Class debut from Philly’s DJ Haram - fusing Arabic percussion and instrumentation with bass pressure for Hyperdub.
Like a spartan echo of Mutamassik’s early ‘00s meeting of Egyptian breaks and rugged hip hop, DJ Haram finds a wickedly gritty friction and traction from a mixtures of sharp electronics and a dead canny sample palette that distinguishes her music from the crowd.
The EP kicks off with ‘No Idol’, which comes off like an imagined Timbaland and Equiknoxx hook-up, while the brooding ‘Interlude’ gives way to a killer bouts of martial drums swept into a rugged Jersey bounce on ‘Gemini Rising’ and again with grimier, bittersweet impetus in ‘Body Count’, that also comes out in more psychedelic, low-lit geometries on ‘Candle Light’, which receives an impending vocal-lead remix by Haram’s regular Philly spar and Moor Mother collaborator, 700 Bliss. Factor in the virulent puppy dance of ‘Grace’ and the club-tightened remix of ‘No Idols’ and you have yet another stellar debut on the untouchable Hyperdub.
Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin-based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving.
"Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats, ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Originally released in 1992, Der Abend der schwarzen Folklore is the third Massaker album, released by Rough Trade Germany. According to Caspar Brötzmann, the title track and “Bass Totem“ are the band’s most accomplished songs. It’s certainly the most sonicly refined of their albums, recorded during a residency over several weeks at the pastoral site of Conny Plank’s studio near Cologne, and produced by Ingo Krauss and Bruno Gebhard, who had worked with the famed Krautrock producer until his death in 1987.
Not least, ...Schwarzen Folklore also features their new drummer Danny Lommen, whom Caspar and bassist Eduardo Delgado had headhunted at a concert with Lommen’s Dutch prog-core band Gore. Lommen shared their tastes in sheer volume and presence, and “has a completely unique sound to his drumming“, as Caspar marvels, “he plays ultrahard and clear, with authority and no compromise, nothing, not even the most turbulent and speedy beats, sound fuzzy - a statement.“ This, he adds with a smile, would sometimes lead to intense moods during rehearsals, when he overpowered - no small feat - competing with the sounds of Caspar’s guitar.
The Tribe and Black Axis were still if very loosely rooted in some kind of heavy rock. Der Abend der Schwarzen Folklore erases these residues from their genetic make-up - evolving into a free-form noise, strangely motionless like an earthquake rumble, that sounded like nothing else at the time. The opening title song gives the best example with its densely shifting chunk of howling and screaming guitar shreds and grimly determined rumbles from the bass, accented by heavy single beats or massively rattling, yet transparent outbursts from the drums. An impenetrable sense of threat fills the sound, interrupted only by breaks of skinny brooding, giving way to Caspar’s throaty growl evoking a lonely march through hostile wastelands under flaming sunsets. Culminating in an archaic choir chanting about black walls rising - a monstrous cloud of thick high-voltage tension.
Caspar speaks of the heavy nature of the lyrics, inspired by 19th century artist Caspar David Friedrich’s painting “Das Eismeer“ (“The Sea of Ice“) which depicts a shipwreck the icy shores of Antarctica. It deals, of course, with ideas of the sublime in nature - but also “the end of hope“, as the painting was known until the sixties. And indeed, Caspar credits his dark and brooding sounds to the uneasy times. With the wall down, the Eastern block broken, East and West Germany were politically united but emotionally didn’t share much more than a certain angst and uneasiness with respect to the future - which erupted in ugly right-wing riots and violence. Caspar felt the rise of a black folklore that he wanted to address, though he never admitted to it at the time because, he said, he didn’t want to sound like “some naive romantic“. Not underestimating the music‘s gothic values - a weird idea, once you’ve listened to “Schwarze Folklore“.
Swirling, exotic Aussie psych nugget presented in two mixes on 7” for the first time
“Accompanying the premiere release of the lost soundtrack to the 1971 film Walkabout, The Roundtable offer a further lost piece of music associated with Nicolas Roeg’s seminal New Wave masterpiece. In addition to John Barry’s spellbinding original score, several pieces of popular music can be heard throughout the film transmitting from a portable radio, an obvious symbol of western civilization as the protagonists wander disorientated in the ancient tribal Australian wilderness.
Here we have documented one of these tracks on limited edition 7” vinyl, a forgotten slice of late 60s lysergic studio-psych from the New York singer-songwriter Billy Mitchel. Produced by Brooks Arthur (Holy Mountain Soundtrack), Electronic Dance is a whirling mix of Indian raga, heavy jazz drums, buzzing electronics and tape collage melding into blue-eyed soul folk from the Woodstock scene. The perfect psychedelic supplement to John Barry’s hallucinogenic orchestral score.”
One of Drexciya's most sought-after and definitive "storms" finally reissued for those that need it.
Originally released in 2002, 'Harnessed The Storm' yields timeless anthems such as the devastating 'Digital Tsunami' - leaves us an emotional wreck every time - and the unfathomable mystery of 'Under Sea Disturbances' alongside signature enigmas like 'Mission to Ociya Syndor and Back' or the heart-breaking melodies of 'Birth Of New Life'. Trust us and everyone else: it's essential.
Jordan GCZ, upsammy, Suzanne Kraft, and Parrish Smith rework the soundtracks to short animated films dating back to 1921 as part of the RE:VIVE initiative for The Netherlands Institute for Sound and Vision
“Unsurprisingly, each artist imparted their unique styles onto the films that they previously had no relation with. From Suzanne Kraft's sparse atmospherics that have become more apparent in his new SK U KNO project to Jordan GCZ’s free flowing hardware jams. Parrish Smith showed his contemplative side and sparse orchestrations that he demonstrated on his RE:VIVE release, Genesis Black, a sonic departure from his bombastic releases and DJ-sets while upsammy showed yet again her deft hand for melody and texture, a style that dominates all her releases to date.
These four scores can live apart from their films, fitting seamlessly into each artists' growing catalogs of work. But when combined, it’s as if the films and music were made simultaneously with the artist and filmmaker together in the same room. Dekmantel and RE:VIVE are proud to present these new works as the electronic music scene in The Netherlands continues to show its multifaceted talent that continues to expand far beyond the dance floor.”
Southern Lord announce the next Caspar Brötzmann Massaker reissues in the ongoing series, continuing with Der Abend Der Schwarzen Folklore and Koksofen this July. Read on for more insight into these albums, and for information about incoming live dates supporting Sunn O))).
"Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin-based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving.
Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats, ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Koksofen (which translates as blast furnace), originally released in 1993, has become one of Massaker’s most popular albums. Like it’s predecessor, ...Schwarzen Folklore, the album took shape in Massaker’s rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank’s studio near Cologne, with Plank’s former associates Ingo Krauss and Bruno Gephard producing. There’s a different kind of intensity to Koksofen. The features of Massaker’s sound are in full bloom. Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire song-scape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by Caspar’s guttural growls of war, suffering and death.
Caspar recalls one anecdote from shortly after the original release whereby Bassist Edu Delgado called him asking to turn on the TV, thus discovering that “Hymne“ was being used as background music to a report about the death penalty in the US. A different kind of intensity indeed. Reflecting on the album to this day Caspar remarks “Koksofen is still a mystery to me,'' he continues “I can still feel the troubled times in these songs.” - the effects are certainly potent for the listener too. And the album undoubtedly affirms Massaker as the fiercely original and compellingly raw musicians that they are.
DeepChord’s Rod Modell lists and tilts at 140bpm+ in his banging solo debut LP for Tresor
Landing 20 years since his 1st Rod Modell release, ‘The Autonomous Music Project’ for Lunar, the ‘Captagon’ album finds Modell breaking his usual 120bpm sound barrier to go headlong for a classic early Chain Reaction style, nodding to a mid-late ‘90s era when the likes of Monolake, Matrix and Erosion (T++) kept pace with the rest of techno, but also kept it deep and hypnotic as fuck. While it’s quite possible this uplift in energy may leave some of DeepChord’s older audience out of wind, for many others it’s a breath of fresh air to his exhaustively explored style.
Through a simple gesture of pushing the tempo, Modell’s sound instantly becomes more urgent, as though woken from its sluggish reverie and now properly up for some aerobic mysticism. Along with the Chain Reaction nods, there’s clear reference to classic Detroit and related gear, from Mike Grant’s Black Noise to full flight Mills trax and Convextion at his paciest. However, Modell’s grasp of layered, subaquatic dynamics really places ‘Captagon’ in a league of its own, with a rinsed out and rinseable dynamic and traction brilliantly transposed from his fathoms deep catalogue of cv313, Echospace, and DeepChord productions with inexorable velocity.
Best thing he’s done in years, basically.
Brendon Moeller surfaces with a new album on Fluxion's Vibrant Music.
"Brendon Moeller is an artist that needs no introduction. The South African born living in the US, like few of his generation constantly challenges himself with new concepts and ideas, has incorporated techno, dub, jazz, ambient, sound design, to his works throughout the years. He has collaborated with labels like Echocord, Third Ear, Electric Deluxe, Prologue, Mord to name some. "Materialize" is his first work for Vibrant Music. From his early days in various bands in the 80's and 90's, Brendon liked indie, shoegaze, ambient, moody, cinematic soundscapes.
With Materialize he has come full circle, reaching out to his early influences, but with the knowledge and experience of many years of exploration of modular synths, to create a concept space that feels intimate, and at the same time vivid evoking visual imaging. It explores the time space through a minimalist, stoic approach.
It tells the story of how we are all linked into this tree of music we call electronic music, wherever each one is coming from. A celebration of life through the mind of one of today's scholars of electronic music. A liberation from the strictness of tempo and metronomes, to reach to a more creative state."
’S.L.F.' sees exogenous pop alchemist Aïsha Devi expand on the experiments into metaphysics and rave music found in her acclaimed 2018 album ‘DNA Feelings.’ V strong EP this.
Defining a contemporary ritual practice through binaural, healing frequencies and club impact, she coalesces the sacred and the virtual, the subliminal and the cognitive in a syncretic vision. Aïsha Devi crystalizes her approach in a mesh of trap, trance and computer music woven with sonic references in flux between metal subterrain and ambient dimensions.
Dreampop drift and drill rhythms signify an existence in omni-realities in new single ‘I’m Not Always Where My Body Is’, while ‘Two Serpents’ and ‘The Uupar-Theory’ entwine trance and doom to antigravitational effect. Media theorist and Rhythmanalyst DeForrest Brown Jr. voices a foreboding counter to Aïsha’s operatics in ’Teta 7hz (Tool)’, and ‘The Favour of Fire’ embodies the EP’s core concept in shapeshifting aesthetic and aetherave-ready sensuality. ’S.L.F.’ is an illuminated hijacking of collective hypnosis, an encoded rallying signal.
Balmy ambient relaxants from Andrew Wilson (Andras Fox) and John Tanner (Eleventeen Eston)
"Wilson Tanner come to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. A change of course from their debut album 69 (Growing Bin Records, 2016), the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbours of Port Phillip Bay.
The seafarers head out to My Gull’s poised optimism. The birds watch but do they listen? By the arrival of Loch and Key, the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on Killcord Pts I-III - a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channelling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of Idle survey the damage as our parched crew sound the distress signal and ultimately descend into delirium.
Known for navigating individual courses as solo musicians, Wilson and Tanner’s collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists’ most accomplished material.”
INCLUDES A F**KING FOOTWORK REMIX OF STEVE POINDEXTER’S ‘WORK DAT MUTHA FUCKA’!!!
Traxman hits it out of the park here with a very necessary and killer ramp of Poindexter’s all-time Chicago house template, before pledging “allegiance to the Hozzzz’ in a rude jam with DJ Deeon, then going sick with Jana Rush on the panic-footing of ‘Wildcard’, and chopping hard on strobing solo joint ‘It’s Lasting Bass’, with the darkside Footwork styles of ‘4 Da Lyfe’ set to push dancers to their best.
Diagonal artist Blood Music follows his ‘GPS’ tape with a new album of sound poetry
“FOUR PINTS OF GUINNESS FOR TONY CONRAD is a split release from Simon Pomery and Blood Music. Simon is Blood, Music is Pomery. Accompanied by a 64-page book of visual, poly-lyric and collage poetry, this work merges his two artistic practices in a mutually-reinforcing bloom of word and sound.
BLOOD MUSES is SIMPLIFICATION POMERANIA: Longfellow-basic sonnet artificial, mushroomed, make of thereby "influential-poet", cures of PRANCER. Found in Longing, in 5591. Theatricals namelessly "Blouses Mussels" is one of Englishizes trash of theology Japan taipei ensigns, Kodiak: "chisel of theorized drummed", "minicomputer-befuddled-thoughtlessness", andes "mushroom heaviest in theorems womb", or rated, "bloodshed muslin". Drudgery sinatra theorems agent of 1, guidebooks sinuous theirs agents of 8.”
Broken beat and UKF mutant Altered Natives pushes the tempo of his style into icy footwork, ghetto-tech and minimalist jungle frameworks for London’s We Buy Gold.
It’s all about the muddafrickin’ bass on this one, practically pushing the subs so hard that there’s no room in-the-mix for any drums apart from skittish hi-hats and rimshots, with the mid-range void coloured in spectral electronic disturbance and reverberating ether voices.
‘Kin Asbo’ sets the model with palpitating subs and distant but needling strings in a way doing for footwork what DVA did with Gqom in the DRMTRX sessions. ‘Moments’ follows on a proper hot-stepping flex with psychy loops and rapido pulses recalling Singeli styles, while ‘Always Sunny’ messes with the meter in a way compatible to Slikback, and ‘Daddy’s Gone’ does proper UK darkness in a frozen jungle style.
Bristol bassbin queen Sophia Louizou meets Peder Mannerfelt and Malcolm Pardon’s RTD on a tantric ‘ardcore tip for the 5th in Roll The Dice’s ‘Assimilarity’ series
Marking Louizou’s 1st release since ‘Irregular Territories’  and the follow-up to RTD’s ‘Hydra’ hook-up with Alessandro Cortini, ‘Head Drop’ is a pensile fusion of darkside ’93 jungle’s negative ecstasy with weightless noise pressure done to exacting degrees somewhere between classic Jega and Christoph De Babalon.
Warmly endearing synth trips charting 2 days of recording on an island in Canada. Smells like campfire smoke, trees and starlight.
“Matthew Bailey and Carl Schilde play fully improvised music oscillating somewhere between bingo hall Casio suites and kosmische dreamscapes. The duo perform under the name Playdate, and are sometimes accompanied by 90s instructional videos, larger than life amateur dancers, and outdated light shows.
Last summer, they travelled to a remote cabin on Manitoulin Island and recorded their debut album in two days, improvised live onto stereo cassette tape. They ceremoniously recorded two 30 minute tape sides each morning, afternoon and night, surrounded by insect drones, forest breezes and lapping waves. Manitoulin Tapes is the distillation of that bucolic experience. Like the mutable remote island environment, the recordings are sometimes warm and pastoral, like an Algonquin Cluster, at other times somber and brooding, like Sympathy Nervous, Pan Sonic or Cabaret Voltaire inspired by the Group of Seven rather than Dada.”
Italian IDM/electro veterans Retina.IT do concentrated, shifty, buzzing electro for Boddika’s Nonplus
‘Formant’ is a trippy, monotone study in processed vocals, and ‘Neural Map’ dices with a sort of Mille Plateaux style glitchy minimalism. ‘Unconditional Perceptive’ and ‘Unknown Totality’ till sunken ruts of sludgy techno, and ‘Memory Sensation’ launches a hydraulic jack recalling Donato Dozzy styles.
Bala Club and Bubble Gum Violence founder Katie Vick rolls out a beguiling debut album strafing between reggaeton-pop mutations, indie rock, metal, and corny Emo-EDM-pop. Half of us thinks this is James Ferraro in disguise…
“The story of how to create a misanthropic abused murderer, Killerguy, and how to save the planet simultaneously.”
Roughshod techno from Belgium’s Peter Adriaenssens aka 6SISS, tipped to fans of Peter Van Hoesen, Shxcxchcxsh or Ben Frost
Apparently coming from a new beat heritage, 6SISS’ style of techno is entirely modern, delivered in a drily abrasive vernacular of noise-sculpted hits and tarmac textured swipes between the galloping force of ‘Prisma’, a cantering juggernaut that sounds like Frank Tovey’s Mkultra gone techno in ‘No Isms’, and the turbulent roll cage shudder of ‘Delta’.
The label behind that mint Maria Rita reissue, Optimo's Selva Discos fasten their dancing clogs again with a tight original burner by Edson Gomes da Conceição, back with Mike Burns’ straighter disco edit
Slunky electro sleaze and melodic pirouettes from Carl Finlow’s Silicon Scally
Returning to Sheffield’s CPU after 2018’s ‘Projections’ 12”, Finlow plays it classically in all parts, getting into kerb-crawling gear with the lo-slung ‘Cobalt Blue’ before stroking his synths to spume polychromatic arps, hingeing around spare Linn snares in ‘Scintillation.’ Flip it over for a ruder push with the red-lining bass distortion IN ‘Asynchronous’ and the shifty Drexciyan acid electro of ‘Protocol 2.’
Eminent avant-garde/experimental explorer Oren Ambarchi opens a rewarding new avenue to embrace the warmth and mystic psychedelia of Brazilian music with assistance from celebrated percussionist and Downtown luminary Cyro Baptista. Arriving just after Ambarchi’s 50th birthday, and Black Truffle's 10th, ‘Simian Angel’ sees him yoke back from the forward tilt of his rhythm-driven outings over the past decade in order to focus on his electric guitar playing, with utterly sublime results.
Keening sideways from the unyielding percussion of his last outing ‘Hubris’ , he divines a floating space that recalls the beautifully pensile cats cradle of his early classic ‘Grapes From The Estate’ , only this time with fleshlier, more inviting arrangements. The first half’s ’Palm Sugar Candy’ is pure star-gazing material, with Baptista’s hand-played, self-built percussion drawing us into a horizontal headspace while Ambarchi’s glowing notes gently colour the sky above. Ambarchi gradually opens up a glorious space between that dissonant murmuring and an awning, harmonic meridian, where a voice whispers into the space to gently recalibrate our depth perception, before seemingly turning his guitar into a MIDI-triggering aeolian harp in the piece’s spellbinding, levitating 2nd half.
’Simian Angel’ follows with a more gripping rhythmic pull from the twanging Berimbau, just one of myriad percussion mastered by Baptista (who has previously played with everyone from John Zorn to Derek Bailey, Herbie Hancock and Robert Palmer), before Ambarchi glydes into view like a chorus of the sighing Simian Angels, drawing the piece upwards into thin air, where his guitar melts into piano and columns of warm air carry distant vocals from below. The drums rejoin to mark the work’s final avian swoops in strokes and dashes, triggering MIDI keys in a beautifully colourful sort of jazz fusion call and response, located amid and above a subtropical canopy.
Arriving at the apparent apex of a long and sprawling career in which he's had countless collaborations and gone down a seemingly endless series of creative rabbit holes, 'Simian Angel’ is quite possibly Oren Ambarchi’s most open and generous album to date - a perfect entry point into, as well as highlight of, a recorded catalogue that over the course of more than twenty years has been one of the most unpredictable and rewarding in the game. Bravo.
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.’
An amazing slab from Glasgow’s fecund subterrain, ‘The Funnel’ is Wojciech Rusin’s debut razz of field recordings and choral composition riddled with rug-pulling edits and keeling turns of phrases - arguably a spiritual parallel to László Hortobágyi, Black Zone Myth Chant, Jani Christou, Él-G
A big clue to the cryptic chicanery of ‘The Funnel’ is the fact that Wojciech Rusin builds his own instruments, which accounts for some degree of the odd tonalities at work. But when you factor in the field recordings of Port Talbot Steelworks, and his patent knowledge of renaissance polyphony, it all just becomes more brilliantly complicated and unfathomably idiosyncratic.
Across seamlessly segued sides, they weave strategies and logic from the GRM to soil dynamics and avant-classical skools in a remarkable diffusion and collection of energies, swaying in viscous grit one second, then waltzing with Richard Youngs-like folk vocals that bifurcate into dramatic polyphony the next minute, before stranding you in a lift with beelzebub chatting shite in tongues about the weather the next, only to expectorate your head and anticipations in scenes of gunky pastoralism and Noz-like feedback loops of choral vocals and windswept bleeps.
We could run ourselves circles trying o describe it any further, but save for your amusement, we’d rather just get back to listening to this one, and leave the freaks to grapple with it all in their own time.
Don’t sleep on this one, it looks stunning, too.
Captivating, new, improvised takes on old Greek Rebetika, returning the style to it looser open ended form, rather than redoing the standards. Really, intoxicating, heady stuff when it hits...
“The duo of Tasos Stamou and Thodoris Ziarkas bring back the improvisational element to the old Greek rebetiko style and expand it towards other avant-garde musical genres.
AMAN!!! #2 Picking it up from their previous cassette album at Sucata Tapes, “AMAN!!!” duo delivers another series of live tracks, this time recorded in Athens and London. The duo of Tasos Stamou and Thodoris Ziarkas bring back the improvisational element to the old Greek rebetiko style and expand it towards other avant-garde musical genres.”
Marie e le Rose is a sound artist, music/art therapist, sound researcher and multi-instrumentalist based in Florence, Italy. She has releases on labels such as Forrest Hill Records, No Problema Tapes, Time Released Sound, Laverna, Zamzam Records, Further Records, Chemical Tapes, Phinery, Hylé Tapes and more, with many monikers for her varying concepts (Marie e le Rose, Moon RA, MonoLogue).
"She has performed at festivals and venues such as Festival Sons Libérés (Bruxelles), Festival La Centrale (Bordeaux), FreeQ (Genova), MamBO museum (Bologna), Galerie Hus (Paris) and Ableton LOOP (Berlin). Her installations have taken place at Pecci museum (Prato), Palazzo Reale (Milano) and more…
"I am a musician and in this moment of my life I am dealing with pain and all that follows… This is an album based on the concept of physical pain, its title taken from the name of a famous theory about it.
I have attempted to communicate – through the sound synesthesia and its movements — the same sensations and disorientation that we can try in times of difficulty and suffering. However, in every track there is a strong dose of energy and struggle, obtained from the timbre and dynamics of many analog instruments (not least the Buchla at EMS in Stockholm). I also used sounds from acoustic instruments, effects, tapes, Walkmans, reel-to-reel recorders, a modular synth and more…
My aim is to work on the perceptions of the listener, making them participate with the emotions – main actors in the relationship between suffering and struggle." – Marie e le Rose, Florence, 30 May 2018.
Sound poet and multidisciplinary artist Félicia Atkinson follows 2017’s cherished ‘Hand In Hand’ album with this spellbinding study on loneliness and intimacy, crafted while pregnant and on tour. Félicia notably draws Sunn 0)))’s Stephen O’Malley into her meso plane on the collaborative 19 minute closing cut ‘Des Pierres’, a quietly startling end to another captivating album from one of the most interesting minds working on the contemporary scene, perfectly encapsulating a sense of uneasy calm in the midst of so much global uncertainty.
To enter any Felicia Atkinson album is to give yourself up to another world where perceptions of time and space subliminally become short-circuited and synaesthetic. Combining illusive electro-acoustic process and meticulously tactile vocals reciting poetry, Felicia’s music rarely fails to provide anything other than an intoxicating experience, and her powers of perception appear to be uniquely attuned on ‘The Flower And The Vessel’. As she states; “this is not a record about being pregnant, it’s a record made with pregnancy”, and as such the results are more ambiguous, riddled with a cosmic web of references to musical memory and onotology, as much as nature and the strange subtleties of the everyday.
The album’s theme of loneliness while touring has historically provided much grist to the artistic mill over the years, but rather than tales of excess and depression, Félicia handles her subject matter more meditatively, using small gestures such as “recording my voice, recording birds, a simple melody” to locate her place in the foreign worlds around her, and in the process answer the questions “What am I doing here? How can I connect to the world?”.
The first 10 tracks are barely watermarked with her presence, with opener ‘L’Après-Midi’ acting as a poetic diary entry, where she fills in subsequent pages with a mix of notes both metaphorical and musical, from the unsettling intimations of ’Shirley to Shirley’ inward-spiralling vocals of ‘You Have to Have Eyes’, to the micro-to-macro contemplation ‘Linguistics of the Atom’, while album highlights ‘Lush’ and ‘L’Enfant Et Le Poulpe’ speak to a elusive sense of the pastoral, perhaps as viewed form a distance.
When she finally does meet another tangible soul, Stephen O’Malley, in the 18 minute finale ‘Des Pierres’, it’s testament to both her own vision and O’Malley’s tactile range that his harmoniously strung-out contribution is so seamlessly woven into her parallel dimension, that you may need to be reminded he’s there, sublimated in-the-mix.
Hospital Productions pay testament to the prowess of JK Flesh/Orphx with recordings of their 2016-2017 shows at Katharsis (Amsterdam) and Atonal (Berlin) newly remastered for vinyl by Josh Eustis.
By all accounts the shows were heavy af, but in case you weren’t there, the evidence is now captured on vinyl for posterity. With each disc corresponding to a particular show, the results collectively speak to the calloused touch and nerve-pushing tactility which Justin Broadrick aka JK Flesh, and Christine Sealey & Rich Oddie aka Orphx, bring to their machines. Whether meting out industrial muck, or drilling the crowd with stentorian rhythms, there’s a phosphorous burn to everything they touch that manifests their intent in a rare and unique way as the result of decades of experience between them.
The first disc renders the experience of Berlin Atonal 2016 direct to your living room or kink dungeon. Rising up with 12 minutes of demonic sludge and budge in ‘Demagogue’, it sinks into head-smudging drown torpor with ‘Light Bringer’, and ends up in the body-swilling technoid churn of ‘Liberator’. Their show at Katharsis (Amsterdam) in 2017 follows aggressively, getting into gear like a possessed, blunted BMB with ‘Shapeshifter’, then building up a ripping acidic lead in ‘Mutagen’ and yoking the high-velocity trample of ‘Chaos Trigger’ and the seething ‘Leviathan’ on the flip.
Endearingly naif Aussie art-school/post-punk pop from Melbournian J. Macfarlane’s Reality Guest, finding an ideal home on Glasgow’s Night School
““Ta Da” is the debut full length from J. McFarlane's Reality Guest - aka the solo music of Australian artist Julia McFarlane. As a member of the group Twerps, McFarlane has traversed guitar-centric, melodic pop music for some years while honing a highly unique, personal musical language. Ta Da is the first recorded unveiling of McFarlane’s affecting, oblique songwriting panache. Originally released in her native Australia on Hobbies Galore, Ta Da will be released worldwide by Night School in June 2019.
Wheezing into view with a troubled reed instrument set against a s of whoozy synth lines, Human Tissue Act is a foggy curtain the listener is invited to peel back. The dissonant notes are left to dance entwined, with clarinet heralding a Harry Partch-esque mallet percussion interlude. It’s a mood. With no resolution in sight, an audience dragged closer into uncertainty is suddenly drenched with the light of inter-weaving wah wah synth and saxophone. I Am A Toy introduces us to McFarlane’s vocal, an effortless and matter-of-fact, accented statement that quietly takes the reins. While McFarlane’s previous work in Twerps might reference 80s UK and antipodean guitar pop, Ta Da showcases a different influences immersed in psychedelic music and synths. It’s a brilliant, deft concoction swimming in Young Marble Giants-type minimalism washed with bare pop and harmony similar to Kevin Ayers making sense of a Melbourne suburb full of faces half-recognised in the blanching sun.”
Kyoka and Eomac (Lakker) forge a restlessly rugged style under the fictional moniker Lena Andersson in a striking debut for the Raster stronghold.
Merging their respective styles Kyoka and Eomac patently make a strong studio pairing under their imagined avatar. Stemming from a back and forth session on the Buchla modular synth system at EMS Stockholm, the project has really come into its own with Eomac exacting razor sharp edits on Kyoka’s blend of spiky, freeform textures, sugared vocals and broad palette of field recordings.
There was previously a degree of familiarity between them as Kyoka remixed Lakker’s ‘Tundra’ for R&S in 2015, but here transcend their respective solo work to realise a wickedly sinuous, amorphous body of experimental electronica and crunchy dance trax which, if we weren’t told otherwise, we may never have guessed was made by these two artists.
Taking strong cues from prevailing dembow rhythm trends, the duo work out a range of spiky, crimped dancehall-techno mutations, getting into it alongside Seiki & Mike Watt with the brittle but squirming shape of ‘Middle of Everywhere’, and running thru big highlights in what sounds like Batu and Low Jack getting gritty on ‘Bazu’ and ’37 Years Later’, tucking it where the sun don’t shine in the dark grind of ‘Con Un Cuchillo’ and the cyber-bogle of ‘Anarchy - Joy’, or like some hyper-clipped Amazondotcom or Paul Marmota piece in ‘I Want Her (You) To Call Me Baby.’
Seminal 1998 showcase from Rhythm & Sound feat Tikiman, aka Paul St Hilaire...
Amazing just how good the material on this compilation still sounds, featuring the first five Burial Mix 10"s plus a 'Version' for each and including the mighty "Why?", "Ruff Way", "Never Tell You", "Spend Some TIme" and "What A Mistry" - all featuring the vocals of Paul St Hilaire, better known as Tikiman. So damn good...
An advanced masterclass in Berlin beat science, ‘Wireless’ is the final and arguably strongest solo release by T++; aka Torsten Pröfrock, an artist with a long lineage of important releases under numrous aliases - Dynamo, Erosion,Log, Resilent, Traktor, Various Artists and more - a true pillar of Berlin's Techno legacy.
First issued by Honest Jon’s in 2010, the 2x12” features samples of singer and ndingidi-player Ssekinomu (originally found on the EMI archival dive ‘Bellyachers, Listen - Songs From East Africa, 1938-46’) reworked by Pröfrock into a volley of rambunctious but rudely disciplined club workouts some 75 years later. In many other hands, this could have been just another passable cut ’n splice edit, but T++ treats the material with a balance of reverence and raving license, highlighting an instinctive understanding of the original music's intent and purpose, and their deep rooted connection to modern fast rap and hardcore dance musics.
The four tracks amount to a contemporary classic in their field and also exist in a strong tradition of German artists ranging from Stockhausen to Can and Basic Channel whose music has crucially incorporated the fluid, rolling nature and spectra of African drumming patterns. However, it’s vital to point out that T++’s take on African drumming is also filtered thru a love of UK music - Jungle, D&B, garage, dubstep - meaning that his rhythms are properly underlined with syncopated, technoid basslines owing as much to Kingston, Jamaica as Brixton and Sheffield in the UK.
For anyone who had been intently listening to Pröfrock's output since his Traktor gems, thru his Dynamo aces, to early work with Monolake and his string of seminal T++ 12”s in the 2000’s, on its release in 2010 ‘Wireless’ quickly came to epitomise his approach to broken techno production at its most open-ended and inexorable. Between the itchy, sprung step of ‘Cropped’, the puckish darkside torque of ‘Anyi’, a voodoo communal in ‘Voice No Bodies’, and the reanimated spirits of ‘Dig’ you have some of the finest mutant techno ever cut to vinyl.
An absolute must-have for dancers and DJs.
Left Behind" is a collection of studio-based works, improvisations and sound studies from 2006-2013. They were all intended for release but for one reason or another never made it out into the world.
"Church the Light of the World" (2013) – recorded and sound material found in London, Rotterdam, New York City, Orlando, Derry and Turin between 2009-2013. Indoor and outdoor fielding recordings, found tapes, found objects, found metal and broken cymbals, modular synthesizer and homemade electronic circuits and electronic test equipment.
"Sixty-four Sine Waves Studies: D Aeolian, C Major and G Minor" (2010) – recorded in Kentish Town, London, 2010. Max/MSP.
"Sound for Animation That Never Happened" (2007) – recorded in Archway, London, 2007. Doepfer modular synthesizer.
"No Input Mixer Improvisation" (2006) – recorded in Cricklewood, London, 2006. Mixer, effects pedals and contact mic.
"Warm Room" (2012) – recorded in New Cross, London, 2012. Voice: Frances Morgan. Doepfer modular synthesizer and SuperCollider.
"Modified Portable CD Player" (2011) – recorded in Kentish Town, London, 2011. Modified portable CD player.
"WORM" (2013) – recorded and mixed at WORM Studio in Rotterdam, Netherlands and New Cross, London, 2013. Analogue synthesizers: ARP 2500, ARP 2600, EMS VCS3, Serge Modular, Synton Syrinx, Roland SH-09 and Korg MS20."
Tim Hecker returns with a companion piece to his recent Konoyo album.
"Anoyo (“the world over there”) draws from the same sessions with members of Tokyo Gakuso which led to the 2018 work Konoyo, but rendered starker, solemn, and stripped back, with more of a naturalist tint. Hecker’s processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters.
This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return."
Eccentric french instrument builder Pierre Bastien fondles his melodic machines in a jazzy way on ‘Tinkle Twang ’n Tootle’ for exploratory label, Marionette
With a trail of LPs behind him for esteemed label such as AFX’s Rephlex, Rabih Beaini’s Morphine Records, and Discrepant, the endless inventive Bastien joins the likeminds of Soundwalk Collective and Burnt Friedman on Marionette with six inimitable compositions that sound like jazz seemingly played by creations from Fritz Lang’s ‘Metropolis’ or a parallel world without war where humans haven’t quite discovered electricity, but love making machines that chat music.
“Equal parts composer, inventor, mechanic, and performer - Bastien translates his imagination into instruments and compositions that defy any musical categories. Whether it’s preparing instruments like playing a trumpet underwater or through a kazoo, using belt-driven motors and mechanical components to perform cumbersome yet surprisingly musical operations on traditional instruments and household items, or using a fan to hit the strings of a kundi harp with flowing paper - Bastien’s love for tone, rhythm, noise and harmony is poetically reflected across his quite extensive oeuvre.
Playful and melancholic, the sound sculptures that Bastien invents and plays with are partly inspired by the work of Raymond Roussel, a visionary French author who at the turn of the 20th century wrote a unique form of literature which inspired and guided artists from the surrealist and pataphysical movement and was declared by Michel Foucault as one of structuralism's founding fathers. On that note, the influence of literature and syntax on Bastien’s work cuts all the way through to the palindromes he uses for his track titles - which, much like his machines, infinitely loop.
True to it’s adorable title, Tinkle Twang ‘n Tootle is a music box of unfolding whimsical structures, half broken rhythms, detuned harmonies, and fantastical sound collages that evoke a childlike sense of wonder and an urge to explore the spaces in between the sounds.”
This year celebrates the 20th Anniversary of Ágætis Byrjun, the band expand their breakthrough album with demo and archive versions of songs from the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released.
Edward Vesala and Jimi Tenor’s free jazz duo City of Women return to Sähkö nearly 20 years after their first and only appearance, and 20 years since Vesala sadly passed away before the first LP was issued
‘City of Women II’ was recorded in the same session as their debut and explores similarly free set of coordinates, even reiterating on one of the original tracks, ‘Tablakone’ in the flanging drive of ‘Tabulatuuri’ , which sounds a lot like Moritz Von Oswald and Tony Allen’s MvO Trio.
The rest is wider, abstract and off-road, or even in the middle of a busy intersection with the honking madness of ‘Dangerous Crossing’, while the quiet flute and tempered oscillators of ‘Autoharp’ point at more esoteric psychedelic inspiration, and ‘Heat Birth’ heads out along kosmiche vectors.
Debut volley of skudgy, raw Chi-house styles by Sanso for London’s prolific Wilson Records
Running cues from classic Cajual, Dance Mania, Djax-Up-Beats and Peacefrog into the red, Sanso makes a rude first impression between the likes of his Faces Drums-style corkscrew jacker ‘Cricketz’, the whooping wallbanger frolics of ‘Xxxpress’, and the butt-pinching, percolated tweaks of ‘Korg-Jam’.
One for those what jak to the hilt.
The great avant-bluesman Mike Cooper covers Van Dyke Parks, Woody Guthrie, Jim Reeves and Fred Neil, alongside a number of standards deconstructed and restitched in his exceptional mix of vocals, lap steel guitar and loop pedals.
Like an astringent to folk proper, Cooper wickedly dissolves a mix of standards, blues songs and original material with well worn digits across ‘Distant Songs of Madmen.’ Recorded in Palermo, Sicily in June 2011, after a set by his trio, Truth In The Abstract Blues, the LP characterises Cooper in a field of his own, veering from original works of wrenched, spontaneously combusting blues to a mix of relatively straight-played and properly f*cked-up takes on the likes of ‘He’ll Have To Go’, made famous by Gentleman Jim Reeves in the ‘60s, or Woody Guthrie’s country folk jangler ‘Plane Wreck at Los Gatos’, with a real standout in the segue from his ruinous noise in ‘Tinnitus’ to a pealing and shredded flip of Fred Neil’s ‘Dolphins’, which he best remembered played by Tim Buckley (whom he coincidentally met in London ’68).
An all-time classic, production masterclass - it doesn't get any better.
The hallmarks are all there; Mark Ernestus and Moritz Von Oswald have already set the world ablaze once, twice, three, four times with their work as Basic Channel and the splintering into microscopic, heavyweight offshoots by way of the M series, Main Street, Chain Reaction, Rhythm and Sound and, of course, Burial Mix.
This is, in fact, the second Burial Mix compilation, the first "showcase" concentrating on the label's collaborations with Paul St Hilaire, aka Tikiman, for its opening set of releases. This second installment divides itself into Vocal and Instrumental "Versions" (the instrumentals are collected seperately on a second release), displaying the last seven releases in their entirety, plus "Mash Down Babylon" (a new take on "March Down Babylon"), and features a by-now totally classic collection of tracks.
Lifechanging, foundational bizz.
Russia’s Lyubocha kicks out four grainy technohouse grooves on Black Opal after appearing on Opal Tapes’ Contemporary Dance and The Harvest of a Quiet Eye compilations.
We advise heading straight for the slidy rimshots and virulent acid of Noblask and the tricksy kalimba workout Nikogda.
Demdike Stare plunge into an ocean of dense, analogue sound disruption on this new work commissioned by Hanno Leichtmann for the Letra-Tone festival, in which they were asked to interpret a score created by graphic designer Scott Massey out of salvaged Letrasets. The result is on a moody and futuristic Concrète tip, full of seething drones, industrial clangs and flute choruses coming in and out of view.
Featuring an hour of new and previously unreleased work, the material here extends as one continuous piece split into two sides, building from meticulously layered field recordings into sheets of drone that coalesce from barely audible murmurations into colossal, reverberant walls of sound. Through a wide and spacious stereo field, we’re led though highly disorientating, sometimes terrifying passages, with long atmospheric sections suddenly disrupted by clanging percussion and found sound panning across the spectrum, before falling back into a kind of deadly, tense fizz.
Almost entirely beatless - except for the odd percussive shudder - it’s a relentlessly moody hour of music that only lets in some light at the very end, where buried strings slowly emerge into a gloriously moving final sequence, where shapes and colour gradually thaw back into being.
Pure future-primitive brilliance.
Knekelhuis excavate a cornerstone of ‘90s Minneapolis dance music with reissue of Cold Front’s sole EP
‘Beyond The Beat’ is the work of 4-piece Cold Front, comprising spouses Ayanna and Cam Muata, plus Jon Jon Scott and Ron Clark, who released the original on his Audiocon label in 1990. The A-side tends to a sort of deep house that could arguably have come from anywhere between Minneapolis and Antwerp in 1990, rolling out in a hip-house style radio edit, a stripped and grooving ‘Infinite Mix’, and the concentrated ’Subterranean Bass Mix’.
However it gets better on the B-side with ‘Stars and Stripes’, lodged somewhere between MBM, NIN, and Jeff Mills’ bits with Final Cut, alongside ‘Minus 22 Degrees Fahrenheit (Ambient East)’, which sounds like Peter Hook’s imaginary proto-Goa trance side project, and the Prince-meets-White House White alike banger ‘Side By Side (Rough Mix)’.
‘Arc 1’ is the first posthumous release of Mika Vainio’s solo material, taken from a large collection of his unreleased music. The archive series will present pieces which can be considered as completed works rather than unfinished fragments, and ‘ARC 1’ is a fittingly contemplative artefact - preserving Mika’s patient, sensuous minimalism released under his solo moniker, Ø.
Made up of two selections from an untitled recording Vainio did as Ø for the radio project Ambient City at the Museum of Contemporary Art in Helsinki in 1994, the 34 minute work can be considered a complete, singular work, and one of the purest in Vainio's catalogue.
Working at the threshold of perception in a way comparable with fellow minimalist masters such as Eliane Radigue or Kevin Drumm, ‘ARC 1’ follows a glacial transition from elemental subbass pulses through sustained, hovering drone before almost imperceptibly changing state half way, when a field of static disruption re-organises the piece’s atoms, only for the noise to recede and reveal a more complex timbral aurora, and a final tract of isolationist ambience flickering like northern lights.
Witch’s tit D&B pressure from London’s Outer Heaven, firing his 2nd EP for the UVB-76 stronghold
Last spotted in collab with Sully for the ace Rupture London label, here Outer Heaven goes head-down and solo in an austere dreadnaught mode, getting dancers on their toes with the cage-rattling hardstep and Amen shrapnel of ‘The Last Men’ and the lip-bitingly tight torque of ‘Trapline’, whereas ‘Blemish’ steps into trip hop quicksand recalling Scud & I-Sound’s wasteland as much as the recent Pessimist & Karim Maas side, and ’Still Waters’ wickedly epitomises and finishes the phrase with the threat of plummeting subs.
Includes The Wire Tapper 50 with music by Félicia Atkinson, Carl Stone, S S S S, Rimarimba, Jim Haynes ++
The August 2019 edition of the Wire has Oren Ambarchi on the front cover and also in interview with Bruce Russell, providing extensive overview of the polymath’s broad talents. Also includes features on Shanghai’s Goooose & 33EMYBW, a global ear cocked to Budapest, Pierre Bastien tested by The Invisible Jukebox, and all the usual news, reviews, and listings sections.
Adrian Corker gets curiously transfixing results from purpose-made acetate locked grooves, arranged in various states of natural decay to pensive, off-kilter effect recalling the rustle of Bellows or Pole processed by William Basinski. Quietly brilliant stuff.
“SN Variations fifth release features two tracks in three parts each composed for lock grooves recorded onto acetate, percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.
A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM. Corker used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. Because of the softness of the acetate the lock grooves break down as they are re-recorded causing unexpected effects as the needle carves away the surface of the vinyl. This generative process adds layers of unpredictable noise culminating finally in white noise. These are combined and edited forming frames for performances of violin, percussion and piano. The pieces reflect on the tension between the mechanical and the human gesture/expression and place where they merge.”
Filter Dread kills it with a more direct, rolling style of junglist breaks and grime tics on the 3rd 12” from Seattle, WA’s Tech Startup
Cut loud and heavy for optimum rave reactions, the four tracks catch Filter Dread sharpening up his mutant definition of UK dance music. Uptown that results in the staccato, Amiga-punctuated breaks and surging chord pads of ‘Rainforest’, and a killer take on West London broken beat, grime and that fucking mental sound in his head on ‘Blizzard’. Downtown, he steps out with the wildly pitching, ricocheting drums of ‘Tripping Up’, and the cold, vacuum-sealed shards of brukken drums in ‘RX 4 Real.’
Militant grime/techno hybrids from London’s East Man (Anthoney J Hart, Basic Rhythm, Imaginary Forces) and Manchester-based Walton
Cut a side per piece for optimal punch and crack, both tunes find Walton and East Man as natural collaborators with a shared, ascetic aesthetic and taste for the most stripped down, bony drum trax.
‘Horse Mouth’ hits first and hardest with rail gunning percussion and classic Jamaican chat paying tribute to the eponymous drummer and star of ‘Rockers’ in tuff deco dance style comparable to Logos & Mumdance or Szare productions. ‘Gunshot’ steps out into more spacious, noirish halfstep vibes on the back, casually spraying claps and grime radio spit over red-lining and wickedly distorted subs.
Dons in their field, Ruffhouse affiliates Pessimist & Karim Maas mete out a paranoid debut collaboration of dusty downstrokes and dread electronics.
The duo’s eponymous debut album is perhaps the strongest of its ilk in recent memory. Dwelling in the shadows somewhere between techno overlord Kareem’s sorely overlooked hip hop instrumentals on the Ramadan label, the smoky silhouettes of classic Portishead, and the dub-possessed spirits of Kevin “The Bug” Martin at its most scowling, the album is unyielding in its depressive outlook, but, like the aforementioned references, Pessimist & Karim Maas’s patient and texturally-detailed arrangements speak to an almost comforting virtue of darkside, isolationist UK pressures that will resonate strongly with those who like their coffee as black/brown as their hash.
Trust they’re not fucking about. It’s purely dank.
Bone-rattling D&B pressure, delivered cold and noisy by St. Petersburg, Russia’s Torn on Homemade Weapons’ label
Picking up the Russian mantle of hard-ass D&B producer Limewax, Torn runs for the hills with a more ragged but no less fierce take on the tuff stuff in all four sectors.
Up top the ruthless rufige of ‘Anaxos’ sounds like a free party held on a runaway pacer, firing overdriven amens thru a teeth-chattering maze of rattly rhythms, while the clenched funk of ‘Nothing’ goes on a murderous halfstep/hardstep trample. Turn over to find him strafing deeper into the darkside with the crushed groove and pranging breaks of ‘Escape’, and the bolshy epic ‘Collapse.’
It’s practically guaranteed this lot will set fire to the ‘floor.