Slugabed ropes in Sega Bodega, Kai Whiston, and Iglooghost for the colourful follow-up to his 2017 debut album
Still playing up to the role of IDM/bass jester in ‘Pandæmonium’, Slugabed gets knowingly weird at nearly every angle. Whether its sloshing baroque ‘tronics of ‘Stalker’, balmy dembow bumps in ‘Bleach’, or the wonky hip hop of ‘Winter’, his proggy ADD sensibilities are fully in effect.
However, the additional personnel help quell those tics, with Sega Bodega lending a cooler hand to the squirming brass and smudged trap beat of ‘Cool Bong’, and a rugged bite to ‘Milk’, while Kai Whiston tweaks the fuck out of ‘Winter’ with screw face rudeness, and Iglooghost renders the baroque nudges of ‘Stalker’ with a more modern sort of psychedelic and cinematic appeal.
Full flight space rock from Canada, 1980, featuring Del Dettmar of Hawkwind
“Melodic Energy Commission is a Canadian gem and an interesting branch of the Hawkwind family tree (featuring Del Delmar on electronics.) Hailing from British Columbia, their unique blend of space rock, progressive and hippie psychedelia began in 1977 as a recording-only project titled "The Melodic Energy Commission of Collected Artists."
MEC quickly released two albums: 1979's "Stranger in Mystery" & 1980's "Migration Of The Snails." The music is raw and heavily exploratory, often shifting styles radically within a single track, moving from from quiet chamber orchestras to dissonant guitar freak outs with smears of analog electronics filling in gaps along the way.
RIYL: Amon Düüll II, Tangerine Dream, Hawkwind, Sun City Girls and Syd Barret.”
China’s Shao follows a 12” and opening credit on the ‘Dreamy Harbour’ compilation for Tresor with ‘Doppler Shift’, 6 tracks of greyscale techno and Alva Noto-esque minimalism taken from the 9-track digital release.
Picking up where his ‘Sensi (Edit)’ left us in the ‘Dreamy Harbour’, Shao heads in pursuit of a immersively textured and effortlessly rolling structures across ‘Doppler Shift’, keening from the vapourised metallic tang and shadowy bass strokes of the intro cut and into the clipped swagger of ‘Reflection Pt.1’, which recalls Carsten Nicolai & Olaf Bender’s Diamond Version gear, and then dissolving into the filigree moire of keys and swivelling bass on ‘Bubble’.
The tougher ‘Bubble (Version)’ follows fathoms deeper, l;eating to the steeply vaulted, hallucinatory sound design of ‘Atmospheric Refraction In The Desert’, which sounds something like Dylan Carlson meets Donato Dozzy, and the sublime ambience of ‘Winter 2012’ recalls Shinichi Atobe at his sylvan, ghostly best.
Introducing In Mirrors From Vancouver, B.C. Their Debut LP "Escape From Berlin" was recorded in deep isolation on location at Nite Prison in Vancouver. Produced & mixed by Johnny Jewel, the album plays as a dizzying massive singular collage.
"Acutely focused on texture & the negative space between moments, composer & poet Jesse Taylor is the core member in a revolving cast of collaborators. For this LP, his partners in crime are Suzanne, Hiromi Inada (Japan), & Andrew Grosvenor on clarinet. As enigmatic & fleeting as reflections in a hall of mirrors, these themes are fractured & textural. Taylor ambitiously asks us to look beyond the mirror...through to the other side where we imagine Phillip Glass playing chess with William Burroughs while Klaus Schulze slaves over a droning synthesizer in the corner. Sonically, we hear vapor trails from Coltrane, Carpenter, & Amon Duul.
This debut is a glance at one of the most varied artists on Italians Do It Better's roster. Johnny & Jesse have been collaborating behind the scenes since 2003. Distilled in a process strengthened by time from Portland to Montreal...Los Angeles to B.C. In Mirrors blurs the imaginary lines between genres opening with a sultry Stevie Nicks cover & closing with 14 minutes of expansive aural fusion. Perhaps Taylor's good friend, Joey Casio said it best..."Change the channel, this one is the mirror”.”
Cold blue wavey melancholy from Vanderschrick, a new earthling discovered by celebrated reissue specialists, STROOM 〰
On the A-side ‘Ochtendgrijs’ gazes into middle distance with unaffected vocals and a plaintive, minimalist backdrop of wide bass and shivering chime trees that beckon listeners to rest and reflect in its Antwerp attic air.
By contrast, the B-side may well provide the urge to dance, striking the finest balance of sexy slunkiness and introverted pop coyness that’s really pushing our buttons right now.
Very welcome reissue of Juju & Jordash’s debut EP, originally dispensed by Reggie Dokes’ Psychostasia Recordings in 2004
Dovetailing with the label’s early vibes, Amsterdam’s J&J unfurl an eternally charming and admirable spin on Detroit beatdown at its jazziest and loosest, nudged with unmistakeable nods to Dokes, Theo Parrish and KDJ, but with a certain Israeli/Amsterdam suss of their own.
Finding its feet in the deep space jazz strokes, alien synth voices and wickedly stumbling groove of ‘Hush’ starring live sax by Chris Corstens, the J&J magick flows into the properly rude KDJ-style twyst of ‘Husheesh (Acid Dub Mix)’ on the A-side, before Reggie Dokes and Ferrispark’s Scott Ferguson smooth out the kinks as Koomba Project with an effortlessly deep remix on the B-side.
Johnny Jewel reunites with Farah for the first time since their golden ’Gay Boy’ and ‘Dancing Girls’ classixxx
Farah delivers her best Cali drawl on the gently dub-fluffed disco groove ‘The Only Ones’, and with a far more sultry, latinate tug against the lilting congas and tight bass lixx of ‘Baby Girl’, while the B-side provides a very necessary instrumental mix of the ohrwurming ‘Dancing Girls’ from the pivotal ‘After Dark’ compilation, as well as the uncredited appearance of her weightless ace, ‘Shadow Of A Doubt’ tucked away at the end.
Johnny Jewel’s original vehicle, Chromatics, remind us their ineffable elan on ‘Lady’
The melancholy thizz of ‘Lady’ heads up the EP with Ruth Radeltt’s vocals skimming over needling arps and plush, strolling disco bass, also appearing as an instrumental and a dramatically stripped back and opened out ‘Lady (On Film)’ version.
‘Looking For Love’ rounds off the package with a gilded slow motion disco ace included as a shorter instrumental and a super classy 15 minute ‘Disco Version’ proper.
Goshen Electric Co. happened both all at once and gradually: an electrifying culmination of Tim Showalter’s nearly two decades long love affair with Jason Molina’s craft and just one half-day in the recording studio with the members of Magnolia Electric Co..
"Better known as Strand Of Oaks, Showalter’s turn at the helm of Magnolia Electric Co. (Mike Benner, Jason Evans Groth, Mikey Kapinus, Mark Rice, Peter Schreiner) comes ahead of the Goshen, In. native’s Memorial Electric Co. European tour.
The resulting 7”. shows a sweeping range: ‘The Gray Tower’, a 2002 single and ‘Ring The Bell’, which appeared on both Songs: Ohia’s ‘Didn’t It Rain’ (2002) and Magnolia Electric Co.’s ‘Trials & Errors’ (2005). Ring The Bell’, recorded in one take, roars in with a twinge of psychedelia, thrumming with vibe; Showalter’s wail recalls Molina’s sombre, choir-boy croon but roughened with sandpaper."
Pev touches up an old classic along with a vintage archive find for his pivotal label, Punch Drunk
Sliced from the front of his debut album ‘Jarvik Mindstate’ , the lead cut ‘Bluez’ has been remastered for optimal infection with grunting subs and razor-sharp 2-step hi-hats swirled in ruffneck UK dub styles.
‘Und_92’ hearkens from the same era but has never been dished up until now. It’s a killer piece of stick ’n move 2-step science built around the sparest elements, and saving a heart-rending Detroit-style synth coda for when it matters.
UK techno legend Steve Bicknell knocks em out as The Evader for a 2nd session of ‘Awakening The Past’
Leaving his hats at home, the Lost institute founder pounds out four stripped down bass drum + synth tools on the front under the title ‘No Hats Required’, before spending his energies in two powerful truckers on the back, namely the grungy, achromatic tones and roiling momentum of ‘Power of Balance’ and the slinkier bleep techno scudder ’Shifting Illusion’ on an Ø or Colundi style tip.
Modus takes strong cues from Detroit on the 2nd platter from Outer Zone - a new label attached to famed Glasgow venue, La Cheetah
Nodding to classic UR, DJ Bone, Rolando, the EP kicks off with the infectious chromatic arps and haunting pads of ‘Fait Accompli’ at a 13-bpm+ velocity that carries thru the EP, into the Rob Hood-style organ vamps and lashed hi-hats of ‘People’s Perspectives’, the heavy-slugging rudeness of ‘Dreaming’, and the whirring quantum mechanics of ‘This Connects To That’.
The Death of The Machines series arrives at its first compilation, featuring heavy hitting EBM and industrial zingers by four new artists: Exterminador, Craow, R. Gamble, and Plastic Ivy
Classically schooled in the dark art of war dance, each operator pulls out something hard and nasty, ranging from the supremely taut, Silent Servant-esque traction of ‘Mohammad Bin Salman (Tegeler Mix)’ by Exterminador, to the gnashing drum machines and palpitating EBM pulse of Craow’s ‘Lot’ on the front, and over to the virulent synth-pop lead and muscular thrum of R Gamble’s ‘Dead Advice (Club Mix)’ and the hot-stepping quicksilver of ‘Exit Strategy’ by Plastic Ivy.
Keith Hudson, the dub dentist, was a one-off innovator with impeccable, classical lineage: his first studio recording involved former Skatalites; his earliest releases provided solid-gold hits for Ken Boothe's "Old Fashioned Way" as far back as John Holt, Delroy Wilson, U-Roy and the rest.
Like "Lloyd" Bullwackies Barnes, his collaborator here - his split from this tradition is dynamic and all his own: Hudson's mature music finds its optimum conditions away from Jamaica, in London and New York studios and for less didactic transatlantic audiences, while his dark experimentalism becomes increasingly better suited to the the LP and extended 12" than the cardinal 7" reggae format.
Original dark disco mixes from the middle>> latter seventies, drenched in the essences of deepest afro-american-jamaican funk jams. "Playing It Cool & Playing It Right" was released in 1981 on Hudson's own, american based Joint International label. It was originally intended that one of Hudson's teenage sons would voice the dubs: in the event the Love Joys, Wayne Jarrett, and inimitably Hudson himself featured at the microphone.
Like Wackies, Hudson was a Studio One devotee "I used to hold Don Drummond's trombone for him so I can be in the studio", he once recalled ˆ and the album follows Coxsone's recent strategy of overdubbing signature rhythms. While the Studio One sides were aimed at the dancefloor; Hudson's reworks of alltime classic tracks like "Melody Maker", all darkside funkadelic guitars and brooding feeling, are more psychological. Deep Barrett Brothers rhythms are remixed like you've never heard, deeper still with reverb, filters and other distortion, pitched down, everything; and overlaid with new recordings, often heavily treated, of wahwahed guitars, percussion, keyboard, voice. "Playing It Cool.." is legendary, strange, utterly compelling music.
Deathprod, Lotic, Rezzett and Total Freedom reframe Bendik Giske’s very Colin Stetson-esque use of the saxophone+vocals on ‘Adjust’
Yes you read that right - for the first time in over a decade, Deathprod lends his remix magick to this set in completely inimitable style, serrating Giske’s melodic breath control from source and turning it into a 6 minute cyclone of streaking white noise better compared with the sound of a motorway underpass or airport runway than anything remotely human-made, that is until it calves away into a sludge metal coda in the final third. Trust it’s heavily satisfying.
The other remixers step up to the mark in their own style, from Total Freedom’s lush lather, to the fractious schismatics of Lotic’s, and the sidewinding psychedelic techno keen of Rezzett.
‘Baroque Steps’ is a quiet, poetically impressionistic study on the transition from winter to spring and beyond, all painted in shimmering watercolour washes and oily slydes by Andrew Chalk (Elodie, Organum, Mirror)
Describing a passage from bright, hazy, layered harmonies, and a subsequent descent into more mulched and curdled tones, Chalk’s seamless arrangements induce increasingly hypnotic states and, in a way, could be taken as a allegory for his own, near geologic, 30 year progression from harsh grained noise to these kind of utterly sublime instrumental and electro-acoustic refinements.
“Sun-lit leaves. It is a clear blue message of hope, as it rings out on a cold winter's day. As the spring progresses, it becomes a cascade that overflows with bubbling sound, and ends with a challenge"
Joy O approaches 10 years in the game with a diversified EP smartly marking the distance travelled from his acclaimed debut ‘Hyph Mngo’ back in 2009.
Spanning shadowy UK electro-bass, weightless trance, and deep blue house styles, the ‘81b EP’ follows Joy O’s collaboration with sax player Ben Vince for Hessle Audio to render a definitively mature self-portrait of his sound in 2018.
On the A-side he tees off with the slunky lust of ‘Seed’ on a sci-fi electro tip, mixing gynoid vocals with shifty UK-style subs into killer 2nd half Reese drop, whereas ‘Coyp’ is more stripped down to ghostly rolige, and ‘Tennov6teen’ locks into a roil of entrancing arps.
The B-side is much warmer, fleshly, stretching out with the offset, Kassem Mosse-alike bubble ’n squeak of ‘Belly’, before ‘Sin Palta’, a highlight of his Dekmantel mix, appears in a more dubbed out mix, and ‘81b’ curls up at the end on a slouchy after-party bent.
A reissue of the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area.
"Carolyn’s adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.
In 1986 Carolyn moved into her family’s building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, ‘Parts of The Insomnic Wheel,’ 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go.
It was a journey to unravel the ‘dark night of the soul’. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials."
Jibber-jawed techno and raving deja entendu from France’s E-Talking and southern English artist Laksa on the 4th in Whities’ Blue series
E-Talking, a new moniker for one half of french pair Nummer, rolls out the decayed, snappy drums and bruxist throat singing styles of ‘Telephone Rose’, while Laksa offers a strobing, rolling flashback to raves gone-by in ‘It Feels Like I’ve Been Here Before’.
Elodie’s sublime second album presented on vinyl for the first time. Originally issued on CD in 2011 ‘La Lumiere Parfumee’ finds Andrew Chalk and Timo Van Luijk’s duo hovering into the languid, spectral forms that have charmed us ever since.
Impossibly delicate and floaty, ‘La Lumiere Parfumee’ is a like a slow motion, weightless ballet written for keys, strings, synth and brushed drums, where Chalk and Van Luijk seemingly keep their instrument’s feet from ever touching the floor. Thanks to expertly refined recording and post-production techniques, the soundfield is intimate yet psychedelically expansive, with ineffably dreamy results cradling listeners in a mid-air sound quite unlike any other in circulation right now.
When this album originally arrived it wasn’t really on our radar. At that time there was a groundswell of wishy washy neo-classical/modern ambient music that possibly occluded Elodie from our view - perhaps a case of can’t see the wood for the trees. But ever since encountering them live and then circa ‘Porte Ouverte’ , it’s become clear to us, at least, that Elodie are in possession of that rarest quality; an effortless, subliminal ability to intoxicate and draw us whole into their unique sound world.
With tremulous keys, powdered percussion, and murmuring wind instruments marbled with synth gasses, they create immaculate snapshots of crepuscular, pastoral scenes as immersive and purposefully descriptive as Japanese Gagaku soundtracks, but also every bit as humble as the most charming Cotton Goods releases. It’s a gently mystical, natural sound that warrants repeated visits, just like your favourite local beauty spot, respite bench in an inner city park, or secluded rooftop terrace of the mind.
Carsten Nicolai concludes Alva Noto’s UNI-prefixed release cycle with UNIEQAV, the 3rd and most dancefloor-focussed instalment of the series. The follow-up to Unitxt  and Univrs  pairs pendulous minimal techno and electro rhythms with wide, sheer electronic drones in a way that strongly recalls recent Monolake output as well as Ilpo Väisänen in full swang. Comparisons aside, though, it’s unmistakably Alva Noto.
Pursuing the project’s roots in the dancefloor of Tokyo’s UNIT club to a satisfyingly logical endpoint, Nicolai rolls out 12 typically mercurial yet gripping sound designs defined by their fluid dynamics and seemingly fathomless dimensions intended to render the club or your head underwater, thanks to a still remarkable grasp of purified tonal minimalism/maximalism and studied sensitivity to proprioception.
The results are filigree yet robust, firmed up for deployment on the sickest sound system you can lay your hands on, but also highly pleasurable in a headphone or sofa-inclined context, keeping us rapt and twitching from the dubwise plong and looming pads of Uni Sub and the Robert Henke-esque pressure systems of Uni Mia.
The nervous skeleton of Uni Version flows into singular Alva Noto sounds in the jabbing pointillism of Uni Clip and the staggering scale of Uni Normal, with major highlights in the widescreen drama of Uni Blue, and footwork-like rapid movement join Uni Edit, while Anne-James Chaton’s vocal lend a sharp contrast in Uni Dna.
Autechre's classic debut album from 1993, reissued for the first time in 15 years...
Go on, blink; for the first time in fifteen years Autechre’s peerless debut album, Incunabula is reissued as a facsimile copy of the original, 1993 release, replete with silver-printed gatefold jacket.
We’re not going to bang on about this too much, but you should know by now that Incunabula is one of the cornerstones of modern electronic music, one of the pinnacles of the British rave epoch and among the most life-affirming records ever, bar none.
Aye, it’s 100% essential.
Glass offers the sublime results of a collaboration between Ryuichi Sakamoto and Carsten Nicolai (Alva Noto), as performed and recorded at Philip Johnson’s Glass House in Connecticut during the private opening to Yayoi Kusama’s installation marking the 110th anniversary of Johnson’s birth.
Making sterling use of the landmark architectural work’s pellucid dimensions, the pair fixed contact mics to its glass walls, which they effectively played as an “instrument”, rubbing it with rubber gong mallets to generate delicate tones which they combined with a sympathetic palette of singing glass bowls, crotales, keyboards and mixers.
The seamless performance of floating, weightless tones and exquisitely quivering timbres is without doubt one of their finest. For the duration we’re held static and spellbound by the pair’s interplay of microtonal shifts and plasmic chronics, keening the listener thru hazes of digital dust and vortices of angelic harmonics to locate, alchemise and resolve a rarified, deeply mysterious spirit before the piece closes.
As the follow-up to their OST for The Revenant  and the warbling keys of Summvs  before that, the achingly lush tension of Glass is perhaps the purest testament to the clarity of vision and endless minimalist mutability of this highly revered duo.
Hodge lends a koshing techno remix to this canny set of spacious, halfstep-leaning breakbeat workouts by Truska.
The original pressures are strongest in the skittish Pangaea styles of Lucid and Intra, while Fervous works at a slower tempo for those that need it.
We’d recommend going straight for Hodge’s stark rework of Lucid, reduced to boulder rolling kicks and dank atmospheres right out of the facility on Goldeneye the computer game.
Slum Village’s Waajeed spins out the Detroit-style beatdown hip hop instrumental, ‘Strength’ along with his own house mix and remixes by Jay Daniel and Jon Dixon.
The original is a breezy slow-motion ace blessed with blooming 313 pads, whereas Waajeed’s string mix is a super plush house track loaded with proper subs, slinky marimba melody and delicious vocal, oh and those patented Detroit strings, natch.
Jay Daniel chimes in with a reshuffle of the house mix, adding extra layers of concussion and daubs of live-sounding keys, arriving at an uplifting 2nd half denouement, while Jon Dixon opts for a deep and classic Detroit house style.
At long last the Ø & Panasonic soundtrack to ‘Sähkö - The Movie’ has finally been discovered and available for release nearly 20 years after the movie was made, and 1 year since it was premiered by the Boiler Room
Recently discovered in a box of Jimi Tenor demo tapes at the Warp offices in London, the 1995 film’s soundtrack is now compiled and issued to coincide with the Oslo memorial for Mika Vainio this September, 2018. It’s very safe to say that a lot of techno heads are going to be very happy right now.
With the exception of an edited version of ’Syväys’ from the 2012 EP of the same name, all the material here is previously unreleased, but sounds very close to material found on Mika’s legendary ‘Metri’ LP and the ‘Röntgen’ and ‘Kvantti’ EPs, or Panasonic’s ‘Vakio’, which were all produced during the same period as the film.
The techno bods really need to check for the tentative minimal techno probe of ‘Scene 1’ and the pulsating miniature ‘Scene 2’, while those with a noisier tooth will gert a good kick out of the rest.
Conch have enlisted UK legend Bakongo aka Roska on this 4 tracker of UK Funky infused club dubs.
"Turning things up a notch the label brings in young Bristol rising star Wilf on remix duties and also deliver a Dub refix of Bakongo’s “Bongo Crush” showcasing the conch sound."
Killer, oblique pop-deconstruction from NYC’s Keke Hunt a.k.a Just The Right Height. Robotically-enunciated lyrics set to spare, jagged, sawn-off hooks jabbed in on sampler and machines, RIYL Yeah You, FAY, Lolina, Klein
“Hunt’s stop and go, deconstructed songwriting is emotional and bare. Her undressing of the radio hit is so lyrically labrinthine, the urge to dance might escape you — and dance with me.
Just the right height is an investigation of pop lyricism and a satire of feminine objecthood; The perfect size, The perfect longing shape to fit inside, the perfect fit. Just the right height is a rubber mouth. Formless liquid silicone poured into a mold that mimes agency, vocalization, but says nothing; careless. An empty silhouette, inciting arousal and movement. Mouthy, Vapid, Stupid, Hot; Vain and thoughtless song.
In her album Let Forever Be Only You Tonight, Hunt writes lyrics by compiling text from an online lyric generator which outputs jumbled lines sourced from the lyrics of existing popular songs. Hunt exhales composited speech, a synonym of the virtual pop star whose personality program is compiled from the thoughts and feelings on her fans blog posts and online output; Her face surgically modified to reflect the image of her fans.
Rhythm stripped of melody is the dominant form in Hunt’s musical work. Nevertheless, Hunt intersperses her catalogue with heartfelt, melodic tracks as if to tie a polite bow on a rude package.
Hunt’s earliest released music was written in collaboration with Los angeles based painter Marisa Takal. The tracks released on their 2014 split with Odwalla88 are the product of a 3 year collaboration. Hunt has also collaborated with Multimedia Bryan Edward Collins on a project called Hard World Fashion. This album features a song co-written by Collins and Hunt. Since 2015 Hunt has released music under with tape labels such as Primitive Languages and ALL GONE tapes, under various titles, culminating in her current moniker, Just The Right Height. Let Forever Be Only You Tonight is her first full-length LP and release through She Rocks!”
Portland, OR’s Saloli debuts on Kranky with a gorgeous suite of live analogue synth meditations...
Presented as they were performed, with no overdubs or edits, ‘The Deep End’ finds Saloli swimming in rich colours swept up in gentle currents, sometimes coagulating into poignant chromatic melodies, sometimes hovering on the biting point between harmony and bittersweet dissonance, and often prone to fleeting expressions of emotion, but with an ear for charming turns of phrase that will keep listeners coming back to this one.
"Mary Sutton’s solo debut materialized in the wake of a performance she gave at a clothing-optional soaking-pool sauna: “I had never composed for synth before but wanted to make something people sitting motionless and naked in hot bubbly water would want to hear.” It was while in this headspace that she reconnected with Satie’s entrancing cyclical motifs, particularly the way “he subtly spins melodic fragments, and pivots harmonies and phrases so the repetitions feel new and surprising yet soothingly familiar, as if casting a spell.”
The nine intuitive instrumentals comprising The Deep End accomplish exactly that, threading complementary shades of soft-hued hypnosis, dazed modal introspection, icy amusement park reverie, and lunar lullaby into a prismatic suite of contemplative melody and synthetic communion. Sutton’s songs are active rather than ambient yet their structure is more suggestive than scripted, full of lulls, asymmetries, and daydreams. Each track was written specifically to be played live on an analog synthesizer, with no overdubs or post-production wizardry. The sound of Saloli is one of warm-blooded wiring, turned on and tapped into, emotive and electric, storied machines speaking through all too human hands."
First of six Bauhaus reissues due on colour vinyl for the seminal goth band’s 40th anniversary celebrations
“Mask is the band’s second album, and was released by Beggars Banquet in 1981. On their sophomore album, Bauhaus consciously stretched themselves into newer areas of music and performance, resulting in an album that was arguably even better than the band's almost flawless debut.”
Burning disco/edit belters from DJ Qu, going deep into his Latino and New Jersey roots for the good of the dance
The EP is fronted by a straight-up essential heater in the raw, filtered disco loopers ‘May I Say’, and the mesmerising reversed groove of ‘Things Get Ordinary’ that will have dancers tying themselves in knots. On the back he lets fly with the masterful tribal polyrhythms and gaspin’ punctuation of ’Picazón’, and the lip-smacking deep trance workout, ‘Circumvent’.
Klara Lewis debuts on Editions Mego with the incredible animated sound organisms of 'Ett'.
Sampling from a palette of modified and reconstituted field recordings, Klara's debut compositions yield ten terrarium-like sonic ecologies rich in organic texture and detail enlivened by bristling electronics and insectoid rhythms. They're strange, self-contained units amounting to a complex, beguiling lattice of unique timbres, atmospheric space and coarse yet fluidly woven texturhythms, all infused with a subtle sort of ambient (de)compositional sorcery.
At its best in the wormy dub 12 minute dub 'Altered' we can draw comparisons with everything from Katie Gately's concrète sound designs to Kassel Jaeger or Senufo Editions pieces, whilst the roiling 'c a t t' bristles like a Mica Levi track, and 'Muezzin' warps serpentine strings to the drone of a call to prayer, resulting what sounds like a melting Muslimgauze effort.
There's a playfully psychedelic and synaesthetic sensitivity to the music on 'Ett', making for a wonderfully disorienting yet incisive vision of sound at its most elemental level.
'Versions' leaves out the vocal accompaniment and exposes the production as it drifts off into instrumental effervescence...
This second breathtaking CD leaves out the vocal accompaniment and exposes the terryfingly deep Basic Channel production as it drifts off into instrumental effervescance. 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. It's hard to over-emphasise just how important their music has been to us over the last two decades and, for that matter, just how substantial their impact has had on everything that has taken place in electronic music since.
Following convention, each of these labels has offered a catalogue up on record (in this case 10" releases) before compiling the music. 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 Vocal tracks 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 that in their time have all been singles of the week for us here.
Just thinking of the majestic exuberance of "King in My Empire", or the breathtaking space of "Making Histroy" makes it hard to fathom how this material hasn't really aged a day in all these years...
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. It's hard to over-emphasise just how important their music has been over the last two decades and, for that matter, just how substantial their impact has had on everything that has taken place in electronic music since.
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 that in their time have all been singles of the week for us here.
Just thinking of the majestic exuberance of "King in My Empire", or the breathtaking space of "Making Histroy" makes it hard to fathom how this material hasn't really aged a day in all these years...
R.I.Y.L. Grimes, Kelly Lee Owens, Phantogram, Sylvan Esso, Sophie, Toro Y Moi.
"Pure-O, the new LP by Berlin-via-Norway musician Farao, is a prog-pop exposition on the curious dichotomy between beauty and destructiveness in sex and relationships. Where so much modern pop attempts to tug similar thematic threads only to succumb to naiveté and euphemism, Farao grabs these subjects and dives headlong into a neon pool of synthesizer, zither, drums, and soaring vocals without sacrificing maturity, complexity, or artistry. Musically, she references 90’s R&B, and the untapped goldmine of Soviet disco.
But the most important pillar of Pure-O – its living, breathing, biological quality-- is entirely Farao’s own. To be sure, all of the electronic ingredients are in the exact right places on Pure-O. Soviet-made synth tones ripple out fr om an undefined center lik e a Frank Stella painting, with sharply angled lines of color buzzing with concentric, hand-painted ecstasy. Rolling vocal melodies carry descriptive turns of phrase to gratifying heights, echoing in listeners’ minds long after their ears. In the spaces between all this electricity, there are shimmering microcosms of Alice Coltrane-esque acoustics that provide the album with an unmistakably rich, tactile marrow.
Perhaps, then, we’re hearing Farao’s early youth in Norway finding perfect equilibrium with her adulthood in Berlin on Pure-O. She says of the time she spent recording, “I was in the process of learning how to conduct myself while not getting sucked in to the whirlpool that is Berlin party culture,” and of her childhood “It wasn’t a place I felt stimulated creatively, and felt quite lonely there growing up, which made me turn to music as a language for a set of emotions I didn’t know how to release otherwise.” It’s precisely this relationship between quiet reflection and overstimulation that makes the album unlike anything of its genre. In an age when non-electronic pop seems like an outlier, Farao constructs a bridge of humanity from the organic to the inorganic, rounding out the hard edges and sharpening the soft ones, thereby transplanting a healthy, beating heart into modern synth-pop."
In a time when Jazz music is entering a contemporary renaissance and exciting the ears and minds of new audiences, Zombie Zombie's Étienne Jaumet offers us his unique, idiosyncratic take on the sound with the sprawling “8 Regards Obliques”, his 3rd solo album with the Versatile label.
"Jazz requires a certain freedom of technique, interpretation and improvisation that already matches Jaumet’s own production style and sonic aesthetic as well as his playful approach towards music. The eight pieces that make up the new LP were very quickly recorded; Jaumet let himself be carried away by the atmosphere without focusing too much on fine details or the laborious aspects of the composition process. The finished article is a spontaneous collection that stands out, a true mirror image of the creative process adopted by the artist. Not surprisingly, spontaneity is one of the characteristics already present in his music, in both his recorded output and his live happenings, where he leaves much room for freedom and improvisation.
“8 Regards Obliques” was recorded at the Versatile studio in less than 3 weeks with quite a basic set up: TR 808, selected synthesizers, vocals and of course the saxophone, which is a constant presence also in his previous albums. For the mix Etienne has again appealed to the maestro I:Cube, a central figure of the Versatile story and a prdigious engineer and artist in his own right. He immediately understood that it was necessary to keep the spontaneous side alive and to not over-produce the pieces or over-edit them, being constantly mindful to retain the power in the sound and in the frequencies. From Sun Ra with “Nuclear war”, Miles Davis in “Shhh / Peaceful” or “Theme from a symphony” by Ornette Coleman to “Caravan” (already quoted by many jazzmen), Etienne enjoyed revisiting classic masterpieces and paying tribute to his inspirations. He allowed himself only one personal and original composition, “Ma révélation mystique”.
Haunting, rustic works for strings, synths and voice by Jessica Moss, violinist for A Silver Mt. Zion
“Jessica Moss, the violinist, composer and singer best known for her fifteen-year tenure in political post-punk band Thee Silver Mt. Zion, is newly ascendant as a soloist, captivating audiences with gritty, warmly expressive electronic- and drone-inflected post-classical Minimalism (and sometimes Maximalism), accented by a distinctive melodic sensibility that channels Klezmer, Balkan and Middle Eastern tropes.
On Entanglement, her new and second album, Moss channels quantum theory as a metaphor for creating energetic connections through esoteric processes. Using violin (and occasionally, voice) as sound source, her compositions are set in motion like entangled particles – spinning, ricocheting, warping and stretching in extra-dimensional space.
Moss has played 80 shows in the past year and Entanglement is also profoundly informed by her experiences travelling alone, giving concerts in precarious spaces preserved by passionate subcultural communities, attempting fragile, intimate, abstract transmissions through sound and performance. This is long-attention-span music that wonderfully synthesizes form and substance, spit and polish, austerity and lushness, expansiveness and intimacy. Entanglement is a deeply felt and deeply rewarding work that testifies to the unique stylistic and textural space Moss is carving out in the contemporary/New Music continuum.”
The New York Downtown Producer/Composer returns With His First New Album In 3 Years featuring Gabe Gurnsey (drums) of Factory Floor, Larry Saltzman (guitar - well-known for his work with Arthur Russell (“Kiss Me Again”, Flying Hearts) and Paul Nowinski, (bass) who has played with LOLO since the 1980’s.
"I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.
This album is atypical for me as I am not playing saxophone. (I do play one reed instrument – a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age, I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage’s “Silence.” Electronic music was on my radar.
My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California – San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70’s and early 80’s. In the same way, recording studio technology became accessible in the 90’s. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized."
The debut EP from New York band Public Practice, Distance is a Mirror, is a confident, juried testimony of love steeped in dark optimism.
"Dry, deadpan vocals chant over skittish guitar and danceable 70s grooves—songs snapping like rubber bands—seesawing between post-punk and its insomniac twin sister disco. With contradicting references as overt as Talking Heads (without the shoulders), but as specific as Haruomi Hosono of Yellow Magic Orchestra (with some polka dots), the band is carrying a funky torch that does not get lit too often.
The four members of Public Practice—singer Sam York, guitarist Vince McClelland, synth/bassist and vocalist Drew Citron, and drummer / programmer / producer Scott Rosenthal—are no strangers to songwriting. A Brooklyn DIY supergroup of sorts, Public Practice combines members of freshly-dead punk project WALL and local pop band Beverly. Public Practice backs their ambitious songwriting with serious chops, their live shows already pulling them into the sharp foreground of a scene growing all too warm-and-fuzzy. Sam York’s lyrics reflect the city and its contradictions—they are personal, funny, cryptic and surreal, but never truly pessimistic, rotating around an individual’s toxic but symbiotic relationship with perception.
By the end of the short and bitter-sweet 4-song EP, punctuated by Sam York’s sign-off of “no you can’t take it back now,” Public Practice anchors themselves as a new band with wisdom like their influences, bringing songs distinctly fresh as they are familiar. Public Practice will privately change your mind about where guitar music is going."
‘What Light There Is’ finds Janek Schaefer feeding off and disassembling Robert Wyatt’s ‘Cuckooland’  album in his sublime style, paired with seven new, original pieces that share a captivating eldritch aura. Huge recommendation if you're into work by The Caretaker, Philip Jeck, WIlliam Basinski.
Continuing a series of releases reverential of significant British composers, writers and artists such as J.G. Ballard and John Tavener, Janek treats Robert Wyatt’s material with the same poetic license. What follows is an immersive, hypnagogic episode from the mental realm between waking life and dreamspace, gently teasing the pastoral loveliness of Wyatt’s music into a woozy, heavy-lidded parallel dimension.
As always with Schaefer’s work, the idea of nostalgia and the fidelity of memory is also key to the appeal of ‘What Light There Is Tells Us Nothing’. In the 21 minute title piece, commissioned by the Sounds New Festival in Canterbury and presented as a multi-channel radio installation, Schaefer revels in the profundity of Wyatt’s work with poignant slivers filtered into gaseous shapes suggesting a fleeting mix of pastoral glory and somnambulant melancholy comparable with the most striking Philip Jeck works, or the trace echoes of memory supplied by The Caretaker.
The other seven pieces follow with a more cinematic appeal, as though we’ve dozed off during a midday matinee programme in middle England and slipped into a silvery phantasy of medieval gallantry and posh English gentry, before nods to Schaefer’s Polish ancestry flicker into his nostalgic reverie via the bobbling loops and glitching chorales of his three ‘Corah’ pieces.
Melancholy ambient-pop beauty from Бassae, warmly tipped to fans of Inga Copeland/Lolina!
There’s little background info about this 7” other than the admission it’s “from the vaults of a mysterious Russian producer”, which ain’t saying a great deal, is it?
We can add that the A-side is a seductively gauzy ace mixing a distanced dembow bump with deliciously wistful, possibly romantic vocals and airborne melody, while the B-side is more furtive and teasing, mixing Soviet spy movie synths and Jan Jelinek-like rhythm with cold choral pads and intercepted bleep and vocal comms.
Japan’s Ultrafog conjures a montage-like tapestry of sound imagery on ‘How Those Fires Burned That Are No Longer’, a masterfully transfixing new episode from Motion Ward, who previously had us by a thread with uon’s beautiful ‘zlo’ session. Get baked and bathe in this…
“After two cassette releases for the likes of Tokyo's Solitude Solutions and Barcelona's Angoisse, Motion Ward is delighted to present the debut of Kouhei Fukuzumi's Ultrafog project on the vinyl format. "How Those Fires Burned That Are No Longer" weaves through sliding metal timbres, textured air abstractions and wistful mallet sequences. This record, like all of Kouhei's work, is a take on sound as a representation of memory. Light and translucent, each song aims for a temporal snapshot that will inevitably fade into the well of thoughts and experience.
Expanded reissue of Zazou Bikaye’s 1988 Afro-Acid zinger, including a bonus cut ‘Ba Wele’ from the ‘Guilty’ album
It’s all about the two remixes, which were originally on the 1988 pressing’s B-side but are now prioritised on the A-side, giving up the zig-zagging 303 and melodic chants of ‘Na Kenda (Afro-Acid Mix)’, and the more stripped down swerve of the ‘Techno Dub’ mix, both executed by Vincent Kenis a.k.a. Aksak Maboul, or even Mr. Big Mouse on this occasion.
The originals are a bit corny and haven’t travelled so well, but like much stuff from the late ‘80s, the real gold is in the dance mixes.
2018 marks the 40th anniversary of Bauhaus. To celebrate, Beggars Arkive are reissuing six records from the band’s catalogue on special edition coloured vinyl.
"Formed in 1978, The legendary and hugely influential quartet hailed from Northampton, England and is comprised of Peter Murphy, Daniel Ash, David J and Kevin Haskins. The dark, dramatic music that they made, possessed far more force, variety and playfulness than the ‘founding fathers of goth’ tag that is always attached to them.
Bauhaus’ landmark debut album, ‘In The Flat Field’, came out towards the end of 4AD’s first eventful year. Following the plan at the time, the band then ‘moved upstairs’ to Beggars Banquet, for whom they cut three further albums before dissolving in 1983. They charted with their cover of David Bowie’s ‘Ziggy Stardust’, they’ve been and namechecked by everyone from Nine Inch Nails, Sepultura, Janes Addiction, MGMT, Interpol, Bjork, Nirvana and more. They remain a huge cult concern, periodically reforming to wow their legions of dedicated followers."
Motohiko Hamase’s ‘Reminiscence’  is reissued for the first time in over 30 years by Tokyo’s Studio Mule. Wonderful, enchanted, ‘80s Japanese ambience/jazz fusing silky fretless bass, crystal clear electronics and effervescent mallet rhythms.
"In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. together with jazz pianist tsuyoshi yamamoto and jazz-rock guitar-ist kazumi watanabe he played in the Isao Suzuki sextet and was part of their classic landmark jazz-funk album "ako's dream" from 1976.
In the following years he also participated on records like mikio masuda's latin-funk-jazz gem "moon stone" or japanese female jazz singer, actress, and essayist minami yasuda's last album "moritato". in the early 1980's his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass play. From 1985 to 1993, Hamase released five solo albums. just recently studio mule dropped his first one, "intaglio", in a new recording that sounds as stunning as the original release from 1986.
"Reminiscence" was his second work for the celebrated defunct japanese new age record label shi zen, featuring a rhizome of soundscapes that capture, settle and sound elusive."
Mica Levi returns to Slip with six piano pieces played by Eliza McCarthy in ‘Slow Dark Green Murky Waterfall’ - a crepuscular suite riddled with Mica’s inquisitive, conversational phrasing and smartly expanding upon their 7” track, ‘Riding Through Drinking Harpo Dine’ [Foom, 2017], a new recording of which also appears in this set. Gorgeous music, especially recommended if yr into Terre Thaemlitz, Gonzales, Dominique Lawalrée...
The culmination of three years work between Mica and Eliza - winner of the 2013 British Contemporary Piano Competition - ‘Slow Dark Green Murky Waterfall’ follows up their collaboration on the Oscar-nominated score for Pablo Larrain’s ‘Jackie’ score with a finer-shaded, patient space for low-lit, smoky expression that’s so intimate and personal it almost feels like eavesdropping a private recording.
Ineffably bound by a sense of unreal poise, Eliza’s interpretations are subtly, dynamically rendered in-the-mix by Mica to present the pieces as though in flux, like poignant, unresolved statements that occur in the flow of quiet, intent dialogue and linger in the air. It’s testament to the pair’s well-honed intuition that the results connote this feeling so naturally.
And it’s maybe our familiarity with Mica’s work, from her earliest chopped ’n screwed orchestrations, to her ‘Under The Skin’ score and her mutant pop pieces, that we keep expecting hers or Tirzah’s voice to match her melodies with wordless vocals or harmonious limns throughout the six pieces. That’s probably simply down to the fact that Mica writes with such a pop-wise appeal and soulful sensitivity that it prompts subvocalisation in every listener, or maybe it’s just us, but either way the hook of these instrumentals will be floating your head for days, weeks, or a lifetime after they’re imbibed...
Deru aka Benjamin Wynn is an Emmy winning music producer.
"His last Torn In Two’s music lives in evolving landscapes of violence and beauty, with compositions that shape-shift, flutter, and decimate one's sense of time and place. The album is a collection of microtonal pieces where the pitches were derived from acoustic instruments, and processed woodwind and brass recordings. Both represented new directions for Wynn, and the results are pieces that are more dynamic and full-spectrum than his previous body of work. They explode into walls of distortion and recede into quiet acoustics.
Wynn recently created the score for Impulse, Doug Liman’s YouTube Premium show, is a founding member and Creative Director of The Echo Society, a Los Angeles based composer collective and non-profit organization as well as Emmy award winner for his work on Avatar: The Last Airbender and Legend of Korra TV shows."
'Returnal' is the fourth LP from the Boston/New York based synth dreamer, Oneohtrix Point Never.
Last year's 'Drifts' set was a compendium of his previous - and very hard-to-come-by - albums for labels including No Fun, Arbor and Gneiss Things and was a clear favourite for many in 2009, held in high regard by the Wire magazine, and cherished dearly by anyone in its possession. OPN's hypnagogically-charged body of work is a dense fog of references, from beat driven edits on the 'Memory Vague' mini-album recollecting DJ Screw's slowcore psychedelia, to privately intimate sci-fi vistas of 'Russian Mind' harking back to synth-whizz J.D Emmanuel.
Mego's Peter Rehberg obviously sensed the appeal of this mixture, putting together OPN's most developed and mindblowing work for this brand new album, aligning an exceptional potential within the contemporary sonic landscape. For us, with the exception of few others, we've not really come across an artist whose music has so profoundly affected us in a very long time. Dare we say it...? Since Burial. Yeah, so you're asking yourself "what the f*ck have they got in common?". The very simple fact is that they both somehow trigger that un-nameable particle phizz that nobody has ever been able to explain, and hopefully never will. With 100% conviction and in the truest sense of the word, this is an essential purchase for lovers of Fever Ray, Popol Vuh, Klaus Schulze, Autechre, Aphex Twin or Jan Hammer.
New York’s Blank Forms follow their amazing Catherine Christer Hennix 2LP with a recently salvaged portrait of Loren Connors as we’ve rarely heard him before, cutting loose on a barely-hinged homage to delta blues and country replete with vocals imitating the dogs that howled outside his home in New Haven, Connecticut.
Hearkening back to a time before the spectral, romantic electric guitar vignettes for which he is celebrated, ‘Unaccompanied Acoustic Guitar Improvisations Vol. 10’ was intended as the 10th volume in a series of solo acoustic guitar improvisations released on his label, Dagget Records. But the distributor went bankrupt, leaving the car-less Connors to dispose of the unsold stock rather than drag the records home. However, thanks to a recording found by Unseen Worlds’ Tommy McCutcheon in Columbia University Libraries archival collections, this remarkable side is finally set to find its audience nearly 40 years later.
For anyone not au fait with this period of Connors work, ‘Unaccompanied Acoustic Guitar Improvisations Vol. 10’ offers a shocking contrast with his possibly better known and exquisitely tender later work. The deftness is still patently there, but the results are jaggedly raw and perhaps best compared with his transatlantic blues brother Derek Bailey, strung out in an array of wildly pitch-bent yanks and wails that could be described as expressions of heartbroken despair, laments for lost souls, or possessed by spirits, depending your own take.
In Connors’ hands, here the history of the blues and country collapses into the brink of abstraction, but, most crucially, his music remains integrally tied to those styles, with Connors acting as a conductive vessel for a swarm of hard-bitten ghosts to say their piece.
Exael debuts on Huerco S’ West Mineral label with ‘Collex’, a deep, impressionistic album of ambient soundscaping recorded between Chicago and Berlin, reminding us of early Vladislav Delay, Robert Henke’s site-specific work as well as that excellent Pendant release that kicked this label off back in January this year.
Crafted over the two years since their first album,‘Collex’ finds Exael mining a finer and more elusive variant of ambient music, connecting dots between classic vapor-trail dub and hyper-modern inversions you’d more readily associate with 0PN or Kara-Lis Coverdale. With a richly refractive, iridescent quality, it marks the inward/outward distance travelled between concrète and electronic textures and spatial parameters, manipulating notions of stasis and kinesis with an unfathomable, gaseous quality that also reminds us of classic Vladislav Delay and Robert Henke’s site-specific work.
It follows an excellent split EP with likeminded producer, Ryan Fall a.k.a. uon, as well as a number of compilation appearances with Allergy Season/Discwoman, Physical Therapy and Carpet Group Recordings, the latter of whom coincidentally issued Exael’s self-titled 2017 album under the Naemi alias.
From the milky plumes of ‘Into Deep’, thru the scudding subaquatic electro-dub of ‘Split’, to the bristling gunk of ‘Choeo3’ and the Wanda Group-like subsidence of ‘Cart’, to the lushly fractious flux of ‘Glass In Plastic (with Arad Acid)’ and ‘Anc Alt’, Exael maintains a cool head despite the disorienting G-force and upended context, elaborating a form of simulacra that uncannily reflects the real world’s realigned ideas about gender, mental health, and emotional wealth.
Offering a modernist re-vision of classic Chain Reaction and early 00’s dub inversions, it’s an uncanny reminder of a relatively recent era in electronic music that seems far out of reach in the present climate, a perfect accompaniment to Huerco S' own excursion as Pendant. If you were into that, we reckon this one will rule your world.