Hauntingly tender solo debut LP from London’s Kelly Lee Owens, delivering on the promise of her excellent Jenny Hval and Daniel Avery collaborations/remixes in a full album of sylvan tech house and synth-pop beauties.
Prefaced by the head-turning single, Oleic - which featured a smart rework of Jenny Hval’s Kingsize - Kelly Lee Owens’ eponymous album introduces a well rounded yet subtly detailed sound to the world at large, one brimming with the rare promise of an artist who wants to extract something more precious, personalised from the dance music and pop prisms which clearly enthral her music.
There’s probably always going to be something about ethereal, floating vocals and the sensual contours of European tech house, when at its best, which will eternally grab our attention. And this album delivers strongly on both counts - striking an impeccable balance of classic, timeless pop songwriting and purring, contemporary electronic grooves that places it in an exulted space on the shelves.
Collaborators Jenny Hval and Daniel Avery appear on the record’s highlights; Jenny lending her poised delivery and lyrics, framed by KLO’s breathy gilding, on the baroque pop-house dream sequence of Anxi., with Avery assisting on the Fever Ray-meets-Liz Fraser stylings of Keep On Walking; whilst the rest is subtly aided by the mixing and engineering treatments of James Greenwood, who’s best known as Ghost Culture on Erol Elkan’s Phantasy Sound.
That combination of KLO’s chamber-like arrangements and Greenwood’s rendering results a string of other pearls in the strung out balearia of S.O. at the front, thru the gorgeous Arthur - which is surely a play on that library record Aphex Twin sampled on Xtal?! - whereas Evolution flexes some properly toned dancefloor muscle, and Throwing Lines could very nearly be mistaken for a cut from Grimes’ Halfaxa period.
After years of plaudits from all corners, Jacques Greene distills the ecstatic/melancholy sentiment of modern electronic house music within Feel Infinite, his debut album for LuckyMe.
Throughout the album’s 11 tracks, the Montreal-based producer synthesises the see-sawing feels of a night with pals, fingers tasting like acrid saffron and skin flush with water retention, using a range of contemporary house, R&B and electro-pop conventions to convey the warmest, user-friendly vibes.
Tom Krell (How To Dress Well) is partly responsible for one of the album’s highlights with pleading vocals on the swinging soft trance R&B gesture, True, and an uncredited female (or processed male) voice sparkles as an instrumental element across many other, with ear-snagging style in the filter-disco chops of Real Time, and cooing from the snappy 2-step structure of Afterglow.
Bambooman wickedly freshens up his palette to ear + booty-snagging effect on this winner for Matthew Herbert’s yung Accidental Jnr label.
Stepping out of the garage/hip hop paradigm and into a more inquisitive, new zones of polymetric measures and of kilter harmonics, yet without losing the subtly swung charm of his earlier releases, Bambooman embraces the present future with style in the four tracks of Shudder.
The title track lives up to its mantle with a lean display of nipped, recursive rhythms that sounds like a Beatrice Dillon groove filleted by Gábor Lázár. The combination of rude swagger, vocal stabs and slicing chords in Grasp is a little more conventional, perhaps closer to recent Joy Orbison gear, for example, whilst M1 turns back to the kind of fresh, metallic shimmy also explored by Björk producer, Spaces, and Kyrian also impresses with a bittersweet broken beat twyster that sounds like Dego with a ear-infection; all unbalanced swang and perfectly dissonant chord combos.
After an eight year break from releasing music, Scott Kannberg (founding member of Pavement and Preston School Of Industry) AKA Spiral Stairs releases his new album ‘Doris & The Daggers’.
"‘Doris & The Daggers’ was recorded over a batch of short sessions at Exactamundo studios in Eagle Rock, California. The band features Broken Social Scene’s Justin Peroff on drums, Kevin Drew sang on ‘Emoshuns’, Kelley Stoltz lent guitar to the summery chime of ‘AWM’ and The National’s Matt Berninger lends vocals to the bittersweet, zephyr-light ‘Exiled Tonight’."
Two celebrated veterans - anticon. co-founder Doseone and the esteemed underground rapper Mestizo - come together.
"A7PHA is the culmination of years of radical thought, lives lived on the knife's edge. Their self-titled debut record (anchored by production from Alias) absorbs that left-field energy, splinters it into component parts, and re-assembles it into something uniquely human.
Listen to "At The Altar": a song built on steely, industrial instrumental pieces, but in its final form, you can practically hear the track inhale and exhale. The breaths are strung together by Doseone and Mestizo's vocals, which flit back and forth from staccato and precise, to formless and gothic. Or check "99 Point Static," where the track builds such steam that when the bottom falls out on the coda, you get transported through to the end on raw adrenaline. A7PHA does this over and over - building massive tidal waves of raw, immovable emotions, then turning on a dime, and leaves you scrambling to keep up.
Few boast the pedigree to forge something so simultaneously listenable and invitingly bizarre. Doseone has spent two decades as one of hip-hop's most inscrutable talents, working with a who's-who of underground legends and establishing himself as one of the most dazzling technical MCs, chimerical lyricists, and creative visionaries. His contributions to A7PHA find him flexing all his undeniable vocal gifts: razor-sharp, rapid-fire cadences, an elasticity that unspools a vertiginous array of emotions. As a writer, he marries his cryptic strings of imagery to a frenzied search for something deeper. He pushes
A7PHA as far as possible into uncharted territory. For his part, Mestizo grounds the proceedings, filling the songs out with flesh and blood. His vocals on "Sicked" set the tone for the rest of the album: dense, punishing, and propulsive. If Dose is busy sliding around the seams of a beat, Mestizo cuts directly through. The Philly resident is the stone-eyed center of the record, the steady hand on the wheel while everything around him burns. But as "Hater Hate It" makes abundantly clear, he's not above some verbal acrobatics of his own. A7PHA isn't made for upscale bars or low-key gatherings. It's about shattering the facades around you, then staring, unflinching, and what's left behind. It's supposed to soundtrack minor mental breakdowns and house parties that permanently fuck up your security deposit. Doseone and Mestizo have something highly combustible on their hands, but for the time being, it seems that they know just how to handle it."
Two of the heaviest c*nts on the planet pit their wits on Concrete Desert, with Kevin Martin a.k.a. The Bug framing Dylan Carlson ov Earth’s deathly axe chops in a deeply strung out and apocalypse baiting clash of the titans.
Coming from distinctly idiosyncratic backgrounds - one steeped in generations of doom metal, grunge and bleakest country music; the other saturated with Jamaican dub, shoegaze noise and the ‘ardcore continuum - they evidently find common ground in terms of sheer heaviness on Concrete Desert, with Carlson’s glacial but sprawling gestures harnessed and sublimated in 13 super wide and crushing riddims from Martin’s triple-locked top drawer.
Making good on the promise of their Boa/Cold  hook-up, which was effectively an addendum to The Bug’s Angels & Devils LP, this fully fledged collaboration locates their sound between the eyes, overhead, all around you in plangent sheets of harmonised soreness and jellying waves of subbass pressure at a lugubrious pace that’s faithful to both artist’s individual sound.
The standout moments ring clear and true in the likes of Dog, which comes on like a rabid, overweight Raime who just swallowed Rapeman, or in the almighty, sky-collapsing keen of American Dream and the knackered halfstep slugger Hell A, but you can simply take it on trust that the whole thing is as heavy as your life.
Perc & Truss trample all over two bangers from Mumdance & Logos’ Proto LP, commanding Move Your Body to a nail-biting and noisey industrial techno agenda, then steaming thru Hall Of Mirrors with bullish, wall-banging form.
Proper mucky ruts, these.
The veteran mutant noise unit mint their new Lower Floor label with the 100th Wolf Eyes album.
Hurtling ever closer to their 20th anniversary as a band, albeit in various iterations, ‘The U$A’s longest-running homemade primitive electronic poetry & vibes trio,’ offer a semblance of hope 2017 will be alright after all with the arrival of their own label, Lower Floor Music.
Leading by example, this label - or ‘scotched taped nuclear audio radioactive front on humanity’ as they refer to it - is heralded by a new Wolf Eyes long player, ‘Undertow,’ which doubles up as the trio’s one hundredth album release by our estimations.
This is a real ugly bastard of an album, with Nate Young, James Baljo and John Olson intent on shredding minds from the off, adopting a free jazz approach to mangling discordant guitar beyond all recognition on Laughing Tides. From there, Empty Islands sounds like the heroic Pod Blotz attacking the classic shred metal sound of America and Texas spangles further, deeper into abstracted, wailing noise.
The metallic textures and Lou Reed-esque vocal mutterings of the title track are set to an irradiating metronome, setting you up for the near-fourteen-minute finale Thirteen which is Wolf Eyes at their absorbing, decimating best.
Logan Takahashi and Nick Weiss pitch up on Planet Mu with a belated third Teengirl Fantasy album.
First surfacing at the turn of the decade with the naive paean to Chi-town euphoria of Cheaters, Teengirl Fantasy duo Logan Takahashi and Nick Weiss have seemingly been chasing their own sound and sidestepping dodgy genre tags ever since. A prolonged bout of label hopping took the pair from indies like Milo Cordell’s trendjetting Merok and True Panther to a second album campaign for R&S in the label’s awkward A&R phase circa 2012. You know when they put out Vondelpark and Egyptian Hip Hop records….
8AM is Teengirl Fantasy’s latest creative statement, finding them back on a major electronic player in Planet Mu after a brief dalliance with North Carolina’s smartly-named Break World Records. Attempting to overlook their undercooked R&S LP Tracer, this 12-track collection picks up on the lineage of TGF’s 2010 debut album, 7AM, and veers off in a more introspective and abstracted direction.
8AM is a more confident glance into the Teengirl Fantasyverse, picking away at the burning embers of dance music history reinterpreting them in their own voice.
Masterful producer and mastering engineer, Stefan ‘Pole’ Betke, is next up for a creative undertaking of the Schnitzler archives.
By his own admission, a late adoptee to the sizeable canon of Conrad Schnitzler’s work, Stefan Betke is a fine choice to rework the late Kraut icon’s deep tape archive for the latest ‘Con-Struct’ album. Largely occupied with mastering duties since his most recent Pole LP, ‘Wald’, this six-track undertaking is perhaps the best ‘Con-Struct’ yet, offering a sharply-poised exercise in dub dynamics.
Betke coaxes you in with the first two tracks, Wurm and Sieht Hoch, which share the same lazy-eyed string refrain whilst subtly implementing an upwards shift in momentum. From here there is some real head-crushing moments. Lacht is a largely beatless affair that squeezes plenty of unease out through the queasy, sinewy dub FX, and the tripped-out Drachenbäume sind friedliche Wesen has a unique sense of continually fraying at the edges.
The brief Und fängt den Vogel! offers an interlude-shaped lesson in maximal sound design before Betke ends on an extended palate cleanser with a slab of classic Pole dub techno in the shape of Wiegenlied für Katzen.
The Macro man brings some mutant strains of tech-house to D-Edge subsidiary Olga.
Stefan Goldmann’s wayfaring spirit finds him pitching up on the OLGA offshoot of Sao Paolo’s D-EDGE with a pair of frisky, expertly-crafted minimal purrers.
Goldmann sounds like he had plenty of fun in the studio on Radiolarian, kicking out with a mucky dub techno groove then laying it on thick with fizzling pads and snaking pitch bent melodies. Streams offers a trippier side to the Berlin producer’s palette, the sort of thing you can see Ben UFO laying waste to a stadium-sized festival with.
Another icy Nordic beauty from one of Posh Isolation’s more broad-minded acts.
“'I Musik' is the third piece from Kyo, a duet of Hannes Norrvide and Frederik Valentin. With each release the pair make a shift in the project's aesthetic equilibrium, forcing a new constellation of resonances, handing us a new beauty.
'I Musik' presents another wondrous movement in the narrative, like discovering a secret escalator that passes everything you want from a new angle.
The melodramatic pause that their previous album circled with enthusiasm is now considered from a greater distance. Perhaps it is because we have now arrived somewhere? There is a hopeful melancholia that has come with this distance, and it is put to use to describe a scene that feels as human as it is synthetic, as if the world you know is now behind glass. Futures imagined are being recalled, futures undiscovered are being explored—Norrvide and Valentin manage to encode a sense of endlessness to such processes quite casually. The acoustic surfaces brush electronic reflections with an understated sincerity, all of which feels whispered to you by a familiar voice in familiar phrases.
There is such a quiet future being invoked on 'I Musik,' yet we don't know what this quiet may come to be defined against, or if it will come to be defined at all. It's a stillness that isn't fully grasped, and it needn't be. This is its beauty.”
Loke Rahbek’s Croatian Amor pulls together a disparate, motley crew of remixers to dissect and re-stitch some of his best solo work to date: Love Means Taking Action.
Packing ‘em in there, it yields no less than eight new perspectives on the record’s deeply human themes; ranging from the subbass-gilded but weightless new age dimensions of Brynje’s take on Värmland thru the fractured 2-step of Age Coin’s Refugee (ACCA version) and a balmy moment in Why Be’s Love 13 (Island Step) and the rattled jungle prang of Any Life by Yen Towers on the front.
Turn over for what sounds like an underwater Julia Holter in CTM’s Octopus Web and the unmetered pulse and whispers of Ma Langue La Premiere from Felicia Atkinson, which perfectly segues into the Lynchian miasma of Drew Mcdowall’s Love and the candescent ambient romance of Kyo ft. Health & Safety in An Angel.
Hatti Vatti is one of the Polish underground's most vital figures. He is known for his analogue focused interpretations of an array of sounds, from ambient to footwork.
"While working on SZUM (noise or hiss in Polish), his first longplay since 2014, he was invited by Polish National Audiovisual Institute to join RE:VIVE - a project curated by the Netherlands Institute of Sound & Vision that already resulted with a strikingly original LP from Lakker in 2016.
Having already been inspired by the pioneering work of artists from the Experimental Studio of the Polish Radio, founded in 1962, as well as by animated film scores of the 60s, 70s and 80s, RE:VIVE presented Hatti Vatti with the unmissable opportunity to delve with unprecedented access into the vast archives of the Polish National Audiovisual Institute in Warsaw.
Here, he took the original, sometimes fractured yet melodic compositions he had been working on, and injected with a haunting layer of Iron Curtain era psychedelia. Far beyond a typical 'sampledelic' excursion, SZUM is the sound of a cutting edge electronic craftsman, reimagining his forward thinking work alongside the pioneering ghosts of the past. Album offers a typically bold, retro futuristic exploration of Poland's rich history of sound experimentation, one that simultaneously corresponds closely with contemporary issues and events in the country.”
Throughout their time together, the Baltimore-based Arbouretum have been praised for their ability to weave elaborate vocal lines and guitar solos that often unravel into extended improvisation but never with as much finesse as on the masterfully crafted ‘Song Of The Rose’.
"In less practiced hands, these ideas could easily fall into contrivance but on ‘Song of the Rose’ Arbouretum use these elements to perfect their craft of storytelling in song, both lyrically and sonically.
Arbouretum recorded ‘Song Of The Rose’ with Steve Wright at Wrightway Studios. While previous records were recorded in a matter of days, ‘Song Of The Rose’ took weeks. Attention to production details augment their time-tested emphasis on capturing the energy of performance. ‘Song Of The Rose’ is the first time the band has mixed with Kyle Spence (Kurt Vile, Luke Roberts, Harvey Milk) at his studios in Athens, GA."
Lustrous, ambiguously sensual synth expressions from Denmark’s Internazionale.
“The Pale And The Colourful is Internazionale's first album on vinyl, released by Posh Isolation. It comes after a near flood of limited tape releases both through his remarkable Janus Hoved label and through Posh Isolation. It's a logical summary of Internazionale's work up to this point and is the prime example of the sensual synthetic meditations he has come to be known for.
The clear pop sensibility of his compositions are clouded with noises and ambiguous field recordings, and it is somehow hard to really figure out if the music intends to lift us up or hold us down. What is certain is that no Internazionale release up to this point reaches the level of The Pale And The Colourful.”
Bristol's Wisdom Teeth rustle up a low key but hypnotic triple header traversing from the super spacious and sub-heavy minimalism of Simo Cell’s Symmetry to a lean, driving piece of recursive gamelan techno shuffle from Don’t DJ, and the lilting, rhythmelodic and AfrReichian harmonic cadence of K-Lone’s Woniso.
Whereas Pontiak’s 2014 album ‘Innocence’ tore through rowdy riffs and melancholic balladry in a neat half hour, it’s immediately clear from the reverb-heavy trip of opener ‘Easy Does It’ that new album ‘Dialectic Of Ignorance’ is altogether a different beast.
Euphorically defying spatial constraint, brothers Jennings, Van and Lain Carney instead opt to guide each song along its own cosmic trajectory: confident in the outcome but even more excited to enjoy the ride.
Deep thumpin’ house, Detroit and Chicago style, from the new pick-up on Cos_Mos; a division of M>O>S Recordings.
Salomon Duncan is a new moniker to us, and may well be a pseudonym, we just do not know, but he’s clearly got a thing for classic acid, as displayed in the hefty slo-mo charge of Android (AdamantiumMix) whereas Tacci a Spill follows Legowelt-style lines of deep space house inquiry.
A rare, beguiling solo outing from Swedish composer and electro-acoustic expert Mats Lindstrom, the current studio director of the revered Elektronmusikstudion (EMS) Stockholm, arriving some five years since release of МИГ, a collection of archival recordings released by Stephen O’Malley’s Ideologic Organ in 2012.
If you have any knowledge of the Scandinavian avant and electronic firmament, there’s every chance that you’ve intersected Lindstrom’s name or even his work on your auditory travels. For those unaware; he’s been integral to that region’s experimental scene since the ‘80s, applying his background as an industrial technician to the construction of unique instruments, and also in pivotal role as producer and directors Fylkingen society for new music and the Stockholm New Music festival. The EMS studio he hells has played hosts to reams of releases which pass thru these pages.
This 7” gives two captivating snapshots of his live electronic practice recorded at GRAD Belgrade in a One/Scratch Memory performance with Anna Koch. They result in two succinctly precise, air-slicing movements captured with the sort of clarity and stereo depth of field that sends eyes rolling around the head when consumed via headphones; eliciting an experience akin to hearing water falling upwards in an enclosed metal space, whilst one of the sentinel bots from the matrix scans for your presence. Funnily enough, that’s the sort of place and situation we dream about near nightly.
It’s only when listening to pieces such as this that you can properly appreciate the difference between composers who think and work in 3D, using every angle of the sound field available to them, and those who paint on 2D canvasses.
Japan’s Ena cuts loose into the grey area between noise, techno and D&B with four tracks taken from his Divided: Mind 12” on Horo.
As heard in the mulched dynamics of his Soil EP, the producer is now exploring more abstract, uncertain zones of inquiry, with what sounds like Wolf Eyes doing caveman techno on the front, plus a piece of Scanio-Style hypo-noise, and a head-swallowing cut of pure atonal abstraction.
Nuel, Yves De Mey, Orphx and Shawn O’Sullivan tease Wata Igarashi’s Ciphers EP into altered shapes for Berlin’s Midgar.
Noel supplies the biggest highlight with the grittily fluid, pendulous hydraulics of his take on Ciphers; Yves De Mey gives something for your body to chew on with a crooked and bendy remix of Hailstones; Shawn O’Sullivan rolls out for the blackout moment of the night with a grumbling monotone version of Mantle; Orphx reduce Lucifero to a writhing acid lead and glumly persistent bass groove.
First new Letitia Sadier album since Something Shines . Crammed with glittering Gallic pop suss
“Another New Year, and new shapes are forming — if only we are fortunate enough to notice them! As we spin through this world, we are witness to all manner of combinations unfolding before us — familiar arcs and breaking waves alike, upon all of which it is our choice, our chance and our challenge, to possibly ride. Find Me Finding You, the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, Find Me Finding You locates new systems within the sound-universe of Laetitia Sadier. This in itself isn’t a surprise — Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab)—but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind’s-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of Find Me Finding You comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form, and sought to preserve their vitality by not retaking too many performances — instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
Expressing great compassion and expectation with startling immediacy, as well as an abiding belief in an underlying unity that permeates and intimately binds all things and beings, Find Me Finding You combines a rigorous process for music-making with a deeply invested mindset, making captivating music that promises many stimulating spins to come!”
Dead sought-after Library slab of wild and hairy disco drum rhythms and electronics from 1978. For use in pornos, sleazy bars, churches...
“The first ever repress of this Klaus Weiss musical masterpiece. And it's the first of the all new Trunk library series that is a coming this way. Time Signals is an incredible thing on many levels and for many reasons, and you will not find an original without a mortgage.
It's classic German experimental sounds and rhythms that only Klaus can really get away with, and over the years cues have turned up all over infamous hardcore porn as well as sports programming and maybe some sinister wildlife documentaries too. This is electronic, rhythmic, peculiar, and will make your brain hurt at times.”
Thrumming techno polymetrics from the Grey Area already bigged up by Mumdance; recalibrating your roll with four monotone and undulating rhythms that teeter between needlepoint hi-hats and pulsating hydrolicks, cavernous reverbs, and underwater steppers.
RIYL Sigha, ASC, Akkord…
Sun Araw totes one of his most surreal, daftest fancies with The Saddle Of The Increate, despatching the band’s first new recorded material on Sun Ark Records since the psychedelic excursion, Belomancie .
With only a few trips made on Sean McCann’s Music For Public Ensemble and alongside Laraaji on Professional Sunflower and the S. Araw “Trio” XIII to quench our thirst in the meantime, this loosely strung and sprawling set renders Cameron Stallones and the gang at their most ir/reverent and dare we say, North American; delivering a subtly funny and playful suite that’s more Billy Crystal on magic beans than Alejandro Jodorowsky on mescaline, as far as desert trips go.
Incorporating a phalanx of drummers including Butchy Fuego, Jon Leland and Caitlin Mitchell, plus Dave McPeters on pedal steel, Sun Araw come off like a gang of cattle-ranchers who lost their herd a long time ago and subsequently decided to follow old dirt tracks deep into the desert, navigating their way by the stars and with only a batch of turnt haricots for sustenance. What ensues is a progressively light-headed and sorta-mystic journey of discovery following an unstitched narrative which leads them right up to a sincere yet lysergic cover of Bob Dylan’s I Shall Be Released - as previously worn by Jef Buckley, Joan Baez, The Deftones, Nina Simone.
As you might expect from a trip to the desert with Sun Araw, you’ll lose your own herd quite quickly, and mirages, fata morganas and the like become commonplace; with expectations perpetually teased and thwarted from the fusion of heat-warped synth strokes and pitch-bent steel licks in A Golden Boot thru the quicksilver clip-clop of A Chute, and the tropical, latinate influences that creep over the border into Orthrus, which also features McPeters’ pedal steel at its most plangent; with Campfires framing a charmingly ludicrous scene of quiet, acousmatic rustle pierced by parping modular spurts, and even allowing for a spot of sun-dazed native folk dance in the jerky boned jig and processed croon of 40 Hooves, serving Sun Araw at his most alien and yet uncannily familiar.
This is exactly what psychedelia should be for us; weird, silly, cryptic, inexplicable - not earnestly unimaginative and derivative. It would take a fool to accuse Sun Araw of the latter, and this album should hopefully be a smoke signal to all those pedestrian churners who call their music “psychedelic”.
Amsterdam-based Japanese label Soundofvast hosts the return of Romanian producer, Sorin Rastoaca under his Vid alias with the rolling tech-house minimalism of Sunshineset and a bittersweet ambient interlude backed with the darker, rugged house heft of What Do You.
Joy Orbison makes up for five years of no solo releases by starting his own label, Toss Portal, with a brace of four sticky, bouncing UK techno experiments.
It’s hardly like he’s been asleep for the last five years - he’s kept his workmate up both in collaboration with Boddika on SunkLo, and with Herron as CO/R - but the last we him solo was on Ellipsis way back in 2012, so you can consider this one a tad overdue.
We can hear traces of the SunkLo sounds riddled all over the Toss Portal EP, but it’s also possible to see where Boddika’s Breaks-ier styles were holding him back, as the reticulated funk of Rid cuts loose with a proper feminine pressure that recalls his earliest Joy O work, while the grumbling, cranky Walworth Window morphs with a more messed-up, kinkier appeal of his own, and Rite Ov even introduces a lilting reggae vocal, Main Street or Rhythm & Sound style, on a sloshing steppers groove.
You need this one for the original "Produzione", originally released in 1973 on Piero Umiliani's LP "Problemi d'oggi", an amazing mix of acoustic percussion and electronic experimentation, considered by some as the first example of techno / trance music ever recorded.
The newer reworks by Gerardo Frisina are completely unecessaery.
Wonderful side of spare piano airs, south Pacific instrumentation and field recordings from Lieven Martens (Dolphins Into The Future), based on the writings on Robert Louis Stevenson...
“After two sold out concerts in Tokyo and Osaka, we treat ourselves on a trip to Okinawa and the Ryukyu Islands. After spending a little time in the main city of Naha we took a ferry to Tokashikijima, a small island surrounded by coral reefs, mother-of- pearl farms and infested by an aggressive and poisonous snake. Aharen, a classic small beach town stuck in a fabricated memory of 80’s surf movies, was to be our home for just a few days. While walking through its snake infested bush and through its lagoon, while photographing, the Tombeau De Robert Louis Stevenson, a composition I was hinting at in live environments, became reality inside a patchwork of history, of coral reefs. While walking on the beach, more or less solitary since tourist season was just a few months away, while listening to the gorgeous sound of a small motoric fishing boat working on the reef – an ever-pleasing sound -, and to beautiful synthesized steel drum music coming from the local junior school.
In the end the piece became so simple, an almost clinical exhibition of sound, that it became a difficult world entangled in meaning. Like a coral reef that is so pretty, yet dangerous, vibrant, endangered, complex, slow, fast, all at the same time. (…) Since I already figured out how to present my idylls – in a possible dark sense of the word – in the various forms, presented as a storytelling collection in four parts. Being a portrait (which could be a secretive self-portrait), a comment on ethnography, an exotic illustration and a ritual.
The latter used in the most mundane sense ever, since I’d like to stay far away from a sensational bubblegum approach to (religious) pseudo-ethnography, to the copying of ethnic behaviour, or to approaching it as something odd or weird. These behaviourisms unavoidably invoke the end of all rituals, thus making the world a duller place.”
The high priestess of dark blue operatic viscera, Diamanda Galás presents her first new slab in nearly ten years
Dispensing a mixture of live recordings and covers, with a selection of performances unflinchingly captured live in Paris, Copenhagen, and East Sussex, along with studio recordings of her takes on vintage Thelonious Monk and Jimmy Van Heusen songs.
Cologne-based Dame, Lena Willikens, debuts on Cómeme with a cracking EP of darkside dancefloor mystique heavily influenced by '80s wave heritage.
Her 'Phantom Delia' EP pits years of experience DJing on the radio and at her residency for free-spirited Düsseldorf nightspot, Salon Des Amateurs, together with a rarified knowledge of classic wave musics, outernational rhythms and weirdo techno.
The result: a delicately patterned, phantasmic meld of styles; slipping gears between the furtive, droning EBM of 'Howlin Lupus' to the poised Dominatrix ambience of 'Nilpferd' (mistress, do that "ja, ja, ja" thing again, bitte), to the spunky ghost-house of 'Mari Ori' and the creepy-as-f**k, titular closer, which would make a fine soundtrack to stalking the red light district of Düsseldorf in search of Kraftwerk's studio.
For anyone with a kink for those blink 'n miss Kunstkopf 12"s, Tolouse Low Trax, or just good old fashioned wave music…
Glasgow’s Spinning Coin made their first impression on the world at large with 2016’s ‘Albany’ / ‘Sides’, their debut 7” single on Geographic.
"Tellingly, Spinning Coin are part of a tradition of socialist independent pop from the Scottish region, one with a strong history of DIY creativity against the odds. With ‘Raining On Hope Street’ Spinning Coin reveal another, beautifully moving side to their music: it’s a heartbreaker, a gloriously affecting pop melody.
In many ways Spinning Coin catch what’s in the winds of their times and ‘Raining On Hope Street’ understands the complexities of the heart along with the intensities of lived experience."
Lindstrøm & Prins Thomas’ remix makes Beck sound like Panda Bear banished to a viking diskø; Kölsch reaches for the lasers and the WKD blue in the elephantine trance pop of his remix fro Little Dragon and Flume’s Take A Chance.
Mondo issue of the stop-motion animated masterpiece Coraline.
"The soundtrack to Coraline is as haunting as it is whimsical. With the help Budapest Orchestra and Choir behind him, composer Bruno Coulais captures the dark child-like imagination of the titular protagonist with menace and aplomb."
'I'm Not A Heaven Man' is label bossman Stephen Bishop aka Basic House's second album, following the issue of his 'Ambrosias Vol.1' for Norway's boutique Koppklys imprint, and sketches an often bleak soundworld streaked with cryptic chiaroscuro electro-acoustics, ritualist drone, edge-of-the-planet ambience and tape-ground industrial house patterns.
At times it recalls an opiated, sleep-paralysed version of Andy Stott, maybe a darker adjunct to the frayed and abstract environs of Aaron Dilloway, or a more diffuse Thought Broadcast, especially in the deconstructed warehouse interzone of 'Teenage Dog', the sludgy lilt of 'Perishing' or the submerged digital scree of 'Green Dome (Bottomless)'.
But ultimately there's something more elusive, a haptic appreciation of grain and space that we can't place our finger on and should keep us returning to this gem gone 3am when nothing else will fit the atmosphere of glowing computer screen, creaking house timbers and EVP hallucinations.
Icy polyrhythms, stinging acid, modulated reflections, and hallucinatory waves percolate through the latest solo EP from Rrose. Starting deceptively crisp and dry, all three tracks ooze with the kind of slow building, multi-layered intensity that typify Rrose releases.
Composed by Dario Marianelli, KUBO, continues the masterful legacy of Laika Animation Studio's filmography: Incredible visuals, and craft - and equally as powerful soundtracks.
"This Dario's second time composing for the studio, this time dabbling in Japanese instrumentation to bring our titular hero's journey to life."
The Salford collective return with an album length rebuke at the ever-growing shit-stain that is the current political regime.
With many modern day musicians content on stockpiling social media kudos or chasing sync money, leave it to Tesla Tapes antagonists Gnod to offer up a dissenting voice against the post-Brexit, alternative truth-heavy, fascist malaise 2017 is currently descending into. Never a band whose sound you should second guess, the clear anger and intentions of this album’s title is more than matched by the politicised fury and antagonism unleashed within.
“It seems like we are heading towards even more unsettling times in the near future than we are in at present.” reckons Gnodder Chris Haslam. “2016 was just the beginning of what I see as the establishment’s systematic destruction of liberalism and equality as a reaction to the general public’s loss of faith in their system.”
With this renewed creative focus driving the band, ‘Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine’ embellishes their hard-edged rock repetition and heavily-dubbed out underbelly with a darkly-satisfying new hue.
Steve Rutter keeps modulating his style with the latest B12 seemingly looking to Tricky and late period dubstep for inspiration in the vocal-fragranced downtempo trips of In Vain, at least his 10th release since remerging c. 2015.
Feels like 9am Sunday in a musty Chorlton flat surrounded by empty Oranjebooms and you can’t fight the feeling any more; it’s time to go home.
The Kid gives his wrist a rest to unfurl a suite of cinematic strings underlined by heavy bass and voiced by the elven-voiced Icelandic signer, Emiliana Torrini.
“Kid Koala’s Music To Draw To: Satellite is an uncharted musical journey: an expansive work of ambient electronic soundscapes and chilling ballads in collaboration with Icelandic artist Emilíana Torrini. This inaugural volume in the Music To Draw To series is Kid Koala's first non-sample-based record, instead using an array of synthesizers, keys, guitars, strings, turntables, and inventive recording techniques to portray this heartrending musical story about a couple separated by a mission to Mars.
The output is over 72 atmospheric minutes of stardust settling like fresh snow over Kid Koala’s trove of turntables and sentiment.”
Music From Memory follow up the enchanting Suso Sáiz retrospective Odisea with a far more recent survey of the Spanish ambient and new age pioneer’s contemporary output, Rainworks; spanning wistful ambient vignettes to mind-engulfing drone, brittle concrète and drifting solo piano studies commissioned and written in 2016.
Highly regarded for his work with Orquesta De Las Nubes and Música Esporádica for Grabaciones Accidentales (home to Finis Africae, Luids Delgado, Randomize) in the early-mid ‘80s, Sáiz has followed that path ever since, resulting collaborations with Steve Roach and dozens more releases over the interim.
Rainworks finds him still feeling out a sublime, etheric otherness, bringing to life a series of atmospheric pressure systems with a deft, elemental touch in key with the original commission from Hidraulica, Tenerife (Canary Islands), gradually expanding and contracting in ambition from the opening arabesque to the abstract yet richly evocative tract of A Rainy Afternoon at the album’s perimeter.
Louche retro-vintage Balearic wings from Farbror Resande Mac, following the course of previous 12”s with Aficionado, Is It Balearic? Recordings, and Back To The Balearics with a balearic balearic of balearics for the balearic types at Horisontal Mambo.
Northern Spain’s Jasss returns to Mannequin’s Death of The Machines series - which she kicked off in 2016 - with a 2nd shot of harness-straining EBM noise and slow, seksi, mutant chugalug.
No Complicate knuckles down to raw, fleshly synth noise and bony rhythms on the A-side, arching up from a cavernous intro before unleashing a streaking, needling lead that will elicit winces and jackal grins in equal measure.
On No Chance she drags the tempo right down to a 100bpm grind riddled with expressive synth voices and barking stabs, deferring another beastly lead line until it’s required, and promptly resetting the track with electrifying force.
Illicit jackers’ craic from the transatlantic badboys Willie Burns and DJ Overdose; whipping up the urgent, bucking acid track Sonny And Ricardo Give Good Advice backed with a bare bones Beat Mix for the DJs.
Queen of the NON collective, Nkisi makes her solo debut proper with an urgent showcase melding Congolese dance rhythms with Belgian techno and gabber inspirations.
The singular producer, based between Brussels and London, has been throwing down some of the sickest DJ sets online via her NTS show, among others, for the last few years now, alongside her work in curating and managing the NON collective beside Angel Ho and Chino Amobi.
Landing after a string of digital releases, Nkisi’s Kill EP explores the breadth of her rooted, forward and deadly sound: kicking off with the militant dancer’s sensuality of Kill’s hopping polyrhythms and transition from smooth to salty trance electronics, pursued by the downstrokes contours of Can U See Me at her slowest and sweepingly atmospheric.
The other side is a totally different affair, closer in tone to the insistent pressure of her radio and club sets. MWANA comes on like darkside renegade from a Petchy show, all driving snares and bolshy toms pinned into place with sticky EBM bass hits and sky falling pads, then the acid grobble of Parched Lips goes on like something from a lost sect of Spiral Tribe that ended up in a central African republic.