Grupo Controle Digital give another charming taste of Brazilian ‘80s new wave with ‘A Festa É Nossa’ arriving in the wake of Soundway’s superb compilation; ‘Onda De Amor: Synthesised Brazilian Hits That Never Were (1984-94)’
While almost every other geographic area of this era has been nearly mined to exhaustion, Brazil’s evident wealth of music from that era has remained relatively untapped until Soundway kindly stepped in to convect their warm breezes beyond the South American market.
Grupo Controle Digital’s ‘A Festa É Nossa’ was a highlight of the aforementioned compilation, and now it’s available as part of the original album - available for the first time on digital formats. The fruity title track will leave juice on your chin, and depending your tolerance for pure, unadulterated late ‘80s cultures, this rest of the album will leave you dead sticky, or totally dry.
Personally, we fall on the sticky side, and its not hard to hear connections between this sound and the vibes on Soundway’s ‘Gumba Fire: Bubblegum Soul & Synth-Boogie in 1980s South Africa’, Jamaican digidancehall, Belgian new beat and lots of natty ‘80s UK dance-pop.
Katsunori Sawa’s Enormous O’Clock lands on California’s Mirae Arts with a fine volley of techno mutations
Following from Katsumori’s ace session with Chafik Chennouf for Opal Tapes, ‘The Path of Untitled Memories’ rolls out for the DJs and dancers in four parts, ranging from the undulating gallop and spectral ethers of ‘Your Benefit Matters’ and the scudding, 2562-style dub chord dancer ‘Liquid Cave’, thru to the Rrose-style acid techno descent of ‘Why You Need 100 Million’, and an abstract wormhoel named ‘Dear Fear’.
To celebrate the release of the new Halloween movie scored by John Carpenter, Cody Carpenter, and Daniel Davies, Trent Reznor and Atticus Ross release their reworked version of Carpenter’s iconic Halloween theme as a limited edition 12", alongside Carpenter’s version from his 2017 Anthology: Movie Themes 1974-1998 album.
"Reznor explains: “I clearly remember my friends and I at 13 years old conning our parents into letting us see Halloween when it came out in 1978. We left the theater forever changed. We were damaged and scarred, with the shit genuinely scared out of us and that theme stuck firmly in our heads. John Carpenter, it’s your fault that I turned out the way I did.”
First time ever on vinyl - features some of the largest ambient pioneers - Vangelis, Kitaro, David Darling, Deuter and Michael Stearns...
"The Best of Hearts of Space: No. 1 - First Flight appears on vinyl as Hearts of Space celebrates the 35th anniversary of the airing of this - its first ever show. This double-LP pressing is a limited edition of only 500 pieces and features the music of original broadcast including Academy Award winner Vangelis with Irene Papas and Grammy Award winners Kitaro and David Darling. Other artists include Russian composer Thomas De Hartmann, instrumentalist Deuter, and pioneering ambient musician Michael Stearns."
“You have in your hand something of a classic. This was the kickoff program of the nationally syndicated Hearts of Space Public Radio show in January 1983. It's perhaps the best example of the creative mix of contemplative jazz, classical, electronic, world and new age music that remains the central innovation of the program. Far from the chaos of digital music today where everything is accessible but uncurated, First Flight is an enduring, transcendent experience.”
Stephen Hill, Producer – Hearts of Space
Jason Pierce of Spiritualized and Spacemen 3 tackles a lengthy piece of music assembled from electronically treated guitar loops (as you no doubt guessed from the title) and a bit of lo-fi percussion.
The result is an enormously dynamic, often difficult venture into the avant-garde, far-removed from the trance-inducing pop Pierce built his name on. There's a great deal of sophisticated noise tinkering at work here, and the loops themselves aren't built from the customary drone tones but rather highly energetic guitar phrasings and full-on string assaults.
The sound materials that get thrown together on these recordings vary from near silent amp hiss textures to marauding distortion, and there's no linear build-up as is so often the case with these long-form experiments, instead there's an unpredictable stream-of-consciousness approach that makes the whole thing sound liberated.
Staffordshire’s purveyors of pastoral pop, epic 45, return after a seven-year hiatus with new album, their first release since 2011’s acclaimed album ‘Weathering’, which explored the lingering death of rural communities.
"Much of what has always driven epic45 still remains; the British landscape, hazy childhood memories and a sense of loss. However, as tensions across Britain have increased, epic45 have been forced to re-examine their relationship with the country in which they live. “The album is about, in part, returning to the place where we grew up from birth to our early twenties.
From a personal perspective, it’s sad to see the place changing; new houses, the disappearance of old landmarks etc and the sadness of our childhood homes, strangely quiet now. But on a wider scale, it’s the palpable sense of cultural and political stagnation too. It’s a very insular place now, the community more fragmented than ever before”. Atmospheric soundscapes combined with subtle electronics permeate throughout ‘Through Broken Summer’. ‘Outside’ and ‘From Quiet Houses’ are written with a sense of grandeur and astral beauty but darker moments are witnessed on tracks like ‘Other Rooms’, a glitchy, static affair.
There is a calming and addictively measured beauty to ‘Through Broken Summer. ‘Hillside ‘86’, which includes a guest appearance by Antony Harding of July Skies, shimmers against a backdrop of broken beats and heavenly sonics. If you’re looking for musical references, you might be able to hear the ghosts of Sarah Records, Disco Inferno, Slowdive and New Order in epic45’s ever evolving sound. It comes as no surprise to find that epic45's Ben Holton and Rob Glover grew up in a small rural village in the English Midlands. Since their debut 7" single in 1999 (which received immediate support from John Peel on Radio 1) they have released a series of widely celebrated EPs and albums, inspired by their surroundings; blissful childhood summers and the ever-changing landscape of the English countryside."
Daughters, the Rhode Island-based noise impresarios, release their first new album in eight years, ‘You Won’t Get What You Want’, via Ipecac Recordings.
"On the heels of their 2010 self-titled offering, the members engaged an indefinite hiatus. One fated dinner and two sold out hometown shows in Providence in 2013 saw them pick up where they had left off. Throughout the next four years the band recorded, eventually culling down 150 ideas to the ten comprising ‘You Won’t Get What You Want’."
‘Loopworks ‘ is a swoon-worthy side of dusty majesty originally issued on a super limited tape edition of 100 and now pressed to vinyl by Discrepant.
Doing what Leyland Kirby, William Basinski, Philip Jeck or Stephan Mathieu did to old shellac 78s, vinyl ephemera and tape, Koray Kantarcıoğlu turns ’60s and ‘70s Turkish records into spellbinding webs of crackle and ghostly harmonic structure, offering acres for the nocturnal imagination to roam. If you like any of the aforementioned you need to spend some time with this dark, surprising, and transcendent side.
“With the vinyl release of “Loopworks” we continue to manifest the importance of showing how technology and geography create different and original approaches to the standard western interpretation of field recordings and sound manipulation. Koray Kantarcıoğlu’s work here is a strong manifestation of that and how “haunted music” can express a myriad of feelings and sensations.
“Loopworks” has a tremendous vision of the metamorphosis that’s been occurring in ambient music during the last decade. Sometimes it’s dreamy and calm as aquarium music is (“500606” or “22 47 91 Take 1”); surprising and infinite as “263 Loop”, one of the few tracks with a voice, in this case a mysterious and transcendental one; or part of a John Carpenter & David Lynch film yet to be made (“Organ Extract KP 001”). A fantastic voyage, from earth to space, through time or simply as the most beautiful and peaceful dive into the ocean. Old music transformed into something new, unique. That’s special.”
Long-in-the-works 3rd album from gothic Austrian singer-songwriter Soap & Skin; a matured suite melding modern classical, folk, and electronic styles
“The third album from Soap&Skin, the working moniker for Austrian musician and producer Anja Plaschg, 'From Gas to Solid / you are my friend' marks her return with her first album in six years.
'From Gas to Solid…' follows the release of the Top Ten albums 'Lovetune For Vacuum' in 2009 and 2012’'s' Narrow (an Austrian No 1) but in that time in between the artist has been busy, not least with the birth of her daughter and subsequent motherhood but as well with many other creative works such as composing for theatre and film productions, as well as film acting.
'From Gas to Solid…' inhabits a similar world as previous works albeit perhaps partnered with a more balanced adult view than the raw, angrier aspects of those outings but still reflects the struggles to find meaning, answers, and a place to survive. Encompassing a range of musical allegiances - infused with tranquil electronica, militaristic percussion, whilst coupled with choral ambiance and earthy ethereal grandeur, an expansive, stunning, wide-reaching album of dynamic beauty – the finale arrives in a serene interpretation of Louis Armstrong’s What A Wonderful World.
Recorded mainly at Plaschg's home in a quiet leafy corner of Vienna, 'From Gas to Solid…' is not only self-produced but self-played, which she explains “People tell me I work in an uncommon way, I sample everything, even when musicians are involved and liken how I make my music to painting. It means I can get over my educated mood and more trust what I hear. It gives me more freedom.”
The Afro National band was formed in Freetown, Sierra Leone in 1972. Their inspirational leader, Sulay Abu Bakarr accompanied by his wife Patricia and Ayo Roy Macauley split from the Sabanoh Jazz Band to form their new group.
"They skillfully merged highlife and jazz sounds with a deep knowledge of West African sounds. Growing to become one of the premiere bands to emerge from Sierra Leone they not only defined the sound of the country for a generation but also crafted some of the country's most popular and memorable songs (for example Sonjo which is included on this collection).
The band toured extensively throughout Africa and Europe in the 70s (working with the giant of Sierra Leone music Akie Deen in the process). Towards the end of the 70s the band departed Sierra Leone; Sulay and his wife moving to Maryland in the US and other members moving to London.
Our collection focuses on possibly not the best known songs of the band but the tracks which have the rhythms to move the dance floor. We open with the foot tapping "Jokenge" and its driving shuffle beat, swirling organ and percussive guitar lines. "Push Am Forward" takes a afro-psychadelic turn with its hypnotic rhythms and driving distorted guitar. "Mr Who You Be" is a cover of the Fela Kuti track, doing it fine justice. "Gowa" highlights the vocal prowess of the band, as dose the ever popular "Sonjo" (the version featured here is a rare alternate recording).
"Money Palava" opens up side two with its infectious highlife beat and hooky vocals. "Money Nor Bataya" highlights the bands first use of synthesizers. "Mother In Law" sweeps up back to Free Town 1973 with its clever vocal. "Set My Soul On Fire" is a bonus track which brings in the International flavour of the band.
The Afro National band continues in various guises to this day, with Sulay and Patricia acting as the proud and talismanic figures for a whole generation of Sierra Leonean music."
Heinali is the alias of self-taught composer and sound-designer Oleg Shpudeiko from Ukraine.
"Having garnered rapturous responses to his earlier output and last year’s ‘Anthem’ Oleg continues to push the boundaries and experiment with altering mood and atmospheres of any space - with abstract yet deeply personal transmissions of ambient synthesiser work and subaqueous, minimal techno contortions. ‘Iridescent’ consists of fragments of studio improvisation sessions recorded in 2016 and 2017, some of them recorded in one unedited take on a modular system and some layered and later morphed into compositions.
As the title suggests Heinali crafts shimmering, incandescent portraits, rich in his unique characteristics and compositional liberty.‘Iridescent’ bares Oleg’s style of sonic storytelling and austere, otherworldly textural embellishments that bring to mind Ben Frost, Akira Yamaoka, and Oneohtrix Point Never but also plants the seed for much more club ready electro. ‘Starling Reprise I’ is a scorching piece of ambient techno that conjures Four Tet, LTO and Susumu Yokota’s blissful, kaleidoscopic synth work whilst ‘Starling Reprise II’ retains the frosty, steely ambience that has become Heinali’s calling card."
Kompakt presents a new LP and audiovisual venture by Danish producer Kasper Bjørke and close cohorts. Epic and in length but always captivating,
"‘The Fifty Eleven Project’ is an entirely ambient concept album, that interprets and evokes the emotional rollercoaster Kasper experienced, from his cancer diagnosis and throughout the five years of regular check-ups. The week of album release marks his 2nd anniversary of getting the all-clear.
“Just two weeks before my 35th birthday, doctors discovered a tumour during a routine scan. The prognosis was positive, but the anxiety that accompanied the diagnosis was incredibly difficult to navigate.
I felt this urge to document what I was experiencing through music, but at the same time, I didn’t want to begin recording before my final hospital examination; not until I knew for certain I was going to be okay. On October 16th 2016, after five long years of regular CT scans, x-rays and blood samples, I left department 50 11 for the last time.
I wanted to document the gamut of feelings – both light and dark – using these long instrumental compositions as the narrative, and the track titles as a cronological guideline. The album chronicles a journey from discovery of the tumour, to the operation and frequent examinations; from feeling a beacon of love and light in the birth of my son (in the same hospital), to finally leaving that waiting room for the last time.
The project has been a therapeutic way of me processing the diagnosis, the constant fear of relapse and the light in being healed. Throughout the process I used the music to fall asleep to — and as a sonic space to meditate in and contemplate my journey. My hope is that others; healthy, ill or next of kin, will be able to use ‘The Fifty Eleven Project’ in that same way.”
The base of the album was composed on vintage analogue synthesizers, reverbs, echo and sequencers – using the computer solely as a recording device – by Kasper and synth wizard Claus Norreen, in the latter’s Copenhagen studio. The violins, violas and cellos are composed and played by the Italian composer Davide Rossi, who has also worked with Ennio Morricone, Jon Hopkins, Röyksopp, The Verve and Goldfrapp. The piano parts are composed and played by Danish musician Jakob Littauer (of Kompakt labelmates Jatoma) on an old upright piano in a studio, and on a Steinway Grand Piano in the concert hall at the Royal Danish Music Conservatorium.”
This is the second collection of music from Venezuela in the 1970s and beyond to be released on Soul Jazz Records. The album once again features innovative figures in the history of underground Venezuelan music, mostly unknown outside of their home country - their music a blending of progressive rock, jazz, experimental electronics and disco, created mainly in the 1970s - during a time when the country was both a cultural and economic powerhouse in Latin America.
"While much of 1960s Venezuelan rock music emulated British and USA styles and salsa dominated the dancefloors of Latin America, the 1970s saw the evolution of a new generation of creative local artists such as Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquelyVenezuelan.
Most of these artists featured on ‘Venezuela 70’ remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world - a stunning ‘melting pot’ mix of sounds from the cosmic and psychedelic rock of Vytas Brenner to the Moroder-esque disco experimentation of Daniel Grau and the tropical funk of Un Dos Tres Y Fuera and beyond."
2LP retrospective compilation of the french electro/wave pioneer Le Syndicat Électronique, the historical electro/wave project by Alaxis Andreas G., founder of the seminal Invasion Planète Recordings - the first French minimal electro/wave/experimental label founded in late 1998 by the insurance proceeds of a car crash.
"Heavily influenced by the work of masters like Kraftwerk/John Carpenter/Front 242, Alaxis Andreas G. is responsible for many others dark electronic / industrial / neofolk projects - to name a few: A//, Bruta Non Calculant, Swesor Brother, La Séduction Des Innocents, It & My Computer, Eva VIII.
After many years of supporting his artistic vision and direction, we decided was time to collaborate together in this killer 2xLP compilation, which includes 5 historic tracks never pressed on vinyl whose 3 are released for the first time ever.
Tracks selected, re-mastered and arranged by Alaxis Andreas G."
*Distorted air horn* Praxis deliver a proper breakcore blast-from-the-past with two Scud & Nomex ruinations originally despatched on 7” in 1997 and 1998, now compiled and reissued for first time in 20 years on a wider, louder pressing.
DJ Scud is not short on love around these parts - his run of releases between the late ‘90s and early ‘00s, including the cult Wasteland project with I-Sound, are some of the most distinctive, ruffneck releases of that era, splicing hardcore jungle and soundclash noise with unprecedented style and pattern. His ‘Ambush’ album, a collection of hard-to-find early releases compiled for Aphex Twin’s Rephlex Records in 2003, is, for us at least, a definitive record of its era.
This timely compilation/reissue 12” offers a visceral, psychogeographic snapshot of an overlooked phase of late ‘90s dance music, when jungle was properly straining at the leash and fusing with punkish gabber and extreme noise in South London squats and at free parties (illegal raves) across the UK and EU.
Most notably, the two tracks from ‘Eurostar’  use samples of the eponymous train, recorded in Herne Hill, South London on its way to the recently opened "chunnel” between UK and EU. 20 years later, as Britain heads blindly for Brexit, Scud & Nomex’s jungle noise juggernaut arguably takes on a new historic relevance, while the accompanying ‘Piling Machine’ turns field recordings of the Hungerford footbridge construction site into one of the meanest, overlooked concrète tracks from late ‘90s London.
Equally indomitable are the two versions of ‘Total Destruction’  on the other side. Built using vintage tape echo, electrical interference, and a white label prized from under a car wheel, all processed on an Amiga 1200, the original is a solid gold yardcore punk anthem, while the Dub Version pushes the levels recklessly into the red.
In 2018, when fringe communities are too often represented musically by anodyne, mainstream, common denominators, this 12” is an even stronger reminder of the untapped potential of lost, underground futures such as the one envisaged by Scud, Nomex and their convention-challenging counter-culture. R.I.P. Paul Kidd a.k.a Nomex.
Hypnotic, offbeat, earthy dance music from Stefan Schwander’s Harmonious Thelonious
Leading on from turns with Kontra-Musik, Disk, The Trilogy Tapes and Versatile in the last year alone, ‘Petrolia’ keeps up the quality levels with a six choice new cuts roving between the almost New Beat styled chug and fiery pipes of ‘Disko Marak’ to the spiralling stereo helix of ‘Just Play’, and the effortlessly mesmerising swag roof ‘Petrolia’, along with the Dembow-like bump of ‘Nous n’Avons Jamais’ and the fractal synth noise mosaic, ‘Tig Tig Tig’.
Beautiful contemporary African music from son of the legendary Dr Philip Nchipi Tabane and heir to the malombo sound that he originated and pioneered in the early 1960s, Thabang Tabane has been touring the world playing with his father’s band and other South African luminaries (such as Thandiswa Mazwai, Madala Kunene and Mabi Thobejane) since he was 8 years old.
"Emerging into his own with his debut solo album, Matjale, this energetic percussionist carves a driving, joyous and worldly version of the malombo genre that takes in his continental travels. The album brims with ambition and an appetite for life. Employing brisk tempos, nimble basslines and intersecting polyrhythms, Thabang crafts songs cognisant of the hardships of life, but chooses to deliver them with an irrepressible optimism.
Expanding parameters of what is essentially an artform patented by his father, Thabang and his cohorts seem unburdened by pedigree, infusing the sound with a modern sensibility. His reverence for the vibrational resonance and drive of the bass guitar, not to mention his explosive bursts of hand drumming, gives the album an undeniable, cathartic exuberance."
Barry Adamson announces ‘Memento Mori (Anthology 1978 - 2018)’, a 40th anniversary release charting the artist’s writing and recording career.
"Memento Mori’ charts Adamson’s career from 1978’s Magazine track, ‘Parade’ (co-written by Adamson, from their debut album ‘Real Life’) to his work as founding member, alongside Nick Cave, of the Bad Seeds (‘From Her To Eternity’, co-written by Adamson), through his nine solo albums, from 1988’s ‘Moss Side Story’ to the latest ‘Love Sick Dick’ EPs, bringing everything up to date with a brand new unreleased track, ‘The Hummingbird’."
This audio is taken from the original Mono film reels.
"This 40th anniversary release of the original Halloween music composed and performed by John Carpenter in 1978 presents the original Halloween film score as it was mixed within the film. The audio is taken from the "music stem” derived from the 35mm mono tracks that comprised the dialogue, sound effects and music of the original film which when combined, comprise the complete soundtrack of the classic film.
The first LP album of Halloween, released in 1982, was a remix of the original 16 master by Alan Howarth, with instructions from John Carpenter to re-mix the tracks to represent the best sound of the music, and not necessarily be committed to match the music as mixed for the film. in this release, Alan Howarth carefully transferred the film music stem, assembled the music in chronological order as presented in the movie so the listener can visualize the film in their minds eye while taking a musical journey of the most famous horror score ever!"
Crushing delivery of doom metal and industrial electronics from Goth Trad’s Eartaker trio with Die Suck and Masayuki Imanishi, coughed up in prime style by Bedouin Records
Best known for his razor-sharp, heavyweight take on dubstep, Goth Trad’s roots lie in a wilder mixture of noise, electronics and rave musics which have continued to inform his style, leading him to invite The Body to his Back To Chill party in Tokyo, 2014, as well as a mighty collaboration with Japanese metal heroes Boris on ‘Low End Meeting’ in 2015, and now this full blown sacrifice to the darkside with Eartaker.
In eight pieces the trio churn up charred ground in the no-person’s-gulf between sludge metal, Japanese noise and mutant dance music, swarming between the strangulated vocals and noxious noise of ‘Our Possession’ and the drop-forge percussion of ‘Nue’, before unbleashignt he radioactive force of ‘Killing Stone’ and pulling up tho more expansive, mutant, acidic terrain with Dojo-ji Temple’ and the escalating terror of ‘Black Mound’.
For fearless followers of Senyawa, The Body, Nick Klein, or Shapednoise, this one’s unmissable.
Modest, low-key, breezy dreamscapes beamed DIY and direct from Utrecht onto tape for Soundway...
“Soundway Records presents two chapters of instrumental, lo-fi dreamscapes, exquisite homemade musical sketches, and ethereal jazz harmonies recorded direct to two cassettes.
In the Felbm project, Dutch multi-instrumentalist Eelco Topper steps away from his previous synthesiser-laden sounds as Falco Benz, towards a much looser, simpler and sketch-like approach. Picking up a number of acoustic instruments, he began experimenting with a Tascam 4-track tape recorder and allowed these sketches to flourish. The result is Tape 1 and Tape 2, a two-part project stretching across fifteen tracks - encompassing fluttering piano melodies, subtle jazz drums, rumba rhythms and soothing ambience. The jazz element links back to Topper’s childhood. “I grew up playing drums, switched to playing piano at sixteen and in the meantime I produced hip-hop beats,” he recalls. “I went to study jazz piano at the Utrecht Conservatory, which I finished with pain and effort… I was interested more in electronic and present-day music.”
This mix of being rooted in traditional jazz composition whilst searching for something more contemporary is the perfect encapsulation of these recordings. Tape 1’s jazz roots are palpable and as things move into Tape 2, it takes on a neo-classical, psychedelic soundscape and cinematic quality.”
EBM-skooled rawness from Argentina-via-Barcelona’s Nehuen MacAllister - co-founder of the Classicworks label with Cardopusher
Exerting a gritty, slompy spin on classic EBM frameworks in much the same way as the L.I.E.S. lot, but perhaps with an extra, latinate kink, he hustle two strong highlights in the swingeing acid lines and heaving groove of ‘Call Him’ and powerful, Silent Servant-esque momentum of ‘Personal Conflict’ - replete with walkie-talkie vocals - while the other tracks tend to a more rugged, offbeat mutations.
The second About Group recording for Treader, this time replacing Charles Hayward with Rupert Clervaux. His elegant drumming takes the group into new territories which together with Coxon’s simple and insistent guitar themes forms a regular backbone for four extended group compositions containing a surprising collision of sounds and influences.
"Pat Thomas, with his background in free jazz and improv, and Susumu Mukai, more commonly heard in the company of Floating Points, make strange bedfellows with Alexis Taylor’s mooger-foogered rhodes, but somehow it all crystallises perfectly.
The clearest precedent for this engaging recording is Ege Bamyasi era Can,but really it occupies a position of its own…”
‘Stranger Things’ composers Kyle Dixon and Michael Stein return with ‘Stranger Things: Halloween Sounds From The Upside Down’.
"Stranger Things: Halloween Sounds From The Upside Down’ features 14 original unreleased tracks from the series specifically curated to be as creepy and atmospheric as possible. Total electronic 1980s nostalgia with just enough of a modern twist to produce something unique and unforgettable."
Biting-point electronic noise and atonal organisms from Irish multi-instrumentalist Séan Carpio and Lakker’s Eomac
Continuing to push Eomac’s Eotrax label at unpredictable new angles, ‘ETXC002’ investigates the greyscale in 7 parts of stressed, texturhythmic noise connoting a natural order of chaos tempered to purpose.
To celebrate The Twilight Sad’s fifth album the band are releasing this exclusive one-sided etched 10”
"Will appeal to fans of The Cure, Frighten Rabbits, The National, Interpol and Editors...."
After a series of increasingly inward-looking, conservative LPs since her stunning debut, Julia Holter finally unleashes her imagination in technicolour once again on ‘Aviary’, an expansive observation of the ratchet madness that makes up the world today.
“Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” Out on October 26th via Domino, it’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements.
The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void
Aviary, executive produced by Cole MGN and produced by Holter and Kenny Gilmore, combines Holter's slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs. Holter was joined by Corey Fogel (percussion), Devin Hoff (bass), Dina Maccabee (violin, viola, vocals), Sarah Belle Reid (trumpet), Andrew Tholl (violin), and Tashi Wada (synth, bagpipes).”
Grimacing, pulverized electronics from Treviso, Italy on Andrea Parker’s aperture. RIYL Shapednoise, Emptyset, Yair Elazar Glotman
“Aperture records has always been about discovering new artists and bringing them to the forefront and Italy is well-renowned for its electronic music, both former and current. So, from one Italian duo (t.e.s.o.) to another… introducing Diaster.
Diaster aka Teo & G grew up in Treviso, listening to the most experimental music they could find in their small rural city near Venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. After ‘Enchantments’, a debut EP on DVNTT which deserves more recognition and an accomplished follow up on Subsist records; ‘Final Beginner’, aperture records brings you their latest contribution; ‘Clustered Non Symmetry’.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. Tension builds slowly and influences, mostly of a similar vintage, come through. Arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.”
Following the fleeting reveal of instrumental passages in two trailers and the release of the track 'Suspirium' - Thom Yorke’s Suspiria (Music for the Luca Guadagnino Film) is finally here.
"Suspiria consists of 25 original compositions written by Thom specifically for Luca Guadagnino reimagining of the 1977 Dario Argento horror classic. The album is a mix of instrumental score work, interstitial pieces and interludes, and more traditional song structures featuring Thom’s vocals such as “Unmade”, “Has Ended” and “Suspirium,” the album's first single featuring the melodic theme that recurs throughout the film and its score.
As scoring a horror film presented Thom with altogether new challenges and opportunities, Suspiria stands apart from any of his other work. Piano/vocal ballads, Krautrock-esque modular synth work inspired by the film’s Berlin 1977 setting, multilayered vocals, and melodies that convey terror, longing and melancholy combine to create a chaotic yet cohesive musical spell.
Suspiria was written and arranged by Thom Yorke, recorded and produced by Thom and Sam Petts-Davies. The album also features the London Contemporary Orchestra and Choir, Noah Yorke on drums on “Has Ended” and “Volk,” and Pasha Mansurov on solo flute on “Suspirium.”
Includes an ace Rob Smith a.k.a. RSD (ov Smith N Mighty) electro-disco-dub remix
“Optimo Music presents a 5 track EP & also a debut release from Nashville’s Stranded, including a remix of title track “Celine’s Dilemma” by RSD, aka Rob Smith of Smith & Mighty fame.
Despite hailing from Nashville, Stranded has a longing appreciation for the dance centric cities throughout the world whether it be Detroit, Manchester or Berlin, hence the moniker. Alienation, romantic rendezvous, 9 to 5 unease, and an apprehension of the future are just a few of the topics that surface on the debut EP, Celine's Dilemma, on Optimo Music. Sweeping and droning synths, jagged guitars, rolling bass, yearning and weary vocals, and disco beats propel the music and ideas showcased in the project. While using the backdrop of post punk, disco, and synth pop the music is a sonar call to places where people are gathering, working, and dancing.”
Dopplereffekt explore themes of mortality/immortality on ‘Athanatos’, their follow-up to last year’s excellent ‘Cellular Automata’ album, also released by Berlin’s Leisure System.
Furthering their previous LP’s conceptual fascination with genetics, ‘Athanatos’ explores the conditions and chromosomal factors defining mortality in the funky, allegorical fashion that we all adore about Rudolf Klozeiger and To-Nhan’s music.
With input from Carsten Nicolai (who also did the artwork) and his raster-noton co-foudner Olaf bender, Dopplereffekt reflect their research in five parts ranging from the towering title track (meaning ‘Immortality’ in Greek) to a stunning piece of synth-pop ‘Hayflick Limit’ with cold vox (can'’t tell if it’s To-Nanh or one of their previous collaborators), plus the direct dancefloor hydrolicks of ‘Eukaryotic Chromosomes’, and the nexx level sci-fi electro of ‘Mitosis’.
Genius at work.
Crooked Man returns to DFA with ‘Crooked House’ LP, a maximalist take on electronic and house music that picks up where 2016’s self-titled album left off.
"Teaming up again with Michael Somerset Ward (Clock DVA) and David Lewin (Bleep & Booster) in the studio, Richard Barratt crafts a comprehensive journey of hi-fi house belters with more sinister electro-pop mixed in for good measure. The album is influenced by two historic epicentres of electronic music: Sheffield UK, where Richard has had an illustrious career in a mix of legendary groups like Funky Worm, Sweet Exorcist and The All Seeing I; and the NYC Loft-era disco sound, where extended grooves were layered with peaktime choruses.
Richard’s diverse collaborations and intensely prolific discography have now led him to records as lush and sophisticated as ‘Crooked House’. Considering the rarity of a live Crooked Man performance or DJ set, it’s a testament to his hyper-creativity that these tracks are able to reach new heights in a club setting. With support from disco historian Bill Brewster and NTS resident Ross Allen, it’s clear that ‘Crooked House’ brings a timeless vitality to the current landscape of dance music and continues an exciting new chapter in Crooked Man’s career."
The debut LP from Curses draws influence from 80's new wave, post-punk, synth music and early EBM skillfully merged with the DIY approach of punk and rock n roll angst. Brandishing an immersive sonic palette, all instruments throughout the album were played and recorded by the artist.
"Exhausted by the current state of competitive dance music monotony, Romantic Fiction is a collection of songs, not DJ tools: songs that work at home, but also in the club should the right crowd beckon. It’s about escapism and finding comfort in the unknown, fulfilling the empty void by embracing the mysterious. Darkness is a light undiscovered, not something to be frightened of.
Curses also invites friends who share a mutual love for incorporating post punk and new wave into contemporary electronic music. Perel delivers mighty Nina Hagen-esque operatic punk vocals on the first single, 'Gold & Silber', whilst Dischi Autunno label boss Jennifer Cardini and Curses share a duet on the cold wave silk of 'Silence In The Dark'.
As an amalgamation of influences from multiple decades, Romantic Fiction is a deeply personal album, triggering a feeling that is unnerving at times, familiar and welcoming at others."
Bandulu Gang’s Boofy tweaks out a darkside grime/dubstep batch for Tectonic
It’s a smart update of classic Tectonic styles, roving from the big-boned but skeletal styles of ‘Back In The Box’ to the wickedly dissonant dubstep/drill mutation of ‘Herbie’, before descending into dankest dungeon pressure with ‘In My Head’ and teeing up the goat-footed steppers’ percolations of ‘Perfunktion’.
OVR (Ruskin & Regis) Makaton, James Ruskin, and Broken English Club retread tracks from Rommek’s ‘Set In Stone’ trilogy
James Ruskin & Regis’s lesser-spotted OVR provide the EP highlight with a rugged, stepping and droning re-grind of ‘Flint’, while Oliver Ho’s Broken English Club also impress with a blank-eyed retool of ‘Komatiite’, and Makaton and Ruskin serve firm 4/4 functions.
While recording Unknown Mortal Orchestra’s last release, ‘Sex & Food’, Ruban Nielson, his longtime collaborator Jacob Portrait and his brother Kody Nielson, found themselves in the Vietnamese city of Hanoi playing and recording with local musicians at Phu Sa Studios.
"The studio, normally used for traditional Vietnamese music, found the band jamming on sessions dubbed ‘IC-01 Hanoi’: exploring the outer edges of the band’s influences in jazz, fusion and the avant-garde. The musicians, along with Ruban and Kody’s father, a jazz musician in his own right, helped lay down the unique textures heard throughout Hanoi. At its core ‘IC-01 Hanoi’ is a record of exploration, finding its closest antecedent in Miles Davis’ experimental ‘On The Corner’ - itself a record full of nods toward avant-garde composers and jazz outsiders alike.
‘IC-01 Hanoi’ finds Ruban amplifying and stretching out on lead guitar, with a blown-out and wandering fuzz tone that slinks throughout the sessions. Kody and Jacob match Ruban’s melodic diversions with aplomb, mining their talents to finding as easy a role in the fusion of funk as they do in the more ambient and abstract tangents on ‘IC-01 Hanoi’."
Nana Tuffour’s greatest electronic burger highlife tracks, accompanied by interview-based liner notes.
"Hailing from Kumasi, the capital of the Ashanti region in Ghana, Nana Tuffour is by far one of the most important exponents of modern highlife music. He studied piano at college and cut his teeth in the '70s as an organist and vocalist for the incomparable Kyeremanteng Atwede and Dr. K Gyasi’s Noble Kings Band.
Fast forward to 1981 and Ghana was at the apex of its golden age of music. This era was brought to an abrupt end by political upheaval when the military took over the government and as a result a restrictive dusk to dawn curfew was imposed between 1982 and 1984. This resulted in a total obliteration of the country's night life, and Nana just like many other prominent musicians including Pat Thomas and George Darko left Ghana for greener pastures, the most popular destinations being Nigeria and Germany. The Rheinklang Studio in Düsseldorf run by a young inimitable German sound engineer Bodo Staiger and another “exiled” Ghanaian musician Charles Amoah played a crucial role for those musicians who had chosen Germany.
This studio became the focal point for Ghanaian musicians and the birthplace of a new sound, now known as 'Burger highlife' - traditional Ghanaian highlife infused with the more up to date electronic and disco sounds of the West. It is arguable that Nana has played a crucial role in Burger highlife and developing the sound of traditional Ghanaian highlife more widely to what it is today, with his innovative use of electronic accompaniment pushing its boundaries to its creative extremes.
It is Burger highlife's transcendence of traditional musical boundaries that helps make it so accessible to listeners, appealing not only to Ghanaians back home but now highly regarded and sought-after by those in the West interested in more occidental disco and electronic sounds. We hope that you enjoy the four songs offered here, each chosen to demonstrate Nana's singular influence on the development of Burger highlife."
Immersive, organic mixture of intricate, small sound dub ecology and stoned dream-pop soul from Sunun - backed with a dead cranky Kinlaw remix - marking her debut on the excellent Bokeh Versions after compilation appearance for Limbo Tapes. RIYL Marina Rosenfeld, Jabu, Ossia
“Sunun has a luring command of dials and limbs and drum skins that’s as grounded as it’s mystical - these machines have ghosts in them. Between Ooid’s modulated insect noises and crushed cymbals there are stories of when & why things were recorded that adds an aching humanity to the 5 machine dub pulses on her first official release. People who’ve seen her live have witnessed Sunun’s forest of wires and microphones and harps all feeding her 20 channel desk. She dubs it old-world style, but the results are always forward - making a 22nd century chorus from thousands of years of human feedback. The Sunun ecosystem is perfectly synthesised in Max Kelan’s unsettling VHS body-shot for ‘Dark Just’, filmed on location in Western Super Mare (mostly Pier 2).
Sunun’s a familiar shape in the shadows of Bristol’s sound circuit - from Kuumba Centre to Cosies to Trinity. Her monthly residency on Noods Radio is titled by the mantra ‘Everything is Drum’ - and plays out to a teething Stokes Croft through the studio windows. She first took to the mic at Bokeh Sound w/ Jay Glass Dubs and Avon Terror Corps member Kinlaw (No Corner / Ceramics); who closes Ooid in classic discomix style with a remix of ‘Dark Just’. Ooid predates both their work in Avon Terror Corps by up to 1 year.”
Terekke herds his wooliest flock of ambient Improvisational Loops for Music From Memory following the cultishly-acclaimed Plant Age album for L.I.E.S.. This time he evaporates any trace of percussion to leave listeners wrapped up in billowing harmonic structures with a deeply meditative, almost anaesthetising effect set to resonate with a raft of new ears.
It’s perhaps not surprising that Matt Gardner a.k.a. Terekke conceived his second LP as an aid for yoga in the esoteric-functional style of those late ‘70s/early ’80s new age pioneers whose work is having such a strong effect on contemporary styles. As the original new age gear was crafted in response to emerging thoughts of AI consciousness, secular spirituality and as a means detach oneself from the capitalist reality of Reaganomics, in 2017, at the dog-end of capitalism, perhaps the need for this stuff is as great or greater than ever?
Unless you exclusively fxck with harsh noise or are a bit of a bastard, Improvisational Loops is almost guaranteed to melt your worries and soothe your mind, running the equivalent of a hot bath while simultaneously massaging your temples and holding a zoot to your lips so you don’t get the roach wet. Just bliss. It’s that good!
Another sterling pick from Sacred Summits, Morgan Fisher’s charmingly playful 'Inside Satie'  sees its first ever vinyl reissue on Lindsay Todd and Stuart Leith’s cult label.
Morgan Fisher has had a storied career as part of ’60s one-hit wonders Love Affair, thru to playing keys for Mott The Hoople in the ‘70s, and working on ambient, improv and soundtracks in the ‘80s alongside Yoko Ono, Haruomi Hosono and Dip In The Pool.
Inside Satie was recorded in Japan following Fisher’s move from the UK in the mid ’80s. Perhaps a perfect fit for the sophisticates of Tokyo at the time, the album adapts Satie’s timeless minimalism to a mix of electronic and acoustic instruments, highlighting and feeding into the similarities between Gnossiene and Gymnopedie and the new age ambient zeitgeist of Japan in 1985.
As a meditation aid, a coffee table staple, and a historic artefact, Inside Satie is a beautiful and warmly satisfying document totally worthy of reappraisal in 2018.
Afro-Danish saxophonist John Tchicai spent his youth playing alongside the greats- recording and performing in NYC with Albert Ayler, John Coltrane, Archie Shepp and Don Cherry amongst many others.
"Following a meeting at the Coimbra Jazz festival in 2004, he agreed to record with John Coxon and Ashley Wales. The beautiful resulting album sold out almost immediately on its release in 2005 and is available here for the first time on vinyl.
Eloquently balanced between Eric Dolphy and Lee Konitz, his “wise and lyrical……” alto saxophone and bass clarinet playing make this “…..one of his finest recordings….” [Richard Williams in The Guardian]
Pangaea reworks Cuba Gooding’s ‘Happiness Is Just Round The Bend’ as a direct acid techno roller, backed with the fizzing breakbeat house momentum of ‘You Know What’s Up’
Stretching out on his Hadal label the Hessle Audio co-founder makes great use of the tune notably sampled in Mark Leckey’s ‘Fiorucci Made Me Hardcore’ video, but here with wide, powerful bass and a wonky techno top line.
On the other side, ‘You Know What’s Up’ swangs out with swingeing breaks clipped and tucked into an effortlessly rolling tribal house motion licked up with twanging, honky hook.
Séance Centre serve an astonishing 2LP by L.A. composer and voice-over artist MJ Lallo, making good on the promise of her ‘Star Child’ 12” with a stellar showcase of wonderfully expressive glossolalia and bobbling drum machine patterns embedded in vast synth backdrops. What a find?! Big tip to fans of Jon Hassell, Laurie Anderson, Ramzi, Breadwoman, The Art Of Noise!!!
“Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters.
Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo’s flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo’s work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come.”
Digitally re-mastered featuring Sonic Boom and Jason Pierce. The original appearance of Taking Drugs was in fact a bootleg on the semi-legendary/semi-notorious Father Yod imprint in 1990, later supplemented with contemporary outtakes and cuts for the Bomp reissue in 1994 and one further song for the Space Age version in 2000.
"The original seven tracks, dated January 1986 and the first recordings to feature Pete Bain on bass, are collectively known as the Northampton Demos.
Both Sonic and Pierce have been on record as long preferring these takes to the eventual versions that surfaced for the most part on Sound of Confusion.
Certainly it's a fine set of performances, showing a definite step toward the more familiar sound of the group and away from the rougher takes on For All the Fucked Up Children of the World.
"The Sound of Confusion," aka "Walkin' With Jesus," rips along with fierce energy, Pierce's singing and the rampaging, primitive wail and rumble of the band just wonderful.
"Losing Touch With My Mind" takes things to an even higher level, a huge wallop of feedback and beat (Natty Brooker's drumming in particular delivers just what the doctor ordered), Pierce delivering the lines with a flat, cutting drawl.
On the slightly lighter tip, "Come Down Easy" is more or less fully in place (aside from singing about it being 1986!), possessing a more upfront but less vocally distinct feel than the Perfect Prescription take.
The tracks that surfaced on the later reissues come from a variety of different sessions, including the original take on "Feel So Good" and a good live version of "Things'll Never Be the Same," one of several cuts featuring Brooker's drumming replacement Rosco."
After a blazing succession of Sound System heaters, Dug Out offers a spiritual session of seminal nyabinghi grounation from Dadawah circa 1974, perhaps the most mind-expanding, important spiritual dub reissue we've heard this last decade.
It's most likely a large influence upon the work of label head Mark Ernestus in his Rhythm & Sound guise, recalling the magical spirituality of classics like 'Making History' among others in the hypntoic, shuffling pace and intangibly smoky aura that seems to evaporate from the grooves with each listen. The group is led by Ras Michael, guiding a traditional set up of nyabinghi (ceremonial Rasta drums), bass, guitar, brass and Piano organ in four extended excursions over sublime, psychedelic terrain without a worry in the world.
As with much of the best reggae, much of the magic was elicited and embellished in post production, with Lloyd Charmers and Federal engineer George Raymond apparently staying up all night after the session to mix the recording, imbuing the tracks with a dazed, wide-open and echoing personal space. Keeping the standards impeccably high, the album was lovingly restored at Abbey Road and looks every bit the classic that it is. Big up Dug Out, this going to be on rotation round here for years to come.
Demdike land a new 9-track doublepack for Modern Love; a delirious odyssey from UKG to angular and freakish rhythmic jackers, highly recommended if yr into their Testpressing series or anything from Errorsmith to Príncipe, Dem 2, Jon E Cash, Wiley to Joy Division, DJ Scud, Equiknoxx, Anthony ‘Shake’ Shakir or Bernard Parmegiani...
Since the release of their album Wonderland a couple of years ago, Demdike Stare have been recording material for this new doublepack Passion; an asymmetric re-imagining of UK club styles taking in frenzied drum trax, shortwave jungle, pinging dancehall and clipped, post punk riddims.
During this time they’ve been busy curating their DDS label and have been commissioned by both the Groupe de Recherches Musicales (GRM) and the surviving members of Gruppo di Improvvisazione Nuova Consonanza to mine and rework their archives. Enlisting visual artist Michael England (Autechre, Skam, Leila), they’ve created a cinematic accompaniment for their collaborative live shows, resulting in the image which adorns this cover - a hybrid/composite portrait exploring/questioning the current use of software in creating hyper reality and the manipulation of the self. The accompanying trailer Includes documentary footage filmed at a Voguing event in NYC, Blackpool promenade and a Newark, New Jersey roller rink, smudgng the lines between live performance, documentary and sonic cinema.
Passion continues a process Demdike began on their Testpressing series of dismantling barriers between urban realism and fantasy, between experimental, pop and soundsystem cultures. It’s an outlandish configuration of avant-garde and ultimately functional club weapons designed and honed for the weightiest bassbins, and also their most direct and fuucked up record to date - a raucous, joyful 9-track smash that comes off like a night on a glamorous, neon-lit bender.
‘Der Osten Ist Rot’ is a wigged-out 1984 treat helmed by Can’s Holger Czukay, with drums by his legendary bandmate Jaki Liebzeit and vital synth input from Conny Plank.
Now making its first official digital release, the 1984 album was Czukay’s 3rd solo side, proper, following from ‘Movies’ , and ‘On The Way To The Peak Of Normal’  in pursuit of an elusive, avant and pop-wise spirit that would also be explored on its follow-up ‘Rome Remains Rome’, before Czukay set off on two seminal ambient trips with David Sylvian in 1988-’89 (recently reissued and very much worth a look-see!).
‘Der Osten Ist Rot’ is perhaps most notorious for both its balmy, mis-leading opener, the strolling new wave pop bop of ‘The Photo Song’, and its title track, an exotica-tinged cover of the 1960’s Chinese national anthem, ‘The East Is Red’, which is likely a nod to his former tutor Karlheinz Stockhausen’s ‘Hymnal’ suite of mutated anthems.
However, the fun doesn’t stop with those two - the rest of the album is a madcap ride, coolly swerving from grooving, brassy avant-disco in ‘Bänkel Rap’, to a haunting organ and vocal piece by Michy (who also turns up on Czukay’s ‘Flux & Mutability’ LP with David Sylvian), and taking in the wild studio cut-up of ‘Collage’, along with the supremely crafty, weightless gait of ‘Das Massenmedium’ which, like album closer ‘Traum Mal Wieder’ strongly recalls his work on the cult ‘Las Vampyrettes’ outing with Conny Plank, while the uncannily prescient rhythmic concrète of ‘Schaue Vertrauensvoll In Die Zukunft’ also deserves a mention.
Seekersinternational do heavyweight dub abstractions and lysergic G-funk for the brilliant Boomarm Nation.
Far less frenetic or cut-up than their recent jaunts, ‘Lost & Found Vol.2’ arrives 10 years after the 1st volume to offers some of the stickiest, most humid and synthed-out gear in their arsenal.
On the A-side’s ‘Friendly Weight’ they daub splashy, psychy synth funk on a wobbling boogie dub flex shook with wooden shakers and smoked-out for the slow dancers. The B-side’s ‘Dub Squeeze Yuh!’ follows in suit with ruddier dubbing, sending the OG synth lixx scudding into the ether around a dazed dub axis.
Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit.
Holger Czukay’s debut solo LP ‘Movies’  is, quite frankly as mad as a bag of squirrels, but super playful and cool as fuck with it. It’s his first record after striking out from Can, and he clearly had a lot of ideas brewing and ready to get out
From the Afro-inflected lilt of the guitars on his sardonic disco workout ‘Cool in the Pool’, thru the expansive future jazz and krautrock hybrid ‘Oh Lord Give Us More Money’, to the curiously fragrant balm of ‘Persian Love’, and the lysergic, grooving WTF?ness of ‘Hollywood Symphony’, this one is bona fide seminal, unique and utterly worth your time.
"Los Angeles" started out as a commission work for the Vossajazz festival, and was performed in the scenic village of Voss in western Norway in March 2018.
"A far cry from Los Angeles, but to mastermind and founder HP Gundersen there are no boundaries in music and such differences are only sources of inspiration and natural parts of his vast musical universe. For the previous album "Mudflowers" HP Gundersen "found" and recruited the perfect singer in Maesa Pullman, daughter of famed actor Bill Pullman. Coming from a musical family, she performs frequently in different musical constellations in Southern Califonia, being a profiled presence in the local roots community. A songwriter in her own right, Maesa also handles guitar and piano as well as the drums. Since the release of "Mudflowers", bass player, recording engineer and co-producer Jason Hiller has come onboard as a permanent member of the trio that currently serves as the core of The Last Hurrah!!.
Originally seen as a one-off project, it soon became clear that the chemistry between the three went much deeper and far reaching than the Americana influences that dominated parts of "Mudflowers". HP Gundersen has been a central figure on Bergen´s vibrant music scene for more than three decades, as producer, composer and mentor for many of the city´s artists. As a producer he discovered and nurtured the career of a very young Sondre Lerche, one of Norway´s most successful international exports. As well as Madrugada´s mega-hit "Lift Me" with Ane Brun, he has produced over 50 albums - including Tim Rose´s final album "American Son". He names The Beatles, early Stones, Tin Pan Alley and cosmic American country as his life changing musical epiphanies."