The heeds of Glasgow’s 12th Isle keep their vibe gloriously off-map with Cru Servers’ debut LP batch, Blubber Totem. After touching down on a Bomb Shop 7” and self-issuing a tape in the last 5 years, this is the CS brothers’ most substantial and definitive recording to date, relaying an experience akin to a waking dream situated in a different star system to our own.
Plotting coordinates in a zone familiar to Dices and AEM Rhythm Cascade’s Thoughtstream or Belgium’s Innercity, the Cru Servers duo disembark with hieroglyphic electronics of Incubation on Ram Skins, then tilt into 100bpm muggy chug with Shot To Life, before getting buck wild with the severely warped garage torque of Dorito Rook and a slice of fluoro industrial trance in Ark Bile Top Ups recalling Black Zone Myth Chant’s egyptian fantasies.
The recursive wormhole, Deith 2 Hansy prangs out like Rob Hood on a psychedelic secret mission, slopping yer mind into something like Lorenzo Senni in gravity-less space, but they bring us back to disco firma with Accursed Share, only to let it all go with the floppy body of Yellow Domes & the Dawn.
Kreng cracks out garrotting strings, smeared horns and filigree electronics on his smartly tempered soundtrack for Ryan Prows’ black comedy crime flick set in modern day L.A.
“Lowlife is the berserk, blood-spattered, and wickedly entertaining feature debut from Ryan Prows. Set amidst the seedy underbelly of Los Angeles, Lowlife zigzags back and forth in time as it charts how fate—and a ruthless crime boss—connects three down-and-out reprobates mixed up in an organ harvesting scheme that goes from bad to worse to off-the-rails insane.
Kreng is known for his previous score to CAMINO (also released on Invada Records), and for his score to Cooties, released on Deathwaltz Media Group/Milan Records.
As well as this, Kreng is also known for his critically acclaimed L’Autopsie Phénoménale de Dieu (2009), Grimoire (2011), and the lavishly designed retrospective compilation box Works For Abattoir Fermé 2007-2011 (2012).”
Brilliant, mad intersection of No wave primitivism, cello sensitivities and possessed vox, the first proper collab between important lynchpins of the UK avant-classical nexus; Oliver Coates and Laurie Tompkins. If you're into anything from Mica Levi to Jandek, this ones for you...
Very few fukcs are given by Coates & Tompkins on Ample Profanity; a let-it-all-out session of deviant, punkish avant-classical composition hallucinated and expectorated by two prodigious talents, released just a few weeks before Oliver Coates excellent 'Shelley’s On Zenn-La' album for RVNG Intl arrives this September.
Oliver does his thing on cello and FX, while Laurie supposes and composes on keys, tapes and samples, over which the pair of them sing, if your definition stretches that far. What we can agree on, though, is that Ample Profanity is a steaming pile of madness quite unlike anything else in circulation right now.
Still feral from his cultishly acclaimed Heat, War, Sweat, Law album, Laurie is matched by a usually more collected Coates, who seems to revel at the opportunity to freak out properly as an adjunct to his solo work and collabs with Mica Levi.
Kicking off with Sniffin’ Samgh, a possessed study in primal vocals and lurching, yelpy strings, the session turns variously thru quieter, asymmetric ideas in Peejayargh to cough up its spicy noise guts in RP Beal, before they settle into a call-and-response of quizzical sighs and plucks on Lime Rugis, and set about hacking up a wickedly dissonant tussle between no wave guitars, intercepted phone calls and edge-of-sanity blasts into the void with Charterhouse, Vinci.
It’s maybe not what you might expect from a former winner of the Royal Philharmonic Society’s Young Artist Award 2011, and a graduate of the RNCM, or maybe it is. Either way, Ample Profanity is beautiful and f*cked up in equally satisfying measures.
Newly remastered and wrapped up with 4 tracks not included on its original 1981 tape release, ‘The Where House?’ is the 2nd of Colin Potter’s 6 early DIY tape releases to receive a new lease of life on vinyl, rendering an unmissable window into one of UK post-punk and experimental music’s singular engineers/producer/artists, who would collaborate with Nurse With Wound, Current 93, and Andrew Chalk, and more recently in the Potter Natalizia Zen trio for Not Waving’s Ecstatic. It should be stressed that the bonus tracks are ace, ranging from a steep chromatic wormhole to nasty, snap jawed electro and outer-limits synth pulses
“‘The Where House?’ was recorded in 1981 at IC Studio, a converted wash house in Sutton on the Forest in North Yorkshire. The album was self-released on cassette that same year via ICR. This expanded double LP edition features all 13 tracks from the original tape on vinyl for the first time plus 4 bonus tracks. ‘The Where House?’ is a prime example of early UK post-punk/industrial electronic music. “Combining dub, electro, and krautrock rhythms with psychedelic, kosmische noise in multiple mutations ranging from almost pop-wise songcraft to horizon-scanning motorik flights,” says Boomkat.
Most of the damage was done by Colin using guitars, synths, sequencers, drum machines, percussion, and modified toy keyboards with fairly primitive 4-track recording equipment. He was assisted on some of the tracks by Stephan Jadd-Parry (guitar, percussions), Jon Caffery (guitar, bass, e-bow, percussion) and Nick Jackson (synth).”
Clod-hopping EBM/technoise from Circling Vultures on return duties for L.I.E.S.
Otherwise known as Justin Long (Wasted Chicago Youth) and Kenneth Zawacki (Dar Embarks), in Circling Vultures mode they sound hungry as fcuk on four brut bangers, taking in the red-lining battery of Game Of Chance and the briny fluidity of Cut With The Kitchen Knife on one side, then biting down with much meaner acidic synth tons and desiccated Linn drum crack in Age Of Revolt, and rolling off the bone into slowly twisted dimensions with Suicided By Society.
Rezzett own that fuzzy mid-fi electronic sound on a cracking eponymous début album, landing nearly 5 years on from their self-titled EP, also issued on Will Bankhead’s TTT label.
In possession of a sound that feels like exotic birds nesting a vintage studio inside your ear, Rezzett, along with the likes of Jamal Moss, Actress, Terekke and Huerco S., have been responsible for redressing the fidelity of dance music with fairly radical yet subtle incision and insight over the best part of this decade.
Thru various process of attrition, they've made a virtue of purposefully muddy and unclear resolution, embracing and fetishising the infidelities of analog hardware noise for a sort of shabby chic appeal that lends itself to closer attention in headphones as well as a sort of psychedelic friction on the ‘floor.
It’s perhaps fair to say that Rezzett have really come to define that sound at its murkiest, most romantic, and diverse, pulling from house, jungle, garage and ambient noise paradigms to forge something viscerally affective and memorably their own, as experienced between the mottled VHS memory-bank shakes of Hala, in the squirming, sore but lush Sexzzy Creep, and the salty angels tears of Yunus in Ekstasi, with the rusty grime and jungle shanks of Gremlinz and Worst Ever Contender lending a cranky, rinsed out finale.
Acid boogie minter from the guy behind Starship Commander Wooooo Wooooo!
All killer no filler produced in Kansas City, Missouri; scoping the natty acid boogie budge of 1985’s Lovin “Babe” Sure is Fun! [Instrumental] and the dry iced, Dam-Funk-friendly ’87 soul slammer So Good [Instrumental] on the front, backed with an extended vocal edit of Lovin “Babe” Sure is Fun!, all certain to light up the collectors and boogie yung un’s like it’s xmas in midsummer.
Yung Bajan rap wunderkind Haleek Maul coolly defines his solo sound on a smart EP for Lex Records, including production by Gila and Dasychira, and guest bars by Saul Williams and Embaci
“Born in Brooklyn, New York, 21-year-old rapper, singer and producer Haleek Maul was sent to the tropical island of Barbados at a young age to attend school and be raised outside the city.
Inspired by the sounds that filled his childhood environment, he began creating music while in secondary school, and what started off as innocent rhyming and mimicry of his favourite artists became an obsession which led him to pursue production and greater musical exploration.
Formative influences on his style include Vybz Kartel, Damon Albarn, Aphex Twin, Tricky, Crystal Castles and Kanye West, as well as visual artists like Araki, Kenneth Anger and Chris Cunningham.
Haleek Maul first surfaced in 2012 aged just 16 with the Oxyconteen EP. An album with Chicago production duo Supreme Cuts titled Chrome Lips followed, plus collaborations with Ryan Hemsworth, Le1f, Black Noise and others. After a short hiatus in order to complete his studies, Maul - now 21-years-old - has been back in the studio and releases his first EP on Lex.”
Somehow overlooked, totally killer dub-disco nugget, produced in 1982 at Mad Professor’s Ariwa studio. Reissued for first time with Brandon Hocura’s crafty, extended Club Dub edit on the B-side. Hugely tipped if yr into Arthur Russell, Nite Jewel, Prince etc!!!
“In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's legendary Ariwa studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism.
The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally un-google-able 30 years later. The result of their adolescent studio idealism sounds akin to other disco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub for maximum dance-floor action.”
The prodigal return of Venezuelan artist Carlos Giffoni to the avant-electronic music scene he was instrumental in shaping with the seminal, hybridising No Fun Fest and No Fun Productions label, which was home to debut releases by Oneohtrix Point Never, and classics from Haswell and Prurient during the late ‘00s to early part of this decade. If yr into 0PN or Keith Fullerton Whitman, this album f u c k i n g r u l e s
Carlos’ first new release in 6 years, Vain was drawn from hundreds of hours of improvisations made at his Malibu studio, offering a tumultuous narrative in affective abstract swells and pulsating rhythms that trigger curious sensations and emotions ever familiar to his variegated, extreme, yet essentially organic output.
Despite not releasing anything for the past 6 years, Carlos still sounds like he lives and breathes electronic music. Where those ‘noise’ artists who originally played at No Fun Fest and released on his label have arguably carved out major career paths from myriad mutated genres, Carlos’ music still feels captivatingly ancient yet advanced and uncannily hypnotic.
In a cascade of minimalist arps and cloud dynamic harmonies, the album’s story starts in the vortex of Vain’s Face and sweeps thru the granular flux of The Desert to a staggering piece of noise techno dissonance in Erase The World, which calves away into the curled plunge of Hands and the anxious needling of We Pay The Price. At the mid-way point it turns lusher with the pulsing and coruscating kosmische tang of Stop Breathing, leading to the metric complexities woven into Faith and Pain and the heightened high-register sensitivities of I Can Change, whose shatterproof hyaline steeples ultimately deliquesce into the shimmering beauty of Sun Rain.
With hazy resolution and ambiguity of effect, the record works its magick in memorable style. Like the best abstract sonics of Peter Rehberg or Keith Fullerton Whitman, an intuitively applied formula of geometry, rhythm, tone and timbre add up to inexorable effect, rendering the closest possible connection between the machines and the artist’s pathos.
For syntesthetes and attuned listeners, the effect is likely to conceive new colours on the mind’s eye, and move them to finer states of emotive response. In others words: it’s a seriously good listen.
Johnny Jewel unfurls a breathtaking hour of ‘Themes For Television’, including his ‘Windswept’ piece from ’Twin Peaks: The Return’, as well as alternate versions of the Chromatics songs performed in the series’ Roadhouse scenes and other unreleased cuts.
No hype: Themes For Television may well be Jewel’s finest moment in a catalogue already studded with gems. As is now well known, Jewel created some 20 hours of music for Twin Peaks: The Return, but only a small fraction of that amount made it to the final cut. The best of those, and some of the “employed” parts, are now collected to make up this superb suite of themes, each blessed with Jewel’s rarely paralleled knack for creating haunting situations that stay with the listener long after the music has stopped.
The spirit of Lynch and Badalamenti’s classic soundtracks perhaps unavoidably loom large over all 21 pieces, beautifully rendering a sort of twilight uncertainty and mystery native to Lynch’s imagery on one level, but also scoping the last 40 years of TV and Hollywood soundtrack history in the broadest sense; weaving electronic experimentation hinting at sci-fi and thrillers, with a command of melodic hooks and haunting harmony that could feasibly colour and accentuate the most palpable or pulpy scenes of romance or heroism in any number of ways.
We highly recommend copping this album and drawing up your own script to fit its fleeting play of emotive signposts, and maybe post the results to YouTube, then wait for the producers to come knocking.
Mark Ernestus’ Ndagga Rhythm Force lick another deadly shot of tumbling, tucked-up senegalese mbalax, making their 1st outing of ’16 and a 3rd 12” together in this line-up since 2015.
We’re all over the sloshing Walo Walo Version something rotten. It’s an utter joy to reprogramme yourself to its tangled syncopation, picking out and anticipating particular patterns with uncertain limbs, revelling in its wickedly stumbling, uniquely resolved meter. If, like us you’re nuts for drums, that lone, hingeing clap will leave you equally rapt, and then there’s a locked groove…
Flip side is also amazing: Ndiguel Groove resets the rhythm to a loping, shoe-laces-tied sort of house bustle sprinkled with lissom guitar and suspended in Mark’s mixing trickery, before turning up a denser original mix of Walo Walo Rhythm riding that Prophet 5 bassline and talking drums ‘aaaard.
One of the greatest and most overlooked albums of the 1970s, Time Actor was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German synthesizer and ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried.
"Richard"" is the name of Klaus’ son born in 1979, and the first name of the German composer Wagner. ""Wahnfried"" is the name of Richard Wagner's house, from the German ""wähnen Frieden fand"" (that his search and hopes will find peace). The album was a unique fusion of Brown's eccentric musical vision and Schulze's mastery of synthesis. The album was originally released in 1979 on the German Innovative Communication label. Time Actor stands out amongst Schulze's massive catalog as a masterwork of avant garde new age. Schulze helms the project on electronics, and guests include Michael Shrieve on percussion, Vincent Crane on keyboards, and vocalist Arthur Brown, who sings – or should we say, speaks – on top of it all. Schulze describes the Wahnfried project in the liner notes as “the collective pseudonym of an idea: Time-Electronic, an experiment between avantgarde and muzak: Utility-music for sound-covered environment, in which a new generation grows up: Richard Wahnfried is this generation: Music between genius and nonsense: New ideas transported by an old medium to your ear.”
This newly re-mastered reissue expands the original 60 minutes of music across a double LP to help with playback and distortion experienced on original pressings. We’ve added a bonus track in the form of a Cosmic 12-minute extended remix by Italian producer and DJ Maurizio Delvecchio from 1983. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley."
Another sterling piece of improv history from Incus via Honest Jon’s, this time Derek Bailey’s spellbinding, teetering excursion with legendary percussionist Jamie Muir (King Crimson), who previously collaborated in The Music Improvisation Company. Less jarring, more wildly fluid and flowing into thrilling new spaces, from tribal rhythms to the kitchen sink…
“Percussionist Jamie Muir was a member of King Crimson during the recording of Larks’ Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981.
There’s no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can’t hear echoes of any particular jazz drummer in Muir’s playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who’d come before him).
What on earth did Muir’s kit consist of? Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be… well, anything. Old suitcases thwacked with rolled up newspapers? Tin cans and hubcaps inside a washing machine? Who cares? It sounds terrific – but if you’re the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track.
Dart Drug is consistently thrilling, and often very amusing – but it’s certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too? That’s precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight? Sometimes Bailey’s content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir’s junkyard, but elsewhere he sets off into uncharted territory himself.
“The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) – which is to give music a future.” Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.
Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album.
Very hotly recommended.”
Funkineven’s Apron Records pop some funked-up garage-house-disco from the acronymic LMYE with Lend Me Your Ears
Cali 76 blends jazz-fusion keys and (is that a?) sitar chops to a tight, bustling swing groove peppered with nifty fake-outs and nudges for the dancers.
Just as canny, Pays to be Pushed licks those same samples at a different pitch into a four-to-the-floor stomp spiced-up with swooping subs and clipped 2-step torque, how they used to do it…
First ever vinyl issue for Kyriakos Sfetsas’ enchanted fusions of greek traditional music with progressive jazz and avant-garde influences, originally recorded and released in ’77...
"Kyriakos Sfetsas formed the Greek Fusion Orchestra in 1976 in order to expand the boundaries of Greek traditional music. The result is a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, and performed by Athens' best musicians of the day.
"Sfetsas grew up on the island of Lefkada where he studied classical music from an early age at the local conservatory. At the same time he was genuinely connected to traditional music and especially to the sound of the clarinet, the lead instrument in the region's folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprised mostly of members of the Variety Music Orchestra, who had a solid background in both classical and traditional music. In that way, he was able to realise his ambition. Something he could not do in Paris, since it was impossible to find musicians trained in both musical cultures.
The recordings on this album, forming only a small part of his overall body of work with GFO, are previously unreleased. The music was recorded Stereo on Reel Tape and with high standards for the time, with the current mastering process highlighting even more the quality of the recordings. The result is a truly impressive and pure audiophile album."
Before Om, there was Sleep and ‘Volume One’ was their debut album release, on Californian label Tupelo (probably best known for releasing Nirvana’s ‘Bleach’ in Europe). It hit the shelves in 1991 to great acclaim and the band were eventually signed by metal dons Earache, but ‘Volume One’ has been unavailable for some time now, and with the renewed interest in Hakius and Cisneros it makes perfect sense to have the album available once again.
Sleep were quite clearly indebted to Black Sabbath at this point, and tried very hard to imitate their styles, much like Earth and Sunn 0))) so it’s not hard to hear why it sounds like it could have been released yesterday. Thick droning basslines and growling guitars are the order of the day, if you’ve heard Om then you’ll know basically what to expect, but Sleep were always more Metal, they always had a bit more in the aggression department.
If you’ve been lapping up the recent slew of Earth represses then this should be marked as an absolute classic in the doom/stroner/drone metal genre.
Charmingly loose and mellow vibes from Joseph Deenmamode on his 3rd album as Mo Kolours
“You won’t find many producers quoting Plato - ‘Inner Symbols’ takes its cue from the philosopher’s words "Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, charm and gaiety to life and everything''. Influences are many and all, ranging from colonization and African diaspora to Korean shamanism, Doug Hammond to Junior Byles.
“Inner symbols is a musical path that begins within, and reveals itself outwardly, only to return to the INNER. Themes are; introspection, truth, history, family, mental nature of reality, recognizing positivity, greed, honesty, unity, love, ignorance, lust, and of-course DRUMS!”
- Mo Kolours
The entire album was created on a Electro Harmonix looper using samples and live instrumentation and a Roland drum machine. Similarly his energetic, improvised live show sees tracks layered up from loops of voice, percussion and drum machine before skewing in new directions. It’s a thrilling approach which has taken him to clubs and festival stages from Brighton to Brisbane, as well as to the BBC’s hallowed Maida Vale studios at the invitation of Gilles Peterson.
Raised on the traditional sega music of his father’s Indian Ocean homeland alongside records by the likes of Jimi Hendrix and Michael Jackson, Mo Kolours adds hip hop, dub, soul and other electronic styles to his individual sound. His approach could find him placed alongside Madlib or The Gaslamp Killer but he would be equally happy in the company of James Blake, Erykah Badu, Theo Parrish or Moodymann.
Along with Reginald Omas Mamode IV, Jeen Bassa, Henry Wu, Al Dobson Jr and Tenderlonious; he’s helped forge in the 22a co-operative that The FADER calls “a kaleidoscopic patchwork of hip-hop, house, and groove investigations bound by one thread: a timeless belief in rhythm as a universal language”.”
DJ Sprinkles and Hardrock Striker slice off the 2nd 12” from the ’Skylax House Explosion’ 2CD
Sinan Kaya swangs first with the frothy deep house soul of What’s Mine Is Mine, beside the mellow stride of Flabaire’s riff on The Doors’ with Riders In The Sun on the A-side, while Italy’s Love Island keeps it topical with the lush ‘90s house flex of Love Connection (After-hours Mix), Slowdown brings the suave strings on Don’t Play Around, and Sameed cooks up a killer, ruffcut disco-soul edit in See Ma Thang On You.
On a roll after releasing his first ever solo piano album in January, the aptly named ‘Solo A Genova’, the Upstate New York based artist presents a further facet of his seemingly boundless talent for composition, performance, invention and in this case, for acting as master of ceremonies to a group of exciting and innovative musicians.
"His latest formation, the Jamie Saft Quartet sees repeated collaborators, celebrated saxophonists Bill McHenry and bassists Bradley Jones as well as in rising star of the drums Nasheet Waits. Recorded in the Autumn of 2017 in Jamie Saft’s Potterville International Sound studio Upstate New York, co-produced by Saft and Chris Castagno, mixed and mastered by Chris Castagno in Colombia, Blue Dream showcases nine new vibrant, spiritual and energetic compositions by Jamie Saft, as well as three mesmerizing standards."
Amazing ambient panoramas and acidic grooves from native Australians Bobby Bunnungurr, Jimmy Djamunba and Peter Milyaynga, with Victoria musician Peter Mumme; recorded and released in mid ‘90s, now surfacing on Sydney’s flawless Efficient Space label, who were behind the excellent ‘Sky Girl’ and ‘Oz Waves’ comps. Strong tip to anyone into Suba/Rex Ilusivii, Lonnie Holley, Alanis Obosawin
“Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.
A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi’s mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that “the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas”. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.
On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.
Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.”
A stunning set of previously unheard posthumous recordings from Mika Vainio aided and abetted by Franck Vigroux. Haunting, cinematic, extreme electronic panoramas of the highest order…
Mika Vainio and Franck Vigroux’s brutal yet filigree electronics come to light in ‘Ignis’, which finally discloses the further, etheric results of recording sessions that made up their ‘Peau Froide, Léger Soleil’ album in 2014, their celebrated previous collaboration for Cosmo Rhythmatic.
Posthumously issued following Mika’s untimely death in 2017, Ignis taps into the pair’s mutual respect for unsound and proprioceptive allusion, operating at liminal levels of tonal and spatial perception in a six track LP that leaves the project with a sense of unresolved tension.
Since Pan Sonic ceased operations in 2009, Mika found one of his sharpest foils in French multi-instrumentalist Franck Vigroux. They embarked on a lengthy creative process, articulated through studio and live performances, resulting in the powerful Peau Froide, Léger Soleil album and further recordings planned for a 2nd release. The end results of these efforts are collected on Ignis, a set of six parts paying tribute to a mutual fascination with what lies at and beyond the threshold of sonic comprehension. Where their previous effort traded in a mix of colossal, pendulous industrial funk and abyss-baiting doom, this one fully embraces the void in all its glorious mystery.
From a trail of icy bleeps, Brume lures us into cathedral-like ice cave dimensions with breathtaking cinematic effect, before the antechamber of Ne te retourne pas highlights those supposed dimensions with streaks of phosphorescing light to much more paranoid, imposing degrees, before calving off into the mechanical jaws of Luxure.
Deep in the beast’s mouth, Vigroux bleats a forlorn vocoder message on Un peu après le soleil, and their Luceat lux gives rise to their most extreme, dynamic frequency massages, for Feux to wrap up the trip in a barbed wire bouquet of ravishing distortion.
Techno’s OG soundbwoy presents a deeper cut from Ndagga Rhythm Force, following the hot beans of their killlller Yermande EP from early 2015.
Lamb Ji is a slow cooked course for the ‘floor, gradually matching up talking drum patter with bouncing Prophet 5 synth in simmering syncopation and fragranced with Mbene Diatta’s gently dubbed vox, rising like steam from the juicing groove .
Standardly, Ernestus jumps on the dub with Lamb Rhythm refrying dem beans in tumbling, chattering drum cadence to rocking, swaying effect; begging bodies to recall long-forgotten muscle memories.
What would Dariush Dolat-Shahi’s Electronic Music, Tar And Sehtar classic sound like if he had access to a Serge modular and digital applications in 2016? That notion is beautifully answered in Sote’s remarkable Sacred Horror In Design, which was produced in Tehran, Iran as the sonic quota of an A/V collaboration with Tarik Barri, commissioned for a performance at the 2017 edition of Berlin’s CTM festival, and now issued on vinyl as part of Sub Rosa’s ‘Persian Electronic Music’ volumes
To more pertinently expand the question at the top; what if Dolat-Shahi had also come up listening to hardcore, techno and modern electronic music? Across six tracks that idea unfolds in gloriously beguiling fashion, rendering 45 minutes of the classic instruments - ancient forerunners of the ubiquitous guitar - sublimated into flourishing vamps and diaphanous clouds of complex harmonics which reprise the beauty of Dolat-Shahi’s music, but with a more dynamic keen and microtonal glisten that’s no doubt been inspired by the cultural restrictions of his home country, and also resonates with the fraught ambiguity of our times.
It’s the latest and arguably most impressive example of Sote’s creative renaissance, presenting his definitive opus after a winding 15 years of work which has variously turned up on Warp in the early ‘00s, followed by a 7 years hiatus which saw him return with the Xenakis-at-the-rave styles of Architectonic and Arrhythmia for Morphine Records and Record Label Records, and a pair of staggering techno releases for Ge-stell and Opal Tapes in Hardcore Sounds From Tehran .
Opening with the wide-eyed, vaulted dimensions of Flux of Sorrow, incorporating material from NOVA Ensemble’s Seyle Ashk, to vacillate serene pastoral motifs with panicked modular busts in Boghze Esfahan and the demented prangs of Plural, before lashing out with the intense rave brainfloss of Plebian and sweeping us up in the folk music advancement of Segaah, the meter-tearing Serge rushes of Holy Error provides a fitting, climactic closure to the album’s mind bending equations.
It’s hard to think of another artist who has so uniquely pursued a synthesis of traditional and modern, sacred and arcane, with such vigour and vision in recent years, and for it all to remain so compellingly coherent is strong testament to Sote’s sorely under-regarded brilliance.
French house deity Pépé Bradock takes his now yearly sojourn with a masterful balance of breezy samples and driving grooves in the DJ and dancer special ‘Exodus 8’
A-side he steps straight up with the lightly feathered, heads-down funk of Is This Really A Party?, meshing wigged out samples and a patina of psychoactive voices to a quick but deep and swinging house groove working in the 130bpm range.
B-side, Grandgousier feels a notch slower, building its momentum from dusted jazz hi-hats and murkily filtered vocal and string samples while a ruggedly modulated bass drum and edging clap synch up to effortlessly do all the hard work, kinda like an anxious KDJ. This one will sound huge but dreamy as fuck in the club.
Bill Laswell does a full side of churning acid trance, backed with a killer 15 minutes of dub pressure by Nicholas Bullen, former bass player and vocalist for Napalm Death.
Originally recorded and released in 1994/1995, with hindsight we can now say this is the kind of 12” that epitomised a certain area of the mid ‘90s leftfield, a no-mans-land where rock experimenters encountered rave and dub music and attempted to bend them to their own means.
Laswell’s side sounds like he’s just got back from Goa or a Herbal Tea Party and decided to impersonate PWOG. The result is a sort of acid trance workout swollen with proggy dub basslines and sounding a bt naff over 20 years later.
However, the one to check is Nicholas Bullen’s Nocturnal Crawl, where he clearly draws on time spent in Scorn with Mick Harris to deliver a cavernous dub workout right up there with Muslimgauze gear from that era.
Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.
The original album is presented on its own CD, accompanied by discs that feature relevant extra tracks: singles; B-sides; demos; and many previously unreleased songs. Pink Flag is a two-CD set; Chairs Missing and 154 have three CDs each. All audio has been painstakingly remastered (or, in some cases, mastered for the first time).
This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.
It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.
Please note: although the three original albums remain available through digital stores and streaming services, the extra tracks from the special editions will not be released digitally."
Sometimes The Going Gets a Little Tough is Finn’s bittersweet dance music for “trying times”. As one of the sickest DJs in operation in Manchester, and a key member of its burgeoning new wave of producers, Finn’s rep has spread far and wide in recent years, bringing him to this, his definitive release to date and début for dance music powerhouse, Defected
Landing one year after the Late At Night pearl on his 2B Real label, Finn gives the dance a much needed dose of raw, rude and emosh flavour with Sometimes The Going Gets Tough, fully indulging his fetish for regional US club styles and classic UK ‘80s and ’90s vibes with devilish swerve and an ear-worming hook.
Game. Set. Match. A proper Bobby Dazzler.
We Play House bring their 10 year anniversary celebrations to a peak with four charms by friends and family
Luv*Jam takes pole position with the glancing, glassy piano house swang of Dewi On Deck, and Metrobox presents WLC shake up some Afro-Latin percussion with Mona Lee’s commanding no wave disco vocal on Don’t Get Around.
San Soda kicks the B-side into play with the heavy-lidded, mid-tempo swagger of 20061019, and Raoul Lambert sees to the party with old skool hip hop breaks and crowd noise tucked into he rugged budge of Death By Chocolate.
Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France.
"The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999.
Their debut album ”First Album"" was released in 2001 followed by . in ? “Lost Tracks Vol. 2” contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80’s European New Wave/Italo Disco with 90’s Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent. All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996."
The long-awaited return of Regis’ killer, slower CUB alias, featuring guest input by Simon Shreeve aka Mønic / Kryptic Minds. Tough, elastic hybrids of industrial techno and D&B rolige...
Where O’Connor’s original pair of CUB 12”s worked at an unusual 113bpm flow, and included killer remixes with Ancient Methods under their Ugandan Speed Trials (UST) alias, the project’s 3rd outing feature a reshuffled personnel and a broader range of tempos while remaining true to the original, grungy CUB aesthetic.
A-side, with D&B-turned-techno producer Simon Shreeve on board, the pair push the gauge to 125bpm on Seeing From Above for a proper, roguish shoulder barger activating reinforced drums and syncopated bass into a nightmarish space ripe for the dancers.
B-side, they return to the project’s slower tempos with the grumbling subsidence of Informal Beauty exploring a sagging rut of prolapsed bass below aching blue drones, and Primitive Sleep finds them all hands on deck for a dry, scaly, and stony-faced drill that sounds like the Regis remix of Ike Yard’s Loss that just found itself in a Berlin or NYC darkroom and doesn’t quite know how it got there.
Featuring new studio tracks and remixes of songs from Dead Cross’ self-titled album.
Dead Cross are Mike Patton (Faith No More, Fantomas, Mr. Bungle), Dave Lombardo (ex-Slayer, Misfits, Suicidal Tendencies), Justin Pearson (The Locust, Retox, Head Wound City), Michael Crain (Retox).
Recorded at the venerable Paradiso club in Amsterdam in November 2002. The club streamed its own recording of the show at the time, but what we have here are Motorpsycho´s own recordings, a whole other kettle of fish, properly mixed from 24 audio tracks.
"The centerpieces of the concert were heavily extended versions of old warhorses such as "Hogwash" and "STG" (both fantastic!), showing a band more concerned with exploring the furthest reaches of their improvisational abilities rather than trying to recreate the detailed arrangements for string-quartet and pop-group that had dominated their three previous albums. Worth mentioning is Baard Slagsvold on keyboards, his fearless approach to improvisation taking the music well into uncharted territories."
Enigmatic collective De Leon, known for a pair of cult tape releases on the Aught label, casts the 3rd release on Mana, following their sides by Pierre Mariétan and Benedict Drew with a display of rippling rhythmelodies and sloshing patterns, including some ripped from their Blowing Up The Workshop mix and all bound to resonate with fans of Shackleton, Don’t DJ, or Burnt Friedman.
Blurring distinctions between field recording and electro-acoustic performance in a gauzy sort of esoteric dance music, De Leon have worked coolly and obscurely in pursuit of an outernational spirit since their pair of tapes for /\\Aught in 2014-15. On Mana they pick up where we last heard them on a mix of exclusive productions for the BUTW mix series, rendering material from that set along with gear produced around then, or even more recently (we’re not sure to be honest, they don’t give much away).
The vibe is essentially a sort of trans-cultural moiré of ideas, converging elements of gamelan, West African tribal drums and Native American pipes in six seamless dream sequences that feel at times like Villalobos conducting Marginal Consort or at others like a naturally occurring delta of plugged in new age techno which has mutated in order to inoculate dancers against rigid metric conformity.
Norwegian baritone saxophonist Kjetil Møster, Swedish baritone sax burner Mats Gustafson, Norwegian noise jazz guitarist Anders Hana (MoHa!, Ultralyd, Noxagt) versatile, powerhouse drummer Greg Saunier (Deerhoof) and the extraordinary Ethiopian born experimental singer Sofia Jernberg unite as The End.
"The resulting sonic maelstrom was so fresh and ferocious, so daring and audacious, so darkly apocalyptic that The End seemed like the only name for this band of rebels.
Their uncompromising debut on RareNoise, Svårmod Och Vemod Är Värdesinnen (a title whose approximate translation from Swedish into English could be stated as “Dark melancholy and sadness are senses to be valued”), is delivered with sledgehammer authority by the subversive crew."
Crafty, wet ’n dry steppers from the so-far-anonymous Pretty Sneaky project outta Germany
Uptown, they unfurl scratchy drums and lissom psych/jazz guitar in a spiralling vortex of experimentally agile steppers groove - think of a whisked, hyper Andreas Tilliander and Shed collab - whilst the flipside finds that groove inverted to a viscous tangle and spaced out in fluid, sticky motion.
Grime, footwork/jungle and broken beat mutations Leeeds-based Captain Over, featuring a deft Trim on vocals and frisky remix from Books
Trim lights up the stuttering jungle/footwork flex of Sick with meter-messing dip ’n swagger sure to catch fire in the right spots, whereas the dusty, latinate rustle of Clack Clack and No-One Ever Really Flies are cut from classic West London broken beat, and Books brings out the latent footwork flavour in Sick, replacing Trim in a mellow framework of whirring rimshots and cushioned jazz chords.
The Brussels-based post-rock band We Stood Like Kings release a new film music project entitled USA 1982, intended as an alternative soundtrack for the American cult movie Koyaanisqatsi directed by Godfrey Reggio.
"After BERLIN 1927 and USSR 1926, this third opus USA 1982 - the band's most ambitious project to this day, a musical reinterpretation of a movie famous for its original score by Philip Glass - embodies the musical maturity of the band which since 2012 has devoted itself to the accompaniment of masterworks of silent cinema.
In 2017, despite celebrating its 35th birthday, Koyaanisqatsi remains profoundly modern. The relationship between humanity, nature and technology illustrated by Godfrey Reggio, Ron Fricke and co. in the movie finds itself at the heart of the challenges of today's society."
Miss Red rides a ruffneck, bubbling riddim on Dagga, the 2nd drop on The Bug’s Pressure label following his Fog link-up with Burial.
Kevin Martin a.k.a. The Bug hisself provides the saw-toothed and harshly filtered production, with Miss Red pinched and squeezed between its ragged teef on Dagga, whereas One Shot Killer weighs up a drowsier, muggier sound for the red-eyed back of the dance crew. Aces, the pair of them.
New drummer Tomas Järmyr had only been in the band for 3 months when "The Tower" was recorded in March 2017, and it was a re-energised band that spent the following summer learning how to play selections from the vast back catalog and getting ready for the tour ahead.
"Kristoffer Lo (guitar, keyboards, vocals) was added to the line-up for greater flexibility and to stir the pot even more thoroughly. This volume follows in the tradition of the others, by focusing on the improvisational and experimental side of the band, taking bigger collective chances than ever before, re-imagining songs, stretching them, turning them inside out, and taking them places they´ve never been before. There are a number of truly outstanding selections here, cherry-picked by Snah and Järmyr."
The signing of Welsh multi-instrumentalist, Gwenifer Raymond. Hailing from Cardiff and now residing in Brighton in the South of England, Raymond began playing guitar at the age of eight.
In her own words: "When I was about eight years old a pretty formative thing happened to me ... my mum bought me a cassette tape of Nirvana’s Nevermind. Being so young I'd had no real interest in music prior to that, but I did have a ‘My First Sony’ cassette player that I used to listen to audiobooks. Anyway, I put the tape in, pressed play, and what I heard blew my little 8 year old mind. I don't know what it was about that wall of sound that so captured me, but I spent many hours hyperactively running around the house with headphones on, volume at full blast, and Nevermind on repeat. It was either for Christmas or my birthday that year, that I asked for a guitar. I spent all my teenage years playing either guitar or drums in various punk and rock outfits around the Welsh valleys, but around that time I was also getting seriously into older stuff, Dylan, The Velvet Underground and the like. Through those cheap compilation CDs you could get then, I found that a common influence amongst these guys was pre-war delta and country blues, as well as Appalachian music. Eventually I stumbled upon Mississippi John Hurt, Skip James and Roscoe Holcomb, and they became the holy trinity of musicians I so wanted to able to play like. Eventually, I tracked down a blues man in Cardiff who could teach me and it was in studying these guys that I was introduced to John Fahey and the whole American Primitive thing. I’ve always loved being in bands and the sonic chemistry it produces, but at the same time it’s always a bit of a compromise that those sounds in my head have to pass through and be translated by someone else’s. Sometimes it can be for the better, but sometimes not so much. American Primitive was the first time it had occurred to me that you didn’t really need anything more than one solo instrument to fully express yourself, especially when those feelings and moods refuse to be articulated in words, sometimes it's a mystery to yourself what it is you’re expressing. I still play in hard rock and punk bands and love to wail and hit my guitar with a complete lack of any subtlety or nuance, but in the end I think that all these things are really part of a circle, feeding back into itself. It’s all just a lineup of strange mutations."
Optimo’s Latin arm, Selva Discos dish up the anthemic ‘Baianá’ in its rousing original and drum-heavy remix version by Jan Schulte
Unmistakably recognisable for its mix of twanging mouth harp, chants and body-drumming by Barbatuques, the original Baianá - a modern folk song composed by Maria do Carmo Barbosa - is a ready-built doozy that has done the damage at the hands of everyone from Young Marco to Optimo’s Keith & Jonnie.
For us, that original is more than enough, and doesn’t really need to be altered, but Jan Schulte a.k.a. Wolf Müller thinks differently, adding a loping rock drum break cut from a library record to make the track more appealing to certain DJs.
Whatever side you fall on, this one’s a straight ace!
A syndicate of synth and guitar-wielding druids from S U R V I V E, This Will Destroy You, Pure-X, Troller and Skullcaster team up on this cinematic carpet ride thru prog rock, kosmiche raga drone and pulsing deep space themes. The chufty levels are chin high on this one, dripping with the promise of new planets, new products
“Austin based experimental collective Thousand Foot Whale Claw is back with the new cosmic full length Black Hole Party. Featuring members of S U R V I V E, Troller, Single Lash and Future Museums, this is the supergroup’s second LP and their most accomplished work to date. Inspired
by progressive 70’s German kraut-rock, Thousand Foot Whale Claw maintains a classic style while establishing an original voice. With album art by renowned contemporary sci-fi/fantasy
illustrator Kilian Eng, Black Hole Party’s aesthetic is cohesively curated throughout its dense, multi-layered track list, ranging from serene sound baths to driving dance beats.
TFWC was founded in San Marcos, TX by a core group of college friends who bonded over loose collaborative jams of effects driven improvisations. Eventually these unstructured practices evolved into refined studio sessions and intense live performances, leading to a rich discography and enthusiastic fanbase. Balancing repetition with the unexpected, TFWC’s sustained motifs slowly reveal the band’s signature free-form experimentation. Known for heavy walls of guitar and electronic
drones, TFWC spirals into circular rhythms and looping riffs stacked with shredding guitar solos and ambient soundscapes. Explorations spurring from a central theme is the basis for the band’s compositional approach, always seeking new instruments, sound sources and production techniques for each piece. Recorded and engineered at Stassney Studios in Austin, TX with producer/artist Dylan Cameron, Black Hole Party has become the band’s most defining body of work thus far.
On Black Hole Party, the polished structure and acute development of all six tracks is distinct and tangible, making this record more composed than any of their previous releases. Propulsive songs such as “Deridium Rail” and the album’s title track are driven by four-on-the-floor dance beats and
arpeggiated synthesizers, contrasting songs like “Genesis Effect” that predominantly features the natural tones of 12-string acoustic guitar and harmonium. The wide variety of sonic flavors is reflective of TFWC’s vast musical tastes, refusing to settle on one approach and allowing the band’s idiosyncrasies to shine regardless of genre. To classify TFWC as an instrumental psych band is only partially accurate, however there are a lack of proper terms to fully encapsulate the band’s broad scope.
Black Hole Party is the latest and brightest collection of songs from Thousand Foot Whale Claw, meant to be enjoyed in a multitude of environments for all fans of expansive listening.”
Container on a cranky Unit Moebius tip for Spectrum Spools, hammering out nine undulating and primordial brutes from his battered hardware setup in there same manner that attracted many to his outings with Diagonal, Liberation Technologies, and Morphine Records. Good stuff..
“Ren Schofield has returned with a new installment in his notorious "LP" series for Spectrum Spools. "LP" has all the earmarks of the classic Container sound with it's uber-mangled, saturated tape garble and headlong tempo macabre. However, this new set of tracks feature an attention to composition unlike much of the Container we've previously heard. While the tracks unfurl across two sides of wax the contours and jagged edges of each sonic sculpture display a new refinement while maintaining the full capacity to vaporize any club floor with Container’s traditional recklessness.
Miraculously, this new “LP” manages to incorporate some more traditionally ‘musical’ elements thus far untouched upon in the projects output while simultaneously delivering it’s most damaged and blown out offering yet. Despite leaving a trail of albums that get more intense with each passing year, this “LP” is bar none the most loaded. The tracks feature a trajectory with narrative, surrounded by broken acid basslines grating against disintegrating tape loops. This is the infectious and singular hypnosis Container has become well-known for. Overloaded drum patterns, washes of feedback, and dying melodies - it's all here and somehow it's restructured to be different and better than ever before. With this latest installment, there are no longer shambles but merely dust left behind.
As Container continues to evolve in an upward motion, "LP" presents a refreshing and welcome new chapter.”
Ploy keeps it dry and funky, UK style, with the rolling pressure of Ramos
Whereas Roy’s Rolls sustains a perpetual snare roll from start to finish on a smart exercise in tension and deferred gratification.
Devilishly slinky techno from French producer Marcelus, back on Tresor, site of his ‘Vibrations’ LP release
There’s two proper rug-cutters on board, namely the swingeing Afro-Latin percolations of Magnet, with its mesmerising lead and sizzling drums, and the crankier Regis-in-the-Amazon styles of Say It Again, which are both sure to make you dance better, while the other cuts explore more sunken, dreamy space in the cavernous, rolling designs of Paranthesis, and the brownian slosh of Descent.
Rave-guaranteed belters from Roza Terenzi & DJ Zozi on the eagerly anticipated 1st 12” from Vancouver, CA’s Planet Euphorique
Launched the same week Canada legalised the weeeeed, Planet Euphorique plays up to the vibe in four parts of crystal cut, shine-eyed rave goodness produced by PE’s proprietor, D. Tiffany a.k.a. Xophie Xweetland a.k.a. DJ Zozi together with her pal, Roza Terenzi.
A-side warms up on a slow garage tip, like some melted Bigshot Records obscurity, before Half Moon Bay steps up the emotional and physical energy with lush pads and mercurial freestyle electro inflections also carrying that ’89 into 2019 swagger.
B-side, the 12” really comes into its own with the triple deep Detroit and early UK AI styles of Strobe Fountain and the feminine jungle pressure of G Step.
Lip-smackingly good stuff. Don’t sleep!
A new label from the Sofrito family; classy new wave rumba hybrid from mid ‘80s Paris, compatible with early ‘80s Detroit styles. A very promising start for the Ambiance label
“4 tracks spanning rumba, disco, new wave and reggae experiments from Congolese singer Albert Siassia and his group Tokobina, including two previously unreleased tracks taken from original demo tapes.
Originally from Pointe Noire in Congo, Albert Siassia came to Paris in the early 80s as part of the Ballet Nationale du Congo and joined forces with a young French reggae group called Dread Lion – a band he re-christened “Tokobina” (Lingala for “let’s dance”). Keen to broaden their audience the group played a mixture of reggae, rumba, disco and new wave styles, often using drum machines and synths.
They released one 12” EP, further altering the spelling of the name – “Tokobina” was phonetically anglicised to “Talk-Hoby-Night” in an unsuccessful effort to increase international sales. The record failed to make much of an impact and soon after Albert Siassia moved back to Pointe Noire to become an evangelical preacher. He passed away in 1999.
Dancefloor sureshots Mama Africa and Pointe Noire are taken from the group’s only 12” release. In the world and Sangui are taken from demo cassettes from the archive of drummer Franck Benhamou. Sangui was originally scheduled for release on a 7” but the release was withdrawn due to a pressing fault.”
From the legendary Omicron label secret archives, one of the rarest and nearly impossible to find album signed by Piero Umiliani
"Gli italiani e l'industria is the soundtrack of a mysterious TV documentary by Romolo Marcellini broadcast in 1967, and never heard since. The music perfectly reflects the contrasts of Italian society of that period, equally divided by consumerism and alienation, with a number of tracks deliberately easy (with ballads for vibraphone and organ) alongside compositions close to free jazz, with electronics and avant-garde sound design that Umiliani focussed on in later years. An essential album of easy-listening and experimental sounds."