David Holmes channels Angelo Badalamenti in fine style...
“50 minutes of new, original music from David Holmes soundtracking Steven Soderbergh’s six part tale of passion, intrigue and deception.
Initially released as an interactive app in which the viewer directed the narrative - Mosaic is a six-part HBO series conceived and directed by Steven Soderbergh and starring Sharon Stone. Mosaic is a twisting tale of passion, intrigue and deception focusing on the disappearance of a high-profile resident of picturesque Summit, Utah and the four-year effort by law- enforcement and civilians to discover the truth behind the crime.
With that in mind, Mosaic’s original soundtrack weaves as intriguing a tale. Recorded between Belfast and Los Angeles by Holmes, the album features a modern-day Wrecking Crew of musicians. Echoes of Maestro Morricone abound alongside the influence of avant-garde pioneers and Holmes' current soundtrack contemporaries in a selection of deep listening tracks.
To quote Mark Kermode, 'Mosaic' outlines Holmes’ expertise at “ratcheting up the tension” with strings, horns and synthesizers swelling throughout. As this tension peaks there is inevitable release - in rhythmic and harmonic tracks such as ‘What I Want Is The Red Room’ and Badalamenti-esque lounge eeriness in the likes of ‘Four Years Later’ - guiding the 20 cues presented on this release into a cohesive, full and nuanced album that reveals subtle and rewarding intricacies on each repeated listen. ‘Mosaic’ once again outlines Holmes as a modern master of the original soundtrack.”
Godfather of the current Peckham sound, Wbeeza turns out three deep warehouse jams for London’s Troy Town label and party series...
Landing 3 years since his 12”s for Arma and Secrtesundaze, ‘The OD’ is built for dirty, decadent nights in scuzzy joints, packing the deeply hypnotic acid momentum of ‘The OD’ alongside the lip-smacking garage swang and wavy lead of ‘Grove Park’ and the party-ready Detroit burn of ‘Bizzle Boogie’.
A decade is literally a lifetime for most bands. For Italian-American post-punk stalwarts, Bellini, it is simply the time it took to make their new album.
"Separated by an ocean, the members of Bellini lived their lives, mourned several close friends who lost theirs, and occasionally converged in Italy or Chicago to write and record what would become Before The Day Has Gone. Recorded as always by longtime collaborator and companion, Steve Albini, Before The Day Has Gone’s roots are in tracks that were originally laid to tape at Albini’s Electrical Audio Studios way back in 2012, where they sat until fall of 2017, awaiting completion. Albini mixed and sequenced the album independently, as Bellini has preferred with all of their albums since 2005’s Small Stones. Bellini’s gift for marrying melody and dissonance is as sharp as ever on Before The Day Has Gone – the band’s veteran rhythm section of Matthew Taylor and Alexis Fleisig anchoring Tilotta’s sinewy anti-riffs and Cacciola’s primal punk poems of butterflies and betrayal. Bellini deliver passion and pain with the kind of pride and prowess one would expect from a band of their pedigree, and Before The Day Has Gone is their most dramatic and dizzying display of their two-decade career."
Benoit B follows his ‘Japonaiserie’ 12” for Berceuse Heroique with a classy ride between bass-heavy electro and smoky Gallic downbeats for Wisdom Teeth
For the ‘floor, Benoit tees up the lush electro suspension system of Vague à l’Âme and a beautifully crafty mix of whirring trills and Martian woodwind in Kimono coming off like a mutant Red Planet number.
In between those cuts he explores a more sultry style in the Far Eastern-inspired sashay of Gyvenimo Tékmé featuring vocals from Dália, then with the nimble, hyaline designs of Ice Valley landing somewhere between Jay Glass Dubs and Invisible Cloaks.
Nyege Nyege Tapes return with their third ever vinyl release; an amazing collection of thumb piano recordings by Ekuka Morris Sirikiti, a legendary Mbira player from the Lango people recorded from Ugandan radio c.1978-2003. Heavily textured with radio static and ferric distortion, think Konono Nº1 or Honest Jon’s East Africa sets relayed by The Conet Project...
Hailing from the Langi tribe of Lira, Northern Uganda, legendary local griot Ekuka Morris Sirikiti performs his music in various situations - festivities, market days, and other gatherings - on a homemade foot/drum contraption coupled with the Lukeme; a small, handheld thumb piano that produces flurries of metallic rhythmelody under deft digits, and is maybe best known as an Mbira in its heavily distorted use by the DRC’s amazing Konono Nº1, as well as myriad other recordings from the vast Central and East African region.
Entirely comprising recordings of the original radio broadcasts made on various devices, the music on ‘Ekuka’ is distorted to differing degrees, resulting in a broad spectrum of fidelities that are both unavoidable and inherent to the music, its reception, and its perception by those who didn’t catch the broadcast as it happened.
The 12 songs selected zig-zag across the timeline 1978-2003, with an alternating patina of ferric noise that camouflages their chronology - it’s difficult and unnecessary to discern their recording dates, as the songs serve a timeless social purpose, from everyday reminders to be a good husband; take your kids to school; and don’t disturb the wife of your son; to Government commissioned warnings about venereal diseases, drinking alcohol and paying taxes.
Considering this all took place against the backdrop of tribal warfare and cattle raids by rebels, the raucous laughter on ‘In Boloney For Ayinet’ demonstrates the humour and pathos behind the songs in a way that may literally escape listeners elsewhere. And in that context ‘Ekuka’ is quite unlike most other vintage recordings which resurface outside of Africa beyond, say, Honest Jon’s ‘Something Is Wrong’ and ‘Bellyachers, Listen’ sets, which admittedly document a much earlier period c. 1938-1957, but were also selected from recordings not specifically or even vaguely conceived for the international market.
As with Nyege Nyege Tapes’ previous dispatches from modern day Tanzania, Uganda and Kenya, ‘Ekuka’ provides a genuinely street-level, unfiltered perspective on unfathomably long-rooted traditions in a way that sounds incredibly fresh, unfamiliar and hugely interesting to keen ears the world over.
Rodrigo Amado: tenor saxophone Joe McPhee: pocket trumpet, soprano saxophone Kent Kessler: double bass Chris Corsano: drums
"Great dedicated music by four strong individual players, brought together by Portugese saxophonist Rodrigo Amado – intense communication with room for outbreaking solo-parts but always held together through a vision of playing together, exiting and interwoven with beautiful melodies!"
Mesmerising dream house with a lush, pastoral aura from Linkwood of Firecracker Records fame
Making his welcome first move in three years, the Edinburgh-based producer unfurls the rolling, gauzy beauty of ‘Mine Meld’ with its panoramic pads and effortlessly cushioned groove reaching Ron Trent-style levels of soul-warming subbass by the track’s end.
On the other side ‘Nae Drama’ bristles with rawer electronics and simmering tribal drum patterns laced with a swell of field recordings and wilder FX bound to bring the crowd to a frisky fever pitch, recalling some transfixing blend of Carl Craig and Ra.H sensibilities.
Another ace addendum to 0PN’s ‘Age Of’, including album cut ‘We’ll Take It’ plus two brand new productions and the brilliant, previously Japan-only bonus level, ‘Trance 1’
‘We’ll Take It’ finds 0PN in full-blown industrial sci-fi mode with some of his deadliest drum programming and churning synth torsion emulating the motion sickness of time travel, accentuated by additional production by James Blake.
‘Monody’ hears him plumbing a sort of proggy IDM uchronia, where the mid ‘70s folds in to mid ‘90s and mid-WTF we call this decade, and ‘Blow By Blow’ follows that logic to sound like a bastard organism imagined by Autechre and Steve Vai making its first tentative steps into a VR world.
Best of the lot is ‘Trance 1’, which previously appeared on the Japan-only edition of ‘Age Of’ and now blazes out on this release like the view of planet exploding in the rear window of an escape shuttle headed for new solar systems.
Bonus points for the ‘spliffy’ jeans-style avatar on the jacket!
One of the rarest records in the world, by ‘Os Mutantes’ before they were ‘Os Mutantes’, copies have changed hands for $5000...
"‘O’Seis’ are the core members of the mighty and legendary ‘Os Mutantes’ - namely Rita Lee and brothers Arnaldo and Sergio Baptista, accompanied here by Raphael Vilardi, Maria ‘Mogguy’ Malheiros and Luiz Pastura.
The record features anthemic, heavyweight, psychedelic rock on ‘Suicida’ b/w deeper, tripped-out MPB-folk on ‘Apocalipse’. Both tracks were written by Rita Lee, assisted by Tobe and Vilardi respectively. The term ‘holy grail’ is a little overused these days perhaps, but this definitely is one. Originally pressed and released by the band themselves in 1966, apparently only a handful of copies are known to exist (sources/numbers vary)."
"Nothing can stop a flutist. We can do whatever we want, whatever we feel. My flute, is a mirror of myself. I express feelings more easily with the flute than with language." This is what Jean Cohen-Solal said on the cover of his first album, Flûtes libres, renowned for its adventurous overdubbing of alto, piccolo and bass flutes, in treble or in C and ocarina.
"Mentioned on the famous Nurse With Wound list, the path followed by Jean Cohen-Solal included many exciting adventures in the 1970s, from his participation in the cult animation series Les Shadoks where his voice can be heard alongside the actor Claude Piéplu, to his proximity to the GRM where he worked alongside Bernard Parmegiani, François Bayle, Luc Ferrari, Guy Reibel and Béatrice Ferreyra, or his involvement in progressive music with Captain Tarthopom (1973), an album very much in the same style as that featured in Europe on the Vertigo label, but in an instrumental form, and even more audacious, without turning its back on the same classical influences as everyone else.
It is impossible to pin a label on Jean Cohen-Solal, he is the equal of his anglo-saxon counterparts Bob Downes, Harold McNair, Jon Field (Jade Warrior) and Jeremy Steig, just to mention the most creative of the bunch. His affinity with strings, already heard in his work with Serge Franklin, (author of the the ineffable Free Sitar) on Flûtes libres, is perfectly echoed here by the work of Jean-Claude Deblais, himself author of one of the little-known summits of sound illustration and French underground music: Le Miroir du fantastique."
Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode.
"Recorded over three days in February 1986, Weird Love is the band’s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of a 1982 Corolla’s blown Alpine tweeters."
L.A.’s Deb DeMure, a.k.a. Drab Majesty, captures the heart ache and glamour of his home city in the purple neon-lit wave pop of Careless, his debut album with NYC’s Dais Records and also his highest profile release to date.
Inspired by the range of characters on his childhood bus trips from “home in crumbling Hollywood to his grandmother’s apartment, nestled in the pastel pristineness of Beverley Hills”, as well as later troubles with drugs and the death of a loved one, Drab Majesty packages nostalgia and emotion with a sincerity that’s equal parts timeless pop romance and late ‘80s/early ‘90s Californian ennui, and it works a treat.
His candy flossed guitar reverbs are undoubtedly debted to The Cure in the best way from The Foyer thru Entrance And Exits, while the vocal harmonies float and flit between Robert Smith-style naval gaze and pure Paddy McAloon swoon, vaulted to sky-kissing levels of MBV sehnsucht in Unknown To The I, or like a less laconic John Maus produced by Cliff Martinez in the The Heiress, whilst Foreign Eye clearly salutes classic dancefloor Depeche Mode.
Really classy stuff. Tip!
Gemini finds Wild Nothing’s Jack Tatum constructing a striking, solitary monument to just about anyone who moped, sulked, or bedsat their way through the 1980s.
"His love of dreamy, fuzzy, handcrafted guitar-pop isn't far removed from the Radio Dept. or the Pains of Being Pure at Heart, but he displays a more comprehensive and widespread commitment to classic indie pop sounds. Revivalism notwithstanding, his craftsmanship is undeniable and the details are spot-on: Check the reflective bell tone in "Live in Dreams", the Cocteau Twins-like, artificial synth tom in "Drifter", and the Johnny Marr homage in the twinkly guitar fade-in that begins "Our Composition Book".
While Tatum plays hopscotch with his collection of 4AD, Factory, and Slumberland records, Gemini has plenty more to offer than sonic verisimilitude. On album opener "Live in Dreams," he sings, "Our lips won't last forever and that's exactly why/ I'd rather live in dreams and I'd rather die," and the lyric plays out like Gemini in miniature: While Tatum's words can edge on maudlin, his delivery is more romantic than dreary, and there's a sly, understated, and subtly addictive melody that gorgeously frames his sentiments. And melodies like that one, which the album features in spades, are ultimately what make Gemini more than just another indie pop record, and often more than the sum of its parts.
Of course, that's not to say that each of them connects instantly. Though a handful of immediate standouts reward first listens, the record's debt-to-influence ratio may initially seem to overshadow the strength of the music. However, repeat spins reveal Tatum's strikingly innate sense of songcraft, as these tracks gradually earworm their way into daily life."
Nina Kraviz and Anastasia Kristensen lend a cold and steely touch to tracks from Special Request’s ‘Belief System’ album, backed with exclusive SR cut; ‘Looking Glass’
Nina K renders ‘Curtain Twitcher’ in two ways; a driving ‘Alice Was here’ remix pairing her own trippy vocal with a driving techno engine, and a drily slinky ‘Samba Version’, whereas Anastasia Kristensen takes ‘Tiresias’ for a grey area techno slug-out topped with elegiac pads.
On his own, Paul Woolford a.k.a. Special Request bares his fangs on a rasping tech-step twiss-up recalling classic Renegade Hardware and DJ Scud gear.
No nonsense acid techno and lush ambient dance music from Oslo’s André Bratten
On the first in a trilogy of 12”s, Bratten really impresses on both sides, first with the stonking warehouse welly of ‘Un’ at a clenched and unrelenting 145bpm tilt recalling Bjarki and Caustic Window era AFX, then to the contrary with a wide, beautiful tract of floating pads and percolated techno pulses in ‘Pax Americana’, whose whirring rhythms also sound great at 33rpm rather than the recommended 45.
Sun dazed Antipod-earia from Danny Wild’s Low Slung on Aussie label, Ken Oath Records
Marking his 2nd move on the label after the ‘Coastal Garden’  single, ‘Blow waves’ expands on Low Flung’s hackneyed definition of ambient downbeat music over a whole LP, resulting in a slowly congealing blend of analogue synth sources spread on drum machine grooves...
Coyote Records launch a class début from VIO_L3T into orbit of UK drill, grime and weightless styles, backed with a signature, playfully moody remix by E.M.M.A.
Hailing from not-so-grimy Somerset, VIO_L3T fidns a balance of inner city tension and more spacious, widescreen synth feels to his first release, scanning the expansive synth intro and cold drill drums of Cloud-Tech next to the teetering dembow break structures and spiralling arps of Sentinel and the clipped, airy bump of Fragment.
E.M.M.A. gives Cloud-Tech a more immediate appeal, curtailing the intro so she can get busy with slugging bass and a more psychedelic, less glum synth arrangement in signature style.
A stargazing electro-techno session from Barcelona’s Lone Romantic label
Levels are set astronomic with the Doppleffekt-like arps and bone-rattling electro breaks of ‘Hohenheim’ and its ‘floor-engulfing 2nd drop, while the bilgy hydraulic pump of ‘Shimano’s Tribute’ comes off like a rogue Ultradyne transmission, and ‘Edelweiss’ twists off into E.R.P.-alike deep electro territory.
Big-boned house swangers from Marquis Hawkes and UK soul man Jamie Lidell
Properly gunning for that late ‘90s garage feel, it’s all gladrags and handbags for the stiletto stompers and trotters in ‘We Should Be Free’, while the Hawkes Dub sidelines Lidell in favour of big keyboard chops, and the Hawkes Club Vocal brings him back on an even chunkier sound driven by big, juicy bass. Best of all is the frisky drum track ‘Bonus Beats’.
Lithuania’s Patrica Kokett swivels on a mean, slow groove in four bugged-out ways for the excellent Knekelhuis label
“Patricia Kokett’s sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, Diabel’s metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence.”
Change The Station (1986) – An abstract album that sees A Certain Ratio bring the funk to laid back ambience in a way that only they could.
"The party is still there and it’s more hypnotic than ever.”
Big room/family-size chunks of Detroit house, revolving around Carl Craig’s ‘C2Back2ThaBasicsEDIT’ of ‘Heavy’ full of happy piano chops and Steffanie Christi’an’s soulful vox, along with the stripped down ‘Dub’, and the brooding build of Inner City’s own ‘Dark Side’ mix loaded with KMS’ lustrous Reese bass.
Copenhagen’s regenerated Multiplex dispense a long overdue 3rd ‘Tivoli Trax’ volume of leftfield house cuts
Kicking off with the crunchy IDM breaks of Hüebsch Originators’ ‘Merchants of Venice’ from the ’Tivoli Trax’  CD, then switches tack into subaquatic deep house in ‘Bodies’ by Vassdrag, along with the cruise control swing of B From E’s ‘No Memory’, and the hubby bubble of ‘Nightwave’ from Dennis Bøg a.k.a. Reissue a.k.a. Dennis Uprock.
Awesome 2nd volume of ‘Midnight in Tokyo’ jams, with selector Dubby taking over from Toshiya Kawasaki to pick a diamond-studded set of ‘80s jazz fusion vibes from Japan...
All but the most ardent Japanophiles will be new to the sounds in ‘Midnight in Tokyo Volume 2’, which takes the listener for a personalised cruise around Dubby’s hidden gems, collected over decades and perfectly picked to brief.
To play favourites, the delicious warped slump of ‘Hikobae’ by Genji Sawai is frankly unmissable, as are the glittery glyde of ‘So Long America’ by Yasunori Soryo & Jim Rocks, the slinky tickle of ‘Imagery’ from Katsutoshi Morizono with Bird’s Eye View, and the glam strut of Parachute’s ‘Mystery of Asian Port’.
Freakish, high-impact techno missiles from Bjarki on Nina Kraviz’s Trip
Check for the wide-eyed 150bpm pounder ‘Oli Gumm’ with its shattering breakdowns, and the mash den trample and avian squabble of ‘Hatann Satann’.
Steve Poindexter & Traxman boot off their Factory Music Chicago label with a banging pack of hard-to-find and exclusive Chi house bangers
Windy City pioneer Poindexter percolates the dance proper with ‘Return to the Ghetto’ from his ‘Demolition Man’  12”, beside the dusty, tracky exclusive of his ‘911’ banger with Armando featuring killer synth sirens and maaad subbass.
Down below, Traxman brings up the filtered jack of ‘1990’ in classic style, before reworking Armando’s classic ’We’re On The Move (Snare Yo Azz Off)’ with a tight, simmering jack beat.
DJ Protein pipes up with a ruddy ghetto-house flip of Destiny’s Child b/w a pendulous deep house ace
Fabio Monesi a.k.a. Hissman - a.k.a. DJ Protein for purposes of this 12” - gives the club what it wants with the A-side’s gritty call + response spin on ‘Say My Name’, while the B-side is rolled out raw but plush for the swangers.
Killer jump-up jungle jams from anonymous, incognito sources
Infectious rave goodness on both sides, teeing off a ’95-into-’05-into-’18 sound with the A-side’s jungle and grime flex, then diving in with a lush re-fusion of bifurcated happy hardcore, deep and jump-up vibes on the B-side...
While Kevin Drumm has a reputation as a harbinger of doom, he also possesses an instinctive gift for quieter and meditative tones which are deployed to sublime, melancholy effect on this epic new double album. It generates a phosphorescent shadowplay of electro-acoustic tones and timbres comparable to his landmark releases Imperial Distortion and Tannenbaum in terms of their palpable yet somehow barely-perceptible spectral presence.
The first LP in the set is a special addition to the Drumm oeuvre. One of the most varied slabs in his catalogue, it moves in four parts from the keen of hollowed/hallowed resonance in The Forthright Fool to a transfixing pair of works entitled The Loop A + B, with the former sounding like Rainforest Spiritual Enslavement meets AFX’s SAW II ambience, and the latter deploying a gauzier sound sphere of coruscating tones and genteel chaos intensifying to a swarming panic attack, before the B-side-long Old Connections smears that tension with a paralysing, eviscerating force like being buried and slowly dissolving within a glacier.
From that subtle departure of the new paths of Disc 1, the 2nd plate returns us to more familiar Drumm terrain in all three sections. The longest, A Blind Spot hearkens to the supremely rare effect of Imperial Distortion, somehow coruscating yet amniotic - a proper metal ambience - while the final side’s Social Interaction feels like a smothered, internalized expression of Aaron Dilloway’s grotesque body gurns, and the near-static shimmer of Reverse Osmosis lends a suitably ambiguous close with an unyieldingly slow yet somehow lush strokes of genius.
Details of Gustave Doré’s wood-engraved illustration from The Rime of The Ancient Mariner by Samuel Taylor Coleridge adorns the sleeve and firmly hints at the poetic tempest and grain of Drumm’s work inside, which fixes its gaze not on the drama of the situation, but the tension and anxiety which frames it.
Absolutely aching with soul, Mississippi’s vinyl distillation of Clinton Walker’s acclaimed ‘Anthology of Aboriginal Country Music’ is a truly revelatory set of country music made by native Australian artists, almost guaranteed to open and plug a unique gap in collections everywhere...
Coincidentally arriving only weeks after the Efficient Space reissue of Waak Waak Djungi’s blend of synths and native Australian folksong in ‘Waak Waak ga Min Min’, this typically amazing Mississippi LP shines a light on a spellbinding, often unsettling, niche of music which is perhaps understandably unknown to listeners outside of Australia, yet should be instantly familiar to anyone with even a basic appreciation of blues and country songcraft.
From the mesmerising lilt and buzz of Black Allen Barker’s ‘Take Me Back’ to the heartbreakingly humble delivery of Jimmy Little’s ‘The Coloured Lad’ and the distinctively NSW-twang and bluesy rasp of Maisie Kelly’s ‘My Home In The Valley’, this is an incredible set of songs that will resonate with listeners far beyond their original home.
Laurel Halo returns to album format after two critically acclaimed EPs with the driving, meditative 'Chance Of Rain'. Evolving from earlier works, it's a cerebral exploration of the intersection between rhythmic and ambient music, drawing together moments of movement and stillness, psychedelia and presence of mind.
On 'Chance Of Rain', rhythms melt with unpredictable structures, ambient drift and deep harmonic passages, while keyboard-based interludes reinforce both the far-out and contemplative aspects of the record as a whole. Halo's evolution as a live performer has directed her music's development in part, as the tracks on ‘Chance Of Rain’ are fleshed out versions of live hardware improvisations. This LP is far off from the definition of a traditional dance long player; where tracks like ‘Serendip’, ‘Chance Of Rain’ and ‘Ainnome’ invite with infectious grooves, others like ‘Oneiroi’, ‘Still/Dromos’ and ‘Thrax’ invert these energies, revealing sinister potential in the process. Again Halo's knack for illusory detail and sound design shines, and another duality feeling emerges, this time one of unearthly joy. Drawing inspiration from the music of her home state's music capital Detroit, in both harmonic and rhythmic palettes, the music showcases freedom within metric constructs, and skyward optimism in the face of decay. The album comes packaged with artwork created by her father, an NYC-born, Michigan-based visual artist whose work focuses on industrial landscapes of Michigan and the Rust Belt at large. The artwork here is an early work of his from the 1970s, reflecting the album's twisted, hopeful tone."
Stroom reach inside the head of Ingus Baušķenieks to reveal a private world of Latvian reggae, shimmering Baltiearic beats, synthpop and ambient audities on their latest charm of a compilation...
Recorded between 1988 - 2011, Baušķenieks’ ‘Spoki’ treads a path as unique as any of the artists on Stroom before him, offering a sound that’s simultaneously familiar yet definitely otherworldly in a way that only comes from following instincts wherever they go.
Channelling the spirits of Mike Oldfield and Jean Michel Jarre as much as Englebert Humperdinck or Fleetwood Mac, these ten tracks, drawn from numerous releases and phases, range from colourfully-plumed avian enigma in ‘Kur Tu Esi?’, thru to lilting reggae-pop herrings in ‘Roni’, and floating ambient-pop house in ‘Lidojums Uz Sauli’, with crystalline highlights to be found in the deep dream sequence of ’19.10.89’, and the eerily romantic shimmy of ‘Meness Klajuma (Abari Gani)’.
Ultimately Baušķenieks’ approach to music as art can be summed up in a statement by his father, that “the collective art is not art at all.” In that context, his music gives a road map to his personalised imagination, an escapist’s paradise of dreamily optimistic melodies, effortless grooves and wistful atmospheres that externalise his interior life to reveal a dream shared by many, but not necessarily a collective one.
Haunting, levitating tribal house hustle from your boys Zarate_Fix & DJ Sotofett, brought to life for Sydney’s Thug Records with armchair assistance from DJ Fett Burger.
Sights are set on the long game with Planetary Involvement; whether used as a stargate for the early hours or in the wee small ones, the finely stacked layers of glutinous bass, hovering lattice of percussion and tentative chorales will work some seriously hypnotic magic on any crowd that knows how to dance without FXCKING MASSIVE DROP HERE or PUT HANDS UP NOW signposts.
Flipside, you get a rippling Planetary Dubb burning off any excess and leaving only the spectral groove residue and flute calls beside the beat-less, hyaline synth dimensions of their Solar Mixx.
Lark’s 'Can I Colour In Your Hair' featuring a flip side dub version by Andrew Weatherall.
"Can I Colour In Your Hair dates from the period that formed Lark’s debut and was always intended for its own vinyl cut. While the Andrew Weatherall version that followed, a while later, featured in his BBC6 music 6 mix and gained traction in his club sets, the physical record has proved elusive until now."
Proper, deep, R&B garage bimmer from 1990, dug out and dusted down by Dublin’s Compassion Crew, reissued with new, uptempo remix and bonus dubs by the original artist and The Man In Bed.
A-side gives up the immense treat of Don’t Tell Me (How Love Should Feel), a sterling slice of slow-mo, Kwaito-sounding garage house and R&B that melts on the mind. Even if you never heard it before (hardly anyone has), you’ll be singing along by the end of your first listen. The dubbed-out, house tempo re-rub from Compassion Crew is also worthy of its place, and Larry’s Luxury Dub, so titled after the original label, should be reserved for nights in with your bae. B-side, The Man In Bed (who dat?) dubs out the original in three dreamy, wickedly tweaked versions, also very much worth your time.
With original copies pretty much a myth, consider this your only way to grab this slice of deeeep dancefloor magic.
Following a sixteen-year gap between albums, The Avalanches return with their new album,‘Wildflower’, featuring Danny Brown, MF Doom, Father John Misty, Toro Y Moi, Jennifer Herrema, Biz Markie and more.
"Created by the band’s core duo - Robbie Chater and Tony Di Blasi - ‘Wildflower’ is nothing less than The Beach Boys’ ‘Smile’ reimagined in the Daisy Age; a mind-bending cartoon road movie that’s best viewed with closed eyes and an open mind.
Lead track ‘Frankie Sinatra’ is an infectious old world carnival inspired rollercoaster of a song. Featuring Danny Brown and MF Doom on vocals, the song also includes works by calypsonian Wilmoth Houdini and Rodgers & Hammerstein.
In the years since the release of ‘Since I Left You’ the album has established a rarely seen loyalty, its influence ever growing in the age of digital music, sampling and bedroom producers. The Avalanches, meanwhile, have become the stuff of folklore, with rumours abounding about a long awaited follow-up record. Today the rumours end."
Awesome set of also-ran Brazilian beauties plucked out by Millos Kaiser ov Selvagem. Worth it for Vånia Bastos’ head-turning cover of Sweetest Taboo alone, to be fair… 1000% killer no filler!
“Some crate-digging compilations are often the result of someone hand-picking their choice favourites from another country’s musical history, perhaps unaware or uninvolved with its cultural lineage in the process. On Soundway’s latest release - a treasure trove of synth jams, pop, samba boogie, balearic and electro from 1980 & ‘90s Brazil - the tracks are picked by Millos Kaiser, one half of the Brazilian duo Selvagem, who are at the helm of throwing some of the country’s best dance parties. It’s a rare compilation that offers Brazilian music actually picked by a Brazilian
Whilst names such as Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies and Batista Junior may not be household names, they tell an untold, yet rich and important part of musical history in Brazil. The release also covers a decade that has been intentionally forgotten and brushed aside by many in the country.
Onda De Amor is a release that is loaded with smooth grooves, bubbling bass, glistening synthesisers, funk strutting guitar lines and sheen of production that undeniably marks it of its time. For Kaiser this compilation is about reintroducing music during a period of reappraisal, catching a new wave and hoping contemporary listeners will ride it with him. “The idea is to do justice to these songs. Songs that combine all the right ingredients that should have put them on radio playlists when I was growing up or at least in the cases of more adventurous DJs”.
Millos Kaiser is a DJ, digger, vinyl junkie/dealer born in Rio de Janeiro and living in São Paulo for the past 8 years. He launched the dance party/club night Selvagem with partner Trepanado in 2010, bringing thousands of dancers one Sunday a month to a public square in the heart of São Paulo.”
Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
‘Wet Will Always Dry ‘is the blistering début album by Blawan. Arriving 8 years after his first move, ‘Fram’ for Hessle Audio - during which time he’s forged the Karenn duo with Pariah, set up his Ternesc label, and played to the biggest crowds of gurners in the world - Blawan’s first LP is a gnashing statement of intent that finds him sticking ever closer to what’s served him well thus far, while also folding in subtle new traces of his own vocals to great effect.
Like the recent Surgeon album, Luminosity Device, Blawan’s first album finds him tactfully in tune with his modular set-up after years of coal-face experimentation. The result is a sound that lies right on the biting point between clarity and distortion, delivering a thrillingly caustic experience for dancers already locked his martial swagger.
That biting point is fully in effect in the hovering search-and-destroy synth tone that snakes around opener Klade, and it continues to defines the albums strongest moments, from the whipsmart mix of T++-alike hydraulics and kinetic lead of Tasser to the virulent, Haswellian snarl and gobble of North, to the stark, skeletal dancer Stell and Kalosi’s napalm burn.
It’s arguably more difficult than ever for a techno artist to eke out their own sound nowadays, but that’s just what Blawan’s done with Wet Will Always Dry. Bravo.
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.
Beneath does K-Pop on his latest plate for Mistry.
We jest: he’s back on that UKF/post-dubstep grind with typically shark-eyed swerve, churning up jabbing drums in a mire of boggy subs and amorphous spectral dub FX on Special Offer, which drips off into a dead tangy 2nd half after the drop, before Kushty rolls out slower and more rhythmelodic with hypnotic chiming lead contrasting the cut’s pendulous bass pressure.
Nowt flashy, but it works so well.
Oake really find their gothic muse in debut album, 'Auferstehung' for Downwards.
Firmly building on the foundations of two shadowy 12"s released in 2013, the duo distill and transcend their influences across eleven stations of unrepentant gothic histrionics and industrial techno prostration. The production is now right up there with the detailed, excoriating levels of The Haxan Cloak, and also matching the rhythmic heft of label-mate Samuel Kerridge (with whom they recently formed the UF collusion), but with a kohl-eyed romanticism all of their own creation.
From the swooning black metal/shoegaze signatures and blast beats of entrance, 'Vorwort: Umiha Sien' we're manipulated with the near-religiose levels of mysticism, vacillating between shorter, doomy 'Kapital' invocations and the blasted sound of bellicose/ecstatic congregation in 'Erstes Buch: Desterieh l'Remm' to the eulogistic sludge metal drones of 'Fuenftes buch: Dreloi Wechd' and the stygian trudge of 'Sechstes Buch: Rehmin Sicht', departing with the widescreen epic, 'Siebstes Buch: Drestan Sened'. RIYL Scott Walker & Sunn 0))), Sam Kerridge, Swans.
Clark coughs up two balls of anthropomorphic rave on Warp
Gunning for peak times with the cavernous bangs and harmonic hypersonics of Honey Badger, then swanging out with a funkier variation in the AFXian dissonance and kick drum permutations of Pig.
Reissue of Moodymann’s The Telephone EP , featuring Forevernevermore (Remix) - an electroid reshuffle of his classic 1998 cut - backed with the devilish broken beat swerve of Telephone Blue, both exclusive to this 12”.
The Forevernevermore (Remix) is prefaced by an sawn-off anecdote that could go somewhere juicy, just before it’s cut off into a subtly filtered and tweaked version flush with the original strings, but nudged with a tighter electro swing. On the other side, Telephone Blue serves some of KDJ’s deadliest chops, initially sounding like Soundhack on the sampler, then hustling some of his deepest, swingeing drums, seemingly done live and loosey goosey in-the-mix.
Jealous God call for EBM reinforcements with three new tracks from Pye Corner Audio, and a collab between Marcel Dettmann & Silent Servant.
Pye Corner Audio does it slow, grubby and inquisitive on Delay Gratification, teasing in a sort of industrial zombie cumbia, while Meet Me In The Void follows a muggier hunch into Carpenter-esque synth alleys, and The Future is a bleak as f^ck black knot of acid rolling with stygian function.
Dettmann subtly indulges his longheld passion and fascination for EBM in collaboration with Juan Mendez aka Silent Servant on The Bond, where they marry a strapping lead arp with floating, over-the-shoulder voices and booming kicks, all pinned into place by a reverberating snare that’s sure to ricochet around Berghain’s main hall like stay shrapnel.
After a searing run of releases and remixes, Ancient Methods makes the natural move to working with vocalists in The Asking Breath Comes To Each, teaming up with Tropic Of Cancer, Huren, Zanias, and Azar Swan for a distinctive new addition to AM’s carefully expanding catalogue.
The sole preserve of Michael Wollenhaupt for some years now, in the last few years Ancient Methods has carved towards working vocals to deadly effect on a number of remixes for everyone from The Soft Moon to Wolfsheim, beside his own edits as Room 506.
All this has clearly fed into the stonking original material found on The Asking Breath Comes To Each, which royally boots off with the harpy screech of Azar Swan over the scorched earth gallop of Swallow The Screw, before trimming back to the acidic darkroom canter of The Standards Will Come And Go feat. a possessed Dave Foster aka Huron - arguably summat of a wet dream for anyone who needs talc to help get their duds on.
Tropic Of cancer executes a perfect, pensive and floating counterpoint to the razor sharpened 16th note serrations of It Won’t Take Me on the B-side, and we’re feeling pangs of guilty glee towards the borderline cheesy/lush epicness of Zoe Zanias’ vocal on the restrained pulse of Andromeda.
Cult Swedish producer 1991 proves he wasn’t just a figment of our feverish imaginations with this expanded edition of his self-titled debut suite for Astro:Dynamics.
Now including three original bonus tracks plus IVVVO’s remix of Inside You, we can safely consider this the definitive, director’s cut edition of a modern classic.
The likes of his Cure edit, Open To The Dark and the smudged knew age psychedelia of Distortion of Time have lost none of their ferric attraction, and now its aching appeal is extended into complementary cuts such as the very KGB Man-esque soft boogie screw of Inside You, the snowy cladding of Calm Onyx, and a sublime isolation chamber soundtrack in 95 and Beyond, with IVVVO’s Inside You remix bringing it closer to the ‘floor, in case that suits ya.