An impossible-to-find, ’95 Memphis rap tape surfaces on vinyl for 1st time via Gyptology, a new "Egyptian Archaology" styled re-issue label
Leading on from Shawty Pimp’s ‘Comin’ Real Wit It’  - which was dished up by Delroy Edwards’ L.A. Club Resource and sold out within days back in 2014 - its sequel, ‘Still Comin Real’ reprises that woozy slow drawl on 11 slurps of syrupy goodness.
As to be expected, noise artefacts carry over from the original, short-run tape edition, but it wouldn’t be a proper, OG Memphis rap session without that haze of tape grit. Safe to say that Gyptology know this, too, and see vinyl as the most faithful, sympathetic form of preservation.
Thus, you can trust the sound is raw as; a distinct adjunct to the prevailing NYC and LA hip hop styles of 1995’s golden era, working with rude, stripped down production values and vibes that have significantly withstood the test of time, and since laid the roots for a lot of contemporary southern rap, hip hop and R&B.
Properly bass-heavy techno drills from Berlin-based Canadian producer Nicolas Bougaïeff
Arriving nearly one year since the subtle innovations of his ‘Cognitive Resonance’ EP rebooted NovaMute after a dormant decade, Bougaïeff’s ‘Permutation Djinn’ renders the visceral, resonant acidic oscillations and below-the-belt thump of ‘Woke Up As a Copy’ and the cantering steed ‘Panic Time Tryout’ on the front, backed with the drag dynamics of ‘Little Djinn’ and the distorted hydraulic force of ‘No Escape’.
Jerman Gazz guys Max Graef and Julius Conrad on a super fruity fusion flex for Funkineven’s Apron Records.
Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations. One for fans of Tom Jenkinson, Kaidi Tatham, Herbie Hancock, Jimi Tenor.
Another ocean of sound from Steven Hitchell’s CV313 project. 2CD. Over 2 hours of music.
"The furthest depths of sound are awakened in this distinctive sonic environment inspired by ocean movements and its mysteries. Beginning anew, cv313 delivers an etheric approach in, "analogue oceans" that fearlessly illuminates the culmination of 25-years of sound design, a continuous transformation that engages the listener in ways it never has before.
Shimmering metallic washes of color meet sub-aquatic tones, creating an immersive sonic world unlike anything heard before, this is hands down some of most engaging sound worlds this project has ever explored. Engineered, written & produced by cv313. Tape Transfers, digital conversion and mix downs in Echospace. Reworked & Redesigned by Variant. Additional Modular development and concepts by N.S. and S.B @ Antique Modulation, Ann Arbor / Detroit, MI circa 2012-2013. Field recordings conducted in Gamma, Japan & Maui, Hi. This sonic mysticism is the essence of our time.
"The sound of water is deep, its form is serpent-like, its color green, and it is best heard in the roaring of the sea." -The Sufi Teaching of Hazrat Inayat Khan "
For Cora [R.I.P.] 10/04/2017
This release features 4 epic moments ranging from 12-20 minutes each passage from cv313, where a vintage trident desk, hand crafted analog effects units and a vast array of synthesis sculpted and shaped what would become, "beyond dreams".
"One of the recent highlights of the alchemy edition of cv313's opus, "Dimensional Space", an intergalactic journey into an ocean of analog bliss. These recordings were digitally transferred using Apogee convertors to ensure the integrity of original master tapes were preserved. All four passages have a life force all their own, deep and hypnotic, sonic submersion."
Picture postcard-perfect post punk pop jangles from modern day Olympia, Washington, USA, recommended for obsessive fans of The Slits, The Raincoats, and Bush Tetras...
"The band’s mindset with putting songs together is about throwing everything at the wall to see what sticks. The music, as a result, is blanketed in chaotic discordance, a wild, vaguely confrontational jumble of jagged chords and shouted vocals. Comprising of Pascal Luther (guitar and vocals), Ella Svete (guitar and vocals), Aidan McNellis (bass) and Bryn Ackley (drums), Table Sugar began on a whim after 3/4 of their members met in art class at The Evergreen State College. That early “let’s start a band!” enthusiasm translates to their songwriting.” —Adam McKinney OLY ARTS”
Richard D James' classic album from 1992, re-pressed countless times but still sounding as vital as it did way back when. Still probably the most uplifting and nostalgic thing in the AFX catalogue...
Best electronic music album of the late 20th century. A proper gateway drug to the myriad microcosms of Richard D. James a.k.a. Aphex Twin. 100% essential in any collection.
Side for side, Jamaican Recordings pit two heavyweights inna dub soundclash i
Lee “Scratch” Perry’s Black Ark classics such as ‘War Inna Dub’ and Vampire Dub’ rhythms stepping up against Bunny “Striker” Lee’s ‘80s killers produced at Channel 1 and King Tubby’s studios.
Burial’s sophomore LP, originally issued in 2007 only a year after his pivotal debut, is another masterpiece of urban UK composition and innovative imagineering whose sense of melancholic space, pop-wise dexterity and dancefloor yearn has rarely been explored or surpassed since its release.
Where its predecessor was starkly paranoid, mostly instrumental, Untrue was gilded with gorgeous, cut-up R&B and UKG vox, and interspersed with segments of nocturnal reverie that played out like the OST for a yung UK romance that replaced posh, gurning actors with real life road characters and focussed on the spaces between - between the club and home; between night and day; masculine and feminine; waking life and dream life; Maccy D’s and alley doorways; being high AF and coming down.
It was and still is Burial’s love note to UKG and R&G, and by turns gave context and validated those genres for a lot of listeners who arguably wouldn’t have touched that sound, or at least dismissed it as pop pap or with some snide, racist undertone before Burial’s revivalist instincts hybridised it with trip hop and snarling D&B memes.
More positively, however, depending on which way you look at it, this album also opened the endorphin floodgates for a whole raft of f****e garage producers to get in touch with their feminine side, especially in contrast to prevailing, laddish dubstep rave trends, and, since that sound has faded away, it’s not hard to hear this album’s influence in the vocal processing of Mssingno, in the uneven, off-kilter swing and parry of Zomby, the patch-worked constructions of Jamie xx or Evian Christ, or in Deadboy and Murlo’s more boundary-pushing creations.
As with any album that gets a lot of attention beyond its putative scene, Untrue was an unintended red rag to the cynics and rockists - and even garage purists - but for almost anyone who recognises and appreciates that more modest, aching sort of electronic, UK street rave soul, it remains a really transcendent album that still grips like few others.
Black Truffle present breathtaking, mind-bending works from Alvin Lucier; premiering a pair of pieces written for and performed by Oren Ambarchi and Stephen O’Malley (Sunn 0))), Æthenor), and released thru the former’s indomitable Black Truffle label. Lovers of life-affirming avant-garde music of all stripes need to stop what they’re doing and check this one, pronto!
Both works offer an extension of Lucier’s “elegant explorations of the behaviour of sound in physical space” which have been ongoing since the ’60s, and includes his best known work, I Am Sitting In A Room , a piece that has practically become required listening for anyone with an interest in 20th century avant-garde music thought and practice.
Specifically, Lucier’s work places great focus on the infidelities of instrumental phenomena and closely tuned pitches, often using pure, electronically generated oscillations in combination with single instruments in order to both highlight and blur their tonal and timbral distinctions. This LP documents two works in this vein, firstly on Criss Cross, his debut work for electric guitars, written especially for Ambarchi and O’Malley playing one semitone each in duo, and secondly on Hanover, a much grander tribute to Lucier’s father, Alvin A Lucier, who is pictured on the sleeve in 1918 with the Dartmouth Jazz band.
The A-side’s Criss Cross is truly one of the heaviest things we’ve heard in years. With Ambarchi on the left channel and O’Malley to the right, the duo improvise on a single semitone, generating thick, viscous waves of wobbling oscillations that merge in transfixing formation at the middle . So far, so simple, but the effect - which alters brilliantly on headphones or with proper amplification - is just staggering, baffling the senses with a richly saturated, undulating sonic pressure to visceral, psychotomimetic ends.
The first time we heard this piece on headphones it just floored us, but then we tried on speakers and tried to conduct a conversation at the same time. The effect was something like an anechoic chamber - the conversation couldn’t happen because our voices sounded louder in our head than in the room. WTF?! Just to push it one step farther, I also tried listening on headphones while on a plane, and can only imagine what the EasyJet staff thought of my eyes rolling in back of my skull. Quite honestly, I haven’t heard anything quite like it since Zbigniew Karkowsi & Topher Davidson’s Processor, and that’s a proper percy.
The B-side’s Hanover is just as precise, but the intensity and tonal variation is multiplied by he number of players, including O’Malley and Ambarchi on electric guitars joined by alto and tenor sax, violin, piano and bowed vibraphone. Here the tones are far more pinched and slippery, streaking the stereo field in iridescent timbral dynamics and almost lilting cadence, and with a far more delicate, intricate appeal when compared to the other piece.
It almost goes without saying that a new Alvin Lucier work is worth your time, but in case you’re under any doubts - this LP is just astonishing, ingenious, preternaturally brilliant stuff.
Jai and Anup Paul pluck out this deep pop pearl from Hira, one of the newest recruits to their Paul Institute label...
Cut from similar, purple cloth as label CEO Jai Paul, ‘Red Light Drive’ finds yung Hira glowing in the middle of sparking Linn drums and cruising cyber-bass strokes, working a proper classic yet futuristic pivot that puts a lot of contemporary boogie into stark relief.
The modern duchess of lo-fi dirge pop presents a sort of partner piece to her widely adored debut LP, You Know What It’s Like with four wistful songs distilling the spirits of post-punk and eerie chamber music.
We’ll cut to the chase, it’s pretty much all about the title track, The Garden, which operates shades away from the much cleaner output of CS + Kreme, but shares much in common with their dusky beauty, and of course distinguished by her sylvan vocals, phosphorescing from a lapping haze of tape noise and distant, quietly breathing synth figures that could happily loop off for twice the length.
The rest is lovely, too but we strongly recommend starting at the back and working your way in.
Further to Hailu Mergia’s ‘Lala Belu’ album, ATFA give up two more cuts from he same recording sessions
On the A-side, ’Yegojam Mamesh’ is a class little soul booster full of bustling, splashy drums and natty organ and synth vamps from your man, Mergia, whose beaming vocals are wildly contagious, whereas the B-side works a ruder instrumental funk tilt with hazy organ lines over robust breakbeats, building to a mean synth solo in patented, psychedelic style.
Four beautiful, exceptional ambient nocturnes bloom again on a very welcome 30th anniversary reissue, newly packaged together by Grönland for the benefit of your health...
David Sylvian and Holger Czukay’s Plight + Premonition  & Flux + Mutability  bouquets remain some of the most enigmatic ambient recordings of the ‘80s since their conception at Czukay’s converted cinema studio in Köln, 1986. But, while Sylvian was ostensibly coming to record vocals for the last track on Czukay’s Rome Remains Rome LP, the legendary Can figure ended up surreptitiously recording Sylvian improvising on whatever was at hand, only stopping the recording when the results started to become too “structured”, in effect capturing moments of less conscious, more freeform expression, and preserving them for what would become some of the most spellbinding and transportive recordings in either artist’s catalogue.
Recorded during their fateful first meeting just as glasnost was beginning to thaw the cold war, the two parts of Plight + Premonition tentatively mirror this transition from the shadow of nuclear war towards open windows of possibility in the dawning mists and gently windswept synths of Plight (The Spiralling of Winter Ghosts), and the again with a genteel flush of harmonic colour perfusing shortwave radio signals and glimmering keys hinting at the promise of seductively warmer uplands in Premonition (Giant Empty Iron Vessel). On the follow-up side, Flux (A Big, Bright, Colourful World) that horizon comes clearer into view with the earthy percussion of Jaki Liebzeit joining Czukay and Sylvian to beckon the light along with Can’s Michael Karoli and woozy, Hassell-ian Flugelhorn by Markus Stockhausen, son of Karlheinz, before the lead pair calibrate a mutual vision of reserved but quietly optimistic lushness in Mutability (A New Beginning is in the Offing).
Following suit from last Christmas' 'Truant', Hyperdub present three new pieces from the shadowy producer.
It's a fine salve for seasonal woes, ripping loose with running man-style rave breaks and darkcore motifs across the dystopian sonic fiction of A-side, 'Rival Dealer', whilst the flipside reveals a whole new dimension to his sound with the soaring harmonies, twinkling chime-trees and '80s power drums of 'Hiders' and the tortuous, cinematically edited narration of 'Come Down To Us'.
The heads will have a feast picking this one apart - what's up with all the references to sexuality or his newfound penchant for FM synth sounds? - and we can practically hear the synch departments licking their lips in anticipation already… but ultimately the sincerity and delivery still brings a salty bead to the duct. You know what to do.
4th Album from Andy Stott, a follow-up to 2014’s Faith In Strangers, featuring Fourth World pop variants joining the dots between Haruomi Hosono & Ryuichi Sakamoto, Newworldaquarium, Ruff Sqwad and Theo Parrish...
Too Many Voices is the fourth album from Andy Stott, recorded over the last 18 months and drawing for inspiration from the fourth-world pop of Japan’s Yellow Magic Orchestra as much as it does Triton-fuelled Grime made 25 years later. Somewhere between these two points there’s an oddly aligned vision of the future that seeps through the pores of each of the tracks. It’s a vision of the future as was once imagined; artificial, strange and immaculate.
The album opens with the harmonised, deteriorating pads of the opening Waiting For You and arcs through to the synthetic chamber-pop of the closing title track, referencing Sylvian & Sakamoto’s Bamboo Houses as much as it does the ethereal landscapes of This Mortal Coil and Dead Can Dance. In between, the climate and palette constantly shift, taking in the midnight pop of Butterflies, the humid, breathless House of First Night and the endlessly cascading Forgotten.
Longtime vocal contributor Alison Skidmore features on half the tracks, sometimes augmented by the same simulated materials; voicing the dystopian breakdown on Selfish, at others surrounded by beautiful synth washes, such as on the mercurial Over, or the dreamy, neon-lit New Romantic.
It’s all far removed from the digital synthesis and the abstracted intricacies that define much of the current electronic landscape. The same cybernetic palette is here implanted into more human form; sometimes cold, but more often thrumming with life.
Demdike Stare is a long-in-the-making hookup between two shady characters operating at the fringes of Manchester's fragmented music scene: Miles Whittaker and Sean Canty.
Miles has been a longtime affiliate of Modern Love as one half of Pendle Coven and under his own MLZ alias, while Canty is one of the city's most recognisable vinyl collectors, carrying an obsession with everything from obscure Nordic Doom records to Anatolyan funk albums, fuelled by his dayjob helping out at the Finders Keepers label. The project is named after Pendle's most famous witch: Elizabeth Southerns, aka Demdike. The tracks on 'Symbiosis' are drawn from elements of Turkish, Indian, Iranian, African and West Indian film soundtracks alongside Norwegian drone records, classic House templates, punctured dub, modified techno and the arctic noise perfected by Mika Vainio.
Original sources and dense analogue experiments weave around eachother with little care for convention or stylistic expectation, instead throwing the pair's extensive musical knowledge into a set of tracks that, quite brilliantly, defy categorisation. The album opens with 'Suspicious Drone', a dense 6 minute opening that chugs a long like a malfunctioning mechanical beast, honing in on Lancashire's dark industrial landscapes before moving onto more exotic, balmy territory. 'Haxan Dub' (named after the film narrated by william burroughs about witchcraft) deploys fragmented dub echoes infused with displaced horns and African signatures, taking its time with one of the jerkiest rhythms you'll have the pleasure of hearing, before 'Jannisary' tangles in and out of an Iranian hook and a squashed Congolese rhythm that creates an asymmetric, geniusly constructed dancefloor killer.
By the time the album comes to a close with 'Ghostly Hardware' an hour later, the cycle is complete with a return to icy tundras and chugging machinations steeped in the traditions of Scandinavian machine music and pure analogue frequencies, expertly handled by those masterful technicians over at Berlin's Dubplates & Mastering.
Fresh outta Maccie D's, William Emmanuel Bevan aka Burial drops his 2nd solo EP of 2012 'pon Hyperdub.
Much like his 'Kindred EP', he focuses on long-form composition with two tracks hovering around the 12 minute and 14 minute mark respectively, taking license to really stretch out into fragmented, impressionistic and cinematic scapes strafed with elements of vintage hardcore, heartbreaking vocal samples and murkiest atmospheres.
Of course, you already know that, but it's great to hear him really running about as far from the club as he's ever done, leaving us with something to dance to in our bedrooms over the festive season, 'cause f*ck knows you'll want to escape inevitable repeats on the telling box.
Jai Paul gets the best out of another new artist with Fabiana Palladino’s ‘80s FM synth pop nugget ’Shimmer’ following up her work with everyone from Laura Groves to Jessie Ware
On ‘Shimmer’ Fabiana works a sweetly tender sound blending naif computer game idents with big, gated snares, crashing syndrums, keys and electric guitar on an inch-perfect late ‘80s pop sound riddled with filigree detail engineered by Jai Paul...
Chilly Gonzales kinda puts everything else into perspective with this time-stopping solo piano delicacy
Delivered on his personal imprint, Gentle Threat, Chilly’s ‘Pretenderness’ teases out fleeting emotions with each flurry of keys, sure to seduce anyone who’s still smote by his now classic album, ‘Solo Piano’. All points to the full ’Solo Piano III’ suite becoming another Gonzales ace...
Beneath's Mistry label draw the best out of Batu in this quaking two-headed beast.
With each release he seems to step further into his own sound, whilst also remaining true to a shared aesthetic/tempo with peers such as Beneath, Pinch, Lurka, and most recently, L.Sae on his home-brewed Timedance label. For this headstrong mission he comes with the noisy, technoid mutation of 'Dakalb' up top, alloying radioactive subs with rusted snare crack and floor-scanning sirens to murder the dance. Backa plate, 'Collate' runs industrialized roto-toms and scooping bass with the ruddiest junglist swagger crowbarred into a 130bpm template. They're both a big look those that know.
“Death is Unity With God” finds Dominick Fernow returning to the kind of feral, burned-out productions which for our money find Fernow at his very best and which dominated “Ornamented Walls” released on Modern Love back in 2012.
Nodding to classic Muslimgauze, the oppressive atmospheres and destroyed rhythms isolate the gutted toil and drone in ‘It’s To Come’, while ‘F.B.I. God’ reduces the drums to scorched blasts against some harrowing, darkside chords.
The quasi-speed torment of ‘Manufactured Silencers Under Direct Orders’ flows into the haunting chorales and chiming percussions of ‘Living on and off at the Shadows Motel’ and the scything techno roil of ‘Small Explosives and Blasting Caps Inside the Pages of a Phonebook’, before a particularly affective chamber-like meditation, ‘McVeigh Figure’ draws aesthetic lines between ambient black metal, Coil and early Autechre.
‘Waco (Postmortem)’ ends the set operating nearly out of earshot with those incredible, sashaying synth motifs persisting with its struggle against the patina of hiss and exasperated rhythms blurred around the edges.
Andy Stott has developed a unique sound since his debut for the Modern Love label back in 2005.
His first demos were heavily influenced by the square-bassline techno variations of Claro Intelecto, a longtime friend, mentor and eventually labelmate and collaborator. His first release, 'Replace' featured a mixture of disciplines that took in elements of Detroit Techno and Chicago House which fast captured peoples imagination with intuitive, warm melodies and fathomless bass weight.
From that point on Stott continued to shift and adapt his sound to take in ever disparate influences, from the driving techno of Dave Clarke's 'Red' series through to Basic Channel, Dubstep, Garage and the minimalism of classic Sahko. His restless shift from traditional Techno blueprints through to the bottom-heavy signatures of dubstep and the steppers arrangements of garage have also placed him at the forefront of the dubstepXtechno hybrid sounds that have started to dominate the electronic music scene in 2008 alongside the likes of Martyn, Peverelist and T++.
This compilation brings together selected tracks dating back to Andy Stott's debut back in 2005 and reaching all the way to his most recent material in 2008 - with none of them ever available on cd until now. Tracks feature here from the 'Replace', 'Ceramics', 'Handle With Care', 'Hostile', "Bad Landing', "Fear Of Heights', 'Massacre' and 'Nervous' EP's and stream through his fascination with deep, almost uncontainable basslines and ever inventive percussive shifts.
Very canny pop pomp from Reinen, a new character on the Paul Institute, produced by label CEO, Jai Paul
Orchestral synth strings and squashed drum machine underline a magnificent mix of percolated chorales and elegant verses, like Annie and Kate Bush performing at a grand ball, with the incidental sound of captains of industry and wankered toffs cropping up in the background.
Standardly grim and grizzled monotone techno from Shifted’s Avian
introducing Desroi to the nest with five stealthy cuts, at best ion the Miek Parker-esque hydraulics of Lines Of Sight, the undulating turbulence of A Glimpse of Bliss, and his steely but chattering roller Dwell In Motion.
Karim Maas debuts in commanding style on UVB-76 Music, backed with a sick Huren remix
A new vent for Ruffhouse’s Tom Cooper, the Karim Maas sound operates shades away from Ruffhouse’s D&B missiles, edging a style of rolling D&B that’s equally porous to influence from noise and industrial techno.
The rolling steppers juggernaut ‘c_c_e_d’ gives a solid footing for subsequent departures into crushing sci-fi sound design on ‘Lizzard King’ and an obliterated remix of the dread rave scenes in ‘Cassette_A’ by industrial techno pioneer, Dave Foster a.k.a. Huren a.k.a. Teste.
Deeper in, ‘Zombissim’ works a murkier rut of pendulous grey area techno grit echoing the dread sentiments of Pessimist, and ‘Civilize’ takes that momentum to a logical conclusion with brute, bone rattling force.
Turbulent, gnashing techno-bass tackle from Killawatt, on a search ’n destroy mission for Tommy Four Seven’s label
‘Accupunk’ rages first with gut-socking bass hits and calloused noise to leave the dance reelin’, while ‘The Roamer’ lurches on a trampling industrial steppers’ momentum recalling recent Samuel Kerridge moves.
‘Polar Polemic’ churns with more viscous textures and pacing like a swaggering Ossia juggernaut, and ‘Glacia Systemic’ drop the energy levels into a tarry pocket of zombied bass torpor.
Summing up a palpable zeitgeist, J M S Khosah & JR Chaparro limn the feeling of ‘Global Paranoia’ on NCA’s latest killer tape...
For 60 minutes, the pair mulch a wealth of salvaged samples and original material into a groggy trip that keeps on keeping on, but with an ever looming sensation of impending fu**ry around the corner.
Smudged drum machines, electronics, hip hop instrumentals and fizzing deep house cuts are punctuated with sawn off samples likely culled from TV, radio and net Tubes, resulting a frayed patchwork of anachronisms that suggest a time out of joint, haunted by its past, and realising itself in a world of Orwellian surveillance and double speak. And that would all be really bloody depressing and reduce us to torpor if cats like Khosah and Chaparro couldn’t make us dance and chuckle at the ridiculousness of it all.
Lock up your pets; Blackest Ever Black let Regis off the leash in two seek and destroy missions - his first new 12” in three years - coming quick on the heels of the unarchived Live In N.Y.C. 12” for Veronica Vasicka’s Cititrax.
A-side’s Version 1 is the greedier of the two, roving with that look in its eye from the first mauling bar of grumbling bass and incendiary distortion, thru a serpentine groove dissolving EBM, industrial noise techno with slow-burning, venomous effect until the final passage of paralysing strings by Asylum Ensemble.
B-side’s Version 2 appears to start on the dissecting table with the SAW-like sound of knives sharpening and talons clicking in the background, before untangling one of his fiercest lemon endeavours; a bitterly gleeful tussle of strapping EBM bassline and whipcrack snares with an over-the-shoulder vocal in the breakdown, before calving off into the abyss.
We can think of few artists who can come out of hiding so occasionally, yet remain at the front of their game, as Karl O’Connor does with The Master Side in both versions.
Take note, the master is in session.
A frayed, knotty excurzion in lo-fi/dub tropics from Glasgow troupe, Grim Lusk. Imagine Golden Teacher at their loosest, most discombobulated, intersecting Vazz-like wave-pop and the cruddiest psychedelia...
“For those who are already familiar with Grim Lusk’s varied recording projects, established elements are further developed as sublimely demonstrated on the sample and loop based ‘Search’, a dub / lo-fi hip-hop excursion that shuffles and shimmers before becoming more narcotically lysergic. Free from constraints, we transcend into ‘It’s My Nature’, as all of that serotonin depletion is suddenly transformed into nutritional sustenance.
A gleaming, hallucinogenic, hypnotic collage of exotic rhythmic disco percussion patterns which blossom and take flight to the sky above like the wildlife on the front sleeve with uninhabited adventure and freedom; a luscious, evocative, beguiling anomaly. ‘Sea Club-Rush’ develops the experimental shape shifting, with a dense, sludgy quagmire of oddball techno discombobulations, before the record submerges into the deepest of voids, a k-hole induced sense of purposeful confusion and disorientation.
Depressurized as if drifting in the mysterious vacuum of space whilst subtle layers of distorted bass prod at you to keep you afloat, ‘It’s Happening’ utilises a descending Risset glissando to leave you barely clinging on to reality, almost as if you are experiencing an astral projection but trapped within a detached nightmare that you can’t escape. ‘Yes He Did’ has an infectious and killer bouncing boogie bass guitar spread over a lopsided beat which never quite settles; weaving in and out further bewitching your mind. The record culminates in the downtempo ‘Laces’, pulling you into the all-consuming squelch and pressure of the suction below; a claustrophobic suffocation that intensely builds up suspense, squeezing and melting as it develops. Reminiscent of Adrian Sherwood’s exceptional technique of incisively slicing, cutting and pasting manipulated dub / industrial percussion, ‘Laces’ works equally well at 45rpm."
Earth's Hex album, despite transgressing doom genre boundaries, turned out to be something of a touchstone for many artists in the field; its American gothic landscapes were quickly swallowed up as a new fixture in the death ambient vocabulary, and countless records seem to have been made since that have tapped into its stately Western gloom.
The Bees Made Honey In The Lion's Skull is a natural progression from Hex, taking the same template of slow, simplistic progressions and low-end riffing whilst adding liberal smatterings of keyboard instrumentation - hardly the sort of thing you'd expect from Dylan Carson and co. Some of this material is actually rather... pretty. 'Hung On The Moon' is augmented by Steve Moore's Hammond textures and jazzy piano, transforming the repetitive doom structure into a far more interesting, matured sound, loaded with a harmonic ambiguity.
Another key additional musician is Bill Frisell, who clearly spent some time looking for his distortion pedal for his stint on this album. In amongst the riff-mongering belligerence guitar passages break loose to open up the narratives. 'Engine Of Ruin' is a particularly fine example, with an end passage decked out with arcs of vibrant string bends and expressive, melodic phrasing.
A considerable evolutionary shift, this album sounds like the work of a very different group from the more ominous, monochromatic work of their droning past.
Coil’s cultishly acclaimed Worship The Glitch features the group in dialogue with the ghost in the machine, an element they named ELpH and considered as much a part of the group as any physical member. Aye, you’d probably be right in assuming they were taking a lot of drugs during the creation of Worship The Glitch, and consequently the results stand out among their trippiest releases, comparable with the rugged space of early Pan Sonic and slightly later Mika Vainio releases as much as Philip Jeck’s ambient enigmas or a digital update of David Lynch’s Eraserhead OST. If you like this stuff, we highly recommend tracking down ELpH’s pHILM#1 10”, too!
“"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career…uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.
During the studio sessions that developed into what would become “Worship the Glitch”, Coil became aware of random compositions emitting from their gear, and were at odds with constant “accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being… constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch.”
Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.”
A new edition of Fennesz's evergreen Endless Summer album, this time with alternate Tina Frank artwork.
'Ohne Sonne' and '47 Blues' were hitherto available exclusively on the Japanese CD, and a new, extended cut of 'Happy Audio' concludes the album with a side-long, quarter-hour finale. As with the most recent reissues of Endless Summer, contemporaneous Fat Cat-released track 'Badminton Girl' is included, along with 'Endless'.
Endless Summer is often written about as a glitch-based, laptop-fuelled assault on the musical idiom of the Beach Boys' back-catalogue - revisiting '60s pop nostalgia from the vantage point of the postmodern, digital age - and sure enough the album recurrently sounds like Brian Wilson arrangements swallowed by layers of drone and distortion.
Indeed, you can hear the impact of this record every time someone plugs a guitar into a computer - everyone's been at it since this album came out. Fennesz is a great engineer, even the most interesting laptop-toting six-string wranglers have had a tendency to leave their instruments sounding thin and lifeless in this sort of sonic environment - or worse still, they just can't play properly. But just listen to the obliterated chords and morphed marimbas of 'Caecilia' (sounding better than ever on this edition), or the fiery, tactile plumes of 'A Year In A Minute' for an idea how it can, and should, be done.
Raw, deep and itchy techno from 1997, dished up for reissue by Prisoner of Sound Records
Originally dispatched by UK’s Ideal Trax in ’97 and now fetching a fair penny on 2nd-hand market, this reissue could hardly be more welcome to the old skool techno fraternity.
The first plate launches with the sputtering Brummie techno clatter of ‘9.2%’ and settles into slinkier grooves with the Chi-styled prance of ‘R-E-C’, and the dancing bones of ‘Fumbling 2C’.
On the 2nd plate, it’s back to jagged and wickedly off-beat techno with ‘Stringed Funk’, while ‘Dream States’ tens to a lusher Detroit style, and the mesmerisingly loose yet driving ‘H-V-CAT-R’.
An enchanting suite of ‘Early Music’ composed by John Cage and performed by Edwin Alexander Buchholz (accordion) and Joanna Becker (violin), including: ‘Dream’ ; ‘In A Landscape’ ; ‘Six Melodies’ ; and ‘Souvenir’ 
Serving to upend preconceptions of Cage being more valued for his concepts than his music, this set holds some truly magickal sound organisation that requires no prior knowledge of the artist or his ideas in order for it to be enjoyed.
The majority of’Early Music’ was first conceived in the post-WWII years, at a point when Cage had already explored prepared piano techniques and founded a long-running relationship with Merce Cunningham and her dance company, and was beginning to discover an interest in Eastern philosophy that would come to radically impact his music - prompting a change of focus from writing music as a result of composer’s ego, to a form of composition defined by chance and strongly influenced by nature, as summed in Cage’s oft used quite by Ananda Coomaraswamy - ‘The responsibility of the artist is to imitate nature in her manner of operation.”
Those works include the lushly romantic cadence of Buchholz’s Bugari Bayan Anatomic accordion in ‘Dream’ , and the more expansive, wilting melancholy of ‘In a Landscape’  - a version of which was also a highlight of Edition RZ’s ‘Klang Der Wandlungen’  compilation - before Joanna Becker duets on violin with Buchholz in the much breezier segments of ‘Six Melodies’ . For smart contrast, Cage’s ’Souvenir’ , a piece commissioned by the American Guild of Organists, who were looking for something similar to his ‘Dream’ , closes this collection with a sparser arrangement performed again by Buchholz and demonstrating the distance travelled over those 35 years with a captivating, elemental push and pull of harmonic/dissonant forces.
Michael Pisaro’s intently focussed piece, ‘An Unrhymed Chord’ performed and assembled alternately with acoustic and digital methods, respectively, by Greg Stuart and Joseph Kudirka
Greg Stuart’s acoustic percussive realisation is almost static, shimmeringly in-transition, whereas Kudirka’s digital realisation of the same composition is denser and more chaotic, thanks to its source material arriving from some 70 artists, interestingly featuring John Maus among them.
an unrhymed chord is a deceptively simple piece. from the score we see that each performer picks a single sound, sustains this sound for one to fifteen minutes in each half of the piece, and that amplitude is inversely proportional to duration. it does not seem like much in the way of instructions for a piece that lasts just over an hour. however, after I started making a realization I quickly realized how dynamic the situation the piece presents actually is. I had never heard a music quite like it: a continuously shifting harmonic mass where a sound could be clearly present, disappear, and reappear at a later point sounding markedly different. at other times the addition or subtraction of a sound would make a sound that had been present not disappear but bend slightly. all of this is accomplished by the inverse relationship between amplitude and duration, and like an elegant mathematical proof, it simply has to be this way in order to function. for this version I used a wide array of percussion instruments, household items and found objects (metal, stone, clay, ceramic and skin). all of the sounds, of which there are seventy, were made by friction—either by bow, stick or hand.
this version of an unrhymed chord was assembled from sounds supplied as audio files, sent to me by a group of musicians known to michael and myself. the only condition I placed on the contributions was that sounds were to be electronically generated in a non-performative fashion, the goal being to make this not a recording in the traditional sense, but rather a digital realization, designed to be equal in all listening environments, as none of the parts were created in a way dependent on a particular physical space or time. apart from the final mixing done by michael and I, no performers had knowledge of what the others had done. my work consisted of placing sound files in time (usually at times in accordance with very specific clock-timing instructions given by contributors), and setting their volume levels respective to one another. the volume of each part was determined by a mathematical formula suggested by the score, though some levels were changed based on perceived volume by ear.”
SKRS INTL go double deep on this platter for Bokeh Versions/No Corner, twysting the styles of their LoversDedicationStation LP and the brooding Oran Vip / BwoyTestVIP 7” into more smoked out alleys of the dance.
Their sample trigger-happy collage style is rewired to leaner, more linear 4-track structures inside, with results smudging like a dark blue clash between Mikey Dread, Prince Jammy and classic Rhythm & Sound and Pole, in effect.
Up top, RunComeTest tumbles in slow motion around an MC Escher-esque dub staircase littered with evasive samples and mad DJ chat, then FurdaMurda plumbs more gaseous depths of the echo chamber with intoxicating, weightless dynamics.
Down below, TrialByFire stokes a rooted fusion of mellifluous singjay and charred bleeps laced with natty ohrwurms, while TroubleRoundDiCorner kicks up a heady fuss of squashed 8-bit tones and vaporous FX synched perfectly with stoned minds.
Killer cover. Mint sounds. Tip it!
Rod Modell saves some of his finest recent efforts for this divine release with Astral Industries - home of his acclaimed ‘Lanterns’ side and his Waveform Transmission LP with Chris Troy. What starts out tranquil subliminally surges into a fast dub techno flight, cannily in flux between serenity and ecstasy...
“Rod Modell returns as Deepchord for his first solo release on Astral Industries since inaugurating the label with his sought-after ‘Lanterns’ EP. Consisting of two stunning long-form pieces split on one side each, 'Immersions' captures the emotive, halcyon sound that Rod has long become synonymous with. Opening with glistening ambient textures, ‘Immersion I’ grows into an 18-minute piece of deep rolling dub techno. On the other side ‘Immersion II’ paints pristine soundscapes of soft, lapping waves, underpinned by submerged pulsations that rise to the surface to continue its deep space explorations. Two highly refined and inspiring tracks that sit on the apogee of this sound.”
Proper chicanery from Copenhagen’s Mads Kjeldgaard on the excellent, Berlin-based Conditional label
Inspired by scenes of a burning car outside their flat in Paris, Mads takes a conceptual leap to emulate a state of emergency - or ‘Undtagelsestilstand’, literally; state of exception - in sound, opening a mental space where logic and known physics fly out of the window and leave the listener in a bewildering flux where “…all laws are foldable, perspectives may be modulated and time reversed in a deep, zen-like void.”
Definitely one for more intrepid listener and fans of rollercoasters, ‘States of Emergency’ sustains that sensation of suspended disbelief for 14 minutes of complex, unravelling rhythm dynamics and elusively mercurial tones in ‘DAF342wregsf’, whereas ’874uHD’ feels as though in transition from viscous plasma to intoxicating ether with a mind-bending quality that recalls recent Autechre or Meyer’s ace ’Struggle Artist’ side for Shelter Press.
One of this century’s first true modern classics, this 2004 album from Supersilent member and experimental shakuhachi-style trumpet player Arve Henriksen has long been a reference points for Jazz music of the most quietly absorbing variety, containing what must surely rank as one of the most beautiful opening tracks of any album in recent memory...
We’re not sure what took them so long, but Rune Grammofon finally get around to pressing Arve Henriksen’s Chiaroscuro  on wax, rendering its sublime, otherworldly, etheric appeal on the format most befitting of its classic status. Replete with the breathtaking Opening Image and that beautiful cover art now blown up to 12”x 12”, this gorgeous record is quietly awaiting a slot in any and all collections of contemporary ambient, classical composition.
Originally released on CD as the second solo album by virtuoso Norwegian trumpeter and multi-instrumentalist, Henriksen - who was by then already esteemed on the jazz and classical circuit and for his work with the Supersilent ensemble alongside Helge Sten (Deathprod, who also mastered this LP) - this album deeply perfused and coloured the listening lives of ourselves and many, many others with an enchanted breeze of flyaway vocals, trumpet and percussion diffused with a sublime butterfly effect of electro-acoustic process.
"Chiaroscuro" ("light and shade") is quite an unbelievable listen - cinematic in a way that defies pastiche, a vast panoramic ocean of sound reduced to the most silent, heart-wrenching string arrangements, samples (courtesy of Jan Bang) and a whispered sweep of barely audible percussion (from Audun Kleive), hovering around Henriksen unique, mesmerising trumpet playing and broken voice.
Its incredibly gentle, diaphanous arrangements would, pretty understandably, end up licensed for TV and film, which is where many would have osmotically absorbed the likes of Opening Image without having a clue who made it. For us, it was a staple in our old shop, Pelicanneck [1998-2007] and therefore instantly redolent of the smell of fresh coffee and waffles and Carol Batton poetry. Over ten years later it still has that faintly nostalgic effect, but more in the comforting way of a ubiquitous classic which, no matter your exposure to it, will always hold a special place in your heart.
Alessandro Cortini returns with the third and final album from his SONOIO project...
“Prior to releasing a string of influential and widely acclaimed solo records under his own name on labels such as Important and Hospital Productions, Alessandro Cortini (Nine Inch Nails) self-released two albums under the name SONOIO (“It’s Me.”) in 2010 and 2011 in limited runs.
Praised for their complex and rich pop sound, strong vocal delivery and thoughtful compositions with impeccable production values, SONOIO’s “Red” and “Blue” (and the accompanying remix albums “Non Red” and “Non Blue”) made heavy use of Cortini’s expert manipulation of the Buchla synthesizer, releasing the single “Enough”, and remixing Ladytron’s “Houdini” before setting off on tour in direct support.
As activity with Nine Inch Nails, the demands of touring, and his other solo endeavors began to pick up, production on the third and final SONOIO installment was delayed. In 2014 however, after years of silence, SONOIO posted the single and video for the song “Thanks For Calling” exclusively on sonoio.org and quickly reignited rumors and hope for the release of the third album.
Opening track “I Don’t Know” and the mournful follow-up “Left” set the stage for the emotional ride, with reverbed synths over an acute mid-tempo beat – accompanied by astonishingly strong vocals, which those accustomed to Cortini’s instrumental works will likely be happily shocked by. Next, the aforementioned single “Thanks For Calling” starts slow, building over 4 minutes with Cortini whispering, speaking, building strength into the gorgeously delivered line: “falling to pieces” before the track explodes into a driving anthem.
The album then quite literally descends into “Pieces”, an instrumental effort that brings to mind Aphex’s Ambient Works – a submerged lullaby of electronics before re-emerging into “Vitamin D”, an energetic and pulsing track that snaps the listener to attention. A pattern of smart and intentional pacing and rhythm becomes apparent, as the listener is taken down through moody, effective dirges (“Bad Habit”, “Under The Sea”) and lifted up into a surprising guitar piece “What’s Before”. “I Don’t Know (Coda)” is the album’s effective and final track, with Cortini’s vocals muffled and echoing “I’m in the mirror, let me in….” before emerging loud and clear above a wash of howling synth*
Personal, layered and complex, “Fine” achieves greatness as both a singular example of deep and inspiring pop music, and as the final album – the closing chapter in the story of SONOIO.”
Stellar picks from the MFM camp; 21 obscure, outward-looking and disco-leaning peaches plucked from Europe 1980-91, including big highlights such as Nightfall In Camp’s sultry smudge of computer tones and Lena Platonos-like vocals in ‘Cada Día’, a heavily seductive swooner ‘Listen Over The Ocean’ by Violet Eyes, and the brassy electro swang of Sound on Sound’s ‘Depression’
“Uneven Paths: Deviant Pop From Europe 1980-1991 is the second multiple artist compilation on Music From Memory and is compiled by record connoisseur Raphael Top-Secret and label man Jamie Tiller. The compilation brings together twenty one tracks from across the continent; exploring the more unusual and unexpected sides of Pop music during that period.
Drawing material from cult experimental artists such as Steve Beresford, Brenda Ray and Bill Nelson alongside one-off independent musical projects rescued from he fringes, ‘Unusual Paths’ focuses on a selection of tracks that go beyond the confines of mainstream pop music but which also transcend expectations of much of the ‘experimental’ music of the time. This is music with one foot in the avant-garde and another foot firmly rooted within the sensibilities of Pop; where jazz musicians detour into Synth-Pop, Punk bands break into Boogie jams, and student doctors jam out on off melodies with synthesisers and drum machines during their night shifts.”
Unspeakably beautiful dub from Mark Ernestus and Moritz Von Oswald’s Round Five, starring Tikiman, on the Main Street Records series.
Na Fe Throw It was the final instalment of the series, which ran concurrently to their Rhythm & Sound project, and presents brought Main Street Records to a sublime finish with nearly ten minutes of utterly blissed-out, magnetically attractive dub bass and lamenting vocals, also included as a starker dub.
Evergreen music. Every home should own the full set!
Chicago’s Stave (half of Talker with Karl Meier) pelts four techno mutations on Ruffhouse’s ace UVB-76 Music
Following 12”s for Shapednoise and co’s Repitch Recordings, Trensmat, and France’s alia recordings, Stave’s ‘ATK’ session unfolds four ways between the clipped canter and impounding drones of ‘ATK’ and the brittle, shuddering mass of ‘Silva’ on the A-side, before putting his weight behind brut primitivism of ‘Ambient Out’, and the dancehall doom of ‘Undead’ on the B-side.
Gorgeous and essential archive material from master of ‘The Tokyo Sound’ and environmental music pioneer, Hiroshi Yoshimura, the latest unearthing on Chee Shimizu's 17853 - previously only available on a very limited Japanese cassette back early 80s.
Conceived for the eponymous exhibition of new wave, international fashion held by the Seibu department store at the Suzue corporation’s loft on Takeshita Pier, Tokyo on 18th September, 1983, the perfectly mannered 7-song instrumental suite of Pier & Loft was subsequently issued on cassette thru Fukusei Gijutsu Kohboh later that year.
The record sweetly captures a debonaire, technologically-enhanced style that we’d perceive as specific to the Japanese capital in early ‘80s: an economical and precise synthetic sound, with brightly cute motifs rendered to the rafters in soft reverbs and layered with an elegant simplicity that masks the measured intricacy of construction.
And while the insert notes ask us allow for some slight background noise and distortion form the original master tapes, it’s barely perceptible, and probably would have gone unnoticed if, like the music itself, it weren’t so fastidious in its precision and construction.
Six of the seven tracks are feather light and beatless, ranging from heart-melting romantic themes such as Horizon I’ve Ever Seen Before to the moon beam of Tokyo Bay Area - which are both long enough to let you really float away - whereas Wavy Patterned Icecream gives it a deft dab of beatless synth funk that melts into air, and Kamome Dayori continues that rhythmic theme on the downstroke into the album’s sole appearance of drum machines in the gently swinging budge of The Sea In My Palm, which warmly recalls something from Alain Pierre’s Jan Zonder Vrees soundtrack.
Carsten Nicolai concludes Alva Noto’s UNI-prefixed release cycle with UNIEQAV, the 3rd and most dancefloor-focussed instalment of the series. The follow-up to Unitxt  and Univrs  pairs pendulous minimal techno and electro rhythms with wide, sheer electronic drones in a way that strongly recalls recent Monolake output as well as Ilpo Väisänen in full swang. Comparisons aside, though, it’s unmistakably Alva Noto.
Pursuing the project’s roots in the dancefloor of Tokyo’s UNIT club to a satisfyingly logical endpoint, Nicolai rolls out 12 typically mercurial yet gripping sound designs defined by their fluid dynamics and seemingly fathomless dimensions intended to render the club or your head underwater, thanks to a still remarkable grasp of purified tonal minimalism/maximalism and studied sensitivity to proprioception.
The results are filigree yet robust, firmed up for deployment on the sickest sound system you can lay your hands on, but also highly pleasurable in a headphone or sofa-inclined context, keeping us rapt and twitching from the dubwise plong and looming pads of Uni Sub and the Robert Henke-esque pressure systems of Uni Mia.
The nervous skeleton of Uni Version flows into singular Alva Noto sounds in the jabbing pointillism of Uni Clip and the staggering scale of Uni Normal, with major highlights in the widescreen drama of Uni Blue, and footwork-like rapid movement join Uni Edit, while Anne-James Chaton’s vocal lend a sharp contrast in Uni Dna.
A Wolf Eyes masterpiece comes back to take your mind with this expanded reissue of their ‘Dread’  killer, re-cut at D&M and now featuring a bonus digital track taken from their ‘Sandpapered Eyes’ CDr
‘Dread’ is among the very earliest and gnarliest Wolf Eyes releases. It features the unholy trinity of John Olson in formative formation with Aaron Dilloway and Nate Young, each playing a fizzing and spitting disarray of tapes, electronics and guitars interspersed with scant vocals, and fundamentally catching the group at their most ragged and primitivist during a time when underground rock and noise was in need of new ideas.
The seeds planted in Dread sprout in the pavement cracks between sludge metal, avant-garde electronics and punkish No wave, establishing a low down and dirty sound that would eventually become known as Trip Metal. But it’s fair to say that their modern sound is generously polished when compared with these nascent, evil doings, where half-cut drum machines drunkenly slur in a torrid union with Nate Young's vocals, at times recalling throat-scarring hardcore, and at other reminding of Mark E. Smith with a bad cold on some home-brew.
In swapping out rock’s macho posturing for genuine, certifiable madness, and effectively reducing it’s structures to rubble, Wolf Eyes forged one of the most deadly records of the early ‘00s, which still remains utterly compelling today, 17 years on. And just in case you’re the insatiable type (you’re a Wolf Eyes fan, it’s most likely), the bonus cut of ‘Sandpapered Eyes’ should finish you off to the bone.
On Bloodline, Steven Julien a.k.a. Funkineven explore a charmingly personalized sonic ontology under his own name for the 2nd time following 2016’s self-titled album, coming into his own with a wickedly expressive meld of jazz-fusion and machine music.
Bloodline is concerned with paying dues to Steven’s ancestral roots, but it’s also an acknowledgment of influence of new age synth styles, Japanese electronics and the history of East London raving, adding up to a sound that’s brilliantly timeless and distinctly his own.
It’s a sort of hauntological soundtrack, if you will, traversing in a range of jump-cuts and fades from the filmic synth atmosphere of Hunt to a killer 303 + Linn drum combo in Roll Of The Dice, and ruggedly debonaire electro-bass on Bloodline, before swerving hard into mutant jazz-funk with Apache. The vibe then takes a super sweet turn with the percolated electro-funk of Queen of Ungilsan, and wraps up with the classicist ‘80s boogie-meets-new age strokes of Temple Rd.
After a blazing succession of Sound System heaters, Dug Out offers a spiritual session of seminal nyabinghi grounation from Dadawah circa 1974, perhaps the most mind-expanding, important spiritual dub reissue we've heard this last decade.
It's most likely a large influence upon the work of label head Mark Ernestus in his Rhythm & Sound guise, recalling the magical spirituality of classics like 'Making History' among others in the hypntoic, shuffling pace and intangibly smoky aura that seems to evaporate from the grooves with each listen. The group is led by Ras Michael, guiding a traditional set up of nyabinghi (ceremonial Rasta drums), bass, guitar, brass and Piano organ in four extended excursions over sublime, psychedelic terrain without a worry in the world.
As with much of the best reggae, much of the magic was elicited and embellished in post production, with Lloyd Charmers and Federal engineer George Raymond apparently staying up all night after the session to mix the recording, imbuing the tracks with a dazed, wide-open and echoing personal space. Keeping the standards impeccably high, the album was lovingly restored at Abbey Road and looks every bit the classic that it is. Big up Dug Out, this going to be on rotation round here for years to come.