Tom Halstead and Joe Andrews finally inaugurate their long-in-the-making RR label with this deadly new Raime 12”, a precision-tooled exploration of negative space, sinogrime, found Youtube dialogue and colossal subs. The ghosts of grime, jungle, dub, and industrial musicks run deep with this one, here rendered with perhaps the most shockingly pristine, eye-catching production of their career to date.
Following on from ‘Am I Using Content Or Is Content Using Me?’, their 2nd EP of 2018 locates Raime in pursuit of challenging, non linear, and often beat-less structures ruptured by the shrapnel of online culture. The hardcore continuum still haunts their sound, but the concrète soundscapes they create make use of a spectra of techniques to camouflage its presence in any overt way. What remains is a skeletal render that implies delirious momentum. With every chime, sample, snare and sub honed to staggering effect, it becomes an exercise in hyperclarity and propulsion.
There’s no one really honing this sound in quite the same way, while there are parallels with weightless grime and the crystalline electronics of early Arca, Sophie, Rabit etc, Raime trigger a different kind of dynamic, one that fills acres of space with a more nervous, angsty energy directly connected to a lineage of UK club styles. It’s basically anything but background music and feels like a culmination, or perhaps a diversion from a path Raime have been following for almost a decade. If this new label allows them the space to untangle that carefully considered aesthetic, we’re f*cking there for it.
Mesmerising tech-electronic abstraction from George McVicar, making full use of the frequency spectrum across seven tracks of virulent arps and booming bass projections riddled with playfully jazzy, if reserved, melodic gestures. RIYl Beatrice Dillon, Brendan Dougherty, De Leon...
“Er, now look here,
I’m going to play you this album and it’s going to tell you a few things very plainly. One: I hope that you are doing OK, despite our most recent conversation. There’s a little wiggling sound which I think will CHEER you up enormously. Two: I’ve been thinking a lot since last week’s great financial calamity… you know, pondering if you will. Perhaps, when I asked you that simple question I wasn’t speaking delicately enough. Please accept this endearing square wave as my apology. Sending it straight to your heart now.
There! all sent.
Anyway, in times of trouble and times of nascent joy Georgie McVicar’s sophomore album offers us a peek into the soft and wrinkly side of last week’s unfortunate disaster. Those dominant economic and musical technes which seem so often to rule us, are tendered here as gentle and discrete morsels. Small packages, gifts to fill a hole. Actually, I said they were small, but each bite is monolithic in its own way. Tracks are each composed out of a single and important structure. Ascent endlessly is contrasted with flatness. Lint filled pockets of silence give us pause to hope or worry for that which comes next. Consistency is proffered only in the service of change.
The London producer and co-founder of cultural icon Stray Landings has assembled 7 musical actions which seem to exist at the moment right before a great vanishing. There is a peacefulness here, but one not without tension. Repayment intuits a loss. But what if we don’t know what was missing in the first place?”
Sino-influenced halfstep dramas from Cimm on Youngsta’s Sentry
‘Eagle Eye’ rolls in from cinematic intro to a swampy halfstep punctuated with drill-type snares.
‘Old Scratch’ also makes use of vintage-sounding Far Eastern strings, but this time with deadly intent when the martial digi-steppers rhythm cranks into action.
Nana Tuffour’s greatest electronic burger highlife tracks, accompanied by interview-based liner notes.
"Hailing from Kumasi, the capital of the Ashanti region in Ghana, Nana Tuffour is by far one of the most important exponents of modern highlife music. He studied piano at college and cut his teeth in the '70s as an organist and vocalist for the incomparable Kyeremanteng Atwede and Dr. K Gyasi’s Noble Kings Band.
Fast forward to 1981 and Ghana was at the apex of its golden age of music. This era was brought to an abrupt end by political upheaval when the military took over the government and as a result a restrictive dusk to dawn curfew was imposed between 1982 and 1984. This resulted in a total obliteration of the country's night life, and Nana just like many other prominent musicians including Pat Thomas and George Darko left Ghana for greener pastures, the most popular destinations being Nigeria and Germany. The Rheinklang Studio in Düsseldorf run by a young inimitable German sound engineer Bodo Staiger and another “exiled” Ghanaian musician Charles Amoah played a crucial role for those musicians who had chosen Germany.
This studio became the focal point for Ghanaian musicians and the birthplace of a new sound, now known as 'Burger highlife' - traditional Ghanaian highlife infused with the more up to date electronic and disco sounds of the West. It is arguable that Nana has played a crucial role in Burger highlife and developing the sound of traditional Ghanaian highlife more widely to what it is today, with his innovative use of electronic accompaniment pushing its boundaries to its creative extremes.
It is Burger highlife's transcendence of traditional musical boundaries that helps make it so accessible to listeners, appealing not only to Ghanaians back home but now highly regarded and sought-after by those in the West interested in more occidental disco and electronic sounds. We hope that you enjoy the four songs offered here, each chosen to demonstrate Nana's singular influence on the development of Burger highlife."
Young Echo’s secret weapon, Manonmars unveils a heavyweight debut on the crew’s eponymous label.
With credits on the ‘Young Echo’ album and Kahn & Neek’s Fabric mix to his name, Manonmars reveals himself as a dark, liminal interpreter of the Bristolian psyche, delivering lyrics with a classic swagger that nods to current rap styles but with a more detached, personalised and poetic style of observation.
The duo of Young Echo’s Amos Childs (Jabu) and Sam Barrett (Neek) a.k.a O$VMV$M capably and subtly supply the instrumental backdrops, a set of sparse, rugged beats and atmospheres that work like stage ornamentation to ‘Mars bars, which ranging from drowsy rants to urgent ambient expressions and bedroom isolationism.
If we’re going o draw comparisons, it’s somewhere between a Brexit-era take on Lil B’s ‘Rain In England’, and the abstract flux of Coby Sey, but really Manonmars is, as his name suggests, well out on his own planet...
After a series of increasingly inward-looking, conservative LPs since her stunning debut, Julia Holter finally unleashes her imagination in technicolour once again on ‘Aviary’, an expansive observation of the ratchet madness that makes up the world today.
“Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” Out on October 26th via Domino, it’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements.
The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void
Aviary, executive produced by Cole MGN and produced by Holter and Kenny Gilmore, combines Holter's slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs. Holter was joined by Corey Fogel (percussion), Devin Hoff (bass), Dina Maccabee (violin, viola, vocals), Sarah Belle Reid (trumpet), Andrew Tholl (violin), and Tashi Wada (synth, bagpipes).”
Surprise turn of gentle, vintage-sounding downbeats from modern day Utrecht on Soundway...
“Felbm is what you get if you try to type “Eelco” on a Nokia phone with autocorrect turned on. It is also the name that Utrecht-based musician and producer Eelco Topper chose to use for his new semi-acoustic instrumental music project.
After Topper’s previous synthesiser-laden sounds as Falco Benz, he took a step back and began this project in a much looser, simpler and sketch-like approach. Picking up an acoustic guitar for the first time, as well as other instruments, he began fiddling around with a Tascam 4-track tape recorder and allowed these sketches to flourish, although always keeping them naive and basic; an element naturally helped by the compositional structure of a maximum of four parts.
The result is Tape 1 and Tape 2, stretching across fifteen tracks and encompassing a lounge-y library music feel to them. There’s fluttering piano melodies, subtle jazz drums, rumba rhythms and soothing ambience that floats through many of the tracks. Tape 1’s jazz roots are palpable and as things move into Tape 2, it takes on a neo-classical, psychedelic soundscape and cinematic quality.
Topper played all the parts himself when in the studio, allowing him complete creative control over every note. A live band is being formed to take the material on the road; however, in order to keep with the ingenuous and dreamy essence of the record, the live shows will be a continuation of the four-part format.”
Grimacing, pulverized electronics from Treviso, Italy on Andrea Parker’s aperture. RIYL Shapednoise, Emptyset, Yair Elazar Glotman
“Aperture records has always been about discovering new artists and bringing them to the forefront and Italy is well-renowned for its electronic music, both former and current. So, from one Italian duo (t.e.s.o.) to another… introducing Diaster.
Diaster aka Teo & G grew up in Treviso, listening to the most experimental music they could find in their small rural city near Venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. After ‘Enchantments’, a debut EP on DVNTT which deserves more recognition and an accomplished follow up on Subsist records; ‘Final Beginner’, aperture records brings you their latest contribution; ‘Clustered Non Symmetry’.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. Tension builds slowly and influences, mostly of a similar vintage, come through. Arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.”
Following the fleeting reveal of instrumental passages in two trailers and the release of the track 'Suspirium' - Thom Yorke’s Suspiria (Music for the Luca Guadagnino Film) is finally here.
"Suspiria consists of 25 original compositions written by Thom specifically for Luca Guadagnino reimagining of the 1977 Dario Argento horror classic. The album is a mix of instrumental score work, interstitial pieces and interludes, and more traditional song structures featuring Thom’s vocals such as “Unmade”, “Has Ended” and “Suspirium,” the album's first single featuring the melodic theme that recurs throughout the film and its score.
As scoring a horror film presented Thom with altogether new challenges and opportunities, Suspiria stands apart from any of his other work. Piano/vocal ballads, Krautrock-esque modular synth work inspired by the film’s Berlin 1977 setting, multilayered vocals, and melodies that convey terror, longing and melancholy combine to create a chaotic yet cohesive musical spell.
Suspiria was written and arranged by Thom Yorke, recorded and produced by Thom and Sam Petts-Davies. The album also features the London Contemporary Orchestra and Choir, Noah Yorke on drums on “Has Ended” and “Volk,” and Pasha Mansurov on solo flute on “Suspirium.”
Rag-ass jack joints and ruddy rare grooves from Steven Julien (Funkineven) on his Apron label
Landing nearly 10 years into his release schedule, ‘8 Ball’ presents a pleasingly unrefined, and yet still super deep, batch of productions from a producer who has firmly held his line since the start.
On the A-side he works up a percolated jackers fuss with the drum machine gun-spray of ‘Blk808’, and most cannily without resorting to bass drums on the four. With the B-side he unleashes the kicks with proper, recoiling force in the warehouse demolition job of ‘Pot808’, before ending up somewhere more debonaire, rarified in the floating pads and thistly wriggle of ‘Teer’.
Jasmine Guffond follows from her memorably exquisite ‘Traced’ LP for Sonic Pieces with the multi-timbral iridescence of ‘Degradation Loops’ for Karl Records - plotting an increasingly obfuscated descent into the grain and ether of processed field recordings and electronics, documenting a 16 day process of sonic destruction created for an art exhibition.
““Degradation Loops” started out as a sixteen day long composition for an exhibition at Sydney gallery 55 in December 2016. Literally using the ‘degrade’ object from the MaxMSP programming software, she gradually and completely bit crushed her 2015 album ‘Yellow Bell’. A process of sonic destruction unfolded in response to a group show where visual artists destroyed and reassembled their work, to create new work, and to question the dominance of commercial imperatives within art.
in “Degradation Loops” the sampling rate and bit depth of the audio signal is step by step, gradually, and completely reduced. The algorithmic unraveling of these tracks renders them increasingly discordant and unpredictable as time passes. Using intricate and highly articulate audio loops from an existing authored work, sound gradually becomes noise. Beauty is broken down allowing another type of beauty to emerge. By deliberately deconstructing the audio signal of otherwise highly deliberative compositions, “Degradation Loops” speaks to a contemporary audio realm where principles of High Definition dominate, in an overall musicscape preconceived as uniform. An industry standard sampling rate of 44.1kHz, and a bit rate of 16 was established by Philips and Sony with the Compact Disc format in 1982. At the time this became an encoding standard by which to communicate, listen, and make music.”
Includes an ace Rob Smith a.k.a. RSD (ov Smith N Mighty) electro-disco-dub remix
“Optimo Music presents a 5 track EP & also a debut release from Nashville’s Stranded, including a remix of title track “Celine’s Dilemma” by RSD, aka Rob Smith of Smith & Mighty fame.
Despite hailing from Nashville, Stranded has a longing appreciation for the dance centric cities throughout the world whether it be Detroit, Manchester or Berlin, hence the moniker. Alienation, romantic rendezvous, 9 to 5 unease, and an apprehension of the future are just a few of the topics that surface on the debut EP, Celine's Dilemma, on Optimo Music. Sweeping and droning synths, jagged guitars, rolling bass, yearning and weary vocals, and disco beats propel the music and ideas showcased in the project. While using the backdrop of post punk, disco, and synth pop the music is a sonar call to places where people are gathering, working, and dancing.”
Dopplereffekt explore themes of mortality/immortality on ‘Athanatos’, their follow-up to last year’s excellent ‘Cellular Automata’ album, also released by Berlin’s Leisure System.
Furthering their previous LP’s conceptual fascination with genetics, ‘Athanatos’ explores the conditions and chromosomal factors defining mortality in the funky, allegorical fashion that we all adore about Rudolf Klozeiger and To-Nhan’s music.
With input from Carsten Nicolai (who also did the artwork) and his raster-noton co-foudner Olaf bender, Dopplereffekt reflect their research in five parts ranging from the towering title track (meaning ‘Immortality’ in Greek) to a stunning piece of synth-pop ‘Hayflick Limit’ with cold vox (can'’t tell if it’s To-Nanh or one of their previous collaborators), plus the direct dancefloor hydrolicks of ‘Eukaryotic Chromosomes’, and the nexx level sci-fi electro of ‘Mitosis’.
Genius at work.
Nyege Nyege’s sister label Hakuna Kulala serves concentrated heat from Debmaster, with four tracks of bass-driven hip hop and deep fried electronic smaking great use of pygmy music samples.
Specifically, the samples come from the Ba-Benzele Pygmies’ ‘Hindewhu (Whistle Song)’, as also sampled by Herbie Hancock on The Headhunters’ ‘Watermelon Man’ and in Jon Hassell & Brian Eno’s classic ‘Fourth World Vol. 1 - Possible Musics’ side.
However, Debmaster use the samples in a far more rugged and noisy fashion, firstly laced into the hypnotic slow/fast lope of ‘Space Tribe’, then adding texture and spirit to the rapid-fire 8-bit bleeps and acid squiggles of ‘Solar Leone’, before coming off as super alien gasps in the ghetto pressure of ‘1av2’, and quite unrecognisably in the bashy noise of the EP’s incendiary title track.
After moonlighting on Planet Mu, Mr. Mitch comes home to Gobstopper with a wistfully romantic suite of UK-style electronic soul.
These are some of his most reserved, cooled-out and tender productions to date, moving from the nEurogenous synth strokes and talkbox riffs of ‘Restart’, thru the low-key electro R&B bumps of ‘Settle’, to the exquisite electro dembow tang of ‘Phantom Dance’ at the EP’s core, before introducing his own vocals in a way recalling Palmistry on ‘Show Me’, and catching a deep ambient house breeze with ‘Closure’.
Bandulu Gang’s Boofy tweaks out a darkside grime/dubstep batch for Tectonic
It’s a smart update of classic Tectonic styles, roving from the big-boned but skeletal styles of ‘Back In The Box’ to the wickedly dissonant dubstep/drill mutation of ‘Herbie’, before descending into dankest dungeon pressure with ‘In My Head’ and teeing up the goat-footed steppers’ percolations of ‘Perfunktion’.
OVR (Ruskin & Regis) Makaton, James Ruskin, and Broken English Club retread tracks from Rommek’s ‘Set In Stone’ trilogy
James Ruskin & Regis’s lesser-spotted OVR provide the EP highlight with a rugged, stepping and droning re-grind of ‘Flint’, while Oliver Ho’s Broken English Club also impress with a blank-eyed retool of ‘Komatiite’, and Makaton and Ruskin serve firm 4/4 functions.
‘Elevate’ is a spiralling one-off from Peder Mannerfelt & Malcolm Pardon’s Roll The Dice and Glasser
Following from Glasser’s appearance on Peder’s ‘Controlling Body’ LP, she lends an angelic vocal to RTD’s pulsating arps, which is duly chopped up, layered into strobing figures and chiffon harmonies around the straight vox. There’s something very ‘90s trip hop and trance about this one that proper hits the mark...
Melancholy ambient-pop beauty from Бassae, warmly tipped to fans of Inga Copeland/Lolina!
There’s little background info about this 7” other than the admission it’s “from the vaults of a mysterious Russian producer”, which ain’t saying a great deal, is it?
We can add that the A-side is a seductively gauzy ace mixing a distanced dembow bump with deliciously wistful, possibly romantic vocals and airborne melody, while the B-side is more furtive and teasing, mixing Soviet spy movie synths and Jan Jelinek-like rhythm with cold choral pads and intercepted bleep and vocal comms.
Drums, computer & electronics... Jon Wesseltoft is a Norwegian multi-instrumentalist musician and composer based in Oslo. Working equally with acoustic sources as with electronics. Performing in a wide variety of projects, and solo under his own name.
"Balázs Pándi - When the time predicated finally comes & human clones are reproduced enmasse': my vote for the first musician to be dub'ed is the almighty Balazs Pandi. Home base as Budapest Hungry: this looming drummer has all the corner chops covered from Repulsion-blast beasts to the futuristic urban free scree of the New York Art Ensemble. Starting out a metal thrash & hardcore skin pounder of local energy units: Balazs soon got hit headfirst into the avant jazz world and has since jammed with Wadada Leo Smith, Arthur Doyle, Trevor Dunn, Jamie Saft,Joe Morris & Roswell Rudd. If that wasnt threatening enough: Pandi has also branched into the PA-Mangling World of free electronics scattered with continued live and studio recordings with the master of noise Masami Akita aka Merzow, also with free-sludge rockers Porn, world consumer Bill Laswell and Mr. Godflesh himself Justin Broadrick- and jazz crossed-stream polluters Mats Gustafsson & Sonic Youths' almighty Thurston Moore.
Whoa! Enough sound-flesh-ink to make a library shake in fear but its Balaz's knowledge of the importance of local & global cultural as he is seen being a Hungarian Journalist of music and culture and mainlining the importance of maintaining a grassroots DIY hard work local esthetic that keeps him firmly planted to the drum stool to blow minds in both swagger and swing knowledge. If musical history is a bench press, B.P can rock 250 LBS + no probs. And find me another Hungarian that can flip OMEGMA sides while thumbing thru the pages of DJ Screw's "History Of Houston Rap" book and you can eat all my Eastern European Progressive rock Lps. In conclusion: a full artist & musician of the highest CLONE-ABLE character."
John Olson: Life Is a Rip-Off
Kostis Kilymis is a Bristol-based artist. He performs electronic and noise music based on live synthesis, rhythm and found sound. His work focuses on immersive environments, feedback systems and the notion of representation. He has been an improviser, performer and collaborator – his encounters including Lucio Capece, Nikos Veliotis, Greg Pope, Leif Elggren, Sarah Hughes, Stephen Cornford and Phil Julian amongst others. He has published work on labels such as Rekem, I Dischi del Barone, Strange Rules and Coherent States.
"Following up on Arctic Saturation, this is a "live" record of sorts, its mood and good chunk of material captured live at a gig in Stockholm brilliantly organised by Masskultur Stockholm – they brought in a quad PA, and after the gig I traded one of my 7"s for a drink. The rest is me in a little lonely room overlooking the garden in Haringey trying to do dub ambient field recordings on the B-side. It's all quite languid but slippery, vague tonal ebbs weave through the field recordings. Never really settles on anything obvious, rather pulls you into its own hole of spiralling echoes – did I already mention the word moody? It features some of my most cherished sound captures, the seagulls of Gothenburg and a young soprano practicing next door, not to mention a gratuitous amount of audible delay effects.
And anyway, just when you think it might stay in the zone forever, it all gets dry and matter-of-fact and checks out… I took the files and mixed them at the house of ORILA during the hottest week I've ever come across in in Athens, stuck indoors and treating the music as my lifeline. Properly sat on the results, almost forgetting about them in one of those aimless periods that you begin by thinking you'll have it all sorted by November, but two years down the line you're in a different town in another tiny room not sure where the plot is anymore, yet all of a sudden you realise there's nothing actually to achieve or realise, just you should let things go and move on. Panos Alexiadis was then kind enough to master it. Hope you enjoy this."
Kostis Kilymis, Bristol, 4.x.2018.
Fresh, mad new UK rap styles from South London’s Denzel Himself
One of the most distinctive UK voices in a minute, Himself’s beats are equally outstanding, and the two brilliantly come together on a frayed sort of late ‘90s/early ’00s R&B/hip hop meets grime in the raucous yet cool AF ‘Be There’, and then like a mad mix of Zomby’s 8-bit squeeze with ‘90s dancehall in ‘Higher’, kinda like Coby Sey clashing Klein.
Expanded reissue of Zazou Bikaye’s 1988 Afro-Acid zinger, including a bonus cut ‘Ba Wele’ from the ‘Guilty’ album
It’s all about the two remixes, which were originally on the 1988 pressing’s B-side but are now prioritised on the A-side, giving up the zig-zagging 303 and melodic chants of ‘Na Kenda (Afro-Acid Mix)’, and the more stripped down swerve of the ‘Techno Dub’ mix, both executed by Vincent Kenis a.k.a. Aksak Maboul, or even Mr. Big Mouse on this occasion.
The originals are a bit corny and haven’t travelled so well, but like much stuff from the late ‘80s, the real gold is in the dance mixes.
2018 marks the 40th anniversary of Bauhaus. To celebrate, Beggars Arkive are reissuing six records from the band’s catalogue on special edition coloured vinyl.
"Formed in 1978, The legendary and hugely influential quartet hailed from Northampton, England and is comprised of Peter Murphy, Daniel Ash, David J and Kevin Haskins. The dark, dramatic music that they made, possessed far more force, variety and playfulness than the ‘founding fathers of goth’ tag that is always attached to them.
Bauhaus’ landmark debut album, ‘In The Flat Field’, came out towards the end of 4AD’s first eventful year. Following the plan at the time, the band then ‘moved upstairs’ to Beggars Banquet, for whom they cut three further albums before dissolving in 1983. They charted with their cover of David Bowie’s ‘Ziggy Stardust’, they’ve been and namechecked by everyone from Nine Inch Nails, Sepultura, Janes Addiction, MGMT, Interpol, Bjork, Nirvana and more. They remain a huge cult concern, periodically reforming to wow their legions of dedicated followers."
Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises immaterial, digital and temporal means to create site- and concept-specific works. This trans-disciplinary method has a strong conceptual foundation, originating from his background in architecture, which enables him to comprehend and reveal the richness and complexity of spatial, visceral and physical perception.
"Typically in my work I deal with fixed concepts and defined parameters. With "Entrop" the concept was to not deal with such notions and instead to embrace chaos. I built a noisy little synth – a Ciat-Lonbarde Esoterica Spike Ring – which I modified with further feedback loops to intensify its unpredictable nature. The drum track is not programmed – instead the drum computer follows the pulses of the synth. The recordings on this tape are edited and layered from several sessions. I find it to be one of my most musical works – less rational, almost purely instinctive."
Zeno van den Broek, Berlin, 22.vi.2018
Motohiko Hamase’s ‘Reminiscence’  is reissued for the first time in over 30 years by Tokyo’s Studio Mule. Wonderful, enchanted, ‘80s Japanese ambience/jazz fusing silky fretless bass, crystal clear electronics and effervescent mallet rhythms.
"In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. together with jazz pianist tsuyoshi yamamoto and jazz-rock guitar-ist kazumi watanabe he played in the Isao Suzuki sextet and was part of their classic landmark jazz-funk album "ako's dream" from 1976.
In the following years he also participated on records like mikio masuda's latin-funk-jazz gem "moon stone" or japanese female jazz singer, actress, and essayist minami yasuda's last album "moritato". in the early 1980's his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass play. From 1985 to 1993, Hamase released five solo albums. just recently studio mule dropped his first one, "intaglio", in a new recording that sounds as stunning as the original release from 1986.
"Reminiscence" was his second work for the celebrated defunct japanese new age record label shi zen, featuring a rhizome of soundscapes that capture, settle and sound elusive."
Mica Levi returns to Slip with six piano pieces played by Eliza McCarthy in ‘Slow Dark Green Murky Waterfall’ - a crepuscular suite riddled with Mica’s inquisitive, conversational phrasing and smartly expanding upon their 7” track, ‘Riding Through Drinking Harpo Dine’ [Foom, 2017], a new recording of which also appears in this set. Gorgeous music, especially recommended if yr into Terre Thaemlitz, Gonzales, Dominique Lawalrée...
The culmination of three years work between Mica and Eliza - winner of the 2013 British Contemporary Piano Competition - ‘Slow Dark Green Murky Waterfall’ follows up their collaboration on the Oscar-nominated score for Pablo Larrain’s ‘Jackie’ score with a finer-shaded, patient space for low-lit, smoky expression that’s so intimate and personal it almost feels like eavesdropping a private recording.
Ineffably bound by a sense of unreal poise, Eliza’s interpretations are subtly, dynamically rendered in-the-mix by Mica to present the pieces as though in flux, like poignant, unresolved statements that occur in the flow of quiet, intent dialogue and linger in the air. It’s testament to the pair’s well-honed intuition that the results connote this feeling so naturally.
And it’s maybe our familiarity with Mica’s work, from her earliest chopped ’n screwed orchestrations, to her ‘Under The Skin’ score and her mutant pop pieces, that we keep expecting hers or Tirzah’s voice to match her melodies with wordless vocals or harmonious limns throughout the six pieces. That’s probably simply down to the fact that Mica writes with such a pop-wise appeal and soulful sensitivity that it prompts subvocalisation in every listener, or maybe it’s just us, but either way the hook of these instrumentals will be floating your head for days, weeks, or a lifetime after they’re imbibed...
'Returnal' is the fourth LP from the Boston/New York based synth dreamer, Oneohtrix Point Never.
Last year's 'Drifts' set was a compendium of his previous - and very hard-to-come-by - albums for labels including No Fun, Arbor and Gneiss Things and was a clear favourite for many in 2009, held in high regard by the Wire magazine, and cherished dearly by anyone in its possession. OPN's hypnagogically-charged body of work is a dense fog of references, from beat driven edits on the 'Memory Vague' mini-album recollecting DJ Screw's slowcore psychedelia, to privately intimate sci-fi vistas of 'Russian Mind' harking back to synth-whizz J.D Emmanuel.
Mego's Peter Rehberg obviously sensed the appeal of this mixture, putting together OPN's most developed and mindblowing work for this brand new album, aligning an exceptional potential within the contemporary sonic landscape. For us, with the exception of few others, we've not really come across an artist whose music has so profoundly affected us in a very long time. Dare we say it...? Since Burial. Yeah, so you're asking yourself "what the f*ck have they got in common?". The very simple fact is that they both somehow trigger that un-nameable particle phizz that nobody has ever been able to explain, and hopefully never will. With 100% conviction and in the truest sense of the word, this is an essential purchase for lovers of Fever Ray, Popol Vuh, Klaus Schulze, Autechre, Aphex Twin or Jan Hammer.
New York’s Blank Forms follow their amazing Catherine Christer Hennix 2LP with a recently salvaged portrait of Loren Connors as we’ve rarely heard him before, cutting loose on a barely-hinged homage to delta blues and country replete with vocals imitating the dogs that howled outside his home in New Haven, Connecticut.
Hearkening back to a time before the spectral, romantic electric guitar vignettes for which he is celebrated, ‘Unaccompanied Acoustic Guitar Improvisations Vol. 10’ was intended as the 10th volume in a series of solo acoustic guitar improvisations released on his label, Dagget Records. But the distributor went bankrupt, leaving the car-less Connors to dispose of the unsold stock rather than drag the records home. However, thanks to a recording found by Unseen Worlds’ Tommy McCutcheon in Columbia University Libraries archival collections, this remarkable side is finally set to find its audience nearly 40 years later.
For anyone not au fait with this period of Connors work, ‘Unaccompanied Acoustic Guitar Improvisations Vol. 10’ offers a shocking contrast with his possibly better known and exquisitely tender later work. The deftness is still patently there, but the results are jaggedly raw and perhaps best compared with his transatlantic blues brother Derek Bailey, strung out in an array of wildly pitch-bent yanks and wails that could be described as expressions of heartbroken despair, laments for lost souls, or possessed by spirits, depending your own take.
In Connors’ hands, here the history of the blues and country collapses into the brink of abstraction, but, most crucially, his music remains integrally tied to those styles, with Connors acting as a conductive vessel for a swarm of hard-bitten ghosts to say their piece.
Exael debuts on Huerco S’ West Mineral label with ‘Collex’, a deep, impressionistic album of ambient soundscaping recorded between Chicago and Berlin, reminding us of early Vladislav Delay, Robert Henke’s site-specific work as well as that excellent Pendant release that kicked this label off back in January this year.
Crafted over the two years since their first album,‘Collex’ finds Exael mining a finer and more elusive variant of ambient music, connecting dots between classic vapor-trail dub and hyper-modern inversions you’d more readily associate with 0PN or Kara-Lis Coverdale. With a richly refractive, iridescent quality, it marks the inward/outward distance travelled between concrète and electronic textures and spatial parameters, manipulating notions of stasis and kinesis with an unfathomable, gaseous quality that also reminds us of classic Vladislav Delay and Robert Henke’s site-specific work.
It follows an excellent split EP with likeminded producer, Ryan Fall a.k.a. uon, as well as a number of compilation appearances with Allergy Season/Discwoman, Physical Therapy and Carpet Group Recordings, the latter of whom coincidentally issued Exael’s self-titled 2017 album under the Naemi alias.
From the milky plumes of ‘Into Deep’, thru the scudding subaquatic electro-dub of ‘Split’, to the bristling gunk of ‘Choeo3’ and the Wanda Group-like subsidence of ‘Cart’, to the lushly fractious flux of ‘Glass In Plastic (with Arad Acid)’ and ‘Anc Alt’, Exael maintains a cool head despite the disorienting G-force and upended context, elaborating a form of simulacra that uncannily reflects the real world’s realigned ideas about gender, mental health, and emotional wealth.
Offering a modernist re-vision of classic Chain Reaction and early 00’s dub inversions, it’s an uncanny reminder of a relatively recent era in electronic music that seems far out of reach in the present climate, a perfect accompaniment to Huerco S' own excursion as Pendant. If you were into that, we reckon this one will rule your world.
Grupo Controle Digital give another charming taste of Brazilian ‘80s new wave with ‘A Festa É Nossa’ arriving in the wake of Soundway’s superb compilation; ‘Onda De Amor: Synthesised Brazilian Hits That Never Were (1984-94)’
While almost every other geographic area of this era has been nearly mined to exhaustion, Brazil’s evident wealth of music from that era has remained relatively untapped until Soundway kindly stepped in to convect their warm breezes beyond the South American market.
Grupo Controle Digital’s ‘A Festa É Nossa’ was a highlight of the aforementioned compilation, and now it’s available as part of the original album - available for the first time on digital formats. The fruity title track will leave juice on your chin, and depending your tolerance for pure, unadulterated late ‘80s cultures, this rest of the album will leave you dead sticky, or totally dry.
Personally, we fall on the sticky side, and its not hard to hear connections between this sound and the vibes on Soundway’s ‘Gumba Fire: Bubblegum Soul & Synth-Boogie in 1980s South Africa’, Jamaican digidancehall, Belgian new beat and lots of natty ‘80s UK dance-pop.
Katsunori Sawa’s Enormous O’Clock lands on California’s Mirae Arts with a fine volley of techno mutations
Following from Katsumori’s ace session with Chafik Chennouf for Opal Tapes, ‘The Path of Untitled Memories’ rolls out for the DJs and dancers in four parts, ranging from the undulating gallop and spectral ethers of ‘Your Benefit Matters’ and the scudding, 2562-style dub chord dancer ‘Liquid Cave’, thru to the Rrose-style acid techno descent of ‘Why You Need 100 Million’, and an abstract wormhoel named ‘Dear Fear’.
Jason Pierce of Spiritualized and Spacemen 3 tackles a lengthy piece of music assembled from electronically treated guitar loops (as you no doubt guessed from the title) and a bit of lo-fi percussion.
The result is an enormously dynamic, often difficult venture into the avant-garde, far-removed from the trance-inducing pop Pierce built his name on. There's a great deal of sophisticated noise tinkering at work here, and the loops themselves aren't built from the customary drone tones but rather highly energetic guitar phrasings and full-on string assaults.
The sound materials that get thrown together on these recordings vary from near silent amp hiss textures to marauding distortion, and there's no linear build-up as is so often the case with these long-form experiments, instead there's an unpredictable stream-of-consciousness approach that makes the whole thing sound liberated.
The one and only Finn knocks out pure club fire with four cuts of filter-heavy ghetto house for Local Action
For those times when you don’t know whether to laugh or cry at the madness of it all, Finn urges you to dance it off and let it all out in all four tracks of ‘Dance Music Has Betrayed Us All’. Getting into gear with the raving chord chops, nagging vocal and power house pianos of the title track, he turns it out properly with the strobing filter house funk of ‘Do Good Boys Get The Fear?’ - those bass vamps tho!!! - before cooling off with the effortless glyde and soul-punch samples of ‘Opening Up’, and shuts it down with what sounds like Todd Terry doing ragtime garage on ‘Carpet Floors’.
‘Loopworks ‘ is a swoon-worthy side of dusty majesty originally issued on a super limited tape edition of 100 and now pressed to vinyl by Discrepant.
Doing what Leyland Kirby, William Basinski, Philip Jeck or Stephan Mathieu did to old shellac 78s, vinyl ephemera and tape, Koray Kantarcıoğlu turns ’60s and ‘70s Turkish records into spellbinding webs of crackle and ghostly harmonic structure, offering acres for the nocturnal imagination to roam. If you like any of the aforementioned you need to spend some time with this dark, surprising, and transcendent side.
“With the vinyl release of “Loopworks” we continue to manifest the importance of showing how technology and geography create different and original approaches to the standard western interpretation of field recordings and sound manipulation. Koray Kantarcıoğlu’s work here is a strong manifestation of that and how “haunted music” can express a myriad of feelings and sensations.
“Loopworks” has a tremendous vision of the metamorphosis that’s been occurring in ambient music during the last decade. Sometimes it’s dreamy and calm as aquarium music is (“500606” or “22 47 91 Take 1”); surprising and infinite as “263 Loop”, one of the few tracks with a voice, in this case a mysterious and transcendental one; or part of a John Carpenter & David Lynch film yet to be made (“Organ Extract KP 001”). A fantastic voyage, from earth to space, through time or simply as the most beautiful and peaceful dive into the ocean. Old music transformed into something new, unique. That’s special.”
Long-in-the-works 3rd album from gothic Austrian singer-songwriter Soap & Skin; a matured suite melding modern classical, folk, and electronic styles
“The third album from Soap&Skin, the working moniker for Austrian musician and producer Anja Plaschg, 'From Gas to Solid / you are my friend' marks her return with her first album in six years.
'From Gas to Solid…' follows the release of the Top Ten albums 'Lovetune For Vacuum' in 2009 and 2012’'s' Narrow (an Austrian No 1) but in that time in between the artist has been busy, not least with the birth of her daughter and subsequent motherhood but as well with many other creative works such as composing for theatre and film productions, as well as film acting.
'From Gas to Solid…' inhabits a similar world as previous works albeit perhaps partnered with a more balanced adult view than the raw, angrier aspects of those outings but still reflects the struggles to find meaning, answers, and a place to survive. Encompassing a range of musical allegiances - infused with tranquil electronica, militaristic percussion, whilst coupled with choral ambiance and earthy ethereal grandeur, an expansive, stunning, wide-reaching album of dynamic beauty – the finale arrives in a serene interpretation of Louis Armstrong’s What A Wonderful World.
Recorded mainly at Plaschg's home in a quiet leafy corner of Vienna, 'From Gas to Solid…' is not only self-produced but self-played, which she explains “People tell me I work in an uncommon way, I sample everything, even when musicians are involved and liken how I make my music to painting. It means I can get over my educated mood and more trust what I hear. It gives me more freedom.”
The Afro National band was formed in Freetown, Sierra Leone in 1972. Their inspirational leader, Sulay Abu Bakarr accompanied by his wife Patricia and Ayo Roy Macauley split from the Sabanoh Jazz Band to form their new group.
"They skillfully merged highlife and jazz sounds with a deep knowledge of West African sounds. Growing to become one of the premiere bands to emerge from Sierra Leone they not only defined the sound of the country for a generation but also crafted some of the country's most popular and memorable songs (for example Sonjo which is included on this collection).
The band toured extensively throughout Africa and Europe in the 70s (working with the giant of Sierra Leone music Akie Deen in the process). Towards the end of the 70s the band departed Sierra Leone; Sulay and his wife moving to Maryland in the US and other members moving to London.
Our collection focuses on possibly not the best known songs of the band but the tracks which have the rhythms to move the dance floor. We open with the foot tapping "Jokenge" and its driving shuffle beat, swirling organ and percussive guitar lines. "Push Am Forward" takes a afro-psychadelic turn with its hypnotic rhythms and driving distorted guitar. "Mr Who You Be" is a cover of the Fela Kuti track, doing it fine justice. "Gowa" highlights the vocal prowess of the band, as dose the ever popular "Sonjo" (the version featured here is a rare alternate recording).
"Money Palava" opens up side two with its infectious highlife beat and hooky vocals. "Money Nor Bataya" highlights the bands first use of synthesizers. "Mother In Law" sweeps up back to Free Town 1973 with its clever vocal. "Set My Soul On Fire" is a bonus track which brings in the International flavour of the band.
The Afro National band continues in various guises to this day, with Sulay and Patricia acting as the proud and talismanic figures for a whole generation of Sierra Leonean music."
Sterling sophomore side of diaphanous dream-pop from Penelope Trappes (The Golden Filter), whose debut LP for Optimo was among 2017’s most haunting highlights...
On ‘Penelope Two’, Trappes takes us back to a misty space outta place and time, somewhere between the reveries of Julee Cruise and David Lynch, the shadowier side of Julia Holter, and Felicia Atkinson’s ambient chamber music.
“These distilled, rarefied creations take echoes as their starting point, with Trappes summoning swathes of tones, textures and emotions into something ethereal but also powerful, like an evocation of spirits. It’s also deeply melodic, with her intimate, maternally-tender voice floating in the middle of each three dimensional, womb-like sonic space.
Originally from the Northern Rivers of NSW, Australia before moving to New York and developing experimental electronic projects Locke and Priscilla Sharp, plus her best-known incarnation with partner Stephen –The Golden Filter.”
Kompakt presents a new LP and audiovisual venture by Danish producer Kasper Bjørke and close cohorts. Epic and in length but always captivating,
"‘The Fifty Eleven Project’ is an entirely ambient concept album, that interprets and evokes the emotional rollercoaster Kasper experienced, from his cancer diagnosis and throughout the five years of regular check-ups. The week of album release marks his 2nd anniversary of getting the all-clear.
“Just two weeks before my 35th birthday, doctors discovered a tumour during a routine scan. The prognosis was positive, but the anxiety that accompanied the diagnosis was incredibly difficult to navigate.
I felt this urge to document what I was experiencing through music, but at the same time, I didn’t want to begin recording before my final hospital examination; not until I knew for certain I was going to be okay. On October 16th 2016, after five long years of regular CT scans, x-rays and blood samples, I left department 50 11 for the last time.
I wanted to document the gamut of feelings – both light and dark – using these long instrumental compositions as the narrative, and the track titles as a cronological guideline. The album chronicles a journey from discovery of the tumour, to the operation and frequent examinations; from feeling a beacon of love and light in the birth of my son (in the same hospital), to finally leaving that waiting room for the last time.
The project has been a therapeutic way of me processing the diagnosis, the constant fear of relapse and the light in being healed. Throughout the process I used the music to fall asleep to — and as a sonic space to meditate in and contemplate my journey. My hope is that others; healthy, ill or next of kin, will be able to use ‘The Fifty Eleven Project’ in that same way.”
The base of the album was composed on vintage analogue synthesizers, reverbs, echo and sequencers – using the computer solely as a recording device – by Kasper and synth wizard Claus Norreen, in the latter’s Copenhagen studio. The violins, violas and cellos are composed and played by the Italian composer Davide Rossi, who has also worked with Ennio Morricone, Jon Hopkins, Röyksopp, The Verve and Goldfrapp. The piano parts are composed and played by Danish musician Jakob Littauer (of Kompakt labelmates Jatoma) on an old upright piano in a studio, and on a Steinway Grand Piano in the concert hall at the Royal Danish Music Conservatorium.”
This is the second collection of music from Venezuela in the 1970s and beyond to be released on Soul Jazz Records. The album once again features innovative figures in the history of underground Venezuelan music, mostly unknown outside of their home country - their music a blending of progressive rock, jazz, experimental electronics and disco, created mainly in the 1970s - during a time when the country was both a cultural and economic powerhouse in Latin America.
"While much of 1960s Venezuelan rock music emulated British and USA styles and salsa dominated the dancefloors of Latin America, the 1970s saw the evolution of a new generation of creative local artists such as Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquelyVenezuelan.
Most of these artists featured on ‘Venezuela 70’ remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world - a stunning ‘melting pot’ mix of sounds from the cosmic and psychedelic rock of Vytas Brenner to the Moroder-esque disco experimentation of Daniel Grau and the tropical funk of Un Dos Tres Y Fuera and beyond."
2LP retrospective compilation of the french electro/wave pioneer Le Syndicat Électronique, the historical electro/wave project by Alaxis Andreas G., founder of the seminal Invasion Planète Recordings - the first French minimal electro/wave/experimental label founded in late 1998 by the insurance proceeds of a car crash.
"Heavily influenced by the work of masters like Kraftwerk/John Carpenter/Front 242, Alaxis Andreas G. is responsible for many others dark electronic / industrial / neofolk projects - to name a few: A//, Bruta Non Calculant, Swesor Brother, La Séduction Des Innocents, It & My Computer, Eva VIII.
After many years of supporting his artistic vision and direction, we decided was time to collaborate together in this killer 2xLP compilation, which includes 5 historic tracks never pressed on vinyl whose 3 are released for the first time ever.
Tracks selected, re-mastered and arranged by Alaxis Andreas G."
Berlin’s Positive Centre tramples out a sophomore LP definition of dank ambient and depressed, rolling techno on his debut with North East England’s Opal Tapes
Working farther into a style he’s been honing for the past five years or more, ‘The Leaf Switch’ is a filmic record that lends itself well to headphone mooches and home listening, but also includes some super sturdy pieces for DJs on the hunt for that slow techno spice.
*Distorted air horn* Praxis deliver a proper breakcore blast-from-the-past with two Scud & Nomex ruinations originally despatched on 7” in 1997 and 1998, now compiled and reissued for first time in 20 years on a wider, louder pressing.
DJ Scud is not short on love around these parts - his run of releases between the late ‘90s and early ‘00s, including the cult Wasteland project with I-Sound, are some of the most distinctive, ruffneck releases of that era, splicing hardcore jungle and soundclash noise with unprecedented style and pattern. His ‘Ambush’ album, a collection of hard-to-find early releases compiled for Aphex Twin’s Rephlex Records in 2003, is, for us at least, a definitive record of its era.
This timely compilation/reissue 12” offers a visceral, psychogeographic snapshot of an overlooked phase of late ‘90s dance music, when jungle was properly straining at the leash and fusing with punkish gabber and extreme noise in South London squats and at free parties (illegal raves) across the UK and EU.
Most notably, the two tracks from ‘Eurostar’  use samples of the eponymous train, recorded in Herne Hill, South London on its way to the recently opened "chunnel” between UK and EU. 20 years later, as Britain heads blindly for Brexit, Scud & Nomex’s jungle noise juggernaut arguably takes on a new historic relevance, while the accompanying ‘Piling Machine’ turns field recordings of the Hungerford footbridge construction site into one of the meanest, overlooked concrète tracks from late ‘90s London.
Equally indomitable are the two versions of ‘Total Destruction’  on the other side. Built using vintage tape echo, electrical interference, and a white label prized from under a car wheel, all processed on an Amiga 1200, the original is a solid gold yardcore punk anthem, while the Dub Version pushes the levels recklessly into the red.
In 2018, when fringe communities are too often represented musically by anodyne, mainstream, common denominators, this 12” is an even stronger reminder of the untapped potential of lost, underground futures such as the one envisaged by Scud, Nomex and their convention-challenging counter-culture. R.I.P. Paul Kidd a.k.a Nomex.
Hypnotic, offbeat, earthy dance music from Stefan Schwander’s Harmonious Thelonious
Leading on from turns with Kontra-Musik, Disk, The Trilogy Tapes and Versatile in the last year alone, ‘Petrolia’ keeps up the quality levels with a six choice new cuts roving between the almost New Beat styled chug and fiery pipes of ‘Disko Marak’ to the spiralling stereo helix of ‘Just Play’, and the effortlessly mesmerising swag roof ‘Petrolia’, along with the Dembow-like bump of ‘Nous n’Avons Jamais’ and the fractal synth noise mosaic, ‘Tig Tig Tig’.
Beautiful contemporary African music from son of the legendary Dr Philip Nchipi Tabane and heir to the malombo sound that he originated and pioneered in the early 1960s, Thabang Tabane has been touring the world playing with his father’s band and other South African luminaries (such as Thandiswa Mazwai, Madala Kunene and Mabi Thobejane) since he was 8 years old.
"Emerging into his own with his debut solo album, Matjale, this energetic percussionist carves a driving, joyous and worldly version of the malombo genre that takes in his continental travels. The album brims with ambition and an appetite for life. Employing brisk tempos, nimble basslines and intersecting polyrhythms, Thabang crafts songs cognisant of the hardships of life, but chooses to deliver them with an irrepressible optimism.
Expanding parameters of what is essentially an artform patented by his father, Thabang and his cohorts seem unburdened by pedigree, infusing the sound with a modern sensibility. His reverence for the vibrational resonance and drive of the bass guitar, not to mention his explosive bursts of hand drumming, gives the album an undeniable, cathartic exuberance."
Forged Prescriptions is a double album by Spacemen 3, containing alternative takes and demo versions of songs from their album The Perfect Prescription, plus some previously unreleased tracks.
"In his liner notes, Spacemen 3’s Sonic Boom says this release presents the album's songs in their "full guitar laden versions with all the layers of beautifully streamlined guitar — considered by us to be too hard to replicate live and therefore reduced for the original release." “For me, this is where Spacemen 3 song writing came to a head - many of these songs pre-dated "Sound Of Confusion", some were even recorded at both sessions, but I am still impressed mightily by Jason’s lyrical genius on originals like "Walking With Jesus" and re-writes like "Come Down Easy" and his fluid guitar playing across the whole sessions. To be sure "Playing With Fire" was soon to be our long and sultry Indian Summer but "Perfect Prescription" was the progeny of that hot, lazy (and occasionally rainy) summer.” - Sonic Boom.
This audio is taken from the original Mono film reels.
"This 40th anniversary release of the original Halloween music composed and performed by John Carpenter in 1978 presents the original Halloween film score as it was mixed within the film. The audio is taken from the "music stem” derived from the 35mm mono tracks that comprised the dialogue, sound effects and music of the original film which when combined, comprise the complete soundtrack of the classic film.
The first LP album of Halloween, released in 1982, was a remix of the original 16 master by Alan Howarth, with instructions from John Carpenter to re-mix the tracks to represent the best sound of the music, and not necessarily be committed to match the music as mixed for the film. in this release, Alan Howarth carefully transferred the film music stem, assembled the music in chronological order as presented in the movie so the listener can visualize the film in their minds eye while taking a musical journey of the most famous horror score ever!"
Crushing delivery of doom metal and industrial electronics from Goth Trad’s Eartaker trio with Die Suck and Masayuki Imanishi, coughed up in prime style by Bedouin Records
Best known for his razor-sharp, heavyweight take on dubstep, Goth Trad’s roots lie in a wilder mixture of noise, electronics and rave musics which have continued to inform his style, leading him to invite The Body to his Back To Chill party in Tokyo, 2014, as well as a mighty collaboration with Japanese metal heroes Boris on ‘Low End Meeting’ in 2015, and now this full blown sacrifice to the darkside with Eartaker.
In eight pieces the trio churn up charred ground in the no-person’s-gulf between sludge metal, Japanese noise and mutant dance music, swarming between the strangulated vocals and noxious noise of ‘Our Possession’ and the drop-forge percussion of ‘Nue’, before unbleashignt he radioactive force of ‘Killing Stone’ and pulling up tho more expansive, mutant, acidic terrain with Dojo-ji Temple’ and the escalating terror of ‘Black Mound’.
For fearless followers of Senyawa, The Body, Nick Klein, or Shapednoise, this one’s unmissable.