Mount Kimbie bring out the European big guns to rework their Love What Survives album for the gurners.
Marcel Dettmann rolls Four Years And One Day right off the bone for a killer sort of grey area techno pressure leading up to a shoegazing squall, whereas Gerd Janson reframes the same original elements as a tuff acid house groove.
The flipside is given to Ellen Allien and her U.F.O remix of T.A.M.E.D, cut at 45rpm for optimal bass traction in trademark, rolling and jacking style.
Astral Projection is the first full length ASC album for the Horo label.
"Astral Projection follows on clearly from ‘Imagine The Future’ with the development of the Grey Area sound progressing and becoming intrinsic to a large majority of ASC’s current work. But this LP is not a Grey Area addendum, Astral Projection is a luminous artistic statement from a sonic perfectionist who the term ‘sound designer’ was made to define.
An accomplished and much respected ambient producer, ASC weaves his talent for soaring emotive soundscapes with his undeniable rhythmic prowess across a cohesive 12 track sonic voyage that again accomplishes a rare goal in todays electronic music landscape - a commanding listen from beginning to end. Very few artists are as prolific and consistent as ASC, but we are confident Astral Projection will be revered as one of his finest moments in years to come.”
On Clastics Phil Julian generates some absolute ear-rippers and invasive otology for Berlin’s Conditional label.
Ranging from loud swarms to resonant prangs, lower case studies and gut-wrenching atonalities, it’s a proper, proper look for fans of Russell Haswell, Florian Hecker, Yasunao Tone, “insert favourite computer/synth noise maker here”
“The doggedly prolific and eclectic Phil Julian opens up a brand new deck of cards on the sublimely crunchy and elastic 'Clastics'.
Austerely described as 'five sets of interrelated pattern based / sequencer derived recordings', Clastics lays down a gauntlet of straitjacket electronics, fizzing and crackling into and out of life. Mutated patterns evolve and decay without a care in the world.”
Initially one of the calmer releases from Berlin’s Conditional, this one from the Toon’s co34pt soon enough takes flight into more complex and noisy designs on the pitch-shifting 22 minute ride of ‘Sines Draft (take 4)’, while ‘acid draft (take 2)’ locks into a driving acidic wormhole, and ‘rave draft (take 6)’ brings it for the EVOL fans and Monta munters with breakneck, cowie-jawing velocity
“Newcastle-based live coder co34pt lands on Conditional with a suite of exercises in reconstructing dance music form.
'Half-Live for Conditional Records' displays a wide-ranging command of genre, touching on elements of minimalism, breakbeat hardcore, bassline and old-skool rave (airhorn fans, be ready). Created and performed live in audio programming language Supercollider, these tracks play tricks on the ear, bending pitch and subverting rhythm on a whim.
Mastered loud for maximum airhorn impact.”
On their follow up to 2016’s acclaimed ‘No One Deserves Happiness’, the Portland duo of Lee Buford and Chip King conjure the sublime from the unexpected by turning their compositional approach on its head.
"The Body continue to defy the constraints of what it means to be a ‘heavy’ band, seamlessly combining diverse influences for an utterly singular sound. The album’s contributors include Kristin Hayter (Lingua Ignota), Michael Berdan (Uniform) and Ben Eberle (Sandworm), as well as frequent collaborator Chrissy Wolpert (Assembly of Light Choir). Production was handled by Machines With Magnets (Lightning Bolt, Battles).
The Body transcend musical boundaries. Their ambitious creativity shapes their bleak worldview into propulsive, affecting, and even danceable music often drenched in distortion."
The newest newness on Berlin’s excellent Conditional (for now, at least), is William Fields’ hyper ‘Local Maxima’ session; five blinding cuts of G-force futurism for right now. Obvious comparisons to Æ, Richard Devine or Dalglish aside, William is pushing heavy into some messed up territory with hyper jazzy footwork-esque dynamics of ‘Perspekt’ and really spinning off on unique tangents with the rapid flux and melodic control of ‘Ectomorph’ and ‘Arctan’. The future tastes tangy AF
“William Fields is an audio-visual artist like few others, conjuring unforeseen shapes that break apart and fuse together in sync with unconventional rhythmic structures. We are very excited to bring his latest EP, Local Maxima, to Conditional.
Local Maxima creates an entirely unique sound world. Time breathes deeply and rhythm slips out of control, bordering on chaos but always retaining a swinging pulse. Icy harmonies stretch and contract atop rolling drums and warm bass tones.
Fields’ improvisatory composition process shapes the unpredictable pathways of Local Maxima’s five stellar tracks, informing everything from the broken shuffle of ‘Ectomorph’ to the frenetic deconstruction of ‘Catenary’.”
Carla Bozulich is diversely experimental, uncompromising and continues to be ceaselessly devoted to mixing art-punk ethics and creativity.
"Here, with Quieter, is an intensely emotive, intuitive, enchantingly cohesive collection of previously orphaned and one-off tracks where, uncharacteristically, nothing ever quite screams. Carla’s way with a fleshy edge remains sharp as ever. A couple of these are left over from the bountifully productive sessions from her brilliant and widely-acclaimed 2014 album Boy; others featuring collaborations with the likes of Marc Ribot, Sarah Lipstate (Noveller), Freddy Ruppert, JHNO (John Eichenseer), Shahzad Ismaily and more.
Quieter is the result of this ceaselessly nomadic and defiantly DIY iconoclast having settled back in Los Angeles for a spell, recovering from tour-inflicted ear damage, sifting through unreleased/unfinished material, and finding herself drawn to working on the quieter stuff (relatively speaking) in her abundant archives. Ranging from the searching, searing opener "Let It Roll" - "the most honest work I've ever done" says Carla - to the chiming, deconstructed lullabies of "Glass House" (composed by Ruppert) and "Sha Sha" (from her mid-2000s project The Night Porter) and the album's sultry closing track "End Of The World"(a duet with Marc Ribot, who penned the song), Quieter is a brilliant addition to Bozulich's impressively diverse, adventurous, and unwaveringly authentic body of work.”
Nina Kraviz gives Mount Kimbie a thorough booting for the benefit of the ‘floor
Turning Love What Survives into an effortlessly rolling techno glyder peppered with dubbed-out vocal idents and pumped by a killer Italo bass arp on the front’s Main Mix, then strippibn it all back for a murkily subaquatic Tool 1, and the lean gym-bunny hop of Tool 2.
Berlin’s Laura ODL and Eva Geist a.k.a. As Longitude carve out five grubby ruts of dubbed-out acidic chug for Amsterdam’s venue-turned-label Knekelhuis
Pulling the ‘floor along at 100bpm pace thru the wavy oddity Black Rice to the piquant percolations of Pink Is Orange on the A-side, and then from the stumbling triplets of Kalte Füße to the Colin Potter-esque kosmiche hypo-dub of Blauer Part and share an analog bubblebath with Sharks Are Coming.
Epic D&B charges from metalheadz for the nu skool crews
Going on with splashy breaks, big-lunged vocals and massive, distorted B-line pressure in Piano, Vocal, Drum, and tighter 2-step rolige on the B-side’s Subtleties (Album Sampler Exclusive).
Low-key, slippery Bristol business from Facta
Cutting neat rug in between Parris and Peverelist styles with the avian chirrups and needlepoint tics of Dumb Hummer, then teasing a solitary vocal motif around hypnotic, vaporous jazz chords and swinging percussion recalling Joe or Airhead product in All The Time.
Station One is a rare but typically, and beautifully visceral short-form dispatch by Christian Fennesz
He lures us into an amorphous sphere of slyding harmonics and guttural shoegaze gestures in the pop-formed Tom (previously issued via Modeselktor's Modeselektion comps), and rendering a gobsmacking portion of incendiary digital distortion and sweltering noise lushness with a ravey bite in Silk Road.
Do not sleep on this one!
Sully operates at his very, very best on these junglist diamonds delivered thru his newly minted label; Uncertain Hour.
The level of beat breaking dexterity and arrangement are just breathtaking on Vacancy, and comparable only with the best Dillinja, Photek or Source Direct gear.
Likewise, Digitalis is shocking in its clarity and faithfulness to the craft, subtly updating his beloved jungle frameworks with a blend of classicism and razor-edge modernity that’s flooring us right now.
A total collector’s fancy from 1990, the hypnotic percussions of ‘Elephant’s Easy Moonwalk Through The Night’ finds an ideal new home on Bernd Friedmann’s nonplace.
Drum nuts, dancers and ersatz ethnomusicologists will have a field day with this one.
Heavyweight, fresh jungle tekno rollers from NYC’s Aquarian
Building a powerful momentum with the pounding flux of Hamburglar Helper, and cutting a few degrees colder with the brittle, scratchy swing and parry that leads to a proper late ‘90s acid techno coda in Snack ID, before tagging in Deapmash to enhance the surging, thrumming torque of their Hamburglar Helper, Deep-Fried mix.
Singular Swiss-Nepalese-Tibetan artist Aïsha Devi emotes DNA Feelings on the 2nd album for Rob Booth’s Houndstooth.
Coming into her own in a similar way to how Arca and Lotic did on their respective solo opuses, Aïsha’s holistic approach incorporating meditation techniques, metaphysical research and ritual practice, results in a hyper-natural helix of ideas binding avant-pop nous into almost theatric backdrops where her ideas play out in transfixing, abstract form.
Aïsha moves freely between her myriad voices - from seraphic anguish to helium rave diva, thru Tibetan throat singing and autotuned R&B vamps - in a richly embroidered soundscape of sawn-off rave stabs, field recordings and weightless sensations synthesised to suggest the infinite metaphysics and feel of a place out of time and space.
In the process she metaphorically externalises the internal and eternal across an archipelago of ante-chambers leading deeper into her sonic ontology, from the rush of raved emotions in DNA ☤ ∞, to the starkly statuesque Dislocation of Alpha, melting out into diaphanous cosmic dimensions on Aetherave before the bass of Hyperlands pulls her back to earth and the primal chaos of Inner State of Alchemy, before Light Luxury veers between hardstyle and traditional instrumentals, leading to the premonitory ambient projection of Cell Stems Spa.
Emma-Jean Thackray is the tising star of the UK jazz scene, repped by Gilles Peterson and Theo Parrish among others.
"The trumpet player and multi-instrumentalist recorded the entire mini album single-handedly in her home studio. Inspired by Madlib, Art Ensemble Of Chicago and Fela Kuti."