Purple-bruised Dutch techno-house from Mark Du Mosch, effortlessly commanding your jack with four tracks of driving, messed up late night music.
The Red Hour is a straight winner accentuating recoiling kicks and slinky tropical rhythms with a payload of intensifying electro disco noise. Fusillade follows at a stealthier pace with grubby bass and cranky, militant snare tattoo clad in dank Lowlands atmospherics.
Special Forces meanwhile nails a killer deep and minimal techno swing laced-up with virulent 16th note arpeggios, and Vigil burns with amore blunted, brooding vibe between arcane New Beat and industrial vibes.
A ruthless digi-stepper from the Mark Ernestus and Honest Jon's-curated Dug Out label!!!
They've truly outdone themselves this time, laying down Anthony Redrose's 'Electric Chair' on a scorching riddim set by JA producer Dennis 'Star' Hayes in 1989. We're left breathless after five plays through, shocking out to the jolting stab syncopations and throbbing futurist bassline. If you've ever been caught up in a Mark Ernestus DJ set and pondered over how much it sounds like techno then this will join the dots for you. Don't sleep! This is a Baaad!
'Gimme Back' provides us with more classic Bullwackies production styles, catching the Love Joys in full flight.
The tune is heart rending, the harmonies magnificent, soulful organ, rocking horns and a crisp Junior Delahaye drum programme, and a finely crafted, deep dub. 'It Ain't Easy' features bluebeat veteran, Blues Buster PHILIP JAMES alongside SONIA ABEL at the microphone. 'Stranger Get Up' is the slower, keyboard cut: moody and honed down to essentials. Yet another exclusive rounds off proceedings, 'Roots Vibes' - again replete with a version - dates from the sessions for the Reggae Vibes album (also recently reissued by the Rhythm & Sound crew. More missing chapters.
On his first Metamatics EP in a decade, Lee Norris gets back to classic fundamentals with the woozily insistent electro of Bodypop for his revitalised Neo Ouija label.
Announcing reentry to a scene that’s been primed for this sound via recent output from Call Super, Plaid and Objekt, the Bodypop EP is riddled with loose and slippery electro rhythms and warm pads that should slip very easily into contemporary sets, particularly in the fluid warm-up tackle of the title track and with sharper 303 contouring and piquant synth tone in the nocturnal gaze of Image 2 Image, whilst Midge Image offers a more pinched but swollen electro variant flaring with brassy sci-fi dissonance and Moor Mist introduces some gorgeous, if ghostly chorales to E.R.P.-like rhythms with poignant effect that should run a shiver down the dance floor’s collective spine.
Scowly Berlin electro-techno from the Dark Sky trio, back on Modeselektor’s Monkeytown Records with a hunched roller called Kilter traversing from dark side to a chufty post rock swell in the second half, whereas the more pensive, secretive Acacia provides a satisfying ending.
John Elliot (Emeralds) and Andrew Veres rekindle their Outer Space fantasy with Gemini Suite, a lustrous and wide-eyed minute projection “fit for aiding in sleep, late night meditations, and long drives on I-71”, making a worthy follow-up to their pulsating Phantom Centre (2014) trip with Editions Mego, and Amethyst Sunset’s recent-ish vinyl release of that cracking Aaron Dilloway tape.
Take it on trust there are no sharp edges or shocks within Gemini Suite. Everything is contoured and cushioned for endless flight, with no impediments to your journey, which only seems more real/immersive because of it’s organically subtle synthesis.
Comparisons can be cleanly made with the soundtracks to syndicated nature programmes on ‘80s and ‘90s telly as much as classic sci-fi fantasy scores and privately pressed new age excursions, but ultimately the feeling is suspended between them all, hovering in that shared formative zone of expression that’s inescapable to anyone who grew up through those times, and who can still allow themselves to bypass cynicism and let themselves be taken somewhere utopian, if even only for half an hour.
Cosmic creme for the dreamers.
The new album from Dedekind Cut, brought to you via Non Worldwide and Hospital Productions.
Over the last 12 months Lee Bannon’s transition into Dedekind Cut has yielded some of the most curious, immersive electronic music from the USA. His transformation now appears to be complete with the strikingly spacious and absorbing ambient sound designs of $uccessor, the NYC-based artist’s debut album in this guise.
It feels as though Bannon's previous releases, American Zen for Hospital Productions, and the scything torque of R&D with Rabit, were cleverly planned stepping stones into this brave new world, where he establishes a dream-like topography of diaphanous ambient pads pitted with the shrapnel of grime and trap, ultimately revealing a simulated, otherworldly environment deeply personal to the artist.
His amalgamation of layered ambient dimensions with haunting harmonic figures nods to early ‘90s AI and electronica from FSOL to Coil via the antecedent spheres of modern sci-fi and computer game soundtracks, whilst also existing in a history of North American computer music and noise that connects to the spirits of Prurient and Carl Stone.
We’re parachuted in like an avatar in No Mans Sky to the lush levels of Descend From Now, streaking across the iced out sino-eski zones of Instinct to the heart-rending eight minutes of Conversations with Angels and the perpetually elusive rhythms of Fear In Reverse, before the hyaline harmonies of ☯ makes his most faithful, explicit nod to Coil, and Integra reaches to more optimistic new age planes before culminating in the aching chamber figure, 46:50.
It's telling that the album is brought to you via two highly individual labels such as Non and Hospital Productions - this meeting of worlds provides a context for the music itself, making for an album that we'd recommend as much to those of you who have enjoyed recent outings by Chino Amobi, Rabit or Arca, as much as followers of Prurient or, indeed, Dominick Fernow's Rainforest Spiritual Enslavement project.
It's easily one of the most absorbing, sometimes disturbing Ambient albums you'll hear in 2016.
Loke Rahbek returns under his Croatian Amor alias for its first full-length since 2014's 'The Wild Palms,' a release that was made available on cassette for a single month, and only in exchange for a nude self-portrait. This one is really one of the best things we've heard on Posh Isolation so far - an excellently produced excursion through post-industrial, ambient and darkened pop tropes that come highly recommended if you're into anything from Alessandro Cortini through to Cold Cave, Prurient, Vangelis and beyond.
Across the 12 tracks of Love Means Taking Action Loke emerges from the shadows of Prurient/Hospital Productions and early Factory Records to define a stylishly gloomy spirit in his own image, following a silvery thread of dark, lustful inspirations from the stark, gothic ambient pop of An Angel gets His Wings Clipped thru wickedly bombed-out post-techno zones in Any Life You Want to the celibate drones of No Sex Club (Man) and soaring synth trajectories of Reality Summit and the slow dawning of romantic tristesse with Love Means Taking Action recalling the most perfect moments of Cold Cave.
Over the last year we’ve definitely noticed Posh Isolation begin to transcend their influences and really come into their own as representatives of diverse, cold, northern European pop, noise and electronic music. So it’s fair to say that the exquisite Love Means Taking Action, by one of the label’s main pillars, will come to define this period for time to come.
If you’ve been cautiously checking the label so far, this one demands the attention of all wallowing goths and monochrome industrialists.
An excellent Arvo Pärt primer...
"Arvo Pärt creates music of deceptive simplicity, and listening to his work can be a transformative experience. Imagine taking your ears on a retreat, and you’re some way to understanding why his work is so popular.
The Estonian composer underwent his own transformation in the 1970s, having explored dense avant-garde music in the early part of his career. He put himself through an eight-year creative exile, and emerged with a new, purer voice. The Arvo Pärt that many people are devoted to today (including R.E.M.’s Michael Stipe and Björk) creates music that cleanses. A sonic detox."
The PAN label's premier purveyors of “chamber doom” return with a new cycle for longtime alibis, Antifrost, following their acclaimed folk trilogy of LPs between 2014-15, and the still-resonating tones of Som Sakrifis (2013) for PAN.
If you’ve encountered any of the aforementioned, you will have a very good idea of what to hope for in the 3-part Pèkisyon Funebri; namely a majestic sense of struggle against the flattening feeling of despair and fatigue that haunts our times.
This is music which appears to carry the weight of the world on its shoulders whilst wielding a cello and bow in its heavy limbs, dredging the psyche for signs of life which are found and coaxed from their holes to emerge as churning low-end gestures who reinforce their dual resonant frequencies in slow, wide vortices aimed at centring and quaking your thorax.
Subterranean in their prostration but sidereal in hope against the frustrations that we can only imagine must be felt in Greece right now, Pèkisyon Funebri is a masterful reminder that even at the lowest ebbs there is solace and resilience to be found if one remains faithful to the search.
Flawless, romantic futurism from Kuedo, channelling the deepest thing for emotive anime scores, coldest trap beats and cinematic sound design into a magisterial 2nd album for Planet Mu 18 months after the release of the dramatic mini-LP, Assertion of a Surrounding Presence (2015) on his Knives label.
Plainly speaking: Slow Knife is everything you hoped for and then some. Using an increasingly formidable technical knowledge of how sound is deployed in film and TV - coupled with highly refined tastes for trap’s platinum bling and the enigmatic appeal of early ‘90s synth scores, he has achieved a feel for immersive environments and impressionistic narration that’s rarely equalled within the current field of producers.
Kuedo’s is a sound reared on a steady diet of imported US, UK and Japanese sci-fi - from the True Detective and Ghost In The Shell scores to Mica Levi’s Under the Skin OST - and filtered thru the sensibilities of classic electronica in a Berlin studio; sincerely and skilfully distilling all the best, cheesiest (read: most affective) elements of each style and place in pursuit of a prescient vision which has lit up the scene ever since his early work with Vex’d.
As opposed to his collaborator-crammed Assertion of a Surrounding Presence LP, he’s only allowed two other artists into his sphere this time, with Wild Beasts’ Hayden Thorpe crooning on In Your Sleep (took a couple of times for this to sink in, but it definitely works), and cello from Koenraad Ecker (Lumisokea) on Broken Fox - Black Hole, but the rest is entirely the figment of his imagination come to life.
From the title sequence of Hourglass and the wounded alien wail of Under The Surface, thru the diaphanous dimensions of Floating Forest and the sublime X-Files tone of Love Theme, right up to the knuckle-cracking trap closer, Lathe; he knows exactly how to play with our sense of anticipation and resolution like some seasoned Hollywood pro, but without the pressures of film producers and big budgets hanging over his head.
Ultimately it’s a worthy successor to Severant, both conceptually and technically, and arguably makes the wealth of early ‘80s and kosmische-referencing synth music currently in circulation seem dated by comparison.
Devotional Songs marks a necessary and refreshing change of direction by Shackleton; collaborating with London-based Italian castrato-style singer Ernesto Tomasini to sound like some lost Coil recordings.
The whirligig drawbar organs of Shackleton’s releases since 2012 are still in effect, but tempered in balance with Tomasini’s remarkable vocal range and some really lush, almost Detroit-style synth harmonies and ritual atmospheres whilst his signature palette of bass and drums hints at some Far and South East Asian influence in the vein of Sleazy’s Threshold HouseBoys Choir recordings.
It’s a beautifully self-contained project covering a broad range of esoteric topography from the detoxing vibrations of Rinse out All Contaminants to the sweepingly epic resolution of Father, Yiou Have Left Me, whilst unmistakably referencing some of Coil or Current 93’s most haunting moments in the chiming harmonic haze, swelling chorales and operatic drama of You Are The One, and the spirit-rousing string arrangements in Twelve Shared Addictions.
You Know What It’s Like is the quietly breathtaking debut album from Carla Dal Forno ov Tarcar and F Ingers - an incredible debut which tip toes the finest line between contentment and aching vulnerability in head-turning fashion.
Her voice is exquisitely fragile but poised and confident with it; representing an unshowy resolve which, despite its gothic chic, actually feels fresh and necessary - operating counter to contemporary glitz and glamour with clear allusions to her heroes, such as Nico or Anna Domino.
Prefaced by two single tracks, the departing dream of Fast Moving Cars and the ghostly nerve pincher What You Gonna Do Now? the album also features six new songs clocking in at just under half an hour, following a bedsit slug trail from the mildew sprawl and nitrate bubble of opener Italian Cinema to the ‘floor-stalking sleep house thud of DB Rip and a deep drifting instrumental, Dry In The Rain, strewn with melodica-like pipes and cobwebbed in acoustic guitar strum like some dusty eldritch dub of A C Marias.
In the album’s twilight hours, Carla really comes into her own on the title song, flitting between Crepulscule-esque songcraft and slow-rocking traces of UK dub, her vocals urgent but nevertheless nonchalant, before Dragon Breath recedes back into the mists of chamber music and she proceeds to pour a potent, near paralysing nightcap and shuffle away from the screen down a long corridor, fading to black in The Same Reply.
We’re utterly smitten, this could turn into a proper addiction.
This is very tasty indeed: Lawrence English and Xiu Xiu's Jamie Stewart’s Hexa duo present their soundtrack to an exhibition of David Lynch’s factory photography, Between Two Worlds, which was displayed at Brisbane’s Gallery of Modern Art in 2015 and is now presented as a fully realised release.
We can hardly imagine a more evocative subject to work with, and Hexa pick up the task with aplomb, spilling ten tracks of imposing scale and cavernous structure that heavily resonate with the monotone brutalism of Alan R. Splet and David Lynch’s own, seminal soundtrack to Eraserhead. They describe it as “a work that maps the terrain of Lynch’s photographs, and more broadly, the idea of industrial music in a post-industrial age”, and at the hand of English and Stewart the results are both beautiful and terrifying.
Like Lynch, we’re also rather partial to a good factory building or warehouse, and can definitely relate to his comments on the subject: “I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful.”
HEXA really nail the brief, distilling trace elements of all the unheimlich styles that Lynch’s art has inspired over the generations, from industrial noise and drone in the toiling Sledge to doom metal in There Never Was and dominating electronic atmospheres in A Breath.
Huge recommendation if you're into anything from Lynch, Sunn O))), NiN, Thomas Köner etc.
Mica Levi is without question one of the most interesting producers working today, with numerous strings to her bow she has repeatedly wowed us with everything from skewed rhythmic edits to her chopped & screwed take on classical arrangements, hooky 3-minute pop tracks to squashed Urban mixtapes - always seemingly side-stepping expectations with a singular approach to everything she's put her hand to.
Following her standout, brilliantly unnerving score for Jonathan Glazer’s Under The Skin a couple of years back, Levi now returns with her second high-profile soundtrack, this time for Pablo Larraín’s Jackie.
There are some pretty amazing interviews with Levi around at the moment (both written, and a couple of totally hilarious Video ones where she makes no concession to what’s expected of her - go find them!), and the tiny insight she gives to the recording process does very little to explain quite how she manages to make a sound so utterly identifiable as her own, regardless of the scale of the production. You’ll find out that she likes to look out of the window when she’s writing, for inspiration, and that despite a classical grounding (at Guildhall) she likes to layer strings in such a way that they attain a kind of school-band quality to them, ever so subtly messing with harmonics in a way that defies tradition.
And that’s the thing with this incredible soundtrack - it sounds rich and beautiful and hugely accomplished, but also ever so slightly off. The use of silence, dissonance, recurring motifs that accelerate and unravel as the soundtrack goes on... is quite something to behold. It’s a hugely confident, self-assured and above all gripping score that is never emotionally heavy-handed, nor does it ever sound like it's trying too hard.
Rather than adapting herself to convention, Levi has re-moulded the genre itself to fit around her acutely non-conformist approach to composition and production and, in the process, has in some way re-set our expectations of what a film score can achieve. She’s done that twice now, on her first two goes at it, which is really quite staggering.
We’ve said this so many times now it almost goes without saying, but there really aren’t many people in contemporary music leaving quite as indelible a mark across so many different genres and sub genres as Mica Levi, in a way that, in our opinion, hasn't really been seen since Arthur Russell or Prince.
Gatefold LP reissue. Available again for first time in years
'Break Through In Grey Room' is an historic collection of cut-up tape works by William S. Burroughs aided and abetted by Ian Sommerville and Brion Gysin. First compiled and released in 1986, but documenting recordings made and cut-up during the mid-'60s in hotel rooms of Paris, New York, London, Tangiers, it stands as testament to Burroughs pioneering work striving to "cut the pre-recorded time line of present time, and let the future leak through", by splicing and dicing recordings of monologues, radio waves, and Morroccan joujouka music until they're utterly deconstructed and take on a whole new meaning.
The outstanding maiden release on Pete Swanson’s Freedom To Spend label is a reissue of Michele Mercure’s sublime obscurity Eye Chant (1986), which was originally issued under her then married name, Michele Musser, and has since become a proper collectors item regarded for its patently otherworldly blend of minimal wave, new age ambient and creamy, krauty electro boogie.
In the early ‘80s, with a background working as a cell animator, and hailing from a mid-sized industrial town, Harrisburg, Pennsylvania, USA, Michele was embedded in the the town’s visual arts community but suffered for lack of decent music - a familiar whinge from anyone who grew up outside of the big cities - so she made her own wickedly inventive and expressive sound using synths, effects, tape loops, vocals.
Her visual and musical worlds first gelled in a 1983 soundtrack for Samuel Beckett’s Waiting For Godot, followed by three self-released cassettes which built on that aesthetic, creating a richly synaesthetic style of highly visual yet mostly minimalist music.
Released a few years later, Eye Chant was the pinnacle of her output, and is now revealed to the world at large, thirty years later. From the rim we’re sent skyward into the waltzing orbit of Tour De France (Day 2) and kissed with the budget Jean Michel-Jarre vibes of In The Air, handing over to the wistfully primitivist incantation, The Intruder and hitting lightspeed with her soaring soundtrack for a performance art piece, 100% Bridal Illusion, where she calves from ecstatic highs into a scene of tumbling 606 drum machine, seagulls and nods to squabbly free jazz.
The others also live up to her name, almost imperceptibly shifting from glowing microtones to alien noise and slippery, lounging electro fusion with Dream Clock, and then like some salty-curdled ambient stroke in Proteus and the Marlin that uncannily reminds us of mid ‘90s Rephlex charms - think super melodic AFX or Cylob - before melting all over the ‘floor with a wigged-out waltz called Too Much primed for the back room at One Eyed Jack’s.
It’s easy to hear, this is strongly tipped to fans of Julia Holter, Suzanne Ciani, Kaitlyn Aurelia Smith, AFX, Irdial Discs.
Important tape cut-ups of readings - available on vinyl for the first time...
"William Burroughs was in and out of London from the mid-50s through to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works. The work here is in 2 sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash.
The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves also being cut-ups of words on the page. The first section of the tape uses further processing by means of a 2nd tape recorder. Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of a hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.
The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP."
Not for the first time, but arguably the most significant, Pye Corner Audio crosses paths with Ghost Box for his first LP of 2016; a narcotically hypnagogic and dystopian trip entitled Stasis.
At least one leap year cycle since his last album with the GB’s, Sleep Games, right now this one feels like a stygian trudge into bleakest futures, operating at such a stoned pace that it moves slower than actual time, and by submitting to its temporal warp we’re allowed to regress back into a pre-digital epoch of paranoid cold, or even civil war atmospheres and paranoia.
It could almost be the soundtrack to a Ben Wheatley flick (low budget, not the over-glossy high rise) about British time travellers, forgoing Dr. Who queso for a more hard-boiled, furtive vibe about anachronistic assassins sent back to kill Nigel Farage at birth, only to uncover that he’s part of an exceedingly dangerous non-human race with ties to Johnson, Cameron and all the other pebble-people, so they round them all up and lock them in a hostel in Middlesbrough with a broken kettle and packet of poisoned monster munch between the lot.
Of course, that fantasy is all set to a soundtrack of wistful electronic mists and pulsating arpeggios that could be right out of some late ‘70s / early ‘80s synth library, and ultimately shows that whilst technology has advanced in the meantime, that ostensibly archaic music still reflects an underlying eldritch darkness contemporary and relevant to both eras, then and now.
Techno hypnotist, Rrose, returns to Eaux with the pocket watch attractions of 'For Aquantice'. Made up like the unholy offspring of Papa Lazarou and Norman Bates in mummy's boy mode, Rrose peddles three patented and mindbending wormholes, subtly sucking us in with Eleh-esque purist sine tones to the rasping rhythmic skeleton of 'Levitate' and the recursive abyss of 'Vellum' on the A-side, whereas the sleek, pulsating throbs and spiralling oscillations of B-side's 'Signs' take hold with intra-venus strength and potency. They're proper deep brain and tissue stimulators.
Pete Swanson's Freedom To Spend label unearths and dusts off this total killer from Marc Barreca for this handsome, much needed reissue
With 4th world pioneer Marc Barreca’s ace solo debut Twilight now back in circulation thanks to K. Leimer’s Palace Of Lights, Jed Bindeman and Pete Swanson’s promising new label Freedom To Spend present Barreca’s stranger successor album Music Works For Industry (1983) on vinyl for the first time after a necessary issue of Michele Mercure’s Eye Chant oddity.
As opposed to Twilight, which found Barreca working solo with Eno-esque systems-based music, Music Works For Industry finds him taking contributions from members of Seattle’s close-knit community of electronic explorers, and working them - albeit as unrecognisable from the original source - into a series of playfully spiky creations as porous to influence from synth-pop, industrial as ambient music, and sounding much rawer, primitive, skronky and surreal than most else coming from the 4th world nodes at that time.
Rendering the original tape in its entirety - no edits or altered track list - the session slips and slides between cute, almost cartoonish pulses, hooks and voices in Community Life to rudimentary, swampy funk chops in the closer Church and State. What happens in between is akin to the soundtrack for some Canadian TV for schools programme or a series of calisthenic exercises for post-punk and new wave mutants; an assembly of off-grid rhythms and dislocated sounds kerned, smudged and processed to recall a very early iteration of the ‘dances’ from Rashad Becker’s Traditional Music For Notional Species or a colder, distant precedent to the kind of crooked creations coming from Luis Delgado and Eugenio Muñoz’s Mecanica Popular studio.
Sandwell's anonymous entity serves two more tracks of needling, tunnelling Techno following the excellent 'Motormouth Variations' LP.
A-side is the kinetic corrugations of 'Shepherd's Brine', an acrid stretch of strobing pulses, circuit noise and chugging, insistent bass. Flipside 'Waterfall' is noisier, biting down on teeth-knocking handclaps and tinfoil synth tones until the whole experience becomes viscerally intense and slightly masochistic. The heads will love it.
Richard D James' classic album from 1992, re-pressed countless times but still sounding as vital and impoirtant as it did way back when. Still probably the most uplifting and nostalgic thing in the AFX catalogue...
Axiom has significant historical importance by being what is quite possibly the first European free jazz record, even if it was not released at the time.
"Recorded in Copenhagen in October 1963, it should have been Tom Prehn Quartet´s debut album for the Sonet label. But by the time the test pressings arrived, a couple of months later, the music already sounded old to them and Sonet subsequently pulled the plug. A few sleeves and labels had been printed but only two complete copies survived, making it one of the rarest jazz albums ever.
Axiom is expressive, full frontal free jazz of the highest order, and to think it was created by Danish musicians, most of them barely into their twenties, in 1963, is frankly mind-boggling. On the other hand, Scandinavian audiences, especially in Denmark and Sweden, had already welcomed controversial musicians like Albert Ayler and Cecil Taylor with open arms.."
Mono No Aware (もののあわれ) is the first compilation to be released on PAN, collating unreleased ambient tracks from both new and existing PAN artists. Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy, ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA, the compilation moves through more traditional notions of what is called ’ambient’, to incorporating wider variations that fall under the term.
PAN’s first label compilation takes the shape of an introspective ambient suite revolving central themes of “an empathy towards things” or “a sensitivity to ephemera”, and effectively distills and renders the feels of a whole new wave of contemporary artists. It serves to beautifully illustrate the label’s depths in unity and common purpose with tracks by key roster - M E S H, Bill Kouligas, Sky H1, Helm, Yves Tumor, Jeff Witscher (Rene Hell) - as well as a smart influx of extended family and new producers - TCF, AYYA, Flora Yin-Wong, HVAD & Pan Daijing, Kareem Lofty, Malibu, Oli XL - who refresh and perfectly expand the label’s already unfathomable breadth of styles, personnel and their perspectives.
By some distance the label’s most sublime release, Mono No Aware is presented as “a meditation on mortality and life’s transcience” in an attempt to come-to-terms with the intangible nature of time and the perceptive boundaries between “memory and hallucination…; or reality and fiction”.
It does so thru 16 subtly personalised and compatible pieces, with results that speak to a world of increasingly chaotic flux and instability by simultaneously mirroring its confusion while also providing an inclusive safe space away from it; offering mutual gridwork for a spectrum of expressive nuance that takes in the billowing lushness of Egyptian artist Kareem Lofty’s Fr3sh at one end, and the colder digital soul of Danish/Chinese duo HVAD & Pan Daijing at the other.
In the space between, under Bill Kouligas’ curation, Mono No Aware transcends vast, ostensibly detached time and space between Polish producer AYYA’s exquisite Second Mistake and U.S. artist Yves Tumor’s elusive/illusive Limerence to highlight their differences and similarities, vacillating the windswept dynamics of Helm’s Eliminator with ADR’s ambient-pop hymn Open Invitation and jumping from the needling peak of Mya Gomez’s justforu to Bill’s own ambiguous blend of agitated noise and aching melancholy in the rare outing, VXOMEG and in a tormented but optimistic way mutual to the M E S H and Sky H1 cuts and especially TCF’s C6 81 56
On one level Mono No Aware helps to rescue ambient music from the clutches of neo-classical bores, and on another helps to firmly place it within context of the modern world.
A brilliantly curated, hugely satisfying collection of tracks.
The seventh volume of our acclaimed Spiritual Jazz series examines the influence and impact of Islam on four decades of jazz innovation.
"Through Malcolm X and Muhammad Ali, the civil rights era in America saw African American liberation politics famously associated with Islamic belief. This was not the first time that radical developments in African American cultural life had been widely and famously associated with Islam - that distinction belongs not to political or sporting giants, but to the progressive jazz musicians of the bebop generation. Kenny Clarke, Art Blakey, Sahib Shihab, Gigi Gryce, Idrees Sulieman, Ahmad Jamal, Yusef Lateef; all these legendary jazz pioneers - and countless more - were early converts to the spiritually charged Ahmadiyya school of Islam.
Their faith profoundly influenced the music that they made, and the presence of prominent and innovative Muslim musicians at the heart of jazz culture in America has been recognised ever since. The tracks on this collection follow the story of Islam and jazz from the 1950s to the 1980s. Recorded by Muslim jazz musicians, they often draw specifically on
Middle Eastern or Islamic music, dream of an esoteric or spiritual Afro-East, or invoke the landscape and sound worlds of Islamic Africa. Spiritual Jazz 7 presents a selection of visionary music - inspired by faith, powered by jazz."
Fiction / Non Fiction is a wonderful debut album of quietly inquisitive and poetic compositions from Olivier Alary - the Montreal-based Frenchman with form for Rephlex (as Ensemble) and Björk (production on Medulla and Voltaïc) - offering an absorbing suite of instrumental soundtrack works produced alongside Johannes Malfatti and various members of the Montreal firmament for some ten arthouse films from the last decade.
FatCat’s modern classical outpost 130701 play willing host to this compilation of Alary’s film work, sequencing an hour of music from the Frenchman’s past five years of soundtrack compositions. There is a clear and soothing sense of flow to ‘Fiction / Non-Fiction’ despite the fact it’s been pulled from a variety of film sources, dates and locations, and this is obviously down to Alary’s talent as a composer and musician.
Commencing with a pair of tracks from Alary’s contribution to Yung’s Chang’s award-winning 2012 boxing documentary ‘China Heavyweight,’ the album retains an evocative poise as he eases through an assemblage of instruments. Nestled in amidst the soundtrack work are two compositions Alary recorded specifically for this album that further enlighten us to his unerring instrumental skill. Pulses (For Percussion) is a sumptuous exercise in polyrhythmic harmony using gong, marimba and vibraphone whilst Pulses (For Winds) works similar wonders with an array of woodwind.
It definitely recalls a whole host of experimental works from the world famous Montreal scene, but also dovetails with the recent brace of scores by Jóhann Jóhannsson as well as Stars Of The Lids’ solemn airs, whilst the composer also finely incorporates nods to Julia Wolfe, Julius Eastman, and the GRM within his uniquely coruscating and tenderly decayed post-tonal timbres.
Following on from that hugely sought-after Green Graves issue by Rainforest Spiritual Enslavement, Hospital Productions re-examine the longstanding intersection of Industrial and Ambient music on this exceptional collaboration between two of the label’s most interesting producers.
Originally released in a private press run of handmade tapes, the collaboration was made in person with Alberich and Lussuria making use of digital synths in homage to that distinctly European scene of the mid 90’s that combined hardcore Industrial textures with Ambient pulses. It’s a sound you’ll be familiar with if you’ve immersed yourself in the most unnervingly quiet sections of the last few Prurient albums, building a kind of futuristic soundscape situated somewhere between David Lynch, Kevin Drumm and a more dystopian variant of Brad Fiedel’s distinctive soundtrack to The Terminator.
Alberich’s instinct for harsh propulsive rhythms is here tempered by Lussuria’s weird topography, the digital rendering adding a kind of artificial foundation quite removed from the throbbing earthiness you’d find on a hardware session. Instead, the more linear trajectory of so many dark Ambient excursions is replaced with a constantly shifting landscape, veering from an oddly displaced vocal narrative into pounded, crumbling rhythms at some points, while those sinking subbass sands keep things resolutely atmospheric for the duration.
There are no concessions to that blackened aesthetic here, if you were into Green Graves or want to immerse yourself in one of the most brutally atmospheric albums you’ll hear this year, we urge you to check it out.
Live performance brought out Throbbing Gristle's talents for improvisation and provocation, and it's no coincidence that most of their classic albums contain sizeable extracts and edits of their shows; the live arena - be it grotty club, gallery space, concert hall or even the band's own rehearsal space - is where the action and the innovation really happened.
The bulk of Heathen Earth documents one particular performance which took place in 1980 on "Saturday the 16th February between 8:10pm and 9.00pm"; the tracklist is filled out with two recordings from two separate performances in '78. It's a hugely enjoyable listen, arguably capturing better than any of the "studio" albums the tension between free-wheeling abstraction and structural discipline which defines the group. It's also probably the most obviously electronic TG album of its time, Gen's guitar and Cosey's cornet duelling with Carter and Sleazy's clipped, clammy minimal synth constructions: 'The Old Man Smiled', 'Something Came Over Me', 'Don't Do As Your Told, Do As You Think' and 'The World Is A War Film' are all breathtakingly, pulsatingly ahead of their time.
'Still Walking', first heard on 20 Jazz Funk Greats, sounds even more surreal and seductive in its live incarnation, Cosey's dour East Yorkshire vowels echoed to infinity, before P.Orridge presents a vision of paranoia and self-loathing purified in 'Sub Human' and 'Adrenalin' brings things to an oddly ecstatic, hi-NRG close, Carter fully indulging his arpeggiated Euro-disco inclinations.
Detroit electro-techno physicist, Eric Dulan a.k.a. DJ Bone weighs in an overproof debut album of ballistic, mutant grooves as Differ-Ent for his ardent supporters at Bristol’s Don’t Be Afraid.
As the first Detroit DJ that these ears ever caught in action, Dulan’s style and sound are daed close to our heart, and thankfully they’re in full effect on his new mission statement, It’s Good To Be Differ-Ent. Scaling between futurist jit, pumping techno and whip-ready electro hydraulics, it’s arguably one of the smartest, sharpest and deadly artist portraits we’ve heard from the 313 in this decade.
It’s a supremely energetic testament to his skills and instinct as one of the world’s most electrifying DJs, and thusly primed for any ‘floor worth its sweat. But likewise, the sense of soul and passion that Dulan juices from every minute of the record translates just as easily to crosstown-weaving headphone mooches as it does to home listening and stamping your ground at the rave.
Most intriguing to us are the clutch of coiled, off-centre electro cuts strewn across the three plates: namely the lushly tempestuous opener Inhabit Tense and sleek mechanics of Compute Her on the 1st; the seismic shimmy of Motive Hate Shun on the 2nd; and especially the majestic, romantic pressure of I’m Differ-Ent or the lost Urban Tribe vibe in A Calm Bliss on the last plate.
But that’s only half the story. The other half packs a type of direct, to-the-Bone techno and house that seldom heard nowadays, and definitely not with this kind of style and force. We’re talking proper killer, synthy drama in Marvel Less, and fanged, serpentine tribal techno on Met Allergic Flew Antsy or Drum Addict, thru to the physics defying balance of below-kelvin techno and heart-warming strings on Gem In Eyes, with a ripe stripe of funked-up Detroit trance in Fasten & Shun, before it all comes together in the most thrilling way on his mutant banger Laser Eyes.
In case you’re under any illusion: this is a massive album!
Hot Haus Recs sling three heavy bumps from Mall Grab
Pool Party Music puts the kicks down 4 square under flashing disco string heat to mech them pump; B_F_O_D_A_A_S cools off on a swinging sort of New York hip house sound; Catching Feelings dances on your sweeter nerve endings with pointillist hooks and the kind of patented, burnished bass work which also made his 12”s for 1080p, Church and UTTU so highly in demand.
One of our fave Finnish loons, Jan Anderzen a.k.a. Tomutonttu offers a most absorbing episode of melting electronic exotica, in the process doubling his tally for Luke Younger’s Alter label some seven years since his 7” split with 0PN.
Kevätjuhla was created as the soundtrack to a visual, sculptural installation of the same name, “a listening station that sought a bound between sound, the earth and organic matter”, and mirrors that installation’s make-up of wires poking from dirt, and scores made of organs peel and party debris, in a a typically warped, bittersweet and off-centre selection of sounds which flow into one another with a sort of supernatural, organic form.
For anyone familiar with Tomutonttu’s work pre-2012, it’s very easy to hear how well he’s consolidated the visual and aural aspects of his art within Kevätjuhla. Where previous pieces were prone to delirious fractal crystallisation that maybe required a modicum of concentration or a deeply altered state to comprehend, these pieces flow in uniquely resolved and strange quantum paradoxes, as though he’s merging tracks from multiple, discreet dimensions into para-dimensional delta of psilocybic folk, digi-dancehall and tropical lounge jazz.
Imagine Mike Cooper meeting SKRS Intl at Spencer Clark’s imaginary beach hut and you’ve got almost got the measure of Operaatio satamassa, whilst Tinhentyvästä harpusta - Tarjous sounds like magick lagoon of frolicking merfolk and the exquisite Kuinka voin auttaa feels out a hyaline dreamspace between K. Leimer and Visible Cloaks, and Kuteen salon I - Lukin jack pursues that vibe between the contrail coattails of Yellow Magic Orchestra and the endearing messes of Eric Copeland.
Posh Isolation’s elusive Age Coin duo impress with the cranky post-techno deviation of Performance; a lean, nervy and dread bass-fuelled follow-up to their Perceptions 12” - reissued by Luke Younger’s Alter in 2013 - and interim excursions in their other projects, inc. Vår, Marching Church, and the excellent Yen Towers.
Shifting gear from the Perceptions 12”s tunnelling dynamics to more fractured and unsteady structures, the sound of Performance is perhaps best described as a more mutant, buckled and schizzy adjunct to Yen Towers’ garage-techno torque.
Diving in with the stone-carved bass pendulation of Espirit, the session turns to insectoid 2-step and X-Files dub themes in Domestic, before sinking into the Mohammad-like mire of Monday and skimming the effluent roil of Raptor with flinty shards of percussion. A moment for reflection follows with the starkly processed solo keys of Damp, and they sling us back into the pit with the mongrel dubstep of Domestic II, saving the best for last with Headron’s distended bowel movements.
Rough Trade squeeze more emotive bombast out of Anohni on this companion piece to last year’s ‘Hopelessness’ album.
The ‘Paradise’ EP collates material from the same sessions as last year’s 0PN and Hud Mo-produced Anohni LP, so it’s no surprise to find it continues the musical and politically agitating themes of ‘Hopelessness’.
Leaning in quietly with the ambient sorrow of In My Dreams, Hud Mo’s rhythmic cush comes to the fore with the ripe trap rollage and purple grade synth searage of Paradise. Hud Mo’s behind the buttons influence continues with the fluttering Oriental beatdown of Jesus Will Kill You, complemented superbly by Anohni’s downbeat delivery. You Are My Enemy offers a moment of subdued contemplation before the warped side of Anohni comes the fore on the vibrant, angered pop of Ricochet.
Rugged electro rockers from Dona, who’s previously released on Creme Organisation’s Jericho sublabel as DJ Plant, and now returns with a deep and saltier sound on the label proper.
Check Energia (Live Cut) for snappy, prodding drums and surging synth pressure; Cigarettes if you want to look cool af; throttled Chicago-via-Rotterdam jaxx in The Deads At Twelve; and a strip of reckless electro-boogie sludge in Nr.13.
Soul Jazz return from Haiti for the 3rd time with another unmissable collection of pure percussive vodou from The Dreamers of The Société Absolument Guinin, following from Spirits of Life: Haitian Vodou (2005), and Voodoo Drums (2005).
Back in 1804, Haiti was the first Caribbean island to gain independence from its slave owners and a fundamental part of that revolt was down to the way its displaced population found unity thru religion and percussive communication, adapting and mutating their mix of deeply rooted West African drum rituals - as practiced by the Fon and Ewe, and incorporating elements of Yoruba and Kongo cultures as well as indigenous Taíno beliefs - into a new, syncretic language of spirituality and rhythmelodic meaning which couldn’t be understood by oppressive ruling classes, and could be used to encrypt non-verbal messages between the island’s many respective groups.
Bearing that in mind, Haiti therefore developed one of the richest percussive traditions in the world, which has more or less become a byword for rhythms that possess the mind, body, and soul like few others. And that’s exactly what you’ll find inside Drums In Haiti 2: The Living Gods of Haiti; a gripping, totally hypnotic set of 16 rituals that demand the attention of any and all DJ, dancers, rhythm-obsessed anthropologists and bored congregations looking for a new religion. The religion of the rhythm.
Stunning gothic atmospheres originally released on a private press tape, now available on vinyl for the first time via Hospital Productions. Huge recommendation if you're into Coil, Bathory, Clay Rendering, Mare, Contrepoison...
Dominick Fernow’s Hospital Productions hail the obscure, transfixing poetry and exquisite gothic pall of Vilains Bonshommes; a Rimbaud-inspired duo including members of Canada’s Contrepoison and Norwegian group, Mare.
Éternité Retrouvée was first released as a cassette edition on Norway’s Fossbrenna Creations and remains the duo’s only available output. Apparently a further album was promised, yet never manifested, which only serves to heighten the mystery of this one; their lone, exceptional iteration. Stripped to the bare essentials of drum machine, analog synth and vocals rendered in acres of sepulchral space, the 3-track EP draws listeners into a flawlessly realised sphere of dark influence where minimalist, desiccated harmonies and bony rhythms are embedded against unfathomably bombed out, maximalist backdrops - what most would define as unmistakably gothic.
Poised, arch and evoking a sense of clutching power from the jaws of despair, the EP speaks to life’s loneliest but formative experiences both literally, through the use of Rimbaud’s tortured poetry in the sagging heave of L’Éternité, and metaphorically, through economically authentic sound design in the dirges of Death Shines On Triumphant Days and The Ages Anew which both suspend the listener by icy hooks at the core of it all.
Steeply hypnotic and tenderly textured solo guitar and loop pedal excursion from Swans’ guitarist Norman Westberg...
“A few years ago, my dear friend and bandmate Jamie Stewart and I were talking about SWANS. I started to mention how much I admired the utterly personal approach to guitar that Norman Westberg had developed on those early records and moreover how that had blossomed out so richly on this latest incarnation of the band. During the course of the conversation Jamie mentioned a CDR that Norman had passed to him, which collected a few pieces of solo work that Norman had been working on. I was instantly curious to hear these pieces and started to track down the recordings online. After some investigating I found Norman’s CDRs available through an Etsy shop he had set up. I ordered one and a couple of weeks later, after I’d listened to that first CDR non-stop for a few days, I order all the others I could get my hands on.
The first solo work I heard from Norman was this recording, Jasper Sits Out. I was instantly struck by the textural sensitivity he managed to create with nothing more than a guitar and some modest pedals. He managed to find a depth in what was a very limited palette and that impressed me greatly. The connections to his work with SWANS was clear, in that his trademark relation to tonality was present. Instead of relying on volume to achieve this sonic state though, Norman’s solo practice relied on a sense of swaying harmony and orbiting loops to create a tonally dense sound world that was very much personal, but overtly invitational to the listener.
Jasper Sits Out, the title referencing the Westberg family mascot who has now sadly departed, reflects Norman’s interest in minimal structures and the processes of iteration that are formed through the manipulation of looping fragments. Creating almost tidal surges across these pieces, Jasper Sits Out speaks to his abilities to contour sound in time. The lead track for example is truly oceanic in that is has a remarkable tidal flow of strumming textures that seem to sink below one another in a effortless wash of textural density.
I could not be more pleased to be able to share this music through Room40. This edition comes completely remastered and features a bonus piece recorded exclusively for this edition. I encourage you to listen deeply. Lawrence English, January 2017.”
If you're new to Throbbing Gristle then, well, shame on you; but don't worry, all's not lost, you can get up to speed with the help of the band's Greatest Hits, newly remastered.
First released by Rough Trade in 1980 with the apt subtitle Entertainment Through Pain, it's an unbeatable summary of crucial material from Gen, Chris, Cosey and Sleazy's first three albums (Second Annual Report, DoA: The Third and Final Report and 20 Jazz Funk Greats), taking in the robo-fetish disco of 'Hot On The Heels of Love', the piss-streaked paranoia of 'Subhuman', the deadpan synth-pop pretensions of 'United' and more.
Once you've heard any of this stuff, you'll want to explore each album properly, but for now, if you ever wondered why TG are so deeply revered but were too afraid to ask, this'll tell you what you need to know. Punk might have done away with the past, but it was Throbbing Gristle that created the future.
Epic archival document from Raster Noton; the beginning of a comprehensive and authorized review of the past 20 years of the label. Comes with an exclusive CD featuring material from Kangding Ray, Emptyset, Alva Noto, Frank Bretschneider, Senking, Byetone, Atom Heart, Robert Lippok and more.
"A short introductory preface by Olaf Bender is followed by a keynote interview conducted by berlin publicist Max Dax that provides an insight into the identity and philosophy of the label heads. The main part of the book comprises the extensive catalog of all the releases published by the label between 1996 and 2016, while tabular listings of various formats and products that were distributed or curated by raster-noton complete the catalog.
A further exclusive part of the publication is the accompanying CD, which is only available when purchased with the book. Raster Noton‘s »archiv« series was first introduced in december 2003 as a supplement to »the wire« magazine and has since been continued in loose sequence with different artists related to the label. Following the idea of the label which defines itself as a platform for its artists, the releases in the catalog part are not presented according to their format, invested effort or meaning, but sorted according to their catalog number and presented on exactly one double page, whereas some series were summarized.
As a continuation of this archival revision, further books are planned that will document artist profiles, installations, composition techniques and sources of inspiration."
The Planet E boss unveils his Versus project with classical pianist Francesco Tristano in this orchestral take on a C2 classic.
Techno artists and orchestras eh? It’s a field a tuxedoed Jeff Mills has been dominating of late, but Carl Craig has been there too in the past. Remember the ‘Recomposed’ LP he did with Mo Von Oswald on Deutsche Grammophon a few years ago?
He’s back at it again with this single for InFiné which unveils Craig’s long-mooted Versus project with Francesco Tristano and Les Siècles orchestra under the guidance of Francois-Xavier Roth. Craig’s 2004 Planet E B-side Sandstorms is obviously the source material, his trademark spacey synths jettisoned in favour of strutting and jutting orchestral strings. A skittering VCO update veers back towards the Detroitian hi tech jazz CC has made his own.
Look out for a Versus album…..
UK Tape addicts Seagrave act as guiding light through the DIY undergrowth once again, debuting the multifarious sounds of US producer Jjakub.
Operating under the smartly-framed 'concrete music for a concrete world’ MO, Tennessee-born Jjakub has been raising the hellish spirit of post-rave the other side of the Atlantic for several years. In addition to operating the Kudzu Productions label, Jjakub’s own work has smeared across the DIY tape network and makes its way to the Seagrave platform on a 13-track album that embraces the open-minded format of tape and digitalis.
Echoes of early Jimmy Edgar experiments on Warp, the fractured US slant on IDM via Chocolate Industries and second generation Night Slugs whizz by as Jjakub variously throws down mangled Bmore riddims on White Phosphorous, odd footwork experiments in the shape of Cover or limber house reductions a la Kyle MF Hall on The Cutter.
Hills 3rd album with Rocket Recordings.
"Hot off the Swedish Psychedelia revival of the past few years and after their hailed 2015 album ‘Frid’, Hills connect the dots to their countries rich and intoxicating past with a handful of new sepia-toned tunes. Like their predecessors unholy trinity of Pärson Sound, International Harvester and Träd Gräs och Stenar, Hills penchant to stretch out beyond, performing what feels like openly casual exhortations into intricate eastern tones and primal hypnotic rhythms, the band illustrates that their sermons offer rational derangements of all the senses.
These four tracks sit deeply buried in oblivion, bones, skin, sweat, grooved with fearless intensity with no diminution of the interplay, spontaneity and feeling onstage, the band are entombed in mantric repetition while the vapour trail of The Byrds ‘Untitled’ epic; ‘Eight Miles High’ descend into an Elysian Field, where the dead enjoy happy tranquility, until they come to life and rise up again.
Alive in Roadburn summons the spirits of Swedish Midsummer celebration, the welcoming of the light of the longest day, as a people who have endured the long dark winter, their celebration of light, steeped in pagan roots are absorbed into the bands psyche and these tracks sit like Cairns on the Swedish landscape, built as monuments to Hills. The Hills are very much Alive and Burning."
Stealthily hypnotic, subtly proggy dub techno from Detroit’s Luke Hess, back in the Hood Mode mindset of his 2016 turn for 15 Years Of Echocord; working three supple and slinky grooves streaked with night-vision synth pads and underlined by signature, thick and lustrous basslines.
Myriads is the one, we tell ya.
Bartolomé Sanson and Félicia Atkinson’s amazing Shelter Press label keeps its boundaries fluid, porous with Camo; a bewildering and beguiling blend of field recordings and post-techno abstraction woven into uniquely polymetric, insectoid techno designs by Felicity Mangan and Stine Janvin Motland’s Native Instrument.
Centred on Mangan and Gotland’s archive of fauna recordings made on location in Australia and North Europe, Camo works to a subtly ambiguous agenda, bending our perceptions between rural, human and electronic sound sources without ever letting on to the real source, in effect bridging natural and synthetic representations as part of an honourable tradition reaching right back to Messiaen mimicking bird song on the piano.
Camo unfolds as four sound images presenting the true artificial nature of Native Instrument. With Deep Frog we could be listening to a plainchant chorus of green fellas or a drone race, both egged on by a flock of birds, whilst Vögel Unserer Heimat opens to a racket of running water whooping macaques and busied insectoid pulses building to a purposeful techno march.
Waldfest follows in pursuit of a more crepuscular scene threading Donato Dozzy-esque pulses thru an intensely detailed pastoral scene of chattering dolphins and panicked cicadas - we’ve no idea what they’re doing together on the Wald, either - before Emutional Flutes rotates a crackly narration from a nature documentary amid a call centre of nattering feathered creatures, striking a very odd and disorienting balance of stasis and psychotomimetic repetition maybe best termed as amphibian trance...
Tight, focused acid toolery from the Romans man on his solo Bunker NY debut backed with a remix from party boy Mike Servito.
Bryan Kasenic’s label renews its membership to the Gunnar Haslam fan club for 2017, scoring a long overdue solo EP on Bunker NY from the NYC techno producer after a series of releases from his Romans collaboration with the Tin Man.
Up top, Scale No Flam continues Haslam’s occasional series of 303 beaters, but on a more of a mid-90s UK acid techno tip a la Lochi classic London Acid City. No stranger to a Bunker NY party or indeed acid, Mike Servito pops up with another remix credit that leads Haslam’s track smartly down a trippier wormhole of lysergy.
Mystic downbeat vibes from Tel Aviv, percolating up on Iueke’s Paris-based Antinote.
Made for beachside bars and hot nights, the Sfarot EP blends klezmer horns with wistful 4th world gestures and cool, rolling dub grooves, hashing out a hypnotic sound between the wavy bump and chanting kids of Sfarot and its dub muggier intro dub underneath, then stepping out into what sounds like a long lost proto-Goa, Italian cosmic or Balearic gem in the spiralling blue scales, pealing sax and slo-mo hustle of Harabait.