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.
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.
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."
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.
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.
Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles! All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle .
"Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.
For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, “Jump In The Line” with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit “House Of Bamboo” plus the stunning “Jonny One Note” by Ted Heath, the track that originally introduced John Craven’s Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What’s not to like?"
While their name night suggest a bad post-dubstep experiment, Marshstepper is actually one of the U.S. underground’s most revered live acts, here revolving core members JS Aurelius and Nick Nappa playing at Berlin Atonal 2016, flanked by Coil’s Drew McDowell, Juan Mendez a.k.a. Silent Servant, and Jonas Rönnberg a.k.a. Varg
Following records for Downwards USA and a fistful of original and live recordings via JS Aurelius’ Ascetic House label, their massed performance at Atonal is an ill-minded exorcism of guttural vox, roiling techno effluence and sheets of abstract electronics that tumbles down rabbitholes and crops up at sublime junctures, only to continue misstepping on the most acrid, foul and fucked-up ground between ritualistic, primordial electronics and white noise rage. In other words; good stuff.
A “Lost” Aegean club hit from D.E., the alias of Akis, whose ‘Into The Light’  album inspired the name of Greece’s smartest reissue label
Recorded in 1992, ‘Giant Step (Club Mix)’ is a sultry beauty marrying New Jack Swing funk with brooding synths in a way recalling early Wild Bunch or cuts from that Pablo’s Eye reissue on Stroom.
However, the B-side’s ‘Giant Step - Demo Version’ is the payload for us. Recorded in 1989, it’s more stripped down and edging on a sort of slinky, crooked new age boogie, pan pipes and all.
'Clouds' is a perfectly measured suite of warm and hazy downbeats from Gigi Masin, Marco Sterk (Young Marco), and Johnny Nash recorded in the heart of Amsterdam's red light district over one weekend in April, 2014.
It's all about louche vibes and glowing notes, gently absorbing and transducing the buzz of the streets outside the studio's open windows into eight elegantly reserved improvisations segueing between lush ambient drift, dub-wise solo piano pieces, and chiming late night jazz patter. In that sense, there's striking similarities between 'Clouds' and the recent Sky Walking album by Lawrence and co., but where they really go for the looseness, Gaussian Curve keep it supple yet tight, bordering on adult contemporary suaveness anointed with finest hash oil. Imbibe slowly.
The beautifully enchanting Tower of Silence is Music From Memory’s penultimate release of 2016, compiling a number of hard-to-find releases by Milanese artist Roberto Musci, crammed with worldly fusions of far-flung instrumentation, scales and vibes absorbed and transcribed from his travels across India, Asia and Africa between 1974-1985.
Lifting tracks from Musci’s debut album, The Loa of Music as well as a number of collaborations with Giovanni Venosta, including their UK Grammy-nominated Water Messages on Desert Sand, this set forms a sort of oneiric travelogue or mystic reminiscence of Musci’s genteel journeys diffracted thru the prism of then-cutting edge technology.
Throughout Tower of Silence he effectively speaks in his own musical tongue, consolidating a world of sonic dialects into his own language, from which he spins a range of mesmerising yarns encompassing synth-fringed folk music, psychedelic drift and ritual atmospheres, which, when decrypted, find strong parallels in the related vocabularies of Coil, Jon Hassell, David Toop or Rex Ilusivii, ultimately hinting that they were all sourcing from the same rhizome of mycelia.
The master is in session.
Johannes Auvinen a.k.a. Tin Man presents an expanded edition of his virulent début album, retitled Acid Acid Acid, with the extra Acid referring to a vintage batch of three track tacked on the end, including the ratty grind of Heated Acid, the rolling glyde of Crisp and Cozy Acid (ooooh, see what he did there?!), and the rudely slompy Jack It Acid. We hardly need to say it, but the original 10 tracks are all Class A’s, too.
Essential 303 business!
Remastered reissue of overproof and classic American R&B and Afro-jazz-funk LP from 1975, crammed with killer breaks and vibes for days. Includes previously unheard nuggets such as ‘Afrobeat’ discovered on the original master tapes
“Strut present a brand new edition of Oneness of Juju’s Afro-jazz classic ‘African Rhythms’, originally released on Black Fire in 1975 and first reissued on Strut in 2002.
For bandleader James “Plunky” Branch, ‘African Rhythms’ marked a significant return to his home town of Richmond, Virginia after a politically charged five years based on the East and West coasts. His personal journey had taken him from activism at Columbia University to San Francisco where Zulu musician Ndikho Xaba used theatre to “resurrect” Afro-Americans with a new African identity. The first incarnation of Plunky’s band, Juju, drew attention to the struggle in South Africa under apartheid, layering heavy Afro rhythms under uncompromising avant garde jazz.
Back in Richmond, Plunky tapped into the mid-Atlantic preference for Southern R&B and gospel: “Juju had always been blues-based and it was a natural progression to add R&B and dance rhythms. It didn’t change our message.”
Produced by Jimmy Gray of Black Fire Records, the new sessions included the title track (“We wanted a song to dance to with a message – ‘you are dancing to African rhythms’”), the positive message of ‘Don’t Give Up’ and political commentary on ‘Liberation Dues’.
Originally just a regional hit on the East coast and in Washington DC specifically, the album gradually spread, influencing the nascent DC go-go scene. The UK revived the album during the rare groove era of the late ‘80s and the title track has since become a soul-jazz favourite worldwide.
Remastered from the original sessions and featuring rare photos and extensive liner notes, this new repress also features Part 1 and Part 2 of the original 45 version of ‘African Rhythms’ and the previously unheard ‘Afrobeat’, recently unearthed from the original tapes.”
Sparky techno spunk from the computer of Plom, leaving his debut mark on tuuun’s uncompromising Fluf label
We can tell you precisely zilch about the artist, but we can describe ‘0017A’ as a mental ride veering from dry-humping techno to more brukken and scrambled patterns and convulsive prangs in its 10 minute duration - think Matthew Herbert meets Florian Hecker - whereas ‘0017AA’ is an obliquely arrhythmic and bitterly atonal freak out.
Frank Bretschneider leads the latest concept release from Raster-Noton: ‘Sichten’, a compilation of 18 pieces by 6 artists; namely Benjamin Brunn, Mads Emil Nielsen, MiniCof, Pierce Warnecke, Retina,It, Zavoloka
The results are shuffled up and sequenced across 2 plates to demonstrate their diverse binds and differences, running the gamut of Mads Emil Nielsen’s sound designs for theatre thru to benjamin Brunn’s nervy dance music and the sheer abstraction of Pierce Warnecke’s computer music.
“»sichten« refers both to »opinions« as well as the »examination of material«. in lose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels.
as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches.
each issue will be supervised and compiled by a curator. an introductory text shall explain the artistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research.
for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, whose different styles meander between accessible music on the one hand and very abstract compositions on the other hand.”
Gerald Mitchell and Jeff Mills’ jazz-techno group with Kenji Hino and Yumiko Ohno, a.k.a. Spiral Deluxe, cut loose in debonaire ways, backed with a Terrence Parker mix
‘E=MC” unfurls 12 minutes of jazz-technohouse for a lounge in sector 7 of a gargantuan shuttle to Mars, while ‘Voodoo Magic’ shows off the quartet’s unfeasibly nimble mastery of drum machine and live instrumentation, with buff slap bass for measure. ‘The Paris Roulette’ is more low-key, p[riemd for suave run-cutting, and the satin deep house groove of ‘Let It Go’ featuring Tanya Michelle appears in plush original and edit forms, plus a coolly up-for-it house remix by Terrence Parker.
Debut slice of rugged, swaggering, psychedelic club tackle from Cómeme’s new signing, Katerina
“Katerina from Helsinki - Finland via Sofia - Bulgaria is a passionate music lover, a skillful DJ, an imaginative music maker and an emotional and hyper sensitive artist. She produces music that is essential and timeless, tracks that feel necessary in your life once they have entered it.
Katerina has already contributed to the ever growing, always radical and forward thinking catalogue of the Cómeme music collective, with tracks on the compilations “Solidarity Forever” Vol. 1 and 3. She also hosts a show on radio Cómeme called Radio Emotsiya, in which she generously shares her broad musical knowledge and her very particular musical obsessions, for instance her steady – and in our opinion very understandable - veneration of DJ Quik.
And yes, her music breathes the emotionality of Hip Hop, the sensitivity of well placed, swinging beats, and that steady survival mode, that essential melancholy in dance music: where melodies tell about love and longing, and rhythms help you to keep going on. “Just when you thought it was over”, here we go again, it’s another day on planet Emotsiya, from where Katerina sends us reports about her adventures, always sided by her already legendary white cat Nöpö.”
The reissue of Rimarimba’s little-known but golden catalogue of rhythmelodic beauties continues at a genteel pace on Pete Swanson & Jed Bindeman’s Freedom To Spend
Robert Cox's Rimarimba project was fairly short-lived (1984-1988) but was nontheless a remarkably singular project which has somehow escaped the attention of all but the most dilated diggers, until now.
Previously unrealized and unreleased, Rimarimba’s ’Light Metabolism Number Prague’  is exclusive to the reissue set and now sees the light of day for the first time. It’s a perfect example of Rimarimba’s free and playful approach to rhythmelodic patterning, stretching out into veld-like terrain with the low lying drones and plangent, splashing strikes of ‘Glass Abattoir - End’, then with weightless elan in the glittering cascades of ‘Egg Foo Young’, while the sozzled and squashed loops of ‘Why Do You Squeak’ give way to a totally blindsiding piece of pastoral post-punk pop with tremulous, warped vocals that will else listeners pinching themselves.
Great stuff once again from this fine, fine imprint.
After spreading his wings with The Animals, James Holden really stretches out with North African Gnawa musician Maalem Houssam Guinia in ‘Three live Takes’
Holden helms modular synth while Houssam Guinia provides mesmerising vocals and jangling lines of the three-string Guembri (or Sintar), underpinned by backing vocals and rasping Krakebs (large iron castanets) from Hamza Guinia, Mohamed Benzaid, Amine Bessi and Khalid Charbadou.
In all ‘Three Live Takes’ Holden traces and gilds Maalem Houssam Guinia’s Gnawa fire with washes of astral colour and whirligig chromatic spirals, firstly reservedly on ‘Youmala’, until they collectively reach a transcendent terminal velocity, before taking taking a more central role in the roiling swell of ‘Pass Through The Fire + Bouri Bouri Manandabo’ with its cascading climax, and then gelled in hypnotic, swingeing, and incendiary style synched with the raucous chorus of ‘Baba Hamouda’.
XGLARE is Jessee Egan, a Brooklyn-based producer, sound designer and multimedia artist.
"She has released music under multiple aliases since 2011, most notably on AY Japan. Her latest incarnation, XGLARE, balances warped sound design, unearthly atmospheres and experimental rhythms that reject genre boundaries.
Beats and dance elements take center stage alongside impossibly powerful, almost elemental transitions. Track 1, Lymph sets the tone with an updated halcyon rave sound. Imagine standing in a field in the countryside at an illegal rave at 6 in the morning as the sun is rising, wind blowing in the air. Track 2 Fossa feat ARIADNE, an Opera trained singer, immediately submits you to whisper shouting, a highlight of the album.
In between more dance floor-oriented tracks, Spore and Plexus, sit two sound design gems, title track Morph with its pounding rhythmic charges and vast reverberated rooms, and Ganglia, which reminds of early Do You Know-era Squarepusher. "
The first ever and definitive discography of Carrie Cleveland, an expanded version of her 1978 album ‘Looking Up’, including both the issue and promotional versions of her single ‘Make Love To Me’, and the previously unknown sweet soul single ‘I’ve Got A Feeling’.
"Privately arranged, recorded and produced by Carrie and her husband Bill as a labour of love in their backyard studio in 1978, ‘Looking Up’ is one of the most in-demand soul/disco LPs in existence, sought-after in particular for their track ‘Love Will Set You Free’. In addition, the promotional version of Carrie’s single ‘Make Love To Me’ is one of the best and rarest sweet soul records to have emerged out of the West Coast soul scene, and her single ‘I’ve Got A Feeling’ is until today virtually unknown even to the most seasoned of collectors, with even Carrie herself unsure if it was ever released. With the album originally pressed in a limited run of just 1000 with 500 copies of each single, original copies of Carrie’s records deservingly command eye-watering figures on the second-hand market. Kalita now satisfy the thirst with the first ever official reissue of her entire discography."
Prepare to be floored again by the great Lonnie Holley, back with his 3rd album - his 1st in five years - serving a unique perspective on contemporary America as the result of some 68 years living at its fringes; from a whisky house, to numerous foster homes, and later as an eminent outsider artist.
It’s hard to forget a first encounter with Holley’s singular style - ‘Just Before Music’ back in 2012 stuck out like one of his massive “thumbs up for Mother Earth” from everything around it, and to be fair it still does. While we weren’t so immediately enamoured with its follow-up, ‘Keeping A Record of It’, there’s no denying that his 3rd LP ‘MITH’ is a stunning and welcome return, delivering a necessary dose of emotional punishment that’s bound to resonate just as strongly, if not more than his debut.
More layered and diaphanous than either of Holley’s first two records, ‘MITH’ is an astonishing development of Holley’s soul-hocking sound, effectively blossoming from his bluesy seeds into staggering psychedelic blooms almost comparable to the difference between original blues and the freedoms of spiritual jazz, with Holley’s utterly inimitable voice bridging the difference, along with extra musical contributions from fellow travellers such as new age maestro Laraaji, jazz duo Nelson Patton, and production by Pakistani/American artist Shahzad Ismaily.
We’ll keep it simple: this record hurts in the most powerful, extraordinary way. Unmissable.
The master of slow-motion ambient/trance owns his style on ‘Infinite Moment’, his 6th album for Kompakt since the seminal ‘From Here We Go Sublime’ side won everyone’s hearts in 2007
Axel Wilner a.k.a. The Field has made his name with a smudged, looser take on Wolfgang Voigt’s grand billows as Gas, or the rolling Teutonic trance of Reinhardt Voigt.
On ‘Infinite Moment’ he once again hits the pleasure centres dead on with his blend of gauzily rugged grooves and hypnotic loops, but allows for some unexpected moments such as the junglist rush that crops up mid-way thru the slow, towering beauty of ‘Made of Steel. Made of Stone’, while the hazy drums of ‘Divide Now’ feel rawer, more affective than usual, and the slow, bobbing linearity of ‘Something Left, Something Right, Something Wrong’ feels as though it’s unravelling in myriad directions at once, while the title track simply plays deep into his classic formula of mesmerising, phasing slow trance.
Recorded at the same Rainbow Studio sessions, and with the same top musicians and legendary engineer Jan Erik Kongshaug, this can only be seen as a rightful twin companion to "The Nature Of Connections" from 2014.
"One can easily understand how Arve must have found it difficult to select tracks for "The Nature Of Connections", leaving these on the shelf. "Composograph" is standing rock solid as a top notch Arve Henriksen album. Interestingly enough, the track "Gathering In Vågå" features Arve on rather brilliant, freeflowing saxophone (for the first time on record?).
There are the typical folk music ties, courtesy of fiddlers Nils Økland and Gjermund Larsen, contemporary chamber jazz, nods to avant free music and atmospheric tone poems. All in all, twelve exquisite originals from one of the world´s leading trumpet players."
Singular, brilliantly mad EBM and pop experiments on Low Jack’s Editions Gravats from Belgian freak Maoupa Mazzocchetti following his killah co-production on Clara!’s ‘Meneo’ 12". RIYL Matias Aguayo, Drexciya, Devo, Eric Copeland, Iueke, Low Jack, Prince, The Residents...
After scrawling his name on releases with close affiliates PRR! PRR! and for the Mannequin and Unknown Precept labels, new Brussels transplant Mazzocchetti finds good company among the oddballs on Editions Gravats for ‘Gag Flag’’s blend of avant dance music and absurdist experimental pop.
For ‘Gag Flag’ Mazzocchetti adopts the persona of “Snippet Boy”, a fictional avatar who first came to life in his live shows, and now in hyperstitious manifestation on the album sleeve. Lurking behind this persona, Mazzocchetti becomes an art-dance-pop puppeteer who yanks listener’s strings and takes popshots at industry overproduction, deflating egotism and hackneyed convention in a way that echoes the subversive approach of his heroes such as Devo and The Residents.
Using a blend of plugged in and acoustic instruments, Mazzocchetti conjures nine psychedelically misshapen and inexorably funked-up grooves, splashing from the lysergic swagger of ‘Looking For Cheese’ to the Arabian electro-acid styles of ’How To Hate You Without H?’ via the lap-steel dancehall slosh of ‘Ron’s Roof’, demented yacht-boogie in ‘Fonk Left The Ytown’, and what sounds like Depeche Mode doing knackered EBM on ’Sultan 1997’.
This is the sound of an artist unafraid to pursue their own sound and really coming into their own, albeit channelled thru a deflated, winking rubber avatar.
Neatly whisked, warm electro-dub froth from 7FO, waddling and bobbing in space between Jackson “Tapes” Bailey, Sugai Ken, Lolina or Steven Warwick instrumentals, or the lysergic wibble of Black Zone Myth Chant.
"7FO: pronounced “nana f o” in English, “nana” being seven. Ryu no Nukegara: “dragon’ s husk” . These are the only difficulties you’ ll encounter here. This is warm, friendly, very relaxed music, very “understandable” and yet intriguing, sure to appeal to fans of electronic ambient, dub and chill-out music, as well as artists like Haruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx and Tapes.
The Osaka-based 7FO combines groovily sparse electronic percussion with similarly sparse dub-feel synth bass, as well as pentatonic synth and steel pan melodies, the latter with an intriguing Okinawa/Sunda/Malay feel. Sparkling dub-influenced processing and thoughtful mixing gives us a music which is trans-oceanic, warm, and enveloping. Following releases on RVNG, Bokeh Versions and Metron, Ryu no Nukegara is available on digital, CD and 12” LP, featuring a suite of four tracks and the 20-minute title track, whose titular dragon is Asian: a potent symbol of water, strength and good luck.”
Dark Entries chart Italian band Polaroid’s transition from melancholy new wave to darker industrial pop with reissue of their 1984 debut accompanied by 4 bonus tracks recorded c.1987, shortly before they split. RIYL Sisters of Mercy, The Cure, Red Lorry Yellow Lorry
“Polaroid were an Italian post-punk/new wave band, formed in Turin in 1981. The original lineup of the band consisted of Marcello Zavatto (voice, guitar), Massimo Vagnarelli (bass, drum-machine), Evandro Fornasier (guitar), Claudio Vagnarelli (synthersizer) and Marco Farano (Drums). Polaroid made their debut with the cassette 6-track EP ‘Senza Respiro’, self-released in 1984. Influenced by Bauhaus, Joy Division, The Cure, Pere Ubu as well as Chic and Talking Heads. The music was dark and cold, but also melodic especially with regards to guitars and voices. At the end of 1984 the band added vocalist Michele Cantoblundo while drummer Marco left and was replaced by a Roland TR-909.
With Michele began a period of very dark and poetic music, influenced also by bands like Red Lorry Yellow Lorry and The Sisters of Mercy. The band peacefully broke-up in 1987. This vinyl re-issue of ‘Senza Respiro’ contains all 6 original songs with 4 bonus tracks from the band’s later period. All songs have been remastered by George Horn at Fantasy Studios.”
Banging, rugged Japanese folk with shiny, PC Music-like trap updates by Clark Naito. Another beauty on the brilliant EM Records!
“Kizaki Ondo” is a folk song from Nitta Kizaki town in Gunma, north of Tokyo. Played annually by local performers at the Bon-Odori traditional summer dance festival, it features unabashed lyrics about prostitution along with a rhythmic drive sure to appeal to fans of contemporary electronic genres as well as aficionados of traditional musics. The first track is a wildly echoing vocal version recorded in 1980, redolent of humid summer nights; the second track, recorded in 1981, is an instrumental version, both by the Kizaki Ondo Preservation Society. The other two tracks are extensions of tradition, with Tokyo-based producer Clark Naito’s 2018 revisions of “Kizaki Ondo” providing trap-inspired interpretations, with a vocal version using the original lyrics, along with a sweet instrumental take.
Japanese folk song research team formed by Mood Yama and Takumi Saito. They are resident DJs at the renowned party "Soi48" at Be-Wave, Tokyo, featuring music from all over the world. They produce the Japanese folk song mix-CD series entitled "Riyo Mountains Mix" and also direct the reissue series of Japanese folk music on EM Records, including the releases "Yumi-kagura", "Sakai Ishinage Odori”, and "Kizaki Ondo”. Riyo Mountains have appeared as DJs at many events/programs including NTS (London) and Japanese Bon-Odori traditional dance festivals. Their articles about Japanese folk music are now published serially in the Japanese web magazine “boid"."
Originally released on Fetish Records in 1981 as a mini album, Seven Songs topped the indie charts and immediately established 23 Skidoo as a groundbreaking musical force on the post-punk landscape.
Miscegenating Afrobeat voodoo and American psychedelic funk with harsh Industrial electronics, traces of Exotica and wrenched tape FX, it stands out a mile from its era and can be rightly called a seminal record. Its creators Fritz Catlin, Thom Heslop, Sam Mills, Alex Turnbull and Johnny Turnbull were mostly under twenty years of age at the time of recording, and their youthful energy and tastes were subtly corralled by the production cabal of TG's Genesis Breyer P-Orridge and Peter Christopherson, together with master studio engineer Ken Thomas.
Ever since, many, many heads have waxed lyrical about the importance of this album, not least Simon Reynolds and Paul Morley, but it simply is one of those albums that needs to be uncovered by each successive generation looking to become aware of what's been done, in order to move forward. This is the first time it's been officially available on vinyl since 1984, and it's hugely recommended.
"Remastered, this deluxe set contains an additional 35 minutes of material, including cult single The Gospel Comes To New Guinea/Last Words (issued on 12” in 1981) and their only radio session for John Peel, broadcast in September 1981 and featuring four exclusive tracks never recorded elsewhere.
Following the release of Seven Songs, Skidoo issued a series of hugely influential records fusing post-punk, dub, industrial, world and hip-hop styles, including the singles Tearing Up The Plans, Coup and Language, and albums such as The Culling Is Coming and Urban Gamelan. In 2000 the group returned with a self-titled album, 23 Skidoo, and in 2015 issued a soundtrack album, Beyond Time, a documentary film by Alex Turnbull about his artist father William Turnbull."
After 25 years out of print, Julee Cruise’s 2nd album, produced by Angelo Badalamenti and David Lynch, is finally pressed to vinyl by Sacred Bones. In case you’ve never heard it before, the vibe is as languid and dreamy as you could hope for, with highlights in the carmine noir of ‘Up In Flames’ and the subtle industrial underpinnings of ‘Until The End of The World’. Just unmissable late night music…
“25 years after its initial release, Julee Cruise’s sophomore album The Voice of Love is being issued for the first time on vinyl as a deluxe 2xLP, and returning to print on CD. In 1992, after the release of Twin Peaks: Fire Walk With Me, David Lynch, Angelo Badalamenti, and Julee Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love. “In the studio, David would always say ‘[sing] like an angel, like an angel…” Cruise remembers.”
Cult slab of hybrid Japanese new wave, disco, avant synth-pop and electronic funk from 1981 Japan, dished up for a first vinyl reissue by Switzerland’s WRWTFWW Records. Strange, lingering echoes of ‘70s prog spill into the ‘80s, landing somewhere between David Bowie and Haruomi Hosono...
“WRWTFWW Records is deliriously happy to announce the reissue of the 1981 self-titled album from cult Japanese duo Colored Music, available on vinyl (housed in a Stoughton tip-on sleeve) and digipack CD, with liner notes by digger, curator, connoisseur, writer and legend Chee Shimizu.
An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie’s Berlin Trilogy with a psychedelic Haruomi Hosono touch. From the groovy post-punk glam title track to the proto-house dance floor killer "Heartbeat", Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of.
Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi “Ponta” Murakami (Pacific, KI-Motion by MKWAJU ensemble, collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono…) Kiyohiko Semba, Tamio "Doyo" Kawabata, Pecker (Pecker Power recently reissued by Rush Hour) and Tatsuhiko Hizawa.”
Ahhh yeahhh, this tape edition features the whole album on the b-side slowed down to half speed...
On the expanded tape edition of Bloodline, Steven Julien a.k.a. Funkineven explores a charmingly personalized sonic ontology under his own name for the 2nd time following 2016’s self-titled album, continuing to come into his own with a wickedly expressive meld of jazz-fusion and machine music inspired by his ancestry and written in tribute to Roland founder Ikutaro Kakehashi.
Bloodline is concerned with paying dues to Steven’s ancestral roots, but it’s also an acknowledgment of influence of new age synth styles, Japanese electronics and the history of East London raving, adding up to a sound that’s brilliantly timeless and distinctly his own.
It’s a sort of hauntological soundtrack, if you will, traversing in a range of jump-cuts and fades from the filmic synth atmosphere of Hunt to a killer 303 + Linn drum combo in Roll Of The Dice, and ruggedly debonaire electro-bass on Bloodline, before swerving hard into mutant jazz-funk with Apache. The vibe then takes a super sweet turn with the percolated electro-funk of Queen of Ungilsan, and wraps up with the classicist ‘80s boogie-meets-new age strokes of Temple Rd.
Originally released on the Phono label in 1995/96 the ‘Parts’ series from Matthew Herbert are a much loved collection of house tracks that sound just as original and bold today as they did when they were first released.
"This series of 12”s were part of an early wave of exploratory dance music that paved the way for the deep house that still works its magic on dance-floors in 2018 some 25 years later. The mix of Herbert’s playfulness alongside expertly grooving production and unusual sounds makes this unique collection of work. The odd few tracks aside this is the first time that these releases have ever been repressed. All newly remastered for this reissue series, the releases include stone cold club classics such as ‘Deeper’, ‘Take Me Back’, ‘Resident’, ‘People That Make the Music’ and ‘See You on Monday’"
Kim Cascone supplies another ‘90s ambient dream sequence to Astral Industries with a first vinyl edition of ‘In A Garden Of Eden’  following last year’s ‘Lunar Phase’ reissue.
Originally realised at Cascone’s Silent studios in San Francisco for the Space Age Lounge, “a technomystical chill room in Goa, India”, his Heavenly Music Corporation debut is a typically balmy affair awash with tranquil synths and threaded with tropical field recordings to gently levitating effect.
It sounds very much of its time hearkening back to an era when phrases such as “technomystical chill room in Goa” were bandied around without irony, to a time of innocent MDMA experimentation and ISDN video links, right at the start of the internet, a utopian phase before it all went trip hop and everyone spent evenings waiting for webpages to load. Didgeridoos were very popular, too.
To be fair, you probably had to be there or else that period becomes a smudge of cliches as above, but it’s hard to fault the vibes and aura of Cascone’s recordings on ’In A Garden of Eden’. From the gentle swirl of cowbells and circular berthing synths in ‘Cloud Structure’, thru the patter of tropical rainfall in ‘Ambient To Be Here’, to the erotic gasps and ambient techno thump of the record’s title track and Steve Roach’s concluding acididgeridoo excursion, this album is pure paneer, but not without its nostalgic charms.
A collection of valuable passages recorded by The Durutti Column between 1979 and 2011 for various iterations of Factory Records, including poignant tributes to manager/mentor Anthony H. Wilson.
“The Durutti Column was Tony’s baby,” says Durutti mainman Vini Reilly. “We were the first act signed up to his Factory club night, and the first band signed to Factory Records. Tony became my mentor, somebody to look up to. He was a very tough character, yet he was very gentle. He had many sides. The biggest arguments with Tony were that he wanted to stop me singing with my schoolboy lyrics and my dreadful voice.”
Reilly’s music remains resolutely unclassifiable, and sounds better and better with each passing year. “Don’t listen to the form,” he insists, “listen to the content. Don't listen to the style, the tradition, the technique, just the content of the music. Then judge. People say The Durutti Column is this or that. I don’t care so long as we make good music. There's so much good music around. Don't bother with form. Just enjoy.”
Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson in Jethro Tull. Jean Cohen-Solal tells a different story, richer and centred on the instrument itself, using the magic (yes, that again) of overdubs.
“In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theatre, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie!
The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes libres. A magic which can be keenly felt on "Quelqu'un", a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette.
Perhaps Paul Horn rather than Roland Kirk could be an influence, but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, "open music" by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources.”
Jerman Gazz guys Max Graef and Julius Conrad on a super fruity fusion flex for Funkineven’s Apron Records.
Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations. One for fans of Tom Jenkinson, Kaidi Tatham, Herbie Hancock, Jimi Tenor.
Giulio Aldinucci's ambient masterpiece of sublime beauty and sacral majesty.
"Giulio Aldinucci's is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena. He wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens".
"Borders And Ruins", his first album for Karlrecords, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty."
Choice reissue of Ende Shneafliet’s lesser known, electro-dubwise project, King Ende Shneafliet, on the long-running cult label Trumpett and Interstellar Funk’s Artificial Dance.
As heard on the reissues of Ende Shneafliet member Hanjo Erkamp’s Dr. Stein project, his ‘Dimension 1’ outing is packed with absorbing details and turns go phrase, but this time on a woozier bent inspired by King Tubby as much as the gremlins in his machines.
Beautifully mastered from original tapes for full bodied impact, the long overlooked results are a genuine oddity in their field, crossing lines between dark but dippy synth-pop in the ‘Introduction’, to recall a prototypical John Maus in the hissy thizz of ‘Champagne’ and hit a killer, juicy downstroke in the slow-mo, vocodered electro traction of ‘I Came To Dance With The Bride’.
There’s also peachy bits of free-floating synths in ‘Classical Reverb’ and ‘Drei Männer Im Shnea’ and an unmissable dark electro slug called ‘What’s Wrong?’, all makign this a bit of a must for synth wave diggers looking for classic new thrills.
Reinhold Friedl’s trio of complex and quietly arresting works for string quartet, Quatuor Diotima, and bespoke software lands on vinyl via Poland’s Bocian Records. Some of the strongest, exceptional Friedl gear we’ve heard since turning on to ‘Inside Piano’ , no less
“Reinhold Friedl’s string quartets do not pretend to be string quartets: they are anti-Goethe. There is no sophisticated conversation of four elder gentlemen, sitting in arm chairs. The music is physical work for the performers and intended to be physical pleasure for the listeners. All three quartets are based on the same idea: smooth transformations from a given texture into another one. The random-driven details vary between the pieces and the parts of the pieces. Meanwhile Reinhold Friedl developed a software in the frame of a PHD project at Goldsmiths University London to help him modeling these texture transpositions.
STRING QUARTET NO 1 (2005 dedicated to Anton Lukoszevieze, commissioned by BBC London) is focused on a ghostly sound choreography, made possible by a strange choreography: instruments are only bowed in circles. These simple movements combined in an asymmetric rhythmical structure causes complex soundscapes, that tend to develop to a certain final state, and they do, driven by a hypnotic force.
STRING QUARTET NO 3 (2016, dedicated to Pierre Morlet, commissioned by G((o))ng Tomorrow Copenhagen) can be listened to as a reference to some modern string quartet sound. Famous chords and melodies are quoted and hidden in their pure quantity. Sweet sugar music. An essay how to compose a decrescendo without a culmination point. Slowly and precisely slip away, ending nowhere.
STRING QUARTET NO 2 (2009 for Quatuor Diotima, commissioned by the French State for the Festival Les Musiques in Marseille, France) is written for Quatuor Diotima as a sportive piece. After a charming beginning, it becomes more and more a physical challenge for the performers, playing tremolo almost without break, to get the music to the final grooving rhythmical end: get out of my face !”
Rasping’ power n0!se pop from Sarah Froelich, Philip Best and Russell Haswell a.k.a. Consumer Electronics
On the A-side they follow suit with both Russell Haswell-produced albums, ‘Estuary English’ and ‘Dollhouse Songs’ with a combo of pinched pulse and oblique noise torque applied to an obliterated cover of The Band’s ‘The Weight’.
B-side with ‘Hostility Blues’ they switch tack to let Russell rip loose with chrome-tearing synth gremlins and sustained high register tones pinning Sarah Froelich’s possessed shrieks into place.
“President’s Health Club, USA. Time to plot a hazy progress from Al’s Spa Tub Motel to the Free Speech Cafe before termination at Pilgrim Drugs. Sahara Sue’s been diagnosed with ‘Closing Down Syndrome’ and has retreated ghost-like to a queasy mirage of bleached-out condos and multi-lane freeways basking under great wheels of light.
Long hours in dim warehouses scanning shelves and trying not to notice the declining shadow or gathering rot on display. Airless back rooms piled high with stacks of handwritten pages, academic journals and unfathomable tracts - ‘Human Remains Index,’ ‘Keep Christ in Chains,’ ‘Mortuary Therapy Explained.’
Outside the use-of-force team waits primed. She remembers a childhood visit to Atmosphere, the highest restaurant in the world, maybe from up there she did, in fact, look down and see a plan to it all. How blessed and fragile and perfectly planned everything truly was. The floor tips down and away. For the Jane and John Does. PB / Austin, TX 2018”
Luke Slater on rugged manoeuvres as L.B. Dub Corp for Stroboscopic Artefacts
Built for the long run and big rooms, ‘Roar’ gives a strident, bass-swollen start to the session which also takes in the sidewinding electro-acid-dub torque of ‘Hard Wax’ and the serpentine swerve of ‘Sure Step Dub’ with its killer, pinging woodblock percussion.
Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit ‘The AT’s’, along with Bristol based singer Debbie Marlow.
"Neil’s Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine ‘L’Uomo Vogue’. After winning the Bristol ‘Battle of the Bands’ in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in ’83 and released their first single ‘Just My Love’ released in early 1984. The second single was ‘Make It Real’ and was never released as the band were culled from the EMI roster in late ’84.
For this reissue of their debut single we’ve added 3 bonus tracks, a demo of “Just My Love”, the unreleased follow single “Make It Real” and a bedroom demo “Erotica.” Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band’s archive. “We’re synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.”Umo Vogue."
Founding member and co-creator of ‘Aiwo rec.‘ DJ Normal 4 delivers Second Circle’s eleventh release to date with the EP ‘Exoticz’ .
"Raised close to Düsseldorf in the Ruhr Area, Normal 4 grew up amongst a landscape of dusty factory skeletons and abandoned machine complexes in a formerly thriving industrial conglomerate. Bringing his signature sound of broken industrial dreams mixed with escapist rave fantasies, Normal 4 delves into the archives with two tracks ‘Kalaidoka’ and ‘Aeo’ recorded around 2011/2012, alongside a new track ‘La Arabia’.
Produced at Altstadt Studio Mülheim an der Ruhr, with Normal 4’s good friend Anke Preuß on guitar and vocals, ‘Aeo’ is given the remix treatment by Phillip Otterbach on the ‘Aeo (Ottertasia Mix)’. On the B side the synth freak out ‘Kalaidoka’ is followed by ‘La Arabia’ which rides the breaks into a dusty moonlit desert rave."
Second vinyl edition of a super in-demand Scando disco session from Sasac on Malmo’s Fasaan Recordings
It’s not hard to tell why the first edition is trading for triple the price on 2nd hand markets - ‘Future Disc’ is a carefully plotted beauty drawing from myriad stripes of classic African and Afro-American disco, boogie and Italian cosmic styles, but trimmed to svelte perfection at every angle, leaving vocals out of it and instead focussing on lissom instrumentals licked up with very tidy guitar and synth chops and natty drum machine shuffles.