The Death of Rave plates up the first ever vinyl release from NYZ; the cult, algorithmic/generative music project of award-winning artist/scientist Dave Burraston (Bryen Telko, Noyzelab), featuring one track using synths given him by Richard D. James - a peer and star of Dave’s famous ’SYROBONKERS!’ interview. ’It comes highly recommended to followers of Russell Haswell’s kaotic gnash, the mind-bending tunings of Aphex Twin, the visionary algorithmic scapes of Roland Kayn, and Eliane Radigue’s microtonal meditations.
’SHFTR FRQ’ showcases the breadth of Burraston’s experimental research into algorithmic/generative composition. The A-side revolves 14 succinct blatz ranging from cranky percussive pieces to queered microtonal dissonance and SAW II-like atmospheres - notably including one track made on a Sequentix Cirklon sequencer and PreenFM2 synth gifted him by Richard D. James - while the B-side contains a steeply immersive spectral drone tract that (never) ends in a locked groove, especially cut at D&M, Berlin. The results are wholly unique and speak to the endless, playfully experimental variation of NYZ’s art/research. They reveal visceral, alien microcosms of curdled microtonal tunings and proprioceptive chicanery bound to thrill and induce strange, new sensations in even the most hard-to-please fiend of electronic music.
In Dave’s own words: “SHFTR FRQ is a series of experimental studies into simple synth setups controlled by varying levels of generative complex systems [MANIAC cellular automata]. Recorded over the last 6 years on an ever changing hybrid of equipment encompassing the domains of modular & MIDI based microtonal sound synthesis [analogue & digital]. Setups were always ultra-minimalist, often with just the MANIAC cellular automata sequencer and 1 or 2 modules/synths to provide a consistent sensory focus. The studies range from ultra-short sequences, micro-ditties, investigatory motifs, to a full length high spectral drone meditation.
+ [Special note for track A9 - SHFTR_CA#BB1] => A huge shout of thanks to Richard D James for gifting me a Sequentix Cirklon sequencer and PreenFM2 synth during my Regional Arts Fellowship in 2017! This was the first track I made using this gear."
For more technical info on NYZ and his research in Cellular Automata, run check his Noyzelab github page.
Prayers are answered with Vainqueur’s Reductions 1995-1997, a compilation of in-demand cuts from René Löwe’s seminal Chain Reaction 12”s and Elevations CD, including the vinyl premiere of Antistatic and first ever appearance of Antistatic II on any format, all available on wax for the first time in over 20 years!
For anyone who came thru during the late ‘90s and early ‘00s, Vainqueur records were required listening - beyond Maurizio’s M-Series and the Basic Channel catalogue, they’re some of the strongest dub techno trax in existence. Now, two decades later, they still appear regularly in the mixes of those in the know, but their 2nd hand prices have steadily crept up in parallel.
To newcomers and older fiends alike, this 3LP selection provides a perfect overview of Vainqueur’s most feted period (not withstanding his all-time banger Lyot , but that was a kinda one-off). The first disc revolves his banging Reduce 1 and the monotone brilliance of Reduce 2, whilst the 2nd disc renders the more tender gasps and dub chords of Solanus (Original) and the heady Elevation II - both masterclasses in German techno minimalism - while the 3rd disc significantly presents the flared chords of Antistatic, taken from the Elevations CD, on vinyl for the 1st time, backed with the exclusive-to-this-12” Antistatic II.
Justin Broadrick and co’s pivotal Godflesh album is made available on vinyl for the first time in 30 years
Arguably the last word in ‘80s guitar-driven industrial rock, 1989’s ‘Streetcleaner’ is pure bonehead fuel, chock full of grinding, beastclaw riffs and with a funky drum machine in its sweaty gruds that really set it apart from the crowd.
Carrying the black country metal torch into a new decade, Broadrick, G.C. Green, Paul Neville and their trusty Alesis HR-16 drum computer coughed up 9 gristly, swaggering chunks that effectively bridged the gap between Black Sabbath’s original heavy metal and the more funked up ‘90s variants of Primus and Slipknot et al.
30 years later it would take a fool to say that this stuff doesn’t work any more. It’s patently still heavy as f*ck and deserving of it’s “classic” mantle.
Barker, Synkro, Parra For Cuva, Roly Porter, DJ Tennis + Barratt, and Robag Wruhme rework Max Cooper’s tech-house-tronica
Barker turns in a thizzingly weightless remix of ‘Phi’; Synkro works ‘Rule 110’ on a mercurial slow/fast flex; ‘Hope’ becomes mellow, gaseous, folksy at the hands of Cologne’s Parra For Cuva. Erstwhile Vex’d member Roly Porter provides a brooding highlight with his power ambient diffusion of ‘Hope’; DJ Tennis + Barratt take ‘Reflex’ to the disco, and ‘Volition’ is sprinkled with Robag Wruhme’s cute and proggy electronica sensibilities.
Delroy hitches up to L.I.E.S. again with the fizzing, melodic jack attacks of ‘Wagon Wheels’
After reprising their relationship with the ‘Aftershock’ 2LP in early 2018, the L.A. club guy plays into a signature sound in six cuts built from percolated drum machine patterns and hazy Chicagoan synthlines.
The biggest joint is a jabbing, mid ‘80s styled ace called ‘O.K. Track’ that strongly recalls Le Noiz or Chip E bangers, and we’re also really feeling the wigged-out wriggle of ‘Do Do’ (although we have an inkling those track titles may be the wrong way around), while there’s also some charming, wavy Jamal Moss styles in ‘Miss Mava’, and we’re also partial to the proper, briny Gherkin jerk of ‘Crazy Cool Beats.’
Breezy breakbeat house and downtempo ambient from ANF, otherwise known as the producers behind Dust-E-1 and Priori
Playing deep into Pacific Rhythm’s romantic aesthetic, ‘Mauna Kea’ unfolds between the title tune’s rolling breaks and lip-smacking acid line, the chill-out room special ‘Chi-Motion’, and sweetly pie-eyed moments in the swinging hustle of ‘State/Fucntion’, while ‘Mary Lynne’ heads out into pastoral, Borealis/Balearic vibes.
Free jazz classic ’Vibrations’ - aka ‘Ghosts’ - is the 2nd album by Albert Ayler’s quartet featuring Don Cherry, Gary Peacock and Sonny Murray
This is a facsimile reissue of the original Freedom label pressing, recorded in Copenhagen, September 1964. While out of print in this form for decades, the album has also been made available as free jazz saxophonist Albert Ayler’s ‘Ghosts’. It’s an adventurous, charmingly challenging, 5* free jazz classic.
‘And We Are Passing Through Silently’ is the sublime first survey of reworks/remixes by cult synthesist Abul Mogard, including extended reworks of Brian Eno and Gordon Sharp (Cindytalk), Aïsha Devi, Fovea Hex, Penelope Trappes and more.
Arguably one the bigger enigmas in modern synth music, Abul Mogard has established a reputation for his singular synth works, mostly issued by Steve Moore’s VCO and Alessio Natalizia’s Ecstatic label since 2012. Prized for his slow-building, etheric and beatific style of composition, Mogard has also been in demand as a remixer over the years, and it’s in this role that Houndstooth focus upon, rounding up and presenting a handful of his strongest remixes for other artists, including many on vinyl for the first time. In each case Mogard extracts the artist or band’s essence and diffuses it into his own, billowing soundscapes with a time-dilating, meditative and romantic appeal that’s long been at the core of his synthy magick.
Where Abul’s solo work is purely instrumental, his reworks are the only place you’ll find him handling with vocals, and the best of those are found in ‘And We Are Passing Through Silently’. Perhaps understandably, he’s most impressive when working with other veteran souls. This is most clearly apparent on the 2nd disc, offering a stunning expansion of Gordon Sharp’s plaintive vocal in Massimo Pupillo/Becoming Animal’s ‘The Sky Is Ever Falling’ that surely reminds of his earliest work with This Mortal Coil, while he also deeply enchants with a glacial rendering of Fovea Hex and Brian Eno’s ‘We Dream All The Dark Away’ that sounds like it escapes a Clannad Seance in ’89.
Factor in a vertiginous spin of Aïsha Devi’s ‘O.M.A.’, the gently psychedelic rework of Nick Nicely’s ‘London South’, and a sweetly refined mix of Penelope Trappes, and it’s not hard to hear what all the fuss about, especially if you like Alessandro Cortini or Steve Moore!
"Rounding up divine renderings of songs by Aïsha Devi, Penelope Trappes (The Golden Filter) and nick nicely (heralded by luminaries of the US underground Ariel Pink and John Maus), the album culminates with Brian Eno’s collaboration with Irish avant-folk band Fovea Hex.
Also included is Abul’s brand new rework of Becoming Animal’s ‘The Sky Is Ever Falling’ featuring vocals from Cinder (This Mortal Coil/Cindytalk) and Massimo Pupillo on bass (Zu/Thurston Moore/Stephen O’Malley), exclusive to this release.
A must for fans of Alessandro Cortini, Pye Corner Audio, Fennesz, Gas.
Unmissable, cult Scottish punk zinger from 1986, returning 33 revs later via Good Energy, a new label from Jennifer Lucy Allen (Arc Light Editions) and Kevin McCarvel (Nyali Recordings). Imagine Einstürzende Neubauten in kilts, playing in a cow shed, and punking up Robbie Burns…
“Raw as hell record from the 1980s Scottish underground by Nyah Fearties, who toured Arran in kilts, who built a percussion setup from scaffolding and oil drums, who appeared on The Tube on the back of a moving lorry, and recorded this, their first album, in a cow shed in Ayrshire with just a car’s cassette deck as a monitor.
Don’t expect this to sound soft or slick because it isn’t, and therein lies its glory. Released on vinyl 1986, and later circulated under the counter as an unofficial CD-R, it’s bounced around the Glaswegian underground for decades. The master tapes went missing but with the approval of Davy Wiseman it’s been dragged kicking and screaming back into the world as a limited LP run and digital release, and contains perhaps the most chaotic detournement of a Robbie Burns folk ballad ever laid to tape.
Nyah Fearties are from the village of Lugton, and created a near-unique brand of anarchic modern folk in the 1980s and 1990s. “Simple Minds, Orange Juice and The Jesus And Mary Chain were from Scotland but Nyah Fearties are about Scotland” said one review. Their feral Celtic punk is influenced by industrial groups like Einsturzende Neubaten, who inspired a scaffolding and scrap metal percussion setup that became known as ‘the blatter cage’, making them unwelcome wherever they went. Fearties are a duo of brothers Davy and Stephen Wiseman, and this record also includes, “the Entire Company on anything they can lay their hands on” according to original sleevenotes. The brothers toured, appeared on TV, and later supported The Pogues on tour, and these successes allowed them to release better recordings under improved conditions.
Originally released in 1986 and reissued now by Good Energy, a co-production between Jennifer Lucy Allan (Arc Light Editions) and Kevin McCarvel (Nyali Recordings). Good energy thanks all involved, especially Cal Wiseman and the one with the best energy: Davy Wiseman.
To be Feart is to be scared, but you better be
because A Tasty Heidfu’ is back and it’s coming for you.”
Objekt returns with Cocoon Crush, his first LP since 2014’s Flatland. Over the past four years he has continued to challenge conventions with his club output, while maintaining his reputation as a DJ who deploys impeccable technical finesse in crafting elaborate narratives from a diverse and challenging palette of electronic music.
"Written between 2014 and 2018 in Berlin and on the road, Cocoon Crush once again sees the producer jettisoning the functional requirements of the dancefloor. Marking a further evolution from the youthful exuberance of Flatland, Cocoon Crush explores a more introspective side, with themes of human interaction resonating throughout the record as it ruminates on a spectrum of complex moods rooted in 4 years of sometimes turbulent personal experience.
Cocoon Crush represents an aesthetic departure from Flatland’s largely synthetic tonality, drawing from organic source material and natural textures to illustrate perplexing and unfamiliar sceneries in photorealistic detail. In Cocoon Crush, Objekt diverges further still from his musical influences to craft the purest manifestation of his own musical personality to date: an intriguing and enigmatic album whose reference points are hard to pin down, in which ghostly synth passages weave through mind-bending, weighty drums, and ASMR-triggering foley collages scrape and sparkle.
Through meticulous sculpting, Objekt traces a rich and impressionistic journey through claustrophobia, hope, guilt, anxiety and joy, nested in layers of sonic detail which reward with every listen."
Toresch vocalist Viktoria Wehrmeister becomes Decha with a superb solo debut suite of minimalist, mirage-like songs for Berlin’s Malka Tuti label
Also known for her role in La! Neu? with Klaus Dinger during the late ‘90s, Wicki Wehrmeister is the Mexican-German sculptor and artist acclaimed for her schizzy vocals on Toresch’s amazing ‘Essen Für Alle’ EP, where she variously barked, purred and and spat in tongues over Tolouse Low Trax’s sidewinding productions.
On ‘Hielo Boca’ however, Viktoria a.k.a. Decha is shorn of beats, allowing her playful character to really come thru in myriad ways while revealing a true enigma at work in the process. Across the album’s nine songs Viktoria wears as many hats, vacillating snarling, punky personas with more naif, airy stylings and seductive croon, and always unafraid to play around with the frayed, natural imperfections and textures of her voice.
To cut to the chase, there’s one really big standout, ‘Voy A Very’, where Decha multitracks herself in plaintive harmony over a sluggish, decapitated house riff and smeared brass with transfixing effect, but we reckon it’s best heard in context of the full album, after you’ve witnessed her parse and recombine her various voices and sides between the gurning/puckered glossolalia of ‘Nonja’, the layered acapella cadence of ‘Soy Yo’, where she’s alternately rapper/folkalist, and the likes of ‘La Nena’, where she melts into air like a Cucina Povera or Paavoharju hymn to dreamy whimsy.
In the best sense the music on ‘Hielo Boca’ feels in flux, frayed and off-the-cuff, yet highly considered. It’s this play of instinctive and detached nous that makes us sure we’ll return over and again.
Surprise new release on Low Jack’s much sought-after Les disques de la Bretagne series, a tropical spell from Dominick Fernow’s Rainforest Spiritual Enslavement on a lights-out dancehall voodoo tip - the first RSE release outside of Hospital Productions.
Dominick Fernow (Prurient) and Low Jack untie for this latest incarnation of Rainforest Spiritual Enslavement, after stumping one of 2018’s biggest surprises with their dread-filled collaboration ‘Red Ants Genesis’
On the A-side’s noxiously swampy ‘Bridgetown Dub’ they come to bury the dance with mesmerising chants and skeletal drums and powerful electro-dub subs - brought to life in-the-mix by Paul Corley - while lightning and thunder threaten collapsing skies. The synthetic vocal edits and drums take this deeper into steppers territory than any other RSE (or for that matter any of Fernow's many aliases) we can recall - proper vibe.
‘Price To Pay’ on the flip follows in bassy suit, starting off almost shorn of drums and licked with currents of tropical warm air chords that lull you into a state of a most welcome mental paralysis, before those kicks come in again for a delirious sense of momentum.
Powerful spells, strongly recommend to fans of Demdike Stare, Equiknoxx, Shackleton, Burial.
Angel-Ho takes to Hyperdub with her killer debut album proper, ‘Death Becomes Her’
Metamorphosing from the bullet-riddled chrysalis of her ‘Red Devil’ mixtape into a melodically colourful and vital voice in new electronic club music, the South African artist is accompanied by guest vox from K Rizz, Queezy and K-$, plus production by Gaika, Nunu, Bon and Asmara Maroof, who all play their role in “killing the old self, and expressing a poetic way of assuming a new identity.”
The album is thus about “emancipation and trans identity”, and reveals Angel-Ho as a gifted lyricist/vocalist as well as a master of curious, probing arrangements of tone, texture and rhythm. But, for anyone familiar (or even slightly obsessed) with her fractious ‘Red Devil’ mixtape, her advance into far more tempered and filigree sound organisation may come as a shock. Her music now more closely resembles the hard-won styles of Arca and Lotic, with stronger binds to mutant R&B and Rap, as well as core influence from SA musics such as Gqom and Kwaito.
Where her previous releases were effectively dizzying, abstract descriptions of South Africa and the trans-global Black and queer experience, ‘Death Becomes Her’ merges the figurative and brutalist with more literal, and poetic expressions, for a varied and full frontal definition of Angel-Ho as an artist. Songs such as the Kwaito-esque dance-pop of ‘Like A Girl’, and ‘Muse To You’ are just that, proper dance songs with verse/chorus structures and stunningly animated/animating rhythms, while ‘Baby Tee’ offers a smart sidespin on R&B conventions, and others naturally push the prism toward the avant, as with the use of Bee-Gees choruses in the blinding, off-key and jagged ‘Live’ or the Coil-ed poise of ‘Pose’, or the keening, oblique shape of ‘Bussy’.
Finally the missing piece of the puzzle arrives, the early and absolute classic slice of genre-defining techno from Basic Channel under their Quadrant guise.
Infinition was originally licensed to Carl Craig's Planet E imprint in 1993, and also Renaat's now sadly defunct R & S label, and became an instant sell out on both slightly differing versions and has been sought after ever since. Here Moritz re-masters the two cut's Infinition and Hyperprism onto a loud and crisp 45rpm press. The demand for Basic Channel records has been hyped of late due to the 10th anniversary re-press of the original 9 releases, this further 12" completes the early evolution of their sound, and the bare 909 drums and classic washy synth's show the early leaning's toward the Phylyps Trak style cuts, and their first foray in to the annals of techno history.
Hyperprism has a more acidic feel, and a definite Planet E/Detroit sound with the lush strings backing the modulating acid line, while the subtle drum programming makes the groove sit superbly under the music, a lush and deep as you like vintage cut from Basic Channel finally available. An unmissable re-issue of a bona-fide classic, and remember kids - we've been waiting for far too long for a record to land with a new Basic Channel catalogue number - here it is. Legendary.
Properly Entrancing recordings of Eliane Radigue’s ferric alchemy come to light again on vinyl, this time on a better vinyl pressing with calmer surface noise allowing for a finer grasp of her pulsing, filigree microtones and pealing timbral partials. Also, that new cover art is....!!!
Stunning Alga Marghen issue of two previously unreleased masterworks by Eliane Radigue recorded at Pierre Henry's studio between 1967-68. At this time she was working for Henry at his studio, given the enviable task of organising his vast sound library according to different criteria for use in his future compositions and also helping edit his masterpiece 'L'Apocalypse de Jean'. During downtime she had access to an unrivaled array of equipment and created these two compositions. Jouet Electronique' (1967) or 'Feedback on magnetic tape' features two Studer and two Tolana reel tape machines - Radigue would set one to record another and manipulate the discrepancies of phasing feedback loops, or "larsens" with delicate, fine-tuned pitching, "slightly caressing certain potentiometers" to elicit a range of low pulsations and very high pitched sounds as though she were playing a rather unwieldy instrument. The results are ethereal and often alien, yet conducted with an uncannily restrained and human sleight of hand.
Even more visceral is 'Elemental I' (1968) or 'Feedback of natural sounds on magnetic tape' comprises four movements associated with the four basic elements: water, fire, air and earth. Thanks to her former employer, the artist, Arman, she now had a small, portable Stella Vox which she used to record sounds in open air during walks around her home in Nice, capturing the sea, the wind, the rain and fire to form a small sound library. The sources in each section are discernable, but transformed into breathtaking abstractions at her home studiio.
New Order’s evergreen first single ‘Ceremony’ (technically a Joy Division song, but…) is available for first time since the ‘80s, and on heavy vinyl to boot
‘Ceremony’ was written and recorded as a Joy Division song, but tragic events lead it to become New Order’s first single, re-recorded by Martin Hannett for purpose, and subsequently acknowledged among the greatest of all time. Gloomier than winter skies over Hulme, B-side ‘In A Lonely Place’ only compounds the emotion.
New age ambient cooperative Temple - aka Ramzi, Priori, Ex-terrestrial, and Emmanuel Thibau perceptively probe the space between electro and acoustic, improvised and produced sounds in their lush debut proper following an appearance on New Atlantis Volume 1.
Working at beautifully empathic levels of intuition in four extended movements clocking in at a total of 40 minutes, their multi-stream compositions are steeped in myriad modes of practice, ranging from nods to the ‘60s minimalism of Alvin Curran and the late ‘70s shimmers of Eno and Hassell in ‘Movement 1’, to lush emulations of off-planet tribal music in ‘Movement 2’, before incurring glassy ‘80s FM synth dreamspace perfused by adult contemporary sax bleats in ‘Movement 3’, and melting out into dusky lounge styles in ‘Movement 4.’
These New Puritans return with their first new studio recording since 2013’s Field of Reeds.
"Into The Fire, featuring Current 93’s David Tibet, is available via Infectious Music from all digital retailers and a 7-inch coloured vinyl is now available for pre-order, backed with a remix by These New Puritans as Mick The Asbestos. The Into The Fire artwork is a collaboration between George Barnett and the award winning photographer and director Harley Weir."
Laurel Halo delivers a deadly instalment for DJ-Kicks with her 29-track sequence of zingers from overlapping zones of the ‘floor...
With a mercurial yet gritty flow owing as much to UK as Detroit and Durban dancefloor styles, Laurel wickedly and coherently keeps the mix in flux between alternating patterns, textures and subtly emotive tones, lacing her own exclusive parts and those from Nick León, Rrose and Ikonika, into a Lovelacian jacquard of iridescent allure and intricacy.
Alongside her 1 hour mix, all the tracks are available unmixed, with a big Gqom highlight in Griffit Vigo’s ‘A.C.I.D. (Electronic Gqom Mix)’ and to an extent, in Panda Lassow’s mutant, EU take on Gqom ‘Lachowa’, while the likes of Siete Catorce’s haunting latinx ace for Hypermedium, and Group A’s sprung EBm ace ‘Ketabil’ highlight the diversity and cross-floor unity at the core of Laurel’s dancefloor nous.
The viny 13 track set that takes in exclusive highlights such as Rrose’s nose-drip techno in ‘Cricoid Pressure’, along with Ikonika’s industrial funk ace ‘Bodied (OG Mix)’, Nick Léon’s kinky ‘Pelican Dub’, and Laurel’s kicking Detroit styles in ‘Sweetie’. Elsewhere, you’ll find smart picks such as Group A’s overlooked EBM zinger ‘Ketabali’, a freaky spin on Gqom from Panda Lassow, and Siete Catorce’s brooding swerve in ‘Canto’, taken from his EP for Hypermedium.
Youngsta’s Sentry push the boat out with Icicle’s ‘Raising The Dead’ doublepack of dubstep dreadnoughts
Still beloved in these parts for 2010’s ‘Xylophobia/Minimal Dub’ 12”, Icicle marks distance travelled since then with four parts of precision tooled pressure, smartly working on , off and around the halfstep.
Disc 1 comes cold AF with the scudding synth stabs and guttural wrench of the title tune, alongside the dissonant, feral synth chatter and industrial-strength percussion of ‘NT’. On the 2nd plate, ’Shout Me’ working wailing siren calls into a more hypnotic, loping groove underpinned with beastly midrange snarls, and ‘Noughties Riddim’ isolates the original soundtrack to smoking bans and worldwide financial crashes.
‘Fountain Fire’ is Bill MacKay’s second solo album on Drag City.
"The Chicagobased guitarist’s continued sonic journeys in conversation with himself follow a travel-worn map written in his own hand. Bill has followed the trail from familiar confines to unknown places, catalysing a style equally enamored with the traditional and the avant-garde to make his most expansive and forceful music to date. You can hear it in the opening track; as the lava and lakes of ‘Pre-California’ simmer to boiling, Bill assembles a bridge of guitars, layering beams of rumbling acoustic, distorted electric and arcing slide parts.
By leaping boldly from fixed points, he makes synergetic discoveries in mid-air. This is the MacKay writing style in its most evolved state thus far, following serpentine paths within the patterns, lunging in and out of tonality with instinctive flair and a stoic sense of inevitability, forging a sonic mosaic that breathes and grows organically as it fills the space of a song. Yet there is far more here than straitlaced sonic captures of picker’s prowess and captivating harmonic motivation. Bill’s pieces are informed by meditation and memory, impressionistic as cinematic miniatures, inspired as much by filmic and literary passions as by sure-playing hands and always rooted with deep soul and steady intention.
As the pieces move in and out of focus in enticingly hallucinogenic fashion, Bill throws another element into play: a pair of stark and emotionallycharged vocal numbers that cause the hair to raise on the listener’s neck, etched as they are with a haunting and eerie beauty. Alongside the evershifting flows of instrumental colour running through ‘Fountain Fire’, these moments shine blindingly, like mirages in the desert. The fire in the album title is a continuity in Bill’s life - part of his genealogy, his living history, his astrology, the scorching effect of the overdriven slide in the penultimate ‘Arcadia’. It is also a sigil for the chaos around us.
Bill says: “While the record definitely reflects the turbulence and urgency of the times we’re living in, it also takes an autobiographical look back at the upheaval that characterized the nomadic rambles of my formative years. I learned to adapt to this constantly shifting landscape. Grasping the unfamiliar became secondnature, and the impressions made by the unknown rapidly entered my art. The bittersweet sense of fleeting time & place became a hallmark. Now is more of a time than ever to dramatize what matters to us through our art.”
Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond.
"Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across four LPs or three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space.
Mastered from a mix of crusty cassettes, decaying DATs, and warbly analog tape, Capsule Losing Contact is housed in a moon dusted slipcase with all four albums secured in heavy weight tip-on jackets. An accompanying lyric book guides the listener through Duster’s lo-fi worldview, adorned with the last gasps of an expired golden age as captured on Polaroid and disposable Kodak cameras."
Strong, soulful debut album from Vancouver, CA’s Jayda G, paying tribute to classic Chicago styles in 9 effortlessly distinctive parts - big highlights in the disco come-on of ‘Stanley’s get Down (No Parking on the DF)’, and the brimming broken beats of ‘Sunshine in the Valley’, while ‘Orca’s Reprise’ beautifully points to her new age inspirations...
“The album is a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen Jayda play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S; be invited by The Black Madonna to play at her Warehouse Project takeover; and perform at festivals like Field Day, Kala, Melt!, AVA and the xx’s Night And Day.
Growing up some 6 hours outside Vancouver surrounded by an abundance of nature sparked an early interest in biology and the natural world, a passion that has endured and intensified to this day and is inextricably intertwined with her musical output. In 2018 she completed her Masters in Resource and Environmental Management specialising in environmental toxicology, wherein she investigated the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility.”
“I just want people to feel not so hopeless… there's a lot of really depressing things going on, but people are doing good work out there and finding out really interesting stuff, so I just want people to be informed of those things, so that they feel inspired in whatever work that they do.””
London five-piece Housewives return for more anarchic genre-blending adventures on their second LP, Twilight Splendour
"Bringing to mind the digital meditations of legendary producer Oneohtrix Point Never, Twilight Splendour presents a love letter from an early AI to its owner, its concept-led songs strewn with “ecstatic messages of frustration and a desire to connect”.Since forming five years ago, Housewives have drawn from such diverse scenes as post-punk, jazz, drone, electronic and avant-garde. 2013 saw the release of an eponymous debut EP via Brighton label Faux Discx, while their first-full length record, ‘Work’—recorded at a barn in a desolate corner in the south of France—arrived two years later.
2017 live album FF06116 marked the band’s first collaboration with experimental saxophonist Ben Vince. Following on from these early statements, Housewives are now set to unleash their game-changing new album—turning away from performance-based writing, the human, and facing the cold light of computers head on."
Shlohmo anticipates the eschaton as he knows best; with an album of slouchy Emo-trap
“The album is vaguely about the end of the world, but from the viewpoint of smoking on the couch during the extinction event. Reading a nice book while the meteor hits. The fake peace of insularity during chaos” Shlohmo”
Dread-filled, tribal psych jazz excursions from Portuguese drums/synth duo Paisiel for the Milhões de Festa label and Rocket Recordings. RIYL Colin Stetson, Gnod, Tomaga
“Based on an individual exploration of the sound and on the expressive possibilities of their instruments, the duo’s music seeks to join and systematize their influences, albeit without any obvious correspondences or affinities – resulting in textures and abstract melodies propelled by a mechanical and existential percussion that morphs into a kinetic trance.
Heterodox and digressive musicians, they move freely between the repetition of krautrock and techno, jazz, experimental music and other new musical categories, João Pais Filipe and Julius Gabriel create radio-graphic sounds that inhabits somewhere between the reception and the emission of a signal, like a cosmic telephone exchange.
This three track album was originally released in 2018 as a ltd edition cassette on the great Portuguese label Lovers & Lollypops. And now Rocket Recordings are extremely proud to be releasing this unique recording on a ltd edition colour vinyl and across all digital channels.
In 2018 João Pais Filipe has also found the time to release a stunning and highly acclaimed solo album and a very exciting collaboration with fellow drummer/percussionist, and also very talented Valentina Magaletti (Tomaga/Vanishing Twin/UUUU) called CZN.”
Animal Collective founder Dave Portner spools off a new Avey Tare adventure, apparently still gassed on the psychedelic surreality of AC’s ‘Tangerine Reef’, and with a killer thing for Maurizio’s eternal M5 groove in ‘What’s The Goodside?’
“Cows On Hourglass Pond was recorded between january - March 2018 by Dave Portner at Lauging Gas in Asheville, NC on a Tascam 48 half-inch reel-to-reel tape machine. It follows the 2017 release of Avey tare’s Eucalyptus, and 2018’s audiovisual album Tangerine Reef, a collaboration between Animal Collective and avant-garde coral macro-videographers Coral Morphologic."
Oliver Ho debuts his brute, industrial & psychedelic drone project Slow White Fall for Downwards with half an hour of visceral synth and guitar distortion driven by slavish drums highly recommended if yr into works by Tony Conrad, Swans, Bourbonese Qualk, Throbbing Gristle...
The ‘Total’ EP is a bitter extension of Ho’s increasingly noisy forays into industrial musick found in his Broken English Club and Zov Zov outings of recent years. Gnashing right at the biting point, the five tracks here are soused in distortion to degrees recalling The VU, Swans, and Bourbonese Qualk, bringing Ho as far as he’s travelled from techno proper and closest to his formative industrial influences.
He fully commits to this sound with opener ‘A Blinding Light’, toiling booming drums and slavish hi-hats with electric blue raga drones in a way that resonates with everything from Tony Conrad to Clay Rendering, before ‘Releasing Together’ locks into a tantric vortex sounding like a duel between Throbbing Gristle and John Carpenter.
’Slate’ then returns to the amp worship with sanctifying slow riff distortion worthy of Dylan Carlson, while Ho’s plaintive vocals interject the sludgy crawl of ‘Our Eyes’, and ‘Vein’ sounds like he’s repeatedly stabbing a live 1/4” jack into industrial rock’s beached and bloated corpus, releasing noxious gasses that build into a tarry fug of guitar distortion. This is Ho at his most stare-down intense and timelessly, narcotically effective...
Finally, Hospital Productions unveil the long awaited vinyl debut from the elusive Salford Electronics, backed with killer remixes by Ancient Methods and Vatican Shadow. Tipped if yr into Burial, Regis, Silent Servant...!
Plucked from right under our noses, Salford Electronics appears to be a handle for David Padbury, whose credits for industrial units such as Death Pact International and The Grey Wolves stretch back to the ‘80s. Under the SE mantle however, Padbury pursues a stealthy, menacing blend of industrial ambient, rolling techno and even Burial-esque 2-step that cannily resonates with styles you’ll hear any given weekend at Salford venue, The White Hotel - aka the best (and coldest) venue in the world right now.
The Salford Electronics sound is every bit as grim as its moniker implies. Opener ’Shadowfall’ conjures imagery of light dying over Salford’s jagged squarewave horizon of high-rises, Satanic mills and media citadels, before that atmosphere bleeds into the stark negative space and clenched techno tumult of ‘Deconstruction’, streaked with shortwave radio chatter and unheimliuch proclamation from the murk, only to end with a dry echo of Burial’s melancholic 2-step in ‘Breakdown’. And yes, we’re as surprised as you are.
Flipside, the effect is compounded by killer Ancient Methods and Vatican Shadow remixes. First spotted in his RA.645 mix, AM’s take on ‘Deconstruction’ is insanely dead-on but pendulous, driven with hungrier bass and whelmed with waves of biting point noise, while Vatican Shadow comes into his own with a tract of zombied, blank-eyed techno gloom.
L.I.E.S. cut across the face of contemporary American electronics from dark ambient to sludgy industrial offbeats and off-the-wrist noise from label family and acquaintances...
In a way similar to the notorious LSD comps, only with proper artist credits and track titles, ‘Eminent Domain’ effectively sees Ron Morelli limn an narration about the USA’s scuzzy underbelly of ill, odd-shaped, and refusnik electronics. with more enough material to soundtrack the film in his head where he’s a leathered-up tuff guy baddie on the mean streets, spitting on the sidewalk and commanding his gang of rogues over burner phones.
Highlights come from Beau Wanzer with the heavily spiked wobble of ‘Don’t Eat The Ground’, from Nick Klein in the ratty prang of ‘Microscopic Cop’, Skander’s midnight horror theme ‘Running Into Danger’, and the tensile, teeth chattering EBM of ARIISK’s ‘Ominous Playback Transmission’, while the 7” also fires two grotty zingers in Corporate Park’s distended electro workout ‘Benevolent Surveillance’ and the cold ceramic swirl of ‘Fade Out’ from S. English.
Aril Brikha returns to Mule Musiq with three rolling deep techno trax in signature, Detroit style
Across the A-side he unfolds the proggy, elliptical bassline and sizzling hi-hats of ‘Pattern Recognition’ for the hair-kissing hours of the morning, whereas the B-side works out the stripped down kick and vocal-led electro swerve of ‘Policy of Youth’, saving a melodic flourish for when it matters, and expending his funk in the low key hustler, ‘In The Night’.
Chalk Hill Blue is a record of electronic ruralism channeling lives threaded through the chalk landscapes of Southern England.
“Will Burns is Caught by the River poet-in-residence, and Hannah Peel is a frequent fixture of Caught by the River festival stages – both with the ‘cosmic colliery’ electronica of her solo work, and with orchestral place-rock band The Magnetic North (of which Chalk Hill Blue producer Erland Cooper is also a member.)
As part of their collaboration, Burns, Peel and Cooper walked the landscapes around Burns’s Wendover house together: their chalk-heeled boots tracing shared routes through the rhythms and repetitions of the place. What emerges in Chalk Hill Blue is a site-specific-non-specific record of creative place portraiture; an album that traces elements of a living landscape, and reworks them into something that is as sensitive and finely-observed as it is visionary.
Burns’s words and Peel’s sounds – deftly fused by Cooper’s sympathetic production – channel the minute shifts in the air and atmosphere of a place, and their resulting emotional effects. The spoken words and sound worlds on Chalk Hill Blue often seem to emerge from subliminal processes of call and answer; a fertile blurring of collective inspiration and intention circling this abstracted chalk landscape.
Perhaps if Delia Derbyshire’s later years in Cumbria had been happier then a record like this might have emerged from the fells, or alternatively if Virginia Astley’s gardens had contained a modular synth or two. Other triangulation points might include Hans Joachim Roedelius’s bucolic kosmiche reveries, Joanna Brouk’s new age minimalism, or James Yorkston’s ambient spoken word experiments. Like the butterfly with which it shares its name, Chalk Hill Blue is a rare thing: a glorious electric pastoral shimmer.”
Stroom drift wide-eyed into ‘90s chill-out room feels with this delicious split revolving Cold’s 15 minute acid massage ‘Strobe Light Network’ and an ambient electro beauty ‘Lapis Lazuli’ from James Bernard
Reaching deep behind the curtain of ‘90s ambient styles, this imaginatively conjured split plays to the light and dark, yin and yang of rave musick by reappraising its less trendy, but richly flavoursome ambient also rans, finding total beauties in blindspots beyond the usual rave hotpoints.
Icelandic producer Isar Logi Arnarsson aka Cold originally released ‘Strobe Light Network’ on Thule Records in 1995. Traversing iridescent, hallucinatory electronics and submerged, slow dub techno rhythms, the 15 minute beauty was picked up by Sven Väth as the closing track of Love Parade 1996, and now 23 years later it’s lost none of its lip-smacking lustre, surely set to light up a thousand sets over summer 2019.
James Bernard’s B-side ‘Lapis Lazuli’ hearkens to the same era, but sees to the other side of the coin to Cold. Written in the early ‘90s, and released in 1997 on the ’Symphony For a Biomechanical Breakdown’ CD for SPK/Lustmord’s Side Effects label, it’s a serpentine coil of flickering acid lines and reticulated 808 patter with a sublime yet slightly menacing effect particular to that dark and sexy seam of the ‘90s.
Dais offer a very handy portal into Drekka’s cult catalogue of dark ambient, shoegaze, noise and psych-folk c. 1996-2002, with results ripened for followers of Hood, Flying Saucer Attack, Current 93, NWW or even Philip Jeck
“"No Tracks in the Snow" is a collection of tracks from the early days of Drekka’s history; the third offering for Dais Records and an appendix between the second and third parts of the 'Tarwestraat' trilogy of LPs for the label.
For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka. He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams - the real ghosts of time and sound.
Recorded between 1996 and 2002, the album showcases Drekka's early exploratory development across a variety of styles. And yet it is also Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges’ "A Personal Anthology" - or indeed any of Drekka’s own recent work - this recording can be understood as a cohesive narrative more than as a simple compilation.
As Drekka moved from its Bristol UK influenced space folk beginnings, backwards towards Anderson's earlier UK industrial tape culture foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one's own history. This process would become a cornerstone of Anderson's work for the decades to follow.”
Tape Loop Orchestra embark on a new three album series ‘Interiors’ with a ghostly first instalment accompanied by a visual guide of found photos.
Offering a restrained, minimalist approach to core ideas about isolationism, the occult, transcendence and the nature of entropy, ‘Interiors One’ unfurls a soundtrack to interiors bereft of inhabitants. Heard and read in conjunction with a pamphlet of Andrew Hargreaves aka TLO’s found photos, the two sides (and a full length CD of extra material) slowly edge into sighing chorales and sepia keys that act as a gauzily familiar yet detached medium for meditation on the spaces we inhabit.
The results are detectably more tempered, less overwhelmed by emotion than previous TLO outings. Both of the sidelong sections, containing parts 1 thru 6, are more serenely composed and intangibly diffused into the aether, with TLO’s aching heart feeling as though it’s been unchained and is keening into middle distance around the soundsphere like a quietly lost soul divining communion with other energies .
Hargreaves veils emotive signposts and in the process encourages listeners to slow down, find magick in the prosaic, to grasp the extraordinary from the everyday, to listen out for voices, almost like a recording of Alvin Luicier’s most famous work conducted by The Caretaker, retitled “I am sitting in a room, but i’m not actually there, or am I?”
20 years since ‘Flat Beat’, Mr. Oizo and his furry friend front ‘Rythme Plat’; four tracks of tail-shaking electro-fonk, including a guest vocal by Crookers’ Phra
All neon plumage and polyester funk, the EP comes with Oizo’s patented sleazy swerve in every bounce, first working up a sticky funk with the title track’s blatant knob abuse, shackled to a slinky latin hustle, then with bags of Parisian swagger in ‘Viands Légumes Véhicules’, before Phra pipes up with an Italian rap on ‘Dolces Vita’, and ‘Nuque’ sees dancers waddling off like John Wayne after a long ride.
Giorgio Moroder teams up with producer Raney Shockne to compose the soundtrack for the USA crime drama ‘Queen Of The South’.
"The duo’s album, which spans 28 tracks, was informed by Moroder’s work on soundtracks like ‘Midnight Express’, ‘American Gigolo’ and ‘Cat People’, capturing the kind of operatic grandeur that can’t help but forecast tragedy while also reflecting the NBC TV series’ high-stakes thrills. “If cocaine was music, it would be [this] driving, adrenaline-fueled score,” said Natalie Chaidez, the series’ showrunner and executive producer. “It’s the perfect accompaniment to our epic tale of survival, ambition and power in the cartel world.”
Colourfully feathered Balearic charms from Japan, 1984, fancied by Theo Parrish and DJ Harvey
“Studio Mule presents a reissue of King Kong Paradise's Atsusa Mo Samusamo..., originally released in 1984 on Johnny's Disk. Johnny's Disk was an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata City in Iwate Prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning modern jazz, avant-garde jazz, and left-field pop.
Albums such as Teru Sakamoto's Farewell My Johnny/Left Alone and Eiji Nakayama's Aya's Samba (STUDIOMUL 013LP, 2019) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. Following a cult classic jazz fusion album on Bourbon Records, King Kong Paradise delivered Atsusa Mo Samusamo... an album of alternative, left-field Balearic rock that was way ahead of its time. An anomaly that sticks out in the Johnny's Disk's catalog, this rare record may appeal more to new wave, reggae and rock fans than jazz heads; in fact, one might not be surprised if people like DJ Harvey or Theo Parrish dropped this oddity in their sets. If one digs the kind of weirdness that's being reissued by Music From Memory, one might find this record intriguing.”
Punchy, soulful Detroit house burners from ‘90s survivor Tink Thomas, cooked up for Omar-S’s FXHE
‘Come On, Come On (Playa’s Choice Mix)’ kicks it off with plush strings and hoofing groove recalling Rick Wilhite and Big Strick styles; ‘Dancing (Detroit Disko Dub)’ brings the swing with garage flavour and KDJ-styel spice; ‘Do It Together (Renny Raw Mix)’ is a BIG vocal-sampling ace waiting for friday night crowds; and the hot strings of ‘Close To Me (Work On Me Edit)’ stirs up a strong finish.
Sam Beam, aka Iron & Wine, released Our Endless Numbered Days, his second in March of 2004.
"It followed his hushed, literate, intimate, melodic, 2002 debut album, The Creek Drank the Cradle, a quiet treasure which, with its unaffected candor and depth, found fans all over. Our Endless Numbered Days was recorded both at Sam’s Miami home and in Chicago’s Engine Studios with Brian Deck (Red Red Meat, Modest Mouse, Ugly Casanova, etc.) On it, Sam is aided and abetted by his then touring and recording conspirators: his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki, and Jonathon Bradley.
Listening to Our Endless Numbered Days makes plain Sam’s deft touch with words and melody; one that allows him to turn out stories about love, loss, faith, or the lack of it that are at once personal and universal, set to music that is sweetly haunting and timeless."
Grime’s OG class clown gets loose and freaky on four instrumentals from the archive
Up top he runs out the Riko Dan-sampling trample of ‘Kill All A’ Dem’ and the bandy-legged wobbler, ‘Taliban’, which is far dafter than the title implies, while the backside is loaded with DVA’s angular remix of MC Mega’s Most Wanted cut ‘Dangerous Liasons’, and the sidewinding tribal wickedness of his take on Wiley’s ‘Apocalypto’.
Bodycode employs the perfectly low-key vocal of Niqe on two infectiously warm and jazzy rollers
The house ace gets into the groove with tight hustle of ‘Moving On’, lit at opportune moments by Niqe’s seductively laid-back vox, and sweetly splitting the difference between SA and European house grooves in their percolated shimmy. Niqe then appears breezier and dreamier in the direct drive of ‘The Way’, neatly balanced in Bodycode’s signature, effortlessly suspended rhythms.
Domino present Nérija; the septet of Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass).
"Their debut ‘Nérija EP’ - originally composed, recorded and self-released following their meetings and collaborations via London’s Tomorrow’s Warriors - is re-released, having been remixed by kwes and remastered by Chris Potter at Electric."
In series, New Order’s 4th single ‘Temptation / Hurt’ is made available on vinyl again, for the first time on 12” in a lifetime
Reaching #29 in the UK singles chart, it features the sing-a-long jangle of ‘Temptation’ up top, backed with the jagged machine groove, busy Hooky bassline and aching vocals of ‘Hurt’ in its longer mix.
NYC wave-riders supreme, Xeno & Oaklander reprise their feted blend of drily gyroid-styled vocals, naggingly romantic synths and pointed rhythms in ‘Hypnos’, leading on from strong albums for Wierd Records and Ghostly International
“On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It’s a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.
“Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,” McBride says about the album’s ethos. “This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.”
“I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,” Wendelbo explains. “I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.” Her intentions are best evidenced on the tracks “Angelique,”and “Insomnia,” the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.”
Glasgow’s Hamilton Scalpel tear up hardcore jungle tekno styles in a battering ram 12” for Mother’s Concrete Cabin
The blank-eyed atmosphere and guttural churn of ‘Anti Vibe (UK Compliance)’ hits like a prime HATE joint that just woke up with a raging hangover, while ’Slewn Kin’ kicks off with bruxist acid chew before vaulting into Luke Vibert-like breakbeat antics with feral funk. ‘Coventry Dump Valve’ feels the most up-to-date, running trancey lead, Woo Riddim-style, but shocked out with nerve-riding, ricocheting jungle chops, then ‘Uprated Night Zone’ wines up for the bashment on a wicked, stop/start, jump-up flex.
Rude AF business for DJs and dancers.