through well-worn club sounds (techno, house, 2-step, jungle) without getting hung up on perfectionism.
In fact, the loose, free nature of these recordings makes them sound closer to an early formulation of dance music, when tracks felt as if they could fly off the rails into chaos at almost any moment. Sometimes the duo channel the DIY funk of early Detroit rollage ('Antimatter Circus'), elsewhere it's mind-phasing jungle ('Hops') or brittle breakcore ('Super A').
The record comes into its own though when the two producers morph the edgy alien qualities of SND with Vladislav Delay's hybrid dub and Farben's chiseled jazz funk on 'Slip' and 'Hyperplasticity'.
Sakamoto & Toop are captured in precisely unpredictable, improvised form in their remarkable first collaboration, recorded at St John at Hackney Church, London, 2018.
‘Garden of Shadows and Light’ bears witness to the entirety of the duo’s debut concert, where the pair pay tribute to the aesthetics of Japanese gardening (hence the title), cultivating and exploring a spectra of carefully pruned small sounds for the first half, before blossoming into a lusher, pricklier sort of night garden described with animalistic electric guitar and guttural inside piano sound. It’s a meeting of two weighty musical minds, pitting a rarely paralleled breadth of knowledge and skills spanning decades (upon decades) of work between the fields of film music, pop session work, sound installation and live performance at the service of a deeply immersive, world building style.
It’s the 2nd release of Sakamoto’s work by the church’s related label, ThirtyThree ThirtyThree Recordings, following his duo with Taylor Deupree, and as one might expect, it’s very different to that side’s dreamy minimalism. There's a paucity of ingredients in the mix here, but they’re used to express a more curious mix of atavistic and crafty avant-classical gestures, almost imagining two perplexed cavemen feeling out a menagerie of instruments, or even reminding us to the naturally unpredictable logic of the birds playing electric guitars in Céleste Boursier-Mougenot’s exhibit. They gradually coalesce into thicker chords and syncopations, arriving to the ear as warm licks of lap steel guitar, and then calling into the night via shakuhachi and plangent noise in the 2nd half, always making room for pregnant lacunae and tip of tongue tones that really define the piece and lend its seat edge-but-floating quality.
Maurizio’s ‘M4’ was just so good that Moritz Von Oswald and Mark Ernestus had to extend the pleasure in ‘m4.5’ 
The purring bass and chords feel sunk deeper and drowsier into the mix, lending a duskier appeal which they tease out for just shy of 13 minutes, although it could easily last 10 times that length and we’d never get bored of its luscious traction.
Sultry, poised, gothic post-punk meets lilting dream-pop courtesy Anika, chasing up collabs with Shackleton and Tricky in a keenly awaited sophomore long player.
Officially the follow-up to her acclaimed, eponymous 2010 debut with Beak>, ‘Change’ arrives a decade later as a worthy counterpart brimming with the kind of melodramatic but droll delivery and classic-sounding chops that made her first LP so striking. On 'Change' Akina opts to work with Swedish producer Martin Thulin (Exploded View), who flew from Mexico to Germany during lockdown to enhance the album’s lustrous backdrops and shadowplay of styles, where Anika’s plaintive delivery variously reminds us of Nico, Trish Keenan, and Tropic of Cancer’s eerie drone-pop float.
Song to song Anika finds her shapeshifting style from the swaying post-punk stepper ‘Finger Pies’ to a meld of Julee Cruise and Nico on the mopey but positive title tune, while at the album’s apex ‘Sand Witches’ expresses her feelings as an immigrant in Germany in time honoured eldritch fashion, and ‘Freedom’ see her get down with scuzzy goth rock urges.
Fluxus bod Philip Corner's time-dilating, spiritual gong drones were recorded back in 1988-89 and still sound completely singular. Deep, percussive and resonant haunt fer fans of Rhys Chatham, Tony Conrad, Annea Lockwood, Z'EV et al.
Back in the late 1980s, experimental composer Corner linked up Korean new age Shaman Hiah Park, who specialized in the art of ritual dance. Corner had been stationed in Korea in when he was in military service, and had immediately been struck by the local traditional music he had access too on the radio. He attended Park's workshops in New York and eventually the two agreed to collaborate, fusing Park's dance with Corner's "metal meditations" techniques he had been developing with gongs.
The duo performed two shows in Europe together, and when Corner returned to New York, he developed another performance alongside his friend Sin Cha Hong, a Korean-American dancer and choreographer. The recordings of all three performances are captured here, and while we sadly don't get to experience the physical portion, Corner's lulling meditative drones are a joy to absorb.
This type of textured, deep listening music is often attempted and rarely mastered - "Gong/Ear: Shaman" is completely in the zone, never obtrusive but also never dull. The sounds Corner manages to pull from the gongs are ghostly, resonant and completely entrancing. We can only imagine what it might have been like to see it in person.
Footwork mainstay DJ Manny steps out from the shadows with this towering and incredibly unique cross-section of Midwestern dance styles and luv'd up R&B. Imagine a potent concoction of DJ Rashad, Carl Craig, LTJ Bukem, Janet Jackson, Timbaland, The Other People Place and Frankie Knuckles, and you'll have an idea what "Signals in My Head" is giving.
Maybe the most ambitious footwork full-length we've heard since DJ Rashad's game-changing 2013 tome "Double Cup", Manny's first proper set since the Teklife-released "Greenlight" is a celebration of the evolution of Black American dance music. He's still young, but Manny is no newcomer having gone from dancing to party promoting and then production. And when he finally released his debut "Kush On Deck" in 2010 with DJ Rashad's assistance, he'd already been on the scene for a decade.
With "Signals in My Head", Manny wanted to attempt something that hadn't been done before and bless the genre with romance. This sentiment gushes from opener 'Never Was Ah Hoe', that loops joyful, euphoric vocals over dilated footwork kick flurries and clattering breaks. When it liquifies into halftime, the production sounds closer to something you might hear on a Kehlani album, all muted sensuality and tuff, sparse neo-soul percussion. 'U Want It' is an even clearer statement, interpolating the chorus from Ginuwine's enduring sex jam 'Pony' and blessing it with dreamy Detroit synths and playful, stuttering drums.
It's at this point where the album artfully switches gear with 'You All I Need' and 'Club GTA', suddenly dipping into the pure ecstasy of Carl Craig's "Landcruising" or "More Songs About Food And Revolutionary Art". 'Good Love' and 'Signals In My Head' meanwhile retain the MDMA glow while injecting a hearty dose of influence from LTJ Bukem and his peers' rugged-but-emotional liquid D&B shuffle.
'Signals In My Head' is a progressive, motivated album from an artist who has been active in footwork for two decades. Now he rises above the confines of the genre to sit alongside fellow scene-agnostic Black club innovators like AceMo, MoMA Ready and Kush Jones, while paying tribute to the storied history of Midwestern club and American R&B. Breathless from beginning to end.
Maestro asserts deepest ties between SA amapiano and UK house, gilded with on-point etheric vox by Buddha Boo for London’s burgeoning Housupa crew
Officially the sound of summer 2021, amapiano’s influence on UK dance music can’t be overstated right now, and we’re absolutely all for it. DJ Supa D’s Housupa now comes correct again with Maestro’s debut for the label, laying out the deliciously woozy pads and bubbling bass of ‘Glow’ in its supreme vocal mix starring Buddha Boo’s perfectly measured vocal floating over pensile bass and organ motif in duskiest, hypnotic SA style. There’s an instrumental if you need to extend the pleasure, but we strongly tip the vocal mix.
Proggy UKG and grime experiments from producer/DJ/animator Murlo, pushing his prism in cartoonish IDM ways on his Coil Records label
Saturated in ripe colour and leaving no two bars wanting for detail, ‘Unearth’ sees Murlo’s work get increasingly finicky and complex and further from the ‘floor, approaching more of a fantasy gamer soundtrack style than club music, although still keeping ties via his overegged funk chops.
To be frank it’s really not sitting right for us, with too much icky sugar rush and conventionally consonant arrangement to really push our experimental buttons, or enough groove to move us; ultimately landing in an IDM style that makes us do the Drake nah face.
Beautifully serene and contemplative, ‘Landscape Architecture’ sees classical minimalists Christina Vantzou & John Also Bennett describe quizzical scenes on their follow-up to a sterling 2018 debut for Shelter Press, all mixed and self-released on the duo’s Editions Basilic imprint and now available on vinyl for the first time. It’s a suite of blurry dreamscapes made with flutes, piano, hazy environmental recordings, subs and subtle fx, a perfect companion for works by Félicia Atkinson, Alice Coltrane, Jim O’Rourke, Luc Ferrari, Deaf Center, Pan American.
Reprising the lucid dream-like dimensions of their debut ‘Thoughts Of A Dot As It Travels A Surface’, CV & JAB assuredly trace a line between etheric whimsy and a spellbinding sort of atmospheric mastery on their sophomore sequence. Fashioned from petalled classical and jazz keys blended with woodwind, richly enigmatic electronics and gently aleatoric intersections of street noise and bird song with water sounds, the album’s 10 parts and bonus track limn a drift through what they evocatively term as “remote thought gardens and conceptual collonades” to deeply trippy effect.
Recorded over the course of three days during a residency in Brussels, the album is detailed with a sure-handed directness as ephemeral as spring light, appearing like a dream that lingers on the mind’s eye with its own perpendicular sense of time and space. That effect has long been key to Christina Vantzou’s work, from solo to collaborations with The Dead Texan and Heinrich Mueller, and it’s now clear that JAB shares this gift for elegantly supposing and luring listeners into their ever-curious explorations of ambient classical metaphysics.
The duo recall the rapt effect of Félicia Atkinson’s poetic compositions in ‘Down a passageway’, while the brooding allure of ‘Phantom Tunnel’ remind us of the quizzical nature of Catherine Christer Hennix’s style, whereas the more explicitly electronic works such as ‘Pungent Lake’ and ‘The maître d’ is dead’ capture the sort of laminal ooze and woozy effect of Jim O’Rourke’s amazing 'To Magnetize Money And Catch A Roving Eye’ 4CD in a more concentrated form.
Influenced by Steve Reich and Terry Riley, bass clarinet player Ben Bertrand creates a foggy universe of fuzzed-out ambient sound and rich organic woodwind texture. One fer anyone into Jon Hassell, Arve Henriksen, Bendik Giske et al.
Calm and subdued, "NGC 1999" feels like the soundtrack to a chilly Northern European indie flick that never was. Bertrand uses his bass clarinet to lead the charge, but augments the sound with subtle electronic treatments that bridge the gap between the organic and electronic realms. The result is minimal but not dreary music - it's warm and refreshingly upbeat at times, with a wavering sincerity that's not unlike theremin legend Clara Rockmore.
Lawrence leaves the ‘floor for dust in a free-floating suite of ambient jazz following the lead of his ‘Birds On The Playground’ LP and Sky Walking release
Extinguishing the flickering drums and purring basslines of his signature deep minimal house style, Hamburg’s Lawrence beautifully explores his ambient side again on ‘The City Of Tomorrow,’ snuggling into a warm and user friendly space between ambient, new age, and jazz that feels right for the times and echoes vibes from Ana Roxanne to Ulla and the neo-ambient cohort.
‘Dawn’ breaks with glowing, cottony organ chords that set the pace and feel of the EP, which sashays from the twinkling carillon of its ‘Interlude’ and shimmering ‘Mermaids’ vignettes into deliciously sloshing domestic percussion recalling a melted take on Move D’s ‘Kunststoff’ album in ‘Sloth,’ and gems to rest on the bed of levitating static and curling choral pads in ‘Aalto.’
Dry, barrelling D&B punishments from Italy’s Last Life, chasing up his 2020 debut album for Samurai
The ’Horde’ EP comes on heavy and pressurised with the drop forge dancehall D&B and tense drones of ‘Trial,’ leading into the mauling mentasms and brittle roll cage of the title tune, and needling arps approximating a nastier take on Donato Dozzy’s D&B in ‘Hidden,’ with some cold clanking Ruffhouse alike steam-rolige reserved for ‘Troglodith.’
Over a year since we last heard from them, Huerco S’ West Mineral imprint shimmers into view for their first release of 2021 - a lush, jittery high of aerosolised ambient thizz and top shelf electroid steppers from Ben Bondy, highly recommended if yr into Perila, Jan Jelinek, Second Woman, Kindohm or Uon.
Last year's "Sibling", released on Special Guest DJ's Experiences Ltd was one of the year's subtle standouts, but Bondy's music refuses to tether itself to one sound or another, instead hovering around the fertile area between experimental ambient and outre club modes. "Glans Intercum" paces further sideways, toying with dub and drone ideas and sandwiching these sketches between buzzing drum workouts that squeeze texture from collapsing beat templates. Oscillating piquant shocks of vibrant energy with steeply opiated hypnagogia and OOBE-like sensations, the results locate a mind in flux, torn between the need to flex hyper-articulated limbs and becoming lost in discretely introspective ambient interzones.
The eight tracks course from a sort of kaotic power ambient energy to a lushly unresolved daydream serenity through alternately convulsive and temple-smushing turns. ‘Rest’ opens with a bitter explosion of digital scree that escalates into pill-belly jitters, and ‘Ash In Emerald Casing’ keeps toes off the ground with Rian Treanor-levels of pointillist hyper-footwork tekkers, contrasting with the DJ Python-esque slithering vox and atmospheric mulch of ‘Spangled (With Stella).’ From the skittish ‘Drip on Nape’ his circles start to bleed into one, with the aqueous shimmer of ‘Ven’ and Stella’s vocals returns on ‘2404’ to blur the lines between up/down, where ’Skizz’ enacts a sort of perpendicular grime and he ultimately comes to bliss out in the fragile glassine fractals wilting from the closing title tune.
Club or bedroom, this one’s for the dreamers.
British jazz pianist Matthew Bourne follows a run of albums for Leaf with his Sähko debut "Desinances", a chilly selection of isolationist solo piano that shifts fluidly from jazz to classical and beyond.
Bourne has an impressive catalog behind him, with collaborations with Amon Tobin, Annette Peacock and John Zorn and records that flip from virtuoso jazz to analog electronics. "Desinances" is a back-to-basics album, in the vein of ECM's solo piano records, and shows off Bourne's skill mostly in his restraint.
It's a simmering record that plays off skill without relying on flourishes or flashy technique. Rather, Bourne leaves his notes to hover in thin air, breathing for a while before crashing into the next. It's an unusual addition to the Sähko catalogue, but a thoroughly welcome one.
Utterly crucial faded Memphis rap from 1995, "Paranoid Funk" is a lost-and-found ruff diamond that barely made it out of the state when it initially landed on cassette. With a co-sign from Three 6 Mafia's Juicy J it depicts a more stripped down - and plenty more terrifying - picture of the Memphis landscape than Triple 6's trunk-punishing cartoon doomscapes.
Lil NoiD isn't as well known as Juicy J, DJ Paul or even Tommy Wright III, but "Paranoid Funk" is one of the most unsettling and exceptionally skeletal Memphis rap tapes of the era. The rapper was only a teenager when he released the Blackout-produced album, and ended up performing with local royalty Three 6 Mafia for a couple of years, but this album still stands out with its chilly synths, icy triplets and evocative bars.
Dubbed from tape, the productions haven't lost any of their grit on L.A. Club Resource's reissue. Each track pumps with saturated breath as the snappy TR-808 rhythms roll over odd, awkward samples and spinetingling horror movie synths. 'Hamptown' is an early highlight, with customary FM bells distorted by Transformers foley fuzz and screwed vocals. 'Try Me' meanwhile zeroes in on NoiD's nasal flow, that twists narcotically over a beat that's so brittle it sounds as if it's about to shatter.
It's an all-too-brief record but an essential listen for anyone excited by the noisier, doomier side of rap >> there's no SpaceGhostPurrp, Denzel Curry or Lil Ugly Mane without this! Killer biz for the ballers and smokers.
Destructive 2010 material from Norwegian noize technician Lasse Marhaug >> "The Sky Above the Bud Below" proves beyond reproach that Marhaug is a master of the genre as he conducts white noise and oscillator spasms into nauseating symphonies of dissonance.
Originally released on cassette over a decade ago, this brief EP is finally available in digital form. Marhaug provides two 10-minute slabs of musical distortion, mashing rhythmic gestures and corrupted trash aesthetics into spectrum-filling posable figurines of ear-splitting crunch and eerie negative space.
Marhaug has been on this tip for many years, and few have reached his zenith - an unholy union of sheer distortion and engineering knowhow. The result is like Michelangelo sculpting in rotting flesh, and the emotions invoked are just as complex and disturbingly alluring.
Scudding hardcore bombs from DJ Skift packing suitably bunkered, rave-ready tekkers for Mother’s Concrete Cabin
Twysting the DNA of OG breakbeat hardcore with muscle memory updates of 2-step garage, grime and pinging electro, Skift lands on a super tight style somewhere to the darker side of Luke Vibert and also recalling those Remerge 12”s (rumoured to be holding an incognito Æ edit) or HATE’s cut ’n splice badness.
It’s no nonsense, on your toes, wide-eyed rave tackle; rinsing out ricocheting ’91-style breaks, mentasms and chewy garage bass in the first part, then flicking the pressure gauge up with a stampeding jungle tekno onslaught in the second, and shooting ‘ardcore shrapnel from the hip in the buck ’n bury garage swang of the final part.
Dutch master NWAQ mints his Last Age label with a trio of cosmic deep house specials that leave a lump in the throat and feeling like we’ve had a fistful of mandy.
Clad in beautifully fucked artwork by Jan-Robert Leegte that metaphorically reflects the music’s head-smudging nature, the ‘Above EP’ is another slab of peerless class by Jochem Peteri’s deeply adored project. Now in its 20th year of operation, NWAQ here augments his pursuit of the sublime with a new quota of compression and inherent, distorted artefacts in a manner that feels to continue an ongoing, double refractive dialogue with Actress’ spirited deep techno aesthetics, which are themselves influenced by early NWAQ and Ross 154 classics such as the recently reissued/re-pressed album ‘The Dead Bears.’
We’re in the presence of a completely singular, pioneering artist here, shimmering in proximity to his Ross 154 head-melter for Boomkat Editions, ‘Wherever You Go, I Will Follow’ but pushing the levels deep into the red; stressing an iridescent, fractally kaleidoscopic texture and tone that to our ears at least, evokes the feeling of an MDMA peak, as in those times where you’re practically kissing God, eyes wobbling and lips-mushing. Somehow spartan but lush, the results roll out from the squashed kicks and swirl ‘Above II’ into utterly ASMR-levels of scalp stroking bliss on ‘Above I,’ while ‘Dume’ lands beautifully sore on the B-side with writhing groove and textures that feel triple tumescent as ecto glow flesh, but equally elusive as in a dream.
It’s a new high water mark for the idea of “noise techno” and a perfectly nuanced new progression for one of this century’s greatest experimental ambient/techno/house catalogues.
From the opening strokes you know this is going to be good, and Into The Light’s exploration of Greek soundtracks does not let down - a big tip for Vangelis and Lena Platonos fans!
Suave, noir, and suggestive as you like; Into The Light are bang on the money for fans of ’70s/’80s synth and film music, and particularly of lesser known varieties, as it mercifully circumvents diggers’ problems with reading Greek artist names and record titles to serve a cherry-picked (olive-picked?) brace of soundscapes, cues and themes united by a beautifully allusive Greek “spirit.” Yet while rooted in a bygone era, it’s not hard to hear how this “spirit” has fed forth into modern Greek music, and can be found everywhere from the technoid cinematic drama of Xyn Cabal to the filigree wright emotion conveyed by Christos Chondropoulos in the contemporary sphere.
The album’s opener is a real diamond, unfurling the 10 min Deckard-gaze panorama of ‘Parados’ by Thesia in a very Vangelisian mode, before moving thru a string of immaculately sequenced cues and themes, spanning the lush analog synthesis of Yannis Kostidakis, bubbling jazz-fusion from Stamatis Spanoudakis, a glistening ‘Erotic Scene’ from Dimitris Papadimitriou; fantasy synth pomp in ‘Death at the Dried Champaign’; the Coil-esque FM synthesis of Giorgos Hatzinasios’ ‘The Death of Baby Jane’; electro-acoustic collage from Papadimitriou and Dimitris Lekkas; a steeply psychedelic 11 min stunner full of strange tunings from Haris Xanthoudakis; and perfect end scene in the chamber cello of ‘Karkalou’ by Charlotte Van Gelder.’
Quietly extraordinary dream-weaving from crys cole & James Rushford’s Ora Clementi duo, invoking an unpredictable, otherworldly play of light/shadow and top shelf electro-acoustic sorcery comparable with Robert Ashley’s Private Parts, Jane Arden & Jack Bond’s 'Anti-Clock' soundtrack, via Claire Rousay, Perila, early digital GRM.
Sylva Sylvarum’ documents a far more confident Ora Clementi than found on their barely conscious debut ‘Cover You Will Softer Me’ (Penultimate Press, 2014), here exploring a much broader variegation of carefully pruned synths, drum machines and instrumentation threaded with vocals ranging from sibilant whispers to ohrwurming dream-pop croon. In its mazy logic, remarkable levels of sensuality, and substantially satisfying length, the pair effortlessly suspend disbelief for its deep duration, creating a whole dreamworld unto itself that will reward repeated exploration.
Centred around notions of utopias as inspired by various literary texts, such as Francis Bacon’s titular tome of natural histories, cole and Rushford’s music takes its shapeshifting form across 15 parts that diffract time and imaginary space between a mosaic of ephemeral, blink-and-miss beauties such as the Julee Cruise-esque dream-pop of ‘Magic Mountain,’ to animalistic abstractions such as ‘Vulning,’ and more immersive depths of its longest parts, like the dazed avant-blues shimmer of ‘Nowhere Much Narrower,’ and a jaw-dropping 14 minute closing sequence making sterling use of Callum G’Froerer’s trumpet and trombone by Joe O’Connor.
Collected, the 15 tracks transcend the sum of their parts and have the rare power of some records to induce extrasensory feelings associated with microdosing LSD, with artful application of mic recording techniques achieving ASMR levels of skin tingle, and exquisitely warped details that mirror peripheral fractals one minute, and the sensation of looking the wrong way down a telescope the next, always most craftily oscillating a fine limen between lowkey everydayness and gently potent, magick realism.
It’s not really a record for sharing with others; it’s best consumed in private, later at night when the senses are most porous to this kind of ESP and a humbling, wholly absorbing genius.
Volume I of the debut recording by UK Jazz musicians Ferg Ireland, Nathaniel Facey & James Maddren as Ferg Ireland Trio.
"Birthed from informal sessions in South London around 2013; the Ferg Ireland Trio combines three of the UK’s most exciting musicians. The trio is a vehicle for Ireland to consolidate his influences and explore the Sax/Bass/Drums format with an alchemical blend of intense spiritual jazz, broken beat flavours, angular swing and playful conversations.
This, their debut recording, was captured over the course of a summer’s day in 2017 and the result, stripped of artifice and any studio trickery, represents the pure expression of three great instrumentalists, as well as three great friends. Ireland (Kansas Smittys, Soweto Kinch, Ashley Henry, 22a), Nathaniel Facey (Empirical) and James Maddren (Kit Downes, Jacob Collier, Gwilym Simcock) have been playing together for over a decade, and this is reflected in the telepathy of their musical conversation. The twists and turns of their dialogue delve deep into the dark heart of modern jazz.
The compositions (all Ireland originals) draw on the post bop tradition, with lashings of London’s dance rhythms blended with the new fusion sounds emerging south of the Thames. In the opener ‘Stay Broke’, the Broken Beat scene is a clear reference, but smooth edges are bent into something more raw and ominous. Facey’s acerbic alto sound darts in and out of Maddren’s frenetic, polyrhythmic kit-work and Ireland’s deep, endlessly looping bassline. A soundtrack fit for the dystopian dance floors of the new decade.
Elsewhere, the trio sound authoritative whilst playing the proverbial out of a New Cross related blues - cat-like on ‘Mel’s Mood’, stately on ‘When You Know’. The latter’s latin-esque drums propels the music forward, even at its most serene moments. Most of the tracks on this record were first takes and have an immediacy that allows Ireland’s assured compositions to take unexpected directions. In the case of Lips, these boil over into a spontaneous furore, the faders left up to capture the vibe. ‘Confession’, the thematic culmination of all these twists and turns, is prefaced by a long brooding intro before the band stretch out with a flurry of burning solos and psychic interplay. The inescapable influence of John Coltrane is at play here, but the spirit of Eric Dolphy and the swing of the Sonny Rollins trio are also in the room."
Utterly sublime R&B/Sade-licked late night slickness from Portuguese-Danish wunderkind Erika De Casier, deploying whisper-soft pop that's injected with the lurching club-adjacent snap of Timbaland, Neptunes, Teddy Riley, MJ Cole and Sunship > jaw on the floor, tear in the eye.
When Erika de Casier's debut album "Essentials" dropped in 2019, it felt like a hidden gem - it was only a matter of time before her silken bedroom soul was shuttled further into the mainstream. So it's hardly a surprise to see the followup on 4AD - and it's the best record the label's released in years. De Casier makes music that sounds private, lo-fi and intimate, but has the earworm-y bombast of Brandy, Destiny's Child or Amerie. Her influence comes from her early teens, submerged in MTV R&B to nourish her spirit - but as the label notes point out, she's as much influenced by Aaliyah and Janet Jackson as house, garage and techno.
This sensual escapism is the beating heart of "Sensational", as de Casier whispers over neo-retro production that sounds like early Sade instrumentals stripped to the bone and assembled into new forms by a supergroup comprised of MJ Cole, Timbaland and Sunship. There's a garage-flecked clubwise swing that speaks to de Casier's European roots, but the songs have more sugared hooks than a library of '90s MTV soul full-lengths. Trust us, leave this one on repeat for a few spins and you'll be humming songs like 'Drama', 'Someone to Chill With' and 'No Butterflies, No Nothing' for the rest of the week.
Ice cool summer special = awe-inspiring, honestly.
More Goa-trance on 33-not-45 vibes from Alexis Le Tan and Joacim’s Full Circle on Crowdspacer
Making strong nods to the style pioneered, Fat Ronnie-style, by Vladimir Ivkovic, ‘Vol. IV’ builds up a stealthy head-of-steam with the screaming top lines and slow, jagged trance arps of ‘Alien Nation’ and with a more percussive emphasis in the B-side’s ’Shivering Shanti’ with its croaking acid riffs primed for slow-motion yoghurt weaving.
Handy first reissue of a classy and sought-after (read: dead expensive!) new wave gem from Japan, 1985, flush with FM synth flutter, glyding jazz fusion grooves and harmonised vocals with authentic Eastern touches - think Japan/David Sylvian, Prefab Sprout, YMO
“Asia Dream by Mu-Project is an incredible combination of eastern and western music made by Ryoichi Kuniyoshi and Kiyoshi Toba in 1985. This singular and very personal album transports us to an Asian dream. A mix of emotions, between nostalgia and melancholy crosses the music.
The refinement of the production is at the service of the sensitivity of the synth melodies and bring a pop side to this project. Asia Dream is definitely an album for lovers of avant garde synth pop music from Japan.”
Danish duo Vanessa Amara return to Posh Isolation with a delicate set of unedited live recordings that shines a light on their creative process. Haunting and tape saturated meditative ambient business, for fans of William Basinski, Felicia Atkinson and Taylor Deupree's 12k imprint.
Recorded between 2016 and 2020, "Music For Acoustic Instruments and Feedback" is a document of Birk Gjerlufsen and Sebastián Santillana's musical methodology. Lacking a studio or even a piano, the duo have instead had to rely on other peoples' homes or spaces made available to them. Since every space offers completely different sonic characteristics, the duo have been forced to establish exactly how the instruments - piano, accordion, pipe organ, carillon and bells - would sound when recorded and processed.
Over eight tracks, Gjerlufsen and Santillana document this process of trial and error as they investigate space, timbre and feedback. Fans of the duo's ornate ambience will no doubt find plenty to sink their teeth into, from the disintegrating Basinski-esque melancholia of 'Piano & Two Tape Loops' to the terse, medieval charm of 'Cembalo & Carillon'. It's a restrained yet majestic set of improvisations that revels in its relative simplicity. The truth is that while the music is relatively minimal, there's nothing straightforward about the duo's creative chemistry.
The guess-again label R=A pull out a mystic beauty by Mitar Subotic (Suba) aka Rex Ilusivii (King of Illusions) following unarchived issues of his exceptional work by Vladimir Ivkovic’s Offen Music and Gilb’R’s Versatile in recent years.
‘Fool For Love’ is a poetic 23 minute synthscape rescued from the mists of time (recording date is unknown, but likely mid/late ‘80s) to reveal the most expansive iteration of Subotic’s profound sound in current circulation. It’s an extremely hypnotic trip, of the sort where perceptions of time and space slip away and sound becomes atemporal, synaesthetic and hallucinogenic. It’s definitely best received with eyes shut, where the ostensibly monotone drones will reveal their surreal internal fluctuations and inceptive nature like a magic eye painting deciphered within a dream.
Fans of Eleh or 0PN will be in their element with this one.
John FM makes a rare, killer outing beyond Omar-S’s FXHE with a standout EP forged in the contemporary Afro-American experience
Served with no additives or preservatives but bags of raw R&B soul, J.F.M.’s 4th solo 12” twists inspirations from Prince to Moodymann and his spar Omar-S across a handful of dare-to-be-different tunes formed over the past five years. For anyone outside Detroit, it supplies insight to how, as he puts it; “the world has been colonized by Americana.” On the most immediate levels we’re feeling the heavy swang of ‘February’, the blown-out bass and ansafone vox of ‘Lockjaw (7 Deadly Winnin’), and his rawly finessed hybrid of ’90s R&B and cloudrap in ‘Forever’, but we’ll hand over to him for disambiguation’s sake…
“the pieces themselves deal with common American themes that have been glamorized in the movie (our reality) the rest of the world watches as cinema - in horror and disbelief. Holster- a story about a shooting at a party from different perspectives. February- contextualizing a spiritual fight amidst the complexities of a relationship. Lockjaw- a celebration of the seven deadly sins, our inhumanities that sell ironically get people ahead. Forever- a want for overcoming setbacks, a cry to live in a place that isn’t built for us. Interim - a ‘meanwhile’ moment that never really ends- a battle of the people and their screams being the soundtrack for 400 years of oppression.”
Caterina Barbieri launches her new label light-years with “Knot of Spirit” featuring vocals by American artist Lyra Pramuk. The track functions like a statement of intent from the Italian composer and musician as she gestures towards the kind of enchanted and transmutational music-worlds that she will welcome onto the light-years label.
"With a title evoking a metaphysical state of unresolved tension and enigma, “Knot of Spirit” blends synth and vocals into a sonic vertigo which oscillates alluringly between the mystical and the hallucinatory. Barbieri’s whirling, haunting synth patterns interweave with Pramuk’s other-worldly vocals into mirages of transcendence: time accelerates and decelerates in a trancelike spiral that erases any distinction between the inner and the outer worlds.
Barbieri pairs the single with a surreal oil painting by Russian artist Dasha Kuznetsova. The artwork seems to emanate from that same subconscious underworld of spontaneous and unmediated emotionality which Barbieri can uniquely conjure at the heights of her musical powers. This is a work of catharsis, a dark descent into the ineffable with an explosive, poignant and uncontrolled finale, “Knot of Spirit” is an erratic journey of impassioned endurance with the handbrakes off."
This is ace! Prolific Detroit/NYC jazz drummer Gerald Cleaver serves a sterling 2nd album of electronic music, calling to mind Sun Ra, Terrence Dixon, Pekka Airaksinen, Dennis Weise
Attached with the statement “It is very important to me to stress the importance of Tribe. Community is everything" Gerald Cleaver pays homage to his spiritual home city Detroit’s important electronic music scene, also weaving strong influence from his decades playing in myriad NYC jazz constellations - playing skins alongside legends including Roscoe Mitchell, William Parker, Wadada Leo Smith, Marcus Belgrave, Lou Reed.
His drummer’s instincts at at the root of seven cuts cultivating FM synthesis, pulsing drum machines and touches of keys and trumpet by Cuba’s David Virelles and US player Ambrose Akinmusire, respectively, into wonderfully effervescent and playful works that remind us to many, many touchstones, but delivered with a verve and open-ended, psychedelic aesthetic that’s dead easy to get lost inside.
Legendary Turkish jazz drummer Okay Temiz (The Don Cherry Trio) lends his skins to a clutch of coiled, pendulous grooves by Belgium’s soFa and german musician Houschyar
Initially conceived in Istanbul, 2018 as a duo work by soFa and Houschyar, the recordings took a very smart turn after the pair paid a visit to the drum studio of Okay Temiz, one of Turkey’s most lauded musical figures. Drawing on well over a half century of experience since 1955, Temiz brings his serpentine percussion and home built electronics to the original grooves in six hip-swivelling parts, slipping down the groovehole somewhere between the likes of Tolouse Low Trax, Red Axes and even Christos Chondropolous with a mesmerising application of instinctive, arcane rhythmelodic tekkers linking middle eastern traditions to Brazilian styles via Berimbau and Cuica, plus self-built instruments that really lend the EP a unique tone and twang.
Amos Childs (Jabu) and Sam Barrett (Kahn & Neek) aka O$VMV$M have traditionally dealt in hazy, smoked out vignettes - seen across release for Idle Hands, No Corner and most recently providing music for the Manonmars LP.
Last clocked on Cold Light in 2020, the duo return to their spiritual home with a bad head on the mystic digidub charge of ‘Phase 4’, whereas the heavy troddin’ ‘Witch Linen’ works to a screwed systolic thrum spooked out with cackling samples and primed for still-glowing afterparties in the depths of autumn.
Ruddy acid gurgle and deep house from Dutchman Wendel Sield, minting the first release on Amsterdam’s Obia Records
‘Discharge’ trades in proper, juicy 303 tweaks laid down treacle thick in jack trak style, whereas ‘Code of Conduct’ loosens up with slinkier drum programming and wobbly acid lines, and ‘Ethic of Reciprocity’ takes a few notches deeper into floating deep house withe acid laid low under bittersweet chord progression.
Two tracks from 1970's Studio One in-house band Brentford All Stars.
"The next killer tune in the brand-new series of all- time classic Studio One party bombs available on super loud 12” - Brentford Road All Stars’ Greedy G is the ultimate reggae record to crossover into hip-hop. The all-time epic sample for Boogie Down Productions’ seminal ‘Jack of Spades’ and based on James Brown’s ‘Get on the Good Foot’. The flipside is another Brentford Road All Stars essential cut, ‘Granny Scratch Scratch’, the heaviest, funkiest dub monster ever. 100% essential monster tunes that rock any dancefloor."
Wicked gqom mutations from Tokyo’s MPC finger-drummer KΣITO, reinforced by Tolouse Low Trax and Kӣr remixes
After turning his hand to juke, KΣITO follows a run of gqom-inspired releases onto A’dam’s Knekelhuis, hammering out martial percussive trills and tense, stately strings inspired by the SA style in four parts. The results feel to loosen up gqom’s rigidity with his subtly offgrid patterning, at best in the flowing flourishes of ‘Kannon Yu’ and skewed with an Far eastern accent on the title tune, while ‘Ao Zora’ is the recalls the Indonesian rhythmelodies of Uwalmssa and co. Serbia’s Kӣr applies his signature rhythmic intricacies on a remix on ‘6th Street’ at a slower tempo that Tolouse Low Trax also holds to on his buoyant, reduced rework of ‘Kannon Yu.’
Mark Fell and Will Guthrie join forces for the second time this year with ‘Diffractions’, the 2nd in a two part series released via the new NAKID label set up by Koshiro Hino of Goat / YPY fame. On 'Diffractions' the pair push ever deeper into percussive R&D informed/inspired by Gamelan and Carnatic musics - massively tipped if you’re into anything from Autechre’s Confield-era abstractions to Milford Graves’ fluid drumming or even the insular soundworld of The Necks.
Rhythm has always been central to Fell’s work, from his icy, repetitive minimalist excursions with SND to his legendary run of unashamedly funked abstract house experiments as Sensate Focus. Here, he continues to excavate that rich seam with an ongoing collaboration with Aussie percussionist Will Guthrie; “Diffractions” pushing both artists’ interests into sharper detail, toying with polyrhythms and unusual tuning to uncover a suite of transformative fidget spins and sonic storm clouds.
“Diffractions” features another two lengthy pieces of future-facing percussive abstractions that blur the line between synthetic and organic. Taking the influence of gamelan and fusing it with the heaving computer music that Fell has obsessively picked-at over the last four decades, the duo here zoom into a sound that’s almost effortlessly engaging; each piece is almost twenty minutes in length but they shift and mutate into polyrhythmic outer-realms and eerie universes of microtonality that are hard to fathom in one sitting.
There are trace echoes of free jazz hanging from the rafters, the post-everything clatter of Humcrush and Food drummer Thomas Strønen’s mind-expanding solo material or even Autechre at their most confounding. The genius here is that just when you convince yourself that this music could only possibly have been generated by a computer, Guthrie’s unmistakably human flex edges into focus - playing with your perception - your expectations - in the most bold, innovative way imaginable. Basically, this record fucking rules.
Call Super aka Ondo Fudd does crystalline ambient house, disko-tek, slinky house and underwater electro on his 2nd 12” for The Trilogy Tapes
Picking up in the same shine-eyed zones as his ace ‘Blue Dot’ 12”, ‘Eyes Glide Through The Oxide’ seduces with a signature mixture of melodic allure and drift-away rhythm, puckering up with what sounds like spittle sucked thru a reed, set against gently sloshing, glassy rhythms and awning new age pads in the title cut, then laying out the lip-smacking late ‘80s disko of ‘Joyride to My Inside’, and playing out two driving but soft-geed house workouts, and finishing on the money with the iridescent electro flourish of ‘Fluenka’s Song.’
Maria Rossi graces Vladimir Ivkovic’s Offen Music with a special new round of plasmic vocal incantations. This stuff works like a book of spells, we tell you.
Descending from her cloud base somewhere above Glasgow, Rossi presents her most succinct suite of tunes in ‘Seesteyttää’ after a handful of progressively tight and impressive releases with Night School and Primordial Void since 2019. Her sound is now so familiar it feels like she’s been around much longer, channelling to our minds the layered vulnerability of Grouper and the arcane wonder of the Cocteaus, but with a contemporary concision that loosely places her in precious zones also shared by Teresa Winter and Orphan Fairytale.
The four songs here are dense but deeply enchanting, eliding inspirations from Finnish folk via rippling rhythmelodic synths and percussion, and subtlest vocal processing, to sound something like devotional music for an ambient love cult. Somewhere between the plaintive sway of ‘Walthamstow Suokellot,’ the chiming bliss pop of ‘Rushmoren Sipulihoyryt Saniaiset,’ and the ice cave ambience of ‘Selkeammat Vedet’ and ‘Taivaankappaleet.’ we ascended to a higher plane...
An absolute treasure of an album, CS + Kreme’s debut is an early contender for 2020’s best - a quietly seductive, deeply romantic and stealthily addictive long player in the most classic, enduring sense.
’Snoopy’ has got under our skin with its opiated elegance and spellbinding hooks over the precious few months we’ve had the pleasure of spending in its company. Through eight immaculate songs and instrumentals, the duo’s Conrad Standish and Sam Karmel expand on the stripped-down chamber-pop of their prized 2016 debut, absorbing aspects of baroque composition, ritualist psychedelia, spiritual jazz and avant classical into their patented framework of groggy 808 bass, slow-baked vocals and none-more-effective, hypnagogic atmospheres.
Where CS + Kreme’s debut 12” for Total Stasis irrevocably came to soundtrack a portion of our lives, especially its highlight ‘Devotion’, we suspect these coming years will be defined by the low lit allure and melancholy of ’Snoopy’. We’ve already lost count of the number of times it’s seduced us to the horizontal from the first strokes of warbly organ and Conrad’s velvet croon in ‘Saint’, only to find ourselves stunned by the hypnic tear-jerk of its denouement during the final stages of ‘Mount Warning’, and genuinely wondering how the fuck we got there/what time is it/where did everyone go?
Pay a little more sober attention to it, though, and you’ll discover the most tender, sensuous body of work inside, slipping from exquisite baroque trip hop in ‘Faun House’ to the divine, Coil-esque ritual prostration of ‘Blue Flu’, and enchanted neo-classical keys recalling Dominique Lawalrée in ‘Pussywhistle Tea’, whereas the groggy skronk of ‘The Whale’s Tail’ recalls a smudged and psilocybic instrumental echo of Leslie Winer’s downtown ennui, and ‘Slug’ could almost be a knackered Andy Stott with a dose of sleazy guilt.
We don’t say this often, but this album is practically perfect in every way. It’s like a therapist who calmly draws out your inner feelings and leaves you in floods of tears, feeling cathartic but bruised. And it may come as little surprise that CS + Kreme are intimately linked to HTRK, whose Jonnine Standish also supplies vocals secreted inside (...be kind to animals, aye), and with whom they share a deep musical pathos. If you’re still reading, you’re evidently intrigued, and we implore you to follow thru and cop the most affective album you’ll hear in 2020. We’d be very happily surprised if anyone surpasses this slab.
100% must check.
Raw and original house music from Mix Mup, leading on from his MM/KM link-ups with Kassem Mosse
Up top he herds the Detroit-modelled hustle of ‘Clear Drive’ with its wooden kicks and recursive FX opening out into lush synth pads and rude bassline, whereas ‘Flair’ is all about gritty, hypnotic motion in a Marcellus Pittmann or Howard Thomas style, and the B-side’s ‘Pa Toppen’ puts some strut in your pipe.
Beatrice Dillon meets Kassem Mosse for two higher register adventures on The Trilogy Tapes following their joint tape for Ominira in 2016 and a live collaboration at Tate Liverpool.
In a very smart move designed to simultaneously demonstrate their taste for extreme, puristic sonics and sidestep any preconceptions you may have justifiably built up from their respective catalogues, they’ve completely jettisoned the beat here in favour of two tightrope-walking pieces following glistening, highly strung partials over cavernous, swelling beds of subbass oscillator roil.
The effect is far closer to Kevin Drumm on a mad one or with a vertiginousness that will likely induce panic attacks in anyone who doesn’t like air travel or heights, ‘cause when they really get going it feels like the world has just been pulled from under your feet and, well, you’re fucking flying pal.
This is one of those TTT 12”s that’s sure to slice neeks down the middle. For our 2p, it needs to be heard on the loudest system you can lay your paws on.
Jay Glass Dubs’ metamorphosis into avant-dub-noise songwriting sloshes to new high water marks in ’Soma’, following a pair of ace twelves with a full 2LP of all-over-the-place brilliance for Berceuse Heroique, somewhere between @mbient pop, gnashing junglist drums and squashed trip hop - often all at once.
Keening between trampling, wrenched roots abstractions and sanguine dream-pop featuring vocals by Young Echo’s Jasmine Butt (Jabu), Athens-based Georgia Karidi, and newcomer Spivak, ’Soma’ continues the direction of JGD’s last few years into forms of alter-pop that come to resemble modernists such as Arca, but still with that primitive-futurist appeal rooted in dub and Greek myth.
The label cannily beckon you to think of the LP in terms of a “palimpsest”, or eternally overwritten work, where the scars and DNA of life, the voices of Bristol, Detroit electro and the amen break are overlaid in a complex, pagan-sacred geometry - everything at once - with hazy forms emerging from the ’Soma’, which translates from Greek as “Body”. But to put conceptual baggage aside, the results hit heavy and direct on the soul and locked down limbs.
Highlights such as ‘Your Raps’ balance a rude looseness with puckered melodies and almost gospel-like harmonies, and ‘Our Reversed Uniforms’ forges a trance arp-wrought trip hop featuring Spivak, smudged up against what sounds like Arca’s alien pop ballads in ‘The Wrong Frame’, and gnashing high velocity dance music in ‘Wagon Prophet’ that betrays influence from deep central and Eastern Africa in the modern day, while ‘Now Set Up’ is a wickedly dramatic, innovative spin on UK D&B rolige.
Lissom, soul jazz-fuelled house and broken beats from Aussie unit Close Counters, displayed by Melbourne’s Wax Museum
No doubt their ‘Flux EP’ is destined for sunny climes and times, brimming as it is with more juicy basslines, vocal harmonies and swingeing percussion than you wiggle a lolly stick at. fans of Amp Fiddler, Theo Parrish, or Dego will be in their element between the in-the-pocket hustle and blue-eyed soul vocals of ’Something In My Drink’ and the bumpty disco-house swerve of ‘Feel it,’ while \Up and Out’ loosens their belt for a some proper hip action, and ’Speak In Truth’ snaps the funk tight on a broken beat bustle.
OOOF! Upfront SA bubblegum house pressure from Morgan, dealt by flawless Amsterdam label La Casa Tropical
Hitting it hard and bright from the top, ‘Vakowana’ tees up UKF-compatible snares with natty keys and percolated bass in a style that actually feels too fast to be from SA back in the day, but it is what is; banging! There’s a straighter house version on the flip with more Bowlers-style piano house chops, but the A-side is all you need.
Deepchord’s Rod Modell and Viennese sound artist Marit Wolters’ induce ur states of mind with 74 mins of fathoms-deep amniotic sound suspension for Italy’s excellent Silentes programme. If you're a fan of Modell's most vaporous ambient dub excursions - this one's for you.
Following Modell’s thrilling change of tack into rapid techno on ‘Captagon’ in 2019, he again expands his palette here with a subtler fusion of his most ephemeral atmospheric timbres and Marit Wolters’ micro-sound design to endlessly nuanced and evolving/involving degrees. Any semblance of chord structures are less distinct now, smudged into a static but unfathomable infinity where it’s true that still waters run super deep.
Patient reception (preferably at night) will be rewarded with a finely gradiated fade into phosphorescing sferics and chasmic infrasound riddled with a haptic rustle that intensifies the breathtaking synthetic environment with a human touch. One for the believers, and followers of anything from Huerco S/Pendant to Bellows to uon or Pinkcourtesyphone.
Japanese “noise” masters The Gerogerigegege go quiet on the super limited vinyl edition of their 2019 tape for Tokyo clothing label Cav Empt, delivered via TTT.
Showcasing the flip side to their abject noise and playful cut-ups, ‘>(decrescendo)’ sees them ditch the noisy extremity for 40 minutes bathed in pastoral new age ambience and riddled with iridescent, melodic lines of thought that will probably mess with preconceptions of what they’re about (unless you’ve really delved into their catalogue stretching back to ’85).
Mala’s most requested DMZ anthem available on a 15th anniversary digital drop
The storied 7th release on Digital Mystikz’ label originally appeared on a AAA-rated, AA sided platter in dubstep’s breakthrough year 2006 backed with ‘Haunted’, but instantly took on a life of its own as DMZ’s end of night anthem. Despite running under the Digital Mystikz moniker, it’s long been known - and is now confirmed - that’s it’s a Mala production, and with no small input from Spen-G’s sing-a-long vocal. Clued up steppers will know it can be found on digital formats via Mary Anne Hobbs’ ‘Warrior Dubz’ compilation, where it sat among exclusives from likes of Andy Stott and Burial, but in case you snoozed, don’t think twice about grabbing the digi’s, ‘cuz the 2nd hand vinyl prices are just wild (if kinda justified for such a weighty one).
Pendulous, offset and jazzy deep house flavours from Japan’s Yoshifumi Sodeyama (DJ Sodeyama) in flow as The People In Fog
The title ‘1977’ hints at the EP’s disco and jazz-dance flavours, coming thru in six svelte, richly bass-heavy groovers strung out with strolling double bass-lines, peppered with live percussion and vocal samples, and leading up to me spicier, driving acid and breakbeat cuts.
Squabbly sax/trumpet dialogue between two catalysts of the contemporary improv and free jazz scene, following an exquisite corpse style of back ’n forth to rework their material into exclusive cuts for Superpang’s lockdown series
“Chicago saxophonist/composer Ken Vandermark and New York trumpet player Nate Wooley had been operating in each other’s orbits for several years- having worked together with Paul Lytton, Joe Morris, Agusti Fernandez, and Terrie Ex- before putting together their duo project in October 2013, when they toured the United States for the first time. With this unique ensemble, they deal directly with each other’s iconoclastic compositional and improvisational vocabularies and have created a book of original material that takes inspirational cues from the under-appreciated work of John Carter and Bobby Bradford (two of their compositions are part of the group’s repertoire). Vandermark and Wooley have worked together to create an organic combination of the jazz tradition, free improvisation, and modern composition, and have then placed it into the raw and intimate context of this duo.”