Originally released in 1956, More Moondog was the second album by Louis Thomas Hardin, followed the next year by a further LP, The Story Of Moondog - this new Honest Jons issue combines both these essential early albums. The tone of this fragmented, wildly eclectic body of work tends to rest its focus on percussion, exploring the Eastern-influenced, gamelan-styled sounds developed by homemade instruments like Moondog's famed "trimba" and "oo". The majority of the compositions here are brief, often very intricate miniatures, which within the space of a mere minute or two instantly place you in Moondog's singular sound world, structured with difficult time signatures and populated by sounds that are quite unlike anything you'd hear anywhere else. It's hard to imagine how alien this music must have been back in the 1950s. When the longer-form pieces arrive they embellish upon this primal, outsider aesthetic with visceral, jazzy arrangements. 'Up Broadway' is an urgent and thorny construction combining the rhythmic complexity found elsewhere with aggressive horns, while 'In A Doorway' lets a little of the outside world into its recording, embracing the street sounds that so influenced Moondog's early works and intermingling them with instrumentation. It's a curious combination of musical improvisation and concrete sound that you simply would not associate with this era. The album is completed with a selection of strange avant-garde pieces drawing on speech recordings and more lyrical, solo recordings played on keyboard instruments, including the almost ragtime 'Fiesta Piano Solo' which demonstrates the lack of agenda in this composer's canon. Moondog's outsiderness ensures an approach to modern composition that doesn't ever establish any single, fixed identity, which is of course what makes this man such an alluring figure in 20th century music. Highly recommended.
Marvellous suite of pseudo-ethnographic sounds and unreal field recordings from Andrew Pekler, tallying an engrossing debut for his Groupshow band-mate Jan Jelinek’s Faitiche (trans: a combination of facts and fetish).
Taking its cues from Claude Lévi-Strauss’ Brazilian travelogue, Tristes Tropiques and sounding not dissimilar to the washed-out new age meditation tones of early James Ferraro or Dolphins Into The Future, Pekler’s dreamy suite yields eight discrete scenes that feel like aural snapshots of planets discovered in no man’s sky; fanning out from burbling tribal rhythms in Feedback TT to the immersive 10 minutes of 4th world pygmy voices and light headed, hi-register thizz in Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy via the melted Hassell-isms of Humidity Index / Khao Sok (Chopped and Screwed) and the tangled pulses of A Savage Topography, always with a playfully involving, enchanted sensibility.
A minimalist masterpiece and pinnacle of the 20th century classical canon, this boxset collects all four parts of Steve Reich’s Drumming, plus Six Pianos and Music For Mallet Instruments, Voices and Organs on vinyl for the first time in over 40 years.
Marking an important intersection of western avant-garde thought with percussive practices inspired by Ghanaian drum rituals and Balinese gamelan ceremonies, Reich’s seminal recording has inspired countless composers since it was realised in 1973 and recorded in Hamburg, 1974, casting indelible influence over successive waves of electronic dance music - from disco to techno - thru post rock, indie-pop and all integers between them over the course of a radiant, enduring lifespan.
In fact, anyone would struggle to fully sum up the impact these recordings have had on modern music, from the way in which they effectively offered a transcendent solution to the difficulties of the serialist music which preceded them through use of innovative strategies of phasing repetition and psychoacoustic effects, to their refreshing and mesmerising pairing of percussion and vocals in distinctly unique harmonic structures, which flipped staid ideas of classical convention on their head with a new democracy of frequencies.
Whilst they are most certainly the result of long, studious hours of dedication and rigorous communal practice, ultimately the beauty of all three pieces lies in their ostensible, affectively engaging simplicity; from the hypnotically infectious pulse which underpins Drumming and the way in which it naturally swoons in and out of phase, to the elegantly airborne lift of Six Pianos and the gently rapturous vocal percolations of Music for Mallet Instruments, Voices and Organ.
An essential addition to any record collection.
Jamie Roberts (Blawan) christens his Kilner project with a cranky debut release of chokingly parched rhythmic noise and industrial beat-offs for Shifted’s Avian label, revealing his 2nd new moniker of 2016 after that Bored Young Adults EP for The Trilogy Tapes.
The six tracks of Walk Type sound like he stripped his fingertips and plugged the bone nubs right into his modular array, aiding him to channel streams of murky brown crackle and blistered noise with a rare tactility and organically amorphous structure.
If you’re looking for dance tracks, your booty is served with the animated cadaver of Filk, the Antonym-alike shunt of Auto Wave and his off-the-bone roller Tamara.
Overdue but well on-point, Kassem Mosse’s 2nd solo album proper - his debut with Honest Jon’s - is a time-and-space bending set of ancient yet modern-sounding techno deviations that makes the rest of his field seem like frustrated, gridlocked passengers.
Blending the drum machine of Jeff Mills with the hi-tech jazz chops of Mad Mike and a wondrous feel for plasmic radiophonics and dustily organic textures, Disclosure is patently KM’s definitive artistic statement, largely steering shy of any easy anthems in favour of pursuing a mystic, abstract muse deep into the wires.
No doubt at all it will piss off the bro’s fishing for big tuna, but for anyone else who can dance outside of the lines there’s stacks of crafty time-signatures, alien electronics and loose-limbed patterns to get with, from the bitter dissonance of Stepping on Salt to the frayed bustle of Drift Model and the sun-melted techno of Galaxy Series 7, whilst Monomer trades in Tevo Howard-style Chicago class and it’s hard to deny the Memphis-style percolations of Aluminosilicate Mirrors or the Molecular Memories’ Africans With Mainframes-esque projections.
Steve Spacek sounds more comfortable than ever on his new home, Eglo Records, proceeding Follow Me with a soulful beckon, If U Wan 2 Find Me backed by a stepping’ instrumental production Time Is Running Out.
If U Wan 2 Find Me is one for the wee small hours with a red and a zoot, placing beautifully measured croon on a writhing sort of cyberdub swivel with acres of rooms to loll and skank, whereas Time Is Running Out places us in a wider, sprung soundfield of acid-licked steppers’ drums and lurking sci-fi figures.
Stone cold classic Detroit business: Model 500’s Sound of Stereo reissued for the first time in 30 years!
With its cool female vox and in-the-pocket shimmy, Sound Of Stereo is one of Model 500’s most pop-wise efforts, but still packs all the rugged 313 mechanics of his most definitive early productions, which really show thru in the mighty instrumental.
Flipside features another total zinger in Atkins’ seminal Off To Battle clarion, and a rejigged take on Techno City with the banging, Kraftwerk-sampling Electric Entourage.
Dro Carey gets it very right with the squashed dance-pop diamond, Queensberry Rules feat. a killlller vocal by Kucka along with remixes from Cassius Select and in-demand producer, Mall Grab.
Queensberry Rules basically sounds like a Crazy Cousins anthem from a very slightly altered parallel dimension, nailing an impeccable balance of hook-riddled R&B vocal arrangement with electro-galvanised UKF/house that, by all rights, should have been a massive summer anthem if was issued back then.
Anyway, it’s here now to heat up your winter beside a deeper, striding house rework by Mall Grab and craftily trimmed down, slo-mo 2-step flip from Cassius Select that sounds like a warped El-B bit.
Third degree gurns from Moscow’s Obgon, igniting three party-guaranteed bangers for Phillip Gorbachev’s PG Tunes.
Right to the back teef, he goes hard with bass kicks, splintered drums and radgy noise detonations of Roundabout; harnessing fanged 16th note jabs in the EBM particulates of Dust; cantering like Putin on a weekend off with the beastly intent of Print On Your Face.
Get the juices going, we tell ya…
Sun Ra: keyboards, vocal June Tyson: vocal Marshall Allen: alto sax, flute, piccolo Danny Davis: alto sax or clarinet John Gilmore: tenor sax Akh Tal Ebah: trumpet Kwame Hadi: trumpet Eloe Omoe: bass clarinet Danny Ray: Thompson: baritone sax James Jacson: oboe Ronnie Boykins: bass Tommy Hunter, Harry Richards, Robert Underwood, and /or Lex Humphries: drums Atakatune, Alzo Wright, Odun: percussion.
Stellar Sun Ra title, recorded at Slug’s Saloon, New York, July 1972 and outta sight ever since, only now visible from our blue dot thanks to his acolytes at Art Yard. On I Roam The Cosmos Sun Ra, June Tyson and Marshall Allen sing about “impossible things, because only the impossible can save you”, offering a typically prescient and impassioned warning to the people of planet earth, set to some of the Arkestra’s dreamiest, astro-troddin’ vibes. Just imagine you’re there in the venue, on the night, sipping’ something cold in a dark corner, transfixed by this dude from another planet warning the world, attempting to wake it up in his own way to its own ways… Truly incredible stuff
“I Roam the Cosmos. I visit a Planet now and then My visits are so seldom that sometimes The people on the Planet forget who I am Whenever that happens, I have no choice But to make them remember.
And since so many men have roamed this Planet Saying so many things that never proved of worth To the Planet I will have to do what I don't want to do I will have to impress upon Every man, woman, and child upon this Planet Who I am So that they will NEVER forget who I am / All the people are asleep There is no one to give me the glory I deserve See the splendours of my Universe I made it with my very own hands / You think because my Universe is so big that you are of no importance to me? You thought I had forsaken you If I did, why am I here now? / The Sun is your very best friend Greets you every morning, Hello, my friends Bids you goodbye every night Goodbye, my friends, see you in the morning / The Sun is your very best servant Serving you day and night The Sun never sleeps The Sun never sleeps / The Universe sent me to converse with you But how can I talk to every man, woman, and child At the same time? / I, because of the majesty upon Planet Earth, Must ask the volcanoes of Earth to speak of my glory I must ask the winds of Earth to speak of my glory I must ask the Earth itself to quake and tremble. / At my presence upon the Earth must ask the Earth to change its orbits And its journey among the Stars So that it can change the destiny of every person Upon this Planet. / I must nullify astrology I must nullify all prophecies I must create a different kind of World That is more suitable for me That I might visit this Planet, and feel at home.”
Proper UK rhythm pressure from Paleman, rolling out a super sturdy first shot on his eponymous label that arguably betters his previous aces for Loefah’s Swamp81, School and 81 imprints.
A-side; Talk Louder is a ‘floor-dominating side synching dread bass rumble and dry, sparking drums to a tucked, powerful momentum pecked with nagging rap samples to cool and pinch your swagger. Killah business.
Flipside; Ice Parade highlights Paleman’s crisp and smokily spacious sound design skills, feeding a reticulated rhythm of pinging rimshots, cowbells and reverse bass hits thru a fractal hall of mirrors to sound out one of the most minimal, inventive sides from this scene in ’16.
A particularly gusty piece of kosmiche contemplation conceived in Berlin, 1979
"Electronic musician Adelbert von Deyen’s debut and sophomore album were released just a year apart from each other. “Sternzeit” was followed by “Nordborg”, which featured only one track on each side. Again, von Deyen took his time crafting a meditative maelstrom of ambient sounds. The B-side, “Iceland”, is actually an acoustic interpretation of a snowstorm in Nordborg, Denmark, as remembered by von Deyen.
Von Deyens debut album “Sternzeit” had caused quite a stir in 1978 in his home town of Lübeck, where the unconventional young artist found himself inundated with fan mail and booked for autograph sessions. His contract with Sky Records obliged him to deliver a set number of albums to the label—one per year. Enjoying financial independence, he was able to give up his job and focus exclusively on his music.
“Nordborg” appeared in 1979 and featured just two tracks, one on each side. It was inspired by a short holiday in Nordborg on the Danish island of Alsen, which coincided with a violent blizzard. “Moonrise”, the A-side title, is a slow motion improvisation on the rising of the moon on Nordborg. Opening with synths evocative of seagull cries, meditative soundscapes mesh together massive lead sounds in unhurried harmony. Winds swirl, synths twist into electronic spheres of sound, drifting without any clear dramatic structure. Immersed in introspection, Adelbert von Deyen celebrates life in the moment.
“Iceland”, the B-side piece, depicts the snowstorm. Perfect for Adelbert von Deyen’s artistic expression: sustained organ tones deliver beat frequencies, an electric piano pattern is lost in reverie, winds build through the ARP Odyssey, finally sinking into icy melancholy and detached organ tones. Towards the end we are reconciled by an almost sacral organ part which Adelbert von Deyen brings full circle as he returns to the opening theme.
Adelbert von Deyen recorded the second album, like the first, on a Revox A77 tape machine in his little home studio. The instrument list echoes that of “Sternzeit”, with an ARP Odyssey performance synthesizer, a Farfisa VIP 233 organ, a Farfisa String-Orchestra, Hohner Clavinet D6 electric piano, rhythm computer and an electric guitar.”
What looks like the penultimate edition of FatCat's split series contrasts a remarkably epic Katie Gately composition with a side of spannered psychedelic house by Tlaotlon. This is the first we've heard of Katie Gately since her fascinating side for Public Information a year ago. Again she returns to the painstaking method of sampling and editing her own vocals and concrète sources into uncannily detailed, kinetic arrangements liable to buckle, vault and twist in the most unique geometries. Her 'Pivot' plays through as one 14 minute piece collaging a tortuous narrative from multi-tracked and queered harmonies and the kind of steepled peaks you'd expect to hear in a T C F piece. It's really something else. Likewise, Tlaotlon's follow-up to 'Ekotmists' for 1080p takes that EP's aesthetic further out in a dizzying array of Astral Social Club-gone-breakbeat styles with 'Myriade', plus the more groovesome bounce and psychedelic chaos of 'Ascensis' and a pair of scrambled synthy boogie abstractions.
Dale Cornish crowns his 2016 with a stringently playful study of the Roland TR-909 clap preset for Where To Now?, coming in the wake of aces for The Tapeworm and Halcyon Veil and a guest spot on Powell’s Sport album.
Applying N.M.O.’s “as strict as possible” mantra to the exhaustive extended technique of Steve Reich’s Music For 18 Musicians in a way that also intersects with Mark Fell’s Sensate Focus output, Cornish methodically juices the clap thru various strategies, hingeing against backdrops that alternately place its instantly recognisable tone in context of the dancefloor as well as in experimental, abstract negative relief.
Oolovka is perhaps unavoidably comparable with the swing and parry of Mark Fell’s Sensate Focus winners, only underlined by welting subs, whereas Cxema jukes at a pounding 160bpm velocity recalling, funnily enough, some of Rian Treanor’s output, before Isolate smacks out some recoiling industrial techno and Before Encore leaves the claps drily thwacking away in cold empty space, occasionally collapsing in dubbed out figures.
If you’ve ben curious or puzzled as to Cornish’s output to date, this is by far his most ‘floor friendly and sure to lure some more to his uniquely considered catalogue.
Superb selection from the Ethiopiques and Amha Records archive; reissuing the 1st volume of Ethiopian Hit Parade, which was originally released in 1972 as a compilation of hit 45rpm single taken from Amha Esthèté’s eponymous record label.
On Vol.1 of 4 x LPs, we’re offered a riveting survey of the sounds which defied the restrictive rule of Emperor Haile Selassie, whose Ministry of Information initially attempted to stop Amha Records, but eventually turned a blind eye, perhaps in recognition of the fact that Amha Esthèté had the guts to produce new records of domestic music when they were too slack to produce any.
As ever with historical recordings, context is key to fully understanding the music, but you simply need a functioning set of ears to appreciate the soul and vibe of these tunes, ranging from performances by “trade-modern” singers representing Amhara and Oromo culture, alongside the pioneering founders of Ethiopian groove, such as Alemayehu Esher with the driving Addis Abeda Bete, Girma Beyene on the debonaire shuffle of Set Alameneme or the funked-up hustle of Teshome Meter’s Gara Ser Naw Betesh, along with a prime version of the Ethio-Anthem, Yekermo Saw.
All killer, no filler!
Canny, bass-warped house and techno from Denmark’s Misanthrop, who appear to be making their debut move as producers and label proprietors of Foul-Up.
The opening track is essentially the one you need to check, sounding something like a Prince Of Denmark track with loads of added subbass that proceeds to slosh almost dangerously out of control, but is harnessed by brittle drum machines and buffered by thick fields of distortion.
The others variably take in blue 2-step techno with a twinge of post-rock in Nocturnal Emission, and playfully gallic house in Limerence, but that opener, No. 3 is the show stealer.
A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track album that again shows they are masters of big hypnotic grooves.
"The album’s name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the ‘80s, most often releasing on their own 430 West label, which is where they appear again here.
Say Lenny: “We’ve been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.”
“Technology is only a tool, which we also had in mind during the recording process.” Adds Lawrence. “We decided to go back to how we used to make our records, when we didn’t have so many ‘sophisticated’ audio devices. Back to when we interacted in the studio together as musicians.”
Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don’t Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.
The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of [Where] Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans."
Sometimes, it doesn’t take very long to create something brilliant. When producer Robert Evans rejected Phillip Lambro’s original score for Chinatown, Jerry Goldsmith was hired to create another, from scratch, in just 10 days.
"To say he rose to the challenge is an understatement. Goldsmith, a 20 year veteran of the TV and movie industry with credits including Dr Kildare, Planet Of The Apes and even The Waltons theme, turned in a work that was both a career peak for him and the saviour of Roman Polanski's masterpiece of neo-noir.
What was clever about it? It wasn’t quite straight jazz, it wasn’t quite classical. It was identifiably a movie soundtrack, but an unusual one at that, leaning heavily on Uan Rasey’s mournful trumpet solos, sparingly using pianos, harps, strings and percussion, and employing sounds and crashes as overtures. It doesn’t try to speak to the film’s 1930s setting so much as to the mood and feel of the movie, a piece about political and moral corruption in a water-starved LA featuring Jack Nicholson at the absolute top of his game.
“I remember [Evans] speaking about the music having a contemporary feel, contemporary meaning the ‘30s,” Goldsmith said in an interview before his 2004 death. “I said, ‘Bob, I don’t think so – you see that on the screen, why should I do that in the underscore? … Emotions are timeless.’”
Originally released as a soundtrack in 1974, and long out of print, Cinewax's reissue is remastered from the original tapes and is presented as an exact reproduction of the original album artwork featuring Jim Pearsall’s classic film art. Drop the needle and hear why Chinatown is, reportedly, David Lynch's favorite soundtrack. Goldsmith was right about emotions..."
Proibito awakens from a summer slumber for one final dance this year with this slab from the unheralded Leaba & Le-Roy.
Last seen gifting the summer “New York City's first DEEP Reggaeton single” from Bryan Piñeyro’s DJ Python alias, Proibito close out the year with another fanciful offering from a seemingly new production unit. Larry Leaba & Bell Le-Roy hail from opposing sides of the Atlantic and apparently met “on a scuba trip in Belize in '99”. Fast forward almost 20 years and Anthony Naples has coaxed a trio of productions from the pair for this Proibito 12”, Leaba & Le-Roy Long Mixes, with both providing solo cuts as well as an extended B-side collaboration.
Leaba’s opener The Family Butter spreads out a fine assortment of percussive angles for the spiritual dancers, bookending the production with the sort of peculiar vocal sample favoured by Dublin’s Wah Wah Wino crew. Le-Roy’s Burnt Ends (Sweet And Spicy Mix) hones in on that sweet spot between NWAQ and early Huerco S., as an assemblage of thick drums and bongos pile through the intoxicating melodic haze that unfolds in front of them. The mood is ascendant throughout, like one long, satisfying puff of a spliff.
Face down, Le-Roy and Leaba join forces for the 13 minute 22-04-16 (Warmy Parm mix) which more than lives up to the seasonal connotations of the title. Again, comparisons with Wah Wah Wino instigator Morgan Buckley come to mind as this delightful, Balearic nugget develops; supple, hollowed out percussion and toasty highlife guitar intermingle with the familiar chirruping of Spring birds.
Initially released in 1979, ‘New Picnic Time’ is “weird, wonderful and so far beyond the expected that these deconstructions of popular music are as charmingly retro as the Beatles and as modern as today's blendings of funk, hip-hop and alt-rock.
Revolutionary and demented yet full of fun, Pere Ubu are indispensible to any collection of 20th century rock.” (Herald-American, Scott Laurence).
Reissue of a rare funky disco belter from ‘70s Tunisia.
“Carthago was one of those bands where the internet largely failed to provide any infos despite the fact that Carthago created some incredible music in the form of an highly infectious Tunisian take on disco music. Luckily most of the members of the 1970s musical scene of Tunis are still around to tell their story.
Carthago was founded in the late 1970s as a fusion of Dalton and a second band called Marhaba Band. Both bands frequently played at hotels and night clubs in Tunis and Sousse. They had similar musical influences and despite the fact that they were competition for the most part, they came up with the idea to join forces for a new band. Musically Carthago kept on walking on the musical path of Dalton and Marhaba but incorporated disco music, a new style that was making its way to North Africa from Europe and North America. The band had quite some success on local radio and played a number of big shows with thousands of people showing up.
The band’s concerts were a mixture of their own compositions as well as cover versions of the hits of the time from Stevie Wonder to Chicago. At the end of the 70s they went to Paris to record their only, self titled album. For our reissue we picked out two of our favorite tracks: „Hanen“ and the outstanding disco version of the Dalton track „Alech“ which has proved to work on every dance floor we played over the last two years.”
Plushly absorbing ’80s disco produce from Beesmunt Soundsystem, topping off their run of releases for Church with four prime, involving cuts for San Francisco’s HNYTRX - affiliates of Dark Entries and major party starters in their home city.
The Sensual Works EP is the strongest showcase for Beesmunt Soundsystem that we’ve heard.
Working at the slick, gay business end of the ’80s dancefloor paradigm which set a template for the last 30 years of dance music, the duo adroitly test a lean, widely dubbed electro-house and EBM style with Sensual Works, whereas Blissed Out looks farther east (or is it West from San Fran?) with diaphanous hyaline sino melodies and rolling proto-trance groove recalling classics by The Force Dimension.
They were no flukes either, as the B-side gets more forceful, clenched, with the bruxist acid drive of Playin’ Myself running like one of Gabi Delgado’s darkroom Delkom specials, and Jason ken dig chimes in with a more brooding remix of Sensual Works.
After 5 years of turning out hi-tension D&B singles, Seattle’s Homemade Weapons turns his hand to that rare thing, a debut album of exclusively D&B style mutations.
Safe to say he hasn’t compromised his sound one bit with anything like a token double bassline or a live drummer, as is too often the case with D&B LPs. Nah, the vibe is strictly for the heads with twelve tracks exploring the slightest shifts of syncopation in tendon-testing styles, with super strong results in the Rugghouse-style roll cage of Ironhead, the shadow-boxing special, Jawbox, and the clamp jaw snare bite of Red Herring.
This epic box set documents every performance from the exhibition 'Beneath the Valley of the Lowest Form of Music - The Los Angeles Free Music Society 1972-2012' at The Box, Los Angeles in 2012. The Los Angeles Free Music Society (LAFMS) is an experimental music collective founded by artists and musicians in Pasadena, California in the early 1970s. Continuously active for 40+ years, they have released over 25 albums on their LAFMS label and have released or appeared on hundreds of albums on various labels all over the world.
"In 2012, their work was the subject of a major exhibition at The Box that included photographs, visual art work, home-made instruments, recordings, ephemera, film & video. For the six week duration of the show, the gallery hosted many unforgettable concerts that captured the attitude and range of musical styles embodied by the LAFMS.
Includes performances by/of: Opening Reception Improvisation: Dennis Duck, John Duncan, Ace Farren Ford, Joseph Hammer, Mike Kelley, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Recchion, Vetza; Artificial Art Ensemble: Ted Byrnes, Ace Farren Ford, Mars Pharoah Ford, Oddrocker Orlando Greenhill, Michael Intriere; The Tenses: Oblivia & Ju Suk Reet Meate; Tom Recchion; The Doo-Dooettes: Dennis Duck, Fredrik Nilsen, Tom Recchion; Le Forte Four: Joe Potts & Rick Potts; Smegma: Dennis Duck, Ace Farren Ford, Mars Pharoah Ford, Ju Suk Reet Meate, Oblivia, Vetza; Airway: Ted Byrnes, Dennis Duck, Ace Farren Ford, Juan Gomez, Joseph Hammer, Kevin Laffey, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Recchion, Vetza; Ace & Duck / Artificial Art Ensemble: Ted Byrnes, Dennis Duck, Ace Farren Ford, Oddrocker Orlando Greenhill, Michael Intriere; Dinosaurs With Horns: Joseph Hammer & Rick Potts; Vetza & Joe Potts; Dolphin Explosion: Colette Weber Shaw & Ariel West with Dani Tull; F For Ache: Doug Harvey, Dani Tull, Marnie Weber; Eddie Ruscha, Jim Shaw, Dani Tull; Extended Organ: Paul McCarthy, Fredrik Nilsen, Joe Potts, Tom Recchion, with prerecorded XO contributions by Mike Kelley; Feedback Waveriders: Antony DiGennaro, Michael Jon Fink, Paul McCarthy, Chas Smith, Brian Walsh; Artzenkraft: John Lewis; Small Drone Orchestra: Don Lewis & Eddie Nervo; Albert Ortega; Points Of Friction: Tim Alexander, Damian Bisciglia, Mitchell Brown, Joseph Hammer, Albert Ortega; Rick Potts (on altered turntables between sets; The Jrks: Joe Berardi, Kira Vollman, Rich West; Joe & Joe: Joseph Hammer & Joe Potts; Oolies: Tom Boram, Mitchell Brown, J.P. Jenkins; Rahdunes: Nate Archer & Aaron Coye."
Severely worn-down, eviscerating industrial experiments from Italy, 1982, dug up and resuscitated in its entirety by Mannequin for the first time, backed with a strong edit by Alessandro Adriani.
Fabrizio Lucarini and Silvia Innocenti’s Plath first bubbled back to the surface when Alessio Natalizia (Not Waving) included their ace I Am Strange Now on his Mutazione (Italian Electronic & New Wave Underground 1980-1988) compilation for Strut back in 2013.
Fast fwd a couple of years and Mannequin now present I Am Strange Now as part of a 12” expansion of Plath, corralling the original’s guttural knot of spat-out vocals and whizz dick electronics alongside the proto-BM meets The Haka style of Proletarian Submission 2 (the Howl) and the burnt throbs of Telik - 12345, which could almost be a stray Conet Project transmission.
However, it’s only the boldest DJs who would dare play those bits, so Alessandro Adriani gives Proletarian Submission 2 a stronger pair of boots to stomp around on the B-side streak of numbly hypnotic, glowering EBM techno.
Bubbling up from the archive, a brilliantly warped, acidic and intoxicating décollage of soundsystem shrapnel rinsed thru the echo chamber. RIYL Tapes, Raymond Scott, Ennio Morricone, Horsepower Productions
“Shimmering hologram oases belie the bone-dry heat inna this ya ghost-bloodcl@$t-town; When tumbleweed beliefs pose as the only sign of life, it's time to step into Death's saloon; Bust down the dusty double-swinging doors even the Preacher-man dares not enter!
The Bartender has run out of liquor and listening; Sullied Doves have danced their last number; Lawmen, levelled and long-gone, litter the dance floor; Bodied outlaws doubled and draped over the bar. When the only exit is a horse-drawn hearse; Face to face with Death, who will shoot first!?!
Step into this rattlesnake-ridden realm! Dancehall Showdown is a crazy non-place world where 60’s Spaghetti Westerns, 70’s Library Synth Records and 90’s Golden Era Dancehall come together for a death-defying communion inna Yard! The old posse of SKRS and MX7 ride once again under the banner of their co-run label, ICS Library Records, off into the fringes of sound-based reality.
SKRS' OG Papa Coolbreeze reinforces their select palette, "This album is our reiteration of influences ranging from Spaghetti Western era Upsetters to Raymond Scott's Manhattan Research Inc. to early Horsepower Productions. Now the soundtrack we paint, however, is something entirely unique on its own". Simply put: there's NOTHING like it out there!
Full disclosure: this LP has been shelved for well over 3 years now with the sudden disappearance of Oklahoma's now-mythical Digitalis Recordings, who were set to release it hot on the heels of their 2012 SKRS debut LP, TheCallFromBelow. Since then, we've laboured to break more ground and lay several more keystones in the growing SKRS/ICS groundation-foundation in order to withstand its intensifying expanse and weight. Now that the ground has been prepared, we've decided to take Dancehall Showdown back into our own hands and give it the proper love and nurturing we had always intended for it.”
Classic kosmiche-skooled, industrial-toned drone works.
“Conceived in the cultural cellars of Bangkok, Thailand, and Geneva, Switzerland, this 9-track LP by Jerome, aka ‘Yantra Mandir’ and ‘The Dude of Stratosphear’, casts a wide net over experimental meditative ambient music, progressive drone, Brahmanic accents, and ritual oscillations.
Together, this work represents a 20 year journey in Geneva of musical production, artistic expression, and the melting pot of experiences fused with the rich legacy of Indian spiritual sounds.
The LP is partly a collaboration between five close collaborators, each contributing a single sound to complete the multiculti jigsaw, and partly comprised of field recordings of Bopa musicians from Rajasthan, in northern India. Added to the confluence are intricate layers of electric bass and electronic vibrations.
The name derives from ancient Sanskrit words emblematic of the overarching sound. Yantra is the Sanskrit word for mystical diagrams found in the Tantric traditions of the Indus Valley. These diagrams are used to worship dieties at home or in temples, as a meditation aid, and to activate the various benefits and occult powers as defined by Hindu astrological and Tantric texts.
Mandir is the Sanskrit word for a place in which a still mind and soul float freely search of life, peace, joy, and comfort. For centuries, the mandir has remained the nexus of a community where people forget their differences and voluntarily unite.”
Necessary reissue of an exceptionally rare solo outing by Giulia Allessandroni, one of few Italian female artists working in the field of experimental and library musics, and also wife of Alessandroni. Includes some cracking psuedo-tribal percussive works and a perky, psychy flute dancer.
“The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop/Abnormal Sensations) combining the ethos of Can’s Ethnological Forgery Series (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks.
Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country’s vibrant, and seldom rivalled musical secret society. The cliché “behind every successful man, there is a strong woman” might not do Alessandro and Giulia’s long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni’s limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo’s finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984 Giulia’s collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens, Revolver, Questo Sporco Mondo Meraviglioso, The Night Evelyn Came Out Of The Tomb, Angoscia, Inchiesta Giudiziaria and Witchcraft ‘70 (Angeli bianchi Angeli neri) earning increasing “Most Wanted” status on the collectors’ market.
It is of no coincidence that Giulia’s nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis’ seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best.”
Reissue of an album originally released in 1982, 'Song of the Bailing Man' is an ‘inspired, invigorating, confounding, disturbing... yeah, one hell of a swinging way to go.
"Still the futility Ubu must have felt making far sighted music in a chronically near-sighted world is pressed hard into these grooves.’ (Melody Maker, David Fricke).
Classic Sega game soundtrack issued on 180g classic black vinyl for the first time Remastered from original console sound chip. Housed in 425gsm yardstick with gold flood printing. Includes 2 x lithographic prints. Sounds way heavier than we remember!
“For our seventh release in partnership with SEGA of Japan, we are delighted to bring together the complete music from the classic Mega Drive games, Golden Axe (1989) and Golden Axe II (1991), in one special package. This release features the unforgettable artwork from both games, supplied on two thick lithographic prints, with the record pressed on heavyweight classic black vinyl.
The outer sleeve features rare artwork from the 1989 Japanese edition, sourced from the SEGA archives and presented on 425gsm cardstock with gold flood printing. As always, the audio has been carefully restored and mastered using the original console as the source, ensuring these memorable soundtracks are preserved for many quests to come!”
The xx come with the Christmas hustle, catching the trio at their most upbeat, swaddled in synth pads and packing a sprung ‘90s R&B groove to rescue it from drifting into the sheepskin slippers aisle.
Released in 1980, ‘The Art Of Walking’ sees Pere Ubu ‘moving even further from the conventions of rock music - and from their own past - but still moving forward, without a doubt, and losing none of their integrity as a group.’ (Melody Maker, Chris Cutler).
Trippin’ boogie peaches from down under, courtesy of the suitably monikered Pronk and Duk Duk Secret Society, who both make music as west as their names suggest.
Duk Duk Secret Society makes the first move with a slompy bump of knackered groove and sleazy vocals in Five-Thunder Messenger (Down, Down, Down! edit) that calls to mind Design A Wave’s off-kilter disco, whereas Pronk take the rest of the record on the razz between what sounds like a stray Moon Wiring Club dispatch in Nanu Nanu, to the crunchy hip hop instro, Roadside Picnic (bonus track), and a chokingly submerged pseudo-deep house dub, Backward Waterfalls.
RIYL Heatsick, CS + Kreme, Design A Wave
Killer, cusp of the ‘90s-style techno/new beat/EBM from Device Control, coughing up only his 3rd release proper after a pair of self-released 12”s on their eponymous label.
It opens with Most People which is, quite honestly, one of the best new beat/EBM tributes that we’ve heard beyond 1990 or V/Vm’s SABAM series; from the clunky chug to the minor key vocals to that nagging top line and the militant chants, this is BANG on that belgy buck.
Lexington Avenue follows, pushing into a more abstract corner of proto-techno/industrial with wickedly offset bassline, and Pit Dynamics cuts into a seam of teeth-jarring acidic dissonance, leaving Damaged to stomp itself into a Frak-shaped hole.
RIYL Novo Line, V/Vm, Frak
Frisky funk ’n soul fuelled filter house from San Proper, packing the loose but driving disco hustle of Whaddyaknow (The Proper Vocal Version) and a stripped down but bouncing insert, Well, W, No.. (The Dub-Disco-Banger) on the A-side, backed with the much more unbuttoned psych-disco heat of Born Ready (The Rainco Disclub Bow Mix) for those who want to take the ‘floor a step farther.
Reissue of Ron Trent’s I Feel The Rhythm (1999), which is itself a riff on his Chez-N Trent bomb The Choice (1993), cut to the A-side, backed with Paul Johnson remix and an Inner Experience revision by Wamdue Project.
Francesco Baudazzi (Obtane) turns back to his Violet Poison alias for a more nuanced approach to the no-mans-land between techno, dark ambient and abstract electronic spheres.
Voices From The Hell forms the first release on Dub Ito, a new label from VP’s native Italy, with six tracks cycling thru a shady spectrum of styles; gathering momentum in the concrète rattle of Beyond The Door and diffusing that energy into the broad, tumultuous techno dimensions of the title track and a glowering abyssal sound in Prussian Blue.
However, he really comes into his own on the B-side, arching up the neck-craning industrial scope of Like A Pandora’s Box next to the uncannily resonant and majestic synth arrangement of A Blade In The Dark, which ends up sounding like a stately Steve Hauschildt piece by the close.
Canny edits of “modern percussion” from Pocketknife a.k.a. Boonlorm; trading in four nifty variations drum patterns that don’t sit easily in any preordained category.
Whether that’s mixing (what sounds like) native South American, African and gamelan tones in Pernetas, pulling Chicago house backwards thru the jungles of Borneo in Threads, or splicing field recordings from a distant south Pacific island with Dance, before giving himself the full B-side for a piece of Reichian phasing in Marimbas.
New on The Trilogy Tapes...
Burning disco and dub edit hustle from Baba Stiltz; building it up to peak times with the frisky swing and skip of Keep It Lit, bringing it down again with the sloshing skank of BB, and slipping out the side door with a drizzly bumper called We Both It’s The Last Game We Play.
Virtuoso percussionist Eli Keszler offers up a defining opus with 'Last Signs of Speed', appearing on the freshly minted Empty Editions to follow his previous solo LP for PAN, and interim collaborations with Keith Fullerton Whitman, Oren Ambarchi and Rashad Becker, who is also among Keszler’s most sympathetic sound artists and the mastering engineer for this record.
Summing up Keszler’s percussive style is like trying to describe the mechanics of a haywire swiss clock, or, in fact, a repair shop full of ‘em, with each chiming to an alternate meter whilst a swarm of nanobots attempt to get them all in synch. However, subtract the clocks and ‘bots and you’re left with one man and his rarely paralleled, utterly captivating twitch spilling from drums to fender rhodes, piano, mellotron, celeste, Vibraceleste, glockenspiel, rocks and gravel without missing a beat, or even doing so and making an amazing virtue of it in the process.
Building on the foundations of his previous releases, which have variably included installation work, improvisations and collaborations, Last Signs of Speed finds Keszler blending his preternaturally fluid patterns of scurrying, brittle small sounds and resonant pulses with subtly layered overdubs of keys and strings, ebbing and swelling with a plasmic schematic that works to laws of physics and rationale perhaps best compared with Rashad Becker’s notional species, and which serves to add a whole new dimension of interest to Kessler’s already remarkable soundspshere.
It’s music that seems to exist in a state of quantum flux, folding the structures of jazz, dub and minimal techno into avant garde anomalies that defy the rules of established practice whilst simultaneously resonating with their underlying, intuitive truths. Between Last Signs of Speed, Rashad Becker’s Traditional Music of Notional Species Vol. II, Les Graciés’ Low Doses, and Valerio Tricoli’s Clonic Earth, you have some of the most involving, adventurous sonic perceptions to be revealed in 2016.
John Cale’s classic live album ‘Fragments Of A Rainy Season’, featuring his revered interpretation of Leonard Cohen’s ‘Hallelujah’ amongst many solo versions from his enduring catalogue and previously unreleased outtakes.
"‘Fragments Of A Rainy Season’ was the first live John Cale album to feature him performing solo and ‘unplugged’ - before that term became a mid 1990 s buzzword. In contrast to the jaundiced punk truculence of ‘Sabotage/Live’ (1979) or ‘Even Cowgirls Get The Blues’ (1986), ‘Fragments Of A Rainy Season’ gives us Cale at his most melodic and moving, a mellowed and certainly a soberer man in a Yamamoto jacket and a lopsided haircut running through a selection of his prettiest songs.
It’s a Cale many love deeply, a man alone at a concert-hall Steinway revisiting the pop-rock of ‘Paris 1919’ and ‘A Child’s Christmas In Wales’, as wistful and whimsical as any 70s singer songwriter holding court at LA’s Troubadour club. It’s the Cale who disavowed the spiky nihilism and decadence of the Velvets, inspired instead by melodicism of Paul McCartney and Brian Wilson (to whom he’d paid haunting homage on ‘Slow Dazzle’s brilliant Beach Boys pastiche ‘Mr. Wilson’). It’s the Cale who improbably took a staff job at Warner-Reprise in LA and - for an all-too-brief moment - became part of the Burbank producers’ mafia alongside Lenny Waronker and his laidback chums. (Lest we forget, 1973’s ‘Paris 1919’ featured members of Little Feat and The Crusaders among the backing musicians.)
Cale being Cale, ‘Fragments Of A Rainy Season’ isn’t all rueful tenderness. The deceptively jaunty ‘Darling I Need You’ is flippantly introduced as a song about “religious awakening in the southern part of the United States,” while Elvis’ ‘Heartbreak Hotel’ is no less gothic in the solo version here than it is in the Grand Guignol horror show of the original on ‘Slow Dazzle’. ‘Guts’ is as close as Cale ever came to Lou Reed at his most withering. It’s easy to forget that - years before Jeff Buckley and The X-Factor - he was the first artist to recognize the hymnal majesty of Leonard Cohen’s ‘Hallelujah’, or that it was his original 1991 reading of the song that popped up on the soundtrack of ‘Shrek’."
Just Do You is the first single from underground super-producer Lord Echo’s 3rd album ‘Harmonies’.
"So long has it’s gestation been that it has reached a status reserved only for the mythical and the absurd. Some say it will never be finished with the album devouring its host creator and assuming a life of its own - but this first single proves otherwise.
Lord Echo emerges from the darkness with a gleaming diamond in his hand - a slice of pure disco dub indulgence with all the rough trimmings that have made him a cult favourite from Tokyo to Trinidad.
With the real life concerns of the DJ always foremost in his mind, this 12” has something for every occasion with two different vocals and a radical excursion into the realm of left field disco dub that record collectors sweat over in feverish night dreams of cult record acquisition.”
As with the vast majority of their roster, CPU get the best out of DMX Krew with the unusually reserved yet flavoursome electro vibes of Space Cucumbers, his 2nd release for the Sheffield-based label.
We’re talking classic DMX Krew in the svelte title track’s supple bass hook and misty-eyed lead, and also in the Other People Place-gone-eldritch feels of Radioactive Leak, whilst More Questions pursues a crisp line of Kraftwerkian inquiry, and the uptempo Positronic Matter firmly nods to Heinrich Mueller’s Glass Domain prototypes.
Not long after the release of Peter Broderick’s seventh solo album ‘Partners’, the composer closes 2016 with ‘Grunewald’.
"Born in just one night inside the four walls of the discrete yet majestic Grunewald Church, situated on the outskirts of Berlin, this five-track EP is an exploration of the alluring partnership between the acoustic space and Broderick's solo performance on piano and violin. Reflecting the grandeur of the room and the natural interaction between the instruments and their surrounding environment, 'Grunewald' pays homage to a very unusual space that's become a haven for an entire generation of contemporary composers.
Words from Peter, October 2016:
“In the few years between 2008 and 2011 or so, the Grunewald Church in Berlin was something of a hotspot for a group of us musicians. It started when Nils scouted it as a location in which to record The Bells . . . and then it seemed like we were in there every month or two for a while, either for recordings or for concerts.
There was a lady living just down the street from the church, and we’d just knock on her door, give her a couple hundred euros, and then she’d hand over the keys to the church! To be given unsupervised access in a space like that is really quite unheard of most of the time… For anyone who likes reverb, the Grunewald is a dream come true. That in combination with the beautiful old Bösendorfer piano made it the perfect place for both recording and performing.
When mixing the recordings that comprise this EP, simply titled Grunewald in homage to that old haven of ours, there were no artificial reverbs or delays used . . . only the natural sound of that epic space. Originally these piano recordings were released as part of a split album on a small Japanese label, and the violin piece was included on a compilation, also Japanese . . . but all these pieces were recorded on the same night, in the same space, and it is with great pleasure that I see them reunited for this release.”
Unrelenting, techno-enforced bass music from the Tectonic camp: Constrict is a noisy, distorted lash of ‘floor cracking subs and stinging percussion; Running Man follows the ‘Running’ theme of last year’s Ghostrunner down a crankier gauntlet of mauling stabs buffered by undulating, motion sickness-induing bass hits.
Plushest deep house soul for sunday mornings and such from Jesse Futerman for Church; glyding out on the symphonic strings and woozy bass of My Favourite Merchant feat. Byron The Aquarius - who has released on Sound Signature and Wild Oats in the last few years - backed with the beatdown solo flex of See Me Ride and the airy swing of Gem, with Hidden Spheres bringing up the rear on a gentle retouch of Gem.
ASC keeps the grid malleable, mutable with another exemplary iteration of his current, hybrid techno rolige style dispensed by Berlin’s Horo label.
These are possibly the most impressive cuts from his most recent raft of productions, exerting serious groove control on the tempestuous torque and intensifying atmospheric pressure of Aphelion, before drying out to a more viscous flow in Geocentric Systems recalling Porter Ricks’ sloshiest, gravel-loaded wave dynamics.
Flipside he ratchets the levels to alarming degrees from the off with Perihelion, launching one of the most powerful industrial bleep techno assaults we’ve heard for years, and holds that line hard into the apocalyptic wastelands of Passel at the EP’s outer limits.
Horo shaman, Liam Blackburn (Akkord, Indigo) dons his Ancestral Voices mask in pursuit of the same metaphysical spirits whom inhabited his Night Of Visions (2015) album and Old Earth Voodoo 12” from earlier in 2016.
Taking its inspiration from psychedelic drugs and ritual as much as the lineage of darkside UK dance music, Yantra ploughs four deep, mindful furrows of wide drones and decelerated beats dragging us down into hypnotic halfstep temporalities.
Yantra hovers into view with floating vocal tones lapped with lush, treacly bass drones, gradually amassing a spiritual weight that tips over the edge into rolling tribal rhythm recalling Cut Hands. Eiyani follows in that wake with more impending feel, lowering the ceiling to a heavy black mass over rumbling, distant drum rolls leavened only by angelic chorales.
Priests of Mu finds Ancestral Voices at his most cinematic-visionary with tentative hooks luring jus into a scene of bleak enlightenment, whilst the shimmering steppers flux of Jadian Sun offers a glimmer of hope on the dawning horizon.
New LP from the acclaimed duo of Eyvind Kang and Jessika Kenney, two musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms.
"Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo, on The Face Of The Earth (2012) and Aestuarium (SOMA 002LP, 2011), most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney’s voice and Kang’s viola alongside a multitude of other instrumentalists. Kang’s “Thoughts On Being Exiled To The Frontier, For Lord Wei”, inspired by a text by the Tang dynasty poet Hsueh T’ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O’Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney’s voice, which at times is reminiscent of Michiko Hirayama‘s classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature, the piece opens a space both serene and subtly uneasy.
Kenney’s “‘Elm” features Kenney and vocalist Nova Ruth (Filastine, Twin Sista) alongside an ensemble of strings and Seattle’s Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan’s instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara IV). The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart.”
Reissue of an in-demand ’98 session by DJ Clent for Dance Mania; spilling the nutty ghetto slam of 3 Feet No Pressure, the freaky juke of 3rd Wurle with those wild horns, and the frankly unhinged Let Me Hit It up top, and shelling down the tracky styles of Bang That Rat, a lethal skipper called We Bout It, and the pneumatic filth of Bang Skeet (Org.) for the players.