'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!
Ekambi Brillant was born in the village of Dibombari in Cameroon in 1948. In 1962 he attended school in Yaounde and learned his musical craft. In 1971 he heads off to the big city lights of Douala. Here he finds himself in a French TV, music competition hosted at "Le Domino" nightclub. It is here where he brushes shoulders with other Cameroonian music legends such Manu Dibango and Francis Bebey.
"The music contest win gives him the break he needs and in 1972 and with the support of fellow troubadour JK Mandengue he finds himself with a record deal with Phonogram and his first hits in France.
Its in 1975 where we pick up this merry tale. Because it is in 1975 when things start to get a bit funky. Which is just how we like it here at Africa Seven. In partnership with French producer, guitarist and all around hero, Slim Pezin he creates the "Africa Oumba" album. He goes on in the two subsequent years to record the Soul Castle and Djambo's Djambo's ?albums also with Slim.
Our compilation focuses on the funkier end of Ekambi's music drawn mainly from the 1975 to 1978 period. Things open up with our theme tune "Africa Africa" (of course). It's tribal twisted psych funk is the perfect start to any album. We then move to "Aboki" possibly Ekambi's finest dance floor filler. Next it's the choppy disco strings and slap bass of "Nyambe" and the swirling African swing of "N'Kondo" and the pulsing chop-funk "Ekila".
The flip side starts off with "Soul Castle" an ordinary day tale for our hero. "Massoma" and its funk boogie get things bopping next up before "Machine Ma Bwindea" gives us some punchy brass and low slung funk grooves. "Mother Africa" shows us the songwriting power of Ekambi while also managing to have one of the funkiest flange basslines we have heard in a good while. Things close off with swing-time of "Lambo Lena".
Ekambi Brillant would go on to become one of the big name legends of Cameroonian music with nearly 20 albums to his name. He has contributed to the emergence of several Cameroonian artists such as Marthe Zambo, Valery Lobe, Aladji Toure and Africans. He now spends his time in Cameroon and Washington DC. Ekambi, we salute you sir."
Composed and performed in its entirety by Eluvium (aka Mathew Cooper) and seemingly intent on not giving the listener even a glimpse of recognisable instrumentation.
But, just as vocals in a foreign language give you opportunity to admire the voice as an instrument, uncluttered by the need to process the actual message being relayed, similarly 'Talk Amongst the Trees' removes the distraction of its composite parts freeing you up to enjoy the soundscapes for what they are.
The record opens with the fuzzy hearted 'New Animals From the Air', where an effortless fog of aural balm is evoked through organic elements coalescing around a gently chiming heart that brings to mind the spirit, if not the sound, of Markus Popp's Oval. Similarly, 'One' is almost monastical in its sound but again lacks any firm auditory fragments that would draw your attention away from the piece as a whole, whilst only 'Taken', with its guitar led mantra, could be considered conventional in its approach to incorporating identifiable instrumentation.
Like lint from your speakers, it may at first seem insubstantial but once it snags you'll find yourself dragged in ever deeper. Recommended.
Dan Snaith has emerged from the legal cocoon as Caribou - leaving his Manitoba mantle to rot and re-releasing all his past work under the new appellation.
Adding an extra disc for your listening pleasure, 2001's 'Stop Breaking Your Heart' was the first time most of us crossed paths with Snaith, and this debut burst of Canadian electronica has aged surprisingly well. Unafraid to mix his instruments and electronics, the likes of 'Dundas Ontario' even display some early signs of grime - a situation that is particularly evident on the remix included here on the bonus disc, whilst other corners of his oeuvre include hip-hop, calypso and minimal tech.
Seemingly willing to give anything a go, 'Start Breaking My Heart' was a relatively muted release compared to his vitamin C later work - yet whilst this can often indicate an artist unsure of their footing, with Caribou it suggests a genuine evolution of sound that didn't stem from creative moribund.
Garbs meets grooves on Best of DKMNTL X Patta
Widely praised DJ/producer Young Marco pushes up the dreamy acid house romance of The Best I Could Do (With What I Had) on the A-side; Tom Trago measures the B-side side with his wavy roller, Brutal Romance (TT’s Love Fix) and Fatima Yamaha glides out on the EP highlight, a 108bpm blisschugger named The Creature From Culture Creation.
Includes previously unreleased session outtake of “Cold Hard Times” plus never before heard Hazlewood compositions “Drums” & “Susie”
"Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shit-heels. Now you’re probably thinking I'm writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… YOU'RE WRONG! I'm describing the characters in my album "13"…some I knew… some I invented … some are true… some are false… some i liked… some i didn't. But they all had a story to tell and I told it…none of 'em seem to care… and I don't either… have fun…" - Lee Hazlewood
"13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.” - Larry Marks
13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass-heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.”
By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks.
In what became the final days of LHI, staff producer Larry Marks’ sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R&B, arranging the downright funky LHI singles by Barbara Randolph and Jon Christian. Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed….13 was born."
The master of shifty, kinky slow-motion dance music deposits his 2nd volume of lean and eerie joints with Antinote.
Hardly ever getting out of first gear, but totally making a virtue of it, Decades, Vol.2 stalks four discreet lines across the ‘floor, hovering into view with lethargic lope and haunting chorales of Calirough, and swanging from the hip into the Muslimgauze-like maze of Hyroglyph, before Wooden wands cranks into 2nd gear, accentuating the strut with swooping subs, for the shadowy Monia to fall back into a dark, heads-down wind-tunnel chug ripe for soundtracking a dream montage in some carmine-stained Italian horror classic.
And all it takes is an MPC, a small synthesiser set up and some effects to get you going. Or “Limitations offer lots of liberties” as Detlef Weinrich a.k.a. Toulouse Low Trax puts it himself. A lesson many could learn from…
Collaborative compilation album of absolute essentialness. Featuring: Morgan Buckley, Olmo Devin, Dark Delight, Davy Kehoe + more. Sound of the Rathmines industrial estate ... weirdo wagon dance music. Huge Tip!
Pivoting around Morgan Buckley and OD, whose acclaimed Shout Out To The Weirdos Of Rathmines 12” (No ‘Label’, 2014) can been heard as a clarion call for this compilation’s roster - Dark Delight, Who’s The Technician, Little Movies, Lee Eel, Plop - the crew assemble from all corners of Ireland to leave you with a fuzzy taste of the isle’s contemporary dancefloor undercurrents.
Their shared style is anachronistic, playfully freestyle and equally at home in packed basements or smoked-out afters, bookended by a wickedly mucky rut of rolling post-punk dub, 7,000 Years by Gombeen & Doygen which sounds like Dennis Bovell dubbing Die Dominas, and a slompy gang-bang in Teen - Romp - Hoe - Down, you can expect anything to happen in between, so long as it’s rude, smudged and off-centre.
That means Afrorhythmic sensibilities in OD’s Super Secret Office Party, and barnyard boogie woogie in Paco’s Ode, whilst Who’s The Technician whips out a mint quickstepper called Tractor Troubles (Part I), and Little Movies sets square between the eyes with Gregory(an) Wah, with the motorik, boot-cut set dance of Morgan & Davy’s Craudrock for the craic, plus a natty electro-pop wriggler called Sligo B from Plop.
Six classic Giallo and Italian film nuggets on one “pitch black” disc.
“WRWTFWW Records is feverishly thrilled to announce the first ever vinyl release of the soundtrack for Hélène Cattet and Bruno Forzani’s critically-acclaimed Belgian-French giallo Amer (2009), filled with superb compositions by Italian movie score legends Ennio Morricone, Stelvio Cipriani, and Bruno Nicolai, all remastered for hardcore audiophile appreciation.
Described by The New York Times as "a surreal cinematic tone poem that pays slavering homage to Italian giallo horror films of the 1970s", Amer finds its influences in the films of Dario Argento, Luis Buñuel, or Mario Bava and makes for a truly visceral cinematic experience, thanks notably to a perfectly curated soundtrack compiling some of the best songs from cult Italian movies of the past.
Amer includes 3 songs by the great Stelvio Cipriani, well known for the marvellous soundtrack of poliziottesco movie La Polizia Sta A Guardare (1973) whose main theme was reborn in 2007 on Quentin Tarantino’s Death Proof, as well as music for countless cult spaghetti western and giallo movies. He received a Nastro d’Argento award for best score for The Anonymous Venetian (1970).
The legend himself Ennio Morricone also shows up on the soundtrack with a sexy and melancholic jazz number, while his longtime collaborator Bruno Nicolai delivers the hypnotic strings that carry the eerie and erotic mood of the film. Last but not least, the beautiful voice of beloved singer Adriano Celentano cements what is a must-have album for 60s and 70s Italian soundtrack fanatics."
Really feeling this trio of gritty jackers, from new beat and acid house to Faces Drums-styles rasp, courtesy of Rawmance + Security for Rome’s burger and techno stronghold, Knick Knack Yoda.
Working in some cranky blindspot between OG ‘80s Chicago, Belgian and Italian templates, Bad Coke Jerk rides a clammy groove of percolating drum machines and searing psych guitar licks into denser, messed up acid noise accompanied by a whispering vocal for the duration. Trippy and wicked with it.
Fuggi Dalla Notte is more fugged up, writhing to salty, stumbling sequencer patterns under a chorus of rave angels, and Seine St Denis Rhythm Trax goes stripped down and rugged on a Jamal Moss/Steve Poindexter/Alessandro Novaga flex.
Expanded reissue of Biosphere's 2000 album for Touch.
'Cirque' was originally released by Touch in 2000, and they have finally seen fit to re-issue the record so those of us who missed it first time around can hear what all the fuss was about.
This is where Biosphere really began to experiment beat structures and the framework of 'dance' music, yet he submerged the rhythmic elements so far beneath his expertly crafted drones and field recordings that it's difficult to place this in the same genre as more dancefloor oriented work.
Take the Basic Channel influenced 'When I Leave'; vinyl crackle and dissonant pads float around gloriously before being punctured by a pulsating bassline and then a simple, minimal 4/4 thud to bring the track together perfectly. Elsewhere 'Iberia Eterea' takes a jazzy hi-hat rhythm and pushes it through a haze of lo-fidelity noise and buzzing synthesizer drones giving it the quality of an ancient movie seen through the eyes of David Lynch. It's easy to see on this album where acts such as Deaf Center managed to mine so much inspiration - Geir Jenssen's work has served to influence so much modern electronic music that it is almost crucial to re-visit everything the man has to offer.
Glenn Jones’ debut album ‘This Is The Wind That Blows It Out’ was originally released in 2004 on CD only by Strange Attractors Audio House. Thrill Jockey are proud to give this timeless classic a first time vinyl issue.
"Glenn Jones is a master of American Primitive Guitar, a style invented in the late 1950s by John Fahey, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions. Jones, who led the post-rock ensemble Cul de Sac, brings his own made-up tunings, the use of custom-crafted partial capos, and a highly skilled picking style on both banjo and guitar, to create personal compositions that are lyrical, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer.
‘This Is The Wind That Blows It Out’ stands the test of time in today’s avant folk movement with Glenn Jones emerging as a clear leader. His pensive sentimentality and playful spirit, not to mention his innovative technique, have become just as ingrained into the style’s DNA as any hallmarks of the original Takoma school. Opening with the title tune, ‘This Is The Wind That Blows It Out’ meanders with heady grace, Delta-delica slide guitar as intoxicating as it is mournful. ‘Fahey’s Car’ bounces and shimmers like some of Peter Lang’s classic Takoma sides and ‘Linden Avenue Stomp’ is an alternate take of an old-timey duet with the late great Jack Rose. Jones turned away from standard tuning years ago, inventing tunings as a way of escaping the known, his 2016 album ‘Fleeting’ gained much critical acclaim and his convivial live performances prove him to be a compelling storyteller as well as an outstanding musician."
John Cameron’s jazz-funky psych score to British teen satanist biker flick, Psychomania (1973). Now with black instead of white cover
“If KES was the best film I ever wrote music for, PSYCHOMANIA was the most bizarre. Jazz and session musicians playing pre-punk 'trash-rock' for a tale of supernatural gore and mayhem, on a Shepperton recording stage more suited to the the LSO than a rock line-up, complete with 'suit-and-tie' recording engineer is one of my more unexpected memories. In a pre-synthesiser age every trick was used: Musser vibes through phase and wah-wah pedals, phased bowed bass, drumsticks inside a grand piano, electric harpsichord through a compressor, Hammond organ fed through a phase unit and Leslie speakers, and wordless solo voice.
I know the flautist was Harold McNair, the vibes player/percussionist was Bill Le Sage, and the drummer was Tony Carr. I'm pretty sure the bassist was Spike Heatley , the bass guitarist was probably Herbie Flowers, and the guitarists were likely to have been Alan Parker and Colin Green. As far as the voice is concerned, it was almost certainly Norma Winstone who sang on my 'Marlowe Private Eye' recordings in 1980. Sorry my recollection is a little blurred, hell, it was the 1970’s!” - John Cameron
Death Waltz exhume another classic soundtrack from the world of horror cinema with Bruno Nicolai's incredible score to the 1981 Emilio Miraglia giallo The Night Evelyn Came Out Of The Grave (aka La Notte Che Evelyn Usci Dalla Tomba).
"The film is as mad as its title; Evelyn is dead before it starts and her previously institutionalized husband Alan, who has begun to murder strippers as a form of therapy, is duped by his cousin who wants to rid of his heir. Oh, and there's the matter of Evelyn's resurrection and a whole dose of other murders - it's unreal.
Adding to the surrealism of the situation is Nicolai's deranged score that mixes super effective jarring orchestral with electronic effects and speed jazz that has truly disconcerting time signatures. It's absolutely creepy and utterly terrifying with queasy quivering synthesizers that sound like an entire waves of insects and the juxtaposition of a fantastic bass line with a sawing string effect that is just sickening. And then there's the beautiful typical romantic giallo melody that really stands out, with vocals courtesy of the iconic Edda Dell'Orso. (Charlie Bridgen - Editor: Films On Wax)"
Engrossing slab from the Argentinian guitarist and Brooklyn-based British drummer swapping their usual kit for anything from grand pianos and balaphons to metal lampshades and wooden staircases.
'Bring Us Some Honest Food' is the processed document of Courtis & Moore's congregation at The Fish Factory, London, on 22nd March, 2014. The A-side breaks down to three shorter pieces "blended" by Aaron Moore in Brooklyn, breaking unique new ground between the gloaming, out-of-body avant-rock extraction, 'Portions Of Honesty'; the chamber-like meld of blackened synth strokes with acoustic guitar in 'The Honest Waitress'; and amorphous, space-shaping concrète recalling Jim O'Rourke' or Smegmas farthest in 'Honest Pork Pie'.
In the hands of Alan Courtis back in Buenos Aires on the B-side, 'Dishonest Desert' patiently unravels a side-long scape of lower case, haptic improvisations giving way to chiming texturhythms and reversed tape loops before rolling tribal drums, lonely sax and agitated cello usher in a brooding climax, all rent in the trippiest, pensile mixdown. TIP!
Pontiak is made up of three brothers from the Blue Ridge farm country of Virginia, Van (guitar, lead vocals), Lain (drums, vocals) and Jennings Carney (bass, organ, vocals). Their music is swaggering guitar rock that straddles the line between a power trio and something far more expansive in sound and scope.
Their broad song structures allow ample room for three-part vocals, drums, organ and stellar slide and lead guitar to stretch and captivate. Songs roll along with an effortless synchronicity despite their extremely varied textures." Sun On Sun is the band's second full-length, for which they've played a bit of a Bon Iver, holing themselves up for recording in a log cabin out in the wilds of Virginia.
Instead of incubating a pared down evocation of intimacy however, Pontiak reach for ambitious, experimental rock textures, culminating in the Crazy Horse-do-shoegaze marathon of the title track, the barbed organ blues of 'Tell Me About' and even a spot of eerie dark ambience on 'Swell'. Excellent.
Ego grease the ‘floor with a rainbow slick of boogie by Tokyo’s Noboyuki Suzuki a.k.a. Sauce81.
Authentic late ‘70s vibes boogie-soul bumps on the full vocal version of Dance Tonight, with a stripped and wiggly Disco Dub on the other one.
Taut, grinding and jabbing techno trax from Romania’s Dan HabarNam on a hard, bruxist clench for Selectie - his 2nd shot for the German-based label.
In all four cases HabarNam keep the groove tucked tight-in-the-pocket and moody af; getting into gear with the grimy, shifty lockstep and weightless chorales of 4AM Rattle, before smearing the strings into the tiger registers over wide burly Reese bass and needling drums in The F.P. Beat.
Juno Birdcall sits in a stranger place between original UK bleep, swanging house and ambient techno on the flipside, and The Blue LED Ban buckles down to a nervy, shivering Bristol bass-techno style recalling Rhythmic Theory or Livity Sound.
Pivotal Belgian synthesist André Stordeur serves Sub Rosa another pinnacle of their Early Electronic Series with a first-ever vinyl pressing of three pieces - the expanding harmonic scape of Chant 10A (1980) and two which aren’t necessarily ‘early’, but are no less brilliant, with the c.2000 parts of Nervous and Tablas.
Realised at IRCAM, Paris, between 1980-81 on a Serge series 79 and bespoke Serge prototype 1980 Modular synthesiser - built especially for Stordeur by Serge Tcherepnin himself - the record’s most striking feature is the A-side Chant 10A, where Stordeur used a DEC VAX 11/60 CPU running ‘Music 10’ and ‘Chant’ softwares to process his Serge sketches into a beast, gloaming shadow of a piece embedded with ghostly choral swells which really come to the fore in the final section. It’s frighteningly strong stuff, and kinda exactly what we hoped for - safe to say those countless hours spent waiting for his behemoth CPU to do its thing were not in vain.
The other two date much closer to the modern day: Nervous (2000) swivels between head-swallowing black holes and sustained sourness, like a chorale of keening angels, before spiralling the super crisp, pointillist rhythms of Tabla (c.2000) - a purely rhythmic piece peppered with ace trills and intricate pattern shifts that draws upon his travels in New Dehli around 1963, and his subsequent, in-depth studies of modular synth process, to sound almost like some Ø or Plastikman experiment from the same era
Spangled techno misfits from the Power Vacuum
Dr. Skime slings the elasticated electro-techno madness of RX5 Jams 8, 9 & 7; Pan Daijang forces out the bruxist charge of Very Uncomfortable, Please;Beau Wanzer tees the boisterous Up Chuck’s; Bristol’s Inca Pax slugs home the messy electro of Transfer Function; and Bleaching Agent does his job with cutthroat effect.
Prime balearia from down under, or Melbourne’s Tornado Wallace to be precise.
His follow-up to the Falling Sun 12” with Music From memory’s Second Circle follows that 12”s vibe with a clutch of dusky dancers, at best in the richly layered atmospheres of Lonely Planet and the pseudo-ethno feels of Voices, but carrying itself beautifully, elegantly throughout. Even the most sun-leathered balearic type will have to concede; it’s pretty damn lush.
Svelte, proggy, posh-trancing techno from Voiski; rolling the effortless subbass swang and organically modulating trance leads of Let Down Disco, backed by the pumping, bittersweet groover 5th Dolphin Transmission.
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.”
Umor-Rex platform present another entry into the Driftmachine replete with a startling 10 minute Shackleton remix.
Andreas Gerth and Florian Zimmer’s detailed exposition of modular synthesis as Driftmachine has become one of the main reasons to plug into the transmissions from the expertly-curated Umor Rex. Presented as a fourth Driftmachine album of sorts, Radiations pulls together remixes from Shackleton and Ghostly Intl affiliate The Sight Below along with some new studio material from the Berlin duo and previously-issued Driftmachine cuts.
Umor Rex smartly bookend the album with Shackleton’s remix of Radiations and Driftmachine’s original version. Extended to twice the duration of the original, Shackleton’s remix is rife with those trademark snaking, rhythmic exoticisms. After several recent vocal projects, it’s nice to hear him back focussing on warping minds with his instrumental prowess.
The Sight Below remixes the new track, Vermiform Burrows, with both versions occupying differing strata of the dub-technoverse. Also included is the fizzing modular steppa Call Mr. Moriba, originally a digi-bonus on their debut LP and now pressed on vinyl for the first time.
Killer technoid constructions from Frans de Waard, also known as Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop & Peter Duimelinks), Zebra (with Roel Meelkop) and various solo projects, as well as founding Korm Plastics and Audio.nl
The new self-titled record - the next record after ‘Emotional Mugger’, ‘Manipulator’, ‘Sleeper’, ‘Twins’, ‘Goodbye Bread’, ‘Melted’, ‘Lemons’ and the first self-titled album that started it up in the now-distant year of 2008 - is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end.
"Ty Segall has made whole records that wrestle with realities - fighting against some, pulling mightily to bring others into being. Of late, he’s thrown up his hands and donned clown shoes, dancing merrily in the dual role of oppressed / oppressor. His hands aren’t any more or less dirty than anyone else’s but amidst the thunder and the chaos of theongoing storm, he’s looking for the eye within.
It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s ‘Slaughterhouse’ (from way back in the long, hot summer of 2012) but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colours high up the pole in an act of simple self-reclamation. The construction and destruction of his chosen realities has, until now, been a luxury Ty has rightfully reserved for himself, striping overdubs together to form the sound. For this new album he entered a studio backed by a full band - Emmett Kelly, Mikal Cronin, Charles Moothart and Ben Boye - to get a read on this so-called clarity. This leads to a new departure in group sound, as well as some of the most visceral and penetrating vocal passages yet heard from Ty Segall.
‘Freedom’ / ‘Warm Hands’ puts the ‘sweet’ back into suite; ‘Orange Color Queen’ is a supreme moment of tenderness; ‘Talkin’’ a rootsinfused truth-attack; ‘Papers’ looks behind the doors of Ty’s process; ‘Break A Guitar’ is a brutal fun-fest pitched to the back of the house. Ty Segall keeps you guessing, bracing your skin with a welcome astringency, seeking to stem the bleeding with chunks and splashes of guitar, tight beats, audio-verité toilet smashes, a Wurlitzer electric piano in a jam, blazing harmonies and lots of songs to sing."
The flagship mix series from !K7 ropes in the Ghostly techno troubadour for a 25-track selection that includes Pearson Sound, SMD, Randomer and some Dear/Audion exclusives.
Dear follows his first Audion LP in yonks for !K7 with this edition of the German label’s DJ-Kicks, which features the regulation exclusive material from the artist himself. Kicking off with a mawkish slab of modern classical from poster boy Nils Frahm proves to be something of a false start as the subsequent 47 minutes veer closer to the funk-addled house, skippy oddball minimal and spinal techno reductions you’d expect from Dear.
Seefeel’s Mark Clifford and Scott ‘Loops Haunt’ Gordon bring their Oto Hiax project to camp Mego on this self-titled album.
A project that's been in sonic gestation for six years, we just knew Mark Clifford and Scott Gordon’s Oto Hiax collaboration would deliver on something more substantial than the sole EP they self-released in late 2015. The promise shown on that four-track release, One, the deft balance between the two practitioners respective artistic approaches, is blown open wide on this debut album for Editions Mego.
Clifford and Gordon never rest on one stylistic facet here, coaxing you in with the angelic feedback of opener Insh before deploying chewed up left turn after mangled left turn to leave the listener dizzy yet eager for more. Their crunched up glass approach to free jazz on Eses Mitre recalls Up In Flames-era Manitoba, opening up to a real delight of a midpoint section of the album that draws for blissful waves of feedback on Creeks and the downbeat Autechre-does-electro-acoustic abstractions of Thruft via the Villalobos-meets-Rashad Becker-isms of Bearing and Writhe.
More of this please.
London’s Discrepant continue to plot their own path with this inspiring document of contemporary Portuguese music, including contributions from the always excellent Negra Branca and a bunch of hugely interesting artists we've not come across before. Huge recommendation.
With recent transmissions covering imaginary soundtracks, Mike Cooper reissues and a suite of Buddhist prayer loops, we’ve become accustomed to a sense of surprise and delight with each Discrepant release. Still, the label have us enraptured with Antologia de Música Atípica Portuguesa, the first in a series of compilations that sheds light on the various strains of modern sonic experimentation throughout Portugal with ‘an (un)characteristic foot in the past musical traditions of the country.’
A loose thematic framework will bind together each edition of Antologia de Música Atípica Portuguesa, with this inaugural volume exploring o Trabalho (work songs). If you thought the dancefloor cross pollinations on Lisbons’s Principe suggested Portugal was a musically-exciting place right now, this collection blows that notion wide open.
Gnod’s Negra Branca scores an early highlight with the hazed, xylophone-blessed new age of O Espatelar do Linho, whilst Yong Yong’s Rodolfo Brito surfaces with a rare solo outing as Luar Dominatrix with the pastoral field recording manipulations of Bocadinho de Alentejo. Brito’s solo project also features on one of two contributions from Gonçalo F. Cardoso’s Gonzo alias, whilst Porto duo Calhau! Impress with the freeform electronic spatter of Pecunibal, especially the vocal aspect which is reminiscent of Senyawa at their most elastic
Quarta 330 aka Toru Koda from Tokyo has a long relationship with Hyperdub, dating back to 2007 when he remixed Kode9 in his own then-unique 8-bit dubstep style. In 2017, with ‘Pixelated EP’, his music has evolved and accelerated; this set of detailed, energetic chiptunes makes you take notice. It has all the hallmarks of what makes Quarta’s music unique and exciting with a fierce sense of fun.
"The EP kicks off with ‘Resonate 3’, perhaps the melodic highlight of the set, with an open-hearted, jazz fusion-like tune that Yellow Magic Orchestra would be envious of, and shivering chords set to a sparse, rattling beat. ‘The Fairies Homecoming’ reaches back to his dubstep roots with its reggae offbeat, but this time the reggae feel is matched with hyper-speed drums, reminiscent of early jungle.
On the flip, ‘Yatagarasu’ bends whooshing, emotional chords and a bright snaking melody against stiff kick drums and deep bass, while ‘Digital Lotus Flower’ is pounding and energetic with complex low-end bass and drums reminiscent of a heavy rain shower, tearing out to a stuttering bleeps and chords. The ‘Pixelated EP’ is just a taste of the new batch of Quarta 330 goodness on the way.”
New album from Richard who seven influential albums as the leader of French space-rock pioneers Heldon in the 70s, with a further five solo records before his six-year break from music in 1982.
Since returning to the form in the 90s he has been prolific, collaborating with such luminaries as Merzbow, Yoshida Tatsuya, Oren Ambarchi, Barry Cleveland, and Wolf Eyes.
First-generation American Primitive guitarist Richard Osborn studied with Robbie Basho in the late 60's. 40 years later, Osborn finally recorded, appearing on Tompkins Square's 'Beyond Berkeley Guitar' comp in 2010.
'Endless' is his first widely available solo guitar album. "[Osborn has] an unhurried, quiet spirit of adventure, a love of ringing strings and slowly revelatory meditations on the natural world."- Acoustic Guitar "He's a student of mine and he's better technically than me or Fahey." - Robbie Basho
Soul Jazz’ new journey into the mighty vaults of Clement Dodd’s Studio One steps once more into the fertile musical environment of Jamaican music in the late 1960s and early 1970s, from the sweet harmony vocals of seminal 1960s Rocksteady right up to the nascent birth of Reggae and Roots music at the start of the 1970s. Sleevenotes to this album are by Steve Barrow, author of ‘Rough Guide to Reggae’ as well as Soul Jazz Records’ own ‘Reggae Soundsystem Cover Art’ books.
"While Ska at the start of the 1960s had taken American rhythm and blues as its main influence, Rocksteady focused on the emergence of American Soul music – with Jamaican vocal harmony groups such as The Gaylads, John Holt & The Paragons, Carlton & The Shoes showing a particular fascination with the close harmonies of Curtis Mayfield and The Impressions and other US soul acts. Here The Heptones even feature with a cover of Bob Dylan’s ‘I Shall Be Released’.
The influence of Soul music on Jamaican rock steady and reggae is almost palpable, so much so that one wonders how much more successful singers like Delroy Wilson, Alton Ellis, Slim Smith and John Holt would have been had they been born in Chicago, Detroit or Memphis
Artists such as Alton Ellis, Delroy Wilson and Owen Gray defined the era – a slowed down beat as Jamaican political and social heat slowly increased as the 1960s progressed into the start of the 1970s – and the music evolved further from rock steady into roots reggae.
Complementary to D∆WN’s Redemption album, Fade to Mind proffer the expansion pack for her Infrared EP, exclusively produced by Kingdom and bolstered with remixes from the full label roster.
The four originals sit pretty with highlights locked in on How I Get It and the free-floating R&B-jungle hybrid, Baptize, and all provide prime source material for the remixers: Leonce absolutely wins out with his rugged re-bounce of How I Get It and likewise Byrell The Great, following his killer RiRi rework with a sticky, raving ballroom reboot, whilst Divoli S’vere goes in on a junglist/ballroom mutation of Honest, Ikonika alloys scooping subs to Paint It Blue, and Kingdom skilfully turns his own work inside out with his Honest VTX take on Baptize.
Ostgut come full circle on their 100th release which sees Berghain heavies Dettmann and Klock team up for a double pack of spectral techno.
Way back in 2006, a fresh-faced Marcel and Ben stepped up to deliver Dawning, the very first Ostgut Ton release as Dettmann | Klock, laying the foundations for a style of techno that has come to define the past decade.
Forever a label with a sense of ceremony, Ostgut commemorate a centenary of records with the first Dettmann | Klock productions in ages on this Phantom Studies double pack which for the most part delivers on their knack for crafty techno tools to delight the faithful. There are, however, a couple of exceptions here that refreshingly poke fun at the stern Berghain techno stereotypes.
On The Room, Dettmann does his best Darth Vader impression against some faltering electronics that sound like a modern-day CH BB, whilst Klock advertises his ‘knob tweaking’ capabilities (amongst other things) on the deliciously tongue-in-cheek spoken word acid fumble of “Prophet Man”.
Fresh from his duties on the new Shirley Collins album, Cyclobe and Coil’s Stephen Thrower meets David Knight (Arkkon, Shock Headed Peters) on their 4th album as UnicaZürn, luring us into deeply abstracted ambient dimensions following the themes of two self-released albums on uZu Music in 2009 and 2013, and more recently Omegapavillion (2016) for The Tapeworm.
In two seamless parts, breaking down to three movements each, the duo source inspiration from their local environments - Knight on the banks of the Thames, Thrower on the East Sussex coast - to conjure a lop-sided parallel dimension plotted out along uniquely dissonant scales and melted meters which are perhaps best described in terms of brownian motion and laws of alien, otherworldly physics.
The distant glow of classic deep-space sci-fi soundtracks decays in the background against stereo split dimensions of amorphous mystery, cleaving the head between searching tendrils of plasmic synth in the three parts of Breath the Snake, or, in the sections of Pale Salt Seam, like the schizoid mind of a character in Jeff Mills’ recent album cycle who’s attempting to come to terms with the fact they are trillions of miles from any form of life.
Formed while members of pop noise group Golden Grrls, Rachel Aggs and Eilidh Rodgers release their debut album as Sacred Paws through Glasgow’s Rock Action Records.
The album features 10 short but very sweet infectious guitar pop tunes.
Clarian toes the finest line between euphoric optimism and blue, melancholy feels in his partner piece to the playful tech house styles found on Mission To Bars (2015).
Ankh goes chin-first into the night with camp, strutting bassline, sparkling synth-pop leads and lush pads to the ‘floor beam; Old Miami is more brooding, twisted and shifty, like a blue inversion of what came before it; Alienated finds him stretching out on a kinked and supple swing compatible with current London deeptech, but much plusher, almost baroque hooks.
Ariel Pink makes an ever-welcome return to the fray in collaboration with Weyes Blood - the ethereal, operatic vocalist and former bass player for Jackie-O-Motherfucker - in a quartet of impeccable chamber pop and AOR aces for Mexican Summer.
Make sure to check the medieval Enya vibes of Morning After!!!
This summer, Mogwai’s Stuart Braithwaite, Slowdive’s Rachel Goswell, Editors’ Justin Lockey and his brother James came together to release their debut album as Minor Victories. Currently in the midst of a run of live shows throughout Europe, the band are pleased to announce their utterly stunning instrumental interpretation of the self-titled record, entitled Orchestral Variations.
Second volume of definitive label statements from Logos & Mumdance's Different Circles label, with six exclusive tracks from the label bosses plus Fis, Shapednoise, Yamaneko, Inkke and Sharp Veins.
Mumdance & Logos cut deep into the uncanny valley between grime, noise and ambient musics with the shockingly diverse Weightless Volume. 2, volleying five tracks from label fammo FiS, Shapednoise, Inkke, Sharp Veins and Yamaneko, plus the duo’s own, frankly massive Cafe Del Mar zinger.
With the label still hot from the Mumdance & Logos Presents Different Circles mix CD, this EP touches base with five new artists whose individual sounds have been crucial to the make-up of Different Circles’ club sets and on Mumdance and Logos’ respective Rinse FM shows ever since their label’s inception.
You couldn’t ask for a stronger indictment of where Mumdance and Logos are right now than Cafe Del Mar; an outstanding piece of work stacking lush modular synth pads to the rafters and socked with cavernous, inverted kicks, forming the closest you’ll ever get to a weightless sunset anthem from these two original nuttahs.
Trust their bandmate in The Sprawl, Shapednoise, to twyst hard away from that sound with the invasive contortion of Deep Core Consciousness, which feels like the first efforts of communication from a neural network of heavy machinery, and is proceeded by the impeccably smooth contours and thizzing glassy licks of Yamaneko’s Shadow Temple.
On the B-side, Kiwi producer FiS follows his exclusive contribution to Mumdance’s Fabriclive 80 mix with a deviant diffusion of the elements in Angels Of The Water Table, while Glasgow’s Inkke shoots from the hip with the blinding hi-wire hooks of Pioneer on a boisterous, beatless grime flex, and Alabama, USA’s Sharp Veins holds a bittersweet suspense to the edge with his dizzying mini string symphony, Already Bones.
Grippingly dense and roiling collaboration between improv god Keiji Haino and and a rupturing Belgian rhythm section. Flashes of curdled baroque, avant-jazz scuttle, rock rage and primitive electronics. Recorded, mastered and mixed in Tokyo by Joe Talia between 2015-2016.
“Japanese legend, Keiji Haino, meets two of Belgium's most active and valued musicians, keyboardist Jozef Dumoulin (Lilly Joel) and drummer Teun Verbruggen (Othin Spake). The Miracles Of Only One Thing is a deep and intense testimony of this meeting. Keiji Haino, without any doubt one of the most important musicians from the Japanese underground scene, is at his best, Teun Verbruggen and Jozef Dumoulin did a three-week tour in Japan in September of 2015, playing concerts as a duet, but also solo and with local musicians.
One of those musicians was hero Keiji Haino, whose work has spanned rock, free improvisation, noise, percussion, psychedelic music, minimalism and drones. Besides his legendary bands Fushitsusha and Lost Aaraaff, he has worked with artists and bands like Boris, The Melvins, Jim O'Rourke, Oren Ambarchi, Peter Brötzmann and Steve Noble. As for Dumoulin and Verbruggen, they are both known for their always refreshing and groundbreaking work that breaks the barriers between free improvisation, electro, jazz and more. Jozef Dumoulin is part of the duo Lilly Joel appearing recently on Sub Rosa with What Lies in the Sea (SR 416CD, 2015). The three teamed up for a studio recording and a recorded live-show.
Out of all the material, they distilled an album that reflects both the excitement of the new bond as well as the deep and vast sonic landscapes that their joined forces laid bare. Personnel: Keiji Haino - guitar, vocals, flute, gongs; Jozef Dumoulin - Fender Rhodes; Teun Verbruggen - drums, electronics.”
Firecracker’s sister label, Unthank, embraces a “micro-cosmic opera” from Italian producer Raffaele Arcella a.k.a. Whodamanny, the Early Sounds Recordings affiliate and capo of Periodica Records.
Not gonna lie, we could spot an Italian electronic vibe from the first ambient section iris Primum and certainly in the pulsating disco track indigo Auctoritas that follows, and all before we’d clocked his name. Not sure what that says apart from an assurance of high quality electronics recalling the innovations of legendary Italian library producers and reams of go-to studio heads.
The rest follows in suit, conjuring giddy library style animations in the playfully wigged-out Crystal Aestus, and a spot of tropical synthesis with Iris Secundum, saving the cosmic canter of Wise Glaciem and natty Alessandro Novaga/Jamal Moss/Faces Drums flex on Neuter Gyrum.
Techno virtuoso Aybee follows a similar recent trajectory as his fellow Deepblak traveller, Afrikan Sciences, to present some of his strongest material, bar none, on his latest opus The Odyssey.
His follow-up to the Sketches Of Space collaboration with Afrikan Sciences pursues 10 lines of cosmic techno enquiry intersecting the ‘floor, the head and farthest flung star systems in a journey of discovery and subtle experimentation.
There’s no radical change to his sound, more a firm consolidation of the classically-rooted but forward-looking ideas that were previously there in his sound; resulting highlights in the hydro-electric techno charge of Down The Rabbit Hoel, and an inimitably crimped Afrobeat dip in Ank and Asteroid Lust, or with superbly fluid electro-trance synth leads in The Professor and the Kassem Mosse-like Build Them.