Eminent DJ Helena Hauff returns to her hardware for the 1st time in years with the banging, queered box jams of Have You Been There, Have You Seen It for Ninja Tune.
Expect a salty, raw selection of house and electro in all four parts: filtering her own breaths and murmurs with anaesthetised pads and merry-go-round melody on the recoiling jack of Nothing Is What I Know; then with dangerously brut bass in the smelly acid sock of Do You Really Think Like That? and its electrode counterpart Continuez Mon Enfant Vous Serez Traité En Conséquence, while exercising her Drexciyan funk muscle with live and direct-to-tape style on the wistful Gift.
Let’s just say it’s all perfectly juxtaposed at odds with the Mall photo studio artwork.
Julien Baker releases her second album, ‘Turn Out The Lights’, via Matador Records.
"‘Turn Out The Lights’ arrives nearly two years to the day after Baker’s debut album, ‘Sprained Ankle’, which was widely acclaimed by outlets including The New York Times, Pitchfork, Rolling Stone, Noisey, and MOJO, among others. • Recorded at the legendary Ardent Studios in Baker’shometown of Memphis, TN, ‘Turn Out The Lights’ expands upon the sound and vision of ‘Sprained Ankle’ while retaining the haunting, confessional songwritingstyle for which she has become known.
Throughout the album, Baker reflects on experiences of her own and those closest to her, exploring the internal conflicts that wrestle inside us all: how we deal and cope with our struggles and how it all impacts both ourselves and our relationships of all kinds. The result is a deeply empathetic album that • ‘Turn Out The Lights’ was written and produced by Baker and mixed by Craig Silvey (The National)."
Rapture 4D reps Glasgow’s instrumental grime scene hard with Lambert & Yoker for the always intriguing Astral Black.
Returning to the scene of his debut crime, Black Ice off the Frass FM 3 compilation, he coughs up a killer, far sharper VIP version alongside some deadly unique twists on eski and 8-bar convention, from Lee Gamble-meets-Sully style jungle grime in Multidimensional to the spooling crazy legs screw of 0141 and something really special in the creamy swerve of Unidentified.
Seriously, keep an eye/ear out for this one!
Remix and new version of material from Maria Rita Stumpf's Brasileira
"In order to properly remake "Kamaiurá", they recruited Paulo Sergio Santos and Carlos Gualda, aka Carrot Green. At Vice-Versa studio in São Paulo, Paulo Sergio Santos recorded 12 different instruments and Maria Rita Stumpf sang in a studio after more than 20 years, on a different arrangement than the original. Concerning the "Lamento Africano/Rictus" remix, Joakim was just very interested about the singer, the instruments used, the lyrics, and jumped aboard this project quickly.”
One of the most nattered about new Bristol acts, Giant Swan pile forth on Batu’s Timedance with the cranky, rusted techno jag of Celebrate The Last 30 Years of Human Ego
They tuck away the fibrillating techno charge of IFTYLOYL somewhere between Tessela and Phase Fatale styles but with added briztle grunge for flavour.
Out Lines is a project by singer / songwriter Kathryn Joseph, The Twilight Sad’s James Graham and producer / songwriter / musician Marcus Mackay.
"This body of work was inspired by conversations Kathryn and James had with people who use Platform: a groundbreaking multi-arts and community space in Easterhouse, an area in the east end of Glasgow.
With James and Kathryn at the helm of translating the stories heard through their conversations with locals and Marcus steering the sound, this inspiring collection of songs is being released through Rock Action Records."
When the masked Swedish collective Goat toured Europe in the Autumn of 2016 to promote their then recently released third album Requiem - the band came up with the idea to record every show.
"On returning back to their home town of Korpilombolo, Goatpainstakingly went through all the recordings and have to picked out 6 tracks to be released on for limited live album Fuzzed in Europe.Goat picked these 6 tracks in particular as they are different versions to what is found on the releases the songs originally came from and the band liked the idea that these versions are documented onto vinyl.
Goat’s live reputation is second to none – since their first public shows in 2012 they have stunned audiences across the globe. The bands brand of dancable, tribal psychedelia is guaranteed to create mass hysteria from the wanting crowds – Goat know how to create music that is made for the ‘head’ as well as the ‘body’. There are rumours of Goat disappearing into the hills – that they have hung up their masks now for good and have slipped away as quietly as they arrived on to the scene. Whether this is true or not, we don’t know, but even if they have or have not disbanded from public view, this is a great document of their immersive power to cherish, it celebrates band completely at the top of their game. The eye popping beautiful artwork for Fuzzed in Europe was created by the great poster artist Adam Pobiak – who has worked with everyone from Soundgarden to the Justice and Swans to Flaming Lips."
Weightless, diaphanous synthscapes and abstracted techno from the Posh Isolation cabal
“Much needed reissue of 'Brazil,' a collaborative work by three spearheads of Scandinavian electronic music today. The original edition was presented in a limited run of four cassettes, boxed and with an accompanying book. This timely reissue comes as a remastered double LP set and digital release, inviting a new set of listeners to the work.
Four sides of uniquely textured summer ambience, industrial rhythms, synthesizer pieces, and piano works, complete 'Brazil.' The luxuriant melodic drones of Loke Rahbek’s Hvide Sejl project converge with the percussive work of Varg and the largely acoustic work of Frederik Valentin of Kyo, producing a fragile beauty.
There is a sense of narrative to 'Brazil.' The work cryptically leads us through a small collection of moving panoramas. Keeping its distance, the storyline remains perpetually obscured. Like a crime unsolved, or a nameless love letter, as greater detail comes into focus the intrigue blooms. A multifaceted affair for multifaceted affairs.
"Things were somehow so good that they were in danger of becoming very bad because what is fully mature is very close to rotting."
Featuring remixes from Dixon, I:CUBE and Wassermann.
"As one of the album’s most highlighted cuts, DSCHUNA gets the royal treatment by Innervisions head and internationally revered selector DIXON who proves his strong command of the dance floor with a hypnotic ride that surrounds the soaring sounds of the original with tribal- esque vocals. The instrumental version drops the chants, but retains the enchantment, all elegant rhythm and gorgeous strings.
Versatile’s I:CUBE, legendary producer and DJ in its own right, brings a distinctly Parisian touch to the spectral SKORBUT, whose sci-fi-imbued widescreen aura gets reimagined as laser-gun-wielding space funk machine. Meanwhile, Wolfgang Voigt aka WASSERMANN condenses PARADIGMA’s roaming synths into pulsating trance swells on his stomping KRAUTRAMATRIK MIX."
Lankum are a Dublin four-piece who combine four-part vocal harmonies with arrangements of uilleann pipes, concertina, accordion, fiddle and guitar.
"Their repertoire spans humorous Dublin music hall ditties and street-songs, classic ballads from the Traveller tradition, traditional Irish and American dance tunes and their own original material. The band were originally formed by brothers Ian and Daragh Lynch in the early 2000s and have since progressed through a number of incarnations, culminating in the four-piece group playing today.
The release of their album ‘Cold Old Fire’ cemented their reputation as a band that successfully crosses genres. Lankum are busy breathing new life into old music. Although an acoustic group whose repertoire is fundamentally based on traditional song, influenced by legends such as Frank Harte, Planxty, The Dubliners and the Watersons, subtle traces of the group’s collective influences can be detected, ranging from American old-timey music to Krautrock and drone."
Rugged, dry techno pounders for the big rooms
Booting off with the depth charge of We Believe, kicking up a noisier fuss with the off-kilter Blood Purity, injecting some insectoid funk in Reclamation.
Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
Kjetil André Mulelid – piano Bjørn Marius Hegge - double bass Andreas Skår Winther – drums
"Following in the footsteps of In The Country and Espen Eriksen Trio, Kjetil Mulelid Trio is the third piano trio to appear on Rune Grammofon. Although they can be placed in the same musical landscape, it´s also fair to say there are certain obvious differences. There´s a solid dose of youthful playfulness and curiosity at work here, at the same time they show an assured maturity that belies their age (26, 26 and 29).
The music is based on compositions by pianist Mulelid - inspired by everything from psalms to free jazz - but there is also room for collective improvisation. It can be energetic, rhythmically complex and harmonically rich, but also intimate and with a beautiful melody. They work purely with acoustic sounds and timbres and are constantly reaching for new ways to express themselves within these frames."
Farväl Falkenberg is an album by Erik Enocksson and a soundtrack to the movie of the same name. It is 10 years old this year and in celebration of that Posh Isolation is rereleasing it in a remastered version with new artwork, giving it its first widespread LP release to date.
"When Farväl Falkenberg was originally released, the record label responsible, Kning Disk, wrote in their press release “— having not only created a lush record full of thick, backcountry piano and raw, acoustic guitar waltzes, Enocksson has more importantly produced an album that effortlessly translates the feeling of isolation (both geographically and emotionally) in an intensely personal way you don’t often come across.” With such a statement it seems only natural that now 10 years later it should find a new home via Posh Isolation. “It is hard to overstate the importance Erik Enocksson’s work in relation to the discography of Posh Isolation.
Years before we met, his release “Apan” completely changed how I thought of music. Something similar happened when i later heard Farväl Falkenberg for the first time. I was in a car going from Prague to Berlin sitting on the backseat, the person next to me had tears down her cheeks in the middle of the first song, by the end of the record the whole car was silent and remained so for the rest of the drive. It is rare to witness music with such effect and it is not often that a record could have that effect still, ten years after its initial release. I think Farväl Falkenberg can. The work of Erik Enocksson has been an inspiration since the first time i heard it and i imagine it always will be. It is in honour to be able to present this work again now on its 10th year. -Loke RahbekAsking Enocksson about the record and what to say of it he said; “When I turned twelve my dad took me out back to fire a shotgun for the first time”
3rd album from Om Unit, maturing his signature blend of jungle, hip hop and brooding bass to incorporate vocals by Rider Shafique, DRS and Amos...
“Since Jim Coles took on the mantle of Om Unit, the English producer has sought to challenge himself and his audience by going beyond the confines of genres and styles he has so far explored. In the process he has found success by striving for more feeling, for a more human and daring electronic music. This journey continues with 'Self', Coles' third album as Om Unit and a true follow-up to his 2013 debut 'Threads'.
'Self' captures Coles in a period of growth, change, and experimentation. Inspired by personal psychological and emotional healing work, and a vision of the self as an egg — which Coles later on discovered is a Jungian archetype — the album blends dubwise, bass-heavy music with the space of experimental ambient compositions and the daring imagination of a cold wave science fiction soundtrack.
The first Om Unit album on Coles' own Cosmic Bridge label, 'Self' offers new forms amid familiar touches. Stripping away what people might expect, Coles deconstructed and reimagined his work so far as a challenge to himself and, in turn, to his fans.”
Necessary reissue of fiyah South African and Turkish psychedelic jazz funk fusion from 1976, delivered by the ace Matsuli label behind that Ndikho Xaba and The Natives LP
“Matsuli Music is proud to be releasing another forgotten gem of the South African jazz diaspora – the 1976 Istanbul session featuring Johnny Dyani and Okay Temiz fusing deep roots and new routes, integrating folklore and rhythm within an experimental, avant-garde vision of love and life.
Remastered by Frank Merrit at the Carvery, Witchdoctor’s Son is presented as a deluxe gatefold sleeve including new liner notes by Francis Gooding uncovering more of Dyani’s creative collaborations with Temiz. Also included are previously unpublished photographs by Hank O’Neal.
Available for the first time since Yonca Records originally released only 1000 copies in Turkey, this album has remained an elusive and sought after landmark in South African exile Johnny Dyani’s discography.
The recording captures a complex, funky and musically together exploration of folk themes, jazz messages and popular directions. After many years together discovering both South African and Turkish sources, Temiz and Dyani were intimately versed in each other’s traditions. Side one features material arranged by Temiz, and the second has material arranged and composed by Dyani – including a stunning arrangement of Don Cherry’s Elhamdulilhah Marimba with Dyani on piano and voice.”
Pivotal Amsterdam producer Tom Trago puts the classic DX7 synth thru its paces
Yielding a piquant array of digital spices between the glittering cascades of Harvest, the lushly harmonised electro swang of XYZ, a purring Detroit house roller named Rain Room, and the floating electro-techno ebullience of Opulent (Without Mix), and its more urgent Opulent (Within Mix).
Following the almost unanimous praise for their previous studio masterpiece, Moritz Von Oswald (Maurizio/Rhythm & Sound), Max Loderbauer (Nsi./Sun Electric) and Sasu Ripatti (Vladislav Delay) present 'Horizontal Structures', the jazz-suave and rolling x-axis to the kosmische y of 'Vertical Ascent'.
The curve of their projections becomes more complex with the addition of Paul St. Hilaire (aka Tikiman) on guitar and ECM artist, Marc Muellbauer's double bass infusing deeply instinctive jazz moves into the cats-cradle of organ, percussion and electronics. There's a more leveled spirit and cruising groove to this album, their deft interactions creating a deeply engrained blue moodiness and playful efficacy whose potential is beautifully rendered in Moritz's mixing desk. As the elements begin to fuse like condensed gas particles in the bell jar sphere of 'Structure One' its clear to hear the group's evolution as the groove subliminally coalesces with a looseness that wasn't there before, Tiki's Afro-lilting guitar swirling about like fragrant hashish smoke and Muellbauer's eyes-shut bass adding daubs of melodic colouration. 'Structure 2' is more urgent and soundtrack-y, melody stripped back while the rhythm section ripples away with infinite Krautrock essence, before 'Structure 3' reintroduces the dub with moonboot skank rhythm hinging on crisp snare punctuations and offset chords in the dreamiest headspace.
The 20 minute 'Structure 4' is perhaps the craftiest, Moritz the mixing board illusionist deftly weaving the acoustic and electronic, the synthetic and the real with a sleight of hand that makes this music at once electro-acoustic jazz and dub concrète, yet with the fundamental grace and glide of deep techno. Highly recommended!
Godlike Snake was the first Ufomammut album, originally released in 1999.
After 18 years the band decided it was time to release a new version of the album. Urlo remixed (from the original tapes) and remastered the entire album to make it sound like it was supposed to, years ago.
After exploring the nether regions of disco and related spectrum of psychedelic styles, Light Sounds Dark turn inward to locate The Acceptable Presence, revealing a worldly, mostly downtempo collection of fancies from Enno Velthuys, Necronomicon, Pseudo Code, Delta-Sleep-Inducing Peptide and other esoteric oddballs of the late 20th century.
In the classic vein of eccentric British collectors, they present a real cabinet of curios and obscurities this time, putting names to some tracks we’ve heard before, but never knew the names of (Pseudo Code’s haunting Far Away From My Own Land) and introducing a spellbinding ruck of new-old names and gems to explore, including the ethereal High Spirits Choir of Holy Spirit School, and a proper quaalude rock dose from The Instant Automatons. Basically decades worth of prime digging research distilled in 2 slabs of (slightly crappy quality) wax.
From LSD’s own tongue: “What is love? we had away once then we lost it. So Russ told us we got to find it and Yazz said it was up but Elvis said it was down. The West went out and Harrods went in if only Essex could have shown us before Sid bloody murdered it. No matter. At Light Sounds Dark we like ours with Kurds anyway. Unequivocal love, 100% pure love love on top of love.. its hard.”
Polish legend Aldona Orłowska breaks out with a mental platter of Euro House exclusively intended for play on Yachts and in Opera houses. Includes a hidden locked groove...
“These songs were not born in the club, nor were they written by producers' algorithms. So where did these hits come from? Maybe from poolside changing rooms (Aldona Orłowska is the Polish champion in butterfly style swimming)? Or maybe from opera singing lessons with Professor Olga Olgina, the melodist born at the beginning of the 20th century in Tsarist Russia? She feels as good in performing on yachts as in beautiful churches. Aldona marries the virtues of an opera singer and a disco star. She creates together with her husband, an outstanding instrumentalist and unconventional producer. They don't care about trends, they go where the music is. For a quarter of a century they've been splitting their lives between Malmö and Mallorca, Swedish piano houses and beaches. Aldona Orłowska. WOW! VINYL RECORD INCLUDES A SPECIAL HIDDEN LOCKED GROOVE”
Belgian wave archivists Walhalla Records rustle up A Compilation of Belgian Cold Wave and Post punk 79-86, featuring cherry-picked numbers by the foundational pioneers and architects of that widely influential sound such as Siglo XX. Compiled by Lieven De Ridder.
We spy under-the-radar highlights of the era in Secret Life’s skinny, primitivist post punk lament Passing Day, on Vibe’s PiL-like Clinical Death, and the melancholy jangle of No Conversation Between People by Nausea.
Rolling, bass-fuelled minimal house layered with soft trance inflections on Mirrors, backed with the Plastikman-style acid bass and cirrus synth lead of Broken Mirror, and its Tin Man-like acidic reduction
Broken Mirror (Wa Wu We Reflection).
By no means a release of new or current Don Caballero material (and originally released in 1999), ‘SinglesBreaking Up (Vol. 1)’ offers quite a range of the band’s history to appreciate.
"The oldest recordings found here were recorded in a ½” 8 track studio by Lee Hollihan of Valencia, PA (the original ‘Good Morning Vietnam’ man) for only $25 an hour. The next batch were recorded by Steve Albini in his once homestudio and were a part of the For Respect sessions. Program 10 was also recorded in this same studio by colleague engineer Bob Weston.• Program 11 was recorded in Detroit by engineer Al Sutton and was a part of the sessions for ‘Don Caballero 2’. Lastly, programs 12-13 were recorded again by Steve Albini in the B room portion of this Chicago studio Electrical Audio. simply this: 7” phonograph singles breaking up, in the kindof setting of giving Abby Road back to the people.
With the exception of programs 12-13, these songs were recorded in the early part of the 1990s. The intention was not to release them in this form, if at all but to give therecord company a rough idea of the songs Don Cab at the time. The ‘punky’ songs were written with the sole intention of obtaining a record contract. It seemed at the time that contracts flowed like water for this kind of music. did, eventually, manage to sign a deal with Touch and Go. It is interesting to see how some of these songs, or parts of them, developed into others that have become wellknown."
Alessandro Cortini returned to his Make Noise Shared System modular synthesizer last summer, to create two variations of a patch that could be described as “…a gorgeous sunrise over a decimated landscape…”
Using the same Make Noise Shared modular synth patch developed on 2013’s ACMN 1 & 2 release, and also explored by Richard Devine and Keith Fullerton Whitman, the NIN synthesist wrests two sprawling, coruscating sound images which smudge and oil across the mind’s eye with a late-night, psilocybic sci-fi quality that’s key to all his solo work.
With Quest he follows elliptical, arcing contours from root drone to sky scraping harmonic blooms in its 11 minute duration, before isolating and feathering out one of its plumes into the B-side’s more brooding agenda, again slowly building from tentative starts to really sink its flags in by the apex and leave us drained and bleeding, roadside in the inky blacknuss of nighttime LA.
‘The Architect’ sees Jane Weaver evolving with an aero-lite melodicism
"The drum heavy vivacious pop song evokes vivid images of early Modernist art, Archigram blue-prints with a rigid back-bone of Eames worthy construction. Directly inspired by Hilma af Klint’s séances, spiritualism and the science of anthroposophy that formed the artist’s abstract paintings, Weaver finds herself in a transformative state channelling her inner spirituality, it’s place within her music and the cosmos. Shifting perspectives with her meditative vocal explorations and oneiric flow on ‘Code’.
Eight-minute psych-pop opus ‘Element’ is richly melodic replete with pulsating analogue synths, unrelenting motorik rhythms and incessant beats. The perfect antidote to those longing for more music since the release of the critically acclaimed ‘Modern Kosmology’, the release features title track alongside unreleased new tracks and a special remix by Finders Keepers’ Andy Votel."
This biopic of the French post-impressionist painter features a sublime score composed by Warren Ellis.
"A member of Nick Cave’s Bad Seeds, Warren Ellis is also the artist behind brilliant soundtracks with the latter: The Assassination of Jesse James by the Coward Robert Ford, The Proposition, The Road, Mars, and Hell or High Water. But Warren Ellis is not only the shadow of charismatic Nick Cave: he won the César for best score in 2016 for his first solo work Mustang and we heard his art more recently in Django.
For Gauguin, Warren Ellis has surpassed himself: melancholic strings, nostalgic pianos, and contemplative soundscapes are now the trademark of this Australian genius. The album also features four tracks by Nick Cave & Warren Ellis from their “White Lunar” compilation."
First ever release on any format of Max Richter's score for Taboo.
Max explains, “The score for Taboo comes directly out of the trajectory of the central character: an avenging dark angel, as unstoppable as fate itself. The show plays as a kind of very dark fairy tale, populated and driven by Tom Hardy’s character.
“These two aspects – the hallucinatory environment, and the irresistible force of Mr Delaney – are embodied by the two main themes. The first theme is a haunted waltz based, like hundreds of works since the seventeenth century, on a falling chromatic line called a ‘lament bass’. Widely used in opera to evoke tragedy, for Taboo I have made a deceptively sweet-sounding version of it, so that we are lulled into a false sense of security.
“The second theme is that of our protagonist, Mr Delaney. His inexorable progress is evoked by the perpetual-motion ostinato figures in the orchestra, which pivot around a bass line that moves between the interval of a tritone – called ‘Diabolus in musica’ by eighteenth-century theoreticians, because of its destabilising effect on harmony. Mr Delaney is certainly some sort of Diabolus himself.”
The Studio Barnhus boss lad flexes some disco muscle for Endless Flight
Turning out one side of claggy disco loops in Szamár, and a slower burning, bluer house remix of Snacks Order To The Senses.
Diverse batch of deep, blue house styles by new name, Jorge C, on Wouda’s Dopeness Galore.
Check for highlights in the more off-kilter, percolated jazz percussion and pensile chords in En Esíritu, and the slippery, acrid garage soul vibes of Dando Notas.
Gel Set = Chris & Cosey x Throbbing Gristle + Chromatics.
"Laura came across the phrase Body Copy while using some now forgotten freeware at a now forgotten job that didn’t want to pay for the name brand goods…body copy, as in…the text to be entered into the body of a document. “What is the content of your body’s copy?” she asks you to ask yourself. Gel Set is the art that Callier makes in her noisy bedroom, currently in Koreatown.
When asked her influences, she says “I like crunchy, hard electronic music that sounds like it was made by someone who is growing mushrooms on their person,” whatever that means, and she says she loves the raw emotion of Karen Dalton, the abstract story telling and dissonance of late Scott Walker, the synthesis of Mort Garson and Tangerine Dream, the heavy sounds of Hogg, and she’s ever flattered by comparisons to Chris and Cosey. She says she also loves music with a pop sensibility, from Erasure to Jesse Lanza. She’s a multimedia artist.
She plays in several bands besides Gel Set (her solo project). Simulation is dreamy psychedelic electronic duo with Whitney Johnson from Matchess, E+, and Verma. Athleisure is a duo with video artist Jason Ogawa from Tarnation. God Vol 1 is a duo with visual artist Nicole Ginelli. She grew up in Houston. She’s a Leo, Scorpio Rising. She says she has a codependent relationship with her 16 year old dog, Dixie, who she says wears a flame collar her roommate bought him that someone else said looks like it came from a Korn concert."
Debut album from Swedish producer Daniel Andréasson.
"Pushing his eighth year of releasing records, Andréasson's sound is in line with a more outsider approach, but with a dance floor focus. A sound that he has been pushing since the beginning.
This approach shines through at the most on the tracks such as 'Mc35I# Rushup', 'Stay' and 'Dreams' as these specific tracks shows Andréassons more accomplished style. In between, the album keeps a perfect concept throughout. Taking breathers with its interludes and in general "shorter" tracks that hints of a ambient leaning urge to express himself, he never loses focus."
Prodigal avant synth-pop star John Maus - an important early collaborator with Ariel Pink (who guests here) - returns to the scene he was instrumental in setting with Screen Memories, marking up his first album since We Must Become The Pitiless Censors Of Ourselves  and one of the most addictive records of the year thus far.
The palette remains mostly unchanged from his chain of previous Maus classics, as written for and released by Upset! The Rhythm and Ribbon Music during the ‘00s. But the tone, timbre and layering of his synths, drum machines and vocals in Screen Memories are discernibly tweaked for emphasised flavour and emotive affect. The results find Maus better expressing his contemporary concerns thru the prism of outmoded equipment, giving voice to the truth of timeless, absurd matters in an ever-more personalised style of pop articulation.
Under the wonderfully evocative header Screen Memories, a title which simultaneously conjures reflective, nostalgic imagery and possibly suggests a sort of picnoleptic reaction to the hypermodern narcissistic condition, Maus parses his own image and sense of self from the TV ‘snow’ or distortion of reality. It appears as a self who can’t escape the formative digital tang of the ‘80s which underlines so much of the modern world, yet a one who lives and dreams in the here-and-now.
It’s a supremely smart demonstration of avant-pop as playful metaphor, with Maus merging/duetting ever closer to his fine-tuned synth as a form of basic AI, occupying a strange harmonic uncanny valley of phosphorescing shadowplay between his probing hooks, bathing in the plasmic timbre or temporal and cognitive dissonance of late capitalism.
40th anniversary 12” pressing of two highlights from Doctor Alimantado’s dub reggae classic, Born For A Purpose
Giving up a heavy new reggae-disco cut of Born For A Purpose/Reason For Living dubbed to the rafters and back on the A-side, whilst the B-side sports his Still Alive/Life All Over stepped-up and dubbed way out for the disco or dancehall.
Rock 'N' Roll Singer is the debut solo album from Sun Kil Moon/Red House Painters' Mark Kozelek.
"The seven song album was released on CD in 2000 while Kozelek's final album with his previous band Red House Painters was in limbo with record label mergers.
Rock 'N' Roll Singer features three original songs, three completely deconstructed AC/DC covers (these versions are not found elsewhere) and a John Denver remake."