One year on from A Music Of Soundsystems, Spatial pursues the album’s ideas in four sideways styles
Working out rubbery dancehall bass and nagging computer tones in Chronic; rolling off-the-bone with tangy drums and swingeing subs in Calima; then hopping around the groove with the pinging acid of Kairos; and shopping your booty in the dub proper of Abora.
Arnau Sala aka Exoteric Continent moves in the grey/blue space between modern, latinate dance architecture and ghostly ambient sound noumena with La Perspectiva Racional - presented as his first album proper and his 6th release with Hospital Productions, sounding something like a more fractured take on the classic dub variants which typified Pole’s Scape label at the turn of the century via artists such as Jan Jelinek, Kit Clayton, Deadbeat and Stefan Betke himself.
A product of searching musical and personal introspection conducted and realised over the period 2015-2016, La Perspectiva Racional pushes an intense, probing sound in the awkward spaces and styles around dub, techno and noise's shifting, jagged borders, using drums, percussion, magnetic tape and synthesisers to outline atonal and enigmatic silhouettes.
On Contingut he drops in on an electronic variant that's more in keeping with the warm, bubbling sounds you might have found on a Jan Jelinek album at the turn of the century, while Contagi develops the fractured dub aesthetic further still, before album closer Col.lapse harks back to Stefan Betke's classic, earliest Pole productions.
Elsewhere, the tone is more fractured and unsettling, most notably on the excellent title track, providing an obliterated sense of propulsion through multi-layered drums and restless arpeggios, while Humanització unfurls a heightened sense of unease recalling Brad Fiedel's iconic score work for The Terminator, with added dread.
A master of abstract musical storytelling, Sugai Ken follows a string of outstanding LPs for RVNG Intl, Lullabies For Insomniacs and EM Records with 8 detailed scenes of intrigue and psychedelic potential for Italy’s Yerevan tapes.
From reverberant, filmic percussion to bestial jazz, lysergically warped vocals and the mating sounds of alien animalicula, the sound ecology and logic of -yOrUkOrU- describes a strange place where industrial and natural sounds merge in the ether with traditional, local Japanese sounds to form an airborne dramaturgy whose purpose or meaning will apply differently to each and every user.
With location recordings fed thru advanced, ancient, alien electronics like Autechre producing something for the nonsuch explorer series, this is perhaps the best from Sugai Ken to date - properly essential gear.
An evening in a coffee house in Kyoto forty years ago has lingered fondly in the memories of those who were there. Now, the stellar performance of John Renbourn that night is available for all to hear on ‘Live In Kyoto 1978’.
"John Renbourn, along with his sometimes partner Bert Jansch (with whom he formed Pentangle in the 1960s), has been passed away for these past few years - but the music that he made continues to inspire, alongside the works of fellow travellers like Jansch, Davey Graham, Wizz Jones and John Martyn. Over fifty years ago, Renbourn and these men were at the forefront of the British folk revival as it mingled with the blues boom that was exploding at the same time.
Renbourn’s style mixed these traditions with classical, jazz, world and early music techniques and his picking was second to none. John made records and toured from the early 1960s until his death in 2015. His repertoire was vast and among the songs he played on this night at the Jittoku coffee house were pieces played at many of his concerts over the years, including songs by Reverend Gary Davis, Davey Graham, Mississippi Fred McDowell, Arthur Smith, William Byrd and Charles Lloyd.
‘Live In Kyoto 1978’ is a remarkable document of Renbourn’s talent spun out over an evening’s-worth of performances, during which his ease of playing left the audience speechless afterwards. The recording was made by the late Satoro Fujii, whose archive of recordings was discovered posthumously and have begun to see release in recent years. Satoro captured the performance with pristine detail, allowing us to hear the fine detail of John’s fretwork and the warmth and delight in the room as he played."
The Ghost of Georges Bataille is a superb, if unexpected, collaboration between erstwhile Coil member Drew McDowell and fellow NYC-based artist Nicky Mao a.k.a. Hiro Kone, slotting very neatly into the Bank Records NYC catalogue amid their roster including Wetware, Nick Klein and Bookworms.
Strung out in the ether between Alva Noto, Coil and contemporary Chris & Cosey, the pair have nailed a timelessly stylish darkside vibe herein, with McDowell pursuing the sleek contours and intoxicating timbral qualities of last year’s Unnatural Channel into more liminal, mystic space somewhere between the ‘floor and restless mind-frames, smartly invoking the spirit of their titular subject.
The first side is spent establishing elusive/illusive parameters with the layered synthetic thizz and pent pulse of Barely Awake, then getting under the skin with the hugely impressive interplay of spectral synth voices and uncommonly thick, lustrous subbass in Dreaming Is Nursed In Darkness, which ends up sounding like some prime late ‘90s Autechre remix.
Their B-side is just as strong. Bright Kiss of Fire opens out a fathomless, dank space which they flesh out with sensually latinate rhythms that are all too absent in this quadrant of industrial music, or at least this subtly, before they again really impress with the fractured ballistics and sublime ‘90s electronica synth contours of Violence.
No doubt it’s a big RIYL Toresch, Ae, CS + Kreme, Coil
Expertly sculpted studio sound designs by the guy from Acteurs, Disappears, 90 Day Men
“Another year on the HITD calendar, another stunning new solo release with Brian Case Plays Paradise Artificial.
This third album somehow manages to compile and condense the best bits of its predecessors, and the magnificent viridian, glacial universe developed by Case since the beginning of his solo ventures is brought to the forefront.
The Chicago artist centres his elusive, dehumanised compositions around two simple, minimal elements. Using just vocals and synths, he has created a simultaneously modern and post-apocalyptic soundtrack, where music exists as the final traces of the footsteps of humanity.”
‘Always Then’ was the debut album of The KVB, originally released in 2012 on Clan Destine Records. It was written and recorded in 2011 on a Fostex tape machine by Nicholas Wood, with Kat Day joining him to form a duo later that year. This anniversary edition features the re-mastered full-length debut album and includes bonus tracks known as ‘Always Then Revisited’, four brand new reworked and rerecorded songs from the original album.
The original cover art featured a photo of a building in the centre of Mexico City, taken by friend and fellow musician Ela Orleans. The anniversary edition features new artwork with an updated cover photograph of the same building taken by the band in 2017.
Beamed from Tel Aviv via L.I.E.S., TV Out push a stern EBM sound on their follow-up to a brace of 12”s for Parallax, Fuck Reality and HotMix Records over the past few years.
Made for nights on the white, TV Out’s L.I.E.S. début is all about locked-in, sniffed-up voodoo from the heart-racing thrum and numb drones of Further that march the A-side with unrelenting pressure, thru to the cold arps and scaly sheen of Moon or the needling electro urges of Galaxy on the B-side.
Delroy Edwards puts his back into a 14 track jack pack for his bro’s at L.I.E.S., smartly reprising the styles that first garnered feverish acclaim to his 4 Club Use Only 12” back in 2012
Where the last few years seen him trading in fuzzed up and slowed down funk, these tracks coolly modulate the energy level between dreamy, gritty house grooves and infectious tracky business; first getting into gear with the warped Gherkin Jerk of Killer Charlie, to cycle thru highlights such as the deep blue stride of MMT8 Jam, the chiming head-high jack of Swingin’ The Bitch, and onto raw-ass early Chi knocks with Barefoot In The Park, a very cheeky edit of a Jamal Moss edit (if we’re not mistaken) in Beat, and some suave low slung sheeeet on Friday Night.
OK, there’s no ‘floor breaking gear, but for the lo-fi debonaires, this one’s shotting heat.
A massive batch of Galcher gear for y’all
Following up the Dark Bliss album with 20 not-insignificant beatdown grooves - 10 vocal cuts and their 10 instrumentals - informed by classic and contemporary jazz and hip hop as much as house music.
ASC keeps moving forward with the rolling techno momentum of ‘Artefacts of Rotation’ following dispatch of two albums and 3 x 12”s already in 2018
At this rate of release, we’re practically hearing his work in various stages of refinement, and these four tracks feel like some of the most effortless examples of his grey area exploration.
From the elegance of Coriolis Effect to the subtle shuffle of Sidereal, thru the grumbling rolige of Sun Storm to the moire bleep lattice of Synodic, these are arguably some of the slickest, most infectious works from ASC in recent memory.
RIYL Jeff Mills, Mønic, Regis
Ingenious, inverted dub homage to Nirvana’s ‘Nevermind’ by Athens’ maverick, Jay Glass Dubs. Proper depth charge Basic Channel / Rhythm & Sound styles on this one, transitioning from silvery introspection to booming echo chamber dimensions over the course of 60 minutes
“When Nirvana’s Nevermind hit stores in the fall of 1991, little did the world know what this band would become.
Inside this album, Nirvana and their producer Butch Vig had hidden a track called Endless/Nameless – a live improvisation/jam between the band with their typical mellow/heavy/mellow songwriting MO pushed to the extreme.
The only way to hear it was to let the CD end and wait for 13 minutes 51 seconds.
It is not credited on the album and was not included on every copy. The first pressings didn’t have it, many later pressings left it off.
The unauthorised biopic ‘Nirvana: The Chosen Rejects’ mentions that the ”first 50,000 CD copies did not include the track. On this CD the water is painted all the way to the center of the CD; on the second version the color stops and the center is clear. Creating a gold mine for collectors, the first pressings of Nevermind did not include ‘Endless Nameless’. The oversight by DGC was corrected shortly thereafter when a new pressing was immediately sent out once the error was discovered.”
Other sources mention that at least one guy returned his copy of Nevermind. He thought it was broken when the hidden track suddenly appeared. Many other people thought there was something wrong with their multi-disc CD players, which should stop playing at the end of the album.
The way this mischievous noise-rock track infiltrated a record of dinosauric success has a romantic impact when we look at what rock music was before, and how it developed after Nevermind – it signified exactly what the band was all about.
It transformed the listener’s approach towards what a mainstream rock album should ‘sound like’ and how experimentation was perceived in a genre that still has very narrow ‘borders’.
The ambiguity it created is still reverberating.
It was a ticking bomb inside an otherwise well polished version of the band’s thrusting live energy and it profoundly delivered a very clear message to big corporate labels and mainstream audiences.
Jay Glass Dubs – Endless/ Nameless: out via anomia on the 24th of September (the same date Nevermind was released back in 1991) is a hommage to that track and its monolithic effect (using an inverted approach).
Following his stripped-down methodology, Jay Glass Dubs elaborates on two single loops created initially with a simple step sequencer. The result is two side-long tracks that retrace the obsolete pathways of ’dub techno’ while empowering it anew; by focusing on the 3/4 rhythmology of the sub-genre’s Caribbean predecessors; removing it completely from its four-on-the floor conversion and the club culture usurpation it has been under for the last few decades.”
Geir Jenssen (Biosphere) wraps up both of his Fires of Ork albums with Pete Namlook in a handy dose of ambient techgnostalgia for Biophon Records.
Originally dispatched in 1993 on Namlook’s Fax label, The Fires of Ork tends to the darker side of the early ‘90s ambient paradigm, pairing samples of Rutger Hauer from Bladerunner which gave the project its name, with a mix of robust slow techno throbbers and expansive, head-engulfing beat-less black holes, including a killer trance techno night-flight in Talk To The Stars, featuring lyrics cadged from an old KLF Communications press release.
With The Fires Of Ork 2 , they emerge the other end of the preceding decade with a sparser, more spacious sound, letting a little light into their aesthetic with the shimmers of In Heaven, but pulling back into atmospheres redolent of Lynch’s Mulholland Drive score in When The Night Was Black, before peering into and dancing around an electro-acoustic abyss with Nouvelles Machines.
Anòmia render abrasive, oblique new aspects of LXV, who previously collaborated with Kara-Lis Coverdale on the amazing ‘Sirens’ LP. Here, he explores sheer, colourful abstraction in both shocking and seductive style...
““Partition” is a new EP from sound artist and producer David Sutton’s LXV project. Both a collection of songs and part audio/ visual output “Partition” reflects an interest in conceptions of a world through subjective imagery and by way of third party viewership. Previous work under the LXV banner, such as “Asylum/ Theophany’ (Soft Abuse 2015) and “Clear” (Anòmia 2016) focused on the nature of individual consciousness and the confrontation and assimilation of personal phenomena. In its compacted EP format, “Partition” presents a varying array of nearly unidentifiable sounds pushing the language of modern electronic music in parallel of observing an illogical world order.”
L.I.E.S. provide a wider angle on Cienfuegos’ crooked Cubano drone sound in Autogolpe, the follow-up to a smart run of12”s and tapes with Unknown Precept, BANK Records NYC, and Ascetic House since 2014.
Expanding his sound along ambient and noise axes, Brooklynite Alex Suárez a.k.a. Cienfuegos has cooked up a properly varied album here, using uniquely textured ambient intros and outros to set the scene for a murky ride that takes industrial world music and the grubbiest drums in its stride with outstanding highlights in the droning payload and squirming torque of his ‘floor-slaying groove The Mountains Are Crying and the brute grinder, Symbiotico.
The 2nd of two ‘Liquid Marble’ sessions by Rubén Patiño (N.M.O., EVOL, Lag OS), serving the soundtrack to his video studies of public fountains and urban decay
“Liquid Marble II is a visual collection of public fountains and urban decay paired with synthetic sounds. It is an assemblage of unrelated sonic and visual events that work together as an exercise in the free decontextualization of the original narratives.
This work also explores the possibilities of an audio-visual language without a strict synchronicity between what is seen and what is heard. It favors the idea of having parallel events of audio and imagery without an apparent connection. In most cases, the original outdoor sound has been removed and replaced by electronic tones that had been generated in a studio.
Produced by anòmia and developed in collaboration with Canada. L.M. is a piece that started as a single VHS release but has since mutated into an audio-visual performance and installation.”
The first of two ‘Liquid Marble’ sessions by Rubén Patiño (N.M.O., EVOL, Lag OS), serving the soundtrack to video studies of public fountains and urban decay
“Liquid Marble is a visual collection of public fountains and urban decay paired with synthetic sounds. It is an assemblage of unrelated sonic and visual events that work together as an exercise in the free decontextualization of the original narratives.
This work also explores the possibilities of an audio-visual language without a strict synchronicity between what is seen and what is heard. It favors the idea of having parallel events of audio and imagery without an apparent connection. In most cases, the original outdoor sound has been removed and replaced by electronic tones that had been generated in a studio.
Produced by anòmia and developed in collaboration with Canada. L.M. is a piece that started as a single VHS release but has since mutated into an audio-visual performance and installation.
Liquid Marble was premiered at Survival Kit 6 at the Utopian City Contemporary Art Festival in Riga in in 2014.”
Croydon’s finest son, Dale Cornish plays into Rubén Patiño’s concept of ‘the elastic floor’ in six ways ranging from jellyfish-like structures to distorted techno pummels, collapsing breakbeats and an excellent acid tribute to Enya...
“ELASTIC FLOOR is a concept developed by Rubén Patiño. A surface without walls, a playground for synthetic sounds. The basis of the project is to explore environments that could potentially exist away from the codes of behaviour established in orthodox spaces such as the club or the art gallery.
The first instalment comes in the form of three separate cassettes, each one by a different artist. The music generated in each release is an interpretation of this space.
Acotxador by Dale Cornish is the second of the three.
Six tracks exploring the fantasy aspect of Rubén Patiño’s elastic floor. All track titles and credits in Catalan. It’s 2018, time to think local and international. This is for those at the top of their game but not quite top of the tree.
Computer rave hooligans EVOL get us salivating with the synaesthetically acute tang and drip of ‘Tunnel Flop’ for Arnau Sala’s great and uncompromising Catalan label, anòmia.
Smart-witted DJs and rubber-limbed dancers will have an absolute smash-up with this one.
Footwork’s newest draft showing off bullets from DJ Chap, DJ Earl, Heavee, Slick Shoota, Sirr TMO, DBK, Boylan, Swoops, JP Durban and many more...
From initial listens, the highlights come on strong in DJ Paypal & DJ Chap’s blend of ballroom, grime and minimal D&B in ON OFF, as well as DJ Chap & DJ Earl’s red-eye special, Hi Boaa, while Slick Shoota and DJ earl also impress with the hardcore Horn Track vibes of Sick Shyt, and Heavee kills it straight with the mutant acid and wile-out samples jammed into Lose Control (got2go).
Slick Shoota turns up another big one with the brassy parp and hyper rhythms of Dark Hours, and the links with UK jungle are well pronounced in the floating, jazzy spin of Mandela and Chill by Sirr TMO, and the rolling breaks of Burning Hooot by DJ Earl and Mel G.
Three master synthesists converge on Hydra, a glacially escalating sweep of kosmiche arps harnessed by a ricocheting industrial electro rhythm until it reaches terminal velocity and the whole thing tips into apocalyptic glory.
DJ Koze emphasises the soul burn of Radio Slave’s Feel The Same with deftly applied FX and extra claps, then gets loose with the rolling heft of Reverse, which is also taken from the Feel The Same album.
Smoky seance of barely there strums and possible psychokinesis, ideal for fans of Loren Connors...
“The first duo performance between DG and the mysterious Portguese guitar legend; a real-time, documentary feel in which athematic, non-repeating musical gestures are rendered with an extreme sensitivity to microscopic soundworlds brought about by fingertips, strings, and tube amplifiers.”
No hype, this record is the maddest belter you’ll hear this year. A rinse thru three hundred and three acid cherries pitted and sequenced, tweak for tweak, into the only rave weapon you’ll ever need.
Taking Evol's obsession with Roland’s squelchy grey box to an ultimate, logical conclusion that leaves dancefloors turned utterly inside out and begging for track ID’s, it’s the kind of idea that has been floated in raves, smoking areas and afterparties for the past 20 years but has never been executed with such precise method and inexorable effect, until now.
Taking way too many classics to mention, EVOL modulate a cascade of liquified riffs that last anywhere between 1 beat and a few bars before shifting to the next pattern, and so forth. The cumulative effect of elastic undulation is mind-bending and body-jacking in the extreme, yet uncompromisingly crafted at the immediate service of the rave.
It feels as though much of EVOL’s practice to date, from mixes for FACT and Reel Torque, to their experimental objets for Alku and blasts for Presto!?, Diagonal and BUS have been leading to this point: the ultimate acid rave tool.
Greece’s Into The Light dive 20 years back into the archived treasures of Angelo Ioakimoglu, coming up with a lush haul of pearls and shimmering grooves informed by deep house, D&B, boogie, ambient 4th world styles
“Into the Light continues its journey to unearth and update overlooked Greek music. This time focuses on a smooth, warm, youthful yet intelligent work that finds effortlessly its place in the tiny Greek electronic scene of the mid 90's.
"The Nireus Years" is a rare selection of eight unheard home recordings produced between 1995 and 1997 by the then 16-year old Angelo Ioakimoglu in Athens. The album encompasses his most special productions ranging from bucolic new age to dubbed out midi electronics, jazzy r&b to Mediterranean ambient trance!
Angelo was born and raised in Zografou area of Greece's capital in 1981. It was there where his father had a typical 80's electronic lab and it was that specific environment where Angelo spent most of early childhood. A first attraction for electronic musical equipment was developed that very soon became a passion for hunting down used pieces of gear soon to form the basis of his well equipped bedroom setup.
During his teens, his connection with music was either practicing the piano at home or listening to the most recent dance hits at his uncle's place who happened to be a professional DJ. Big part of Angelo's demos around that period is driven by those two aforementioned worlds. But there were moments of escape. Moments where the music went for the unexpected. Leaving the producer following a solitary path where he could express his teenage dreams and fantasies...through extensive midi programming, live keyboards mimicking string, brass and steel instruments and sampled portions of his live percussion burst.
Angelo's work, which can sometimes seem naive or surrealistic, is supported by his unique and surprisingly energetic approach, one that gives us the courage to continue something different.”
Para-dimensional folk suite by Glenn Donaldson (Jewelled Antler Collective: Thuja, The Blithe Sons, The Skygreen Leopards) originally penned in the psych-folk era c. 2005, and still sounding hauntingly timeless yet out of place in 2018
Recital’s Sean McCann says: “Between 2001 and 2005 Donaldson published a handful of discs under the names The Ivytree and The Birdtree. These boiled down and tanned the patient, outdoor ambiences of the long-form instrumental recordings. These were slow and pastoral and pensive songs, carried by Glenn’s haunting voice: my favorite of his work. Glenn recorded outside with field-recorders and mini-discs: in forests, headlands, and tunnels of the Bay area.
I grew up listening to his recordings – throughout high school and college in Goleta, CA. They spark many memories: driving around beach parking lots, dragging boomboxes into creeks, camping in the mountain valleys etc. I remember once driving 5 hours up to San Francisco with a group of friends to try and get into a Giant Skyflower Band concert (another Donaldson project). It was at a bar and we were under 21 – so we couldn’t get in, even after trying to bribe the doorman. As you can tell, very special places in my mind and memory. My fondness for The Ivytree never dissipated, and I always dreamed of hearing more material from that time, as I know how prolific the Jewelled Antler association can be.
On a whim in 2017 I reached out to Glenn and asked him if he wanted to publish a “best-of” The Ivytree as a limited LP. This idea blossomed and provoked Glenn to dig through his vast mini-disc archive, where he unearthed some forgotten jewels. The recordings were trickling in to my email – one by one, each better than the last… Ranging from the Robert Wyatt-esque piano ballad “Evil is Circular” to the gentle melancholy of “All the White Plumes” that could belong on Richard Youngs’ Sapphie. Unburdened Light carries on the warm breeze and innocence of the early 2000s CDr culture.
So our project then turned into publishing a new album of unreleased Ivytree recordings. A full circle youthful wish now ripens in my adulthood. I am honored to have stirred up the bees-nest to deliver you these tragically honeyed songs.”
Waking dream-like poetry, smoky ambience and concrète ‘tronics from Open Corner, a collaboration between Asha Sheshadri (Isolde Touch) and Christian Mirande for Sean McCann’s wonderful Recital Program; warmly tipped to fans of Félicia Atkinson, Robert Ashley, Teresa Winter or Pinkcourtesyphone...
Riffing on themes of suburban ennui and human despondency to a mix of richly textured “musical” and “non-musical” backdrops, Open Corner’s Empty Pool For No One connotes a curious shade of day-to-day surreality underlined by a palpable melancholia and dissociative timbres.
Its hypnagogic air and textural juxtapositions of ASMR-esque vocals low in the mix with oblique scenery naturally recalls Asha work on the PVC Burn album as Isolde Touch for Entr’acte, but it’s Christian Mirande’s input that really separates the projects with his absorbingly fractured and porous instrumentals serving to diffract and reframe Asha in fascinating, abstract ways.
“Emotionally and sonically claustrophobic. A unique take on voice and sound: in-between an audiobook and a sound-map. Exhausted and hungover, the frequencies and intense proximity really fit the digital CD format. Here is your chance to revitalize the ? Records weapon of choice…”
Stella Donnelly is a young songwriter with a knack for wrapping unapologetic, brutally honest lyrics with a soaring lullaby to mesmeric effect.
"With just one release to boot, last year’s lauded ‘Thrush Metal’, she has already garnered worldwide critical acclaim and has an undeniably bright future ahead. Full of sharp lyrical punchlines, Stella’s standout songwriting on ‘Thrush Metal’ is an empowering and relatable guidebook to life as a young woman in our age of Trump, Tinder and Third-Wave feminism.
First single ‘Boys Will Be Boys’ has been described by New York Times as “A delicate waltz [that] carries a bitter reproach to blaming the victims of sexual assault. ‘Why was she all alone/Wearing her shirt that low?’ she sings, and then her voice rises and roughens.” Written in late 2016, the track tackles society’s tendency to blame the victims of sexual assault and rape and making excuses for the perpetrators. This insightful account isn’t limited to ‘Boys Will Be Boys’.Take new bonus track ‘Talking’ which explores the ever-socommon feeling that you’re in a one-sided relationship from a distinctly millennial perspective and ‘Mechanical Bull’, a pithy but potent track that addresses the male tendency to persist unwanted sexual advances."
The lush promise and spirit of mid ‘90s IDM deeply informs Darling’s ’Tulipa Moves’ for Young Marco’s Safe Trip
The latest in a highly endearing volley of 12”s from the enigmatic Amsterdammer, Tulipa Moves offers a welcome dose of melodic escapism articulated through classic hardware in a manner recalling classic AFX, Plaid, Kettel and loads of stuff that already sounded charmingly nostalgic in the ‘90s with echoes of Japanese electronics, new age ambient and minimalism also bubbling to the surface.
We direct you straight to highlights in the radar ping 808s, angel breath chorales and classic AFXian bassline of Tulipa, as well as the introspective shimmy of Free Hand, and the featherlite spine strokes of The M Song (Feat. Lexi) for the finest feels, and you’ll know exactly what to do next!
Radiohead guitarist Jonny Greenwood’s score for the new Lynne Ramsay and Joaquin Phoenix film ‘You Were Never Really Here’.
"Greenwood once again displays both beautiful and harrowing string arrangements performed by the London Contemporary Orchestra and experimental string player Olly Coates (‘Under The Skin’), married with experimental synthesisers, drum machines, recorders and guitars. This will appeal to fans of Greenwood’s previous work, including scores to ‘There Will Be Blood’, ‘Inherent Vice’, the Oscar-nominated ‘Phantom Thread’ and, of course, to fans of Radiohead."
Raw, fuzzily intimate recitals of John Cage works, made in an attempt to bring Cage’s ‘Harmonies From Apartment House 1776’ closer to the artist’s intentions thru the “destruction of privileged musical space”, blurring distinctions between performance and non-performance in a way which Cage would surely approve of
Cop Tears write: “Thirteen Harmonies is a selection from John Cage’s 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage’s Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an “apartment house” among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the ‘multiplicity of centers’ of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty 4-track on bled-through tape in Cameron’s apartment house in Queens, New York.”
Bogdan Dražić drops a volley of salty machine workouts on TTT following blasts for Giallo Disco
Trampling in wigged-out terrain between Eric Copeland, Muscleworks era James Feraro and Lutto Lento, the Dangnabbit EP flexes sinewy muscle in four parts, starting with the Troma horror-core funk of Nag Nubia, then spitting the gob of hacked muscle and screws called Goa, Goa, Gone, before yoking up the wonky-wheeled ride of Jack Dat Wabbit, and the swaggering jakbeat, Trip This Joint with X amounta madness.
The surrealist scenes of ‘Bloody Sirens’ documents London-based choral ensemble Musarc performing three works by Neil Luck at Extra City Kunsthal in Antwerp, Sunday 3rd October, 2015
Luck’s 4th work composed for Musarc, following from Misty (2010), Namesaying (2013), and Any’s Responses (2015), his new piece Bloody Sirens is presented as a report from an imaginary baseball match which conceives of the singers as individuals, rathe than a singing ‘mayuss’, who read from a score that includes a skull and plenty of errors and ellipses.
Yet another singular release on the boundary-oblivious Entr’acte, Bloody Sirens presents avant garde compositions for vocals which are simultaneously timeless, ancient, yet up-to-the-moment, both democratic in organisation and collectively keening towards a framework familiar to the Slip label’s excellent vocal works by Object Collection and Laurie Tompkins, as much as a wealth of historical works.
Berlin’s Mechatok, one of the most nattered-about artists to emerge in recent years, caters to Lorenzo Senni’s Presto!? label with four effervescent spins on melodic dancehall and PointillisticT.
Practically taking on Lorenzo at his own thing, Mechatok keeps it perfectly icy and low-key with the simmering hustle of 12 Years, then stealthily starts to come up with the layered trance arps and choral voices of Skies Of Tomorrow, until the big room coda of All My Time takes us by the hand to a hard trance wonderland, or something, where the barely-there dynamics of Flee trace out the phosphorescent afterglow of a trillion garys in the fashion of an avian murmuration.
Big RIYL to fans of rkss, Pavel Milyakov, Lorenzo Senni, Kamixlo
Deep, jazzy twysts on a rooted house theme from Dawit Eklund, following up last year’s ace drum track session with Dolo Percussion, and the tripping broken beats of his ‘Ouroborous EP’ 
In all four parts Dawit entwines his East African heritage with heavy references to American house and funk with inimitable style. On Gravity that comes out in a wicked push and pull between earthy, grubbing drums and purple hued, ascendent G-funk licks, while New Life gets it up with a rolling mesh of dubbed out funk chords and gently cattle-prodded drums to get the best out of the dancers. Flipside, he takes that vibe more introspective with the loosely smudged hustle of Sufferation Dub, before Luna’s Melody hardly touches the ground in a very special turn of autotuned soul vocals with chromatic keyboard licks and wickedly pendulous, effervescent breaks designed to marionette dancers from the shoulders and waist.
Augustus Pablo fronts an allstar Rockers International Band on ‘Eastman Dub’ weaving woozy melodica, organ, piano and clavinet into skeletal riddims circa 1988.
A1 Only Jah Jah Dub
A2 Eastman Dub
A3 Look Within Dub
A4 Isn’t It Time Dub
A5 It Up To Jah Dub
B1 Big Yard Connection
B2 African Step
B3 Original Scientist
B4 Corner Stone (Chapter 3)
Filigree detailed, vaporous sound designs carved from the Yamaha ex5r from XIII for Turin’s Gang Of Ducks. RIYl Visible Cloaks, Haruomi Hosono, Japanese electronics
“Eocity is the result of a study on technological failure and the imagination of a non-existent urban landscape. This project features the use of a Yamaha ex5r, one of the first synths to ever implement VL synthesis.
The Yamaha Virtual Acoustic Synthesis tone generation was born to try to accurately emulate the complex vibrations and other acoustic phenomena of real instruments and their sounds within space, but the dubious results of this technology gave birth to something more.
Its output sound happens to be cold and synthetic while being also organic and warm at the same time, welcoming the listeners into a feeling of an artificial world that is neither digital nor analog.
In this world man is not around anymore and the binary language survived him, communicating with the rest of the natural environment, in respect of its laws and dynamics, becoming one indistinct entity.
Eocity is a place that exists in between the imaginary and the real one, gently oating as a digital tactile experience.”
Space Age Recordings are pleased to announce the first official CD release of the album "For All the Fucked Children of This World” featuring Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized).
"This is the latest release in an on-going co-ordinated campaign which will see the complete Spacemen 3 catalogue re-issued.
For All the Fucked Up Children of This World” from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3's first ever recording session from 1984. The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation.
A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce's vocals. The album's liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the "all singing, all dancing answer to the problems of a grey 1985."
World premiere edition of Luc Ferrari’s incredible ‘Atelier de Libération de la Musique’ - a series of prescient, shockingly free-jazz styled improvisations recorded in February and March 1975 during rehearsals for the Concerts Électrovisuels at Pont F and Musée Galiera in Paris
Adding a whole new stripe of colour to everyone’s perception of music by Luc Ferrari - the fabled co-founder of the GRM, with Pierre Schaffer and François-Bernard Måche - Atelier de Libération de la Musique was, as printed on the LP sleeve, Ferrari’s self-stated attempt to “…free music from the constraints of style and aesthetics; to free the arts from the abstraction to train him for comprehensible actions; to be rather a craftsman of imagination.” And under these directives, Ferrari on electric organ, together with NWW-listed Martin Davorin Jagodic (electric piano) and Alain Petit (sax, flute, clarinet), plus Philippe Besombes (synth) realised this remarkable record which, somehow, until now, has remained unheard by the public.
Where we’re more used to hearing slow moving poetic tapestries or fleeting sceneries implying surrealistic scenarios from Ferrari, these recordings are more stripped down, verging on American minimalism, but too fractured to be called so. The A-side collects a number of succinct, enchantingly free and dynamic works ranging from windswept percussion and flute in the first, to passages of supremely playful, pastoral synth-jazz and elegiac melancholy, via a very Gallic passage of swaying, elliptical freeform jazz. On the other hand, the B-side’s parts are breezier, like someone opened a few windows in the room while Reich was developing his phasing minimalism, or as though Arthur Russell got lost in a trance while penning his Instrumentals, 1974.
For a Luc Ferrari record to surface like this is one thing, but for it to contain such gestures of beautiful genius, and so ahead of their time, like this record, is really quite special and unmissable.
Repress of Andrés’ funky 2012 downstroke as DJ Dez for Japan’s Root Down Records
A-side swings out with funky positivity and old skool Detroit swagger for the Dilla nuts on New World, while B-side’s Brain is primed with slouchy soul chops bound to entice the KDJ and Mahogani Music fiends.
Sleep and weep, peops.
Greek producer Pasiphae pushes a tense, furtive and killer electro-Italo-EBM sound on Interstellar Funk’s Artificial Dance
Recalling classic Murder Capital vibes as much as Helena Hauff’s contemporary scum budgers, but with an added air of ancient Hellenic intrigue, the Siphax EP is a strong testament to Fotini Kappa’s solo sound following her introduction on the Made Of Glass  hook-up with Intergalactic Gary for Bio Rhythm.
A-side, she bites down with steel-fanged jaws in the Giallo-esque scene-setter, Tachyons, then shifts down a gear for the aching sleaze and drama of Vertical Rotation, urged by evilly turgid subass and nerve-gnawing synths. B-side keeps up the pressure with Bladerunner-esque stacks of brassy synth flare in Quelque Chose De Mauvais recalling Afrodeutsche’s recent ace for Skam, logically pursued by the funereal Quelque Chose De Mal to an exceptional parting shot with the unharnessed, Italinate arps of header working just as usefully as an outro or dramatic set-starter in the right claws.
Hypnotic ambient techno-electro hydraulics from Finland’s Rasmus Hedlund
A-side drops in with the wide, cavernous bass rolige and crepuscular string pads of Bas Emfas, saving a curdled chromatic lead for when it matters, followed by the rasping, bittersweet electrodes of Luminös Klang.
B-side, he locks off the silty brownian Braindance motion of Conflux Sevens, and the weightless, half-stepping ambient pressure of Sonisk Morgonsyn.
Reissue of Peggy Gou’s 2nd release and debut for Phonica White
A-side features a trimmed and filtered take on Tronco Traxx’ Drops ; B-side is a raw, deep and rude acid burner layered with her own dreamy vocals.
Début turn from Yris Den for Köln’s Magazine
Who make their way from scudding synth chorales in Venial Elevate, to brittle, swung mid-tempo rhythms recalling Tolouse Low Trax grooves in Strafen, onto tight, prodding electro on Amen Auro Atha, and a sort of cyber dancehall-electro in Veniale Excavate.
Raime mutate Eski grime, post-punk, R&B, dembow rhythms and a bank of YouTube ‘Fail’ samples on this killer twelve for Different Circles, big if yr into Jon E Cash, Rapid, Rian Treanor, Gabor Lazor, Low Jack, Photek's 'Ni-Ten-Ichi-Ryu'...
Raime reach a pivotal moment in their catalogue with the sidewinders of Am I Using Content Or Is Content Using Me?, their first plate for Mumdance & Logos’ Different Circles label and club collective.
After years of drilling their message home thru belligerent repetition, the crucial London duo here go fractiously febrile, ephemeral and non-linear, probing a certain sort of feminine pressure across four tracks drawing as much from grime, post-punk and jungle as afrobeats R&B and dembow rhythms, and cannily splashed with samples lifted from the kind of “Fail” videos that hog YouTube’s recommendations sidebar.
Taken in context of the dark humour and ‘ardcore hauntological spirit which binds all their work, the results form a radical rethink of the Raime sound allowing for more chaos, space and knife-edge vulnerability within their often chokingly tight productions. Where their previous productions may have felt like tunnelling into a dank rave at London’s core, their current sound better reflects the shifting mosaic of the city’s cultural, socio-economic and political landscape, effectively rendering a brutalist 3D gymnasium or in-progress construction site for their wickedly augmented ideas to cut loose, and quite literally embracing the failure, fleeting emotions and nerve-riding uncertainty that comes with the terrain.
In opener Some Things Can Happen, Just Like This they persistently switch the pattern from vaporous dembow bumps to synthetic chorales in a sort of mutant 8-bar dramaturgy, while Real People, Not Actors observes an everyday fine line between aggression and play with ravishing yet elusive 2-step design comparable to Total Freedom clashing Burial over post-codes or a broken fidget spinner.
The palpitating, rapid flux of Our Valleys Are Always Uncanny is more agitated and wild-eyed than anything else in their catalogue, perhaps imagining Skepta’s Stageshow Rhythm after the cast has left and the duppies come out to play, before The Nourishment Cycle wraps up razor-chopped samples and melodic percussion in a way that feels like witnessing a bleeding cross-section of the city come to life, all sinew and sawn-off syllables tessellating in suspenseful animation.
It’s thrilling, edge-of-seat music, a breath of fresh air that’s certain to flip presumptions of Raime on their head.
John T. Gast in total snake charmer mode, owning and aligning your chakras with two tracks “from the ark circa 2013”
Further to his exquisite wygdn 10” and Young Druid album in 2017, and the recent Docile hook-up with Tribe of Colin for TTT in ’18, John T. Gast scrolls back into the mists of his hard drive on BTEC Version #1 to roughly around the time we were first beguiled by his work as Henny Moan and just cottoning onto his now better known alias.
We’d wager these are some of the earliest tracks he made in John T. Gast mode, and it’s not hard it draw a line between the durational meditation of his nine minute Terminator trudge ANGELA, with the slow pressure of wygdn_bashmenttk9, for example. However, DRITH is just out on its own, coming up with a briny electronic whine and clod-stepping drums that frankly sound like fcuk all else, beyond a barnyard of mechanical animals.
Young Echo’s Ossia ruffs up and danks out the dance for Blackest Ever Black inna gothic Bristolian style
Crossing paths with BEB for the 2nd time following his crushing Red X session, Ossia grimly socks it to London’s finest with the recoiling stepper, Dub Hell; a sludgy hot slug of distorted, buzzing subs harnessed to trampling kick and dragged backward thru an echoplex to frazzled effect.
Following that leyline to a logical conclusion, Devil’s Dance distills and renders that negative energy as an arcane air for Beelzebub, marshalling brittle drum patterns on marching manoeuvres into an inky blacknuss of no return, with blood-curdling screams beckoning from the perimeters.
Not nice in the best way.
Addendum to the smashing ‘Intra Musique’ LP, Alga Marghen serve ‘more Intra Musique’ from the radical fringes of Paris, France in 1969. Practically worth it for the A-side’s will cut-up, but chuck in an eight minute drum solo on the B-side and you’ve got a winner
“More Intra Musique, the second in Alga Marghen’s series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot, draws on the same body of recordings from which the first release, Intra Musique, was built. With none of the spirit and fire lost, this time we hear from a duo of Eddie Gaumont on prepared piano, and Thollot on drums, piano, prepared piano, synth, and tapes.
These efforts, despite the sharing of personal, couldn’t be more different than those which appeared on Intra Musique, venturing far into purely experimental realms. It’s hard to express how stunning and resistant to definition they are, at times flirting with the simple elegance of the furniture music of Erik Satie, before shifting toward the wild, frantic piano music of figures like Conlon Nancarrow, the pulsing, chaotic synths of Groupe De Recherches Musicales, Moondog, and the inspiration of field recordings from Africa and beyond. It’s all in there, and it’s stunning to beyond - shifting between worlds wild and cooly intelligent constructions in should. An absolute revelation, which rethinks everything we know about French free- improvisation. Like it predecessor, this long lost recording from the visionary mind of Jacques Thollot is overwhelmingly important and not to be missed on any count!”