Recorded in 1995-96, "Mutator" is Suicide don Alan Vega's attempt to reflect the energy of East Coast rap, draping his words around loose beatbox rhythms and industrial ambience. Unique, powerful and absolutely bonkers.
'Mutator' is the first in a series of archival releases from the Vega Vault. Vega was a ridiculously prolific artist, and many of his records were shelved not for any reason in particular, but just because he was writing so much. He penned "Mutator" alongside his regular collaborator Liz Lamere, who handled the synths and drum machines while Vega manipulated the sounds and added words.
The recordings from this session were dug up by The Vacant Lots' Jared Artaud in 2019 and were subsequently mixed and mastered by Lamere and Artaud. The resulting album is a window into Vega's mind in that era; he was fascinated by the sound of New York's streets, and pre-gentrification that would have been traffic noise, police and hip-hop.
These sounds are the backbone of "Mutator": funk-fuelled machine beats, wailing siren synths and surrealist rhymes that echo the cadence of 1990s rap. It's music that feels a million miles from his relatively poppy 1995 full-length "Dujang Prang", and shines a spotlight on a fearlessly creative mind operating in one of New York City's most fertile time periods.
Presenting richly detailed hydrophone recordings of algae development in the rapidly depleting Arctic, Jana Winderen’s latest research is a fascinating and acutely topical study of ‘Spring Bloom in the Marginal Ice Zone’.
Prefaced by a sobering interview with world-renowned Professor of Marine Science, Carlos Duerte, the album presents headphone and speaker mixes of the title track, offering an immersive sonic inspection of the transitional area between open sea and sea ice, where the world’s biggest bloom of phytoplankton - the micro-organisms that produce half of the oxygen on the planet - accounts for the most critical CO2 sink in the biosphere.
The results are unmistakably foreboding, layering the sounds of blooming plankton with the tense cracks, pops and creaks of sea ice, and the subaquatic sound of bearded seals, migrating humpbacks and orcas, crustaceans and spawning cod, into a properly suspenseful and eerily alien experience.
Outstanding introduction to Amapiano, the hypnotic house sound of Guateng, SA with feet in Kwaito and deep house styles. Proper dancers’ gear, dead compatible the deeper ends of Gqom, and new London sounds on Housupa. Tipped by Tom Booigzm, Black Mecha, and us, at the least.
“The past five years have seen amapiano, South Africa’s electronic music movement born in the townships of the country’s Gauteng province, evolve from an underground sound to a nationwide mainstream staple. Even with its commercial success though, amapiano’s DIY ethos has continued to disrupt music creation and distribution in the country. Most amapiano commercial successes today began their careers on cracked versions of production software like FL Studio, distributed their work through file sharing platforms like datafilehost and marketed it using social media pages they controlled and influenced.
Amapiano is partly a tasting menu of South Africa’s musical history, a lineage that has been as much a backdrop to the times as it has been a catalyst for change in the country. South African jazz has thrived pre and post-democracy, contributing international stalwarts of the genre, notably Miriam Makeba, Abdullah Ibrahim and Hugh Masekela. Kwaito music—which itself borrowed from other genres like marabi, kwela, mbaqanga, maskandi, bubblegum and others—was created and proliferated in the 90s partly because of the newly accessible House music imported into the country. In the early 2000s, Deep and Afro House dominated, to be followed by the rise of diBacardi, a percussion—heavy electronic music genre most popular in the city of Pretoria and its surrounding townships.
Amapiano Selections, the debut album by DJ and producer Teno Afrika, gives listeners outside the movement’s online release economy an insight into the high-burn nature of amapiano that has spawned a distinct typology under its larger umbrella. Nineteen-year-old Lutendo Raduvha has spent the bulk of his life moving between different townships on the outskirts of Johannesburg and Pretoria in the Gauteng province. The palette of amapiano styles on the album reflect these influences.
But at first, South Africa’s youngest electronic music movement lived underground with a small, loyal following. “Amapiano is a genre that I chose because I have a passion for it,” says Teno “I started following amapiano in 2016 because I wanted to explore how it’s produced. It was not taken seriously in our country. By: Setumo-Thebe Mohlomi”
Influential Seattle-based ambient visionary Kerry Leimer returns with a crackly set of homespun electronics and placid ambience.
'Found Objects' is the umpteenth album from the prolific composer, assembled after almost a year of experimentation with studio serendipity. Built around glitchy recordings of piano, synthesizer and strings, it's a cloudy collection of whimsical ambience that reminds of Taylor Deupree or Machinefabirek, but retains a particularly individual sense of purpose. When skeletal drums appear on 'Opulent Lyricism' there's a breath of The Remote Viewer's City Center Offices material and that's no bad thing at all. Lovely.
Dream pop darlings Ulrich Schnauss and Jonas Munk return for their most celestial collaboration to date, a sublime soup of kosmische, shoegaze and new-age moods that shimmers with emotion.
'Eight Fragments of an Illusion' is Schnauss and Munk's third collaborative album, and was recorded over the last three years at Schnauss's well-equipped studio in London. In the time since the duo's last record (2017's "Passage"), Schnauss has spent a significant amount of time working as a member of Tangerine Dream, so it shouldn't come as a surprise that this has impacted the direction of the music.
Where its predecessor had an almost soft-rock maximalist approach, "Eight Fragments of an Illusion" is more markedly minimal, eschewing percussion almost entirely in favor of slow-building tracks that accent the interplay between Schnauss's synth and Munk's guitar. Opener 'Asteroid 2467' is hypnotic and melancholy, softly shuttling from reverberating Cocteau Twins-esque guitar into '80s Tangerine Dream-esque OST-synth bliss.
'Return To Burlington' features a brittle drum machine that reminds of Schnauss's hallowed debut "Far Away Trains Passing By" and chiming mallet sounds that create a wall of harmonic haze. The album's extended centerpiece is 'Perpetual Motion', and hinges around a muted dub techno rhythm, tangling Munk's guitar into looping synth echoes and shuffling beats. It's an unexpected diversion for the duo that shows their ability to evolve as they develop their sound. if you've ever wondered what Slowdive and Seefeel might sound like reworking the soundtrack to "Risky Business", this might help point you in the right direction.
AJ Tracey assumes the character of a rising young basketball player appearing in a livestreamed press conference to reveal his next move: a lucrative deal with major franchise Revenge Athletic ahead of a crucial playoff game.
"The broadcast ends with the true reveal: AJ’s highly anticipated sophomore album ‘FLU GAME’ will finally arrive. Always pushing boundaries with his creative output, AJ’s campaign draws influence from the story of Michael Jordan and his Chicago Bulls team in the late 90s, with ‘FLU GAME’ referencing one of MJ’s most memorable championship games where he overcame a nasty bout of food poisoning (brought on by a dodgy takeaway pizza) and took the Bulls to the championship. Revenge Athletic are a franchise on the brink of a massive championship win and AJ is their new star. All we know for now is that AJ is about to take us into this new world, as he dons the number 10 jersey and states he’s “ready to get going [and] do what I’ve always done.”
‘FLU GAME’ sees AJ showcasing twelve brand new tracks, with tantalising features including Kehlani, T-Pain, SahBabii, NAV and Millie Go Lightly. On the production front, AJ calls on regular collaborators Nyge, The Elements, Kazza, AoD and Remedee. The project also features the UK Top Five singles ‘Bringing It Back’ with Digga D, ‘West Ten’' with Mabel and the Platinum smash ‘Dinner Guest’ featuring MoStack. AJ Tracey is a man on an unstoppable, independently built trajectory. 2020 was his biggest year to date, with (certified Gold) single ‘West Ten’ alongside Mabel landing in the wake of chart-scaling ‘Dinner Guest’ featuring MoStack (Platinum), Number 1 charity single ‘Times Like These’ (alongside Dua Lipa, Rag & Bone Man and The Foo Fighters) and the Platinum-certified TikTok sensation ‘Rain’ with Aitch, which went on to become the most watched UK YouTube video of 2020. AJ finished the year with a stand-out feature on Headie One’s enormous anthem ‘Ain’t It Different’ alongside Stormzy, a Platinum certified track that peaked at Number 2 in the UK Singles Chart."
Snap on your lycra - Kraftwerk are back with their first release since 2004; across-section of live performances captured in world-renowned museums and galleries across the world between 2012-2016. OK, it’s not a new album, per se, but it does feature new recordings of total classics rendered in all new psychoacoustic 3-D to sate the fan’s thirst for something, anything after ten years of no releases from the world’s greatest man-machine band.
So, the 3-D thing, a sales gimmick or additional dimension to Kraftwerk’s sound? Listening on headphones right now, it’s definitely not a gimmick; the sound is super wide and lustrous, vividly swirling the head along multiple planes of geometry, making us involuntarily do that thing with our eyes, trying to pick out where the sound is coming from, just like someone trying to do mental arithmetic or retrieve forgotten information from your clump of grey matter between the eyes.
Like we said, there’s no new material, but every track is an alternate take on their, by-now, very familiar song structures, re-cycling the internal mechanisms of each piece into dynamic images of themselves, ranging from an abridged, 14 minute version of Autobahn and a glorious rendition of Radioactivity to hyper crisp, almost DJ style transitions between Trans Europe Express - Metal on Metal - Abzug - The Man-Machine on disc 1, and then strafing another ruck of classics from he Numbers-Computer World one-two, thru the ricocheting, extreme panning applied to the Boing Boom Tschak-Techno-Pop-Music Non Stop jabs, and finally onto a reorchestrated mix of the strings for the Prologue to the original Tour De France and its breezy, gear-shifting components from the 2003 release.
Damaged industrial noise techno experiments that sound like a collapsing cyberpunk dystopia. You already know! Think Pan Sonic, Pharmakon, Merzbow and latter-day Prurient.
Japanese noisemaker Yuko Araki was raised as a pianist, but as a teen found herself fascinated by the dynamic sound of metal and hardcore. After playing in rock bands for a while, she joined acid house duo Yobkiss on vocals and electronics; a few years later in 2017, she began experimenting with experimental music and noise, combining her love of sonic intensity and rhythmic pressure.
"End of Trilogy" draws a line under Araki's solo work, distilling her interest in prog rock and kosmische music into short vignettes that push at the boundaries of extreme music. The most obvious comparison would be to Mike Vainio's pioneering analog sound worlds, but Araki's unpredictable intensity isn't cold, nihilist or emotionless - it digs into almost surreal, hedonistic playfulness.
Ultra-minimalist explorations of space, tone and the act of listening itself, from ever-perceptive Angeleño, Richard Chartier (Pinkcourtesyphone), who typically lurks at the threshold of the listening experience.
Appearing one year on from his digital album with longtime accomplice William Basinski, Chartier is left to his own devices here with signature, beguiling results that fascinate the ears as only tends to. The title ‘Interreferences’ succinctly defines his interest in music at its broadest and most specific, with what is perhaps the most enchanting definition of his intentions to “explore the inter-relationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself.” We’re sure that my of you are well aware and appreciative of Chartier’s role as a key modern minimalist, but if you’re new to his work, and/or perhaps growing tired of “ambient” music’s limits, you would do very well to check in here for a portal to other vital planes of atmospheric music.
The six part, hour long work arrives in the wake of the artist’s 50th birthday, and finds him pondering fundamental, even existentialist, questions about his work. “Why these sounds? What is the attraction to these sounds? How did I arrive at these compositions and their placements?” While we haven;t got the answers, we can comment that the purpose and meaning of Chartier’s music, to us at least, still beckons the mind to rarified headspaces, suggesting a slowing or calming of time and expansion of personal space that encourages thoughts to occur in a way so much other music doesn’t. It’s a music of presence and inference that will sound different to each user, and from day to day, and feels like a sort of sacred invisible mountain that one doesn’t climb but rather circles from the base.
Gigi Masin’s 'Plays Hazkara’ album alongside a book that collects introspective stories and intimate lyrics by Mirco Salvadori, choosen among released and unreleased material that he produced in last years.
"Salvadori is well-known for his work as music journalist, as well as active producer for new sonic experiences as co-owner and art director of the indipendent netlabel Laverna. The writings are accompanied by the presentation of his friens Fabrizio Loschi, artist from Modena, coupled with the intense pictures by Stefano Gentile and Monica Testa, and the music themes written and performed by Gigi Masin who, in the enclosed "Harzarà" CD, offers 8 new tracks in the unmistakable style of the Venetian ambient master musician, already coupled together with Mirco Salvadori in InfanToo art project... a sound path that starts from ambient atmospheres to gather rythms and sonorities perfectly lined and interpreted by them, as the images, the intese writing of written. Total music beyond each stylistic cataloguing... pure poetry."
Finnish future jazz eccentric Jimi Tenor collects a bevy of unreleased tracks from his fertile Warp era on this fun, free and funky set.
Between 1993 and 2000, Jimi Tenor was composing and recording music at an alarming rate. His bundle of Warp albums was honored on last year's "NY, Hel, Barca" set, and "Deep Sound Learning" goes deeper, exploring the Finnish multi-instrumentalist's extensive vault of unfinished demos and unreleased material.
Anyone who hear Tenor's classic run with albums like "Organism" and "Out of Nowhere" should know what to expect. Brittle tropicalia, leftfield jazz, sweaty library music funque, eerie Italian giallo vibes and slippery acid house. Tenor inhabits his own universe completely, not lifting music styles but folding them into his peculiar, effervescent and unashamedly passionate celebration of sound.
MFM smoothly shift their frame of Japanese references to the CD era with a clutch of synthesiser jazz, ambient, and genteel Pop strokes including a bounty of Haruomi Hosono productions.
In the works for some years now, ‘Heisei No Oto’ corrals 14 leftfield Japanese pop charms created 1989-1996, charting a pivotal phase when Japan’s music market fully embraced the CD format over vinyl, and which also coincided with both the culmination of Japan’s rapid economic growth during the ‘80s, and the beginning of the Heisei era - marking the reign of Emperor Akihito until his abdication in 2019.
Compiled by MFM’s pals, Eji Taniguchi and Norio Sato of Osaka record stores Revelation Time and Rare Groove, respectively, and including nuggets picked by Chee Shimizu, the set spans those years in the wake of a wave of records that have resurfaced over the past decade thanks to YouTube algorithms; plunging deeper into the warm currents of post-new age and corporate ambient, taking in lilting home-grown jazz, ambient, and pop records of a rare, visionary calibre that have remained overlooked within and outside Japan.
Our ears are drawn to the quiescent FM fantasy of Jun Sato’s ‘Iorang’ at the front, and likewise to the tropical breeze of popstar Yosui Inoue’s ‘Pi Po Pa’, as well as the gossamer vocals and brooding wooze of ‘Nobody’ by Poison Girl Friend, or the steel drum sensuality of ‘Phlanged Vortex’ from Eiki Nonaka; but it’s plainly evident that Japan-o-philes and diggers of all stripes are going to be up to the gills in the good stuff here.
A standout in Chris Abrahams’ (The Necks) catalogue from 2005 returns for a 16th anniversary reissue reminder of its supremely odd organ and DX7 whorls.
Sketched out on his trusty piano, plus a positive organ (small portable organ), and spattered with DX7 scree, ‘Thrown’ is Abrahams 5th solo LP since his landmark debut ‘Piano’ (1985) and sees him veer off at angles from his previous works. It’s far more succinct than its sprawling double disc predecessor ‘Streaming’, and also more explicitly electronic, creating a bewildering tension between physical haptics and digital synthesis that really prizes a strange and surreal sort of sensuality, at times OOBE-like and at others remarkably recalling the pure electronic oddness of another Aussie resident, NYZ (although afaik there’s no tangible links between the two.)
Future-proofed by its unusual combination of tones from archaic and contemporary machines, the tracks variously and brilliantly buckle any timeframe you may chuck at it. ‘Bellicose’ sounds out something like a medieval psychedelia that wouldn’t sound out of place i a scene from ‘A Field In England’, and he really gets us with the reeling keys and subtly keening dissonance of ‘Remembrancer’, while ‘Coins In Vinegar’ could almost be the result of a complex synth system set up and animated by Dave Burrston, and the wickedly zonked drone of ‘Car Park Land’ makes our eyes go funny.
Max Eilbacher sprouts wildly variegated blasts of intensive computer music process for Barcelona’s indomitable Anòmia
The sometime member of Horse Lords has been especially busy in the past 12 months, spraying his material between a GRM split with Lucy Railton, and the likes of Superpang and Ultraviolet Light, run from his native Baltimore, MD.
His eight helpings of digital scree and fractals in ‘Here A Peak, There An Abyss’ were recorded in 2017/18 using prebuilt VST synths, and pay homage to the paintings of French-Swiss architect, writer and deconstructivist Bernard Tschumi. Can’t say i’m familiar with Tschumi’s work, but a cursory look tells us that Eilbacher’s results sonically resemble the oblique masses and angularity of Tschumi’s architectural drawings to many extents, with some real hard nosed computer music fukkkery and frolics between the construction site drills and recursive blatz of ‘EAT’ and the lushly giddy dynamism of ‘CH003.’
It was in Benin City, in the heart of Nigeria, that a new hybrid of intoxicating highlife music known as Edo Funk was born. It first emerged in the late 1970s when a group of musicians began to experiment with different ways of integrating elements from their native Edo culture and fusing them with new sound effects coming from West Africa s night-clubs.
"Unlike the rather polished 1980 s Nigerian disco productions coming out of the international metropolis of Lagos Edo Funk was raw and reduced to its bare minimum. Someone was needed to channel this energy into a distinctive sound and Sir Victor Uwaifo appeared like a mad professor with his Joromi studio. Uwaifo took the skeletal structure of Edo music and relentless began fusing them with synthesizers, electric guitars and 80 s effect racks which resulted in some of the most outstanding Edo recordings ever made.
An explosive spiced up brew with an odd psychedelic note known as Edo Funk. That’s the sound you’ll be discovering in the first volume of the Edo Funk Explosion series which focusses on the genre’s greatest originators; Osayomore Joseph, Akaba Man, and Sir Victor Uwaifo: Osayomore Joseph was one of the first musicians to bring the sound of the flute into the horn-dominated world of highlife, and his skills as a performer made him a fixture on the Lagos scene. When he returned to settle in Benin City in the mid 1970s - at the invitation of the royal family - he devoted himself to the modernisation and electrification of Edo music, using funk and Afro-beat as the building blocks for songs that weren’t afraid to call out government corruption or confront the dark legacy of Nigeria’s colonial past. Akaba Man was the philosopher king of Edo funk. Less overtly political than Osayomore Joseph and less psychedelic than Victor Uwaifo, he found the perfect medium for his message in the trance-like grooves of Edo funk. With pulsating rhythms awash in cosmic synth-fields and lyrics that express a deep personal vision, he found great success at the dawn of the 1980s as one of Benin City’s most persuasive ambassadors of funky highlife. Victor Uwaifo was already a star in Nigeria when he built the legendary Joromi studios in his hometown of Benin City in 1978. Using his unique guitar style as the mediating force between West-African highlife and the traditional rhythms and melodies of Edo music, he had scored several hits in the early seventies, but once he had his own sixteen-track facility he was able to pursue his obsession with the synesthetic possibilities of pure sound, adding squelchy synths, swirling organs and studio effects to hypnotic basslines and raw grooves. Between his own records and his production for other musicians, he quickly established himself as the godfather of Edo funk.
What unites these diverse musicians is their ability to strip funk down to its primal essence and use it as the foundation for their own excursions inward to the heart of Edo culture and outward to the furthest limits of sonic alchemy. The twelve tracks on Edo Funk Explosion Volume 1 pulse with raw inspiration, mixing highlife horns, driving rhythms, day-glo keyboards and tripped-out guitars into a funk experience unlike any other."
It’s been a decade since Andy Stott released ‘Passed Me By’, a radical re-imagining of dance music as an expression of “physical and spiritual exhaustion” (Pitchfork). What followed was a process of rapid remodelling: ‘We Stay Together’ (2011 / slow and f*cked, for the club), ‘Luxury Problems’ (2012 / greyscale romance), ‘Faith In Strangers’ (2014/ destroyed love songs), ’Too Many Voices’ (2016 / 4th world Triton shimmers) and ‘It Should Be Us’ (2019 / the club, collapsed) - a run of releases that gradually untangled complex ideas into a singular, chaotic body of work - somewhere between sound-art, techno and pop.
In early 2020 - with a new album almost done and an offer to produce for a mainstream artist on the table - personal upheaval and a pandemic brought everything to a sudden standstill. Months of withdrawal eventually triggered a different approach. recording hours of raw material; slow horns, sibilance, delayed drums, wondering flutes - whatever, whenever.
With vocals recorded by Alison Skidmore, the album was finally completed late last year- taking on a different shape. Its songs desolate, melancholy, defiant, beautiful - often all at once. The sounds echoed music around Stott during those months: Prince, Gavin Bryars, A.R. Kane, Bohren & der Club of Gore, Robert Turman, Cindy Lee, Leila, Catherine Christer Hennix, Junior Boys, László Hortobágyi, Nídia, Prefab Sprout - the unusual / the familiar.
Echoing that mix of new and old, each of the songs on ’Never The Right Time’ is woven from the same thread despite following different trajectories; from the lovelorn shimmer of opener ‘Away not gone’, to the clattering linndrum pop of ‘The beginning’, through ‘Answers’ angular club haze, and the city-at-night end-credits ‘Hard to Tell’. These are songs fuelled by nostalgia and soul searching, but all hold true to a vision of music making as a form of renewal and reinvention. A 10 year cycle, complete.
Christian Fennesz relays four compelling deep space images from his unique electro-acoustic microcosmos in ‘Agora’, the Viennese artist’s first album since ‘Bécs’ 
Borrowing its title from the ancient greek word for a gathering place, ‘Agora’ finds Fennesz creating highly detailed, alien ecologies of sound riddled with myriad, interlaced dynamics, but each singular in their scope. They variously transition from wide-open to busy, hyper-populated zones of enquiry and back again, but paradoxically enough all come as the result of one man in his spare room, composing inside a pair of headphones.
Change of circumstances meant that Fennesz couldn’t use his usual studio and by necessity was limited to what was at hand in his spare bedroom-turned-studio - just like the old days when he wrote his first record. These limitations pushed him further to explore worlds of possibility contained within his guitar and computer, with drily functional titles such as ‘In My Room’ invoking ideas from both Alvin Lucier and J.G. Ballard to explore vast realms of reverberant, imaginary space, while ‘Rainfall’ feels to emulate a lush spring downpour over bust city streets, all splitting greys and oil and concrete reflection, and ‘Agora’ radiates into every corner of the synthesised soundfield with gloriously detached, isolationist effect, alongside the bittersweet then and coruscating texture of ‘We Trigger The Sun’.
After releasing their 17th album 'Abolition of The Royal Familia' earlier this year, The Orb are back with further guest appearances on their remix album 'Abolition Of The Royal Familia - Guillotine Mixes'.
Including mixes from David Harrow, Moody Boyz, Youth, Violeta Vicci, Andy Falconer and more.
Jangling, mostly instrumental bluegrass and country variations from Chicago-based acoustic guitar maestro Bill MacKay and Durham, North Carolina-based Appalachian folk player Nathan Bowles. Quite lovely!
'Keys' is MacKay and Bowles' debut, and is a plaintive horseback ride into American folk music. Both players have trad chops, and flesh out their playing with virtuoso flourishes giving their music a haze of Fahey-esque experimentation. But this is more melancholy and more immediate than anything Fahey ever meditated on - MacKay and Bowles aren't afraid of scratching the country itch and teasing out a tear or two.
Imagine Bonnie "Prince" Billy covering the "Oh Brother, Where Art Thou!" soundtrack and you'll have some idea of where this one's headed.
'Synopsis Seriation,' Hecker's latest release with Editions Mego, draws upon current research in machine listening and music information retrieval, where the 'ghosts in the machine' are unsupervised, engineered operators designed to extract auditory features from a signal.
"The album advances a general research programme Hecker initiated through various projects. In 'A Script for Machine Synthesis' (EMEGO 226, 2017), the third chapter in the trilogy of text-sound pieces in collaboration with Reza Negarestani, both a resynthesized and a computer-generated voice modelled after the narrators voice, reflect on systems of language, automatons and chimerized synthesis. 'Articulação Sintetico' (EMEGO 180C, 2017) — a complete resynthesis of 'Articulação' (EMEGO 180, 2014) — features synthetic voice models of Joan La Barbara, Sugata Bose and Anna Kohler. Central to 'Inspection II' (EMEGO 268 / UF047, 2019) is a bespoke computer-generated voice, reciting Robin Mackay's libretto — by means of deep neural networks and machine listening computation, perpetually crossing formal anticipations of sound analysis to the unexpected artefacts of synthesis**.
'Synopsis Seriation' does away with such staging of computer-generated speech. It dramatises synthetic sound in all its unnameable intensities and detail by transforming four multichannel pieces Hecker produced since 2015. These have been analysed, dissected and reconstructed utilising information geometry, a subfield of mathematics at the interaction between statistics and differential geometry, designed by Vincent Lostanlen. Similarities and logical segmentation, partly accessible to the human listener, partially exclusive to virtual listening agents, open a dialogue with these spectral operators. Moving between analysis and synthesis, they render audible their intelligence signature, the signal trace of their nonhuman brain-ear, between discriminative and generative models. This newly seriated arrangement of 'Synopsis Seriation' further abstracts and detours the appearance of specific motifs, sequences and characters, into a hallucinatory gaze. Remembrance of what has just been heard, in which formulation and mode of synthesis continually navigate between sensible and highly formulated registers. Resembling George Seurat's perception of the Seine, 'Synopsis Seriation' is a streamlined, structured whole. Yet, by embracing time, succession, and sound as an immaterial, its multitude of auditory perspectives and encoded logic challenges a traditional synoptical overview of analytical architecture and resynthesized sensation."
Finally available once again, "Keyboard Fantasies" was originally self-released on tape in 1986 and contains some of Beverly Glenn-Copeland's most fascinating material. An FM-synthesized combo of new age private press eccentricity and accidentally prophetic Detroit techno futurism. So good!
'Keyboard Fantasies' was entirely recorded using a Yamaha DX-7 synthesizer and a Roland TR-707 drum machine, giving Glenn-Copeland's third album a glassy, robust character that sets it apart from many of its contemporaries. Tangentially, he was working in the new age sphere, but his eerie homespun compositions pointed at far more more mind-expanding, idiosyncratic places.
While opener 'Ever New' (a highlight of last year's fantastic Glenn-Copeland primer "Transmissions") is charmingly light-hearted, with Glenn-Copeland's vocals layered over chiming BBC Radiophonic Workshop synths, 'Slow Dance' sounds more like slow techno, operating in the same realm as Yellow Magic Orchestra with synth bells and voices spun around a grinding 707 beat. Elsewhere, the jazzy 'Old Melody' sounds like a discarded cue from Angelo Badalamenti's "Twin Peaks" soundtrack, or an interlude from Air's "Moon Safari". Lovely.
Of all the Sakamoto/YMO reissues, this is the one we’ve waited for the most. Hidari Ude No Yume (Left Handed Dream) was released in 1981 and is here reissued for the first time in decades in its rare Japanese edition - beautifully remastered from the original tapes by Bernie Grundman and sounding better than we’ve ever heard it before, including a 2LP version with a bonus album of instrumental versions pressed on vinyl for the first time ever.
Recorded during a pivotal period for Sakamoto - around the same time as his stunning ‘Bamboo Houses’ with David Sylvian, and in between two classic YMO albums, 'Hidari Ude No Yume basically sounds quite unlike anything he made before or since its release, a sort of anthology of pop interiors made with hi-gloss synths and unexpected edits, from farm animals to simmering, percolated drum machines.
‘Hidari Ude No Yume’ was Sakamoto’s follow-up to the seminal ‘B-2 Unit’, and sees him smudge that album’s angularities into weirder shapes that are somehow both more experimental and oddly accessible. The newly available instrumental versions offer previously unheard perspectives on the remarkably detailed production; including an amazing tweaked-out and extended mix of ‘Relâché’, plus a beautifully slippery mix of the album’s best known highlight, ‘Kacha Kucha Nee’.
It’s a sound that has had countless imitators and acolytes; using the newest Japanese synths, traditional percussion, and his own vocals to create a sort of infectiously rhythmic future-primitivism recalling his work with David Sylvian in the Eastern electro orientation and new wave vocal affectations of ‘Living In The Dark’ and 'Saru To Yuki Gomi No Kodomo’, which also sound incredible in their brighter instrumentals, along with more avant jags into collaged 4th world electro-steppers on ‘Sarunoie,’ and a psychedelic masterwork in the strutting ace ‘The Garden Of Poppies.’
What a record.
'Described by Richter as “a place to think”, VOICES was a response to our tempestuous political climate and the enduring need for compassion. VOICES 2 develops this principle, continuing and intensifying the “place to think” concept.
"While the first part of the project focuses on the text of The Universal Declaration Of Human Rights and its uplifting vision – opening with the 1949 recording of Eleanor Roosevelt reading the Declaration, and including excerpts read by a global community of 70 voices – VOICES 2 opens up a meditative musical space to consider those ideas raised by the first record,"
Southern gothic shoegaze soul from Sharp Veins, debuting on Andrew Lyster’s YOUTH with a sorely affected album distilling aspects of A.R. Kane, B.o.C, and SALEM with fugged-up bedroom atmospheres in a brittle but tender style.
Finding his place on the Manchester label between Sockethead’s cranky blatz and the smoked-out downstroke of Dijit, ‘Lips The Same Colour’ reveals Sharp Veins’ burned-out soul at its most vulnerable and absorbing. It’s a lushly depressive come-down from the giddy rush of his self-released album ‘Armor Your Actions Up In Quest’ in 2020, and previous excursions on Different Circles and NYC’s UNO, betraying a syrupy emotive core dematerialised in clouds of reverb and harmonised pads, anchored in some of his most disciplined nods to rugged US hip hop drums and emo rap tropes.
In slowing down and opening up his sound to downbeat, pop-wise levels, Sharp Veins comes into his own amid a new wave of artists expressing the melancholy of modern life, with a personalised sound design that says as much as his bleak lyrics and ohrwurming melodies. Everything feels eviscerated and held in suspended animation, attempting to expunge ubiquitous emotions.
Between the numbed doomy tension of ‘Unless’, with its plagent vocal lament, to the gutted cry of “what the f*ck am I doing here?” in ‘Bastard Swarm’, Sharp Veins strikes a nerve on the tinny shimmer of ‘Glue Forest’ and continues under the skin with the B.o.C.-like wooze of album centrepieces ‘Paste 1’ and the Paddy McAloon-on-blues screw of ‘Paste 2’, with a deeply disarming moment to be discovered in ‘A Promise’ and unmistakeable echoes of A.R. Kane on the radiant elegy ‘For Gigi.’
NWW’s 2009 recording resurfaces, backed with Colin Potter’s exclusive new iteration distilled from multiple versions by the band’s visionary synthesist.
‘Cabbalism III’ was the result of NWW meeting Blind Cave Salamander in Venice, where the latter were playing support for them at Teatro Fondamente Nuove.’ NWW thought that Blind Cave Salamander’s set sounded a bit like their classic ’Soliloquy For Lilith’ and suggested recording together. Two years later the final piece was conceived in Turin and the limited edition release quickly turned into a collector’s item. Due to demand the piece is now available again, backed with an extra track made by Colin Potter using sources from all three previous ‘Cabbalism’ recordings, completed at IC Studio, London 2020.
It’s not hard at all to hear how the original ‘Cabbalism III’ resonates with the legendarily spooky presence of ’Soliloquy For Lilith’ - arguably thee blueprint of dark ambient music - and it’s easy to understand how it became a fan favourite. It’s equally apparent that Colin Poter’s new megamix, of sorts, will deeply satisfy those fans’ cravings, too. For 45 minutes the master synth alchemist generates a gloaming cloud system of layered drones and trembling strings tones recalling the heights of Deathprod circa ‘Morals And Dogma’, with imperceptible transitions between unfathomably wide, steep and keening masses of synthesised electronics.
Trust Montreal's anti-capitalist post-rawk heroes to rustle up the ideal soundtrack to global collapse. It's their most charged material in years: raw, deliriously cinematic and rich with serrated urgency.
New albums from Mogwai and Godspeed in a matter of weeks? Is it 1998 again? We're not complaining - this flickering, silvery opus from GY!BE is among their most satisfying sets to date. "G_d's Pee AT STATE'S END!" finds the band in an awkward comfort zone, inspired by 2020's pandemic and subsequent global collapse to dust off their shortwave radio and compose a fuzzed-out response to the failure of the state system. It makes a lot of sense; since they debuted with "F♯ A♯ ∞" they've never been quiet about their anti-fascist, anti-corporate, anti-state views. With this in mind, "G_d's Pee AT STATE'S END!" is almost a "told ya" moment, or a euphoric apology for decades of prophetic post-rock doom-saying.
Weaved together with crackly snippets of shortwave hum, the album almost begins like John Carpenter's "Prince of Darkness" with spine-chillingly indistinct chatter that signals isolation, desperation and media distortion. From there, the band allow their glacial compositions to hiss and crack through each distinct movement. At this stage in their career they have nurtured a rapport that sings as loud as any instrument, and twinned with their timely creative surge this has led to tracks that feel like a distillation of GY!BE's best qualities. The thrumming crescendos, Kraut-fed percussion, thick walls of layered feedback, near-classical compositional care and an unashamedly widescreen grasp of narrative. Godspeed sound heavier, tighter and more vital here than they have in ages. Who else could craft such elegiac, melancholy doom for the end of the world?
Rod Modell's Deepchord follows on the 'Hash Bar Loops' session with a more detached serving of 20 washed-out and introspective 'Electroacoustic Soundfields'.
These tracks epitomise Modell at his most intimate and fascinating, using granular synthesis and generative software to unfold his analogue hardware source material and field recordings into ghostly clouds of hiss and morphing bass geometries perfect for late night immersion. Those looking for his signature dub house anchors may be disappointed, but if you've always wanted to hear Rod float off like some metaphysical spirit over nocturnal inner-city nightscapes like something out of Gaspar Noé's 'Enter The Void', this one's for you...
Drummers Lee Buford of The Body and Zac Jones from Braveyoung conjure dubbed out illbient spells from spacy, overdriven breaks on their debut full-length. Proper grotty goodness like We TM, DJ Spooky or I-Sound.
Buford and Jones have been collaborating for years, but "World Vision Perfect Harmony" is their debut as a duo, assembled as a way for the two drummers to explore a shared interest in creative percussion techniques. Illbient is almost the perfect mode, and the two create a deliciously eerie atmosphere, combing their drumming with electronics and blurring the line between live performance and sampling.
Abstracting rhythms that have sat at the root of jungle, no-wave, dub and hip-hop, Manslaughter 777 make a compelling noise that feels surprisingly contemporary. With the resurgence of interest in trip-hop, surely illbient is due a revival some time soon? In the meantime, this is exactly what the doctor ordered.
Hallowed experimental pop-soul sermons that build on 2018's gorgeous, vocal-rich "Soil".
Serpentwithfeet applied a fresh coat of hi-gloss with last album "Soil", enlisting the help of producers like Clams Casino and Tri-Angle labelmate Katie Gately - "Deacon" finds the producer diving into even more personal realms, touching on spiky club forms simultaneously. These songs are soulful musings on serpentwithfeet's emotional world, dedicated to friends and lovers and struck through with feelings that emerge too rarely from contemporary pop. The production is often skeletal - 'Same Size Shoe', for example, is barely more than a kick and snare combo - allowing the complex vocal arrangements to yet again take the spotlight, building in blissful harmonic layers one by one. And by combining a love of gospel music with an implicit understanding of R&B radio pop formula and deep knowledge of experimental ambient music, serpentwithfeet has a winning, idiosyncratic formula. He's basically managed to achieve whatever it is people think James Blake is doing and does so without grandstanding.
'Amir' sounds like an alternate universe 'No Scrubs', all tearful and dense with chopped acoustic guitar and neck snapping '90s R&B production tics. While NAO collaboration 'Heart Storm' finds serpentwithfeet at his most euphoric, fusing choral music with waves of analog synth ambience. Closer 'Fellowship' is the pick of the bunch: a bonafide tearjerker, effortlessly inverting brittle Afrobeats-esque percussion for one of the sweetest musings on friendship we've heard in ages. If "Deacon" doesn't move you at all, you've got a heart of stone honestly. Church music for lovelorn heretics.
Reissue of a cult LP by master Japanese drummer George Otsuka and his quintet, recorded live on 19th July 1975 at the Nemu Jazz Inn.
"A unique time capsule, the album finds the quintet on fire and “Loving You George” is a vivid testimony that Otsuka and his musicians were at the top of their game and one of the best groups in Japan, playing a mix of modal and groovy tunes full of exciting and inspired solos. The album “Loving You George” is comprised of four superb performances fuelled by Otsuka powerful drumming and Fumio Karashima’s fender Rhodes. It also includes a wonderfully funky take on Minnie Riperton’s ‘Loving You’. It comes with original artwork featuring OBI strip and audio remastered from the master tapes by King Records in Japan."
Arch explorer of EVP and paranormal recordings, CMvH is joined by John Duncan, Joachim Nordwall and other members of the Swedish avant fraternity at the opening of his 2018 solo exhibition in Gothenburg
‘INSNITT’ captures 30 minutes of roiling subharmonic frequencies and anxious scrabble made at 3:e Våningen, Gothenburg on September 14th 2018. It arrives over 40 years since his first recordings to witness the Swedish polymath flanked by a coterie of longtime collaborators including Leif Elggren, Jean Louis-Huhta, and Henrik Rylander, plus the aforementioned, charging the air with stressed electronics that resemble the sounds of shearing metal and hi-pitched, whirring mechanicals.
Their massed effect is saturated with sense of hyperrealist psychedelia, appearing to physically keen and lurch in 3D in a way that ultimately makes us feel seasick and rinsed out by the end. Perhaps it’s best recommend to those listeners with strong sea legs and a tolerance for this kind of northerly climate sounds.
Rebellious, charged spiritual jazz that holds a mirror up to Berlin, reflecting the city's unreasonable treatment of Black people. Cathartic, uplifting and simmering with rage.
In November 2019, Angel Bat Dawid and her band Tha Brothahood traveled from Chicago to Berlin for JazzFest. Tragically, vocalist and instrumentalist Viktor Le Givens had passed out on the street and been robbed, ending up in hospital. When Angel reached Berlin with the rest of the band, she was passed the message that unless they could find a replacement, their fee would be reduced. This set the tone for the rest of the trip, where the group of Black musicians were greeted with constant stares, repeated microaggressions and suspicion from the German city's majority white inhabitants.
But they persevered, and the band's performance was considered by Angel to be among their best ever, charged with attitude and struck through with rage-in-process. This recording documents the entire thing, opening with a racist incident at Berlin's Duke Ellington Hotel (seriously) before tracking through a lifted selection of spiritual jazz experimentation from a troupe of Chicago's finest players. Human and electric, the set reflects the power of Angel's composition and conducting and stands as a crucial document of a historic moment for the band.
Leading Australian contemporary music composer A. Pateras yields a stunning, phantasmic spectralist work for tape and live players, recorded in 2019 at the 17th Sacrum Profanum Festival in Krakow, Poland
‘Pseudacusis’ is the follow-up to Pateras’ work on Sunn 0)))’s ‘Life Metal’ and Judith Hamann’s ‘Music For Cello and Humming’, and features the latter artist among his Tape Septet recordings, which provide the bed for its live performance iteration, here recorded in Krakow’s impressive new arts space, Małopolska Garden of Arts for the festival closely associated with estimable Polish label, Bocian Records.
Reliably helmed by Pateras at his trusted piano, the live septet (Lucio Capece: bass clarinet / soprano saxophone; Krzysztof Guńka: saxophones; Riccardo La Foresta: percussion; Mike Majkowski: double bass; Anthony Pateras: piano; Deborah Walker: cello; Lizzy Welsh: violin) render his strikingly dynamic composition with vigour and precision, found here edited into seven movements.
The results are surreal, febrile, and compelling, sweeping over it’s 50 minute course from frightful string tintinnabulation down concrète wormholes to tracts of glacial stasis and belly-churning dread, with outstanding parts of technically challenging, sustained dissonance and massed, keening orchestration that introduces fractious percussive themes and outlandish electronics. We’ve no doubt it will light up the harder to reach pleasure centres of fans of everyone from Iancu Dumitrescu to Xenakis.
Avant garde sound poet AGF works with eleven Greek residents to investigate “women’s struggle for language” in the context of Greek myth and “patriarchal social relations” with remarkably complex and thought provoking results - we're still gettin our heads round it.
“In her famous quote from Three Guineas (1938), ‘As a woman I have no country. As a woman I want no country. As a woman, my country is the whole world’, Virginia Woolf captured the spirit of alienation that women have felt, or indeed should feel, vis-à-vis the request of belonging. Such alienation could morph into refusal, but this, as feminist historians of culture know, has happened in very few cases. For the most part, women have buried their alienation, forced by multiple mechanisms of persuasion and induced consent, to succumb to belonging. But is this the whole story? Or has the territory of language been a central battleground for women? And how is a contemporary female musician and sound artist invested in feminist politics to approach this unstable condition of the gendered experience of language? This is the case of AGF, or Antye Greie, whose creative endeavour is overall an audacious synthesis of electronic compositions, voice, field recordings, as well as of political explorations and re-enunciations of women-centred aurality.
In this new work, Arachnesound, AGF, together with her collaborators (composers, singers, poets), sought to work with an enduring language, Greek, and treat it as a tentative record of women’s speech but also silence. Effectively, AGF relied on the ambiguity of non-belonging to stitch together a counter-archive of words written, spoken, or - when she herself makes them up - associated with women’s struggle for language. Greek has been a language steeped in patriarchal social relations, nation-building, and wildly generalised, civilisational ‘origins’. The task that AGF set for herself was to compose a music narrative that takes women’s efforts to speak beyond the canonical myths surrounding Greek language as a record. It was a difficult task, requiring much research, much listening, much translation, much acoustic imagining. The outcome, however, is movingly rewarding - and it is so as an encounter of myth and history with the contemporary feminist avant-garde in electronic-music experimentation.”
New Age Steppers were a loose studio collective centred around the musical partnership of Adrian Sherwood and Ari Up from The Slits, operating on and off from 1980 to 2012. This is a 5CD + 32 page book boxset anthology of all their work for the On-U Sound label, compiled for the first time.
"Notable for bringing together musicians from the post-punk and reggae scenes together, their records feature contributions from members of The Pop Group, The Raincoats, Flying Lizards, Roots Radics, Aswad and Creation Rebel.
The set also includes a new LP of outtakes and rarities, Avant Gardening (in the On-U tradition of albums such as Return Of The Crocodile, Displaced Masters and Churchical Chant Of The Iyabinghi).
New Age Steppers launched the On-U label as the first artist to release both a single and album on the label, and it's fitting to have these brilliant records back out in the world as the label celebrates its 40th anniversary in 2021."
Though it's hard to pick a winner among the estimable Black Jazz catalog, this 1972 release from bassist Henry "The Skipper" Franklin would have to be near the top of the list.
"Franklin got his start woodshedding with Latin maverick Willie Bobo in the mid-'60s and went on to play with The Three Sounds, but probably his most notable gig prior to this debut album was his stint in Hugh Masekela's band (that's Franklin playing bass with Masekela at the 1967 Monterey Pop Festival). For The Skipper, Franklin assembled a crack outfit that included a horn section of trumpeter/flugelhornist Oscar Brashear (Bobby Hutcherson, Ry Cooder, Donny Hathaway) and tenor & soprano sax man Charles Owens (Buddy Rich, Horace Tapscott, John Mayall) along with a Masekela bandmate in electric pianist Bill Henderson and ace drummer Michael Carvin (Pharoah Sanders, Lonnie Liston Smith, Freddie Hubbard).
This is such a unique, organic recording that it's hard to make comparisons; definitely a little fusion, a little '60s Blue Note feel, and the usual Black Jazz journey to the more lyrical, pop-inspired ("Little Miss Laurie") and funk-infused ("Plastic Creek Stomp") sides of jazz, but perhaps the best comparison is late-'60s Miles before he went electric. In any case, The Skipper is just a joy to listen to from start to finish, beautifully recorded by Black Jazz producer Gene Russell and blessed with some really fine writing, most of it by Franklin himself. First-time LP reissue and a must-have!"
Virtuoso, smoky jazz from young Norwegian firebrand Kjetil Mulelid. We know you're probably bored with solo piano albums at this point, but this is a cut above: more Keith Jarrett than you know who.
Rune Grammofon has been begging Mulelid to record a solo piano album for years now. He was hesitant at first, not just because there's a glut of mediocre to terrible piano records clogging digital dustbins everywhere, but because in jazz, the solo piano record has a lot of competition. It's notoriously challenging, but last year in lockdown, Mulelid found himself with time on his hands and isolation to maintain. In many ways, masterminding a truly next-level solo piano record is the perfect COVID pastime.
'Piano' is deceptively simple in its presentation, but even a cursory listen will reveal a startling talent. Mulelid performed the album at Athletic Sound studio on their unique 1919 Bösendorfer grand, and this lends the album a haunting texture. In Mulelid's hands, it sings with sadness, joy and cultural resonance, not speaking directly to our period of isolation and collapse, but speaking around it. Fans of Gonzalez's enduring classic "Solo Piano" will no doubt get a kick out of these sultry, swinging selections.
Jimmy Tamborello returns with the first of two albums this year, a dusty suite of sketches inspired by library music, early electronics and discarded acid folk.
Shaping electronic music for two decades, Tamborello has exerted an outsized influence on both pop and the landscape beyond. "The Seas Tree Sees" follows his recent run of more experimental excursions on Leaving Records, whispering from the shadows instead of shouting from the rafters. A humble, pleasingly low-key set of productions, it's intended to sit in contrast to Tamborello's more pop-poised work (like The Postal Service's 2003 smash "Give Up"), phasing through foggy moods and atmospheres rather than bright, bubbly riffs and hooks.
It almost reminds us of early To Rococo Rot, assembled from gently-coaxed samples of Rhodes piano, xylophone, vocoder and synth, and spiced with subtle field recordings and sympathetic static. Tamborello notes that he wanted the album to sound like something you'd find in a thrift store, so when a vocoder-heavy cover version of Kate Wolf's '70s folk song 'The Lilac and the Apple' appears, everything falls into place. A musical comfort blanket.
Unmissable stuff here, collecting Japanese avant pop and ferric beats from the scene's darkest, most thrilling corners.
Compiled by Yosuke Kitazawa and Dublab's Mark “Frosty” McNeill, this latest collection of Japanese obscurities from Light in the Attic sweeps up bizarre loose threads that fall through the cracks between the label's already released collections of city pop and ambient and new age music. Those two compilations spoke to the YouTube-driven resurgence of interest in albums like Hiroshi Yoshimura's "Green" and artists like Happy End's Haruomi Hosono and Shigeru Suzuki, and "Somewhere Between" investigates the fringes, dark crevices and unpicked crates.
Here, the sounds are exceptionally varied, falling from Mammy's twinkling odd-world electronix on 'Mizu No Naka No Himitsu' and D-Day's shimmering, dry ice-laced 'Sweet Sultan', to the gloomy avant synth pop of Neo Museum's unforgettable 'Area' and R.N.A-ORGANISM's gurgling, hiss-soaked 'WEIMAR 22'. The theme that unifies all of the selections is an unshakable sense of exploration and joy from the artists. The era's optimism is palpable, and it's a rare pleasure to hear musicians driven so wholeheartedly by exploration, experimentation, innovative song forms and bold artistic strokes.
Diggers will clearly get a kick from these rarities, but Kitazawa and McNeill have done such a great job with the selection that it's far more than just a curiosity. "Somewhere Between" is an invigorating listen, like a particularly wild and wonderful mixtape handed over by a trusted friend. It's a musical time capsule to get lost in.
Field recordings, delicate drones, noise and sublime ambience for fans of vintage Brian Eno, K. Leimer or Loscil.
Interest in US ambient pioneer Marc Barreca's productions spiked again a few years ago when the Freedom To Spend imprint reissued his loopy and playful 1983 epic "Music Works For Industry". But Barreca isn't just an ambient fetishists dream, he's still releasing new music and "The Empty Bridge" proves he's still exploring haunted, atmospheric soundscapes with just as much vigor as he ever was.
Assembled during lockdown in a remote mountain cottage, the album vaporizes subtle field recordings into languid pools of synth, spine-chilling drones and sampled instrumentation. Sometimes it sounds almost orchestral, reminiscent of Steve Reich or Terry Riley, and sometimes is more in line with the subterranean gems that pock Erik Skodvin's Miasmah label or Manchester's sferic imprint. These ambient-industrial landscapes are a fine reflection of a new isolated reality, and act as a tight commentary on ambient music's four decades of evolution.
"From A Love Supreme to The Sex Machine!" The personal musical mantra of the late Philadelphia reedman Byard Lancaster informed an open-minded and varied lifetime in jazz.
"Strut issue one of Lancaster’s lesser known classics, ‘My Pure Joy’, recorded in 1992 for Black Fire. Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians.
Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,” explained Lancaster. “We became the best of friends.” Backed by a band of Philly musicians including percussionist Keno Speller and Baba Robert Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure dedicated to community jazz with whom Lancaster had bonded while teaching in Lagos. The result was a free-flowing set of spirituality and positivity, built around full band groove workouts, solo pieces and heavy African roots. “We had big fun documenting this music,” remembered Lancaster. The message of the album remains as relevant today as ever, “I dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’” Originally delayed by three years because of cashflow issues within Black Fire, ‘My Pure Joy’ eventually surfaced as one of the label’s final CD releases in 1995."
Okay! Grotty sleaze-dub, cavernous post punk, wyrdo industrial ambient and anxious keta-tekno on this gem of a soundtrack from 2001's underground porn classic "Bonking Berlin Bastards".
This is an absolute find, a scruffy collection of DIY electronix that soundtracked Ebo Hill's "Bonking Berlin Bastards", the hypersexual Berlin porn classic that captured the city's hedonistic, queer turn of the Millennium atmosphere. The music comes from improv techno three-piece AeoX and noise/industrial producer Rouage, who also shows up as CNM, and skates through the back rooms, free parties and squats of Berlin with a vivid cut-n-paste post punk aesthetic.
It's fantastically innovative music that captures the sound of Berghain's forerunner OstGut, that was apparently a primary meeting point for the movie's crew, so it makes perfect sense that Ostgut Ton is the label handling the release. It's hard to accurately describe the music except to say that it's somewhere between Vinyl On Demand's collections of scruffy proto-techno and industrial experimentation and the tape-scuffed noizz of Hospital Productions or Wolf Eyes' American Tapes imprint.
There's a raw, queer sexuality here that's missing from so much angry noise music; it's less angry boys than horny, disaffected ones. It feels celebratory somehow, with each squeal, thumping kick or harsh sheet of fuzz expressing the joy of public sex and messy chemical nights long before the tech companies and Australian coffee shops had moved into Kreuzberg. "Bonking Berlin Bastards" is a historical document of an influential era that's unlikely to be repeated, but stands as the backbone of contemporary Berlin's most endearing facets.
Mesmerising solo debut of works for mallet percussion from Brooklyn’s Patricia Brennan, crossing our paths for first time and recalling very classy works from CC Hennix to Miles Davis, Terry Plumeri and Michael Ranta
You can colour us enchanted with ‘Maquishti’, which introduces the Mexican born, NYC-based vibraphonist, marimbist, improvisor and composer Brennan with a deliciously low-key, furtive hush that’s totally snagged our attentions. Stepping forth from her previous experience, performing with everyone from Meredith Monk to Mary Halvorsen and Marcus Gilmore, here she employs a fine range of melodious thunks in lissom, playfully inquisitive style that’s both trance-inducing and edged with a fluidly sublime, but unresolved tension in her unfurling lines of extended melodic thought.
Brennan is patently adept at articulating her own sonic language, which makes it kinda surprising that this is only her first solo record, but we can only hope it’s the first of many, as she appears keen to experiment with the limits of her technique with a golden sense of patience and discipline that really shows on ‘Maquishti’, from her extra subtle use of pitch-bending and bowing, to her ability to lure us into the most curious harmonic spaces, without ever feeling hurried or demanding.
A real pleasure, this.
Yes, Sports fans; YOUTH rally the troops for a sprawling 2nd compilation of roving downbeat styles, featuring Peder Mannerfelt, Iueke, and RVDS, alongside label fam like FUMU, Herron and Sockethead, plus enigmatic new names inc. Warlock, Jessicunt, Joe Cotch and many more.
In the three years since the first Youth compilation, Andrew Lyster’s label has grown in stature and scale to encompass myriad integers between the club, the bedroom, and headphones. Their releases from Sockethead, Dijit, Seltene Erden, Blazer Soundsystem, and the mysterious Remer Cier, among others - many of whom appear here - have set the label’s coordinates in bold, new terrain which they explore further with this sterling sophomore suite illuminating shared, rhizomic links that span continents, styles, and intentions.
The vibe is modulated between the artists’ respective flavours, and with 20 tracks the label’s curatorial skills come into play, ably demonstrating a discerning flow between their poles and shadows that surpass the sum of the compilation's parts. Between the threshold of Lluke's hyperprism and the noise slurry of 1012’s closer, ‘Reprise’ the artists practically terraform a mutant microcosm unto itself, offering enchanted and murky slants on dembow modernism, ambient zeitgeists, and bedroom-bound songwriting in the age of Covid.
FUMU provides highlights thru heady location recordings on ‘Aphex Hall’ and what sounds like mechanically performed water drumming in ‘Loco Motive’, while his Return To Zero crewmate Sockethead serves likeminded ambient blatz and the crooked soul of ‘I’m Here’, with Herron teasing out the music box malady of ‘Pearl’, and RVDS duets with David Attenborough and a Lyre bird. However, for new kicks, check for Joe Cotch’s killer dembow cyberpunk mission, and a murky proto-grime ace by Warlock (not that one!), the paranoid thoughts of Jessicunt, and a class cut of Farsi drill by Leo & Tardast.
This is a gift: over four hours of revolutionary solo recordings from one of the US industrial/noise scene's earliest and most under-sung underground operators. Essential, completely proto shit, ranging from glacial, thrumming cosmic ambience thru fuzzy kraut-esque meditation and grungy tape noise to dusty rhythm-fuck'd experimentz and ghostly electro-punk, to harry partch/moondog-esque clattering percussion to tape worn solo piano drift oddities and smudged dub-pop vignettes. The square root of so much foundational DIY music, right here.
Don't worry if you haven't come across Robert Turman's music before, this epic set, originally released as an eight-cassette box in 1988 and now re-packaged on CD by Aaron DIlloway’s Hanson Records, gives you all the introduction to the US noise innovator you need. Turman was initially spotted as one half of legendary noise act NON alongside Boyd Rice, but quickly redirected his efforts into more personal, singular solo werk. "Chapter Eleven" rakes together some of the Ohio-based artist's earliest material, compiling 45 tracks made between 1976 and 1987. And jeez it's a revelation: out-zone sounds that are truly jawdropping not just for their stylistic scope, but for their originality. Really, who else was doing tape-degraded xylophone and kalimba loops AND crumbling rhythmic tape noise while Jimmy Carter was in the Whitehouse?
Listening to the album from beginning to end gives you a real sense of Turman's musical curiosity and dedication to his craft. It's the gnostic missing page that contextualizes the US noise/experimental scene's flirtation with industrial grot, dreamy guitar jams, futzed psychedelia, extreme noise, deep listening and hypnogogic tape loops. Turman has it all, and "Chapter Eleven" is an ideal primer to his sound, working like a diary or self portrait, revealing a personal journey marinated in emotion, texture and wonder, sitting a few paces outside the musical establishment's buttoned-up critical perception.
Dilloway has done the world a solid here, teaming with Helicopter Records to offer up a remastered edition of the entire long out-of-print set. And while Turman's music has experienced a resurgence of interest in the last few years following reissues on Spectrum Spools and Dais and collaborations with Dilloway, "Chapter Eleven" is the real key to understanding his role in the US experimental music landscape. Highest possible recommendation.
'Operation: Doomsday' has floated in and out of print since its original 1999 pressing on famed New York label Fondle 'Em, attaining mythical status amongst underground fans as one of the landmark releases of the decade, showcasing MF Doom's abstract wordplay, pointed wit, subtly subversive lyrics and alcohol drenched stream-of-consciousness flows over adventurous sample-based production.
The album's impact steadily grew to alter the landscape of hip hop as it was then known, and its periodic cycles of unavailabilty seem only to have enhanced its mythical status. This Deluxe Edition version is the same remastered and expanded double-disc set that was in the limited edition tin box reissue, but in a superior quality digipack sleeve with brand new cover art.
The audio content is identical; the same 42 tracks including 23 alternate versions, b-sides, instrumentals and acapellas. Still as bold, creative and villainous as it was 15 years ago, only now it's louder and longer.
The well trodden path of the Silk Road unveils new secrets to David Shea, who turns years of research into a masterfully absorbing trip for his latest opus with Lawrence English’s Room40
Landing square between the third eyes of Michael Ranta’s focussed east/west experiments and the more impressionistic scenes outlined by KWC 92, ‘The Thousand Buddhas’ feels out an epic journey across continents in a searching side intent on creating practical and esoteric connections between the myriad cultures, regions, and belief systems that follow the Silk Road between China and Rome, linking the ancient realities of Africa, Asia, India, Europe, and the Pacific region.
It’s no new obsession for David Shea, whose dozens of releases sine the early ‘90s have returned to these themes, specifically on ‘Hsi-Yu Chi’, ‘The Tower of Mirrors’, ‘Satyricon’, and ‘Rituals’, which were all based on adaptations of myths connected to the world’s ancient trading routes. Decades later, in a time when China is keenly pressing ahead with Silk Road 2.0, Shea’s latest retun to the area is a multi-dimensional thing, plotting a steeply immersive course from fathomless layers of gamelan percussion, field recordings, and keys, that reach some astonishing heights redolent of Alice Coltrane’s spiritual jazz as much as Michael Ranta’s forays deep into Eastern tradition.
Visionist dives into a chasm of deep introspection with this suite of smudged ambient textures and ghostly vocals.
Louis Carnell's third album as Visionist, "A Call To Arms" swerves the synthetic deconstructions of his debut "Safe" and the noisy, post-industrial grind of 2017's follow-up "Value". Here, Carnell channels light and dark elements, pairing slithering rumbles with operatic highs and enlisting a cadre of collaborators. He even explores the possibilities of his own voice for the first time, singing vulnerable phrases over torched doomscapes.
Opener 'By Design' has Childhood's Ben Romans Hopcraft on vocal duties, crooning in circling waves around wobbly sub bass and spooky waves of static. It's something like Arca's decadent 'Madre', Scott Walker's "Drift" and Antony and the Johnsons, but more introverted. As the album progresses, Carnell carefully reveals his own shy tones, draping his words uncomfortably around shivering foley percussion and grimbient drones.
Most successful is the album's extended eight-minute centerpiece 'Nearly God', which doesn't feature Tricky but does focus around a wonderfully brittle overdriven beat that eventually gives way to tape-munged church bells and looped vocal washes. Elsewhere, Carnell gets assists from Black Midi's Morgan Simpson, Circuit Des Yeux’s Haley Fohr and Ben Vince. It's a bold statement that fades his early Visionist material into the fog of history.
Transports' is the incredible 2nd album by audodidact and outsider musician/composer Tazartès. Originally released on vinyl in 1980, it has now been reissued with extra material on CD in 1998 and 2009, and "Probably represents the most original example of the artist's poetical and personal approach to sound organisation."
The tracks for 'Transports' were recorded in 1977 at Ghedalia's own studio in Paris, strafing stream-of-conscious between rippling electro rhythms to outernational singing styles, collaged field recordings and musique concrete, to chants, tape loops and exotic atmospheres with a perpetual sense of drift and magical imagination. We're spellbound from the first to last, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5 and the lost zones of the closing stages. Also included are the two parts of 'Transports' which were composed and recorded for a theatre piece later in 1997 and produced by Emanuele Carcano.
These are denser, more spacious and dramatic, but not necessarily that great. The disc concludes with 'Elie', a charming piano piece performed in duo with the composer's young daughter. For the original 'Transports' at least, this is nigh on essential for fans of adventurous electronic music and composition.
Following their ongoing exposé of Chicago Footwork, Planet Mu turn their keen ears to the 'floor and the sound of Bubbling; the hyper-futuristic Dutch dance craze perpetuated by the 2nd and 3rd generation descendants of Caribbean immigrants.
We'll let the ever-knowledgeable Dave Quam explain the origins "At a party in the late 80s in The Hague, a local DJ by the name of DJ Moortje accidentally dropped a dancehall twelve-inch at 45RPMs, causing chaos in the audience. Not the kind of negative heckling you get when a record skipped, but the kind of excitement that happens when a movement has been started. This beautiful mistake resulted in Bubbling, a cultural expression of immigrants from The Dutch Antilles and Suriname, a genre that would take these communities by storm in Holland in the 1990s. Jamaican exports such as the Fever Pitch and Bam Bam riddims were double and half-timed, with Cutty Ranks on one hand sounding like a pre-pubescent chipmunk, the other hand sounding like an evil duppy. Its sound borrowed slave rhythms from Curacao (DJ Moortje's origin), creating a new Caribbean style of music in Europe that ran parallel to London's Jungle scene."
Fast forward a generation, and now armed with pirate copies of Fruity Loops and basic PCs, kids like 18 year old Anti-G, Shaun-D, Master-D, Daycard, and Deschuurman are fusing the traditional Dembow rhythms of reggaeton with traces of HipHop, Funky House, Grime, and whatever else they feel like, resulting in some of the most exhilarating dance trax we've heard since 'Jukes & Bangs Vol.1'. 'Kentje'sz Beatsz' covers a spectrum of Anti-G's productions between 2009 and 2010.
Over these sixteen tracks his synths sound like Sooty & Sweep on battery acid, while the beats are arranged with an effortless Rubiks cube complexity. Most importantly of all, it makes you want to dance like a f**king Transformer rendered by Alex Rutterford and Hecker. That might not sound so appealling to some, but check the kids popping and locking to this stuff on youtube and you'll soon catch the bug. No doubt, this is already one of our records of the year, and manages to make 90% of stuff out there seem stiff and 5 years behind the times. Highly Highly recommended!!!