Space Afrika spool out a 2nd collection of frayed, intimate house and ambient electronics for Where To Now? following 'Above The Concrete / Below The Concrete' (2014).
The four tracks on 'Primrose Avenue' distill a decayed, narcotic strain of house from elements of NYC garage swing, Berlin dub house and that Manc-y basement aesthetic, all shaded in deep delphic tones and ferric clag..
'Contemplation' opens with a phasing grey skied ambient panorama, giving way to the gritted Fred P-style gait of 'Resolutions' and setting a poised midnight momentum that carries thru the blunted swang of 'The Way Home' and the dawning, bittersweet morning-after vibes of 'The Sudden Walk'.
DJ Nigga Fox goes hard on the heels of Nidia Minaj and CDM with his 2nd 12" for the amazing Príncipe label.
Pushing arguably the most exciting dance sound in the world right now, Rogério Brandão aka DJ Nigga Fox is all about sinuous rhythms and mad technoid sounds, coiling the legacy of Angolan and Congolese drum patterns with up-to-date electronics in the styles known as Batida, Tarraxinha, Funana, Kuduro. They're dynamite on the 'floor, wrecking a body between the triplet techno tumble of 'Um Ano' and the incendiary builds and twysting vortices of 'Apocalipsiii' on the A-side, before running the wildest acid breakbeat torque with 'Tio Kiala' and bringing it right down with the sensuous Tarraxinha, 'De Leve'. Like everything else on the label, it's hugely collectable and a crucial addition to any outernational DJ's artillery.
If ever a phonographic accomplishment could encapsulate the precise modus operandi of Finders Keepers' Cacophonic label, then the ‘Expériences Musicales’ sessions made by French born painter, sculptor, music maker, wine merchant and founder of the Art Brut movement Jean Dubuffet would be a prime candidate.
"Originally released as an impossibly rare six record box set containing Dubuffet’s first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960’s recordings show a lesserknown side of this important artist’s personality. From an original promoted artefact (which can now command fees of up to 5000 Euros complete with its original art-prints intact) this highlighted version of ‘Expériences Musicales’ is now available again on authentic vinyl to the wider public.
Finally released to a wider audience and presented complete with Dubuffet’s signature style artwork, this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu."
Music For Installations’ is a collection of new, rare and previously unreleased music, all of which was recorded by Brian Eno for use in his installations covering the period from 1986 until the present (and beyond). Over this time, he has emerged as the leading exponent of “generative” music worldwide and is recognised as one of the foremost audio-visual installation artists of his time.
"Eno's recordings and other collaborations are endless and endlessly known, however his visual experiments with light and video covers an even longer span of time and have been exhibited all over the globe - from the Venice Biennale to the Marble Palace in St. Petersburg, from Beijing’s Ritan Park to the Sydney Opera House. Eno's installations are the fertile ground from which so much of his other work has grown and continue to parallel his musical career. Music For Installations is a collection of these original recordings from installations with new and unreleased work covering the period from 1986 until the present and beyond. 50% of the music contained in the box set has never been available in any format and the rest has only ever had very limited CD release direct to consumer release."
Doris Norton was Apple's first music "endorsement" and Roland affiliate, and is one of the most important female pioneers in the use of synths and in the early electro / computer music field. ‘Personal Computer’ showcases some computer game-style workouts along with some really canny cuts in the tricksy metrics of ‘Caution Radiation Norton and the psychedelic wig-out ‘A.D.A. Converter’...
“In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) – whose album cover prominently features Apple’s colored logo – and Artificial Intelligence (1985).
While the beat-oriented style of Norton’s music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton’s predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader’s bizarre 1982 one-off Erdenklang.
Later, her talent and expertise attracted the attention of IBM, who in 1986 named her as an official consultant. Already the reigning queen of the Italian electronic scene, she recorded two CDs for IBM: Automatic Feeling and The Double Side Of The Science. Influenced by her son, the musician and producer Rexanthony, Norton brought her fascination with the early days of techno into the 1990s, when she released three volumes of Techno Shock on Italian trance/hardcore label Sound Of The Bomb.
While her music remains largely out of print and inaccessible, Norton’s early records have recently begun to receive the inevitable rediscovery treatment.
"In the late sixties I had already conceived computers as “personal.” I have always trusted in the benefits of solitude; [being] alone means freedom… What’s better than a “personal” computer for materializing ideas, by oneself" (Doris Norton)”
Japanese composer/demi-god Ryuichi Sakamoto presents an exquisitely oneiric and elusively spiritual new album inspired as much by the sound sculptures of Harry Bertoia as the magic of Andrei Tarkovsky’s seminal septet of celluloid classics.
It’s been some years since Sakamoto has placed his name at the top of a solo album proper - as opposed to his swathes of collaborations and film scores - and we can promise that the results herein are definitely worth the wait.
Imagined and realised after a period of fright with his health, Async captures Mr. Sakamoto at his most wistful and wonderful, meditating on the existentialist, ontological themes and atmospheres of Tarkovsky’s work from both a gauzily impressionistic aspect, and a quite literal one, employing readings of Tarkovsky’s poetry (poem transcribed in the liner notes) in a variety of languages from a coterie of contemporaries including long time collaborators David Sylvian, Bernardo Bertolucci (for whom he composed the OST for The Last Emperor) and Carsten Nicolai (Alva Noto), among others.
Embracing both the fluidity and flux of Tarkovsky’s water analogies as well as the harmonic chaos of Harry Bertoia’s lush metal rod clangour, Sakamoto melds feather touch acoustic keys with field recordings, shimmering electronic patinas and signature synthesiser flourishes in a suite that beautifully lives up to and even transcends its influences, revealing some of the most achingly emotive yet often abrasive and abstract work in a catalogue now spanning over 40 years of exemplary work.
Beyond maybe Scott Walker, we can hardly think of another artist who has continued to expand their oeuvre over such a long period of time, and with an appeal quite like this, albeit respectively unique to their work. But Sakamoto really is in a league of his own here, utterly absorbing us with the dappled keys, organ haze and stereo starting doom synths of Andata, thru the stark Sonambient emulations of Disintegration to the romance of ZURE and the almost Toshiya Tsunoda-esque sensitivity of his field recordings woven into Walker or Honj, with humbling moments to be discovered in the switch from disorienting cinematic dialogue in Fullmoon to the legit Ligeti style violence of Async, and again in the curdled chromatics of FF and the Gas-eous swells swirling about Garden.
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.
The Jealous Gods conscript Varg for their 17th number, harnessing his esteemed Scando techno energies in four hardcore, pounding missiles under the title of I’ll Hold You Till We Die.
A-side hurts the best with a pair of robust 140bpm bangers, getting into gear with the tense electro of For Milan/AMG and dispensing a proper bollocking with the stampeding groove of Skrrt (Music made To Listen To In A RS6).
Turn over and he drops the tempos slightly to go in with a class party piece in Donatella Forever and then the soaring hard techno élan of Last dance (I’ll Hold You Till We Die).
Elysia Crampton’s eponymous opus - their 4th official album - is a peerless study in sonic ontology, exerting a psychedelic spin on notions of roots & future in a studiously conscious and intricately woven yet immediate manner that’s core to Elysia’s oeuvre. We’re really feeling this one; reckon you might, too
“Dedicated to Ofelia aka Carlos Espinosa, china* travesti revolutionary (*femme in Aymara). Elysia Crampton’s self-titled album marks her 4th official release.
The Amerindian musician draws on various Andean styles such as kullawada, huayño, tarqueada, quirqui / tundique, khantus, & morenada, together with genres like metal, psychedelic, & jazz fusion, to tell a story of her movement in the world— performing her history, both sonically & corporeally, as a means to gain economic access & agency.
With this album, Crampton further situates her work within a long Aymaran musical legacy* that implicates cultures & sites beyond the Andes (following trajectories of dispersion through the literal migration & interaction of bodies & in the circulation of Aymaran concepts, images, music & goods via the world market after the conquest).
Building upon the ancient notion that Aymara culture is something sustained through movement & contact with others (recall the 'S' meander sign in Andean art) rather than soley being defined in stasis, segregation & linear time, Crampton's work retains the sensation of a belonging in spite of its so-called promiscuity, continually carrying a sense of origin amidst constant motion, which from a Aymara relation to space-time (nayrapacha or 'past' related to the ocular & resides in front) is an origin that also lies ahead, not only behind.
*This legacy extends well before 900 B.C., but one should note that it was particularly during the mid twentieth century (60s & 70s) that Aymara musicians began building the agency to travel the world themselves (their culture or "cosmovision" had already reached Europe through the expansion of the Spanish market as early as the mid-sixteenth century, informing the European imaginary before the French Revolution), performing their identities through music & dress for audiences in countries like Japan, France, & The United States. It was this movement that would shape not only the national identities of countries like Peru & Bolivia, but would also become the definitive sound of so-called world music today (while shaping other globalized genres like "new age”)”
Mick Harris launches a snarling breakbeat techno assault on L.I.E.S. as Fret with the Silent Neighbour EP in the wake of his destructive Over Depth album on Karl Records, and some 23 years since the OG Fret 12” on Downwards’ Resonance sublabel.
Where that original Fret 12” differed from Harris usual output in terms of its space and relative minimalism, the current Fret sound incorporates more typical Mick Harris tropes, working a dense and noisy roil in Silent Neighbour, and a crushing industrial dub lurch on List Is Full, while Same Pegs unleashes a furnace blast of hellish noise techno figures, and Closed Syndicate does its thing with ravishing force.
Glass offers the sublime results of a collaboration between Ryuichi Sakamoto and Carsten Nicolai (Alva Noto), as performed and recorded at Philip Johnson’s Glass House in Connecticut during the private opening to Yayoi Kusama’s installation marking the 110th anniversary of Johnson’s birth.
Making sterling use of the landmark architectural work’s pellucid dimensions, the pair fixed contact mics to its glass walls, which they effectively played as an “instrument”, rubbing it with rubber gong mallets to generate delicate tones which they combined with a sympathetic palette of singing glass bowls, crotales, keyboards and mixers.
The seamless performance of floating, weightless tones and exquisitely quivering timbres is without doubt one of their finest. For the duration we’re held static and spellbound by the pair’s interplay of microtonal shifts and plasmic chronics, keening the listener thru hazes of digital dust and vortices of angelic harmonics to locate, alchemise and resolve a rarified, deeply mysterious spirit before the piece closes.
As the follow-up to their OST for The Revenant  and the warbling keys of Summvs  before that, the achingly lush tension of Glass is perhaps the purest testament to the clarity of vision and endless minimalist mutability of this highly revered duo.
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.
Brusque, Ballardian EBM techno and industrial clangers from Oliver Ho in his Broken English Club style.
The A-side’s Accidents & Romance clamps down with rottie-toothed 16th note synth snarls and back-breaking kicks whilst the owner chats like a man possessed, somewhere above the escalating madness.
B-side, Country Life bucks up some recoiling and lustrous EBM funk that burns on contact, backed with a descent into crushing industrial torpor with Private Death.
Proper, shoulder-barging D&B rufige from Artilect
Following up last year’s UVB-76 split alongside Skitty with the sidewinding tekkers of Blurring The Line, then the canny spectral breakbeat dynamics of Concussion, before holding down the ravenous beats of Zero Time, and on a fierce tech-step flex with Blink.
Flute lovers will be in their element on the latest from Not Not Fun
“The welcome and wondrous return of Lyon musician Baptiste Martin’s aerial ambient identity Les Halles, following a year’s sabbatical from recording, Zephyr takes its name from a light westerly wind, which aptly evokes the warm, weightless, whispering spirit of these beguiling electro-acoustic designs. Working entirely with a computer for the first time, Martin’s sample bank swelled in both depth and detail, giving his compositions a crisper focus and finer grain. Slovakian fujara flutes shudder and shimmer, offset with rippling PVC panpipes, chimes, and gentle webs of delay.
The tracks are titled according to their sample source, designated with one of three words that are same in French and English: horizon, mirage, and distance. Martin speaks of these pieces as conjuring “landscapes with almost no human traces,” and his criterion for completion is simple: “When I feel like I’m losing the perception of time while listening.” Nine new divinations by one of today’s most attuned waking dreamers.”
Tint is an intently focussed showcase of the sound sensitivities which have made Joe Talia a cult figure in contemporary electro-acoustic and avant garde circles. If you’ve ever been caught by the work of Oren Ambarchi, Jim O’Rourke, Andrew Chalk, John Duncan or Jean-Claude Éloy, you need to clasp ears on this album!
“Tint is the first new solo recording from Joe Talia in over a decade. Australian-born but now based in Tokyo, Talia is known to many listeners as a drummer (frequently collaborating both live and in the studio with artists such as Oren Ambarchi and Jim O’Rourke) and as a recording and mixing engineer responsible for dozens of releases across the fields of contemporary experimental music, wayward pop, and jazz. Alongside James Rushford, he is also responsible for one of the most legendary releases in the Kye records catalogue, the creaking electronic morass of Manhunter (2013). Lovingly crafted over many months in his tiny Tokyo studio, Tint is an album-length electroacoustic suite that brings together Talia’s expertise as percussionist, studio engineer, and performer on analogue electronic instruments (primarily modular synth and Revox tape machine).
Ranging from minimalist austerity to kosmische lushness, Tint refreshingly refuses the dark and moody sonic palette of much contemporary electroacoustic music in favour of an airy, at times almost weightless sound-world of gliding tones, skittering percussion, and burbling field recordings. Drawing inspiration from Jean-Claude Eloy’s epic concrète love letter to Tokyo, Gaku-No-Michi, Talia makes extensive use of his own recordings of his new home, but removes any sense of audio verite, abstracting them into transparent glosses of outdoor ambience or unidentifiable chimes and creaks. Flowing seamlessly between distinct episodes, Tint is compositionally controlled while retaining a sense of played spontaneity, eventually building to a maelstrom of analogue synth zaps and tape manipulated percussion that reflects Talia’s deep engagement with the relentless yet constantly shifting dynamics of free jazz.”
Ahhhnd relax with this creamy instrumental suite of ambient cover versions of Arthur Russell, Brian Eno, Roedelius and Robert Wyatt. Heart melting music
"Piano & Clarinet: Selected Works Vol. 1 is a collection of ambient works - from the likes of Brian Eno, Arthur Russell, Roedelius and Robert Wyatt - arranged for clarinet and piano. Having met at music college, Black and Jones went separate ways creatively. Black delved into pop, recording albums and touring extensively under the guise of Sweet Baboo, as well as working with Cate Le Bon, H. Hawkline and others. Paul leaned into the piano and pursued a career as a jazz pianist and experimental musician. He played with Keith Tippett, formed The Jones O'Connor Group, performed with noise improv bands and composed orchestral and chamber music.
Reconnecting years later, the pair discovered that their musical tastes, bizarrely, met in the middle. They have a shared love of The Beach Boys, Ghost Box Records, Messiaen and Angela Morley. They both like ambient and new age music, bubblegum pop, Artie Shaw, Moondog and the Songs in the Key of Z.
Piano & Clarinet: Selected Works Vol. 1 is the spontaneous, beguiling culmination of this friendship. Cutting out the post production and keeping overdubs to a minimum, the clarinet and piano were passed through guitar stomp boxes and other analogue effects to enable processing and manipulation directly in performance. The result hums with the ghostly energy of sound pioneers Joe Meek and Martin Hannett, while mbira and drum machines are sparingly deployed amid enveloping folds of space echo.
Like Virginia Astley or Simon Jeffes, Group Listening tread the overlap betwen classical and experimental music. Perhaps most startling here is the breadth of material arranged as one atmospheric whole. The pieces range from the ever-spiralling, fractal phrases of German composer Roedelius to the haunting rasps of game and Hollywood soundtracker Disasterpiece and the pioneering sonics of early electronic inventor Raymond Scott. Somehow, shot together through Group Listening's electro-acoustic lens, these works evolve into something supremely calming, poignant and new.”
Craving off a slice of Leon Vynehall’s pleasant new album, Movements (Chapter III) captures a snapshot of classic NYC soul-jazz vibes filtered thru a lense of YouTube-like compression effect filters.
It’s a bit bland and passably loungey, but nice enough.
The surrealist ambient/avant-pop experiments of Anticlines form the most significant solo release to date by Lucretia Dalt. It follows her releases with Human Ear Music, Care Of Editions and Other People - all dispatched prior to 2015 - with her finest, poetic study on the relationships between time-based arts, a.k.a music, and the time scales of geology.
Thanks to the inclusion of her own vocals and a tendency towards simple, melodic leitmotifs, and despite its heavy conceptual roots, the results find a fine line between experimental savouriness and pop sweetness, knitting Latin rhythms with her poetic gestures in the first side, before the 2nd side cannily finds those ideas fragmented, stratified into finer graded layers.
"Anticlines is a volume of poetic theory and sound contemplating the bodies of self above and beneath the earth’s surface. On Anticlines, Dalt conjures a sonic space of speculative synthesis and spoken word where South American rhythms rattle contemporary composition recalling Laurie Anderson, Robert Ashley, and Annea Lockwood. A portion of the proceeds from your purchase will be charitably designated on behalf of Lucrecia Dalt to Tierra Digna, an organization dedicated to the defense of Colombian communities affected by economic policies that violate human rights and devastate the environment. tierradigna.org. Come! Mend!"
A mixed bag of remixes for Carl Craig’s orchestral project Versus.
We’ll bite our tongue about the garbage and point you to Abul Mogard’s gauzily smeared and slow burning sci-fi synth remix of At Les and the stark Siavash Amini remix of Sandstorms for highlights.
A slippery one from KeitaroTamura on the low-key Lynn imprint outta Chicago, joining releases by D!ANA, Yma and Polido to keep the label’s aesthetic remit properly wide and elusive.
suuhaaa+chorororo, is, as far as we can tell, KeitaroTamura’s 2nd release after the Wind and Baby EP for California’s Memory No.36 Recordings. Unfolding in two longer form parts, the first reels off a hypnagogic smudge of glass rubbed harmonics and sloshing industrial swill with a deeply seductive appeal.
After 10 seconds or so you’ll be sucked into a sticky wormhole for the duration, with only minor variations in the loops to keep us interested. On the other hand, the 2nd part is initially far more scrambled, brownian, inducing an unstable yet meditative effect that reminds us of records by Wanda Group and uon, before almost resolving around a persistent bass pattern, but not quite.
This is kinda what we imagine doing K on a merry-go-round to feel like.
Vive la Void is the new solo project of Sanae Yamada, co-founder and keyboard player of Moon Duo. RIYL Stereolab, Broadcast, Fever Ray...
"Yamada wrote and recorded the self-titled debut album over roughly a two-year period, during windows of downtime in Moon Duo’s substantial touring and recording schedule. The dense, shape-shifting atmospheres of the seven songs grew out of late-night basement experiments in the layering of synthesizer tracks, a process that also led to meditations on the changeable nature of memory and perception. The result is an undulating blend of ethereal swirl, low end thrumming, and electric crackle, buoyed by Yamada’s understated but captivating vocal melodies and her striking lyrics.
“The lyrics were a way of reckoning with my own memories and also of trying to process my reactions to the human situation,” Yamada explains. “I wanted the voice to have a kind of ghostly quality, to emerge from and recede back into the song, or to pass over it like weather. It’s one of many layers of sound, which are meant to blend together in such a way that on one listen you might hear one thing, and on another listen you might hear something else, so the music seems to change even as it stays the same.”Yamada has spent the last decade as a working musician, moving between semipermanent home bases whenever she isn’t living in a tour van. In some ways, then, it feels inevitable that Vive la Void became a meditation on the strange rhythms of long-term touring, constant relocation, and the accompanying stream of brief but compelling encounters. It’s a testament to her empathy and creativity that these songs feel both specific and universal, familiar yet tantalizingly unknowable.
“I feel like the movement of life in the sphere of consciousness is this process of trace-leaving,” Yamada reflects. “Wherever we go, whomever we interact with, whatever we touch, we leave and absorb these invisible traces, this residue of memory that lingers. I wanted the sonic textures of this record to explore that state of being there and not there, of something being with you but not tangible.”
Boli Group present their keenly anticipated début album, N.P.D.S. on Posh Isolation. A suite of classicist chamber arrangements for Piano, Cello, Violin, Alto Sax & E-Max infiltrated by sparingly used synths, this is the sound of rarified contemplation in breezy white rooms, hovering between stately solemnity, urbane spirituality and ornate ennui...
"Hartvig is perhaps best known for his work with the group Synd Og Skam. And though less known, Brynje 1&2 is just as exceptional. Taking both technology and classicism as allegories, each group charts routes in and out of pop music, somehow arriving at an observer's distance to the distinct stylistic choices in the process. The label Visage has published the best of this, and the logic has certainly been carried into 'Boli Group LP,' the latest offering from Hartvig and his distinguished ensemble of Nina Cristante, Holger Hartvig, Thea Thorborg, and Cæcilie Trier.
There is a nearly unendurable fragility to 'Boli Group LP.' It's as if Hartvig has let the complexities of his themes stand in mourning; his narrator taking a moment to themselves behind sunglasses, exhausted for the rose-tinted lens of the prepared script. The album is willingly dramatic, though it never plateaus into melancholia. Hartvig pirouettes at the edge with the sorrowful string arrangements and the pristine timbre of the piano, the immediacy of the acoustics always binding the listener tightly to the risk. Pastoral and meditative, the electronics don't tamper with the delicate fabric being woven. They always register as supportive and understated. The synthetic hum, occasionally yielding a doleful melody as it does, manages to imbue a naiveté to this contemporary and subtly idiosyncratic chamber music.
Though the track titles lead us on, in time the examination the album provokes is that of the tension in transparency. The album's secret, barely kept through the minimalism, is its distinct folk noir quality in holding it. "boli group creating new chamber folklore embracing the playing of instruments, not the played, but that which is playing for the sake of future focus and edit into the very minerals of instrument, intuition, emotion, fragility underlying, the warning, always pulsating acts of drama, wet leaves, asphalt, pan to right, agriculture and electricity poles a container ship, lonely in horizon hoping for a clear thought, but everything existing as conspiracy the sound of a search, uncertain and always asking, for certainty is false, showing sceneries changing permanently and forever narrating, like a panorama of grey clouds, keeping humidity levels high, heating up before the release of water and lightning investigation for folk instruments. What are their songs and where will they go, over time, woven together like a piece of fabric created to stand against the lethal winds”
Persistently at the edge of wave cycles for the past decade, Matthew Weiner brings his TWINS project to Mike Simonetti’s 2MR label with a ‘floor-ready and generally easier to grasp sound in That Which Is Not Said, which is to say the acronym of his name spelt out for those who don’t know.
Eight songs variously touch on yelpy, snappy EBM recalling DAF/Suicide (Glass Breaks Glass), the cold synth-pop smarts of Depeche Mode (Taset of Peppermint), The Cure (Stuck), along with side-spins into mutant disco (Before This Runs Out) and John Bender-esque styles (The Sky Remains The Same).
Blinding technoid fusions of flashcore and Techno at 130bpm on the surprise 7th release on Mumdance & Logos’ Different Circles label, RIYL Sleeparchive, La Peste, Shed, Chevel...
Different Circles round off two techno killers nearly 10 years since Szare’s coded conception as 126.96.36.199.5 for Horizontal Ground to reaffirm their unique position within experimental bass/techno dimensions.
Bringing a mongrel sense of Manchester dance music to the plate on both sides, Szare morph rolling big techno with deft traces of flashcore to scintillating impact on Kodiak with its searing paso doble breakdown and bleep coda best compared to Sleeparchive going in double hard with La Peste.
On the other side, Translocated figures a rugged calculation of staccato jacking UK warehouse dynamics rudely compatible with Mumdance & Logos’ FFS/BMT bangers and the wider Different Circles catalogue, but with a hypnotic, industrialized dance energy that is Szare to the core.
Sleazy psyche grind escaped from Green Door Studios’ exit/entrance to hell. RIYL DIV, Goldfrapp, Optimo Music
“Another fierce and unique act from the depths of the Glasgow underground appear on Optimo Music with their debut Green Door studios recorded four track EP.
Keyboard player Jim McKinven was previously in Altered Images, worked for many years in Martin Rushent's Genetic Studios, was in One Dove and previously appeared on Optimo Music as one half of Organs Of Love. He is however but one component of this transgenerational band.
They describe their music far better than we could - "Seedy Electronica, consisting of 2 Basses, Electronic Drums, Synths and Dark Vocals. Inspired by the avant-garde that influenced the electronic music scene of the late '70's and early '80's.”
V-Sor, X’s outstanding post-punk/cold-wave bullet Authors 2 bubbles back up on Peripheral Minimal.
Hailing from Lichfield in the English midlands, Morgan Bryan formed V-Sor, X in 1979. The classically skinny and drily emotive Authors 2  was his first single, and despite being admonished as lacking emotion and musicianship at the time, it clearly held its own with enough folks to be trading for over £100 on the 2nd hand market nowadays.
Thankfully that “something” isn’t just its rarity (there were only 300 copies of the original), as the A-side delivers a virulent blend of spiky arps and almost operatic, horror-film inspired gothic vox in Authors 2, whilst the B-side makes haunting turns towards what would become known as neo-folk with Station, and an unmissable mix of fluttering synths and cathartic vocals in Back Room Commentator that clearly reunite with fellow Midlanders Eyeless In Gaza.
NYC’s Dasychira unmistakably apes Arca and Lotic in the best way on Haptics, the follow-up to his Immolation EP.
Featuring guest turns from Haleek Maul, Malibu, and Embaci, it’s one the most upfront and definitively contemporary releases on FaltyDL’s Blueberry Records, vacillating expressively detailed instrumental highlights such as the dembow-bumping weightless concerns of Swing with impressively theatrical vocal works such as Umbreon, feat. Malibu.
Chloe Freida’s Alien Jams compile 7 cuts from rkss, Rescund, Ondness and more cuts, each reflecting on the nature and effect of unease and anxiety, all mastered by Rupert Clervaux.
The most interesting responses to the theme come in the spiralling waves of distorted data from rkss on FX 128 F / CLAP 128 F / LEAD 2 F 128 / CLAP 128 F / FX 128 F, which seems to emulate the onset and onslaught of a panic attack, and also from multidisciplinary artist Clifford Sage a.k.a. Recsund, who follows the Intellectual Reject sets for Quantum Natives with an incisive, needling ambient techno work Sinetic that emulates the effect of feeling simultaneously lush but highly strung.
Hot on the heels of Joker’s return, Bristol’s purple sound OG, Guido steps up with his first release since 2013
Dispatching the sharply contoured and colourful grime instrumental Onward and the wonky but regulated triplets of Blazing Trails via his State Of Joy label.
DJ Qu induces fancy footwork with a percolated, infectiously percussive rework of Willie Graff & Tuccillo’s To The Music, which eventually turns into a Moodymann-like party freak, and comes backed with Qu’s original, grinding bleep techno ace Figure 6 for the red-lit basement jackers.
Theo and pals stretch out at jazzy angles on Gentrified Love, Pt.4
Bubbling uptempo with the burning hustle of Leave The Funk To Us feat. Amp Fiddler & Ideeyah on a P-Funk house flex, whereas Be Like Me hits the downstroke on a well-tucked boogie jazz turn starring Paul Randolph and Kathy Kosins.
Mumdance furnishes Dawn Richard with an exclusive production on Guardian Angel
Sending her diva sing-a-long soaring with martial grime snares gnashing at Not Waving’s guitar lines and weightless orchestral sweeps supplied by Demon Strings. It’s quite the head-turner.
Darker-toned slow/fast rufige from Om Unit’s Cosmic Bridge
Landing two canny cuts with the cinematic melancholy and mid-way switch of his dBridge-alike Ryoan-Ji, and the Instra:mental styles of Totem.
Robustly functional techno trax from the master Robert Hood
Toying with drag coefficients in the tense, swarming dynamics of Clocks, then rolling out on a signature organ mission with Low Life, and shaking it up some with the latinate bleep minimalism of Go. A mean lot for the DJs and dancers!
Following the reissue of his timeless Loop Finding Jazz Records last year, Jan Jelinek returns with a transitional new album ‘Zwischen’, which is made up of versions of pieces recorded for German public broadcaster SWR2. It includes twelve sound collages which make use of fragmented interviews provided by public figures including John Cage, Lady Gaga, Stockhausen, Yoko Ono, Joseph Beuys, Marcel Duchamp and others. Jelinek uses fragments of each voice to create highly evocative soundscapes, a conceit not unlike the use of Jazz loops on his much loved classic.
Jelinek focuses on intonation, umming and ahhing, silences, pauses for breath and hesitations which dictate the pace and mood, the resonance and tone of each interviewee providing the textural core of each piece. These same vocal fragments also control synthesized sound, creating overlays that merge with the voices to make twelve synthetic/acoustic structures.
As Jelinek explains "We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor? Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees – all eloquent public figures – the pauses are extracted and edited together. The result is a series of sound collages of silence.
But this silence is deceptive, as it is only meaning that falls silent. What remains audible is an archaic body language: modes of breathing, planning phases, seething word particles in search of sense that can break out into onomatopoeic tumult or drift off into sonorous noise. In a further step, each of the twelve collages controls a modular synthesizer via its amplitude and frequency. Supposedly defective speech acts conduct synthetic sounds and the speakers regain their composure – not via the spoken word, but through sound. The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte, Slavoj Žižek, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayröcker, Yoko Ono and Max Ernst.
Gábor Lázár mutates 2-step, grime and electro prisms with economic yet ravishing effect on Unfold, his solo début LP proper for The Death of Rave. Following an acclaimed split LP with Mark Fell ( which was deployed to stunning effect in Aphex Twin’s live/DJ sets of 2017), the Hungarian artist has harnessed the scything contours and mentasmic vamps of his earlier releases into 8 inexorably funked up frameworks set to brilliantly mess with modern ‘floors. Big recommendation if yr into Errorsmith, SOPHIE, Jlin, AFX, Lorenzo Senni...
Kerning classic styles with devious ballistics according to a mutant syntax reflected in the LP’s bespoke sleeve art, Gábor galvanises his signature flux of zinging mentasms and hyper rhythms with a cyber-mongrel gnash in Unfold. Drawing from the deeply affective and rude ends of South Yorkshire, Detroit and South London technous for inspiration, Gábor consolidates their mutual aspects by trimming the excess and stressing the funkiest points of syncopation with razor sharp, inventive edits. Whilst instantly recognisable as Gábor’s work, his grooves are more pronounced, and this time unusually riddled with melodic gestures that lead to moments of unexpected emotive relief.
In the contemporary field, Unfold firmly lives up to comparison with the sexy retro-futurism of Mark Fell’s Sensate Focus, the advanced playfulness of Errorsmith’s Superlative Fatigue, or the fluidly knotted syncopation of Jlin, but does so with a singular mesh of style and pattern that Gábor can patently declare his own. Heard in context of the album cover’s bespoke GL sigil designed by Dániel Kozma, Unfold becomes an ultimate gesamtkustwerk whose audio-visual play of sensual/cutting contours and elegant brutalism resonate as much with the work of his idol, Mark Fell (SND), as the ultramodernist vectors of SOPHIE, the lush technicality of Second Woman, or the ballistic proprioceptions of Jlin.
In other words, it’s one of the most forward dance music records you’ll hear in 2018.
Tape-head-to-tape-head, Marta De Pascalis and Howlround share this split side of coruscating recordings made in a former Buddhist Monastery for The Tapeworm’s vinyl (and other formats) sister label; The Wormhole.
The results are, as they describe them, “dramatically un-Zen”. Up top on Her Core, Italian artist Marta De Pascalis coaxes her tape loops into a swelling tempest of white hot harmonic anguish and guttural bass waves, sustaining and stressing the intensity ’til the thing burns itself out like the condemned final eon of a celestial object.
After that lushly exfoliating experience, Howlround’s side offers an excellent contrast, using four slightly battered Uher tape recorders and two loops to pinch the soundfield and get right up yer nasal cavity for a properly hypnotic blowhole buzz which soon enough expectorates a flood of spectral ectoplasm and wretched pulsating noise.
Standout début album of dream-like, avant garde pop and electronic variants that properly introduces Rome-based Montreal artist Mélissa Gagné aka CECILIA after guesting on Rabit’s Les Fleurs Du Mal album last year and releasing an EP for Yves Tumor's Grooming label. Devastatingly restrained yet ravishing songs with haunting English, French and Italian vocals, huge recommendation if you're into Yves Tumor, Félicia Atkinson, Rabit, Teresa Winter, Portishead, Leila...
Cecilia wrote and produced Adoration, with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues - “One is summoned to whisper truth, beauty, tragedy to demon ears.”
Incubated for one and half years between Montreal, Toronto and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson’s Hand In Hand LP.
Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, the voice’s presence is integral to the album's quietly absorbing atmosphere, and even if the listener can’t understand their direct meaning, they connote so much more through abstracted inference and ambiguity.
Following her early forays made with the Charity Whore EP for Yves Tumor’s Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, Cecilia ties all those strands into an illusive yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines. It's no doubt one of 2018’s most haunting, beguiling LPs.
On this newly released work Jakob Ullmann combines his appreciation of Cageian principles with sacred composition in utterly riveting ways, resulting in two of the most extreme and uncompromising examples of his “quiet music” - that is, a music which is composed and realised to be played just above the volume of each listener’s ambient background.
And in case you’re not aware of what we mean by “extreme”, we’re talking seriously quiet - bordering on silent - instrumental gestures; the kind of creaks and klangs that, on the most glib level, recall a “ghost” in your house at midnight, while on a more serious, theological level, are intended to heighten the listener’s sense of the unknown, the metaphysical, the spiritual: the sacred.
In both works the ‘hallmarks’ of Jakob Ullmann’s intently defined yet unfathomably open style of composition come to light. On Müntzers stern, a pre-recorded performance of a hymnal text written by the German theologian is played back at barely perceptible volume into the same space where Dafne Vicente-Sandoval translates the graphic score for bassoon. The result is a totally sparse yet breathtakingly pensive piece where it’s beautifully uncertain what we’re hearing - is that the chance sound of a distant plane or Dafne’s bassoon? Are those voices in your head, outside the window, or on the recording? Either way, the barely-there but complex results are genuinely ambiguous, forming a total breakdown of conventions that leave the listener with far more questions than they answer.
On solo II, part of a group of works relating to the notion of disappearing musics completed in 1992 following Ullmann’s conversations with John Cage, the effect of Dafne’s bassoon, recorded in Kartäuserkirche (Bürgerliches Waisenhaus) is even more extreme. Holistically taking into account everything from the thermal fluctuation of the space and the way it affects Dafne’s reed, to its unique acoustic imprint, and by turns what lies outside its walls, the piece directly builds on Ullmann’s dialogue with Cage, and induces us into a sort of lucid dream state where time dissolves, outside becomes inside, and we feel physically sublimated into the piece and its projected timbral architecture.
As Ullmann’s music has come to light beyond the most rarified classical corridors over the last decade (with thanks to its champions such as Stephen O’Malley and Bill Kouligas, among others), the composer’s radical approach and uncompromising beliefs have given us some of the most memorable and perception-altering musical experiences imaginable. We can surely add these two new Ullmann works to that set of life-affirming and quietly challenging experiences.
Bittersweet, crystalline hybrids of IDM + R&B with ambient AI ideas...
“Welsh producer Odeko first appeared on Mr. Mitch’s forward-looking Gobstopper imprint with the A.I. influenced EP “A History With Samus” in 2016 immediately snagging a “producer to watch” tag from Fact magazine and a premiere at SPIN. In early 2017, his second EP “Digital Botanics / Construct Conduct” arrived confirming his sound and setting the stage for him to start working on this – his debut album “Rose Tinted Vision Implant” that is set in a post-Ballard, post-Gibson, post-Miéville, alternate reality. “Rose Tinted Vision Implant” sees the Bath-based producer creating a cutting edge sonic world inspired by “speculative fiction, time/reality shifting stories and dystopian shit.” The entire record is structured around, and expands upon his passion for the “future,” underpinning the music via a underlining narrative.
“Rose Tinted Vision Implant” starts with “The User” (aka the listener/ protagonist depending on your perspective) of the ‘Optic.Rose’ going through the process of getting an implant is made by a mega corporation, (think “whatever Elon Musk’s legacy will be 200 years from now” says Odeko “not necessarily evil or good, just a world owning superpower.”). And then we follow “The User” who has unfortunately received a bad egg through stages of that devices degradation. Sonically we’re there to observe. We open (“Anomaly Detection”) with a precursory scan and move onto installation (“OpticRose_0_1_Installation”)
through to a battery change and a recalibration. From this point, the ‘presence’ begins to take over the implant and the tracks verge into a more cerebral range.
Odeko notes “its a bit of a satire on corporate brands pushing these great products that everyone is obsessed but that are detrimental to both the world, and how we perceive reality. Our relationship with social media and tech could go down a dangerous path if we loose sight of things. I’m going quite far here for the sake of the concept, but things like VR, AR, the want for body tech, mixed with our desire to be connected, emotionally, digitally, physically, wirelessly could lead us to a world where everyone has implants, or some kind of tech built into them.”
Sonically its a record that explores a post-IDM, post-Grime, post-Ambient, post-Glitch, post-Retro-House, post-Instrumental Grime, take on electronic music, like Gobstopper’s Mr. Mitch himself and his label mates Orlando, Lloyd SB, Tarquin, Clu, rAHHH and Loom, Odeko is making a kind of post-genre music. Yes its a cerebral concept under the music but as popular shows like Black Mirror have shown – critiquing our new future can be fun, unusual and highly rewarding. Welcome to the world of Odeko”.
Optimo highlight the burned-out blues growls and chops of their favourite singer-songwriter Jacob Yates
“Optimo Music is thrilled to release the new album from Jacob Yates. Not only is he one of our all-time favourite artists from Glasgow, but he is one of our favourite artists from anywhere. Criminally unknown except to a few who have been long transfixed by his recordings and performances, we hope this release will open a few more ears to his wondrous musical world.
“The Hare, The Moon, The Drone” is the third album from Jacob Yates. This recording finds the band exploring dark hawthorn hedged lanes, moors and suburban, new build estates. There's something more earthy about the songs but the menace and darkness remains. Musically there is a big shift on this album, a field recording of a folk band from a dark, pine filled glen. The opener, The Car sets the scene for the rural side of the album, dank and stone cold. The tracks then shift through the woods, people turn into animals, we pass a sunlit glade, do you hear a love song? Cassie Ezeji closes the side sweetly lamenting in Gaelic as the snow falls.
Side two is a more urban affair opening with despair in a bedroom in Belgium, we visit a faith healer and drop in on your lonely mother. Lovatt recounts the story of a karaoke addicted murderer before we finally go home to our new build just outside of town where the pylons tower over Michael and his sister Rachel. It's a journey you can go on, looking out of the window of the bus, glimpses of lives glide by, cards on seats promise to help you. Ding! It's time to get off.”
Quick on the heels of his last 12” with Young Marco’s Safe Trip, Darling blesses the label with two nimble electro beauties here
Loosely working around the groove with latinate suss in the lush swerve of Sim and locking off some superb, whirring electro syncopations and chirruping alien voices in Moon Fleet.
First ever official reissue of the very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.
"Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.
The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As"."
David Moufang's catalogue must be one of the deepest and most sprawling in electronic music - he has been involved with so many projects, for so many labels, with so many different sounds over the last 2 decades that it's impossible to know where to begin - taking in elements of Techno, Jazz, Drone, House and ambient music along the way.
His collaborative venture with Benjamin Brunn started out life on the Raster Noton related Bine imprint, but it's this amazing set for Smallville that's really got pulses racing with anticipation. "Songs from the Beehive" features 7 extended tracks that take in disparate elements from across Moufang's career, merging them into an immersive wash of sounds that drive around padded beats designed for the floor, yet surrounded by sound fragments and tapestries rarely associated with Techno music.
The opening "Love the one you're with" is a case in point, over 12 minutes the track evolves from a hazy stew of audio shrapnel and loose samples to a deep and bouncy shuffle full of scattered keys and funked changes. The fact that it takes the kickdrum almost 5 minutes to make an appearance tells you a lot about the pace and compositional attitude of these tracks - slowly taking time to unfold and unravel, revealing new dimensions with every repeated listen.
"Honey" makes a welcome appearance, while the immense "Come In" exudes a breathless elegance that's all midnight keys and angular motion - it's just impossibly lovely. With really quite sublime artwork from Stefan Marx, this really is a treat for followers of Move D and great electronic music generally - we urge you to check it out.
Strong survey of the current Italian crop, including highlights in Alessandro Adriani’s Drexciyan trip, the tentative ambient ephemera of Chevel, and the mercurial beauty of Catarina Barbieri
“Flowers from the Ashes is the latest multi-artist project to bear the acclaimed Stroposcopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within its four album sides, reminding us that historically "decadent" times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the 'floral' theme that has remained a consistent feature of S.A.'s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future, Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory.
The album opens with “Errori,” deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi’s “Spitting & Skytouching,” and then by the resolute electric bass patterns and luminous fog of “Lux et Sonus,” from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos du Brasil open the B-side with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani’s “You Will Not Be There For The End,” showcasing his distinctive take on the ‘paranoiac breakdance’ aesthetic of classic EBM. S.A. veteran Chevel rounds out the first record in the program by interlacing several percolating synth lines together into a richly conversational piece.
The journey continues with “Starving The Mind,” an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of “PRV-HH3-X”, by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of “Virgo Rebellion,” designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing “4G” from Spazio Disponibile co-founder Neel - a crepuscular serenade that accurately sums up much of the foregoing activity.”
Tasty reworks of Robyn & Kindness, with Wolfgang Voigt diffusing the rich pop sentiment of Who Do You Love into a slow tumpin’, diaphanous Gas style with Robyn’s vocals beautifully shielded by sheets of mist, then evaporated altogether and letting the strings take over in his New Romantic Mix.
Mad Professor meanwhile makes it sound like the early ‘90s with a rolling, High Voltage steppers’ dub of Electric.
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.