Rare set of mesmerising grooves led by the breezin’ bamboo flute of Max Cilla, recorded in Paris way back in 1981. Make sure to check for the wonderful ‘Crepuscule Tropical’ and the jazz-fusion soup of ‘Bouillon’.
“Born in 1944 on Martinique island, Max Cilla worked his whole life to resurrect the bamboo flute played by his forebears in the fields from the relative oblivion into which it had fallen in the early 20th century. At first, Max Cilla built them. He went up into his native coastal hills to manufacture them according to traditional rules used in India.
Using a simple piece of rough wood, he fabricated a noble instrument of great « historical » significance that showed the way for a younger generation in search of its identity. « I came up with the name of the coastal hills flute »: the great mystic asserts. Fascinated by Cuban music and Latin rhythms, he composed & played his own songs accompanied by the island’s traditional percussions. He recorded and released La Flute des Mornes Vol.1 in 1981. Max Cilla played with Archie Shepp in Paris, recorded on Bonga’s album Angola 74, shared the stage with Tito Puente & Machito and keep on playing today.”
Young composer from São Paulo, Brazil debuts with a naturally fluid, effervescent batch of plunderphonic collages combining far-flung musical signposts to disorienting yet immersive effect
“Sample machine. Instant collages. Mashup. Ready-made. Digital macumba. Psychedelic punch. Livesets deconstructing and compounding tunes of african, balkan, brazilian ritualistic sounds, funk carioca, assorted cumbias, old folklores, japanese tunes and other beats creating a fusion of musical styles. Fresh & live.
Sample colector from a wide range of regions and folklores, R Vincenzo works compounding and mixing different music backgrounds,resignifying and producing new atmospheres,melting organic and electronic sounds, live, in multi-processed audio layers.
R Vincenzo is an activ member of Voodoohop collective in Sao Paulo. VOODOOHOP is an outlandish art collective born from a series of underground parties. Djs, performers, dancers and visual artists together create a multi sensory tropical cabaret. Brasilian traditional heritage mixes with ritualistic performance. Nomadic in nature, the collective transforms spaces from abandoned buildings to natural hideaways. Always experimenting Voodoohop is in constant flux.”
Markus Popp made a much-anticipated return under his Oval guise earlier on in 2010, delivering the Oh EP for Thrill Jockey. Now, the full-length is with us - all seventy-tracks and two hours of it.
There's a very clear distinction between the Oval material of the 1990s and this new music: previously, Popp had emphatically put theory and concept ahead of the actual end product, and this made for groundbreaking, often startlingly alien sounds. All these years on and the notion of wilfully disrupting digital music platforms as a means of creation (the essence of the 'glitch' movement Oval spearheaded) feels like a well-worn and familiar idea, and so rather than retread former glories, 'O' represents a radical departure for Popp.
Abandoning his own custom-built, glitch-generating apparatus, the new approach brings Popp's musicianship to the fore, and across this sprawling track selection he further explores the language of trilling electroacoustics previewed on the recent EP. Once again, Popp occasionally adorns his compositions with percussion, adding a further 'real-life' layer to the whirring, machinated sounds that pierce the fabric of his recordings, but perhaps contrary to the intention, you can't help but wonder how those central electronic constituents are made. On the surface, it seems as if you're listening to guitars and soft-synths being sculpted into prickly melodic shapes, but you can't quite tell how much is performed in real-time and how much is an electronic treatment - or for that matter what that electronic treatment might be. Consequently, it's a little bit difficult to accept O as an about-face from Popp's conceptual, process-heavy past; the essential aesthetics of this music (particularly the more fragmentary, miniaturised tracks of the second disc) actually seem like close cousins of the old-style Oval works - almost as if you're listening to a synthesis or replication of that pioneering glitch music, except it's all very live, even acoustic sounding this time around.
However it was made, O is a triumphant return for Popp, one that sets out to reinvent the Oval sound yet remains true to its singular, pioneering spirit.
Aaron Coyes and Indra Dunis are in fine voice on their summer-ready 5th LP of psychedelic dub-pop
“Peaking Lights’ 5th album titled, "The Fifth State Of Consciousness", is a double LP produced in Peaking Lights’ Dreamfuzz studio over the last two years. It’s both a departure from the new and a return to the old with a whole new twist on the psychedelic dub-pop they’ve become know for. The Fifth State Of Consciousness is an exciting listening experience invoking a story of overcoming the shadow to rise above and painted with otherworldly sounds. It’s a 12 song 2 Disc nearly 80 minute journey, where the album takes precedence over the single. Each of the 12 songs is a story and together form the larger narrative that is the album as a whole. Thru all its peaks and valleys the larger arc of themes within The Fifth State are about dreams, loss of innocence, strength and seeking an enlightened state of being after trials and tribulations.
Sonically the double album shifts through many states from beginning to end, resonating deep, like a drive thru foreign landscapes where you’re glued to the window as everything slowly changes around you. The flow and pacing of songs has a sense of wonderment and each time you play it there’s a whole new batch of lovely sounds and eccentricities within each of the players. While bringing together their love of Psychedelic music, House, Electronic and Reggae each song manages to live it’s own life and yet still there is some magical thread that binds them together.
Produced by Aaron Coyes, the whole creative process was filled with nerdy gadgetry, playful experimentation and deep alchemical soul searching for a musical medicine. Aaron describes Dreamfuzz as “a small junkyard with many happy mistakes”. Using tape machines, writing melodies backwards then playing them in reverse, layering sound upon sound to create “pads”, literally breaking electronics to get sounds, and a strict motto of “anything goes, pure creativity”. Most sounds were run thru Peaking Lights’ 1976 16/8 Soundcraft Series Two mixing console (the same type of board used by Lee ‘Scratch’ Perry at Black Ark, and at the infamous Cargo Studios where many of the early Factory Records bands were recorded) to add some “mojo”. It’s an album that is sure to be a creeper even if you don’t fall in love on the first date.”
Slotting in with all the ‘90s anti-peristalsis that’s in vogue right now, Church unnecessarily return to the rightfully maligned and sprawling acid jazz sound with Folamour’s Melophrenia.
Jazz Session For No Future People reminds us of staying on a school night in the ‘90s to tape Gilles Peterson’s Worldwide show in the hope of catching some nuggs, but unfortunately this one sounds like the bobbins you’d have to wade thru to get the good stuff. Either that or something from a bargain bin at the boro branch of smack generators.
Melophrenia follows more successfully with a sloshing deep house groove gently lit with sparkling rhodes and burnished soul vox lifted from Aleke Kanonu’s Aleke, and the beatdown hustle of Janvier In Bed is thankfully one of those low-key burners you might hope to stumble across on GP’s show.
Voyage Direct take it back to Detroit via Amsterdam with the funked-up slickness of Things To Think About; Steve Rachmad’s debut album as Sterac Electronics, the place to go for his more soulful stripes of motor city techno-house and electro-boogie.
If this album was released as a long-lost Detroit album from an early Juan Atkins, Gerald Donald or James Stinson-related project, you might be suspicious but would hardly tell that it’s not actually produced by one of the key 313 players.
The vibes are soaked in early ‘80s electro and the styles you’d hear on The Electrifying Mojo radio show, taking in the pert Prince-style Linn percolations and deft bas work of his sampler 12” Altruistic Endeavour and the Shari Vare-esque Game Changers next to the gilded synth funk of Tuning Into Frequencies and his Cybotron-like ace Original Pattern, plus the expert groove control of Next Destination and the double-refractive Dutch/Detroit shimmy of Beyond My Wishes and AFXian Analord excellence with Visulaze to Materialise, all marking up some of the deadliest hi-tech funk you’ll hear in 2017.
Timo Van Lujik (Af Ursin) and Andrew Chalk regroup their quiet energies alongside Tom James Scott (guitar) and Daisuke Suzuki (korogi) with the tenderly spectral and folksy ambient strokes of Balayes De La Main Du Hasard for Chalk’s private imprint; Faraway Press. If you're into anything from Talk Talk to The Necks to Kreng - this one comes hugely recommended.
Intimacy, modesty and attention to detail are key to the sound of Elodie and all carefully in check on this, their 11th recording together since 2011. Absorbing cues from minimal classical, ethereal folk and even wistful traces of country music, they effectively transmute those inspirations to locate a gently luminous middle distance sound, one which seems occupy the space between the speakers and the ears with a quality best compared to the last shaft of dying light in a darkened room.
It’s perhaps an overused phrase on these pages, but the effect of their music inside is decidedly dreamlike. They seem to prise sounds from warm, hazy air, rendering an array of shimmering, mirage-like extractions through a combination of super refined instrumental techniques and ineffable levels of empathy, enabling them to conjure very particular out-of-body sensations and an incredibly lush sort of spectral intangibility.
The way they layer and suspend the elements in their compositions is little short of magical, bringing the sense of space and detail of a ’60s jazz record into the ambient realm with a ghostly sleight of hand that coolly short circuits and makes much modern classical sound totally overwrought by comparison, and likewise lends a folk wise delicacy to ambient music which doesn’t come with the usual, cloying tropes.
It’s sound like a fine, refreshing mist in hot weather, or a sort of temporal balm for these accelerated times.
From the endless treasure chest of Loren Mazzacane Connors comes this necessary vinyl edition of Evangelin, where Connors takes the role of instrumental narrator, retelling the story of forlorn 17th C. lovers from the perspective of Evangeline, the heroine of an epic-poem written in 1847.
In the wrong hands this could be dire, but you can trust that Connors approaches the project - originally recorded and released on CD back in 1998 - with the kind of pathos you’d be warranted in expecting from the lauded, veteran artist.
The romantic themes are palpably sore and melancholy throughout, curling and sashaying at time-stopping pace from his quiet croon and strums in Evangeline to passages of almost jazzy wistfulness (Two Paths) and one stunning portion of gloaming, elemental abstraction at its core (The Bridegroom of Snow), followed by the starkly reveberant meditation Vocie Of The Ocean, “Despair Not!” and a pretty much devastating final run of poignant vignettes including Oh, My Beloved and the barely there Gabriel Dies.
Sniff, sniff. Yeh mate that’s my hayfever. I’m not crying over the beauty of the record at all… But f*ck me, it is really, really lovely.
A killer reading of José Luis Castillejo's TLALAATALA book by Fernando Millan, recorded in Madrid in 2001.
"Modern or advanced writing is a direct and independent medium, i.e. it realizes and gives presence to a set of relationships without the need of further dependence (as it happened till now in literature) on other media. Words, syllables, stories, sounds, psychology, music, etc., are no longer needed: advanced writing can do without intermediate elements. Modern writing is neither symbolic nor descriptive. Its purpose is the purpose of all modern art: to reduce necessity. The freedom achieved by writing (as a "medium") may perhaps become an inspiration (a "metaphor") of what could be achieved elsewhere (in the "reality"), independently and without imitation.
Writing, perhaps the art more subdued to avidity and ambition, an instrument of subjection since it was invented by priests and legislators, has been the last of the arts to seek for its liberation. Writing itself created the worst of our servitudes that still rules and dominates the world: literality. Because without literality, any servitude to being of metaphorical and reflexive freedom would be impossible. Servitude exists and grows within the bureaucratic and technocratic literality which dominates the world with its laws, rules, and mechanisms. Freedom of comprehension, and therefore the liberation of writing, can be accomplished through the restoration of the metaphorical character of the so-called "reality", through the destruction of textual literality and the restoration of all the imaginary figures and persons of the psyche in front of the divination of the soul or the spirit.
As proved by TLALAATALA, the liberation of writing must go through the elaboration of vacuous structures that should be perceived without being captured, without being fixed through numbers and signs. It goes through a writing where you can no longer state that "the written, written is", since it establishes an imaginary and metaphorical reflection of the vacuity and of the mutual relation of processes and phenomena."
F*ck Fundamentalist Pigs is Stephen O’Malley’s crushing, personal and intensely emotive retort to the fascists and fundamentalists who undermine his and our sense of personal liberty and freedom, particularly in the wake of attacks suffered by Charlie Hebdo magazine and the residents of Paris during late 2015, and the countless poor souls who’ve suffered in the Middle East, Kenya and North Africa.
The material itself is just staggering - appearing a mere couple of weeks after Sunn O)))’s Kannon and once again displaying the intensity of O’Malley's immersive, uncompromising aesthetic, congealing tarriest waves of sub-harmonic drone and bad-handed chord changes into a glaring expression of sustained, paranoid tension and jawing, cathartic blows.
The original recordings were made only days after the Charlie Hebdo attack at the start of 2015 and intended to be released under this title as the start of a trio of live recordings thru iDEAL in spring 2016. However, in light of the recent 13th November attacks, he felt it was only right to bring forward this release to “offer a small sense of solace in the time, even for the few hundred who hear them.”
Here’s what O’Malley himself says about the album:
“On 8 January 2015, the day following the Charlie Hebdo murders in Paris (the city I have called home for the last 8 years), I started a week long tour of Norway. During this jaunt I faced the toxic reality daily of the horrible blossoming events intermittently via television. These sense of distance was both fortunate and painful … a fortunate sense of partial detachment both welcome and shameful. The Trondheim concert on 9 January (depicted here) happened on a particularly intense day in this timeline … and was personally a true example of the purging power of immersion in music.
Through a web of emotions resolving distance, disintegration, the intense power of the moment and the brutal fundamentalist, cultural and psychological aspects behind … And today the recent horror of 13 November in Paris we experienced… to say many of these thoughts intensified is an understatement. The seemingly basic outrage of the title I chose for this album seemed more apt as a cry of liberty, a small, crude attempt at the spirit of Darkthrone’s timeless statement « With my art I am the fist. In the face of god. » . Like most of us I have also sometimes fallen for the constant baiting toward anger, outrage, paranoia and fear in the daily life, often but not always misdirected, but it is not debilitating by any means.
It’s clear that as an experimental guitar player I have absolutely no political power (or even ability to articulate in those forms) but it’s important to take the opportunity to say « fuck you » in these situations. To the facist & fundamentalist movements. To the absurding of the worst sides of monotheistic belief systems. And not only the perpetrators behind these events but also on other sides including the reactive and opportunistic. Those with most to gain are the underlying authoritarians in our own societies who have opportunities to implement and increase their control even further for their gains. The « security » changes we face in fact may also result in yet further increase in the loss of liberty and freedom.
The reactions aimed toward increased separation of cultures, xenophobia, nationalism, and especially racism are highly regrettable. I hope these recordings offer a small sense of solace in the time, even for the few hundred who hear them. I know they (and this text) are ultimately useless but … I am moved and shaken. I sincerely hope my point of view evolves out of what I have written above. For the concert on this record we had a massive backline with beautiful vintage Hiwatt amplifiers, and two PAs (including a Funktion One) in the small venue Blæst, the night hosted by Nymusikk. Immersion. Bliss. This record is actually the third part of a trilogy of live solo guitar records we intended to be released on iDEAL during spring 2016… but we were able to fast-forward due to the timeliness and by personal request.
I recommend an interesting editorial, much more clearly expressed, around such topics : http://bit.ly/1lTNCR8
All profits on this release will be donated to the French Red Cross. Know that by purchasing this record you are in turn donating to that charity.”
Stephen O’Malley - December 2015.
Framed by two spoken word samples and wrapped in house and techno emotions: the new, second album from Martin Enke aka Lake People moves in a fresh way.
"This time he shifts towards a focus on the essentials of electronic club music: sounds and groove, rough and play-ful interweaved with the aesthetic particles of techno. with his “point ep”, released on the berlin based imprint krakatau records in late 2012, his creative life as a producer for melancholic driven club tunes took off.
Several top notch djs played the tune “point in time”, lake people started to tour world-wide with his mesmerizing live set and produced countless remixes for colleagues from all around the globe.
In 2015 he finally released his first album “purposely uncertain field” on the munich based label permanent vaca-tion and delivered eleven tracks at the interface of techno, ambient, experimental and electronic, that bewitch with hymnal chords, yearningly melodies, detailed production, elaborate sound design and an overall introspective, emotive feeling.
Now, just shortly after he published a fresh ep on the dresden based imprint uncanny valley, lake people drops “phase transition”, a new album consisting of ten haunting tracks full of dance suspense.
He recorded all between 2016 and early 2017 on various vintage analog synthesizers, uad and other creative interfaces. to find out if his latest pure slamming tracks work deep, he tried them out during his live shows in order to catch some new ideas directly from the dance floor.
Later he refitted the tested material, so that all ten tunes dance together as a compact album, which at times still sounds melancholic and vulnerable, but comes around at large in a more self-assured guise.
You also experience in any tone, rhythmic twist or melody, that his latest music came naturally out of the soul of a producer, who constantly is doing music: at home or on the road. during this continual work flow, he created sparser, direct kicking spheres, that also still bring some drama to the party.
A fine moody you-don’t-stop grooving record that follows a heartfelt syuzhet, which is full of temperament, devo-tional, partly larry-heardish and straight like a bullet, carrying the audience from joy and whimsy too melancholy and sugared desolation. dance this mess around!"
The 'Bookhead EP' features nine tracks from the CD/Tape-only 'Butter Version' of JJ Doom's 'Key To Kuffs' album
Including remixes and alternative versions by Radiohead's Thom Yorke & Jonny Greenwood, Clams Casino, Dave Sitek, Beck, and BADBADNOTGOOD. Del Tha Funkee Homosapien turns up on an alternate version of 'Viberian Son'.
Rivet grips Grand Mal X for a narcotically absorbing and very classy instalment of darkwave sensations. One for the connoisseurs to really savour
“After one year of high energy industrial and punk-leaning music, Kess Kill presents something slightly more contemplative: the vinyl debut of the Swedish act Grand Mal x.
The Solna based duo started in 2010 and was first known from the cassette scene, which was also where we stumbled across their work.
Drawing from a long and wide palette of influences — from Osho dynamic meditation and EU highways, to artists like Suicide, Coil and Rune Lindblad — their music breathes an ethereal yet catchy air, a difficult line to tread. The fact that one of the members is active at the legendary experimental EMS Studios in Stockholm might be the reason for the unusual amount of depth and maturity, steering the music sternly away from the plainly accessible.
Opener 'Late Night Call' is a brooding and growling number perfect for setting the mood in any room or occasion needing an infusion of sweaty sexual energy. 'Speed Of Light', the record's most up-tempo song, leans towards both synth pop and electro-punk. On the flip 'The Trip' does the exact opposite of the opener, winding things down both emotionally and energy wise, replacing sex appeal with lithium-lined angst, not unlike Alan Wilder at his deepest. Ending the EP is 'Rabbit', an unadulterated trip down a similarly named hole for those who feel like falling.
Summed up it's the most abstract but surprisingly catchy Kess Kill release to date, an essential beacon in grasping the label's concept.”
Historic compilation of sound poetry, including a fascinating example of the the artist’s unique hydromegaphone. Recital’s Sean McCann provides notes below…
“Collection of recordings by the Italian sound and concrete poet Arrigo Lora-Totino (1928-2016). His place in the history and development of poetical intermedia is undisputed.
This LP holds fourteen voice-based tape works made from the years 1968 to 2000. While there is some use of cut-up tape manipulation, the artistry truly lies in his performance of the sound plays. Multi-tracking is utilized and Arrigo’s nebulous voice paintings splat and click and glide. His bold expression is inspiring to me: it leads by example in encouraging the pulling of oneself further into their art.
I was staying at a hotel in San Francisco when I awoke in a sunfilled room to an email from Giovanni Fontana telling me that Arrigo had passed away. I was saddened by the departure of such a creative man, yet proud to be working with and perpetuating his legacy.”
'Minute Bodies: The Intimate World of F. Percy Smith”, directed by Stuart Staples of tindersticks, was first screened at the 60th BFI London Film Festival in October 2016. It is a meditative and immersive film tribute to the astonishing work and achievements of the early twentieth century naturalist, inventor and pioneering filmmaker F. Percy Smith.
"'Minute bodies' is an interpretative edit that combines Smith's original footage with a new contemporary score by tindersticks, with Thomas Belhom and Christine Ott, to create a hypnotic, alien yet familiar dreamscape that connects us to the sense of wonder Smith must have felt as he peered through his own lenses to see these micro-worlds for the first time.
The forming of the edit and its musical score evolved over a three year period. The music was created from a loose collective of invited musicians. With tindersticks at its heart it also greatly benefits from the involvement of Thomas Belhom (percussion) and Christine Ott (Ondes Martenot and piano). There are also cameos from David Coulter (Musical saw and Nose flute) and Julian Siegel (Saxophone). It was recorded and mixed at the bands studio in France.
Musical score by tindersticks with Thomas Belhom and Christine Ott."
Compiled by Gilles Peterson, the Brownswood Bubblers series returns. Released on vinyl for the first time, the idea remains the same – shining a light on new and under-the-radar talent.
"The roll-call of artists who’ve appeared on the Brownswood Bubblers series is impressive. Boasting alumni like Flying Lotus, Dam-Funk and Floating Points, the compilations have long championed the rising stars of underground music. The first edition since 2014, Brownswood Bubblers 12 picks up where 11 left off – by looking to the acts set to make waves in 2017 and beyond.
With a whole three years having passed since the last Bubblers was released, too much exciting music has amassed to fit onto one release. For that reason, it’s been split into two parts – making room for the whole, expansive spectrum of new sounds, this first part will be followed by a second in the coming months.
The new compilation arrives as Peterson’s independent label Brownswood Recordings – from which the series takes its name – kicks off celebrations for its 10th birthday. With two compilations, Brownswood 10 and Brownswood 10 Versions, celebrating the label’s shapeshifting legacy, the return of Brownswood Bubblers is a welcome look to the future."
Cottam heads toward the equator on his 7th 12” in eight years
Hustling a cloud of dust with the hypnotic bass pressure, hazy strings and eye-fluttering vocal top line of Heat Stroke, then slamming out the pneumatic torque of Lymph Nodes and balancing earth-scooping subs with sweeping dusky pads in Wall Of Sound, one of the darkest corners of his catalogue.
The UK’s strongest D&B label of the last few years fires another big one with Outer Heaven’s high pressure Pathos EP, forming his debut for UVB-76 after some class turns for Rupture London and 117 Recordings.
In synch with the label’s darkly defined style, Outer Heaven tempers a brooding, rolling tech-step sound in four parts: locking in with the snap jaw snares and double tap subs on Pathos; letting the subs go deep and wide beneath the flinty break and sci-fi stabs of Azimuth; then turning up the classic Doc Scott or Metalheadz vibes in a string highlight, Moonfunk; and mainlining that darkish pressure into the lip-biting tension of Outback.
For them that know…
A breathtaking, ancient-sounding and otherworldly suite of electronics from Timo Van Lujik in his Af Ursin garb - the first entirely electronic record made at his Kulta Saha studio. It’s ear-watering stuff that crosses lines between early Oramics, the sheer gradients of Jaap Vink’s algorithmic tape recordings and the subtlest, classic deep/inner space soundtracks of Tarkovsky films or Vangelis interludes, but even still, those comparisons stop short of capturing the intoxicating, abstract enigma at work.
Written in respective dedication to Eric Faes (with whom Van Lujik collaborated as part of Noise-Maker’s Fifes in the ‘90s) and Xavier Bastiaensen, this is music for cutting the cord, severing communications and drifting off at tangents to the known world. Of course that’s always a nice thought and probably at the back of the mind for many sonic astronauts, but it’s one that’s impeccably explored and brought to life with unfathomable grasp of depth perception and deliquescent harmonic colouring here.
Aside from Van Lujik’s work in the Elodie duo with Andrew Chalk, we still vividly recall his Aura Legato [2005/2016] release which was brought to our attention on a Blackest Ever Black reissue. Safe to say, then, that this one sounds naught like the parallel acoustic world suggested by Aura Legato, and much closer to what we’d imagine as deep space music, setting spatial parameters at the very limits of our proprioception in a way that encourages us to think of the universe in 3D. Sounds appear above, behind, between and beyond the ears in headphones, and likewise project filigree starmaps of sound from the speakers - meshing pointillist glimmers into sweeping, moire contours that fascinate and suspend the listener from every angle.
What a record.
Nicholas Britell achieved his Academy Award-nominated score by weaving orchestral elements with Southern rap, specifically Houston’s well-documented ‘chopped and screwed’ sound, where records are slowed down and cut to shreds, repurposing the music for alternative listening situations.
"In writing the music for ‘Moonlight’ there were two distinct phases of the writing process. Britell would write music that inspired him from the early cuts of the film and his discussions with Jenkins; afterwards, Britell would begin to experiment with ‘chopping and screwing’ his own recordings.
“We didn’t take the hood to the arthouse, took the arthouse to the hood,” said the film’s director Barry Jenks. “Nick’s compositions pulse and rumble, creating a feeling in one’s chest that reminds me of the trunk rattling music of home.”
Different Circles ringleaders, Mumdance & Logos, load up their first joint plate since the seminal Proto  LP with two super wide, grittily spacious and HD hybrids of grime, techno and sci-fi sound design for their highly collectible series.
Proceeding the label’s sought-after shots from Rabit, Airhead, and two volumes of the Weightless compilation featuring Inkke, Dark0, Murlo, and the pair's own gem, Café Del Mar; this new 12" catches them carving out a quintessentially UK rave sound for 2017 from a bank of modular kit and software plugins.
On the A-side, FFS they feel to warp the club with head-compressing subbass hits and pinched claps wrapped in a slow-strobing, stop-start derangement punctuated by nutty vocals and convulsive modem noise. It’s as close as they’ve come to turning the club into a faulty anti-gravity chamber and sends dancers reeling every time.
The B-side’s BMT explores a skizzier, belligerent sound. Rolling from elusive location recordings to stuttering flashcore kicks and a flush of plasmic bell tones shredded up with combustible digital distortion, they toe a fine line between panic and dread, and a more stush, shark-eyed sort of resolution, preferring to re-calibrate and translate their influences from classic tech-step, grime and cinematic sound design, rather than merely imitate them. The result is a proper rave girder that stands out miles from the crowd.
The label's back catalogue has also just gone live on Download formats for the first time!
There is something wonderfully uplifting and naive about the mittle European B-Movie Pop and Library Music of the 1970's. An imperfect perfection of sound palette and melody, creating & encapsulating a whole world of hypnotic intrigue.
"This feeling is what comes to mind when listening to the debut album of Californian Scott Gilmore, which is reminiscent (in more modern times) of the pre “Moon Safari” Air.
The playful opening of 'E70 No.01' leads us on to the Bowie and Eno-esque shimmerings of 'Europe' and the Gainsbourg hazed moments of 'Flight Through Grey' and 'Subtle Vertigo'. The album closes with 'Walking Underground', a Valley Boy diary of the outsider looking inwards at the bizarrity of everyday life. This is a travelogue of the timeless and gently obscure, a bunch of rarities all in one place, at one time, woven together with an accomplished sense of harmony, counterpoint and vision.
From the river side of the Dordogne, to the Grünewald of Berlin, the white sands of Playa de ses Illetes and the urban sprawl of Van Nuys, this is an alternative sonic reality sent to free the mind and open the heart, as the sun rises high in the sky and the cotton wool heat envelopes us all in it's gilded cage."
Oval’s landmark 1995 album ‘94diskont’ took the world of electronic music and turned it on its head and caused Markus Popp to be credited as the creator of what was later dubbed the ‘glitch’ or ‘clicks & cuts’ style.
In celebration of Thrill Jockey’s 25th Anniversary, classic titles from Oval are finally available on vinyl again.The second disc features remixes from Jim O’Rourke, Scanner, Mouse On Mars and Christian Vogel.
Never-before-released Ondioline cuts from Jean-Jacques Perrey’s archive, curated by long-time Perrey fan and recent collaborator Wally De Backer (Gotye), this is the first release on his Forgotten Futures imprint. Includes rare tracks from early private press releases meticulously restored and remastered from original sources, Includes collaborations with Angelo Badalamenti and Dick Hyman.
"Jean-Jacques Perrey (1929-2016) was a pioneer of electronic pop music celebrated for his uniquely whimsical sampled soundworld, his groundbreaking style of rhythmic tape editing, and his early use of the Moog modular synthesizer.
Perrey was also the world’s only virtuoso of the Ondioline, a remarkable French proto-synthesizer from the 1940s.
Jean-Jacques Perrey et son Ondioline focusses on this early period of Perrey’s musical life, exploring his intimate relationship with this unusual and expressive instrument.
The compilation features never-before-released collaborations with Angelo Badalamenti and Dick Hyman, early arrangements from test pressings of beloved Perrey tunes, and cuts from highly collectible albums of early library music he recorded.
Also featured is a rare extended demonstration of the Ondioline, which receives its first commercial release.
A must for dedicated fans, and a vibrant introduction for new listeners, this release canvasses Perrey’s unparalleled mastery of the Ondioline, points towards his later sample and Moog work, and illuminates a heretofore little-explored melancholy side to his recorded work.
Curated by long-time Perrey fan and recent collaborator Wally De Backer (Gotye), this is the first release on Forgotten Futures, a new record label set up by De Backer to excavate lost works by pioneering producers and musical instrument inventors."
Addendum to the sweet batch of Timo Van Lujik-centred LPs (Af Ursine, Elodie, Lumine) newly in stock this week, Saivo documents The Belgium-based Finn farther exploring the heavily psychedelic duo, Ilta Hämärä alongside Bart De Paepe (Sylvester Anfang II, Bokrijk, Charles Vögele) for De Paepe’s Sloowax - an offshoot of the prolific Sloow Tapes label.
The scope for Saivo is perhaps more dilated than Van Lujik’s trio of new releases, and somewhat closer to the electro-acoustic wanderlust of his Af Ursin project thanks to the a mutual sense of trippiness that we’d also associate with De Paepe’s work in Sylvester Anfang II. Essentially the pair divine a sort of pineal alchemy inside, gingerly approaching from stereo extremes to frame a widescreen, lysergic sound between the eyes and around the head with beautifully illusive and elusive mixing treatments.
They first draw us in with a magickal shimmer of percussion and keys in Spektrin Huntu before seamlessly segueing into the ascendent kosmiche trajectories of Sielun Ankalo, then following the spirals of Tuoksuva to the lense-smearing astral creme of Kynttilänvalon Jumalat and the bifurcating raga drone helixes of Kuvitteellinen Alkuperä at the run-out.
That all appears to be a sort of mental preparation for the steepest leg of the journey, the summit of Tähdenlentoja on the B-side. Freed of time restraints, here they really billow outward and upwards, buoyed by updrafting strings and angel’s breath harps to a pinched highpoint where oxygen is in short supply and depth perceptions become warped, intangible.
Enchanting, rhythmelodic Cumbia meditations from modern day Colombia.
For the Baruya people of Papua New Guinea, the tsimia is the great ceremonial house. It represents the symbolic body of the tribe. In the center, the pillar structure which this building is called "grandfather". Home of all men from all the villages, all the lineages at a time, mixing all the clans, the tsimia materialize their unity. At its peak planted four or five pieces of wood carved pointing in the four directions of the sky. They are called "Nilamayé" flowers (Maye) rays (Nile). For the Baruya Sun supernatural deity is the father, the father of everyone without distinction of gender or social status. The sun is connected with all. He gave men the strength, the energy, the primordial fire.
Nilamayé is a group of Afro-Colombian music. His repertoire is inspired by music related to water seas and rivers that have been synonymous with life, joy and interbreeding. With fresh exuberance of his voices, the warm tones of marimba de chonta, deep sounds of cununos and bombos, the brightness of guasas and maracas and rhythmic exuberance of alegre drum. Nilamayé shares with listeners the "contagious joy" of the Colombian people.
Lory D tweaks the Italo-techno envelope again for his disciples at Numbers, rubbing out some of his ruddiest, deepest acid house rollers with signature flair.
Deep Acoustic finds him testing out canny percussion recording on a slinky sort of Afro-Cuban hustle underlined with a pent-up tangle of a bassline that shakes it right, before Acid CLX22 jacks the funk to sweatier levels for the freakier dancers, DJs.
Our percy, however, is the demented romp of mg-comp-strngd, a seriously bugged out acid techno play that threatens to spill out of control at any second, whilst Suoneria layers his drum box and synth into an arpeggiated spume of Analord-esque wonkiness.
Wojciech Golczewski’s second LP on Death Waltz Originals is actually a prequel to his 2015 debut Reality Check and the second part of a proposed trilogy to be finished in 2018.
"This time out the emphasis is on super minimal widescreen sci-fi ambience. The record is absolutely epic in scope and features lush synth arrangements with melody lines that bubble just under the surface creating a multi layered listen that is perfect for late nights and dark rooms."
Arriving in the most fecund phase of the Tape Loop Orchestra’s entropic lifespan, The 1915-16 Panama Pacific Expo documents TLO teaming up with members of the Exposition Orchestra, featuring the dulcet tones of the Opus 500 organ as performed by Edwin H Lemare, in dedication to one of the greatest engineering feats of humankind.
The 10” vinyl and 3” CDr both comprise two extended parts per piece, with the vinyl optimistically gazing out on the billowing widescreen panorama of Novagem, and contrasting that with an elegiac sweep of strings in Augmented Light that deeply recalls traces of Deathprod and Johann Johannsson.
Exquisite minimal wave pickings from 1982 Belgium, cooked up on their own 7” for the first time by OnderStroom Records, a division of the far-reaching and excellent Aguirre Records.
Occidental White were a one-off project formed by Bernard Vranckx (synth-FX) and Bernadette Dupont (voice, bass) along with Frédéric Walheer, the latter of whom is best regarded as co-founder of the legendary Sub Rosa label and member of Kaa Antilope and Waving Ondulata. Their sole recordings together first appeared on the (technically unofficial) compilation Walkin’ After Midnight (1982) and are hardly known beyond that set.
Thank chuff, then, for this 7”, presenting the steppers’ delight of Progress Through Research with its percolated drum machines and scribbly synths hingeing around that kind of cutesy, Belgy vocal that we can’t get enough of, and in a way that reminds of Brenda Ray and Naffi Sandwich, or any number of others from that era to be fair. Likewise, the contrasting, downtempo sway of the B-side, Should I Care also gets us right on the melancholy sweet spot, especially when quivering synth top line comes in.
‘Frozen Refrains’ is the fifth studio album by electroacoustic composer Bérangère Maximin, following releases for Tzadik, Sub Rosa and Crammed Discs.
"Across six multi-layered pieces the album explores themes of multiplicity, possible futures, subjectivity, dissonant emotions and memory as a force of imagination, reinvention and power. Its narrative is anchored in musical tradition while also challenging it, incorporating strategies of Musique Concrète and acoustic transformation.
Raised on the remote French colonial island of Reunion, Maximin takes pleasure in contradiction and contemplation, sculpting fragmented sequences of loops, signal drift and electroacoustic texture into “digital chimeras.” Her music connects digital and physical, isolation and lyricism, revealing the latent melodies."
Svreca, Pris, Nastika and Ancestral Voices explore the grey area of Pact Infernal’s The Descent  in monotone contrasts.
Top marks go to Ancestral Voices for the bombed out swagger of his Circle VIII (Fraud) remix, and runner-up prize to the enigmatic Nastika, making their first appearance beyond the Altar label with a sound reminding of FiS’ earliest tribal churners.
Amsterdam’s Knekelhuis pull out some class, knackered dark wave/EBM pop nuggets from New Jersey's Smersh c. 1984/1989, backed with a gripping remix by the widely tipped Parrish Smith.
As key protagonists of the ‘80s EBM underground, Smersh pushed a rawly expressive sound which, with the benefit of hindsight, clearly paved the way for a lot of weirdos working int he gaps between industrial, odd ball house and screwy electronics nowadays.
The two tracks on the M Appeal EP are two of the most pop-wise we’ve heard from Smersh’s sprawling catalogue, with the slow, claggy electro waltz of M Appeal  making its first appearance on wax, following woozy lines of melodic thought over grubby, pendulous machine groove leading to a real peach in the corroded EBM galvanics and near-Latin Freestyle’d vocal of Kiss Me Stupid, which is guaranteed to get a lot of spins around our way. Funnily enough they both respectively recall aspects of Dirk Desaever productions from the same era, too.
If you need any more persuasion, Parrish Smith sorts that on the B-side with a remix of M Appeal, rendering the skinny, skizzy original with big-boned and dank industrial dubbing and lashings of salty noise to taste. Already a big one with Jon K, this.
Subtext offer an engrossing study of the Davul drum, improvised with personalised, extended technique by Turkish artist Cevdet Erek and recorded in Berlin. While common to many cultures across the middle east and Europe, we’d wager few have heard the davul sound quite like it does on this record, where it’s turned into a bewildering and fluidly disciplined display of low end rumbles, scrapes and rimshots in uniquely expressive rhythms.
Davul proceeds Erek’s Frenzy (OST) for Subtext with a broader, more in-depth exploration of the drum’s myriad voices presented with no overdubs or edits, effectively using a finely skilled approach - honed in private over a number of years - to document the instrument’s rawest character traits, and, by turns, revealing some of its most uncharacteristic potentials.
The results recall a broad set of reference points, with opener Heal sounding like Colin Stetson jamming on a single note with First Nation peoples, whereas Prepare sounds out like some caveman dancehall (actually reminds us of when the sound cut out at an Equiknoxx show and folk beat the a rhythm for Shanique on the walls), whilst on Kirast he makes it sound like a detuned Balafon prepped for war, and Dicycles could almost be the sound of a knackered tractor engine failing to properly combust.
The results make for an intense listen and form Erek’s purest statement of intent to date; a exhaustively fascinating and intimate experience.
Batu continues to firm up a sterling 2017 run with the diffused UK bass movements of the Marius EP for DBA, sorry Hessle Audio (whose new disco bag looks a lot like the DBA ones).
Presumably aware that google searches for Batu Marius will bring up links to the Romanian composer who has nowt to do with it, the Bristol-bassed producer unfurls four cuts of fluid sub swerve and glistening chromatic convolutions across the plate, bubbling up the piquant percolations of Marius at the front, and the balearic tinged drift of Don’t at the back, and nestling the balmy swagger of Off Court and a lop-sided deep house roller called Nosema at its core.
Nomine goes all the way in with the sub-bass on this one
Layering LFO-swept bass with sentry-bot mentasms and clanking half step punctussion in Stomp, and looking eastwards again with the Distance styled sino-metal-step alloy of Slip on the back. Production is powerful on this wan.
Supple, rolling and stepping tech-house dubs from Sweden’s Joel Alter - half of the Jonsson/Alter duo for Kontra-Musik - going solo on Denmark’s Echocord label.
Check Tilted Reality for cannily pendulous bass movements and sublime, counter-clockwise pads; Elevation for a deep dwelling dub techno chord rider; and Solitude for an intimate dub house ‘step that turns into a misty-eyed and classic-sounding deep techno mystery.
Matt Benyayer and Tom Edwards aka Dark Sky follow up the release of their second LP with a new single.
"The Passenger" beautifully encapsulates the vibe of Othana, creating a deep and emotive atmosphere while maintaining a pounding techno undercurrent, taking you to higher states of happiness.
It is accompanied by Roman Flügel’s remix of album track "The Walker". Being the skilled legend he is, Flügel pushes the track just a little bit more to the front, gently adding some extra bliss to an absolutely vibrant effect."
Lacquer crackling tech-noise from Rita Mikhael’s E-Saggila project, which has previously transmitted on Opal Tapes and Summer Iasle, and now coughs up these charred chunks for Bank Records NYC.
Scaling in pace from sluggish ruggish to breakneck pelt, Tools Of My Purpose maintains dank and nasty agenda from start to finish, pounding out the drily echoic tattoo of Lethe and the stubborn thwack of Bronze Eyelids with its gusty shoegaze lift on the A-side, and then synching the needling rattle of Shifting Wounds with evil, burned out oscillators on the B-side, peaking out at the rabid industro-techno charge of the title track.
The Vinyl version is just the original album, remastered in 2015, overseen by Prince Himself. The 2CD and 3CD editions is where it's at basically, both include a second disc of previously unreleased tracks from the vault which quite frankly is something many of us thought we'd never get to hear outside of dodgy bootleg versions. The 3CD version also includes an extra disc of b-sides and edits, plus a previously unreleased concert filmed in 1985.
2015 Paisley Park Remaster of the original tapes from the soundtrack, presenting an unheard vision of the album overseen by Prince himself before his untimely 2016 passing. The 2nd disc: From The Vault & Unreleased boasts eleven gems unearthed from the heart of Prince’s storied vault. Additionally, all of the material is taken from the source and mastered by Bernie Grundman, the mastering engineer who worked on the original album.
Includes a 2nd sic - From The Vault & Unreleased boasts eleven gems unearthed from the heart of Prince’s storied vault. Six tracks that have never been released or distributed in the collector or bootleg community include: “Possessed” - the ’83 Prince solo version, never heard before; “Electric Intercourse”- the studio version not known to exist before it was discovered at Paisley; “Father’s Song” - a full, five plus minute version that prior to this fans could only find a minute and half snippet of in the movie; “We Can Fuck” - a track that has never circulated as the full, 10 minute version with these lyrics; and “Katrina’s Paper Dolls” - a finished master of the song, which has previously only circulated as a demo. Additionally, all of the material is taken from the source and mastered by Bernie Grundman, the mastering engineer who worked on the original album.
In addition to the Original Album (2015 Paisley Park Remaster) and From The Vault & Unreleased, the Purple Rain Deluxe - Expanded Edition presents a third disc of Single Edits & B-Sides, as well as the concert DVD Prince And The Revolution Live at the Carrier Dome, Syracuse, NY, March 30, 1985. With audio and video restored from the original production master tape, it offers an exclusive vignette into the passion and power of his legendary live performances during one of the artist’s most celebrated eras
Ron Trent tests out a rawer, dub-wise tribal house sound under his new moniker; Blak Punk Soundsystem.
Vibes are laid down thick and humid in the A-side’s Red Cloud, which strongly reminds of an overgrown take on those recent DJ Sprinkles dubs of Will Long, mainly due to its huge, grubbing baseline and exquisitely spacious mixing treatment.
The B-side’s BPS Dub however feels out balmy space somewhere to the mediterranean south of Rhythm & Sound, melding lilting guitar with growling vox and spumes of dub FX for the first half, before the breeze takes it on a more stepping 4/4 trajectory. Save this for the late hours…
Fra Lippo Lippi is a gothic post-punk band founded in Nesodden, Norway in 1978. Band members were Rune Kristoffersen (guitar, bass, keyboards, piano) Per Oystein Sorensen (vocals, synthesizer, keyboards), and Morten Sjoberg (drums, keyboards).
"Their sound was heavily influenced by bands such as Joy Division and The Cure. In 1981 the band recorded and released "In Silence”, a hard to grasp, dark album with ominous bass lines, death-march percussion, pensive keyboards, and sinister, indecipherable vocals. In 1998, Rune started releasing experimental music on his very own label called Rune Grammofon, where he has highlighted many experimental Norwegian acts such as Arne Nordheim, Supersilent, and Motorpsycho."
“In Silence has a more unrefined sound and should have any fan of Joy Division wishing they’d heard of this band sooner. If I were to review Closer or Unknown Pleasures today, they’d obviously receive 5/5. Therefore, since Fra Lippo Lippi is so strangely similar, and "In Silence" is almost like having a new Joy Division/New Order album, I’d be hard pressed to give it a anything less than a near perfect score. Find out for yourself what you’ve missed out on for the past twenty years. Wow!” Tiny Mix Tapes
Preternaturally gifted multi-instrumentalist Timo Van Lujik (Af Ursine, Elodie) meets Canadian improvisor Graham Stewart - ov Violence And The Sacred - in a probing new duo, Lumine, who debut with the uneasy and pensive minimal classical ambience of All The Unnamed for Van Lujik’s private press label, La Scie Dorée.
Part of a strong batch of new slabs featuring Van Lujik, this one is by any measure the most brooding and sparse of the lot. But just like practically anything Van Lujik is involved with, there’s a nuance and sensitivity to light and emotion which places this one beyond your usual dank or dark categories in a more ambiguous place streaked with quietly fleeting emotions.
Working at typically low volume levels from the outset, Lumine stealthily draw our focus to a bed of bass like dry ice, swirling at the feet while they coax out keening silhouettes of drone and midnight jazz figures in the mid-range, middle-ground leaving acres of room in the upper registers to be haunted by quivering electronic timbres and plasmic apparitions. A delicate, frayed narrative unfolds from these seemingly abstract scenes, revealing a glacial interplay of tension and dramaturgy of desolate melodies that linger on the mind with languid form.
In a similar way to the work of Belgium’s Kreng, All The Unnamed could quite easily be the soundtrack to an achingly slow and cerebral film noir, or even some particularly long and engrossing scene from a Lynch flick, but, where say Bohren Und Der Club of Gore play into your sense of anticipation, Van Lujik and Stewart really play around it, placing us on tenterhooks from the coruscating hush of Trakl right thru the chamber-like drift of Bachman, to a sublime denouement of percolated bass, eloquent strings and chimes in Ko Un, where the sublime tension dissipates into the ether and you’ll want to do it all again.
Low-key, hypnagogic synth-pop from a pair of actual, real-life primary school Teachers from London for Willie Burns’ W.T. label.
"Vocoder pop duo of primary school teachers in London making beautiful songs with drum machines, synths, and voices. One of the guys released previously on WT as Tagwell Woods. Works at home or in the club."