Intensely defined yet mercurial mutations of B-More, industrial and vaporous sonics, fresh out of L.A. RIYL Aaron David Ross, Steven Warwick, ÈLG
Italy’s Hundebiss scores a third LP-shaped hit from Jaws, the reality-based sound and performance project project of Robert ‘Sex Boyz’ Girardin. Object Dom follows the trajectory of Girardin’s two previous albums for Hundebiss, throwing a messy assortment of rave signifiers through his digital mangler, resulting in a charmingly DIY 12-track collection. Add to this, some obtuse track titles and subversive thematic discourse on the social media age - The Stream is Girardin tackling the politics surrounding online notifications for example.
Anyway, from opener Boouncer onwards, Object Dom is a pretty intense trip before JAWS wisely drops a breather with Powerstructures which builds a nice steamy head of Prurient-gone-digital drama out of nothing. From there on, Girardin toys with the seams of ‘ardcore and pop with compelling if occasionally head-scratching results. If Beau Wanzer grew up as a digital native in LA obsessed with gabba he might sound like JAWS.
RIYL Aaron David Ross, Presto!, Steven Warwick, ÈLG.
Includes an ace Factory Floor remix! Jennifer Cardini’s Correspondant label make room for a swaggering, mutant krautrock session from Die Wilde Jagd; a Düsseldorf-based duo with a tight line in cranky, disco-compatible psych grooves.
A-side they charge up the scissoring shuffle of Geisterfahrer - meaning to “drive the wrong way” - where they veer classic krautrock templates into a much slinkier, contemporary ‘floor friendly groove without losing sight of the original, hypnotic appeal, which factory Floor duly dry to its essence of pensile rhythmic tics and gasping atonal jabs recalling recent aces from Dale Cornish.
On the flipside Die Wilde Jagd really come into their own with a long, lean groover named Drachenfels which sounds like a smoother take on classic, ascendent kraut chuggers from Conrad Schnitzler to Neu or Can.
After distilling D&B to its purest, halfstep essence on arrows for A14 and UVB-76 Music, Bristol’s Pessimist hovers between 170bpm and squashed, c.125-135bpm techno rolige for Simon Shreeve’s Osiris Music UK stronghold.
In familiar mode, he goes deep and dank with the churning subs, plasmic licks and strafing steppers hi-hats of Pagans, whereas the rest of the EP works as a testing ground for his experiments within techno, dubstep and industrial temporalities, turning out like a nastier Peverelist/Livity Sound with stone cold body roller, Astrous, before synching the booming kicks and cutting claps of Inner Circle for the wall-bangers, and then receding into the Rhythmic Theory-like techno-dub dimensions of Mist.
Spacious and moody techno variations from NYC’s Phil Moffa on Volte-face’s BleeD.
Psychohistory rolls out with squashed but thundering tribal drums embedded in a radiant, surging sound sphere; Dodecahedron recedes back into the mist, riding a thick kick until the tension peaks and it comes, proper; he slows right down on Decimation to sound like a grumbling Peder Mannerfelt shotting rave chord stabs from the hip, which Volte-Face reworks as a cavernous, dubby sunday session.
Keysound standards in effect from boss lad Blackdown, shelling four mixes of Keysound Sessions Anthem ranging from the Metalheadz/Different Circles-style tension of the Feverish Weightless Mix to the bumpy punctuation of his Techrollage Mix, the mutant original and a roguish 8bar Mix.
Killer avant-dancefloor and dank electronic selection from iDEAL feat exclusive tracks from PAN’s Sewer Election, Posh Isolation’s Varg, plus the hugely tipped Alexandra Atnif and Ryan Martin’s Copley Medal alias.
Sweden’s indomitable Dan Johansson a.k.a. Sewer Election - whose Vidöppna Sår was among the earliest LPs released by PAN - goes first with a pyroclastic torrent of molten distortion which calves away to, strangely enough, reveal acoustic guitar strums and soggy location recordings before handing over to keenly tipped American artist Alexandra Atnif, who really gets under the skin with a pair of thrumming rhythmic noise pieces demonstrating devilish discipline and a proper feel for biting-point tones. Keep an eye out for her new stuff.
Trust Ryan Martin’s Copley Medal alias to reset the scene with Ger Lopig on the other side. Following from last year’s Trance Below The Streets collaboration with iDEAL bossman, Joachim Nordwall, his latest sacrifice is an absorbing piece of drone torpor that could initially be a Deathprod piece or a Black Metal intro, but which eventually precipitates a deep, systolic pulse that marks up as the best we’ve heard from him.
Then the prolific Varg takes us to the edge with the purified, headlong oscillations and noise payload of Run No More Pts. I & II, primed to slice thru the floor or dank bedrooms with unrepentant, laser-guided precision.
Justin Wright squints his eyes and saddles up a soaring trip down the kosmiche highway on America Here & Now Sessions for Brazil’s Essence Music. Arching high for his first mission of 2017, the psychedelic journeyman makes a strong reminder of his visionary work on Immune, Sound Of Cobra and numerous other labels over the last seven years…
“Expo Seventy is back on Essence Music with the mastermind Justin Wright bringing together a rare line-up featuring two drummers. The four-piece only lived during a short period of time and the thunderous experiments achieved by these unique sonic hypnotists are fully presented here.
With an impressive discography of transcendent kosmische drones, slow-burn psychedelic magnetism and heavier sounds behind him, Wright decided to set a new milestone with America Here & Now Sessions. Freely touching distant, dark corners of the cosmos where the sun shines timid, the band slowly builds two long movements of truly mesmerizing, free-form quality that propels the listener even higher to maximum altered state of consciousness.
Warm, harmonic, meditational analog synth explorations get eventually accompanied by bursting, ritualistic percussions and distorted guitar tones, while a gloomy welcome ceremony of heavier guitar jams paints a grand canvas of seriously dark psychedelia.
America Here & Now Sessions was recorded during the three-week art experience started in Kansas City featuring paintings, sculptures, poetry, plays, films and music from local and national artists called "America: Now And Here - A cross-country traveling dialogue about America through the arts". Local musician Ashley Miller spearheaded a recording project that featured a handful of local acts to record some music that would be later edited together and released as an album. The project lost funding, but Expo Seventy was able to record as part of the art experiment.”
Special new edition of this classic score written, performed and recorded by acclaimed actor, director and musician Adan Jodorowsky...
"The original score for 'Dance Of Reality' expands from gossamer acoustic folk guitar themes and solo piano compositions to rich cinematic orchestral arrangements, echoing the work of John Barry and Ennio Morricone, combined with extrovert narrative traditional pieces executed in the vein of Nino Rota.
In order to introduce a special presentation, the label developed a concept in collaboration with Italian fashion designer Fabio Quaranta, who tailored the record by curating the artwork, in terms of design, choice of material, manner of pressing and the stitching process. This special Italian edition is limited to 500 copies in a beautiful silkscreened felt cover."
France’s RAAR label catch a rare example of slower, relatively melodic electro-techno gear from south Wales’ hardcore survivors, Somatic Responses.
The slompy trample of Qutktch writhes and spits colourful sparks up front beside a razor-sharp electro remix by The Exaltics, before the haywire siblings get mad again with the crisply punctuated and enunciated electro anxiety of Death Robots Attack and the dramatic drill ’n bass escalation of Broken Synapse.
Mechanical Reproductions thrown their hat in the ring with a brooding debut of half-stepping Bristol techno by new producer, Via Maris. Lovers of Livity Sound or Timedance rollers need a piece of this one…
A-side; Credentials tramples a spare, clipped rhythm until it steps on a hornets nest of mentasms which fan out on a search and destroy mission, divebombing like kamikaze or in swarming clusters around the nerve-bitten groove.
B-side; Glimpse gets off with whinier sci-fi synth tones and spooked electronics fixed to a rickety wooden knock at the darker end of Bristol bass traditions.
Shanti Celeste takes her cues from Detroit, West London and Chicago to forge the smart first release on Peach Discs.
She gets all misty-eyed and feverish with the sparking, effervescent hybrid of 313 house pads and motifs rolled up with brukken drums and maybe even a dab of early Manchester rave flavour in Loop One, whereas Selector is fully synched to Windy City styles with booty-driving bass and bucking claps softened by lustrous deep house vibes.
Shed, Bwana, Kowton and Dread D cue up remixes of Dusky’s 2016 campaign for the duo’s 17 Steps label.
All cuts make their vinyl debut here after digital releases in the last 12 months, starting up with Shed’s stepping darkside rave remix of Ingrid Is A Hybrid next to Kowton’s hands-on-resculpture of Sort It Out Sharon replacing Wiley in a cavernous, desiccated dub.
Bwana proceeds his acclaimed capsule’s Pride (Bikes) 12” with an emosh breakbeat rave remix of Ingrid Is A Hybrid, and Dread D forces Sort It Out Sharon into a taut, rubbery grime riddim.
Happa rips out two deviant electro-techno plays on his PT/5 Records. Definitely his wildest material to date.
Bum Trance sounds like a Pearson Sound getting giddy with Luke Abbott and Lorenzo Senni; stacking nervy arpeggios in teetering formation over spasmodic electro pulses, rising to a rushing crescendo of pineal-pinching chromatics that sounds like little else in the club right now.
Hallucinations could be considered the sickly trough to those ecstatic peaks. White hot No Wave guitars burn in the higher registers over knotted, gnarled groove, coming off like Raime clashing JK Flesh over a rapidly depleting oxygen supply.
Thanks to the support of 500 Kickstarter backers who invested in this recording, Emika has enlisted soprano Michaela Srumova and the Prague Metropolitan Orchestra, conducted by Paul Batson, to realise Melanfonie.
HoneySuckle Æons is the new album by hallucinatory gnostic supergroup Current 93, following hot and hard on the heels of their recent trilogy (Black Ships Ate The Sky, Aleph At Hallucinatory Mountain and Baalstorm, Sing Omega).
Current 93, who were as cool as flies and as real as rainbows, are now as perfect as planets: Eliot Bates, baby Dee, Andrew Liles, Lisa Pizzighella, Armen Ra and David Tibet."
Auntie Flo plays it low-key but burningly soulful with the Remembrance EP for Mule Musiq
...Carrying bittersweet, floating organ chords and gently bustling drums with a dreamy, dawning momentum across the A-side, whilst on the B-side he reframes that organ higher in the mix, more church-like against a backdrop of hovering, plangent notes, holding back his Reichian piano phrasing until it burns thru to a weightless bliss, which expands into the beat-less Rejoice Prayer version.
Israel Vines and Kit Geary reprise the murky techno drive of KGIV in two drily monotone ‘floor knockers, backed with an evil Jewff Pietro remix for the Eye Teeth sublabel of Interdimensional Transmissions.
Mockingbird trades in stylish, tunnelling dark techno rent with industrial dubbing, whereas From Fragments is more kinetic, swinging around offset clap and rolling square bass aimed at the gurny hours. Jeff Pietro’s remix intensifies the aethstics of Mockingbird.
Beau Wanzer’s 2nd Untitled 7” (this is BW-PROMO2) surveys the mutable techno weirdo from three distinct dancefloor aspects.
First, he comes off like a drier John Bender with the blunted monotone minimal wave pops of Shock Therapy leaving us feeling well dirty and boz-eyed, whereas It’s A Holiday rattles out a battery of thundering toms and unstable bass swerve unleashed in the direction of Cut Hands or Pump, then Good Vibes ensue with a really sweet B-side of bobbling proto-house patterns and frayed new age feels.
"Two brothers from the outskirts of London. Model Man set about on a journey of enlightenment through minimalism. Dissecting the piano, replacing its parts with nuts and bolts and turning conventional instrument into something unpredictable and unique.
They say “Before releasing anything we were lucky enough to play and record with some great artists such as Damon Albarn and Squarepusher on various projects. They taught us things about minimalizing our toolset and using space to create new textures in our arrangements” They have enjoyed the support of the likes of Gold Panda. For fans of Nils Frahm, Four Tet, Caribou etc.”
E.R.P aka Convextion doubles the tally of Craig Richards’ Tuppence label with this divine follow-up to Radioactive Man’s Go Ahead London.
Touching down in the slipstream of his acclaimed new Convextion album, 2845, Gerard Hanson slips into his most romantic electro outfit to present the poignant pads and incredibly tactile, warped bass shapes of New Road on the A-side, and then the gossamer glyde of Summer Nights on the B-side.
Don’t fight it…
The current UK grime, rap and R&B nexus finds its locus in New Gen; a 17 track album framing the output of of London’s New Gen Studio: a space for young MCs, songwriters, mixers and engineers to collaborate and consolidate their strength in numbers.
It’s effectively a showcase for the scenius of London sounds in 2017, surveying artists such as AJ Tracey, Nines, Avelino, Ray BLK and 67, and the spectrum of flavours they bring to the abundant table of Black British music.
Prefaced by teaser single, Ring The Alarm from Avelino and Tiggs Da Author, and the crushing rudeness of Stefflon Don & Abra Cadabra’s Money Haffi Mek, highlights also come heavy in the form of 67’s road rap banger Jackets, AJ’s sweetly moment, My Ways, the Afrobeats swerve of Rather Get Money by TE dness, and a Future-style bewt, Top Floor feat. Yang Bane.
L.I.E.S. run a raid on the rosters of Unknown Precept and BANK Records NYC, presenting six latinate industrial slugs from Nick Klein, Pure Matrix, Enrique, S. English, and Cienfuegos.
Cienfuegos follows his ace Lost In God’s Country 12” with two transmissions here, dragging up cranky voices thru the rubble and snarl leads of Social Dysmorphia on one side, and the slow, ‘floor-smothering pressure of Divine Sisters, buoyed only by a pealing cowbell on the B-side.
Pure Matrix also impresses with the sludgy, rolling heft of Choker, while Enrique makes two ragged incisions, firstly in an EBM uplink with S. English and second with the rambunctious Slump, leaving Nick Klein to Drive Through The Rainbow at 119bpm.
Hot Haus Recs sling three heavy bumps from Mall Grab
Pool Party Music puts the kicks down 4 square under flashing disco string heat to mech them pump; B_F_O_D_A_A_S cools off on a swinging sort of New York hip house sound; Catching Feelings dances on your sweeter nerve endings with pointillist hooks and the kind of patented, burnished bass work which also made his 12”s for 1080p, Church and UTTU so highly in demand.
Beautifully resdesigned and remastered reissue of this Sakamoto classic.
"In 1983, David Bowie and Ryuichi Sakamoto shared the bill in the unforgettable “Merry Christmas Mr. Lawrence” by Nagisa Ōshima. Its soundtrack, composed by Ryuichi Sakamoto in an original style, combines classical occidental symphonic composition, traditional Japanese sounds, and experimental electronic music."
With 'Copia' Eluvium's leaning towards modern classical music is drawn deep into a haze of murky ambience.
It somehow feels like Cooper's composition has finally reached the place it's been hinting at for so long, and his musical vision is slowly but surely being realised as he layers horns, piano, strings and woodwind parts over reverberating layers of effects.
After a brief introductory track we get thrown into the album's most representational moment, the sprawling 'Indoor Swimming at the Space Station', a piece of music that represents weightlessness, whether submerged underwater or floating around a hazy dreamscape - Cooper's heartbreaking piano hook is looped over and over and the orchestrated parts of the track become gradually louder, building slowly throughout the track's duration.
'Copia' is a record which will no doubt be labelled as cinematic, and in many ways that description is more than fitting, Cooper has constructed the album like a beautiful film - with large segments drifting into smaller, bite-sized vignettes. The pieces seem to have a familiarity about them, using themes in such a way that they become lodged in your memory.
When the album draws to a close on arguably Cooper's most successful track 'Repose in Blue' we go from distant, echoing strings into fireworks, bursting over what you can only hope is hills and clear lakes... and there couldn't be a more appropriate finale for this beautiful record.
Song Cycle Reissue Of an absolutely classic 1985 comp originally Released On LTM. Includes Tracks By Clock DVA, Section 25, Minny Pops, Tuxedomoon, Dislocation Dance, Crispy Ambulance, A Primary Industry & Eric Random.
Originally issued in 1985 as catalogue number LTM V.XI, back when the label was based in Glasgow and before it became closely associated with Les Disques Du Crepuscule, Heures sans Soleil marked the efforts of a keen new label owner looking to get closer to the artists he admired, and to share their music with the international tape scene which connected so many underground artists back then.
It really wasn’t a case of DM-ing someone back then, and Nice would spend his hard-earned on trips to Belgian sourcing original masters and making contact with the scene he was besotted with. Reads like a very familiar tale for anyone who remembers how it was before the internet, then?!
His efforts were not in vain. The resultant compilation reveals a clean cross-section of new wave sophistication which all falls broadly under the sylvan sound we’d associate with compilations such as From Brussels With Love - which was a big touchstone for this set - or well, quite literally the Crepuscule name, which he obviously cadged from, and would eventually end up running.
All the tracks are either taken from rare compilations or outtakes, with many made their first outing on vinyl - in effect like a precursor to V-O-D’s mission - and includes aces such as Tuxedomoon’s brooding Shelved Dreams taken from a Touch compilation along with numbers from Section 25, Eric Random and Dislocation Dance licensed from Wally van Middendorp’s Plurex label, plus a stray stripe of Polish folk off a randomly copped comp, with deletable highlights in Dislocation Dance’s nouvella vague kiss, The Next Year I Returned To St. Michelle (But Marie Had Gone And With Her My Childhood) and the stark, nervy jazz-funk of From This Prospect by A Primary Industry - who also contribute two quick and bustling versions of At Gunpoint and Perversion on the bonus 7”, if you’re fast enough to get one of the first 250 copies.
Few contemporary artists have so seeped into the underground pop psyche than the Stockholm-born songwriter. After releasing her debut These Things Take Time on hand-made CDrs, Nilsson’s follow up was a leap in scope and ambition.
"Of course, the personal takes on a tumultuous life in Berlin and the journeys to and from it inform the songs as before, but there’s a growing maturity in the songwriting in evidence. From the diary pages of These Things Take Time to a growing stature as a songwriter in touch with the universal, Follow The Light contains many of Nilsson’s now firm fan-favourites. The Closest We’ll Ever Get To Heaven is classic Molly Nilsson. Over plaintive piano chords and little else, Nilsson narrates a story of doomed friends lost, the onset of an East German winter reminding the singer of a time lost, nostalgia frosting the windows to the past.
Meanwhile In Berlin, perhaps a passing nod to Leonard Cohen in the melodic refrain, opens up the sonic palette, with synth strings fitting Nilsson’s delivery perfectly. Never O’Clock is a pure pop moment, with a lilting funk and percussion adding a carpe diem immediacy to the album’s flow. Last Forever, which remains a staple to live encores now, seven years later, is fist-pumping melancholy that only Molly Nilsson knows how to do. It’s
over before it begins and begs eternal repeat. Truth, a synth pop song that sees Nilsson exploring the upper and lower registers of her voice, feels like a lost chart hit from the mid 80s.
I Hope You Sleep At Night, a vitriolic lover’s admonishment gives way to one of Nilsson’s most popular songs: I’m Still Wearing His Jacket. It’s a sentiment that needs no real explanation: the mementos of a completed love affair remain in our wardrobes waiting to hurt us all over again. Hello Loneliness could also be an updated Leonard Cohen song, a peon to melancholy which reminds us that Nilsson has a knack for distilling the complex into sharp epithets. We end on one of Nilsson’s greatest songs. A Song They Won’t Be Playing On The Radio is so finely loaded with emotion that it’s the singer’s reserved delivery that makes it so powerful."
Assembling a cast of musicians including James Blackshaw, Alex Neilson, John Contreras, Baby Dee and Andrew Liles, David Tibet is able to summon up a formidable sonic presence for Baalstorm, Sing Omega.
Tibet's voice itself is a commanding presence here too, sounding as dynamic, articulated and impassioned as he ever has on record. This album also features some of the most beautiful arrangements heard in Current 93's catalogue for some years, peaking in this respect during 'Passenger Aleph In Name' and the stunning opener 'I Dreamt I Was Aeon', which takes melancholy piano motifs, droning organ work and startlingly lovely string arrangements as a platform for Tibet's dark sermon.
'26268' is another brilliant if slightly harrowing entry, threading together rhythmic acid-folk acoustic work from Blackshaw and Contreras' wandering cello melodies as Tibet channels his most sinister high priest persona. Only heightening the eerie atmosphere, you'll hear children's voices joining Tibet at the forefront of the mix, uttering nursery rhymes or dropping lines like "Sing Omega!'. It's all brilliantly creepy. 'I Dance Narcoleptic' concludes the record on a chaotic high, drawing to a finale with a kind of environmentally-sourced static sound - probably the noise made by trees thrashing around in the wind - that helps stir up a monstrous air of menace.
TP gives it up to the big fella as he knows best; thru the message of Detroit house.
He makes his strangely kinky case with the hushed intonation and loose-hipped swing of of God Is Love, also included as a stripped instrumental, and then with a gospel blues house appeal in the moody piano chords and meditative, wordless vox of Standing In The Light on the other one.
Long-awaited reissue of this incredible, near-mythical 1970 album, remastered from the original master tapes with superior sound quality, replica of the original RCA LP (with bonus CD) in a limited edition of 500 copies.
"An insane amalgam of avant-improvisation and motorik krautrock beats that, understandably, has become one of the most collectable LPs ever issued (original copies are impossible to obtain). Just as the first "krautrock" lp's were coming out in Germany, in Italy we had a surprisingly similar counterpart: this album. It consists of three long instrumental tracks, somewhere in between psych-rock, avantgarde jazz and funky jams. The sound is definitely experimental and ostentatiously "underground".
None of the instruments involved tries to be reassuring: the guitar is scratchy, the trumpet sounds choked, piano and keyboards are always dissonant and a background of "proto-industrial" noises is present all along the record. The music, anyway, is thrilling. The drum patterns, in particular, are extraordinary: regular, tight, groovy, and incredibly close to the "motorik" beat of Can and Neu!...Mystical, spaced-out free music at its best..."
”Passage” is the second collaborative album from London-based Ulrich Schnauss and Danish producer Jonas Munk. 11 tracks of breezy, blissed-out electronica and colourful ambient.
"As the album title denotes, there's a sense of movement in the music these two producers create together: a Schnauss & Munk composition starts one place and ends up someplace very different – something that can only rarely be said about electronic music, which traditionally has focused it's energy on texture rather than composition. Sometimes their vivid, expansive soundscapes feels like the sonic equivalent of gliding towards the horizon through a panoramic landscape on a train.
One's perspective changes slightly when in motion from one place to another – continously Approaching new things and leaving others behind. There's a prismatic, multi-dimensional quality to these 11 tracks, likely stemming from the fact that these two producers each have worked with a wide range of styles and musicians throughout their 15+ year careers: Ulrich cut his teeth as a drum and bass producer in Berlin, before releasing a string of highly influential neo-shoegazy records on labels such as Domino and City Centre Offices. Since moving to London in 2006 he's been a member of bands such as Engineers and Longview and remixed artists ranging from Depeche Mode and Pet Shop Boys to Mojave 3, and since 2013 he's been a member of legendary band Tangerine Dream.
While Jonas Munk initially became known to the post-rock and electronica communities via his Manual albums on Morr Music, he's also had his hands in psychedelic rock (he's a noted producer in the European psych scene) as well as film soundtracks and experimental minimalism. Both Ulrich and Jonas, however, have the skills of seasoned producers to weave the multitude of influences together in a well-defined sonic aesthetic. The result is a compelling set of melodic electronic music that echoes the past, yet feels fresh."
Beautiful new edition of this Jodorowsky classic, embracing everything from atonal composition to Tibetan Buddhist trumpets to chamber orchestra pieces, brass bands and parlor jazz...
"The fact that Jodorowsky composed the score entirely by himself (after, no doubt, studying the work of Morricone) is almost as impressive an artistic achievement as the film itself. In order to introduce a special presentation, the label developed a concept in collaboration with Italian fashion designer Fabio Quaranta, who tailored the record by curating the artwork, in terms of design, choice of material, manner of pressing and the stitching process."
Another chance to cop one of the most essential dub 10"s ever. To our knowledge this is the fourth official repress of Rhythm & Sound's 'No Partial', the opening track from the R&S compilation CD and one of the most important foundational tracks for the Berlin dub style.
The only drawback to this 10" is that they've now omitted the original Wailers cuts on the flip, but on it's own 'No Partial' still remains one of the most immersive seven minutes of dub purity from recent years. You should know the score with this, if you dont already own it, make the investment now and thank yourself later.
All you Rhythm and Sound freaks..get on this - it contains the original Chosen Brothers / Prince Douglas version of “March Down Babylon” - one of the finest heavy heavy dub pieces you will ever hear...
Engineer Douglas Levy was part of the original Wackies set up from 1974-75, alongside Lloyd Barnes and Jah Upton. For a while he would have his own label - Hamma - within the Bullwackies group; but besides Sugar’s International Herb, this 1980 dub album is his finest work. Wackies’ fans have been clamouring for its reissue ever since Rhythm & Sound began making the catalogue available again. Many of the rhythms are derived from a tape given to the studio by Sly and Robbie, containing their versions of recent Joe Gibbs hits. And there are brilliant treatments of Tribesman Dub - the rhythm for Tyrone Evans’ Black Like Me - and Wayne Jarrett’s definitive interpretation of Every Tongue Shall Tell.
Elsewhere Jah Batta takes deejay duties - likewise Prince Douglas himself. But the deadliest cut of all reworks another gift, Steel Pulse’s “Handsworth Revolution”, which arrived in a parcel of records from England the same weekend as the session: March Down Babylon Dub, with Bullwackie himself at the microphone in his Chosen Brothers guise, as steely and apocalyptic as Douglas Levy’s fabulous production..
Master band leader, vibraphone virtuoso and second most sampled men in hip-hop…Just a fraction of the titles Roy Ayers has amassed in his near-mythical journey through the international Jazz, Funk, Soul, and Hip Hop worlds.
"As a result of legendary albums like Everybody Loves The Sunshine (1976) Stoned Soul Picnic (1968) and Mystic Voyage (1975), Roy Ayers has established himself as a living legend and an idol of jazz cats, crate diggers and true music lovers the world over. Having played with some of the finest musicians in the world, including Herbie Hancock, Guru, Fela Kuti, Mary J. Blige, Ron Carter, Erykah Badu, and The Roots, Roy Ayers has found acceptance from both the Jazz and Hip-Hop communities.
In 2003, Ayers gave Rapster/BBE unprecedented access to hundreds of unreleased recordings. This resulting album is the 2nd in the Lost and Found series and what is likely to be a series of albums, giving life to what can only be termed "the holy grail" of any true music lover’s search.
Straight off the floor of a dusty studio in the late seventies comes this fresh as a daisy collection of previously unheard material from the legendary vibe's man Roy Ayers. Featuring an epic list of musician's such as Harry Whittaker, Steve Cobb, Justo Almario and Bernard Purdie. This is prime disco funk with a classy jazz kick and even better considering it's been kept under wrap's for the last 25 years."
Necessary, first-ever digital issue of pineal revelations by the Finnish composer, AF Ursin, who also curates the La Scie Dorée and Metaphon labels. RIYL Tomutonttu, Jozef Van Wissem, mind-opening drugs
“Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. He began his musical activities in the mid-1980s, co-founding the Noise-Maker’s Fifes collective with Geert Feytons in ’89. During the ’90s he developed his solo work under the name Af Ursin, before establishing his private press, La Scie Dorée, in 2001. It continues to act as the main platform for his own music, including regular collaborations with Christoph Heeman (as In Camera) and Andrew Chalk (as Elodie), while his other label, Metaphon (run with Marc Wroblewski and Greg Jacobs), is focussed on archival presentations from the likes of Michael Ranta, Joris de Laet, and IPEM.
Van Luijk’s work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Informed by years of intensive listening to various types of free music, exploratory drug use and especially the “irregular organic forms” of the Belgian countryside where he resides, van Luijk’s process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Over time he has evolved his own richly poetic musical language, full of allusions to drone, acid folk, classical, Musique concrète and jazz, but beholden to none.
Originally released on La Scie Doree in 2005, in an edition of 350 copies, Aura Legato is one of van Luijk’s darker and more acutely psychedelic offerings. It’s a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence – dabblings in Thelema, the fog of the opium-den – and has earned telling, if inadequate, comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS. Fully remastered by Noel Summerville, the album has never sounded better, and our vinyl edition replicates the original’s ornate presentation: sleeve die-cut in the style of a 78rpm record, with gold detailing and individually hand-glued labels. Due to be released in May 2016, we urge you to acquaint yourself with what is, unmistakably, a modern classic.”
Trust Marcel Dettmann to bring a proper techno session to DJ-Kicks’ long-running series, hitting the tuffest groove of classic late ‘80s/early ‘90s and up-to-date aces including his exclusive collaboration, Can You See with Levon Vincent, and a number of his own edits and remixes
The vibe is seriously deep, locked in and hypnotic from nose to tail; no big room bollocks or identikit bangers; just totally choice selection making clear the links between Cybersonik’s EBM-inflected techno, the Detroit-inspired Dutch techno of Orlando Voorn, and Psychick Warriors of Gaia’s lowlands tribal trance, along with Clarence G’s booty-smashing electro and new beat/wave inspired bullets from The Residents, DAS KOMBINAT and Violence FM.
We could go on and on with this one, but we reckon one look at that trackless will enough to send you lunging for the buy button.
Right up our straße. Recommended!
Legit reissue of DJ Clent’s highly sought-after obscurity Hail Mary, featuring the 2Pac-sampling title anthem, as played by Delroy Edwards on his legendary Boiler Room bosch off.
It’s pretty much worth the entry fee for that one alone, especially if you’ve seen the damage it can inflict on a dance, but there’s also some high grade gear in the pitched up R&B linger U Remind me and the call-and-response chants of Uh Oh.
Plus, if you’re bothered, the vinyl quality is much “better” than the original!
Joan La Barbara’s utterly compelling debut album, Voice is the Original Instrument (1976), is a true totem of NYC’s downtown ’70s experimental music and art scene. Containing two rigorous, vocal-only études, and one electronically affected, longer-form experiment, it was the first solo mark in an illustrious oeuvre which saw her cross paths with everyone from Cage to Reich and Glass among many other luminaries of the 20th century avant-garde.
Out-of-print on vinyl since its original release, Arc Light Editions have stepped up 40 years later to follow their crucial Arthur Russell, Ingram Marshall, and Pekka Airaksinen reissues with this necessary new pressing of Voice is the Original Instrument acting as both a valuable historical addition to any collection, and also as a reminder of the sheer, outlandish process and progress executed during NYC’s purple experimental patch of the mid ‘70s.
Without reference to religion, meditation, or yoga - as was prevalent at that time - Joan’s practice was deeply focussed on “extending the sound spectrum associated with the vocal instrument”, and doing so thru physically challenging technical methods ranging from circular breathing - just as a trumpeter may do, for instance - to strange, curdled overtone singing, as associated with Tibetan throat singing styles.
These pieces are not only hugely impressive when solely judged on that physical technique alone - we defy you to recreate those scaling glissandi in Circular Song without fainting or spluttering - but also for resonating with something inherently ancestral and strangely affecting to the human psyche.
The vast majority of us have an instinctive connection to the voice, one that reaches beyond syllables and syntax, and can tickle the soul - whether you’re laughing at the sheer weirdness of it, or shivering with delight from the sensation, maybe even both. But either way, Joan’s disciplined extremity reveals something of our nature in a very special way.
Another cracking reissue this.
Yamaneko’s sophomore album is a crafty expo of keygen music inspired by the deep sea. Keygen music is best known as an aspect of the demoscene - a computer art subculture which encompasses chiptune music and makes use of vintage tracker software - which deals in similar aesthetics to the early grime and new age impetus of Yamaneko’s music, as previously heard in the Pixel Wave Embrace album, and his ace Yaroze Dream Suite uplink with Mr. Mitch.
Effectively Project Nautiluss (Keygen Loops) sounds like the grimy spawn of Drexciya which caught the gulf stream and ended up in UK waters, where it was mutated by Sellafield radiation and nurtured by a BBC Radiophonic Workshop engineer before somehow crawling up Local Action’s pipes.
The results is 10 strangely animated digital organisms, each with their own oddly idiosyncratic character; ranging from dreamy baroque bleeps in Blemtrails to melancholic sino-grime mutations of Gala Helipop and Pixel Wavedash, or from Outrun-styled 4x4 grime chasers in Rushing the Ice Palace, and the devilishly in-the-pocket swagger and detail of Blotter, to the synaesthetic ambiguity of Pink 3’s cavernous yet compressed bass dimensions.
2016’s most meticulous album of Algorithmic Body Music, Chicago house and Belgian new beat, made by the guy who delivered that insane “For Promotional Use Only” white label for Diagonal, produced on malfunctioning software with two Atari ST PCs, using Yamaha FM synthesis via MIDI...
Following that amazing 12” for Diagonal and a limited tape release for Ecstatic, Berlin’s Nat Fowler renders his meticulous Novoline for its second full-length release, a killer marriage of automated EBM and unexpected midi disruptions, continuing a lifelong quest for esoteric knowledge and a love of archaic computer hardware.
Modelled on re-appropriated software, run on two separate Atari ST's, Movements is the compelling result of obtuse production technique and painstaking trial and error; basically experimentation at the service of discovering a sound that really sounds unlike anything else out there. As he explains:
“I like the idea of using restrictions in order to find and push boundaries, from limiting which octaves I use to how many notes at a time. I use the only PC capable of MIDI that had no multitasking, so communication is immediate, a direct mechanical communication from my fingers to the sounds is created. I feel lucky because technology has accelerated so fast since the first digital synthesisers and PCs that nothing since the early 1980s has been really pushed to its limits.”
In that sense, he can be placed in a small category of operators - including The Automatics Group, Dave Noyze, Lorenzo Senni and V/Vm among them - who persistently gnaw at the boundary between dance-pop and avant-electronics, and with all of whom he shares a capacity for hearing the poetry of singular frequencies, unique pitch combinations and the strange electronic timbres just waiting to be be born from overlooked, outmoded equipment.
Whilst at times it may recall the saltiest digital tone and gait of early Chicago house and Belgian new beat, there’s a futuristic funk and idiosyncratic ambiguity to Movement that entirely belongs to Novo Line; whether bubbling up the mutant dembow lacquer of opener, The Movement 1, radiating form the tightly-bound, curdled funk of Hot Piece, or jabbing like a bag of cyborg slow house cats in The Movement 2, it really does make for one of the year’s finest and most addictive dancefloor mutations, bar none.
Mr. Mitch and Yamaneko fuse forces for a curious confection of piquant new age themes, post-grime beatdown and modern London soul music in their Yaroze Dream Suite debut for Local Action.
From the front this is some of the most considered, abstract and diverse material in either producer’s arsenal, initially sounding like Anthony Manning writing autumnal folk with Mica Levi, before In The Moonlight introduces Hannah Mack’s girl-next-door soul vocals on thee most bittersweet bleep melody, set off right with a lonely, pealing sax line right out of the roadhouse.
With Awakening they kill the lights to a red-lit glow, stroking radar-evading bass and crushed, swivelling drums that sound distinctly like nobody else right now, whilst Spirit Temple leaves us on a sort of rugged lullaby-cum-kung fu romance tip.
Easily one of the strongest, daring EPs we’ve heard from the grime nexus in 2016.
'Radiant Intervals' was the first Eleh LP on Important since '08s 'Floating Frequencies/Intuitive Synthesis Vol.3', and follows one of the Wire magazine's (and our) top records of 2010, the incredible 'Location Momentum' for Touch.
Continuing with investigations into physically tactile tones and drones, this LP offers four further modular synth expeditions eternally moving towards the distant point depicted on the gorgeous, letterpress printed sleeve. After a stoically inert start 'Night Of Pure Energy' is unusually rhythmic (for an Eleh composition at least), propelled by waves of cone-caressing subbass and even spitting out shards of white noise as the pressure mounts.
From that relative excitement 'Death Is Eternal Bliss' returns to particle-quiverring drones, succumbing to a innate longing for what lies beyond by attempting dissolve the listener through sheer vibrational force, while the slowly repetitive 'Bright & Central As The Sun Itself' emits sustained pulse waves with an intrinsic meditative value. 'Measuring The Immeasurable' is the most affecting, gradually enveloping the field of audition with asphyxiating microtonal hum closing in on the senses like we're in a huge, sealed glass bowl filling with a hyper-conductive anaesthetic gas.
A very pleasurable experience, to our minds at least.
The latest Scottish wunderkind producer, Sam Gellaitry carves out a 2nd volume of crisp, warm hip hop instrumentals for XL with Escapism II.
Cooly following in the footsteps of Rustie, Hud Mo Offshore or Inkke, he’s the latest in a fine line of Scots who’ve taken the modern hip hop template into distinctively unique new zones whilst never losing sight of its original function; nodding heads and dancing bodies.
These five are just as colourful, inventive and soulful as the last batch, dancing between the hiccuping crunk of The Gateway to a sort of giddy gospel trap in Desert Mirage and a strong sitar lick woven into the Timbaland-esque Jacket Weather, whereas Static Sleep beams out into futurist, techier bumps and Odyssey cuts loose with 3am buckie funk hugs.
So, who knew that Basil Kirchin - the ‘father of ambient music’ and a big influence on Eno and NWW - also recorded some freaky electro and disco zingers?! Patently Trunk did, and now cough up these tiny wonders from the pioneering artist behind seminal slabs such as Abstractions Of The Industrial North and Quantum.
Far as we can tell, with thanks to Google and YouTube user Bernie Dolman, who claims to play bass on the track, Silicon Chip was written and produced by Kirchin, and recorded at the Fairview Recording Studio in Willerby, Hull c.1979-80, engineered by Roy Nieve.
It’s terrifically funky lil’ number, sounding far more like it came from Paris or New York than ‘ull in the late ‘70s when TG were probably still booting around, harassing pigeons and such. We’re not sure what market he was aiming for, then - library or disco? - but the results stand out as one of the slickest, spaced out dance trax we’ve heard from UK during that era. We could say the same about Silicon Sessions, but it’s not really a full track, per se, more like a collection of half-finished stems, which, if they were combined into track, would be one of the maddest of its time. Somebody really needs to get their razor and tape out on this!
CPU keep the levels ticking with Tryphème’s debut album, Online Dating, presenting a suite of heady electronic atmospheres and clipped braindance torque in a classically romantic ’90s style
“Introducing Tryphème aka Tiphaine Belin a Machiniste / Synthesizer-friendly artistfrom Lyon, France. With a style already being compared to the much lamented output from the Merck label, Belin brings things right up-to-date with her unique blend of melody, super tight vocals and syncopated drum arrangements.
Fun, optimistic and technically stunning, the album is an amazing journey into new wave intelligent dance music. Her approach to each track see's her effortlessly traversing styles, linking harmonies and creating emotive dance rhythms equally suited to a big room as they are to chill-out.
Belin's genre categories for the album hooked us in without even hearing the tracks; healthy-tronica, break-kiss-tronica and happy-synth to name a few. Fans of Plaid, μ-Ziq and Mrs Jynx - this one is for you.”