London’s Medlar & Ishmael rocks the bells on four cuts of itchy house music roving from bumpty Chi-meets-LDN rhythmelodies ala Four Tet in Bell, Everywhere 1 to snappier Comeme styles of Bell, Everywhere and the natty budge of Bell, Everywhere 3, and a twist of ruddy, playfully tropical tones in B2 or Not B2.
Following on from that hugely sought-after Green Graves issue by Rainforest Spiritual Enslavement, Hospital Productions re-examine the longstanding intersection of Industrial and Ambient music on this exceptional collaboration between two of the label’s most interesting producers.
Originally released in a private press run of handmade tapes, the collaboration was made in person with Alberich and Lussuria making use of digital synths in homage to that distinctly European scene of the mid 90’s that combined hardcore Industrial textures with Ambient pulses. It’s a sound you’ll be familiar with if you’ve immersed yourself in the most unnervingly quiet sections of the last few Prurient albums, building a kind of futuristic soundscape situated somewhere between David Lynch, Kevin Drumm and a more dystopian variant of Brad Fiedel’s distinctive soundtrack to The Terminator.
Alberich’s instinct for harsh propulsive rhythms is here tempered by Lussuria’s weird topography, the digital rendering adding a kind of artificial foundation quite removed from the throbbing earthiness you’d find on a hardware session. Instead, the more linear trajectory of so many dark Ambient excursions is replaced with a constantly shifting landscape, veering from an oddly displaced vocal narrative into pounded, crumbling rhythms at some points, while those sinking subbass sands keep things resolutely atmospheric for the duration.
There are no concessions to that blackened aesthetic here, if you were into Green Graves or want to immerse yourself in one of the most brutally atmospheric albums you’ll hear this year, we urge you to check it out.
Two PINBACK EP's compiled, remastered, and released on vinyl for the first time ever.
"In the early days of Pinback, they were known mostly as two lauded musicians who spent their spare time away from their primary projects (Three Mile Pilot, Thingy, Heavy Vegetable) to hone their home recording skills while experimenting with ideas, tones, and instrumentation that didn’t quite fit into those primary projects. Pinback hadn’t yet become their day job; it hadn’t yet become a well-oiled 5-piece touring machine; and it had no idea where it was going to go. In retrospect, that earnest curiosity is what makes those early Pinback recordings so resonant and so unique, and what separated them from every indie rock band of this century.
Every bit as powerful and expressive as their first two albums, the 1999 EP, Some Voices, and the 2003 EP, Offcell, famously bucked the perception of EPs as outtakes and toss-offs. What were ostensibly minor stopgaps between albums became massive fan favorites and staples of Pinback’s live show. Having never been released on vinyl, it’s only fitting that we revisit these poignant recordings – and take the opportunity to painstakingly remaster and repackage them into the full-length album that never was, the aptly named Some Offcell Voices."
Tight, focused acid toolery from the Romans man on his solo Bunker NY debut backed with a remix from party boy Mike Servito.
Bryan Kasenic’s label renews its membership to the Gunnar Haslam fan club for 2017, scoring a long overdue solo EP on Bunker NY from the NYC techno producer after a series of releases from his Romans collaboration with the Tin Man.
Up top, Scale No Flam continues Haslam’s occasional series of 303 beaters, but on a more of a mid-90s UK acid techno tip a la Lochi classic London Acid City. No stranger to a Bunker NY party or indeed acid, Mike Servito pops up with another remix credit that leads Haslam’s track smartly down a trippier wormhole of lysergy.
Stunning gothic atmospheres originally released on a private press tape, now available on vinyl for the first time via Hospital Productions. Huge recommendation if you're into Coil, Bathory, Clay Rendering, Mare, Contrepoison...
Dominick Fernow’s Hospital Productions hail the obscure, transfixing poetry and exquisite gothic pall of Vilains Bonshommes; a Rimbaud-inspired duo including members of Canada’s Contrepoison and Norwegian group, Mare.
Éternité Retrouvée was first released as a cassette edition on Norway’s Fossbrenna Creations and remains the duo’s only available output. Apparently a further album was promised, yet never manifested, which only serves to heighten the mystery of this one; their lone, exceptional iteration. Stripped to the bare essentials of drum machine, analog synth and vocals rendered in acres of sepulchral space, the 3-track EP draws listeners into a flawlessly realised sphere of dark influence where minimalist, desiccated harmonies and bony rhythms are embedded against unfathomably bombed out, maximalist backdrops - what most would define as unmistakably gothic.
Poised, arch and evoking a sense of clutching power from the jaws of despair, the EP speaks to life’s loneliest but formative experiences both literally, through the use of Rimbaud’s tortured poetry in the sagging heave of L’Éternité, and metaphorically, through economically authentic sound design in the dirges of Death Shines On Triumphant Days and The Ages Anew which both suspend the listener by icy hooks at the core of it all.
Hills 3rd album with Rocket Recordings.
"Hot off the Swedish Psychedelia revival of the past few years and after their hailed 2015 album ‘Frid’, Hills connect the dots to their countries rich and intoxicating past with a handful of new sepia-toned tunes. Like their predecessors unholy trinity of Pärson Sound, International Harvester and Träd Gräs och Stenar, Hills penchant to stretch out beyond, performing what feels like openly casual exhortations into intricate eastern tones and primal hypnotic rhythms, the band illustrates that their sermons offer rational derangements of all the senses.
These four tracks sit deeply buried in oblivion, bones, skin, sweat, grooved with fearless intensity with no diminution of the interplay, spontaneity and feeling onstage, the band are entombed in mantric repetition while the vapour trail of The Byrds ‘Untitled’ epic; ‘Eight Miles High’ descend into an Elysian Field, where the dead enjoy happy tranquility, until they come to life and rise up again.
Alive in Roadburn summons the spirits of Swedish Midsummer celebration, the welcoming of the light of the longest day, as a people who have endured the long dark winter, their celebration of light, steeped in pagan roots are absorbed into the bands psyche and these tracks sit like Cairns on the Swedish landscape, built as monuments to Hills. The Hills are very much Alive and Burning."
First album in 20 years by legendary Guadaloupean percussionist Roger Raspail.
"A percussive mix of Gwo Ka, carnival music and creole jazz feat. Jacob Desvarieux, Vincent Segal, Patrice Carotin, Alain Jean Marie, Anthony Joseph…”
Arch contemporary synthesist Steve Hauschildt (Emeralds) offers his most affective, rapturous bind of emotive narration and conceptual thrust in Strands, inspired by “the structural composition of ropes” and penned in tribute to the polluted post-industrial landscape of his hometown, Cleveland, OH.
In a smart contrast with the inward-looking dynamics of last year’s Where All Is Fled, this follow-up feels more expansive and panoramic, urged by pangs of nostalgia but, as with the best of his material, Strands is marbled with a utopian futurism that leaves us misty-eyed and hankering for a hovercar just so we can go cruising with this album on.
Coincidentally, this reviewer hails from Cleveland, UK, which is weirdly enough another post-industrial landscape (the original Bladerunner scape), and therefore it’s not difficult to empathise with where Hauschildt’s coming from, both literally and metaphorically, as the indelible impression of heavy industry’s elaborate pipeworks, dichotomous relationship with its natural surroundings and populations, and feel for the ferric tang of rust and decay are all elicited thru his intricate electronic alchemy with synaesthetic effect.
In this regard, Hauschildt’s abstract lattices take on a real sense of meaning for us at least, and no doubt for his legion followers, revealing something like a holographic, grid-like representation of mans impact on nature, and vice-versa; blurring the boundaries between both by allowing gritty distortion into the mix with the sickly sublime fluidity of Same River Twice, the gorgeous Time We Have, and the album’s stunning credits sequence, Die In Fascination, whilst the ambient warp and weft of A False Seeming and the lip-wobbling electro-trance majesty of Ketracel beautifully tie up his thoughts about structural constitution and the malleability of space-time with the clinical aptitude of an environmental physicist modelling possible new futures for those same panoramas.
Highly recommended, like.
Nearly coinciding with the 3rd anniversary of Howard Williams’ Japan Blues show for NTS, the esteemed collector presents a potently hypnotic collage of samples from Japanese records woven with location recordings and, for the first time, even his own vocals, in a sort of travelogue inspired by the imagery of “an imaginary geisha opium den”.
Self-released as the debut on his eponymous label after a coupla cracking Japan Blues 12”s for Berceuse Heroique, Sells His Record Collection comes much closer than those records to the patchworked form of his cult radio show, executing a sublime but meditative drift fraught with moments of panic, abstraction and cinematic surprises.
Not a million miles (even a thousand) from the concept and tone of KWC 92’s Dream Of The Walled City, the suite unfolds with a morphing, dream-like quality that sounds a little like you’d imagine for a westerner with jet-lag becoming absorbed into a strangely familiar yet other culture.
The results are in their own way respectfully faithful to the source material, but porous to his own set of references and perspective, resulting in a heady guided trip by a proper expert that takes us from spellbinding percussive rituals to throbbing drones, gregorian chant and court music like a sonic projection for the back of drowsy eyelids.
Shed comes up strong on his 4th album of melancholy/ecstatic atmospheres and expert groove control on The Final Experiment for Modeselektor’s Monkeytown.
We’re not sure if he’s doing a Wiley by insinuating that this is indeed his final experiment, or whether it’s a sort of swansong for a sound that has run its conceptual course, but either way his 4th album is a classic-sounding suite of matured, mutable hardcore and AI techno themes.
Between the breathy reverie of Xtra at the prow to the ambient fluffiness of System Azac at stern, he favours a palette of looser breaks, smudged techno patterns and diaphanous, drifting harmonies that don’t so much demand from the listener as cajole a wistful sense of nostalgia.
In that respect, there are some nice soft rave moments in the Link-esque tone float of Extreme SAT, and the buoyant breaks of Er1761, and the nimbly whisked breaks of Flaf2.
Sublime and classy transmission by ascendant Russian producer, Buttechno, who has previously soundtracked Gosha Rubchinskiy’s AW16 show and delivered sides for Paris-based Collapsing Market and Public System Recordings.
City-2 displays the breadth of Buttechno’s sound, taking in amniotic ambience and frenetic electro on the A-side - imagine DJ NJ Drone meets Stingray - whereas the flipside turns to some beautifully romantic pads and flickering, E.R.P.-style drum programming, then checks out with a plangent stroke of Jim O’Rourke-like processed solo guitar.
A cornerstone of DIY experimental post-punk, Colin Potter’s debut album The Ghost Office  is given a necessary first ever vinyl pressing by Deep Distance one year on from their reissue of The Scythe  and other handy compilation issues such as Sacred Summits’ Entering Again collection and ICR’s own tape reissue scheme.
Recorded between 1979-1980 at IC Studio, then based in Sutton-on-the-Forest outside York, and originally released by Martin Reed’s Mirage label, The Ghost Office is a classic example of that era’s groundbreaking musical spirit; combining dub, electro and krautrock rhythms with psychedelic, kosmische noise in multiple mutations ranging from almost pop-wise songcraft to horizon-scanning motorik flights, and all exemplifying the wide-open approach which would see Potter’s skills as musician and engineer sought out by everyone from regular collaborators Nurse With Wound to fellow post-industrial explorers, Current 93, The Hafler Trio and Organum.
This edition features nine tracks from the original tape’s eleven and combines them with material made around the same era, taking in alternate versions of the album’s kosmic zinger You Tell Me as well as the amazing pieces, Mainland and On Entering York Minster (original mix) from the slightly later A Gain tape, and serving to effectively, slightly reshuffle the history books and present the best portrait of Potter as a keen, naive yet visionary young artist.
Unless you’ve clocked them on YouTube or were quick enough to pick up one of the tape reissues in 2014 (or even an original!), then this will all be new stuff to many ears, and heard on vinyl for the first time - including some really choice pieces such as the punk-pop pogo of Murder By Furniture and the Powell-esque, ‘floor-ready pulse of Number Five on one hand, and the totally absorbing black hole regression of Forest Of Galtres at the other.
No messing; this one’s an essential purchase for any wave riders or heads into the UK’s history of experimental electronic music.
Aahhh yes, another classic Bohren album reissued.
Bohren & Der Club of Gore’s vital reissue scheme looks to Geisterfaust (2005) after giving Sunset Mission and Black Earth much needed vinyl lives. Very safe to say that if you fell for either of those, this one will keep you right down there.
Nerds will need to know that the tracklisting has been reshuffled for the purposes of this vinyl edition, now still kicking off with the 20 minute sorrow, Zeigefinger but deviating the sequence in favour of Ringfinger, Mittelfinger, Daumen, and Kleiner Finger, for your information.
The effect remains the same, though; sublime, pensile, deeply evocative of Lynch & Badalamenti as much as doom metal and the most poignant, lonely moments of your life.
Beautifully mercurial ambient house anomalies from Call Super, following up his Nervous Sex Traffic and Ondo Fudd output in ’16 so far with a return to the bosom of his ardent supporters at Houndstooth.
Puppet Scene is a perfectly pensile piece of ambient dub, plumbing heavy subs into a melting ecology of glassy flutters and wistful arpeggios ripped right out of some ‘90s raver’s lushest chill out room reverie.
If that one leaves you floating, then New life Repercussions gently brings us back to earth for a dance with murmuring tribal percussions offset by an morphing sound sphere of harmonic thizz and sighing flora.
Invisible City Editions prize another disco pearl from the clutches of history with reissue of Oluko Imo’s sultry, subtly acidic disco blinder, Praise Jah dusted down and primed for big grins in the dance.
Every inch a cult anthem (with 2nd hand prices to prove it) Praise Jah was written by multi instrumentalist Oluko Imo after arriving in New York from Trinidad in the late ‘70s, where he was member of groups including Black Truth Rhythm Band.
The sound of New York clearly had a sway on Imo’s sound, where the results heard on Praise Jah patently blend the breeze and lilt of original soca and reggae with rude and wild electronics to properly hypnotic effect.
That wriggling bass, those daubs of strings, the simmering vocals, streaking electronics and utterly reverent vocal are simply powerful. We can only recommend buying two copies and rubbing it next to the dub ‘cause you’ll want to play this out for as long as possible.
Jamal Moss lives that loosey goosey Gherkin Life in three psycho-activating Chicago jackers.
Over the last few years, whilst he’s hit starry heights with The Truth Theory Trio and J.I.T.U Ahn-Sahm-Buhl, Jamal’s Gherkin drops have been the go-to place for his rawest, juiciest club tools.
The Ginger Snaps EP is no different, serving three briny bangers taking in some gorgeous keys, floating voices and bustling swerve with Part 1, whereas Part 2 is firmly moored in pounding kicks, but yearning to fly at astral trajectories.
The other side is different, though; on Black Herman he decelerates to a squashed and loose limbed strut, riffing on salty 303s and chewy grooves for a more laid-back, hypnotic momentum.
Stunning official re-issue of this cult 80's album from Randomize. Much loved by Trevor Jackson & JD Twitch. An amazing record that was properly ahead of its time when first released.
Legit reissue of a superlative side from the Spanish industrial underground c. 1986, featuring Eugenio Munoz a.k.a. Randomize going solo in a deeply rugged and psychedelic style recalling his input, alongside Luis Delgado, on Mecánica Popular’s cult classic ¿Qué Sucede Con El Tiempo? (1984).
As a skilled sound engineer/keyboard player and half of cult outfit Mecánica Popular since the late ‘70s, Eugenio Munoz honed a distinctive approach to new wave and new age psychedelia which encompassed everything from rooted dub and Afro-latin musics to grinding industrial disco rhythms and shimmering ambient electronics in spacey, sultry, driven grooves which would soon find their way into the cosmic disco sets of Danielle Baldelli and Beppe Loda back then, and later as staples of Trevor Jackson and JD Twitch sets.
Now, thanks to the cultish fervour surrounding Andy Votel and Demdike Stare's reissue of the Mecánica Popular classic, which lead many heads deeper into their catalogue, and with some coercion from his pal, Damien Schwartz, Munoz has dug out the original tapes of his little known LP, ¿Como Se Divertirán Los Insectos? for this reissue, and we can’t praise him enough for it.
In terms of palette and sound design it’s effectively a Pt. II for the aforementioned album, operating at a bass-heavy, chugging pace and rent with heady, sparkling electronics that still sound incredibly, uncannily fresh over thirty years later. However, if there’s any difference, this one feels more tensile, sparse and perhaps defined by its updated hardware; evident in the sheer digital contours of Zero and the bolshy stabs of Brazil or the tumbling, Prince-like Linn funk of Radio Manila, whilst the infectious chug of Movilidad Incesante si a slow-mo anthem in waiting, and the ambient parts such as Subliminal and La Armonia De Las Esferas are weirdly prescient of ‘90s ambient styles.
You know what to do…!
Little known ‘fact’: Thundercat has 15 fingers and 3 thumbs, which enables him to play all the chords, in every combination, and invent a few ones, on Drunk; his 4th album with the Brainfeeder family, featuring guest turns by Flying Lotus, Kendrick Lamar, Pharrell, Wiz Khalifa, Kamasi Washington, and Kenny bloody Loggins! It’s the closest you’ll find to ‘70s soul and jazz-fusion beyond the original thing...
“The album is a 23-track epic journey into the often hilarious, sometimes dark mind of the Grammy-winning singer/bassist and finds a few of his friends joining him along the way including: Kendrick Lamar, Pharrell, Michael McDonald, Kenny Loggins, Wiz Khalifa, Kamasi Washington and Brainfeeder mastermind Flying Lotus. “Drunk” is the follow up to his widely praised 2015 mini album “The Beyond / Where The Giants Roam”, and features fan favourite tracks ‘Bus In These Streets’ and ‘Them Changes’.
‘Show You The Way’ is the first single from “Drunk”, and the ballad features two of Thundercat’s heroes: iconic musicians Kenny Loggins and Michael McDonald. And how did this collaboration come to be? Thundercat mentioned his love of Loggins several times during his press tour for “The Beyond…” (Dinner Party Download, Billboard), leading to an introduction via his keyboard player Dennis Hamm. He tells Red Bull Music Academy Daily: “These are guys that I've listened to and where I felt that I've learned that honesty in the music. Kenny Loggins is one of my favourite songwriters.” Loggins was the one that suggested bringing McDonald in on the track and, Thundercat adds: “I think one of the most beautiful moments was realising how amazing Michael McDonald is. He would go through so many ideas and have so much to offer.”
Thundercat also notes: “That song to me is about going down the rabbit hole, taking you to another place… On the edge of dark, there's the brightest light. It means a lot to me in the sense of... the experience that I've had growing up with friends and people that I've been around where it's inviting them into where I come from emotionally. Sometimes it's a pretty intense thing. The point is how weird things can get. I feel like it's very funny that, in a way, of course Michael McDonald and Kenny would be there.”
The album title, like the rest of the album, is meant to be both humorous and serious. “I’ve always tried to hold true to what Erykah Badu and Flying Lotus told me: It has to come from an honest place. I feel like it’s a place that I’ve been in different ways, seen different angles of and it’s been a bit inspirational - the drinking,” he tells RBMA Daily. “It has its ups and downs and everything, but I felt like it showed the human side of what goes on behind things, something that I see with all of my friends… I felt like it was kind of interweaved in the music culture. And it’s something that’s never talked about.”
RIYL Mohammad, Mika Vainio, SPR/V I S, Emptyset, Kareem’s Porto Ronco
Plaintive, plangent doom sighs from the Greek underworld, recorded deep within caves on the islands of Kalymnos and Lesbos and realised in tribute to the region’s ongoing refugee crisis.
Constantine Skourlis does not take his subject matter lightly in Hades, offering a heavy-as-your-life sequence of recursive, concatenated tremors and sustained levels of acoustic and electronic peril that perhaps point to the issues as both ancient and modern at the same time.
This one really is an experiential listen, the sort that may sound hackneyed on paper, but when released into the air of your listening space takes on a majestic and almost overwhelming power that’s not necessarily cinematic, nor academic; but transcendent, imposing and immersive in its own sense of purpose and the way he and the ensemble conveys it.
No doubt in our minds: this is the most important release yet on Salem Rashid’s Bedouin Records.
Properly fascinating survey of sound works from the Fluxus nexus, or as it says on the jacket, A Collection Of Music And Sound Events Edited By Maurizio Nannucci; an Italian concept and light artist from Florence who has contributed to the avant-garde sphere and Fluxus music since the movement’s early years.
Including 18 succinct excerpts of works by Walter Marchetti, John Cage, Wolf Vostell, Yoko Ono, Joseph Buys, Nam June Paik, La Monte Young and many other leading lights of the far flung movement, the Fluxus Anthology was originally released on Recorthings & Zone Archives in 1989 and has been out of print ever since.
Without giving a full run down of the Fluxus history - although the jacket reveals many of the artists’ personal definitions - the breadth of madness inside gives a perfectly unsteady footing for anyone venturing into its musical or sound dimensions, taking in Ben Vautier’s frankly hilarious anthem Some Ideas For Fluxus alongside a delicious section of La Monte Young’s legendary Dream House and seminal pieces such as John Cage’s delirious chance operation, Radio Music and, ohhhhh Beuys, a cod-reggae pop bit called Sonne Stat Reagan from Joseph, and even Yoko in the ladies room on Toilette Piece.
File next to the medicine cabinet. Recommended!
Prayers are answered: Dom & Roland heralds his long-touted Dubs from The Dungeon compilation of sought-after VIPs and unreleased material by unleashing these two beasts on his own label.
The A-side’s rollicking Aliens was originally conceived for release on Metalheadz (not sure when) but only now creeps outta the crypt and onto wax. Pure, spine-owning nastiness for 6am tech-steppers.
Zodiak is more kinetic, reticulated, packing the pressure unfeasibly tighter in every twitch and snarl. We’d wager it was produced around the same time as Aliens, or a little later in the ‘90s. Gnashing to hear this on a big rig.
First ever reissue of Skanna’s in-demand ’93 jungle platter as The Joker. Original copies are known to trade for well over a tonne.
A-side: The Joker is notable for sampling µ-Ziq’s µ-Ziq Theme on a rushing breakbeat hardcore flex; B-side: Roots is more of a clattery breaks roller, not that stylish but of its time and dead rare. So there.
Smart debut set of analogue wave riders sounding like early Sheffield instrumentals by BEF, The Human League Richard H. Kirk - perhaps a logical study in the roots of Cathal Scully a.k.a. Group Zero’s work with the C86-styled Girls Names… RIYL L.I.E.S., Diagonal, Blackest Ever Black
"Debut record from Group Zero (Cathal Cully - Girls Names). Using synthesizers and drum machines, 'Structures And Lights' glistens with subtle Euro sophistication - pairing cold-wave optimism alongside freaky and brutal tracks for the more open-minded DJs and dancefloors. Written, recorded and mixed intermittently over four years, the narrative of ‘Structures And Light’ is bound by a deepening connection with electronics, instrumentation, and the studio.
With no imminent touring schedule or release deadlines, Cully built a modest home setup and began producing on his own again - “It was as an exercise in my own development and it was fun. It brought the naivety and spontaneity back to making music”. Initially, it was for his personal consumption alone - selfishly indulgent. In fact, this first collection of Group Zero music - along with a library of other ideas and sketches - was thought to be eternally lost and all but forgotten until a chance conversation with Touch Sensitive led to the tracks being salvaged and subsequently restored. The genesis of this newly discovered musical freedom coincided with a viewing of ‘Pyramid of Light’ by Heinz Mack from the post-war Dusseldorf based Group Zero art movement which resonated deeply. “It stirred up questions and emotions which I could not get from a book or a screen. It was the direct relation between me, the light and the physical object hanging on the wall. New moments of beauty locked in the memory. I was in awe.”
Cully was also taking influence from a range of contemporary electronic producers - on labels such as LIES, Diagonal, Optimo Music, Blackest Ever Black, and PAN: “These records felt as much in keeping with post-punk traditions and my own DIY background whilst tapping into the primitive ideas of masters such as Cluster, Suicide, Malaria! and the proto-techno of pre-club music.” Just as a structure obscures or reflects light furnishing us with new ways of seeing; the propulsive rhythms in 'Structures And Light’ reveal subtle differences on each repeated cycle. This is music to go away from and travel to. “Here’s a record from a Belfast bedroom that sounds nothing like the city, past or present. It’s made with synths and drum machines, and it glistens with subtle Euro sophistication. Day breaks: dig those fast linear movements and rhythms (‘The Fantasist’). Then fall for the unexpected guitar line in ‘Pursuit’; a gentle kind of cold wave optimism. Night heals: there’s ‘pummelling repetition’ here too, for the club freaks or shut-ins. Slow, industrial shocks that give way to ‘Pyramid of Light’s stark new-age burst. It’s a record for the present - full of gorgeous themes that dream unwired.”
Buzzcocks’ groundbreaking ‘Time’s Up’, the 1976 demos recorded with founder and singer Howard Devoto and originally released as a bootleg, is reissued here by Domino Recordings.
Featuring the original line up of Howard Devoto (vocals & songwriter), Pete Shelley (guitar & songwriter), Steve Diggle (bass guitar) and John Maher (drums), ‘Time’s Up’ was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session was engineered by Andy MacPherson.
In December of the same year, the band recorded the four track ‘Spiral Scratch’ EP with a minimum of fuss in ‘downtime’ at Indigo Studios, with Martin Hannett (then going under the pseudonym of Martin Zero) producing."
“As I recall, the idea seemed pretty reasonable at the time. It was late 1996. I’d met Fahey a couple of years earlier, and partly as an outgrowth of that meeting he had decided he wanted to meet and play with “noise musicians.” This resulted in a lot of music that made his olden fans weep, but who was I to argue with The Great Koonaklaster? Anyway, it was late ’96 and Fahey wanted to play some gigs on the East Coast.
He also wanted Thurston to be on the bill with him, and so Mr. Moore asked me for suggestions about who might be cool to duet with. We ruled out a lot of people for various reasons, then had a flash about asking the great Pep Lester (aka Phil Milstein). Although best known as a writer and designer, Phil had also done lots of music in various configurations, and I was hoping he’d deign to play the musical saw he had started practicing a few years earlier.
Phil had other ideas, though, mostly revolving around the tape creations and loops he’d been doing with Thalie Zedek’s band, Uzi, in the mid ’80s. Thankfully, he also agreed to play some saw, and you will hear some of that instrument’s beautiful tones floating around the tape jabber and guitar circularity that makes up much of this record’s basis.
This show was recorded on the first night of Fahey’s East Coast jaunt, at the Iron Morse Music Hall in Northampton MA. The audience was primed for transcendental waterfalls, and didn’t seem too delighted by Phil & Thurston’s opening set, but fuck ’em. Fahey was enthralled. And when we pulled the tapes out to listen to for the first time in many a year, we were all pretty chuffed about how nuts and timeless the music sounded.
Although the second night’s sound were previously issued by Chris Corsano’s Hot Cars Warp Records label, this is the first issue for this fantastic set. Roll yourself a fatty and swing!
-Byron Coley, 2016”
Originally the 5.1 soundtrack to Walser, a film directed by Zbigniew Libera. Gripping, dynamic noise composition packed with high-torque shifts and biting-point electronics.
“Walser, the new album by Robert Piotrowicz is a reiteration of the artist’s soundtrack for the eponymous film by Zbigniew Libera, in which the fictitious Concheli tribe enacts its ritual gestures through music and performance.
Rather than following a traditional soundtrack format, where music is written after the film and cut to illustrate the cinematic form, Piotrowicz approaches the film as a point of departure to create an altogether autonomous sound work. While its aesthetic narrative echoes the one that we are submerged into throughout the film, the record’s underlying structure and dramaturgy have been reconfigured and reworked into a new spatial and affective arrangement.
Unlike Piotrowicz’s previous works, Walser is predominantly an acoustic album, with a nod to his previous projects that imagined fictional music ensembles (such as Rurokura and Eastern European Folk Music Research Volume 2). The instruments’ idiosyncratic sound is a result of a multifaceted composition process, which took custom-made instrument design (wind, percussion and strings) as its starting point, prototyping the music’s structure and meaning, and the composer-led choreography of actors’ gestures that took place during the film shoot and in its originating performance workshop.
In the film, Piotrowicz’s original music score is thus enacted by a body of sound, rather than the by actors on the film set, as it fills up the metastructure devised by the composer. Of course music always influences the way one views a film, but in Walser it becomes a cinematic language of its own kind, an extension of the camera, an omnipresent observer and narrator that sculpts our experience of watching and listening.
In the album, sound returns to its first and foremost dimension, time, and while the storyline is no longer in the foreground, its immaterial traces persist in the LP’s structure and narrative, incorporating a myriad of mood changes and dramatic turns. The album is an analogue recuperation of the primal, original sound where music finds a new form of embodiment and occupies a new territory, beyond the screen and beyond the image. It is a sensuous body of sound that carries meaning beyond traditional ways of verbal and pictorial communication.”
Pivotal, In-your-face, OG UK hip hop from ’91, restored from a mint vintage vinyl copy (masters were lost long time ago, natch) and now back in circulation a generation later!
Tales From The Wasteland was first issued in the wake of The Criminal Minds’ debut album, Guilty As Charged, and like that LP, was also produced by three yung hip hop fiends in a Buckinghamshire bedroom making innovative use of a 1210 turntable, hype gobs and a 4-track cassette recorder.
It’s basically ruff AF, coming shouty and loud with the frenzied Systems Overload and the swaggering Illegal Procedure, then with a grittier delirium in Tales From The wasteland and, best of all, a wicked one-foot skanker Prepare For The Holocaust that clearly sets the templates for their classic rush of ‘ardcore jungle rinse-outs to come.
Original copies are known to trade for over £100. Just saying’.
Hodge steps up to Hotline with two subtle, outstanding UK techno mutants.
Carving a strong path forward from his Dnuos Ytivil 12", and preceding a killer Berceuse Heroique single, here he plays ruff and moody with the tape saturated tone and Afro-centric sleight-of-hip on his heavy roller, 'Mind Games' - imagine Auntie Flo on a darkside mission - whereas B-side 'Flashback' projects a canny mix of archaic, pastoral bleeps and full-sunked techno hydraulics seemingly rolling back and steaming forward at the same time.
Paul Johnson’s classic debut album bubbles up for a necessary reissue on Peacefrog, containing some of the classiest/rudest house to hail from the Windy City.
Taking in the lip-bitingly deep n’ jazzy swang of Fantasise, the gospel optimism of 4 The World, the inxociating sensuality of Caught Up In Your Love, or the proper booty riders Bump Talkin and Bouncing Bed Springs, plus Autobahn Cruise’s technoid pressure; it would take a heart of stone and a booty of concrete to not get snagged by these crackers.
Rudest, ruffneck ’95 styles from the original Bay B Kane, licensed from White House Records and reissued for the good of your wallet.
Total rinse-out pressure from the increasingly wild ride of Gangstress thru the murderous amen chops and wobbling subs of Deep Jungle trip and his cone-wrecking (808) Bass Boom on plate 1, thru to the red-eyed madness of Stick ‘Em Up and the romantic pressure of Mother Earth on the other one.
We suspect they’re mastered from vinyl or digital, not masters, but the bass still definitely cuts it.
Blinding side of radical Dé-coll/age Musik conceived between 1959-1981 by Wolf Vostell; a seminal early innovator of video art and co-founder of the Fluxus movement. Imagine Russell Haswell getting smashed with Karel Appel, Stockhausen and Burroughs and recording a Live Salvage 40 years ago; you’ve got a grasp of this record’s disorienting brilliance!
Among the earliest and most important artists to appropriate a French term which described the simultaneous take-off and crash of an aeroplane, within the context of an aesthetic philosophy, Wolf Vostell inverted the literal meaning of Musique Concrète - an accretion of sounds - to define his method of subtraction, or stripping away from a whole; causing its death or a break-down of its outworn values, whilst in return giving life to something that didn’t exist before it.
When Vostell applied that process of remediating the media to sound and Musik, the results are arguably some of the rawest, brutal and gripping instances of early avant-garde music we’ve ever heard - an unfathomable, unquantifiable disarray of sound and structure that connotes the physical action of destruction and decay as much as the exhilarating, messy joy of creation, innovation and imagination.
In the best sense we can hardly tell up from down or even follow time throughout the record, which is ironically enough arranged in chronological order. Cultural signifiers are persistently jettisoned, shredded-up or juxtaposed as intangible components of a mutant mass, or “a singular body with no loyalty” as the label describe it, shuddering and sparking with a fractious quality that sounds more like the work of an algorithm or the innards of Ballard’s sound hoover that anything actually thunked-up and done by a human.
It all still feels completely outlandish all these years later, proving as ever that the past is a foreign land crammed with tremendous freaks such as Vostell, whose innately punkish spirit persistently keeps its borders mutable, open-ended, awaiting your shocked arrival.
Next in The Boats’ vital vinyl reissue series, their 3rd album Tomorrow Time  finds Andrew Hargreaves and Craig Tattersall embracing a host of collaborators on a fuzzy, downbeat blend of ambient and indie-pop themes, wrapping fragile vocals from Elaine Reynolds and Chris Stewart (Need More Sources) to a patented framework of prepared piano, strings and elusive electronics in the wake of their instrumental duo session, We Made It For You . It's the first time it's ever been on vinyl...!
With the benefit of hindsight,Tomorrow Time takes on a curiously prescient nature; arriving a year prior to the biggest financial collapse for generations, at a time when the “authenticity” of folk music was fetishised by posh people as Wyrd Folk (or smth?) and the other main cultural points of reference were either retro-indie guitar bands, IDM or boisterous grime and dubstep.
However, The Boats’ combination of lower case pop with rustling electro and acoustic textures quietly stuck out like a sore toe, and when combined the aggressive title tracks points towards a quiet but growing dissatisfaction with perceived excess in music, culture, or at least the same old same old.
In that sense, the group’s roots in avant garde minimalism and myriad other non-commercial and pop styles really come thru on Tomorrow Time, but carefully distilled into an absorbing, subtly detailed sounds they can claim as their own, and quite unlike anything before or since - although many have tried to imitate it!
Deluxe new pressing of Alejandro Jodorowsky, Don Cherry and Ronal Frangipane's amazing "lost" soundtrack to 'The Holy Mountain', arguably the epitome of record collector holy grails.
For four decades it eluded frayed cuticles and smudged want-lists until the film's director, Jodorwsky, and his producer, Allen Klein, resolved their differences and finally relinquished the tapes to a handsome edition on Finders Keepers a couple of years ago, to a generation who weren't even born when the film was made.
Collecting original cues, composed-to-scene by a previously unparalleled line-up of luminaries from the worlds of prog-rock, jazz and psychedelia, it marks a highpoint of cross-cultural collaboration in the '70s - secretly funded by Yoko Ono & John Lennon, no less - reflective of the film's unfathomably cryptic narrative, itself based on René Daumal's fictitious 1952 mountaineering journal, and equally, that era's spirit of transcendent, explorative artistic freedom.
For anyone who's prostrated themselves at the fantastique cinema of 'The Holy Mountain' this soundtrack is certain to prompt strong flashbacks, but even if you haven't seen the film (what are you waiting for?!), its sonic corollary clearly stands tall as one of cinema's greatest, most sought-after soundtracks of all time. Unmissable.
So, so happy to see this first ever vinyl edition of The Boats’ second album, We Made It For You, released in 2005 and vailable here as a super limited standalone release - or collected in a boxset with Songs By The Sea , Tomorrow Time  and Static Clings  - this necessary vinyl edition forms a typically tender and heart-warming follow-up to their much loved and influential debut.
On their second album Andrew and Craig coaxed out a purely instrumental suite, leaving Elaine to her own devices (she would return on Tomorrow Time) while they drifted off into the sweetest reveries knitting passages of frayed, breezy solo piano and electronics nodding to Harold Budd, William Basinski or The Caretaker with the kind of burbling, gently glitching rhythmic tributaries that you’d expect from Isan, SND or Jan Jelinek.
All the tracks inside are named after their mates (hope they still are!), and effectively forms a sort of sketchbook of meditations on each character or group, like the rugged, melancholy Miles, Sean and Bodie is definitely nodding to them Demdikes and their soundbwoy, and you’ll just have to imagine the rest.
Compared with other releases of that era, it’s dated remarkably well as a record and a sound, which is most likely due to their future-proofing patina of distressed crackle and the electro-acoustic sound sensitivity of their approach to the material, managing to convey a quiet, intimate beauty without ever overstating it.
OK this one’s really special: technically Static Clings is the last record by The Boats; presenting material from their tour-only Typewriter  CD and the Sleepy Insect Music  compilation on vinyl for the first time, along with a great haul of unreleased outtakes and even a megamix of The Boats by Modern Love’s Miles Whittaker (Demdike Stare) and Gaz Howell (G.H.) in their lesser spotted Pendle Coven guise.
It’s essentially all outtakes c. 2004-2006 from their early releases for Moteer plus the aforementioned rarities, clutching 13 cuts which have been left to mature over the last decade or so, and now provide a slightly more scattered but ever-enduring overview of Andrew Hargreaves (Tape Loop Orchestra, The Mistys) and Craig Tattersall’s (The Remote Viewer, Hood) cherished time together in this vessel.
We absolutely have to highlight the sublime History Of Tape Hisses for what sounds like Instrumentals-era Arthur Russell jamming with Jan Jelinek, and likewise Why You Wanna Do This, and Shlom, Sonia and Conor, cos, well, awwwwwww, but also the ghostly vignette Danny Norbury, dedicated to the cellist and another key member of their fold, and also for the salty kiss of their distorted hymn May Our Enemies Never Find Happiness (Version), the wobbly oddity of You Didn’t Expect Me To Care, and lastly the perfectly opaque pop of Pendle Coven’s remix, which uncannily recalls Uwe Schmidt’s Pop Artificielle output as LB.
Sad to say they might now have to decommission Craig’s crackle-box (actually an old B&H packet full of trapped woodlice, the evil b*stard) but it’s dead lovely to have this new slab of (old) material in our mitts and finally complete our full fleet of The Boats’ catalogue.
Ta ta! X
At bleedin’ last, The Boats’ gorgeous debut album Songs By The Sea  turns up on vinyl! Along with first-ever vinyl issues of We Made It For You  and Tomorrow Time , plus a very special side of unreleased, unheard outtakes, Static Clings  - which are all collected in the The Boats Archive boxset, you should snap these limited runs while you can as they're unlikely to appear on wax again.
Scrolling thru the mists of time to 2004, a very different world indeed, and The Boats formed as an outlet for Kraftwerk-addicted composer Andrew Hargreaves and his pal, Craig Tattersall, fresh from a decade spent with cult post-rock group Hood and as half of The Remote Viewer, to pursue the ideas of post-rock, modern classical and lo-fi electronica along more intimate, personalised ginnels of folk and ambient music, with the cherry on their home-baked treats provided by vocals from another close friend, Elaine Reynolds.
Songs By The Sea was their wistful and charmingly humble introduction to the world; ten tracks balancing exquisitely pop-wise songwriting with gently pulsing, elusive electronics and a patina of crackle that became a real signature of their sound long before everyone else cottoned on and starting putting out pale imitations.
At the time, it received heavy rotation in our record shop, Pelicanneck, and was something of a shared secret between fans from Manchester to Japan via their home-town of Burnley, and still owns a certain section of our memory banks to this day that’s often triggered by the smell of coffee, waffles and toasted rye bread in the morning just as much as smudged Hulme sunsets in summertime.
We don’t want to gush about it too much but, listening to it now, and on a format the album always quietly yearned for, it’s just chokingly nostalgic in its own, low-key and endearing style and leaves little doubt in our minds that Songs By The Sea is one of the finest ambient-pop records to emerge from this region.
“This album reissues the final recording (thus far) of the Milstein/Moore Duo. It was originally released in 1997 by Chris Corsano’s Hot Cars Warp Records label. Chris had a choice of this tape — recorded December 4, 1996 at the Middle East in Cambridge MA — or the one from the previous night at the Iron Horse in Northampton. He chose this one, and the first volume was scheduled to appear on the Ecstatic Yod label. Why it never happened, who knows? Not me!
The set was recorded opening for guitarist John Fahey, shortly after a horrible accident in Harvard Square, which involved Fahey’s belt breaking in the middle of Brattle St. and having his pants drop to his ankles as a result. Unable to bend enough to reach his feet, it fell upon one of the opening musicians to lend a hand. And I feel as though the incredible sense of horror involved in that process infuses this concert.
Thurston’s guitar was quite unhinged that night, and Phil’s gabble of tape-voices had a relentless edge that seems designed to induce claustrophobic reactions. It is a bravura performance by any measure, and surely one of the wildest collaborations Thurston had been involved in up to that time. Listening now, I can only hope these two do more work together in the 21st Century. We could all certainly use it.
Remastered from original source tapes, this new edition of the album is best heard LOUD. Who cares what the neighbors think? They’re probably fascists anyway.
–Byron Coley, 2016”
Kieran Hebden a.k.a. Four Tet takes a proggy saunter from hybrids of Indian classical music and House to Kosmische and rustling breaks on his 8th solo studio album.
'Morning/Evening was first conceived in summer 2014 and completed early 2015 to follow the frayed and fractured pirate/rave buzz of 'Beautiful Rewind' with a more open, rolling and entrancing framework. It's a sound that dovetails his love of long-format jazz records with the play-thru hypnosis of DJing, layering far flung yet neatly compatible elements around repetitive and subtly morphing templates for up to and over 20 minute each piece.
The 'Morning' side is more up for it, mixing fragrant sub-continental vox with signature, safety scissor-cut grooves to a radiant cosmic climax. His 'Evening' side cools off with tentative modular noodling precipitating an Amorphous Androgynous-like sequence of nightingale vocal convections, sub-bleached synth twinkles and a gritty percussive flourish to close.
Class new album from the versatile Golden Püdel maestro, Richard von der Schulenburg; covering a uniquely graded spectrum of deep acid house rubs and noises, jazzy ambient pop themes tied together with a seductively louche attitude in a gently psychedelic narrative.
Considering his music in terms of an in-house sound, it’s fair to say that Shadows distills a very particular aspect of the Püdel, and by extension, Hamburg, sound across its 12 tracks, taking house - or even more specifically the broad church of acid house - as a mutual, mutable framework for ambient, jazz, smoky pop and electro to sit as comfortably dreamy bedfellows, much like one of its resident’s DJ sets.
And like a skilled DJ set or mixtape, with Shadows RVDS finds a absorbing coherence between related yet sometimes asymmetric sounds like a storyteller spinning yarns, drawing us in with the cosmic acid prelude of Shadows 1 to embark a long, winding cruise thru the hinterlands of acid house, from the opiated, slow rolling drip of Minuet De Vampire to brisk, crisply Sähkö-esque jackers such as Tears and Ghosts, thru to corkscrewing electro hydraulics in Electricity.
But he’s always modulating the pace, too - driving for the journey not the destination - taking detours via ambient jazz in Trees or Sun And Moon In Cat Eyes, ala his Sky Walking project with Lawrence and Christian Naujocks, before hitting the groove again like a Chicago badboy in Energy, before demonstrating his rare touch with deep house in Galanty Show and the delectable Moonlight, coming off like Tin Man’s brother from another mother in the sublime closing touch of Shadows 2.
Slick, high pressure bass business from two of the UK’s baddest, Batu & Lurka, launched on the latter’s Fringe White label one year on from their debut sling.
Combining and parsing the best traits of both producers, the A-side steps and swings off 25 PSI pumped subs and hyaline hooks in a reticulated ice-snake riddim rent to the rafters with streaking dynamics before bringing it closer down with sublime, shivering pads saved for the most poignant moment.
In stark contrast, the B-side’s Struck yanks the tempo down and rubs the drums up the wrong way, swivelling heavy on a 110bpm tempo with cold, thistly, slamming drums and flat bass slaps stealthily opening out in swaggering UK style unconcerned with trends but firmly fixed on ’nuum roots and futures.
The legendary Prescription Records defined the 1990s deep house sound and this epic new comp holds numerous classics that have been out of press for years + previously unreleased tracks, huge tip!!
Deep house music’s most eloquent operators pull together 24 sublime examples of their timeless, widely influential oeuvre c. 1993-1997 in Prescription: Word, Sound, Power, dispensed by the kings at Rush Hour.
Hailing from the Windy City and with both feet firmly planted in Chicago’s club scene since the ‘80s, Prescription came to define house music’s transition from raw, “tracky” minimalism to a more sophisticated, layered and jazz-skooled sound with a seminal run of two dozen, now sought-after releases during its mid ‘90s golden phase - many of which are included in this very necessary box.
Consolidating house music’s Black Atlantic roots in a sensual, psychedelic way unprecedented by its peers, this era of Prescription output set the template for deep house at its most esoteric and enigmatic. Adapting the experimental recording techniques of classic dub and jazz to house music’s rolling grooves, they created an open yet cryptic template woven with vocal samples used as conscious, symbolic reference in a way which elevated the fidelity of the artform to degrees which have rarely been bettered.
Where Virgo Four and Larry Heard laid house’s deepest foundations, it was Prescription’s Ron Trent and Chez Damier, and their pals, who built those foundations into the deep house’s classic landmarks such as the body-melting Morning Factory - if you haven’t heard this at 5am on a good system and under the influence, you haven’t lived! - or the sublime, rugged tension of Ron & Chez D’s Don’t Try It and their skipping arrow Space Riddims, and especially their vocal works such as Ani’s Love Is The Message, or Noni’s Antony-esque grip on the delectable Be My.
If we’ve any gripes, they’ve missed a trick by omitting Ron N Chez’s inimitable dubs to focus almost exclusive on main or vocal mixes, but here’s hoping they’re saving that one for a rainy day in the future. But we’re not complaining; this is an invaluable document of the reasons why so many people have fallen head over heels for house music since the early ‘90s, as much as a reminder of what’s missing, or has become lost ion translation with subsequent generations.
If you’re into anything from 4-Hero to DJ Sprinkles or SND, Calibre, Call Super or Jamal Moss’s more sublime side, you owe yourself some time with this catalogue.
Deadbeat casts his mind into dub territories some 10 years in the future for Mathew Jonson's Wagon Repair with one of the finest dub related projects on the label to date. It only makes sense that Paul St Hilaire should guest on a couple of the tracks, no?
Things start stomping on 'Grounation (Berghain drum mix) with Carl Craig inspired tribal house patterns emerging and forming neat polyrhythmic syncopations for the jacking crew, briefly subsiding for a dubbed interlude and skanking back into shape with the wicked dub house trip 'Xberg Ghosts'.
We're embedded in the set now and 'Deep Structure' carries the dub house groove further with a brilliant homage to the M-Series skillfully manipulated by Monteith into a very confident and controlled dub house player that instantly sets itself high above the sea of inferior imitations. The album moves into sublimely effective territory on 'Sun People (Dub Divisionaire)' moving closer to a gaseous dub quality with uplifting thumb pianos guiding the way to the final track 'Babylon Correction' featuring Paul St Hilaire again.
The artist formerly known as Tikiman takes the set onto a pure happy tripping vibe with melodica and live drums dubbed inna classic King Tubby or Scientist style to put a big satisfied grin on your mug after a very enjoyable hour of music.
Shobaleader One present a suite of live versions of Squarepusher classics, drawn from his unparalleled 20 year catalogue.
You get the sense that for Tom Jenkisnon - flanked by his fantasy electro-jazz-pop unit comprising Arg Nution, Company Laser, Sten t’Mech, Strobe Nazard - has been biding his time for this one, and probably got the nudge when AFX knocked out his Computer Controlled Instruments session.
It’s basically how Squarepusher’s music might have sounded if he came of age in the ‘70s jazz fusion era that he deeply fetishises.
Outstanding freeform blow-out by free-jazz percussionist Will Guthrie, also incorporating combustible electronics and samples in feral but disciplined form. Mastered by Rashad Becker @ D&M, Berlin
“Nantes, France-based drummer and percussionist Will Guthrie presents People Pleaser. Initially rising to prominence in Australia as a drummer in the fields of jazz and improvised music, Guthrie later turned increasingly toward electronics and amplified percussion, developing an idiosyncratic style of electroacoustic performance characterized by shimmering metallic textures, rapid-fire textural transformations, and aggressively high volume.
Guthrie has since returned to the drum kit in both solo and collaborative work, pushing at the limits of his formidable technical abilities as a player in the free jazz tradition and working variations on short rhythmic units into an endless flow of non-metered pulse.
Although drawing on many aspects of Guthrie's past work, People Pleaser stands alone in his catalog. Working intuitively over a period of three weeks, Guthrie crafted a suite of song-length pieces that combine his drumming with electronics, field recordings, and sampled detritus. Inspired by the rough-and-ready sampling style of producers like the RZA, J Dilla, and Knxwledge, and by the endless possibilities of musique concrète, People Pleaser uses a highly divergent array of sound sources, building pieces from drum and percussion tracks left over from other projects, audio ripped from skate videos, noise electronics, fragments of a police interrogation, and anything else ready to hand.
Guthrie's unique rhythmic sensibility is the thread drawing all these elements together, his drum performances propulsively rhythmic yet insistently irregular in a way that sometimes brings to mind the uniquely open rhythmic space carved out by early Weather Report and other classic fusion. Drawing together manifold influences in an entirely sui generis way, People Pleaser is a raw, exciting, and surprisingly accessible peek into the laboratory of a unique sensibility.”
The Border Community mainstay experiences a creative rebirth on a Prurient-featuring fourth album.
‘Providence’ finds Anglia’s pre-eminent exponent of kaleidoscopic techno and pastoral ambient return to the album format after a fallow few years for Fake fans with only the odd 12” for sustenance. The reasons for this? Fake dealing with a prolonged bout of creative block. Clearly that’s behind him as ‘Providence’ finds the UK producer in fine fettle on a first album outside the Border Community coop, landing as a Spring highlight in what is presumably a packed 2017 LP schedule for the Ninja Tune empire.
Named not in honour of the Rhode Island creative hub but rather the Korg Prophecy synth used throughout and the therapeutic energies of music, ‘Providence’ has plenty of punchy, kaleidoscopic Fake-outs to please his fan base. Not least the frenetic, furious synth work and clomping drums of the title track, but it’s not all Sunny-D dappled spiralling Anglian techno.
The undulating dub techno of Fake’s DEGREELESSNESS collaboration features after being issued as a single last year, whilst the luminescent squiggles of The Equator & I and the loose, squalid electro funk SmallCityLights further broaden the scope of ‘Providence.’