Air Texture hand the reins of ‘Vol. VI’ to Steffi and Martyn for a 26 track set of atmospheric IDM, electro, techno and D&B from friends, family and their favourite artists, including pieces from Stingray, Mosca, Actress, Shed, Herron and many more...
“The Air Texture series asks two producers/performers to provide a selection of unreleased music. The only guidance is the music should not be main floor bangers; other than that, the label gets out of the way, allowing them autonomy over their selection. For Air Texture Volume VI, Steffi and Martyn were asked to step up. Exciting, since as residents at Berghain/Panorama Bar, two of the most important dancefloors in the world -- how would two such respected artists approach our experimental ethos? Bringing together contributions from veteran producers such as Total Science, As One (Kirk Degiorgio) and Stingray, as well as contemporaries Actress, V.I.V.E.K. and Shed, the artists explain in a press release that the selected tracks are all "unique interpretations of a leftfield, non-linear aesthetic". Double-CD version features Synkro, Appleblim, Answer Code Request , dBridge and Lewis James, Tracing Xircles, Samuel Pling, Herron, Steffi, Afik Naim, Mosca, Novocanemusic, Mesak, FaltyDL, 214, Basic Soul Unit, Barker, Late Night Approach, Martyn, and KiNK. Double-LP version features: Steffi, Tracing Xircles, Basic Soul Unit, As One, Martyn, Afik Naim, Late Night Approach, and Answer Code Request.”
Brighton’s Wisdom Teeth rounds up their first four, vinyl-only split 12”s
From plate 01, the slinky dark garage torque of Wen’s ‘Late Night’ and the head-high strut of ‘Polliwhirl’ by Facta. Off plate 02 there’s Hodge on a squashed jungle tip with ‘X’ and the pendulous tangle of Acre’s ‘Don’t Get Me Started’.
Plate 03 gives up the decelerated grime of ‘Toxin’ by Etch and a darting 2-step ting from K-Lone, while the 4th plate stretches out from Alex Coulton’s Jam City-esque prancer ‘Radiance’, to the whisked bleep abstraction of ‘Tailwind’ by Chevel and the brooding swagger of Simo Cell’s ‘Escape The Fate’.
Ghostface Killah reprises a classic ‘90s sound on ‘The Lost Tapes’, starring a heavy roll call of hip hop heroes including Snoop Dogg & E-40, his Wu Tang alumnus Raekwon, Big Daddy Kane, Cappadonna and more. Production by Big Ghost
“In the 1st half of 2018, Wu-Tang Clan fans worldwide were hopeful that the previous sale of the one of a kind Wu-Tang album, Once Upon a Time in Shaolin, would change hands from the currently incarcerated owner Martin Shkreli to Wu-Tang affiliate Matthew “M80” Markoff who would release it freely to the public--- to be appreciated by all. In light of Markoff’s 1 million dollar offer, the sale never came to fruition and Markoff like most Wu-Tang fans simply wrote off the notion of the one of a kind album and any chance at ever being able to hear it after that.
Thinking where do we go from here, M-Eighty decided to link with Wu-Tang Clan’s own Ghostface Killah to bring the world a brand new studio album alongside legendary underground producer phenomenon Big Ghost. “This new Ghostface x Big Ghost album is definitely something that is going to blow the minds of Wu-Tang and Hip-Hop fans alike”, Markoff remarked as our collective goal in calling it The Lost Tapes was to bring fans back to that Ironman/Supreme Clientele/Cuban Linx Era sound. We set out to revive that, update it for 2018 and just like that we have a certified 2018 Wu-Tang Banger on our hands!
The Lost Tapes also features an All-Star Line-Up including; Snoop Dogg, E-40, Big Daddy Kane, Raekwon, Masta Killa, Cappadonna Killah Priest, Sheek Louch, Ras Kass, Planet Asia, Michael Rappaport and more.”
Scowling industrial bad vibes from Frederikke Hoffmeier’s Puce Mary, mounting her debut LP with PAN after dishing out dozens of albums and oddjobs for Posh Isolation, Ascetic House, iDEAL under her own name and also as Amphetamine Logic, JH1.FS3, and Body Sculptures during the preceding decade
“Building from a reputation of arresting live performances and critically acclaimed releases Puce Mary breaks new ground with The Drought, evolving from the tropes of industrial and power electronics to forge a complex story of adapting to new realities. Remnants of noise still exist, sustaining the penetrative viscerality offered on previous records, however The Drought demonstrates an intention to expand on the vocabulary of confrontational music and into a grander narrative defined by technical and emotional growth.
Bringing together introspective examination with literary frameworks by writers such as Charles Baudelaire and Jean Genet, Puce Mary’s compositions manifest an ongoing power struggle within the self towards preservation. The traumatised body serves as a dry landscape of which obscured memories and escape mechanisms fold reality into fiction, making sense of desire, loss and control. The Drought presents both danger and opportunity; through rebuilding a creative practice centred on first person narrative and a deliberate collage of field recordings and sound sources Puce Mary injects an acute urgency across the album seeking resilience.
“To Possess Is To Be In Control” makes use of lyrical repetition as an ambiguity of two selves, or a divided self, attempting to consume one another, while “Red Desert,” named after Michelangelo Antonioni’s 1964 film, portrays the individual subsumed by surrounding environmental forces. The seven-minute epic “The Size of Our Desires” acts as the emotional tipping point of the record; amongst the ominous drone and dense feedback flutters almost-beatific melodies, while the lyrics reveal a romantic call to be swept up in the midst of an increasingly uninhabitable world.
Rather than escape, The Drought dramatises a metamorphosis in which vulnerability is confronted through regeneration. Noise and aggression no longer act as an affront to react against but part of a ‘corporeal architecture’ where space, harmony and lyricism surface from the harsh tropes of industrial music. The Drought chronologises the artist’s transformation through a psychological famine, new ways of coping akin to plant survival in a desert – to live without drying out.”
Hans-Joachim Roedelius meets Gotan Eject founder Christop H. Mueller in etheric space for a 2nd time, reprising the serene buoyancy of their 2015 debut across a longer, broader, and immersive 2nd collaboration finding the sweetspot between Latinate fancy and ambient tranquility
“In 2015 their debut, IMAGORI, was released on Groenland Records. It is an album that readily demonstrated how well their musical visions fit together. Roedelius’s soundscapes joined Christoph H. Müller’s electronic productions and beats and they entered into a dynamic symbiosis that gave rise to music that, instead of uniting two worlds, created a new one.
That process continues seamlessly. The title itself implies as much: IMAGORI II. The second joint album from these electronic music virtuosos shows new facets of their collaborative efforts and reveals all the new discoveries there are to be made when two explorers join forces. IMAGORI II’s twelve tracks oscillate between tender and hard-edged, between science fiction and the Garden of Eden; they call forth organic orchestral sounds that then fragment; they create moods ranging from melancholy to euphoria and are all the while accompanied by Roedelius’s filmic pathos, which has no use for extravagant gestures and instead tests the limits of minimalism.
Language is employed strikingly often; for instance, on the first track “FRACTURED BEING,” which is sung by “Miss Kenichi,” alias Katrin Hahner. The song “ICH DU WIR” is a family affair in which Rosa Roedelius gradually allows the listener to observe how soundscapes allow deconstructed language to fuse into structured form once again. Then, on “LA VIE EN BLUE” we hear Christoph H. Müller’s daughter illustrate the boundlessness of her father’s music in while singing in French.
Thus, we witness new experiments on IMAGORI II that are well aware of the foundations they are built upon and that sometimes let us forget the present with their future-oriented perspective while never descending into pure escapism. The twelve tracks allow the listener to close his or her eyes and enter a dream that could not sound more beautiful – we experience this phantasm as IMAGORI II. It contains no fractures, merely passages that provide a plane on which something new emerges.
The album ends with a song that could not be more defining and that recapitulates the production’s musical harmony one final time: “HIMMLISCHER FRIEDEN.” Hopefully, this will go on for a long time.”
The Overmono brothers, Ed & Tom Russell, give it some deep and rude swang on ‘Raft Living’ for Ed’s Poly Kicks label.
‘Daisy Chain’ pivots on a tuff breakbeat techno groove somewhere between Shed and Skee Mask, but softens up some with the appearance of woozy chords a la Lone in the 2nd half. ‘The Mabe’ rolls out further with crisp breaks and floating pads for a loved-up and drunken 4am swagger, while the EP’s title track sees it off with a sweet nod to BBC Radiophonic Workshop vibes.
Kelela and Asmara round up ace remixes of ‘Take Me Apart’ from, in their own words “a diaspora of innovative emerging and established artists”, including highlights from DJ Lag, Nídia, Kareem Lotfy, and serpentwithfeet
Listen up for strong moments in the blue downstroke of Ethereal’s take on ‘Jupiter 97’; DJ Lag’s strappin’ Gqom rework of ‘Onanon’; an unmissable 150bpm rub of ‘Waitin’ by Miami’s Tre Oh Fie; Nídia’s ‘floor-ready version of ‘Blue Light’; and Kareem Lotfy’s staggering sublimation of ‘Turn To Dust’.
Spiritual jazz meets ambient tranquility midair on Matthewdavid’s blessed Leaving Records
‘Wilkes’ is the title track and lead single off the debut from Sam Wilkes, an L.A.-based jazz bassist, multi instrumentalist and producer for Knower, Pratly, Jacob Collier.
Organic melds of plaintive vocals, primordial techno and rustic folk with subtle electronic backdrops. Recorded in Talinn, Estonia and recalling elements of Cucina Povera, Fönal Records’ Paavoharju...
“The presiding spirit of “Muunduja” (Shifter) is a state of being between states, the warping of time’s arrow using sound. Maarja Nuut & Ruum’s music often lures us into unimagined conversations with elements of our psychic selves that we may have otherwise forgotten. Whether the listener reacts through out-of-body experiences, glitches in cerebral programming, or old fashioned magic is immaterial. We experience the phenomena presented to us, and we take new insights from them.
Essentially the recording of two musicians’ inner travels, “Muunduja” is a release that relies heavily on gesture and spirit. Rich, rounded and expertly arranged, the music is also presented as a series of contrasts, heavy on shifts of tone, texture and mood.”
One of NAAFI’s strongest new players, Debit follows her killer debut LP ‘Animus’ with a keener focus on tonal composition in the steeply absorbing ‘Love Discipline’ for Quiet Time Tapes
After setting out her style on the edges on Latinx electronix, IDM and dark club music, ‘Love Discipline’ marks Debit’s shocking but welcome turn into sheer sound designer territory. Shaping up as five tracks of billowing, beat-less structures enriched with sci-fi cinematic appeal, the result are comparable to Leyland Kirby or BJNilsen as much as Rabit or The Sprawl, but with an iridescent spice of her own creation.
V Highly Recommended!
Bunker-breaking industrial techno and breakbeat drills by two of the tuffest doing it right now
In grey area mode for Horo, they commit the pebbledashed double-time pelt of ‘Ikari’ and a gnashing monstrance named ‘R-Amen’ on the front, with the unyielding speedier styles of ‘Vigilante’ bringing up the rear beside a J.K. Flesh-comptiable remix of ‘Ikari’ from Headless Horseman.
Babe Rainbow’s 2014 EP of sylvan synth atmospheres and low key beats bubbles back up in 2018
Listen up for highlights in the eerie, glass-rubbed harmonics of ‘Dub Music’, and the dry-iced shuffle of ‘Falling Apart’.
Cuts distills the world’s troubles into a starkly percussive and brooding new EP for Village Green
Following in cinematic suit from the ‘Exist’ EP, Cuts’ new EP opens with the coruscating greyscale drones, pealing synths and dry pounding crack of ‘A Gradual Decline’ in a way recalling Jóhann Jóhannsson’s more aggressive moments, whereas the B-side tends to more introspective needs with the low register 808 bumps and chapped melody of ‘Carbon’, which recalls Alva Noto’s ‘Xerox’ before the breaks splinter thru, and ‘Drowning’ pushes out into precipitous, beatless drone terrain calling to mind Ian William Craig’s cracked panoramas.
Earthy, grubbing, latin house styles from a new duo on Anthony Naples and Jenny Slattery’s Incienso label
“People Plus are CZ Wang and Joli B., signalling from a studio and or Hut in some remote location. Their debut EP consists of three trips into time in just as many styles.
Side A belongs to “Olympus Mons”, a song as big as the mountain its named from. Snake charmer synth lines and vocal roars backed by the baddest rhythm section in a while… wait for the solo! The B side holds “Work It Out”, with broken 4-off-the-floor drumz and revving echo effects. Taking the coveted B1 spot is the always dancefloor smashing “Second Cycle” - A verified banger that opens up with ground shaking acidish filter bubbles, and closes somewhere way up above the clouds.”