Calling time on one of the most important electronic acts in existence, Pan Sonic bow out with their immense final album, 'Gravitoni'.
It's a typical feat of overwhelming sonic physicality from a duo who've owned the rights to the 'Power Electronics' tag ever since 1994 and the release of the 'Panasonic EP'. Working together, Ilpo Väisänen and Mika Vainio opened the blackest vortex to a world of unadulterated electronics wrested from homemade and circuit bent hardware, creating an uncompromising vision of techno concrete that built monolithic structures in the shadow of their predecessors Einstürzende Neubauten, Throbbing Gristle and Pierre Henry.
'Gravitoni' feels like they've abandoned all hope, taunting an oncoming apocalypse with two fingers clutching an exposed 1/2" jack lead and a granite glazed look that tundra wolves wouldn't f*ck with. Whereas previous album 'Katodivaihe' offered some respite with Hildur Gudnadottir's arcing bows, here it's just two Finnish blokes with an arsenal of brutal beats and lucid tones. From the outset of 'Voltos Bolt' introductions are dispensed with in order to get down to business, a landslide of skull crushing bass hits and molten silicon slurry to encase your cochlea. Next 'Wanyugo' perhaps suggests they've spent time in Northern England, picking up the lingo and developing a bellicose attitude to match, swaggering with the darkest synthlines around and bristling with kinetic potential. Meanwhile, a false start in 'Corona' trips into a murderous noise and 200bpm gabber assault executed with such intent that you could even imagine them having a wry smirk to each other in the studio. With 'Radio Qurghonteppa' fear not, your speakers aren't about to cave in, they've simply managed to create a bass frequency that makes it sound like your cabs are coming apart from the cone. That's all.
In 'Trepanation' they bust out the rusty iron, sucking up elemental black metal power and stripping away all the camp sh*t, leaving a bloodied pile of still fizzing Euronymous at their feet, scalp (skull tip attached) in hand, still not smiling. The final section of the album presents three sublime visions of tonal darkness, from the pitch black electro-acoustic spaces of 'Väinämöinen Dreams' to the deliberate passage of 'Hades' where we mix our myths and Thor drops Atomic subbass bombs outside the gates while a choir of droning Gregorian sirens lure us inside. Then, we're treated to an extreme panning recital on 'Twinaskew' before finally being delivered at the death disco with the most astonishing moment on the album - 'Pan Finale', stretching a classic 1980 Cure tape loop to Zombiefied Paisley-concrete drum patterns and shuddering in the presence of an almighty buzzsawn synewave.
Sonic Youth's quintessential 1988 Top-40 tribute album by their alter ego Ciccone Youth (also featuring Minutemen/Firehose member Mike Watt and J Mascis of Dinosaur Jr.) now available from the band’s own Goofin’ imprint. Includes angular cover versions of Madonna's "Into The Groove", Robert Palmer's 'Addicted To Love' and John Cage's 4'33", plus an alternate mix of “MacBeth”, appearing as a hidden bonus track...
In 1988, after hinting that a tribute to the Beatles’ White Album was in the works, the band about-faced and delivered this brain-sick celebration of pop-culture, experimental rock, Neu! and The Material Girl in particular. The artwork was famously okayed by Madonna herself, apparently having been familiar with Sonic Youth from her days playing at Danceteria.
Featuring covers of Robert Palmer’s pomp-anthem ‘Addicted to Love’ and Madonna’s ‘Get into the Groove’ and ‘Burnin’ Up’ ‘The Whitey Album’ is more than a celebration, it’s a veritable Top 40 friendly party, basically finding Sonic Youth messing about with drum machines, samplers and electronics alongside their usual punk getup for perhaps the most demented, accessible album in their catalogue - a genuine artefact of late 80's culture clash brilliance.
Basically, a classic outsider smash.
Shamos takes after his Youth label mate FUMU with a roving tape of cranky-assed, sawn-off beats and synthy mood music
Listen in for highlights in the distorted bass flatulence and tuff pivot of ‘Try This Vitamin’ for its biggest dance track, or to the Jay Glass Dubs-style echo chamber inversion ‘A V 2’, and the washed out vignette ‘Unite For Mortgages’ for more abstract expressions of melancholy and psychedelia reminding of Actress.
So who knows Pan Sonic’s film ‘Kuvaputki’? Largely filmed in 1999, this little known obscurity finds Pan Sonic in pursuit of a synaesthetic visual allegory for their elemental electronics. Now, somehow, available again, in limited supply.
American digital artist Edward Quist hooked up with the mighty Pan Sonic for this, their first ever DVD release, developing accompanying imagery for the duo's monumental experiments in synthesis. The main feature is the forty-minute audiovisual album dating back to 1999, combining Quist's cathode ray visions with Pan Sonic's uncompromising electronic sound world. The black and white abstraction of the film ties into the extremes of the music - it's at once grounded in principals of self-restriction and minimalism but always encroaches on overwhelming the viewer/listener.
In its more frantic moments the strobing can be fairly terrorising, even hypnotic. Amongst the flashes of raw electricity and grainy waveforms you might find yourself surprised by the emergence of actual live performance footage from Vainio and Vaisanen, whose furtive performance looks positively surgical, in a setting that's somewhere between CCTV and a phantom broadcast from some distant, Hebridean outpost with a faulty transmitter. The music is predictably wonderful, revisiting the advanced sound designs of a time around Pansonic's album, A. The combined effect of the viewing and listening experience might be compared to an analogue approximation of Ryoji Ikeda's Formula DVD, albeit with wraith-like human shapes occasionally rising from the tangled circuitry, reminding you that this is in fact a tour documentary at heart.
Bilgy, Bunker style acid sleaze from Glasgow’s Secret Mystery School, kicking off the term for Crash Reserve
Drenched in brown acid, the EP wriggles like a fucking eel between strobe-ready jack and slower darkroom sleeeeze on the front, to a more munted and druggy chug on the B-side, finishing with a bone-polishing astringent that sits smartly alongside your grimmest Helena Hauff and L.I.E.S. workouts.
Breathtaking bad dream of a second album by Teresa Winter for The Death of Rave; a uniquely allegorical study in female sexuality and occult, transgressive fascinations that comes highly recommended if youre into Cosey Fanni Tutti, Coil, Jani Christou or Jean Rollin.
Unfolding around recollections of a bad dream about being murdered by her boyfriend and hidden under a hotel bed, Teresa’s new side expands upon the morbid, psycho-sexual and occult fascinations of her cultishly acclaimed ‘Untitled Death’ LP in a singular and unpredictable style of composition where avant-classical, acid-house and ambient dream-pop collapse in a confounding and traumatic account of her hauntological reality.
Recorded in Northern England amid the socio-political tumult of 2018, ‘What The Night Is For’ is concerned with notions of liberation and repression, both sexual, psychic and political, which feel ever more impending in the nocturnal, criminal state of mind conjured by capitalism’s end times. Teresa’s music reflects this sensation of heightened alertness and near-psychedelic intensity with an abstract dramatic narrative implicitly referencing on the one hand, the convention-challenging feminism of Jean Rollin’s cinema fantastique and its soundtracks, and the charged atmospheres of Coil, as well as the sexually liberated writings of Amanda Carter and the Marquis De Sade.
In its unfairly weighted formation, the LP vertiginously drops into freefall with 7 minute of ‘marishly captivating dissonance in ‘Canticles of Ecstasy’, landing in 9 minutes of disquietingly lush ambient electronics and Teresa intoning “bestial, brutal” on ‘Heathen’s Gate’, which marking her descent into night, proper.
The other side is an entirely different affair. From the wigged-out pipes and cinematic intrigue of ‘Vulgaire’, Teresa plays out stark contrasts between the stellar acid-pop detournement of ‘For Murder’, the palpably eerie electro-acoustic aura of ‘Apostrophising the C*nt’, and a gut-wrenching one-two of Proustian fantasy in ‘Mother of Death’, and the piloerect tristesse of ‘From so High that I Might Die’.
Like Cosey Fanni Tutti’s seminal early artwork, created in the ‘70s against a backdrop of Yorkshire-based serial killers and the adult industry, Teresa’s music can be taken as a form of psychic self-surgery, as a way of parsing her own ideas from the inherent violence of heteronormativity and the lingering, insipid pall of Roman Catholicism and all its connotations of sexual repression. And like Cosey, Teresa obliquely acknowledges the female perspective defined in the Tarot card, “Eight of Swords” - she’s damned if she does, but also damned if she doesn’t.
So f*ck it, here it is. Deal with it.
The music on the ‘Rebajas’ box represents the dawn and early period of Bitchin Bajas. In the time of their conception, none of these releases were issued on anything other than vinyl. Maybe a cassette too, for some of them.
"It made sense: analogue synth music recorded on analogue tape - why wander from the warmth of the original signal path? It sounded great. So why now? Well, there’s finally enough material to make a really deep listening experience. The limitless vast that Bitchin Bajas’ music implies even in its smallest sampling is well-served by a multi-disc set: put all of it in your CD changer and let it rotate endlessly. Go with the music, away from the world for an interminable amount of time. It will still be here when you get back and your mind will be quieter when you return.
From the beginning, Bitchin Bajas have made music to enhance the moment they and you are sharing and details above and beyond that have been relatively unimportant. In the time since then, they’ve gone from a one person band to a duo, then a trio. That information, plus the recording and original release details, the additional personnel and the original jacket, label and insert artwork for all the releases is included here, along with a few schematic details, to provide a true overview into the parameters of their world. What’s more, additional information can be heard in the material in its transferred-for-CD form, which has corrected inadequacies in several of the original pressings.
Plus, all the Bitchin Bajas material can now be heard without any surface noise. If you ever worried that scuffs and scratches would take you out of your sensory deprivation bliss-out (in or out of the tank), that ends here. So too ends the first Bajaian epoch - when the band return with new music, it will be moving away from even the most recent material on ‘Rebajas’, released earlier this year. Moving, always flowing - but with ‘Rebajas’, the whole Bitchin Bajas thing to date is captured in the unending amber of digital sound."
October jacks your body like it’s the 1st of the month on the EBM-styled ‘Pay Day EP’
Following suit with the EBM-fuelled pressure of his remix for Facta and two outings on his October label, he plays up to HYNTRX’s queer romping sound in four insistent ways.
The A-side comes with a nagging, stripped down blend of splashing bleeps, cold kicks and hunky square bass line on ‘Tuesday’ and then with a more gnarled bosch riddled with itch crack bug textures in ‘Pay Day’.
B-side he keeps up the levels of stickiness and dark room sleaze with another tuff knocker ‘Urgency’, and the slow flow of ‘Rent’ completes the EP with a sloppy kiss-off that also works a treat on 45rpm.
Wolf Eyes prototype, Universal Indians, remerge with their hairier offspring for the wild and free trip metal scuzz of ‘Four Variations on ‘Artificial Society’’ under the Universal Eyes guise.
To make it clear - Wolf Eyes are now John Olson and Nate Young, while Olson has also been part of Universal Indian with Gretchen Gonzales and the (now) former Wolf Eyes member Aaron Dilloway since 1995. To make it simpler, Universal Eyes are basically Wolf Eyes with Gretchen Gonzales.
The addition of Gretchen seems to have triggered an acute regression to their most primitive shared states, prompting an hour long cold bath of no wave rock, animalistic electronics and improvised noise that recalls a dream we once had about an orgy of hippos and seagulls on quaaludes at a busy worksite in midwinter Michigan.
Trim but weighty, rootikal steppers from Bristol’s Ojah with Rider Shafique on vocals
Young Echo affiliate Rider Shafique plays it wickedly cool and stoned on the A-side’s ‘Dream’, rolling like swirling ganja smoke over the riddim’s purring subs and clipped drums, which bubbles up as percolated and heavy-lidded ‘Dream Dub’ on the flip side.
Sought-after electro/disco/rap nugget from the golden early days
Cut loose from Soul Jazz’s excellent ‘Boombox 3 (early Independent Hip Hop, Electro and Disco Rap 1979-1983) compilation, there’s the original vocal version stationed A-side, with a very handy instrumental cut on the back. Considering that you won’t find that instrumental for any less than the price of a heavy night out, this one’s indispensable to those who keep their shell toes squeaking clean.
Uganda’s immense Nyege Nyege Tapes return with an Incredible collection of percussive ritual music from Mbale; a unique document of ancient tradition meets modern electronics from the pearl of Africa and another precious eye-opener from this important label.
After almost 15 years of peddling his own cd’s and tapes on the streets of Mbale, Robert Mugamba’s Kadodi finally get a proper introduction to the outside world thanks to the increasingly vital Nyege Nyege Tapes crew, pairing a transfixing percussive soundtrack with modern electronic contributions from Bamba Pana and Sun C.
Extending privileged insight to the way ancient practices meet modernism near the Equator in East Africa, Kadodi renders a set of mesmerising, rhythmelodic percussion and crowd hollers, along with electrifying reinterpretations by local, East Ugandan producer Sun C and Dar Es Salaam, Tanzania’s Bamba Pana. Placing ageless ritual music alongside its club antecedents, the results find tradition frictionlessly reconciled with modernism, drawing bridges between tribal identities and ancient belief systems, and clubs as contemporary sites of ritual enactment.
The musical aspect of the ceremony is intended to induce initiates to a trance state, readying them to transcend from boyhood (basinde) into men (basani). The twice yearly rites of passage are such an occasion that their soundtrack has now transcended from original ritual use to find its ways into nightclubs, thanks to producers such as DMX, Papas and Sun C - the pioneer of Kadodi music’s shift into electronic spheres.
On this set the ceremony starts on side A and continues into side B, documenting the Domadana Kadodi Performers brewing a bristling frenzy of polymetric percussion with hypnotic intensity coming as a result of their natural complexity. Following this utterly unique situation, Mbale native Sun C offers a near 10 minute electronic reinterpretation of Kadodi music on ‘Kaad 4’, mirroring the breathless cadence and intensity of the original in its sustained pitches and intricate syncopation of pipes and pointillist percussions. And you can trust Bamba Pana to take that one step farther on ‘Wateranga’, where he ramps the original drums with Singeli-style pattern and pace to irresistibly energetic effect.
Incredible, unique music.
Omar S brings the weekend vibes on ‘One of A Kind’, the Detroit don’s 5th 12” of 2018
Up top he locks in a nagging garage swang with gritty drums and burning organ riff on ‘Less Pain’, then slips left into woozy Detroit disco with the delayed drums and and optimistic chords of ‘Untitled’, but the big one you’re all looking for is on the B-side, a killer riff on early ‘90s garage colourfully feathered with trancing top line and titled ‘One Of A Kind’. Nobody’s arguing, like.
“You’ve got to dig it to dig it, you dig?” - Thelonious Monk
"Hot on the heels of Impulse’s recent unearthed Coltrane Number One hit album comes another beauty from jazz’s ‘holy trinity’. This is a previously unreleased, precious lost treasure from Monk’s most critically acclaimed line-up; Charlie Rouse on saxophone, John Ore on double bass and Frankie Dunlop on drums.
Known as the ‘High Priest of Bebop’. Without a widely agreed must-have Monk release, could this fill the void as
the Monk everyone should own? Recorded live in Copenhagen in 1963 at the peak of Monk’s career. A year later he was to feature on the cover of TIME Magazine, one of only for four jazz artists ever to do so."
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" “Dispassionate Furniture”. This September, twenty years later, Dais Records is proud to announce ADULT.’s seventh full length album: THIS BEHAVIOR.
"The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin’s kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making – looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.
The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.’s return to aggressive and energetic dancefloor mastery. Album opener, This Behavior, alongside the follow-up, Violent Shakes, (which ascends into synths wailing like warning sirens over Kuperus’s commanding vocals) set the stage for an on-edge listen, while the heartbreaking “Silent Exchange” unfolds as a beautiful sad synth dirge. Perversions of Humankind breaks the mood – driving the listener into a slow and low groove before the frantic album midpoint of Irregular Pleasure. Does The Body Know? is the album’s post-punk anthem, with irresistible singalong “we’re out of order – we’re undefined!” The latter half of the album drives forward with “On The Edge (You Put Me…)” and “Lick Out The Content”, refusing rest and demanding movement and response. Everything & Nothing emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of In All The Debris, a goose-bump inducing slow electronic mantra that closes the curtain on a massive album."
Western Vinyl present Brocker Wey’s original score to Netflix documentary series ‘Wild Wild Country’ - the story, which you simply couldn’t make up, about a controversial Indian guru Bhagwan Shree Rajneesh (Osho), his assistants, and their followers in Wasco County, Oregon in the 1980s
While there’s nothing particularly outstanding about the soundtrack, it simply did its job accompanying the images without distracting from them, there are some stronger moments to be found inside on the electronic work Be Grateful for This Beautiful Home, and the grandiose symphonic swells of The Burning Ghats, with its epic piano flourishes.
RIYL Osho, brainwashing, Sainsbury's vinyl section, vinyl frames.
Mika Vainio measures out one of his finest releases to date, bar none, in the staggering 'Kilo' for Blast First Petite.
With a barely tamed sense of aggression, it more or less finds the perfect crux point between our office favourite, the beats-driven 'Oleva' (2008) under his Ø alias, and the granite hewn and bloodied metal excursion, 'Life (…It Eats You Up)' (2011), shaping ten tracks of a vivid and viscerally affective aesthetic whose themes of mass, dynamic and tone are succinctly reflected in context of his shipping-themed track titles, and surely implied by its frighteningly physical presence. It feels very much like one man taking control of his daemons, strengthening his whip hand and honing his ability to deliver deadly force where it matters, making every pause between the beats count with breathtaking efficiency.
Each ductile synth snarl, thunder-strike riff and bouldering drum occurs with space docking precision. From the midnight drop of 'Cargo', his 'Cranes' and 'Load' toil pendulous beats big as a troll's clackers, and 'Docks' places us out in the cold, waiting for the fog horn synth to deliver payload. 'Sub Atlantic' is the incredibly scary centrepiece, imagining the paranoia of listing in the hull of a sinking vessel far from shore, and 'Rust' is maybe the resultant decay manifested as pure power electronics.
For sonic thrills, the lungful oscillator decompressions and pensile Bonham bosh of 'Wreck' make for grave highlights, whilst the slow, purposeful navigation of 'Freight' and the beatless, brobdingnagian mass of 'Weight' appropriately evoke imagery of supertankers carving down narrow, manmade canals and gauging docking depths in the midst of man-eating storms.
Brilliant, prickly meeting between The Raincoats’ Ana Da Silva and enigmatic Japanese vocalist Phew, who pursue a tempestuous mix of avant-garde vocals and variegated electronic backdrops, from post-punk rhythmic noise to lysergic, outernational ambience.
“A bracing odyssey in industrial noise, Island is full of absorbing textures, tactile beats, and a masterfully dynamic compositional style. Each cavernous track feels like a conversation, and out of the ominous dark comes a generative hope. Ana and Phew contribute pointillist bits of spoken word in each other’s native tongues of Portuguese and Japanese, reflecting on isolation, friendship, and nature. The quotidian is made profound.
A gripping mood is set by the shared stoicism and subtle playfulness of these two cult punk icons. Each song was collectively composed by both Ana and Phew, who exchanged files via email. At times, Island evokes the sinister throb of Phew’s recent Light Sleep album (which in turn recalls Suicide). Island’s logic is one of wise minimalism. There is a feeling of discovery that will be familiar to Raincoats fans—a sense of poetry and inquisitiveness, of intuition and invention, of new languages taking shape // Ana da Silva is a founding member and songwriter of the pioneering post-punk band The Raincoats.
Across four daring full-length records, The Raincoats helped shape the timeless notion that punk is what you make it to be an act of raw expression, not any one sound. The Raincoats have offered creative and spiritual inspiration for several generations of artists, cited as a formative influence by Kurt Cobain, Carrie Brownstein, Bikini Kill, and Sex Pistols’ John Lydon. They set a crucial precedent for feminist work within a DIY punk context, marked all the while by Ana’s poetic lyrical style and innovative noise guitar playing.”
Sublime charms from Hood co-founder Richard Adams...
“The Declining Winter return after a three year lay off with what is perhaps their strongest statement to date. Pushing on from the pastoral blueprint of the long sold out ‘Home For Lost Souls’ (2015),‘Belmont Slope’ is a bold and varied album, extending the boundaries of their earlier sound, introducing pop sensibilities and daring electronic flourishes.
Truly a Northern English album, Belmont Slope is a haphazard car ride across the M62, a love letter to the hills of Yorkshire and Lancashire, a paean to desolate beauty, unattainable love and lost friends. The Declining Winter is the brainchild of Hood co-founder Richard Adams, an ever changing collective who emerge blinking into the daylight from their Yorkshire enclave with a unique blend of pastoral and lo-fi pop, shimmering electronics and rural post-rock."
Divine gospel modern soul boogie LP written, composed and produced by Jeffrey Roberson, first released in 1982 on Black Diamond Records.
"Every once in a while, an exceptional talent impacts the gospel industry and leaves an incredible impression. The anointed and Grammy nominated Jeff Roberson is one of the those rapidly expanding gospel artist who have done just that.
Jeff Roberson was born and raised in Long Island, New York, the son of Pentecostal parents who had a compelling love for music. Actually, he is endowed by God with a melodic intrinsic distinctive rooted and grounded in the splendid tradition of the church. His keen interest and focus in music was so intense that his parents encouraged him by purchasing a piano. During his teenage years, he was significantly blessed to be tutored by the late Rev. Timothy Wright, and the late Professor Benny Cummings and the Kings Temple Choir. It was during this season of his life that he continuously developed his skills as a keyboardist and songwriter.
Not only is he a skillful world-class vocalist, his talents transcend various creative art forms such as a skillful musician, innovative producer, accomplished pianist and organist. He simultaneously projects his uncompromising vocal talents and musical gifts to an unprecedented level of artistic achievement. Simply stated he excels in the excellent - (Excerpt taken from Jeff Roberson’s biography).
“Ever since I can remember, music has been to me, as a mother is to her child. Just as the sun enhances daylight, music is my life throb. Music puts life and joy in that sacred dimension. It fills the void of darkness and brings with it New Life.”
Swans’ Norman Westberg and former bassist Algis Kizys meet Lynn Wright (Bee and Flower) under the enigmatic mantle of This Is Where for a psychedelic excursion between textured lysergic ambience and sky-clawing avant-rock eruptions
“This Is Where is the collaborative project of Algis Kizys, Norman Westberg and Lynn Wright. Having previously released a limited edition cassette tape in 2016 under the name of ALN, their self-titled album for Hallow Ground is to be considered the three-piece’s definite studio debut as This Is Where.
Recorded and mixed by Kizys, »This Is Where« delves even deeper into the psychedelic and at times cosmic drone sound previously to be heard in the New York City-based trio’s live recordings. As a logical next step after what the Swans guitarist Westberg has presented on recent solo albums like »The All Most Quiet« for Hallow Ground, it integrates three distinct musical visions into a whirling ocean of sound.
This Is Where's sound is neither dominated by the thundering brutalism of Swans - where also Kizys took over bass duties for a while - nor the gloomy Doom Pop of Wright’s Bee and Flower. Instead Kizys, Westberg and Wright use delay, reverb and effects to weave a pulsating web of sonic textures, moving effortlessly from dark depths to almost jubilant high notes. With Kizy’s roaring bass guitar as a sonic backdrop, Westberg and Wright give rise to a musical dialogue marked by density and tension.
Over the course of 40 minutes, This Is Where create a mesmerising musical experience, divided into four discrete movements. »This Is Where« is a blissful journey through space, time and most of all a yet unheard-of approach to guitar-driven Drone and Ambient music.”
Finally, a vinyl version of Susumu Yokota’s ‘Acid Mt. Fuji’ , the 2nd album of ambient-acid-techno by the Japanese legend who sadly passed away in 2015
Delivered via Germany’s Midgar, Acid Mt. Fuji arrives on vinyl at a high point of interest surrounding Yokota's work, and especially these early recordings that were made some years before he went on to pen ambient classics such as The Boy And The Tree.
While patently acid techno in form and style, on Acid Mt. Fuji it’s easy to hear the more tender, esoteric elements which would later come into sharper focus, but the original tracks completely stand on their own merits, too, with some big highlights for anyone scoping ‘90s Japanese house and techno in parallel to its ‘80s synth-pop and ambient nexus, especially in the likes of his ruggedly pendulous yet delicate Tanuki, or the slow acid churn of Oponchi and Akafuji.
Beautifully by-passing our expectations, performance artist/musician Pan Daijing’s first major work Lack yields a spellbinding demonstration, or “purgative finale”, to her improvised live performances over the past two years; offering a far more nuanced and probing suite of electronic gestures than her gnarled handful of slamming, salty tapes and 12”s for Bedouin Records, Power Vacuum or Noisekölln Tapes since 2015.
Extracted and edited from field recordings and live documentation of her concerts made in Europe, China, and Canada, Daijing aptly describes the album as “an opera piece”, from the soaring soprano and flustered strings of Phenomenon thru the convulsive industrial throb of Act of The Empress, to the possessed folk energies condensed in The Nerve Eater and the closing trance induction of Lucid Morto with an effect recalling something like Diamond Galas conducting a court ritual with Black Mecha and Jani Christou.
Daijing’s process is multi-disciplinary, featuring improvised sound and movement that feed off one another in a painstaking mental and physical practice that draws energy from the moment. The reduction and selection of the recordings which make up the album felt “more like a psychoanalytical process” explains Daijing, feeling like “this absurd, mad person ‘acting’ out the sounds… All things naturally came out of me”, and in the edit she effectively detaches and controls the listener’s gaze, offering what could be viewed as an almost voyeuristic document of those intimate, private energies.
‘Katodivaihe’ (‘Cathode’) is one of the last, and arguably among the greatest, of Pan Sonic’s classic run of albums between the mid ‘90s and their final outing, proper; ‘Gravitoni’ 
Replete with three staggering collaborations with cellist Hildur Gudnadottir amid some of their slinkiest, deftest yet most crushing workouts such as the trilling driller ‘Hyönteisistä’ with Ilpo’s influence written all over it; in the icy electro tang of ‘Laptevinmeri’; the powerful spatial sculpture of ‘Haiti’; and the chainsaw revving dancehall wrecker ‘Tykitys’.
More classic Herbert from the vaults, returning his ‘Part Four’  12” into dancefloor circulation
Possibly one of the grittiest, deepest Herbert sessions in his 20 odd years of releases, ‘Part Four’ gets down with a slow, thumping heft in the desiccated, dub-wise 105bpm recoil of ‘Pen’, while the clipped breakbeat syllables of ‘Pump’ bridges kinky US garage with UK-style rudeness and Euro minimalism.
Meanwhile ’Take Me Back’ pushes the tempo and the funk for a ruffer, skudgy swang that paves the way for so much mutant fidget house to come, and ‘Resident’ brings the jack with a deep, prancing, and playfully campy soul.
30th Anniversary Edition of Pixies’ debut releases, ‘Come On Pilgrim’ and ‘Surfer Rosa’, also includes bonus 1986 Radio Concert ‘Live From The Fallout Shelter’.
"It’s been thirty years since the release of ‘Surfer Rosa’ – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s now seen as a masterpiece. A year prior came ‘Come On Pilgrim’, an eight-track mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days.
These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Frances’s childhood. They would go on to record another masterpiece in 1989’s ‘Doolittle’ but it’s the gruesome glory of ‘Surfer Rosa’, and the ruined sexuality of its cover image (a topless flamenco dancer in a crumbling Mexican bar) that set a fresh blueprint for an indie rock dynamism that not only planted the seeds of grunge (Kurt Cobain would admit that he was trying to imitate the record while writing ‘Nevermind’) but of much of the best rock music made since.
To celebrate this milestone, Pixies are playing five sold-out intimate shows at London’s Roundhouse starting this October and preceding them is the release of ‘Come On Pilgrim… It’s Surfer Rosa’, the thirtieth anniversary nedition which contains ‘Come On Pilgrim’, ‘Surfer Rosa’ and ‘Live From The Fallout Shelter’, a concert-cum-session that first aired in late-1986 on WJUL in Lowell, MA. Vaughan Oliver returns as designer – as with all other Pixies sleeves - to stunningly reinterpret his original artwork thirty years on, delivering a fresh take while retaining Simon Larbalestier’s iconic photographs as the centrepiece of his design."
Canny split between veteran mechanical soundsmiths Pierre Bastien & Cabo San Roque on one side, and the none-more-enigmatic Breadwoman improvising with soprano saxophonist Adrian Northover and Dave Tucker on guitar.
“First Terrace deliver another instalment of their split series, following on from the meditative trip supplied by Chihei Hatakeyama and Vida Vojic on FTS002 & the blissful first edition from K. Leimer & Like A Villain.
On the ‘line’ side of FTS003 we hear the meeting of three veteran improvisors - Anna Homler (Breadwoman/Pharmacia Poetica), Adrian Northover (Remote Viewers) and Dave Tucker (The Fall). Born from the fertile creative friction of the London Improvisers Orchestra, they incantate together to deliver a clutch of winding, curious, mesmeric compositions.
On the ‘circle’ side we present a recording from Pierre Bastien - an artist of startling singularity and endless, joyful creativity. Recorded at Arts Santa Mònica in Barcelona with Catalonian group Cabo San Roque, Pierre takes the helm of their monumental mechanical sound sculpture - the Orquestra Mecànica de la França Xica - and guides the vast array of cogs and pistons through three movements. The orchestra was made up of thirty or forty machines, all linked to Pierre’s casio keyboard.”
Sounds from the Delia Derbyshire archive appear in the eldritch creep of ‘Verse 1 and Main Title’
Taken from the newly regrouped The Radiophonic Workshop’s first ever score for a feature film or theatrical release, namely ‘Possum’ directed by Matthew Holness of Garth Merenghi’s Darkplace fame.
Peder Mannerfelt and Malcom Pardon’s Roll The Dice square off at Atonal in a live recording flipping from a mutated version of the Teddy Bears Picnic thru to cutthroat jungle and sky-collapsing power ambience
This record presents the most thrilling iteration of Roll The Dice that we’ve encountered. Where their LPs have tended toward hypnotic immersion, here they balance that effect with proper shockouts and power surge electronics that lend it to a more deviant and unpredictable experience.
In four carefully selected passages from the original performance, Mannerfelt and Pardon play into warped paradigms, firstly taking ‘The Teddy Bear’s Picnic’ to a Viking free party in the woods on ‘Intro / The Derailed’, then executing a rude transition from stark abstraction to full flex jungle in ‘Inward Spiral’, whereas ‘Potters Field’ highlights their skill in churning up epically tempered noise scales, and the parting piece of ‘Locked Hands’ sees them coagulate from suspenseful abstraction into heart-racing industrial techno.
Róisín Murphy meets Maurice Fulton for the 3rd of four singles to emerge throughout summer 2018
On Jacuzzi Rollercoaster Róisín sounds like a curious mix of Kate Bush and Jacko, filtering from whispers to reverb-vaulted phrases in a slippery slice of midsummer disco greaze.
With Can’t Hang On they hinge around a deeper house sound percolated with squirmy acid, keyboard and dancing hi-hats, with Róisín coming on much cooler, breezier.
Tony Allen and Jeff Mills deliver a masterfully rhythmelodic salvo, joined by Jean Phi Dary on keys in four inimitable demos of drums vs drum machines
‘Tomorrow Comes The Harvest’ is everything we could have hoped for, to a T. Fela Kuti’s legendary drummer Tony Allen synchs in restless formation with Mills’ percolated, live TR-909 programming, while Allen’s bandmate from Psyco On Da Bus, Jean Phi Dary gels them together with expansive kosmiche synthlines and floating organ chords.
They start out funky, in-the-pocket with Allen and Mills in duo, pushed by Dary on ‘Locked and Loaded’, before they ease off into super loose cosmic Afro-dub-jazz in ‘Altitudes’, saving a darker sting in the tail for the closing strokes. Flipside, they keep it up and out there with splashing acid lines and soulful vamps on the teetering drums of ‘On The Run’, then stretch out with the strutting funk of ‘The Seed’.
Powerful dub 1-2 from Portland, Oregon’s Alter Echo & E3 and Bristol’s Ishan Sound & Rider Shafique
Rider Shafique’s robotic vocal provides the freaky, captivating cornerstone of both sides, firstly squashed into the heaving dread momentum of Alter Echo & E3’s ‘Ah Mi Guide’, then revealed in more spacious setting on the trampling Egoless remix, which lightens up by a few tonnes thanks to a mystic melodica lead.
Perfectly moody new wave regressions from Pascal Pinkert’s De Ambassade, boomeranging back around on blue vinyl for 2018 with its 2nd vinyl pressing
The A-side’s title cut is a groggily measured shot of Dutch language vocals penned by Miriam Bruijning with Pinkert, and sung by Pinkert to his own arrangement of jangling new wave pop guitars and nippy drum machine crack.
The B-side is even better. On ‘Geen Genade’ Pinkert’s vocals mostly take a back seat to the synths and drums, which drive like a sleek European machine down long, straight, clean roads with solid drum pulse and expressive synth strokes making it come off like a Dutch-speaking John Foxx piece.
Super strong 2nd LP on Nouvelle Ambiance, a new reissue label for African music and the diaspora managed by Sofrito’s Hugo Mendez, here focussing on the way Brazzaville, Kinshasa, Abidjan, and Douala musically informed Paris during the ‘80s. Eminently danceable and packed with never-before-reissued Rumba, Soukous, Boogie, Bikutsi. Don’t sleep!
“In the early 80s a perfect storm of social, technological, political and cultural developments brought about a unique music scene centred around Paris, away from the major labels and pop charts. Musicians, ideas and styles flew between the small independent studios and labels of the French capital and Francophone Africa and the Caribbean, experimenting with new technology and drawing in a dizzying array of influences to soundtrack clubs, bars and radio stations.
Release comes with 28 page magazine format booklet featuring previsouly unpublished photos from the archives of photographer Bill Akwa Bétotè as well as interviews with producers Cyriaque Bassoka and Rigo Makengo, musicians Michel Alibo, Denis Hekimian & John Jongos and Studio Caroline owner Jacky Reggan.”
Anthology box set of Stereolab’s 'Switched On' compilations of singles and rarities, originally issued between 1992 and 1998.
Contains Switched On, Refried Ectoplasm [Switched On Volume 2], and Aluminum Tunes [Switched On Volume 3].
Reverse board clam shell box with disks in individual card wallets and insert.
Giegling’s Edward bridges Rolf Trostel’s Tangerine Dream-inspired kosmiche and contemporary club music with sleek, timeless effect
Taking two works crafted by Trostel on then-new Roland TB-303 and TR-808 machines in 1982, Edward turns in dreamily futuristic remixes, reworking ‘New Age of Intelligence’ as 12 minutes of unicorn canter and the kind of swirling kosmiche synth spice that beckons you jump in head first, whereas ‘Der Prophet’ is rhythmically centred around swingeing latinate syncopation and urged to new heights by glittering, ascendent synth arps.
Reissue of "Odyshape" the second album by The Raincoats originally released on Rough Trade Records in 1981 - liner notes by Kim Gordon.
"It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression…or the typical female as sex symbol avec irony or sensationalism. (Kim Gordon, Sonic Youth,1993). // We just really loved what The Raincoats were doing - they were a really exciting band.
I think the thing that was good about The Raincoats simply was that the tradition that they were playing in was their own and so they had an original voice. You couldn’t ignore them - they were undeniably fascinating - the interplay between the two voices and the sound of the group was something original and that was what was exciting about them. (Geoff Travis, Rough Trade Records, February 2009)"
Originally released in 1979, The Raincoats' debut album gets another reissue, this time remastered and via the band's own We ThRee imprint.
The pioneering, all-female band assured their place in the pantheon of British independent music with this, their self-titled debut record in 1979. Co-produced by the band with Rough Trade’s Geoff Travis and Mayo Thompson (Pere Ubu, Red Krayola), it arrived in parallel to another all-female punk precedent, The Slits to provide a more melodic, less snotty strain of post punk aesthetics for many listeners including Kim Gordon and Kurt Cobain, who would later write sleeve notes on their reissues and often speak of The Raincoats’ influence over their own music.
Tracks like 'Fairytale In The Supermarket', 'No Side To Fall In' and the gloriously weird 'The Void' still sound terrific, and the band's notorious cover of The Kinks' 'Lola' remains inspired, reproducing the original affectionately and accurately, albeit with a heap of ramshackle instrumentation. Co-produced by Rough Trade founder Geoff Travis and The Red Krayola's Mayo Thompson, this record is steeped in history, and its immediacy, vitality and all-round inspirational qualities have lost none of their impact.
The Sufi Letters is a vast project of 28 compositions (for the 28 letters of the Arabic alphabet) undertaken in 2000 and still ongoing, drawing inspiration from the symbolic charts found in Sufi mysticism.
"Each Letter is a sonic meditation on the frontiers of conscience and the paradoxes of time.Today's word, Du seuil [From the threshold], is the third word to be released by Sub Rosa. It is a journey of sort through grief: stages of conscience, journey through hell, nocturnal anxieties, meditation, resilience. Do not worry too much though, for isn't it from the distance of death that one can shine the best light on life? Isn't all grief also a threshold?" (JLF)
Jean-Luc Fafchamps is a pianist and composer. He studied at the Conservatoire in Mons and at Louvain University. A member of the Ictus Ensemble, he has taken part in many concert performances in large ensembles or chamber groups (performances of works by Lindberg, Reich, Aperghis, Mernier, Leroux, Harada, Francesconi, etc.) and in mixed performances, particularly accompanying dance (multiple performances with Rosas (Anne-Teresa de Keersmaeker)) and theatre (several creations with Aperghis). He has made recordings for Sub Rosa - with the Bureau des Pianistes and as a soloist - of works by Bowles, Liszt, Feldman, Dallapiccola, Duchamp, Scelsi and Berio and has contributed to numerous recordings with the Ictus Ensemble (Francesconi, Aperghis, Lindberg, Harada, De Mey, Mernier, Harvey, etc.) and has accompanied many singers."
Nina Kraviz clocks up some proper overtime with a pelting remix of Marie Davidson’s ‘Workaholic’
A massive highlight of Marie’s ‘Working Class Woman’ album, ‘Workaholic Paranoid Bitch’ is here ramped to a breakneck, unyielding 150bpm with mutated vocals primed to cause utter havoc in the best raves.
Forming a sharp contrast with her ‘Emblem’ single and ratcheting levels of expectation for her debut album, ‘Stay With The Trouble (For Donna) reveals a far more rugged, driven side of Colin Self
The relatively simple inclusion of a hiccupping vocal cut-up wildly differentiates these tunes, with the vocal lending a playful EDM pop appeal to the original ‘Stay With The Trouble (For Donna)’, whereas the stripped instrumental feels for darker and steely without it, and totally primed for sweaty wall banging in the darkroom
Shalt binds emosh post-rock/‘tronica and zeitgeist-surfing club music on ‘Seraphim’.
Check for the sweeping, crushing melodramatic sound design of ‘Preserved In Amber’, the bestial torsion of ‘Fleeting’, and the schizzy switch between cooled-out, in-the-pocket dembow bumps and post-rock angst in ‘Charred, Cleansed’.
Incredible recordings of tropical birdsong from Venezuela, made by French ornithologist Jean C. Roche c. 1969 and often referenced by David Toop
“Sub Rosa present a reissue of Jean C. Roché's Birds Of Venezuela, originally released in 1973. The bird on the cover is a potoo; this metal-looking bird is one of the sonorous curiosities of this mad nature, the sound that he produces essentially is a death song that David Toop heard on his 1978 expedition, but was unable to record, amazement playing its role.
Jean C. Roché on his recordings: "The bird songs which I had recorded in the West Indies in 1969 made me inclined to find out more about those of the nearby South American continent, and convinced me, moreover, that musically speaking, they possessed an unquestionable originality in comparison with those of Africa and Europe. I therefore decided to carry out a series of ornithological trips on this continent, starting in the north with Venezuela. With this in mind, I disembarked at Caracas on 27th May, 1972. The unusual musical volume of this tropical country made its impact known to me on my arrival in town, where the unbearably shrill chirping of the cicadas overwhelmed me each time I passed under a tree. At night fall, around even the meanest of ditches filled by the daily rain, myriads of toads and frogs struck up a concert, which, through its sheer intensity, muffled all other surrounding noises. When I penetrated the forest, I could hear bird species literally by the dozen and individuals by the hundred, all calling and singing together at dawn and at dusk."
David Toop on Jean C. Roché: "Jean-Claude Roché (b. May 11, 1931) is a French ornithologist and wildlife field recordist. Roché recorded bird songs worldwide for over 30 years and has released over 130 records out of his recordings. Among many of his amazing records, I came across Birds of Venezuela, a beautifully produced LP of birdsong. I began to plan a trip to Amazonas, to record for myself the unearthly song of potoos and Yanomami shamanism."
’Tomb Machines’ is a survey of work by John Powell-Jones, a Manchester-based artist whose gruesome and psychedelic illustrations have stained the sleeves of tapes and records by Moon Duo and for the Reel Torque, Diagonal and Opal Tapes labels, as well as great posters for the Faktion club events
Documenting and expanding upon ’Tomb Machines’, a body of work exhibited in February 2018 at Castlefield Gallery’s New Art Space: Great Northern, this boxset of the same name contains the first significant overview and analysis of John’s output to date, which covers a cross-section of multidisciplinary work in the fields of illustration, sculpture, screen-printing, video and music, and often simultaneously.
Without getting bogged down in art speak, John’s phantasmagoric imagination has long spoken to us on an intuitive level, consistently coming up with images that summon a sense of the eldritch, dreamlike and grotesque that’s hard to shake once encountered. In the book, Sara Jaspan’s essay provides a finer, informed grasp on the conditions and ideas that make up John’s warped weltanschauung, evidenced in the selection of physical curios to fondle and ogle over.
But perhaps of most interest to people on these pages is a red C40 containing some of the strongest music that John has put to tape. In its gurning, curdled drones and alchemical electro-acoustic atmospheres redolent of everything from Wolf Eyes and Aaron Dilloway to Gruppo at their most abstract, we possibly find the best way into his noumenal gooch between waking and dreamlike dimensions.
Porridgy breaks and skudgy techno from The Maghreban, backed with an ace, meter-messing remix by Batu running at c. 160bpm
‘Monster VIP’ is a slompy shot of breakbeat hardcore from the echoplex, whereas ‘Carpet Bombing’ traces undulating techno with zig-zagging psych-funk synth squirms.
Batu’s remix is the best thing on offer, making a rare foray into higher tempi with an initially tentative, but ultimately roguish joyride consolidating ghetto-tech, footwork and rolling UK bass styles with inimitable style.
Pivotal solo cellist and producer Oliver Coates (LCO, Apartment House) proceeds collaborations with Mica Levi and Radiohead with Shelley’s on Zenn-La, an indefatigably endearing 3rd solo album, new for RVNG Intl.
We can hardly think of many artists beyond Oliver’s own circle who can meld dance music with avant-electronic and classical instrumental expression quite like Oliver does here. From the raw electric buzz and spattered breaks underlined with layered cello in Faraday Movement, to the abraded BoC-like downbeats of Lime, thru to wayward disco treks like Charlev, Analord-style braindance in Norrin Radd Dreaming, and the final swoon between wide-open string composition and balletic IDM in Perfect Apple with Silver Mark, Oliver is making wonderful music unconstricted by convention, but patently happy to play with it.
Mad album of mutant EBM-in-dub from Vanligt Folk, pursuing the absurdities of their Palle Bondo’ 12” right down the rabbit hole - reminding us of that killer first Closer Musik album from the turn of the century.
Vanligt Folk, translating to ‘Common People’ in Swedish, here pay tribute to the ‘Hambo’ - a folk dance popular with your average, working class Jo(nas) in Sweden at the turn of the last century. But rather than recreate late 19th C. music, they explore a definition of rave and body music as folk music that’s very close to our own hearts, making fine use of primitive electronics, drum machines and nonsensical vocals in a unique form of social commentary that strives to subvert notions of nationalism, race and tradition.
The vibe therein is blunt yet phantasmic, with ruddy grooves screwing EBM to dancehall tempo and loaded up with an absurd range of voices, resulting in strong highlights in their percolated stepper ‘(O)Hambo’, or to darker degrees int he serpentine shimmy of ‘Dina Drömmar lever’, while ’TKO’ recalls Powell on mogadon, and ‘Grisebassen’ feels like ÉLG attempting to stoke a rave that doesn’t want to get going.