Restored and remastered by Chris Carter from 24bit 'baked tape' digital transfers of the original first generation analogue master tapes.
The tragic death of Peter 'Sleazy' Christopherson earlier this year signalled the end of Throbbing Gristle, whose surviving members are currently working to complete their final album before retiring the name. It couldn't be a more appropriate time to revisit their revolutionary records of the 1970s and 1980s, remastered by Chris Carter and reissued on Industrial Records.
Their first proper album, The Second Annual Report is essentially an edited collection of live and studio takes, and still sounds fresh and uncategorisable. 'Slug Bait' has lost none of its transgressive power: the ICA recording foregrounds Genesis P.Orridge's gleefully macabre lyrics (inhabiting the mind of a particularly nasty murderer), while the shorter Southampton and Brighton versions emphasise the minimal synth drones and sampled voices. 'Maggot Brain' sounds like 60s psychedelia that's taken a wrong turn and ended up in hell, while 'Live At Rat Club London' is probably the closest thing on here to the common conception of industrial, all disorientingly looped spoken vocals, brutally mechanized percussion and needling synthesizer jabs, while 'After Cease To Exist''s oppressive atmospherics - taking up an entire side of the original LP - pretty much gave birth to the entire dark ambient genre. The comparatively bright-eyed and bushy-tailed, Kraftwerk-influenced single 'United' - the tune that ushered in a million inferior cold wave pop bands - is included along with its gloriously compressed and distorted B-side 'Zyklon B Zombie'.
It's insane to think The Second Annual Report came out in '77, the same year as Never Mind The Bollocks. Pause for a moment and reflect on that, then press the buy button.
Butterz kingz Elijah & Skilliam wrap up the sound of Grime 2017 with a 28-track rinse thru big vocal hitters and instrumentals by all the scene’s top dogs.
In case you’ve been sleeping all year, consider it a grimy digest of the tracks you need to catch up on; taking in a slew of party and club winners ranging from Blay Vision and JME’s admittance that it’s all Gone Mad at the top, thru to the aggy crouch of Skepta’s No Security at the back, and turning up bombs from Preditah, Mr. Mitch, Champion, Sully, Scratcha DVA + Killa P + Sinjin Hawke + Zora Jones, The Bug, Newham Gens & Wiley, Big Zuu, AJ Tracey, Jammz and Dizzee that spell out a detailed and diverse roadmap of the UK’s definitive homegrown sound.
Sir Richard Bishop (Sun City Girls) and Bill Orcut make for a riveting set of contrasts between their styles on the 1st instalment of Unrock’s Saraswati Series, which has since issued a string of releases from mould breakers and makers such as Eyvind Kang, Tashi Dorji, Ava Mendoza and Sam Shalabi.
Bishop unfurls 20 minutes of spellbinding improvised pan-blues instrumental narrative to leave you either floating or on the edge of your seat with Shades Of Zurvan on the Kali side.
That’s sharply contrasted with Harry Pussy guy Bill Orcutt’s handful of shorter, jagged piece on the Saraswati side, regaling ragged tales of debauchery, astrophysics and geology encrypted into his digit-slicing chops and glossolalic keen. Seriously, how has this guy got any fingers left? Or did he have spare ones to start with?
A key piece of Arvo Pärt’s peerless canon, Für Alina is the Estonian composer’s beautiful dedication to a friend’s 18 year old daughter who had just left to study in London. First performed in Tallinn in 1976, Für Alina has become one of Pärt’s most-loved and widely appreciated works - regarded an early, defining example of his signature tintinnabuli style.
For this reissue, the great Mississippi Records have teamed with Oregon’s The Ajna Offensive to gather their favourite Arvo Pärt pieces as a sort of compilation, rather than a direct reissue of the title piece, which has previously appeared on various ECM releases. It's a lovely and exquisitely well presented package.
It features two contrasting takes on Für Alina, opening with Alexei Lubimov’s, bright, if almost impending and fearful take, which subtly differs from the slower, spacious yearn of Jurgen Kruse’s version on the other side, while the rest of the LP is taken by a number of string variations on Spiegel I’m Spiegel, which has formerly accompanied the title piece on ECM releases.
The other special thing about this pressing is the appearance of Alexei Lubimov’s Variationen zur Gesundung von Arinuschka (Variations for the recovery of Arinuschka), another time-stoppingly wonderful solo piano piece, written by Pärt in 1977, and also the inclusion of Fratres, performed by Vadim Gluzman and Angela Yoffe on violin and piano.
An infinite evergreen.
The London-based jazz experimenters pay lovely tribute to Arthur Russell’s timeless, far reaching styles
“The second Hello Skinny album, Watermelon Sun conjures images of the languorous, dreamy escapism its title suggests. Channelling influences including UK jazz, New Jersey house and Chicago footwork, it’s the melodies – played on trombone, tenor sax and the keys – which are the bright-shining, consistent thread throughout. The solo project of esteemed drummer Tom Skinner (whose other recent projects include Sons of Kemet and Owiny Sigoma Band), the album features influential trombone player and composer Peter Zummo (a friend and collaborator of Arthur Russell, who’s recently released new material on Glasgow’s Optimo label).
Over the past thirty years, dance music has splintered off into a myriad web of different styles and tribes. But in the beginning, things were different: starting with New York’s late ‘70s disco boom, the city’s fertile club scene co-mingled hip-hop, R&B, punk and the avant-garde. For Hello Skinny, that open-minded attitude serves as inspiration for Watermelon Sun. Recorded in free-form, improvised live sessions, it sees that broad-minded club lineage channelled through London’s genre-blurring, jazz-influenced vanguard.”
London’s Nokuit impresses a viscous drone distillation of broken Britain, melding dense, keening electronics with TV, Radio and YouTube samples to give a choking/absorbing, abstract/hyperrealistic and largely unsentimental perspective on blighty from the inside, looking in - conveying a sense of entrapment, paralysed by forces beyond control. Crushingly strong and kinda unmissable for heavier heads, especially fans of Stephen O’Malley, Dave Phillips, Lawrence English.
“NKT presents 'Patterns of Instability', a work of freeform experimental electronic music that moves through dense noise textures, visceral sound design and time-stopping ambient suites. Unfolding over 45 minutes, the new Nokuit album is an absorbing soundtrack probing the pervasive bewilderment of society. It’s a relentless journey where blurred melodies and abrasive soundscapes unsettle our most buried dissatisfactions and inner rebellions.
Swirling drones become a sonic lens which drifts and roams through the currents and threads within the contemporary landscape. Mingling amongst the town square demonstration, flipped upside down through the cameras into the news media rooms and editing suites, dragged up into helicopters looking down into streets and homes, then bounced across the globe by satellites floating in the atmosphere. Spam bots and malware, encryption data, analysis of YouTube uploads and text messages. Rather than focusing in on any specific geographical event, ‘Patterns of Instability’ takes a widescreen approach to our contemporary age of discontent and digs deep into timeless feelings of frustration.
Expanding the peculiar set of expressive tools built over precursor works ‘Analysis Paralysis’ and ‘Reality Disappears After Waking’, here Nokuit’s music reaches its most defined and highly evolved form yet. This is an observation on how we deal with and perceive our reality - whether or not we are in control of it - and our level of acceptance of the constant brainwashing that affects our lives. Each time Nokuit’s music faces the struggle from different angles and in ‘Patterns of Instability’ it zooms in on collective, political and individual battlefields.”
After crossing paths with Kate Carr’s preternaturally sensitive field work on Helen Scarsdale Agency, the sound artist now presents the engrossing 2015 travelogue from a wind turbine to vultures (and back) on her Flaming Pines label.
Recorded during a residency at Joya arte ecologia in Velez Blanco, a mountainous region in S.E. Spain, Carr’s latest offers an intimately close reading of the landscape describing daily journeys trekking up muddy paths with little accompaniment other than distant bird calls, the beating of vultures wings, and inclement, wintry weather conditions, with a steeply immersive and unexpectedly evocative outcome.
Using her ear and by extension the microphone with the precision of a nature photographer, Kate zooms in and documents those sounds that more casual hikers will also encounter, yet may not pay so much attention to without enhanced technological means. Once stitched together in post production to form the two pieces on tape, those sound journeys are recollected as dreamlike trips, segueing from ghostly, windswept harmonics and passages of Áine O’Dwyer-like vox at the start of Ascent, to spots of unnerving lacunæ where you can almost feel the infrasonic heartbeat of trees and the mountain itself, ending up somewhere more light-headed, widescreen at the top.
Likewise, her Descent poetically conveys a sense of strangeness in its description of the mountainside, which feels to come to life with flurries of bird calls, imagined boar growls and barking dogs, vacillating between sensations of relief and caution.
If you’ve enjoyed BJNilsen’s Massif Trophies for Editions Mego, Felicia Atkinson & Jefre Cantu-Ledesma’s Comme Un Seul Narcisse, or Giuseppe Ielasi and Ricardo Renaldi’s Alpi, you’re bound to appreciate Kate Carr’s elevated, surreal perspectives here, too. Sublime.
Jaw-dropping 1st ever compilation of Gökcen Kaynatan’s maverick Turkish electronic experiments and dancers - a mind-melting instrumental array of bubbling drum machines, fuzzed-up psychedelic surf guitars and frothy microtonal synth geometries dating back to 1968. Basically the missing link between Ilan Mimaroglu, Baris Manco and Mustafa Özkent. Finders Keepers absolutely on-the-money here! Unmissable for any exotic disco or Anatolian rock freqs.
“The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside İlhan Mimaroǧlu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s – sending teenagers wild with his custom built guitars and back lines – helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey’s first national television channel TRT 1. Despite having a modest discography of only four 7” singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture.
Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan’s pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles – including a never before heard extended version of Evren – as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 – most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.”
The Saraswati Series, mostly string orientated, zigzags between the lines where underground and High-Art performance overlap.
"Out jumps the first part of our actively anti-Western sub series : the “Puppet on aString” twin albums!Osama Shalabi, a born Egyptian (best known for his work with Shalabi Effect & Land Of Kush), is an expert playing theOud, a traveler between the eastern and western worlds and long time contributor to the Montreal scene. Sam -whospent the last few years home in Cairo- breathes his own sense of space and time through the epic „Tamara”, an 18minute long melodic, delightful improvisation.
The other story starts in Agouza, Cairo, where Sam Shalabi & Alan Bishop spent some time jamming . They’d run free,lose form, find intensity, and wound up creating a contemporary version of oriental psychedelic free form. A mindblowing, wild, never mellow Cairo night, now documented here. It‘s getting intense: A north-African sand storm.“Mother Of All Sinners” will be released as a one-time limited run pressing on 140g. vinyl. It has an extra heavy de-Luxe cover and a solid printed inlay."
Alex Menzies persists in pushing Glasgow’s experimental envelopes with Other World Music Vol.2
It's an unsettling, immersive suite of psychoacoustic electronic projections that perhaps pessimistically suppose new sonic terrain beyond the new age and modern world music zeitgeists. Some of his most impressive work to date. Comparable in theme and aesthetic with recent works by Sote, Cam Deas, Rashad Becker, Autechre.
Ferric experts Hospital Productions host this, the tape edition of Godflesh’s latest sludgy slapdown Post Self, following its LP and CD issues on Justin K Broadrick’s Avalanche Recordings.
This is Godflesh in beast mode, bullishly churning a slightly abbreviated tracklist of 10 tracks (there’s 13 on the formats) that kick off with the feral lurch of Post Self and variously take in Metal club dancefloor juggernauts like Parasite, No Body, and the outstanding, even sexy roiler Mirror Of Finite Light, before taking the vibe downwards, inwards on the spirit-sousing Be God and the dirge of The Cyclic End, before properly baring their gnashers in the diesel-spitting chops and hackle-raising synths of Mortality Sorrow and the grunting tackle of In Your Shadow.
Heavily satisfying. You’ll be picking bits out of your teeth for weeks after chow down.
A crucial piece of the Loren Connors jigsaw falls into place with this first ever vinyl reissue of Hell! Hell! Hell! Hell! Hell!, now presented on wax some 20 years after the original CD issue thru The Lotus Sound. Leading on from his classic Long Nights [Table of the Elements, 1995], it takes that album’s blues-noise textures into even starker, scorched ground surely irresistible to anyone snagged by his other works, for their anomalous nature if nowt else.
Revolving around 12 works in under 20 minutes, Hell! Hell! Hell! Hell! Hell! is a succinct album that sparks and growls with an anger and anguish that distinguishes it from much of his other work. It’s hardly a rager, but there are flashes of an undisclosed pain that seem to sear thru on the many of the A-side cuts, fulminating dense walls of distorted sound like heavy shag smoke that cloaks your listening space in yellow-grey palls.
He spends much of his energies churning up this intoxicating sound on the A-side, so that by the B-side he’s back to a more reserved, but still gripping, sort of expression, including some exquisitely tender, even barely-there pieces, vacillating between burned-out blues and devastatingly strung-out nocturnes, all with the sort of minimalist efficiency of expression that we really value over here.
Not to be missed!
Re-enter a world of sinister whimsy and oneiric eccentricity with Moon Wiring Club’s YDA of weirdness in Tantalising Mews, a conceptual double album that unfolds as part of snakes & ladders-like boardgame based on a dream by the artist involving decayed discount carpet shops and missed trains. Think ‘90s VHS boardgame Nightmare/Atmosfear, but based in a unchronic steampunk UK town populated by spectral chocolatiers and anthropomorphic apparitions.
The typically surreal sounds on the two discs are intended as a background musicke for the game, with 2hr 11mins of smeared ambient inference and twilight tones that directly correspond to the mysterious Mews of the title - “one of those streets or lanes that you pass every day… the architecture doesn’t quite fit in and it probably looks a bit too swanky for the postcode” - with track numberings designed as integral to the game, whilst also adding a lot of psychedelic complication.
Moon Wiring Club imagines the musicke as a sort of Eno-esque Music For Boardgames which underlines and enhances the gameplay, before subtly increasing the tension in line with the game’s own timeframe. While this has long been a central theme and structure to myriad computer games, it’s fairly safe to say that this is the first time a PS1 Playstation has been used to make the music for its archaic antecedent.
Over the 2CD’s 44 tracks, you’re in for a genuinely beguiling treat, something akin to being dropped off in Royston Vasey at midnight with a mission to find some fancy gateaux, and all the Spars are shut. What ensues is ultimately up to you, as the game may offer some clues, but it’s maybe best to just wander its foggy ginnels of Basic Channel pre-echoes and Philip Jeck-like airs without a map, and simply follow your nose where the vapours take ya....
Moiré gives Lapsus Records’ C.E.E. sub-division a slick start with four idiosyncratic edits of classic and obscure dancefloor vibers landing square between the original sounds of Actress or Trevor Jackson or some hooky Jamal Moss’ edits.
We could be here all day trying to pick out the original samples - which are easy to hear but harder to place (although definitely know two of ‘em) - but basically there’s some delicious Detroit/UK bleep pressure, 2017 style in Drama Garden, a string-swept tribal jammer named Phone Calls, an excellent use of classic Italo snippet wedged into the salty blips and acid squelch of Kode1 Edit, and the wonky triplet donk of Futura for your wiggly pleasure.
UR.’s man from L.A., Santiago Salazar (S2, Galaxy 2 Galaxy, Los Hermanos) lays out his deeply involving, signature take on house and techno in full length format for Rekids
Scattered with proper danefloor gems such as the poised deep house push of Saturated Fear, tweaky acid funk in Aspirations For Xol, and the entrancing hi-tek sophistication of Prolonged Effect, along with some excellent diversions showing off his keyboard flair.
“Aspirations For Young Xol is Santiago Salazar’s second album. AFYX was made from personal experiences ranging from the growth of his son into adulthood, to memories of growing up in Bassett California, a struggling Latino suburb outside of Los Angeles.”
“Choir Boy” was what the kids called singer/songwriter Adam Klopp in his early teens when he fronted punk cover bands in Cleveland, Ohio. An intended insult, the label seemed fair and fitting in a way, given Klopp’s religious upbringing and angelic voice.
"After high school, Adam left Ohio for college in Utah. While his career as a student would prove short-lived, he integrated into Provo and SLC’s underground music and art scene,left religion behind, and called his new band “Choir Boy”.“It seemed funny to me as sort of a comical reclamation of the mocking title I received from “punk” peers as a teen. While serving as a weird reflection of my childhood and musical heritage.”Since Choir Boy’s gorgeous debut LP on Team Love records in 2016, the dream-pop outfit has gained a cultfollowing online and in underground circles. Adam’s stunning vocal range, layered compositions, and heartbreaking melodies are backed by musical partner Chazz Costello on bass (Fossil Arms, Sculpture Club, Human Leather) - and along with a rotating cast of players, create the perfect blend of nostalgia-laced romantic pop music we’ve been waiting years to hear. Dais is proud to announce the new single “Sunday Light” b/w “Madeline”.
The new songs are a continuation of the strong compositions and songwriting evident on last year’s album, and a showcase of Choir Boy’s musical talent. “Sunday Light” is a coming of age story, and touches on the frightening aspects of religion, ritual, and secrecy through the eyes of someone discovering the truth behind the door for the first time. Strong vocals backed with strings and reverbed keys – it makes for majestic, but haunted nostalgia.“Madeline” is the quintessential B-side heartbreaker – “…a pessimistic commentary to an accumulativeexperience with love and romance. Ranging from memories of young love to hopelessness in adult relationships”, this ballad impresses with beautiful and delicate arrangements, the slow motion soundtrack for a hopeless young romance."
More cutthroat D&B by Seattle’s baddest, sustaining the pressure of his Negative Space album and Traitors EP in four breathlessly taut and fierce new tunes.
There’s two that you really need to know. Heiress is a mean af demonstration of rolling breakbeat pressure and divebombing lixx punctuated with brutal stop/start chops; Nabilone recalls the dankest ends of Soundmurderer’s work for Rewind/Rephlex.
Reenter a world of sinister whimsy and oneiric eccentricity with Moon Wiring Club’s YDA of weirdness in Tantalising Mews, a conceptual album that unfolds as part of snakes & ladders-like boardgame based on a dream by the artist involving decaying discount carpet shops and missed trains. Think ‘90s VHS boardgame Nightmare/Atmosfear, but based in a unchronic steampunk UK town populated by spectral chocolatiers and anthropomorphic apparitions.
The typically surreal sounds on the vinyl are intended as a background musicke for the game, with 40 minutes of smeared ambient inference and twilight tones imagined as a sort of Eno-esque Music For Boardgames which underlines and enhances the gameplay with a not-too-distracting quality, before subtly increasing the tension in line with the game’s own timeframe. While this has long been a central theme and structure to myriad computer games, it’s fairly safe to say that this is the first time a PS1 Playstation has been used to make the music for its archaic antecedent.
On the vinyl, Moon Wiring Club rolls the dice on a thoroughly elusive sequence of eldritch sound, using the PS1’s FX to emulate melted shellac, gaggles of ghosts and the imagined environmental sounds of an eerie parallel dimension that lies just behind our own reality. Of course, you can play the record without the game for equally disorienting effect...
Icelandic composer Ólafur Arnalds reissues and revives his debut album in form of a special remastered 10th Anniversary edition titled Eulogy For Evolution 2017.
|Following its initial release in 2007 and coinciding with Ólafur’s 30th birthday, label founder Robert Raths gifted the chance for this record to shine a second time.
Eulogy For Evolution is a journey from birth to death, transporting the listener through life itself. Originally written as a teenager, the record has now been restored with the help of his friends, remixed by Ólafur himself and remastered by Nils Frahm. The cover art was redesigned and enhanced by Torsten Posselt at FELD using the original photographs taken by Stuart Bailes during a trip to Ólafur’s home in Iceland in 2007.
To experience the record in the present day is not only to experience the past, but also the sheer timelessness and relevance of these compositions, and the ambition Ólafur has had from the very beginning. “Fast forward 10 years, our relationships and knowledge in sound have matured, but you can still hear this urgency in Óli’s songs that caught my ears to begin with”, states Robert Raths."