Jan Jelinek’s iconic album 'Improvisations And Edits, Tokyo 26.09.2001’ is finally given a vinyl issue for the first time. It’s another deep blue mood piece full of fragmented Jazz loops which will be essential listening for those of you enamoured not only with 'Loop Finding Jazz Records’ but also his quiet masterpiece 'Personal Rock’, released under ther Gramm alias. If you’re as obsessed with that album as we are, this reissue is a must.
"For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.
Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.
Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed."
Jamal Moss turns to his brightest moniker for the astral trajectories of The Anticipatory Organization on Pedro Vian’s Modern Obscure Music
These are some of the more intense, freaky Jamal Moss workouts in recent memory, gettign into orbit with the acidic glissandi and head-warping phasing of The Things We Don’t Know, then staying out there with the oddly bass-less and heady pressure of The Disbelief Habit, until you’re suitably prepped for the blinding white light jackers intensity of The Achievement Factory, one of those real golden moments in the Jamal Moss canon.
Soul Jazz’ latest album ‘Yoruba! Songs & Rhythms For The Yoruba Gods In Nigeria’ is newly recorded in Lagos, Nigeria. The album is co-produced by label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo).
"Yoruba!’ features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa. The enormous impact of Yoruba and West African music and culture is worldwide - from the first Afro-centric explorations of African- American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy the explosion of Nu Yorican Latin music in New York City starting in the 1960s - Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago.
On a wider scale West African music remains the primary root of all African-American musical forms - from New Orleans jazz to Bronx rap, gospel, soul and more. This album features songs honouring the Nigerian gods of the Yoruba traditional religion - Yemoja, Obatala, Ogun, Sango and others - as well as a selection of instrumental cuts focusing on the Bata and Dundun drums."
Deadbeat does dub poetry alongside Gudrun Gut, Thomas Fehlmann and Mike Shannon, with results ripe for fans of the Jay Glass Dubs & Leslie Winer LP, or downbeat moments from Strategy, Andreas Tilliander or The Bug
“On his latest studio album, Scott Monteith, aka Deadbeat, ruminates with hard-earned wisdom and confidence upon the notion of carrying on in the face of worldwide nonsense. Wax Poetic For This Our Great Resolve began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided beforehand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking.
Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them. Musically the album sees Monteith taking his well-honed sound design abilities and widescreen arrangements to new heights, and exploring a deep interest in traditional analog recording methods to mesmerizing effect. Every sound on the record, whether generated from his tried-and-tested array of software-based tools, or from the enormous collection of guitars, organs, pianos, and percussion instruments found in the Berlin-based studio he now calls home, was recorded via microphone. Even as the very first track slowly fades into existence, it's clear that the smoke filled atmosphere of the place has penetrated the recordings to their very core. Indeed, it is no understatement to suggest that without the physical confines of the magical studio Chez Cherie, and the countless late night conversations and musical contributions of all the other beautiful souls who occupy it (T. Raumschmiere, Ben Laubner, Tilman Hopf, PC Christensen, and of course Cherie herself), this latest Deadbeat album would have been an impossibility. Wax Poetic For This Our Great Resolve is a document of collective action, and the power of community.”
Hugely sought-after techno classic originally released on Berlin’s legendary Chain reaction and out-of-print for 15 years, now newly remastered from vinyl by Matt Colton at Alchemy.
A massive personal favourite of Demdike Stare's, Shinichi Atobe's 'Ship Scope' was Chain Reaction's penultimate release in 2001 and, with the benefit of hindsight, also one of the legendary label's most sublime offerings.
Phase fwd to 2015 and DDS rightly put it back into circulation with this necessary reissue arriving in the wake of Atobe's much loved archival salvage, 'Butterfly Effect', which caused quite a ripple in late 2014.
Notable not only for its unusually sweeter, dreamier ambient tone - especially when compared with the rest of the CR#'s - but also for its happily lost-at-sea feel, connoting a deeply romantic and almost shoegazy late '90s / into-the-'00s deep techno aesthetic that would essentially become washed away with the advent and normalisation of mnml techno's pristine production values.
Quite simply, it's a must-have for followers of the romantic streak in Ross 154, Convextion and classic Chain Reaction - do not miss!
With his own label and last year's feature on Alix Perez's newly conceived 1985 Music, Compa still found time to delver his 3rd MEDi release.
"With no signs of slowing down his mission to produce and share music...."
Music From Memory mine more gold from Michal Turtle’s archive of idiosyncratic home recordings made in Croydon between 1983-85. Combining vocals like a pre-echo of Dale Cornish, together with the dreamiest electro-jazz, balmy ambient dub and languid 4th world grooves, this one has breezy summer days and long warms nights written all over its blissed out face.
“Delving further into the archives of British musician Michal Turtle, MFM 029 ‘Return To Jeka’ brings together eight previously unreleased works recorded between 1983 and 1985. Drawn from a larger archive of works the compilation highlights a fascinating period of material Michal recorded after the release of his only album.
Working as an accompanist musician at the Laban Centre in New Cross at the time, Michal there met Jonathan Smart who was currently studying Dance. After being invited to add spoken word vocals to a few of Michal’s tracks, Michal discovered Jonathan was also an accomplished guitarist; and Jonathan would add guitar to a number of recordings from this period. Vocalist Lucianne Lassalle who Michal was working with in locals bands ‘The Duplicates’ and ‘The Wicked Kitchen Staff’ and who had worked with Michal on recordings for his album, would also collaborate with Michal during this period.
While some tracks were produced with he idea in mind of a follow up to his album ‘Music From The Living Room which UK label Shout proposed but which would sadly not materialise, others were in fact demos written for student dance choreographies. Produced in the living room of his parents home in Croydon, South London and later in his apartment in Camden Town, Michal Turtle’s home recordings featured on’Return To Jeka’ continue his unique musical explorations; drawing extensively on the use of percussion and electronics they bring together elements which were not only in many aspects visionary but also sound like little else.”
Brilliant reissue of Maria Monti's Il Bestiario, originally released in 1974 and a prime example of the avant-garde art-song of the 1970s.
"Known for her renderings of Italian popular songs, Maria Monti is an Italian singer and actress with a noteworthy career: cabaret singer in the '60s, ambitious avant-garde folk artist in the '70s, and starring in films by directors as such as Sergio Leone's Fistful Of Dynamite (1971) and Bernardo Bertolucci's 1900 (1976).
Il Bestiario is a near perfect emblem of the fascinating territory gained through collaboration. It enlisted the radical poet Aldo Braibanti as its lyricist, features arrangements and synthesizer from Alvin Curran (Musica Elettronica Viva), the baritone saxophone of Roberto Laneri (Prima Materia), as well as the soprano saxophone of jazz legend Steve Lacy.
The result is absolutely stunning, musically unique within the respective outputs of its participants' long and noted careers. Unquestionably one of the most beautiful and neglected albums of its decade."
Cranky, dubbed-out electro fizz from Robert Bergman and TBZ, freshly percolated for the R=A 7” series.
Their A-side is a loose churn of raw drum machines and sticky synth scree punctuated by a persistent if scatty gasp, ri[e for fans of Trevor Jackson or Not Waving at his wildest.
On the B-side Mad Sick is more desiccated, pinched and hypnotic, driving forth with effect recalling Beau Wanzer or Tuning Circuits bits.
Detroit OG’s Omar S & Brian Kage (Reference) reheat a class ‘90s vocal sample in two ways for the ‘floor
Rolling out with clipped congas and bouncing chords riddled with ‘80s Italo-disco vamps and Linn drum cracks in Thru The Madness, then bring some B-More or Jersey sounding breaks on the deeper, wider, 5am face-rolling Honk & Nik mix on the B-side.
The Trilogy Tapes get the best out of J. Albert in the Envy Turned Curiosity EP with four deadly cuts of coiled, Afro-cubed breaks and gloomy synth pads.
Picks of the bunch are the beautifully brooding hybrids of B-More, Dark Garage and UK Broken Beats with cinematic strings on Money Between Friends and the haunted swang of Envy Turned Curiosity, while Deepstate Riddim goes rude and rugged on a dubbed out breakbeat flex and Designer Life recalls the meditative blue pressure of Parris.
Much needed reissue of the second and final Stasis album following his Inspiration  LP and the Redcell : Stasis  hook-up with B12.
On this first vinyl reissue of Fromtheoldtothenew we’re reminded of the importance Steve Pickton a.k.a. Stasis played in bridging between the Artificial Intelligence scene in the UK and second wave Detroit Techno.
It's a sound that oscillates between nimbly loose salsa and breezy new age pads in Utopia Planetia and deep but rugged pressure on Behind The Smile, thru to tribal business on Beating Skins and the kind of downbeat, hip hop-leaning instrumentals that also saw him signed to Mo Wax.
Followers of classic Carl Craig, Kenny Larkin, Dan Curtin, early The Black Dog, Plaid, the Likemind label, B12 etc should dip in.
Krust gets on a wavy good-foot for Doc Scott's 31 with a stripped-down blend of hot-stepping ‘80s synth-pop groove and minimalist D&B in The Portal, and some prime, natty hi-tech rolige in Concealing Treachery.
Dekmantel crack the deeply rugged garage-house of Leo/Mirjam off Betonkust & Palmbomen II’s Centre Parcs EP, and repackage it with a high-velocity Legowelt remix riddled with virulent acid lines and snappy electro drums at 140bpm.
UK techno legend Steve Bicknell pulls the interstellar overdrive lever on Mind Patterns
Firstly hitting serious G-force with the face mangling dis-torque of Vein Injection, then on cruise control in the acidic quadrants of Patterns Of Suppression, and with planet-colliding force on the Preset Minds face melter.
Uncertainty Principle kicks off with five tracks of needling bleeps and bass jitters from FFT.
A smart first move, the fifth 12” keeps establishes loose but specific coordinates between the scratchy SoYo bleep ’n bass of sensory_hyperlinkfft_3abstract1, the Aleksi Perälä style tekkers of 8.7, and the pinched hyaline structures of sensory_unlinked up top, before twisting off into Alva Noto-esque glitch angularity with abstract5, and the skittish bleep flux of collective_disconnected.
Suspiciously reminds of that Distorto 12” on SCSI-AV.
DJ Koze fully stretches out Knock Knock, a 16-song set of soul-fuelled hip hop downbeats, disco chops and swinging tech-house workouts featuring guest spots from Speech ov Arrested Development, José Gonzalez, Mano Le Tough, Sophia Kennedy, and more.
Working to a smart, sun-kissed, optimistic agenda that’s been at the heart of Koze’s charms since the end of the ‘90s, Knock Knock will likely work a treat for anyone with their head still in that era.
From the guest spots by golden era hip hop MC, Speech from Arrested Development, to the turn by José Gonzales, and two numbers featuring Róisín Murphy, it’s almost inarguably a sound for those that miss the heyday of cheap credit, semi-guilt free smoking, and bootcut jeans. In that sense, it’s a nice escape from reality...
Absolutely killer set of mutant futurism from the bassbins of Brittany, France featuring 8 slow Dancehall jammmmz from Low Jack.
Editions Gravats kick off the club-ready Les Disques de la Bretagne series with exclusive re-workings of tracks from Low Jack’s half of the Glacial Dancehall tape with Equiknoxx, all making their first appearance on vinyl.
Arriving 4 years since Philippe Hallais a.k.a. Low Jack started up the Gravats label with his îlot 7”, Hallais returns to his roots with these ruddy dancehall bangers, each nipped and tweaked from the OG tape for optimal, freaky impact inna dance.
Dubwise and direct but laced with strange details that light up on repeated listens, the plate turns up some massive highlights with the loping Linn drum cracks and digickal synth torque of Partei and the rogue bogle of Brass up top, then with some killer sino-flavour on the rugged ’90s rub ’n tug of Raid Leader and the Flex Dance Music-compatible knocks and horns of Light.
You can take it on trust: this one is properly top-loaded with the heaviest gear...
Another collection of handpicked, anonymous and mostly impossible to ID archival treasures selected and compied by Light Sounds Dark.
This one wades through Radiophonic detritus via some derelict industrial wastelands and what sounds like cybepunk electro played on cardboard boxes. Later on, Ambient transitions steer us deeper into a darkened space where 4th world tribalism and pagan rituals spool themselves to tape at some point over the last 50 years. Good luck shazzaming this lot...
KIller shots of spiky rock with Algerian style, Arabic vocals and tight traces of reggae, dug out from France ’77 and delivered in 2018 by Geneva’s Bongo Joe
“The 45s series goes on and presents for the first time music from the past. This fifth single focus on legendary algerian kabyle rock band Abranis founded in 1967. The band pioneered the fusion of chaabi (traditional) music with 60s-70s western rock, proudly singing in their own berber kabyle language while wearing hippy rockers outfits. Their shows - in deeply influenced by Pan-Arabism conservative Algeria - where often cancelled by governors and the band once was arrested by the police, generating riots. The band kept on playing and recording until mid 90s. This 45t presents two majors tracks from the band:
A Side: Chenar Le Blues released in 1977 have been a big hit on algerian national radio. The band response to The Doors.
B Side: Avehri released in 1983 shows the band’s obsession to merge different music styles with the North African traditional airs. This one goes strangely reggae.”
Acre presents a new digestion of technologically advanced cyber-grime on the ‘Hollow Body’ album, a ten track answer to the age old question “when will the robot kill me?”.
"Earlier music on Tectonic, Codes and Brainmath has solidified Acre’s music as a station of future ready bass music. This issue through Opal Tapes, takes the trans-humanist art of Stelarc, the rattling of kinetic sculptures and reductions of the grime sound palette into new direction entirely. Collectively ‘Hollow Body’ is both a warmer and more fleshed out face to Acre’s work while also taking the statuesque sound design and bone shaking bass of his productions into new spaces.
Opening track ‘Trial 6’ degenerates into error and computer pollution before huge sheets of brightly resonating plastic synth sail off like Steve Roach playing the most ambient of Eski-beat in some unknown void. Signatures of error and failed translation continue in ‘Android’, a signal sent to re-awaken an earlier version of your metal self. ‘Suicide Drone’ plays with sample-rate in a kaleidoscope of broken glass and blast a part-gabber, part-industrial jack hammer into your head. ‘Glow’ and ‘Direct Registering’ close out the first side with a Chain Reaction-esque procession of flickering zero points, stubbed out chords and fluttering visions recalling the plastic bins behind the call centre.
Something beings to unspool as b-side opens with ‘Hollow Body’, sub-wobbles under lay a stumbling loop of disembodied voice. Guns are out for ‘DNT’ as the metal body which was earlier awoken, dresses and arms itself. All the forward momentum of bass music is inverted into a lumbering swagger replete with cyborg horn. ‘Taking Over’ offers a soft relief of aliasing tones clashing into each other like fucking modems before ‘Second Escape’ stokes the fire once again in an obliterating crush of noise percussions and jewel like synths. Closing track ‘External’ is the desert, the dust of the universe. After the earlier crush everything has to settle and fall back down.”
Boy Harsher’s début LP Yr Body Is Nothing is one of the strongest admissions to the recent wave of EBM and darkwave influenced synth-pop. This is a new edition pressing, following self-released version and a DKA Records release.
Revolving around cinema fiends Augustus Muller and Jae Matthews, Boy Harsher really came into their own on first album Yr Body Is Nothing , which paved the way for the Country Girl EP which landed to resounding cult acclaim on Ascetic House in 2017.
On Yr Body Is Nothing they work the barest essentials into slick (but not too slick) songs specially balanced with a classic mix of dancefloor pressure and emotive pathos, generating strong club potential in the grim burn of Suitor, the tight swerve of Morphine, and the pneumatic strut of Deep Well, but it works even better as an album end to end.
Lush, reticulated reggaeton, deep house and breakbeat fusions from man o’ many monikers, Brian Piñeyro (Deejay Xanax, DJ Wey, Luis) as DJ Python, following the sterling example of his ¡Estéreo Bomba! Vol. 1 for Antony Naples’ Proibito with an immersive expansion of that sound in Dulce Compañia.
Taking reggaeton along new, instrumental routes intersecting NYC’s rave history, DJ Python has pretty much cooked up his own style of deep reggaeton, a title which should probably be taken with a pinch of salt, but serves well to identify his angle amidst an upswell of LatinX producers who are spinning dembow beats and tropes into all kinds of new spaces - from DJ/Rupture and co, to Florentino and Kelman Duran, for example.
Almost as close to the sound of Ben Cenac’s Dream II Science, new age experiments from Laraaji, or even Andy Stott as any of the above, Dulce Compaña finds Python alloying reggaeton’s nagging, signature bump with chiming electronic meditations in Las Palmas, and with squashed jungle breaks in the style of his Deejay Xanax alias on Cuál, both setting the innovative, deviant agenda for the rest of the set, recoiling from eyes-shut ambient rave infusions on Todo Era Azul (Version Afuera) and its cosmic Siempre Dub, to something like B12 on holiday in Caracas with q.e.p.d, but also making room for more rugged swerve in Acostados and the acidic tang of Yo Ran(Do).
But if any one track is going to melt your pants off, it’s the plasmic, aerial ambient shuffle of Esteban, which provides the sweetest window on Piñeyro’s unique Python sound, and everyone will know what to do next.
RVNG Intl parse Pauline Anna Strom’s incredible new age recordings on this collection of boundary-smudging synth journeys, containing material originally released between 1982 and 1988. They've spent almost a decade trying to bring this collection to life, kudos to them once again for compiling and conceiving it with so much care and attention to detail.
Drawn from seven obscure tape and vinyl releases made between 1982 and 1988, Trans-Millenia Music lives up to its mantle with a sense of ancient knowledge transposed into the contemporary future of the 1980s, realising a latent, transcendent sound that was perhaps just waiting for technology to catch up so it could speak freely.
Through the circuitry of pioneering synth tools, the blind composer and keyboardist from San Francisco feels out a spectrum of unfathomably celestial and synaesthetically-heightened sound colour along myriad, psychedelic vectors, haptically connecting diffuse spatial coordinates with a gossamer web of FX and morphing filter envelopes.
It’s music for oceanic introspection, beckoning listeners to fall deep inside themselves and diffract profound visions through their own lens, where you can interpret her descriptions of sonic flight in Crusing Altitude 36,000 Feet and In Flight Suspension, or decode the entheogenic synth voices of Mushroom Trip according to your own understanding of the cosmos and its play of energies, and draw your own meanings.
Gorgeous music, highly recommended if you're into Suzanne Ciani, Laurie Speigel or indeed Midori Takada.
What were the clouds like when Huerco S was young? The Kansas-raised, New York-based producer’s absorbing ambient album For Those of You Who Have Never (And Also Those Who Have) goes some way to answering The Orb’s fluffy little proposition…
Brian Leeds a.k.a. Huerco S’s 2nd album, following Colonial Patterns (2013) finds him working between the cracks and fissures of what we’ve previously heard from him, drawing out nine pieces of mineral ambient textures and non-percussive rhythms marking his best work since the 20 minute Untitled track off his debut for Opal Tapes in 2012.
Defined throughout by a low lit, low-lying sense of intimacy, rather than oceanic or celestial tropes, Leeds’ appreciation of lower case nuance is in warm, crackling effect with a hazy hummus like grain and bonfire glow that recalls Wanda Group’s earlier outing as The Hers, or the sweeter touches of Bellows.
Like a well timed gary, once it really begins to sink in, the warbly electronic pitches and subtly chaotic ferric details really get to work in hypnotising and making you forget where you started, suspending disbelief for a 50 minute window of time just long enough to let your mind wander over the horizon.
Time will tell, but this is surely a future ambient classic.
After a long gap the legendary British dadaist group Hastings of Malawi have finally released their second album.
"Another musique concrète jewel created with the same peculiar, disjointed, uncommercial and totally original Hastings of Malawi aesthetic. 35 years after the release of their critically acclaimed album Vibrant Stapler Obscures Characteristic Growth the British dadaist group Hastings of Malawi have released a new album - an epic sound poem entitled Visceral Underskinnings.
It is a 40 minute film without light that reflects on the human condition, on modern society, on the nature of telephony and electricity and an attempt to make sense of the world in which we live that provides no answers. It is a sound collage of diverse elements including the voices of George Washington Johnson ('the whistling coon' 1846-1914) and Dr Hastings Banda - the first president of Malawi. It includes randomly generated computer music, voice synthesis, recordings of cold war number stations, American military sound weaponry and recordings of the some of the many sound sculptures produced by Hastings of Malawi over the last 30 years. Hastings of Malawi produce sounds that sit in that grey area where sound art and music meet but they reject both labels and cannot be comfortably placed in either camp. This is not an easy album to listen to but persevere and you may or may not be able to decipher its meaning."
Berlin mainstays, Max Loderbauer (Sun Electric) and Tobias Freund (tobias., Hypnobeat) reprise their exploration of quietly refined electro-acoustic dimensions, variously touching on Satie-esque solo piano works, strung-out desert blues, Lakeland Kirby-like midnight etudes, warbling gamelan-like tones and a spectrum of shadowy integers between them
“A decade has passed since Tobias Freund and Max Loderbauer aka Non Standard Institute (NSI) released their enigmatic collection of ‘non-standards’. Playing with mystery is the name of the game here as well. The new CD, entitled with the code ‘5863′, is the result of collecting creative moments over years and stringing together twenty short pieces that jointly amount to almost an hour of playtime.
Meditative, reflective, introspective, but also occasionally exhilarated… All these descriptions come to mind. But there’s more to the story line which emerges in patient increments as the album unfolds. Music comes mostly in the form of sparse but evocative piano improvisations, layering personal expression and subtle references anchored within the depth of the musicians’ experience. As the cryptic title suggests, the scope of examined experience can be symbolized through dates or years. But what counts for much more here is the sonic narrative itself with all its openness to interpretation. Some of these concise tracks can swiftly transport the listener to iconic harmonies of other musical contexts as they seamlessly relink the piano avant-gardism of Erik Satie with echoes of modern psychedelia and futuristic soundtracks.
As a whole, however, the minimal instrumentalism of NSI is as much about the notes and emotions that punctuate the electronic soundscapes generated by Tobias’ unerring use of studio as it is about the space created between them.”
Pete Swanson's Freedom To Spend label unearths and dusts off this total killer from Marc Barreca for this handsome, much needed reissue
With 4th world pioneer Marc Barreca’s ace solo debut Twilight now back in circulation thanks to K. Leimer’s Palace Of Lights, Jed Bindeman and Pete Swanson’s promising new label Freedom To Spend present Barreca’s stranger successor album Music Works For Industry (1983) on vinyl for the first time after a necessary issue of Michele Mercure’s Eye Chant oddity.
As opposed to Twilight, which found Barreca working solo with Eno-esque systems-based music, Music Works For Industry finds him taking contributions from members of Seattle’s close-knit community of electronic explorers, and working them - albeit as unrecognisable from the original source - into a series of playfully spiky creations as porous to influence from synth-pop, industrial as ambient music, and sounding much rawer, primitive, skronky and surreal than most else coming from the 4th world nodes at that time.
Rendering the original tape in its entirety - no edits or altered track list - the session slips and slides between cute, almost cartoonish pulses, hooks and voices in Community Life to rudimentary, swampy funk chops in the closer Church and State. What happens in between is akin to the soundtrack for some Canadian TV for schools programme or a series of calisthenic exercises for post-punk and new wave mutants; an assembly of off-grid rhythms and dislocated sounds kerned, smudged and processed to recall a very early iteration of the ‘dances’ from Rashad Becker’s Traditional Music For Notional Species or a colder, distant precedent to the kind of crooked creations coming from Luis Delgado and Eugenio Muñoz’s Mecanica Popular studio.
'London Is The Place For Me 3' is a fantastic collection of African music originally recorded as 78's on the Melodisc label.
The product of Ambrosa Campbell and his West African Rhythm Brothers/Stars, tracks like 'Lagos Mambo' and 'We Have It In Africa' combine a keen jazz aesthetic with gorgeous chiming guitar and Caribbean rhythms. Capable of evoking summer sunshine in slate-grey February, the impact of this music in post-war Britain must have been astonishing - a situation which is vividly documented in the extensive liner notes.
The only authorised reissue of all time classic dub album originally released by Starlight Records on 1981 Now matched with a second disc of original vocal versions...
Includes previously unreleased tracks from Junior Reid and Ranking Dread Roots Radics at Channel One, produced by Linval Thompson and mixed by Scientis. This newly created 2LP combines the classic 1981 album with vocal hits on the same rhythm tracks...
The only authorised reissue of all time classic dub album originally released by Starlight Records on 1982 Now matched with a second disc of original vocal versions...
"Includes previously unreleased tracks from Hell & Fire, Sister Nancy and Papa Tullo Roots Radics at Channel One, produced by Linval Thompson and mixed by Scientist & Prince Jammy New cover art by Tony McDermott
More classic dub sides from Roots Radics band, paired with the vocal versions on the rhythms."
Boy Harsher’s début EP Lesser Man returns for a fresh pressing on Nude Club, who are also behind a new reissue of B.H.’s Yr Body Is Nothing album.
Thanks to an achingly tight blend of rictus grooves and perfectly gaunt vocals, Boy Harsher have steadily caught the attention of listeners worldwide, leading to the dispatch of their resoundingly acclaimed EP with Ascetic House in 2017.
This one packs some proper heat, tracing the pair’s metamorphosis from Teen Dreamz into the Boy Harsher of today thru the gothic darkwave elan of Lust and the infectious canter of Modulations, to the hypnotic engine of Pain, and taking in Hi-NRG zingers such as Run beside the drone descent Crimea, and the sore, sludgy synth-pop romance of Love.
RIYL Tropic of Cancer, Xeno & Oaklander, The Soft Moon
Pye Corner Audio brings his wood-fired analogue sound to Lapsus Records after touring the houses of Mondo Tees, Polytechnic Youth, Analogical Force and More Than Human already in a productive 2017 cycle.
In a smart play of contrasts, we hear much-loved and lesser-heard sides of PCA’s sound in Where Things Are Hollow. The supple, rolling arpeggios and acid tweaks of Resist, and his wobbly, chromatic cosmic chugger Northern Safety Route both bear the hallmarks of Martin Jenkins’ signature dancefloor romance.
However, fans should be very intrigued to hear him go beat-less and weightless in the other two parts. With Mainframe he conducts a stellar display of piquant bleep motifs and arcing choral pads converging into a gently distorted and dissonant harmonic smudge at the track’s peak, and Continental Drift seemingly operates on the opposite side of that wave with a sullen stir of low end swells and light pollution aurora reflecting the scale of the track title.
A result of the flowering links between Ugandan music and the UK, the début record by Kampala’s Mubashira Mataali Group showcases an hypnotic style of mataali drum music on Blip Discs.
Four tracks of rolling rhythmelody feature the captivating vocals of musician/filmstar Sulaiman Sulait against backing vocal harmonies, sung and almost rapped in devotion to Islam.
Emaali Ya Bamulekwa (Orphan’s Property) opens their account with a bounce that carries into the percolated patter of Kulika Hijja (Welcome Back From The Holy Pilgrimage), whereas Mutume Nabbi (Prophet Muhammad) holds to a slower, swanging groove with more urgent call-and-response vocals, and, best of all the swingeing Obufumbo Bwa Kati (Today’s Marriage) Pt.1 works out its syncopation hingeing around a tuff bass and entrancing vox.
Listen to it with your body: we’re sure you’ll agree Mubashira Mataali Group’s traction is inexorable.
Tony Allen and Ricardo Villalobos hold down the penultimate instalment of Dekmantel’s 10 Year Anniversary celebrations with two extended reworks of Asiko (In A Silent Way) nipped and tucked for the tech house wigglers and funky minimalists.
The chronic futurhythmelody of Allen’s Afrobeat is faithfully handled by Villalobos, turning in 29 minutes of elastic roil and parry split over two sides and designed to fluidly untangle your limbs in timeless, forwardly intuitive style.
Moscow’s Buttechno reverts to his birth name for this tranced-out doozy on his own RASSVET Records, who previously dispatched his 1984  12”.
Coolly adapting Lorenzo Senni’s PointilisticT tekkers to his own ends, Milyakov riffs on virulent, beatless trance arps in four ways on the front, including one perfect locked groove, while the B-side renders a more ragged and unpredictable rogue rhythm called B A D which obstinately bears practically no stylistic relation to the other tracks.
The trance bits are the big reason you need this one, though. DJs, dancers, trancers and MDMA romancers - your time!
Osiris have the rare honour of hosting a typically sublime Burial remix on the B-side to Deep Summer, Simon Shreeve (Kryptic Minds) aka Mønic’s melancholic and dusky industrialullaby.
Perfectly measured for the pensive atmosphere of summer 2017 in a Brexiting UK, Mønic’s Deep Summer courses ghostly R&B/folk vocals thru an arid scene of knackered, worn-down drums and keening harmonic pads, barely but stoically keeping its head up against its impending conclusion in a cannily metaphorical narrative arrangement.
Trust Burial, then, to extract and amplify some sense of beauty from the reserved anguish of Deep Summer on the B-side, opening with a filigree collage of seagulls, windchimes and pads recalling the “better days” of ‘90s summers, before lone voices sardonically echoes the sentiments of Nigel Farage (say it like garage) in the recurring phrase ‘we don’t need noone else’ against a rhythmelodic moire of maribas, pealing sax and queasy subbass squirms, perfectly capturing the lucid sleepwalking momentum and frayed socio-cultural fabric of Britain right now in the gauziest, impressionistic terms, replete with an updraft of balearic guitar in the closing stages perhaps predicting our mass exodus to a Ballardian super-city along the mediterranean coast.
Benidorm, you’ve been warned.
Fred Welton Walmsley III (Lee Bannon) completes his esoteric ambient metamorphosis with Dedekind Cut’s melancholic Tahoe album for arch American electronic drifters, Kranky Records - home to some of the some of the finest atmospheric ambient works of recent decades by Stars of The Lid, Loscil, Tim Hecker.
In key with Kranky’s heritage, Dedekind Cut very neatly plays to the label aesthetic on Tahoe with a widescreen suite of slow, windswept synths layered into expansive harmonics evoking cinematic and psychedelic sensations. They range from pop-ambient pockets of bittersweetness to more brooding tracts of durational immersion, with each connected by an overarching feeling of sadness or unresolved strife.
It’s all very much what you’d expect from a Kranky release, until you start paying closer attention. Where Kranky’s chorus of ambient angels have often spent decades on their craft, developing personalised timbral sensitivities and sound identities, the shapeshifting Dedekind Cut’s newness to this particular field is betrayed by the more elusive reach of his soundsphere, but the artist makes up for a lack of tonal richness by conveying his intent more directly thru the arrangement and overall feeling, or soul connoted by his compositions.
One of the most sensitive sets of ears in Paris, GRM affiliate Jonathan Fitoussi meets Clemens Hourriére for a beautiful 2nd orbit of planet Versatile in Espaces Timbrés. As the sibling shuttle to their acclaimed Five Steps  side, it finds Fitoussi & Hourriére tethered again to the classic Buchla modular synthesiser, but this time with Versatile staple I:Cube on board to lend a fresh set of ears in-the-mix and pon-the-desk with subtly majestic, widescreen results.
It’s worth properly mentioning Fitoussi’s credentials at this point. Beside a string of solo and collaborative releases in the last decade, he’s been pivotal in digitising and transferring from tape the legendary INA GRM catalogue for anthologies of Luc Ferrari, François Bayle and Pierre Schaeffer, not to mention the majority of those invaluable Recollection GRM editions, which is no pedigree to be sniffed at.
On Espaces Timbrés he brings that sound sensitivity to the table opposite longtime spar Clemens Hourriére in a lush, wide-eyed suite of synth music elevated from the norm by the infinitely layered and lucid clarity of their constructions, each underlined by a crafty rhythmic suss. The results thusly and semi-naturally oscillate the club and behind-closed-doors headspaces, scaling from evocative sci-fi panoramas such as White Sands and the very Limerence-like flutter of Labyrinth to pulsating dancefloor bewts like Basalt Columns and the creamy glyde of Cymatics, before really coming into their own within the DMT breath glitter of Euclidean Space and the Pye Corner Audio-like propulsion of Lunar Leap, leading to the glassy helix f Oeil at it’s finale.
This is near immaculate stuff, treading the finest line between classic cliché and genuine wide eyed wonder with trustingly high fidelity production.
Zurich/Milan’s -ous label follow that smart NHK yx Koyxen EP with a more lushly emotive lash of cascading melodies, shoegazing harmonic chaos and bass saturated beats by Tomasso Pandolfi a.k.a. Furtherset.
Ecstatic, swarming, brimming with bleeding heart feels in a way that resonates with other members of the new Italian weird, NPLGNN & Dave Saved
The heeds of Glasgow’s 12th Isle keep their vibe gloriously off-map with Cru Servers’ debut LP batch, Blubber Totem. After touching down on a Bomb Shop 7” and self-issuing a tape in the last 5 years, this is the CS brothers’ most substantial and definitive recording to date, relaying an experience akin to a waking dream situated in a different star system to our own.
Plotting coordinates in a zone familiar to Dices and AEM Rhythm Cascade’s Thoughtstream or Belgium’s Innercity, the Cru Servers duo disembark with hieroglyphic electronics of Incubation on Ram Skins, then tilt into 100bpm muggy chug with Shot To Life, before getting buck wild with the severely warped garage torque of Dorito Rook and a slice of fluoro industrial trance in Ark Bile Top Ups recalling Black Zone Myth Chant’s egyptian fantasies.
The recursive wormhole, Deith 2 Hansy prangs out like Rob Hood on a psychedelic secret mission, slopping yer mind into something like Lorenzo Senni in gravity-less space, but they bring us back to disco firma with Accursed Share, only to let it all go with the floppy body of Yellow Domes & the Dawn.
Tresor’s experimental commission from trans-atlantic techno pioneers Thomas Fehlmann and Terrence Dixon proves to be greater than the sum of its parts in the strongest way on We Take It From Here.
Both artists bring the very best out of each other on all six cuts, resulting a chimeric sound that neither could really claim as their own. They’re not reinventing the wheel, but they are doing some really crafty things with the inter-dimensional shifts between tribal patterns, zig-zagging acid and jazz chords in Dreaming Of Packard, while Experiment 3 comes off like a proper Jamal Moss trip, The Corner works out a belting sort of Detroit techno-meets-Italo disco groove, and Landline sees them cut the anchor and drift out into deepest synth space.
Master of minimalist ambient house subtlety, Matt Karmil pivots his 4th album on Smalltown Supersound, which feels like an appropriate stable for the ambient-pop-wise turns of phrase and frayed feels in Will. Where Karmil’s preceding album and 12” with Idle Hands found him at the edge of the ‘floor, this album’s drowsy zig-zag between rustling ambient textures and purring minimal house is for the walk home from the club, or the morning after...
“Karmil’s fourth album, Will, is released on the Norwegian Smalltown Supersound label – the home of Lindstrøm among others. Even more than before Matt has managed to combine his love of the graceful forward motion of minimal techno beats with the deeply granular textures and meditative chambers of reverb and delay. Mastered by the careful hand of Rashad Becker at the legendary Dubplates & Mastering plant, this driverless vehicle takes bumps and curves with ease, but passes through enough scuzzy neighbourhoods to make the journey more memorable.
Before you get to the long ambient closing track, ‘Maffé’, Will contains its share of muted bangers like ‘Morals’ and ‘Can’t Find It (The House Sound)’. While these would vibrate well on the dancefloor, the experience for Matt is primarily a private domestic one. ‘I like to try to create a room to visit, and while it's nice to have details and look out the window occasionally, the fundamental is the room/environment itself – my personal enjoyment of music away from the club is often centred around long form and ambient works.’”
Discrepant delve into the rich history of Crète with Tasos Stamou’s hypnagogically impressionistic mesh of field recordings with processed samples of old records and tapes he picked up over three years of research and visits to the Greek island. The results feel ancient yet somehow modern, accreting (pardon the pun) a texturally fascinating deep topographical reading of local history and tradition
“About the artist: Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a “portable electroacoustic music studio”. His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. He has collaborated in recording and performing projects with a wide range of free improvisers and sound experimentalists (Adam Bohman, Steve Beresford, Sharon Gal, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.).”
Contort Yourself’s Murray dishes up eight damn effective edits from his special folder for Knekelhuis, building on an EBM bromance started when CY issued a Volition Imminent cut in 2016.
Stripped to the bone in tracky style, each cut is kept straight and deadly for the DJs, turning up some fierce highlights in Murray’s edit of Die Form’s booming girder Uns Kill, on the grimacing blows onf Caustic Cunts from AGeM, and the kinky skronk of Fetish Abuse from Beats Per Minute.
Fantastically scrambled electronic coordinations from Spanish artist Agnès Pe on FLUF, exemplifying her playful and densely chaotic style of MIDI metamorphosis.
0013A renders 3 minutes of rapid moving scree that drops its tangle of bassy guts about halfway thru. Feels a bit like an army of termites are invading your nasal cavity and gnawing your pineal gland.
With 0013AA Agnès allows the bass to play out straighter, stumbling in and out of tumbling techno passages with the kind of K-Hole dynamic that may induce sickness in those unprepared for it, but steelier nerves will love the ride.
Recloose’s 2nd EP for Planet E, Spelunking comes neatly in the wake of a digital reissue for his début, So This Is The Dining Room to remind everyone the deft brilliance of Matthew Chicoine’s late ‘90s take on deep house, broken beats and even jazzed-up jungle.
Now expanded and delivered by Ghostly International, this editions revolves the breezy house funk of Soul Clap 2000, the latinate party breaks of Get There Tonight, his superb spiritual jazz-meets-jungle workout Landscaping - 4Hero fans eat your heart out - and the coffee table vibes of Insomnia in Dub, newly supplemented by the dreamy hustle of Four Ways Of Saying Good Bye.
Young Echo cog Ishan Sound meets Hodge and Muttley on a dread drill and grime session.
Alongside Hodge on C5 they put combined weight behind an icy, slow and mean AF sort of drill mutation compatible with gully dubstep.
With Muttley on Still Smoking, he cooks up a hulking sort of dread grime/dubstep sound leaning heavy on the half step and cloaked in dark blue Bristolian atmospheres.
Hot vibes from Young Grime Gods a.k.a. YGG
Finally dispatching an official release of their Strikers anthem which has been doing the rounds with the likes of Mumdance and Grandmixxer for a few years now. Astral Black boss Jon Phonic and Impey on the beat.