Now entering its 3rd decade of circulation, Maurizio’s ‘M6’  remains one of the greatest 12”s of the ‘90s
How a modulated dub chord, slinky hi-hat and bassline can move us to tears and freeze our spines for 9 minutes quite like the A and B-sides of M6 is a mystery that we’ll never fully work out, and kinda don’t want to anyway. Mix it with Main Street’s Acting Crazy to extend the hypnosis as long as you like.
Marking the 50th anniversary of the Apollo 11 moon landing, Brian Eno’s classic ambient excursion with his brother Roger, and studio whizkind, Daniel Lanois, re-enters the vinyl orbit for the first time since 1983, bolstered with booster pack of previously unreleased material.
Conceived as a soundtrack to Al Reinert’s 1983 documentary, ‘For All Mankind’, the wide-eyed wonder of ‘Apollo’ has taken on a life of its own as one of Eno's best loved and most influential ambient trips, especially for the divine choral of ‘An Ending (Ascent)’ which also made its way onto movie and doco soundtracks (28 Days Later, Traffic, Trainspotting) and was sampled by Burial in ‘Forgive’. Out of print for too long, the original LP is now remastered for this edition and extended with a new re-do of the soundtrack by Eno and his original co-pilots
Frankly worth it for ‘An Ending (Ascent)’ alone, ‘Apollo’ is also flush with key ambient themes that would strongly influence its antecedents, and it’s not hard to hear how its dusty, sanguine country themes would influence The Orb or the likes of Calexico and a thousand other starry-eyed wanderers in the ‘90s. Eno would go on to state that he was influenced by country music as a child, received from an Armed Forces radio station in Woodbridge, was used to “give the impression of weightless space”, and while it’s maybe not the first thing it connotes for us, Eno’s use here has made floating country & western guitars a key part of the classic ambient music makeup.
So to the bonus disc, a “reimagining” of the original Apollo soundtrack that sees the Eno’s and Lanois reprise that gently awe-struck feeling of watching Apollo 11 land on the moon. It starts off with the super slowed weightless smudge of ‘The End of a Thin Line’ along with the elegant deep space waltzer ‘At The Foot of a Ladder’, and future classic material in the tremulous beauty of ‘Under The Moon.’
Mark Ernestus and Moritz Von Oswald’s sublime Main Street project was Berlin’s most beautiful contribution to bridging deep house and dub techno.
On the Round Two platter Andy Caine lends proper American soul/house vox vocals to the stepping’, swinging original, also trimmed to a natty New Day (Edit) and expanded to the horizon in a New Day (Dub).
‘Seitō’ is a compilation of modern, experimental Japanese female artists gathered to echo the stylistic richness of the ’Tokyo Flashback’ series issued by P.S.F. in the early ‘90s, under a title referring to a cult feminist magazine printed in Japan during the 1910s
Yet another curveball from the Paris-based Akuphone label, ‘Seitō: In the Beginning, Woman Was the Sun’ lassos artists of traditions ranging from dub to the avant-garde, dance music and free improv, serving a broad but coherent cross-section of music by Japan lasses active at home and abroad.
The distance between Fuji Yuki’s doomy, noisy tract ‘Blood Moon’ and the way Keiko Higuchi channels Diamanda Galas in the low-lying folk drone torpor of ‘Okesa Bushi’ exemplifies the extent of the LP’s remit, which bows to haunt dub abstraction in Kiki Hitomi and Disrupt’s KMS-like ‘Gain And Lose’, a skunking house workout by Mikado Koda, and the album’s centrepiece highlight, the small sound shuffles of Miki Yui in ‘Radicalv.’
Hypnotic, deep techno-house trips by Tadd Mullinx (Dabrye, Charles Manier) in his trusted JTC guise
Folding in elements that you might also hear in his X-Altera project, the A-side’s ‘The FlightSTRENS2Rd’ rolls out in a wide, swinging formation with spongiform bass and rounded harmonics nodding to Derrick May as much as 4Hero and Boo Williams, whereas the B-side’s ‘The Assembly’ kicks it hard and direct with tub-thumping bass drum, simmering organ riff and singing hi-hats in a style not dissimilar to classic Rob Hood.
Heartsick boogie aces from Anthony Naples, poking out his first release of 2016 as a sort of autumnal toddy for chapped dancers and reveries of warmer times.
Leaker swivels out on a slow, shifty electro boogie glyde with a steady core of phasing bass and ticking rimshot smudged by psychoacoustically shifty pads; sounds sorta like a sharpened NWAQ joint.
The sluggish jack of Moments Magicos feels more sore, blue, like one of V/Vm’s saltiest new beat tributes, early trance on 33-not-45, or Pye Corner Audio at their gauziest.
Remastered, repackaged reissue celebrating the 20th anniversary of Explosions In The Sky.
"The Rescue is commonly referred to as Explosions In The Sky’s “secret album,” mostly due to the fact that since its initial limited mail-order only CD release in 2005, it has never been made commercially available on any format, in any store, anywhere in the world. In 2005 – after having toured the world for over a year straight in support of The Earth Is Not A Cold Place, and scoring the major motion picture, Friday Night Lights – Explosions In The Sky took the year off to physically, emotionally, and creatively recharge. It was during this period that they decided to try making an entire album in a method that was totally foreign to them: Quickly, and loosely.
They came up with the idea to compose, rehearse, record, and mix an entirely new song each day for eight days in a row. They kept the rules simple and strict: the song had to be crafted from start to finish in one day, and could not be revisited once that day was done. The band would produce, record, and mix everything themselves in their own homes, without outside assistance or interference. With such rigid parameters, the expectations were kept suitably low. The quality of the album that bloomed was startlingly high. The songs had a lightness and unruliness that starkly contrasted their catalog, while maintaining the same emotional resonance that had already become a trademark of their music.
The Rescue – Anniversary Edition has been beautifully remastered from the original 24-bit stereo mixes by Heba Kadry at Timeless Mastering. The vinyl lacquers have been cut by Bob Weston at Chicago Mastering Service. The record was pressed onto audiophile-quality 100% virgin vinyl at Record Technology Inc., and is packaged in a full-color jacket with a full-color heavyweight inner sleeve featuring the hand-written story of The Rescue, as told by the band upon its completion in 2005. This is the long-overdue, definitive presentation of a rare but requisite piece of Explosions In The Sky’s remarkable history."
As practitioners of an increasingly rare form of musical alchemy, Major Stars have proven to be an antidote to all sorts of real-world trauma. Put on an album of theirs and you’re bound to be catapulted into a world of rockbased abstraction, diffraction and, finally, sweet distraction.
"How, after over 20 years of record making (all of it at a focused level of concentration - which followed a number of other years of playing and record making), does one arrive at ‘roots’ and ‘seeds’? Maybe it’s related to ‘Motion Set’, the previous Major Stars record, being a mere two years old at this time of this writing; previous inter-album gestations were in the more formidable three to four year length. Add a Wayne Rogers solo album also arriving this year and it’s pretty clear that over in Fort Major Stars, the creative current is presently in a mega-waxing state, with momentum that won’t quit.
At moments like these, it’s easy to feel connected to sources like roots and seeds - and when you lay the needle onto the platter, you too will feel this inspiration. Playing material arranged for a sextet fronted by a trio of guitars, Major Stars have developed a habit of rehearsing regularly and repeatedly, then showing up to record with the material fully conceived and ready to roll - and ‘Roots Of Confusion Seeds Of Joy’ was no exception, with most of the songs (except ‘Out In The Light’) being run through a thousand times or so before coming to the studio and getting tracked in a day and a half. Their triple-guitar alignment has a fiendish way of affecting one’s depth of field and, while it is easy to describe what Major Stars do in terms of bombast, this shortchanges the tactile components of the band - a song like ‘Dawn And The Spirit’ is an epic workout of no mean complexity and the layers of guitars throughout are arrayed to explore aspects of melody and progression in the songs, not to saw and solo mindlessly away.
New vocalist Noell Dorsey, a veteran of many different projects, brings an inspiring new sonic element to the mix, including several passages of harmony vocals. In general, the eternal psych sheen that Major Stars are known for abounds in extra-fine production twists on ‘Roots Of Confusion Seeds Of Joy’. Seth Manchester provided thoroughly modern engineering at Machines with Magnets in Pawtucket, RI, using a number of analogue devices to nail the unique extremes in each of the songs, then seamlessly employed digital faculties to mix. All this plus a lovely Robert Beatty design on a tip-on Stoughton sleeve makes for the kind of liberating album encounter that is nothing less than needed nowadays."
Vancouver’s ambient great Loscil returns with handfuls of foggy atmospheric saturation in ‘Equivalents’, his 12th solo album and 9th for long-term supporters at Kranky.
Framed by production methods mirroring the early 20th Century photographs of Alfred Stieglitz, regarded for “abstracting clouds into miasmic, painterly canvases of smoke and shadowplay”, Loscil vents eight voluminous swells of greyscale harmonics and distant, aeolian melody that beckons eyelids to half-mast and bodies to the horizontal.
Like Stieglitz’s naturally evocative images of cloud formations, Loscil’s ‘Equivalents’ are somber, wistful and beautiful in equal measure, looking above and beyond to scry for meaning in the firmament. Coming from Vancouver, a city nestled in straits that lead to the Pacific ocean, Loscil draws reflects an elemental play of light bouncing off big busy currents and big skies in a similar way to how, say, Philip Jeck can’t help but connote the silty shadowplay of light refracting off the Mersey and its waning canopy.
Fleetingly ephemeral yet immeasurably eternal, Loscil’s music feels like it occurred, rather than was made. Billowing chords loom and recede like vaporous castles in the sky, casting vast shadows of scudding bass, parting to reveal goodnight shafts of choral brilliance or textures as dense as flannel and wool, or finely effervescent as sea spray. It notably contains one tract ‘Equivalent 7’ with Loscil in collaboration with Amir Abbey aka Seceret Pyramid (Students of Decay, Ba Da Bing!) that was originally commissioned as a dance score for choreographer Vanessa Goodman, although it’s difficult to discern Abbey’s input, as it’s subsumed so well into the ebb and swell of the song.
Uniform & The Body clack their hairy balls in a hoary new collaboration for Sacred Bones
“On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as "the middle ground between Robyn and Corrupted, but weirder.”
The collaboration between the two bands was built upon mutual admiration for each other’s work, which led to bonds of friendship. After the release of the debut collaborative effort, Uniform released the critically praised The Long Walk and embarked on a smash tour with Deafheaven and Drab Majesty, while The Body released the widely acclaimed I Have Fought Against It, But I Can’t Any Longer and took to the road for their own successful and extensive North American tour. The demand for the collaboration eventually necessitated a U.S. jaunt, pairing the collective for rare dates with Author & Punisher and Street Sects on both coasts. It was on those dates that the bands started to plant the seeds for what would become Everything That Dies Someday Comes Back.
Much like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own.
Everything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort My Dark Places. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life.”
FK go above and beyond to excavate further, pioneering EMS Synthi AKS recordings by one of the godfathers of Anatolian rock and roll. Never heard beyond one-off TV broadcasts and stage shows, the LP contains a bounty of dark, early electronic matter for discerning heads.
“A key figure during the birth of Turkish rock and roll, a founding father of Anatolian Rock and the studio brains behind the first Turkish electronic pop records, Gökçen Kaynatan's influence runs like the lifeblood through Turkish pop and rock. Having shunned the recording industry early in his career he remained a driving force behind the scenes and on TV screens, spearheading the explosion of synth technology in Turkish music with his pioneering use of the EMS Synthi AKS, the fruits of which would only be shared on stage, never to be repeated television broadcasts, and in archival recordings that haven't seen the light of day, until now!
Having chanced upon the newly released EMS Synthi AKS in 1972 during a sabbatical in Cologne, Gökçen undertook six months of tuition in order to fully explore every intricacy of the highly versatile portable modular analog synthesiser. As the beating heart of his now self-sufficient custom-built studio it would propel Gökçen’s forward-thinking aural ambitions to a new plain. Making his first entirely synthesiser based public performances in Germany in 1974 he then returned to his homeland to soundtrack the dawn of the Turkish television age as in-house composer and one-man house band for Turkey's first TV channel TRT, signalling the arrival of a new era in Turkish pop and rock. Increasingly dogged by ill health, Gökçen privately harnessed the Synthi to channel his suffering caused by what would later be diagnosed as a brain tumour, dutifully recording and archiving his studio experiments, which would remain in the proverbial can for over 40 years.
With unparalleled access to Gökçen's closely guarded private vault, Finders Keepers Records presents another first with this previously unheard collection of EMS Synthi AKS recordings that represent a vital yet hitherto missing thread in the development of modern Turkish music. Recorded between 1973-75 this modest compendium comprises two of Gökçen's earliest synthesiser compositions and an updated recording made whilst recovering from brain surgery - arguably some the earliest Turkish synthesiser music committed to magnetic tape, further cementing Gökçen's indelible legacy within Turkish popular culture.”
Staple, fuzzy Anatolian Psych rock peaches reissued by Andy Votel and Doug Shipton’s Finders Keepers
“Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag.
Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with İrfan Sumer, Oğuz Durukan and Uğur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing.
In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Barış Manço and Moğollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Kardaşlar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda.
Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervişan – Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973).
Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later… The cat’s got the cream.”
The 4th album from Austin musician Abram Shook, is a dystopian dance party, and everyone’s invited.
"Juxtaposed against 2017’s sepia-tinged, quietly reflective Love at Low Speed, the new record’s mix of irresistible beats and slyly humorous lyrics might seem like a 180 at first glance: a giddy, knowing soundtrack to the end of the world. The varied influences of world music and jazz that are present in all his records can still be heard (as in the High-Life inspired guitar work on “My Money”), though here Shook tucks them into the corners and uses them in more subtle ways, giving center stage to a vintage Sequential Circuits Prophet 600, a drum sequencer, and his signature rubbery bass lines.
In Shook’s adept hands, The Neon Machine is full of day-glo danceability even though something slightly sinister lurks beneath the surface; it’s a kind of tour de force synesthesia for the fevered mind. With this record, Shook has traded in his usual gimlet-eyed observations for a playfully cynical sense of humor. Using highly confessional lyrics and deeply personal insight to convey his anger, with the current political climate, he writes candidly about his anxieties, and frustrations toward a country and culture that he’s grown up with, but hasn’t always felt at home in. Full of Prince-esque riffs, Blood Orange-style beats, and David Bowie allusions, The Neon Machine is accessible and adventurous at once. It has as its backdrop a party that’s lasted too long, and the foreground of a narrator full of anxiety and skepticism whose hangover has already begun.
The beauty of it lies in its malleability. What appears on the surface to be an effervescent album of pop anthems, with its familiar themes of sex, love and drugs, soon reveals its true heart: the intimate insights of a man, long accustomed to being an outside observer, who has decided to join the fray. “In a lot of ways it feels like the record I’ve always wanted to make.”
Techno, posh trance and breakbeat riddled with IDM trickery by Ross From Friends for Brainfeeder
“While Ross from Friends’ - AKA Felix Clary Weatherall’s - debut album “Family Portrait” was dedicated in part to his parents, the new 12” “Epiphany” is an homage to (and named after) Clary Weatherall’s sister: “One of the most important role models I have”. The three tracks are sleeker and tougher than his acclaimed debut album but his signature warmth and personality is ever present. The artwork is by legendary pro skateboarder, entrepreneur and artist Chad Muska.
Recorded in the wake of the release of “Family Portrait” and constructed with the dancefloor at the forefront of his mind, he explains that the move to a new studio - “I finally got a place with a window” - coupled with the fact that he was also “getting into a lot of woodwork, DIY and making a lot of the furniture in the space” - precipitated a different approach in process when it came to the music. “I constantly wanted to take a step back and think about the structures in a more conventional sense. I spent a lot of time making it sound like it could be played in a club, particularly with ‘Phantom Ratio’ - I wanted to challenge myself to make a weird club track with that one.”
For the title track in particular, he drew inspiration from sci-fi movies. “I was watching a bunch of these films like The Thirteenth Floor, The Matrix (happy 20th anniversary) or Fifth Element, and I wanted the release to play on the idea of a desolate physical and social landscape becoming a utopia from a communal epiphany - or revolution”.”
Ferric-fogged ambient kisses and warbly, sepia-toned nostalgia from California’s r beny, beautifully presented in Femke Strijbol’s screen-printed artwork. RIYL Deru, BoC, The Boats
“Myth makes Echo the subject of longing and desire. Physics makes Echo the subject of distance and design. Where emotion and reason are concerned both claims are accurate. And where there is no Echo there is no description of space or love. There is only silence.” (Mark Z. Danielewski)”
Remastered, repackaged reissue celebrating the 20th anniversary of Explosions In The Sky.
"The members of Explosions In The Sky played their first show, at the University of Texas’ student radio station, on July 4, 1999, under the short-lived moniker, Breaker Morant. A year later, they recorded their first album, How Strange, Innocence, over the course of two days, and made 300 CD-R copies to sell at shows and give to friends in their hometown of Austin, TX. In 2001, they signed to Temporary Residence Ltd., and released their breakthrough second album, Those Who Tell The Truth Shall Die, Those Who Tell The Truth Shall Live Forever, leaving the legend of How Strange, Innocence to proliferate on file-sharing and tape trading sites in a pre-iTunes and YouTube era. Following their third album, The Earth Is Not A Cold Dead Place, the band released a single vinyl pressing of How Strange, Innocence as the debut release on a friend’s short-lived local imprint, Ruined Potential Records. Sold exclusively on a 2004 North American tour, the sole pressing of 300 sold out immediately, quickly becoming an urban legend for fans.
Now, in honor of the band’s 20th anniversary, we are delighted to bring this treasured document of Explosions In The Sky’s humble beginnings back into the world. How Strange, Innocence – Anniversary Edition has been beautifully remastered by Heba Kadry – with vinyl lacquers cut by Bob Weston – and packaged in an incredible full-color, heavyweight triple-gatefold jacket with matte varnish, heavyweight full-color insert, and custom vinyl etching containing the charming story of How Strange, Innocence in the band’s own words. This is the definitive sound, look, and feel of the album that started one of the most inspiring and unique careers in modern underground music."
Georgia’s party-ready description of young love arrives on vinyl with its Tuff City Kids remix some 9 months after it was issued on digital formats
Notably Georgia is the daughter of Neil Barnes, he of UK big room dance music heroes, Leftfield. Her sound is far more modest and synth-poppy, though, coming with hummable synth-pop groove and hooky vox on the original, which receives a breezy, skanking acid house re-rub by Gerd Jansen & Phillip Lauer’s Tuff City Kids.
It’s now 20 years since U.S. Maple and ‘Talker’ were sent to the Drag City office. Their third album took the egressions and abrasions of their early music to a new height of quiet horror, their contribution to the summer of 1999 - a hot, trying season, one that won’t soon be forgotten.
"‘Talker’ was recorded by Martin Bisi and produced by Michael Gira at Bisi Studios. U.S. Maple made two more records after ‘Talker’ before dissolving in the mid 2000s. ‘Talker’ has been out of print on vinyl since 2008. ‘Talker’ has been newly repressed for vinyl with all original packaging (gatefold sleeve, notebook paper insert, poster, cover sticker) because some experiences, like high school, should keep getting replayed over and over again, forever. “One of the most obliquely beautiful releases... evasive, creepy, engrossing, and lovely... No one sounds quite like U.S. Maple, and that’s the greatest compliment you can pay a band these days.” - AV Club
The Danish guitar charmers channel classic kosmische and American minimalism in five durational, hypnotic flights for their debut collaboration, bringing together Munk’s years of playing with Causa Sui with the iridescent freshness of Sørenson, following solo albums.
“On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn't sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless.”
The story’s almost over.
"A year on from the release of their first album, ‘Here Lies The Body’ - a busy 12 months in which there was a Christmas album, a live album, countless shows and sessions - they have decided it’s time to part ways. The goodbye comes in song: the final release, the brand new single ‘Cut To Black’, which serves as an epilogue to ‘Here Lies The Body’."
Smudged, balmy Balearic chug and woozy far eastern vibes, teamed with an ace, New Beat-esque remix by Suzanne Kraft
“Olaf Blanch debuts on Modern Obscure Music with the Borealis EP, which also features a remix by Suzanne Kraft. The Barcelona based producer presents four original tracks that explore different Balearic soundscapes, from the exciting adventure of Nur Yawa to the deep ambience of Birds. For reference points, think Mark Barrott’s Islands project or some of the great Ambient records of the 1990s. This isn’t all. Suzanne Kraft turns Nur Yawa on its head, creating a catchy and very danceable Nu Beat styled remix.”
Big room UK rolige from Silas & Snare for big stage player Madam X and her Kaizen label
‘Pressure’ comes with dramatic intro, precipitous drops and dry claps to cut thru big rigs, while ‘Dreamscape’ opens out with brooding pads over percolated subs and minimal but militant percussion, with the tense build of ‘Whistle Blower’ leaning into a rugged sort of proggy UK bass style.
Heart-warming, rhythm-driven electronica from James Clements, aka prolific D&B producer ASC, exploring a gentler, Schnaussian sound as Comit for A Strangely Isolated Place
In a beautifully refined shift away from the steely contours and urgent rhythms of his widely-adored ASC releases, Commit locates a finely feathered balance of float-away melodies and the kind of sweetly puckered, whirring rhythmic impulses that connect ‘90s Autechre and B12 to early Ulrich Schauss’ noughties ambient-pop and its contemporary echoes from the likes of Synkro.
Effectively the eight tracks of ‘Remote Viewing’ form a tactile inversion of Clements’ better known side. but they should come as little surprise to anyone who has followed his meticulous and abundant work since start of this century, and more specifically in the past decade, when he has really dominated a certain grey area of modern D&B.
Between the crimped rhythms, reverse string loops and wistful pads of opener ‘Behind Dulled Eyes’ and the eldritch acid-hop whirl of album closer ‘Soliloquy’, Comit portrays a sweetly tempered version of himself that’s sure to attract lovers of fluffier electronics in the likes of his Autechrian nod ‘Flutter’, the dewy-eyed bliss of ‘Reverie’ and the soul-searching stroll of ‘Meadows.’
Classic, cusp-of-darkside ‘ardcore collage styles from Alex Banks and Danny DiMerre’s pivotal Hyper-On-Experience duo, remasterd and reissued by the legendary Kniteforce label
Crammed with nanoscopic edits and multiple breakdowns, this is the sound of ’93 at its most inventive and definitively nutty in that inimitable UK style. From the original 12” comms three bullets; the jaw-trembling, rogue stepper ‘Disturbance’, the deep diving rush of ‘Monarch Of The Glen’ with it’s wide-eyed synth into and scintillating schizoid switch-ups, plus the rudeboy rufige of ‘Lil Ruffian’, and Alex Jungle’s cut-up, catapulting remix of ‘Monarch of The Glen.’
Rupa’s cult, 1982 Indian “disco” side comes back around on a fully legit pressing via Numero. Some of it is novelty, but the standout ‘Aaj Shanibar’ is a proper burner!
“Barely disco and hardly jazz, Rupa Biswas’ 1982 LP is the halfway point between Bollywood and Balearic. Tracked in Calgary’s Living Room Studios with a crack team of Indian and Canadian studio rats alike, Disco Jazz is a perfect fusion of East and West. Sarod and synthesizer intricately weaving around one another for 37 transcendent minutes, culminating in the viral hit “Aaj Shanibar.” Remastered from original analogue source material and with the permission and blessing of the producers and performers.”
First time vinyl press of two super-infectious, jazz funk rare grooves from an early 2000’s CD
Jazz-Funk legend Don Blackman belts it out on both sides, riding a strapping B-line and freshly polished synths on ‘Just Can’t Stay Away’ in stereo and mono versions, for some reason.
Forever temper their sound with a balmy dub feel for first 12” since 2017’s dark blue ‘Hymn EP’
The style here is more a late summer washout sound, traversing from dank drones to gingerly shifty dembow patterns and rippling ambient air in ‘Watch This’, and a sort of tropical take on strident Moritz Von Oswald vibes with ‘In Your Own Time’, before applying hat aesthetic to the electro-dub flex of ‘Alpine’, and slowing down into the dry dub of ‘In Your Own Time (Opioid Mix)’, and the submerged ambient shimmer of ‘UR’ with a more refined tact than usual.