What looks like the penultimate edition of FatCat's split series contrasts a remarkably epic Katie Gately composition with a side of spannered psychedelic house by Tlaotlon. This is the first we've heard of Katie Gately since her fascinating side for Public Information a year ago. Again she returns to the painstaking method of sampling and editing her own vocals and concrète sources into uncannily detailed, kinetic arrangements liable to buckle, vault and twist in the most unique geometries. Her 'Pivot' plays through as one 14 minute piece collaging a tortuous narrative from multi-tracked and queered harmonies and the kind of steepled peaks you'd expect to hear in a T C F piece. It's really something else. Likewise, Tlaotlon's follow-up to 'Ekotmists' for 1080p takes that EP's aesthetic further out in a dizzying array of Astral Social Club-gone-breakbeat styles with 'Myriade', plus the more groovesome bounce and psychedelic chaos of 'Ascensis' and a pair of scrambled synthy boogie abstractions.
Dale Cornish crowns his 2016 with a stringently playful study of the Roland TR-909 clap preset for Where To Now?, coming in the wake of aces for The Tapeworm and Halcyon Veil and a guest spot on Powell’s Sport album.
Applying N.M.O.’s “as strict as possible” mantra to the exhaustive extended technique of Steve Reich’s Music For 18 Musicians in a way that also intersects with Mark Fell’s Sensate Focus output, Cornish methodically juices the clap thru various strategies, hingeing against backdrops that alternately place its instantly recognisable tone in context of the dancefloor as well as in experimental, abstract negative relief.
Oolovka is perhaps unavoidably comparable with the swing and parry of Mark Fell’s Sensate Focus winners, only underlined by welting subs, whereas Cxema jukes at a pounding 160bpm velocity recalling, funnily enough, some of Rian Treanor’s output, before Isolate smacks out some recoiling industrial techno and Before Encore leaves the claps drily thwacking away in cold empty space, occasionally collapsing in dubbed out figures.
If you’ve ben curious or puzzled as to Cornish’s output to date, this is by far his most ‘floor friendly and sure to lure some more to his uniquely considered catalogue.
Fluxion returns to the Vibrant Forms series for a third volume.
One of dub techno’s greatest producers yields Vibrant Forms III; a previously unknown addendum to his two original volumes released by Chain Reaction circa 1999-2000, and recently reissued by Subway BCN, who are also behind this remarkable third collection and four corresponding 12” versions.
So we’re greeted with nine tracks of previously unreleased gear, which, from the sounds of ‘em, were presumably produced during the same era as the original Vibrant Forms (we aren’t informed otherwise). If you’ve ever taken the plunge in Fluxion’s deep, undulating waters, you’ll have some inkling of what to expect, and, if not - it’s approximately some of the closest gear you’ll find to the Basic Channel blueprints.
If we’re playing favourites, the album’s walloping but elegant nine minute closer, Contact is right up there for club-melting potential, as is the dusty drive of Autonomous, but, as you’d be warranted to expect, there’s lots to get to grips with in altered, low-key states, too, especially in the pensile dub suspension system of Gradual Approach and the album’s pair of roiling, ten minute skanks, Hordes Descent and Safe Harbour, catching Konstantinos Souls at full stretch comparable with his much loved early transmissions.
Superb selection from the Ethiopiques and Amha Records archive; reissuing the 1st volume of Ethiopian Hit Parade, which was originally released in 1972 as a compilation of hit 45rpm single taken from Amha Esthèté’s eponymous record label.
On Vol.1 of 4 x LPs, we’re offered a riveting survey of the sounds which defied the restrictive rule of Emperor Haile Selassie, whose Ministry of Information initially attempted to stop Amha Records, but eventually turned a blind eye, perhaps in recognition of the fact that Amha Esthèté had the guts to produce new records of domestic music when they were too slack to produce any.
As ever with historical recordings, context is key to fully understanding the music, but you simply need a functioning set of ears to appreciate the soul and vibe of these tunes, ranging from performances by “trade-modern” singers representing Amhara and Oromo culture, alongside the pioneering founders of Ethiopian groove, such as Alemayehu Esher with the driving Addis Abeda Bete, Girma Beyene on the debonaire shuffle of Set Alameneme or the funked-up hustle of Teshome Meter’s Gara Ser Naw Betesh, along with a prime version of the Ethio-Anthem, Yekermo Saw.
All killer, no filler!
Canny, bass-warped house and techno from Denmark’s Misanthrop, who appear to be making their debut move as producers and label proprietors of Foul-Up.
The opening track is essentially the one you need to check, sounding something like a Prince Of Denmark track with loads of added subbass that proceeds to slosh almost dangerously out of control, but is harnessed by brittle drum machines and buffered by thick fields of distortion.
The others variably take in blue 2-step techno with a twinge of post-rock in Nocturnal Emission, and playfully gallic house in Limerence, but that opener, No. 3 is the show stealer.
A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track album that again shows they are masters of big hypnotic grooves.
"The album’s name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the ‘80s, most often releasing on their own 430 West label, which is where they appear again here.
Say Lenny: “We’ve been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.”
“Technology is only a tool, which we also had in mind during the recording process.” Adds Lawrence. “We decided to go back to how we used to make our records, when we didn’t have so many ‘sophisticated’ audio devices. Back to when we interacted in the studio together as musicians.”
Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don’t Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.
The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of [Where] Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans."
Crucially wicked box set of some of Adrian Sherwood's forward thinking and experimental productions of the early 80’s.
"Inside you’ll find four studio albums from Adrian Sherwood’s On-U Sound label, including the fourth instalment of the Singers & Players series, two Creation Rebel albums and the other planetary compilation of industrial reggae experiments, Wild Paarty Sounds Vol.1.
Released in 1984 “Leaps & Bounds” by the collective known as Singers & Players features vocal contributions from Prince Far I, Congo Ashanti Roy, Mikey Dread and Bim Sherman. 1981’s “Threat To Creation” is a Creation Rebel/New Age Steppers double billing. Probably the most daring dub album to emerge from the UK, this is the nexus where reggae and post punk collide. Coming out of 1982, Creation Rebel’s “Lows & Highs” featuring vocals from Crucial Tony and Lizard Logan is the most straight ahead reggae album in the box.
One for those less experimentally minded, Style Scott lays down the beats next to Eskimo Fox and Donald Campbell. Wild Paarty Sounds is where it all starts to get really weird. There must have been something in the water in 1981, this is Charles and Diana’s child the establishment didn’t want you to know about. An album for those who like reggae influenced by PiL’s Metal Box."
Sometimes, it doesn’t take very long to create something brilliant. When producer Robert Evans rejected Phillip Lambro’s original score for Chinatown, Jerry Goldsmith was hired to create another, from scratch, in just 10 days.
"To say he rose to the challenge is an understatement. Goldsmith, a 20 year veteran of the TV and movie industry with credits including Dr Kildare, Planet Of The Apes and even The Waltons theme, turned in a work that was both a career peak for him and the saviour of Roman Polanski's masterpiece of neo-noir.
What was clever about it? It wasn’t quite straight jazz, it wasn’t quite classical. It was identifiably a movie soundtrack, but an unusual one at that, leaning heavily on Uan Rasey’s mournful trumpet solos, sparingly using pianos, harps, strings and percussion, and employing sounds and crashes as overtures. It doesn’t try to speak to the film’s 1930s setting so much as to the mood and feel of the movie, a piece about political and moral corruption in a water-starved LA featuring Jack Nicholson at the absolute top of his game.
“I remember [Evans] speaking about the music having a contemporary feel, contemporary meaning the ‘30s,” Goldsmith said in an interview before his 2004 death. “I said, ‘Bob, I don’t think so – you see that on the screen, why should I do that in the underscore? … Emotions are timeless.’”
Originally released as a soundtrack in 1974, and long out of print, Cinewax's reissue is remastered from the original tapes and is presented as an exact reproduction of the original album artwork featuring Jim Pearsall’s classic film art. Drop the needle and hear why Chinatown is, reportedly, David Lynch's favorite soundtrack. Goldsmith was right about emotions..."
Proibito awakens from a summer slumber for one final dance this year with this slab from the unheralded Leaba & Le-Roy.
Last seen gifting the summer “New York City's first DEEP Reggaeton single” from Bryan Piñeyro’s DJ Python alias, Proibito close out the year with another fanciful offering from a seemingly new production unit. Larry Leaba & Bell Le-Roy hail from opposing sides of the Atlantic and apparently met “on a scuba trip in Belize in '99”. Fast forward almost 20 years and Anthony Naples has coaxed a trio of productions from the pair for this Proibito 12”, Leaba & Le-Roy Long Mixes, with both providing solo cuts as well as an extended B-side collaboration.
Leaba’s opener The Family Butter spreads out a fine assortment of percussive angles for the spiritual dancers, bookending the production with the sort of peculiar vocal sample favoured by Dublin’s Wah Wah Wino crew. Le-Roy’s Burnt Ends (Sweet And Spicy Mix) hones in on that sweet spot between NWAQ and early Huerco S., as an assemblage of thick drums and bongos pile through the intoxicating melodic haze that unfolds in front of them. The mood is ascendant throughout, like one long, satisfying puff of a spliff.
Face down, Le-Roy and Leaba join forces for the 13 minute 22-04-16 (Warmy Parm mix) which more than lives up to the seasonal connotations of the title. Again, comparisons with Wah Wah Wino instigator Morgan Buckley come to mind as this delightful, Balearic nugget develops; supple, hollowed out percussion and toasty highlife guitar intermingle with the familiar chirruping of Spring birds.
Initially released in 1979, ‘New Picnic Time’ is “weird, wonderful and so far beyond the expected that these deconstructions of popular music are as charmingly retro as the Beatles and as modern as today's blendings of funk, hip-hop and alt-rock.
Revolutionary and demented yet full of fun, Pere Ubu are indispensible to any collection of 20th century rock.” (Herald-American, Scott Laurence).
Room40 introduce Mirko Vogel with a captivating debut album of visceral-yet-tactful, densely detailed-but-dreamily spacious ambient/noise meditations that were first conceived whilst Mirko was on the road, touring as part of Aussie dance-pop group, Cut Copy.
Working somewhere between Room40’s textured scapes from Norman Westberg (Swans) and the amorphous, anaesthetising atmospheres of their Pinkcourtesyphone records, LP1 feels like we’re made privy to a highly personalised ambient dimension, like being invited thru an unsuspecting door in someone’s house, only to step into some of the lushest, pensile and free-falling spaces.
The tracks were initially felt out whilst Mirko was in between shows with Cut Copy, used to fill downtime and chime in with the ever-changing landscapes he was travelling thru. In that respect, he really captures the timeless ambient paradox of static movement, holding our attention with a range of naturally blooming, wistful gestures underlined by a firm emotional clarity.
Reissue of a rare funky disco belter from ‘70s Tunisia.
“Carthago was one of those bands where the internet largely failed to provide any infos despite the fact that Carthago created some incredible music in the form of an highly infectious Tunisian take on disco music. Luckily most of the members of the 1970s musical scene of Tunis are still around to tell their story.
Carthago was founded in the late 1970s as a fusion of Dalton and a second band called Marhaba Band. Both bands frequently played at hotels and night clubs in Tunis and Sousse. They had similar musical influences and despite the fact that they were competition for the most part, they came up with the idea to join forces for a new band. Musically Carthago kept on walking on the musical path of Dalton and Marhaba but incorporated disco music, a new style that was making its way to North Africa from Europe and North America. The band had quite some success on local radio and played a number of big shows with thousands of people showing up.
The band’s concerts were a mixture of their own compositions as well as cover versions of the hits of the time from Stevie Wonder to Chicago. At the end of the 70s they went to Paris to record their only, self titled album. For our reissue we picked out two of our favorite tracks: „Hanen“ and the outstanding disco version of the Dalton track „Alech“ which has proved to work on every dance floor we played over the last two years.”
Plushly absorbing ’80s disco produce from Beesmunt Soundsystem, topping off their run of releases for Church with four prime, involving cuts for San Francisco’s HNYTRX - affiliates of Dark Entries and major party starters in their home city.
The Sensual Works EP is the strongest showcase for Beesmunt Soundsystem that we’ve heard.
Working at the slick, gay business end of the ’80s dancefloor paradigm which set a template for the last 30 years of dance music, the duo adroitly test a lean, widely dubbed electro-house and EBM style with Sensual Works, whereas Blissed Out looks farther east (or is it West from San Fran?) with diaphanous hyaline sino melodies and rolling proto-trance groove recalling classics by The Force Dimension.
They were no flukes either, as the B-side gets more forceful, clenched, with the bruxist acid drive of Playin’ Myself running like one of Gabi Delgado’s darkroom Delkom specials, and Jason ken dig chimes in with a more brooding remix of Sensual Works.
After 5 years of turning out hi-tension D&B singles, Seattle’s Homemade Weapons turns his hand to that rare thing, a debut album of exclusively D&B style mutations.
Safe to say he hasn’t compromised his sound one bit with anything like a token double bassline or a live drummer, as is too often the case with D&B LPs. Nah, the vibe is strictly for the heads with twelve tracks exploring the slightest shifts of syncopation in tendon-testing styles, with super strong results in the Rugghouse-style roll cage of Ironhead, the shadow-boxing special, Jawbox, and the clamp jaw snare bite of Red Herring.
This epic box set documents every performance from the exhibition 'Beneath the Valley of the Lowest Form of Music - The Los Angeles Free Music Society 1972-2012' at The Box, Los Angeles in 2012. The Los Angeles Free Music Society (LAFMS) is an experimental music collective founded by artists and musicians in Pasadena, California in the early 1970s. Continuously active for 40+ years, they have released over 25 albums on their LAFMS label and have released or appeared on hundreds of albums on various labels all over the world.
"In 2012, their work was the subject of a major exhibition at The Box that included photographs, visual art work, home-made instruments, recordings, ephemera, film & video. For the six week duration of the show, the gallery hosted many unforgettable concerts that captured the attitude and range of musical styles embodied by the LAFMS.
Includes performances by/of: Opening Reception Improvisation: Dennis Duck, John Duncan, Ace Farren Ford, Joseph Hammer, Mike Kelley, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Recchion, Vetza; Artificial Art Ensemble: Ted Byrnes, Ace Farren Ford, Mars Pharoah Ford, Oddrocker Orlando Greenhill, Michael Intriere; The Tenses: Oblivia & Ju Suk Reet Meate; Tom Recchion; The Doo-Dooettes: Dennis Duck, Fredrik Nilsen, Tom Recchion; Le Forte Four: Joe Potts & Rick Potts; Smegma: Dennis Duck, Ace Farren Ford, Mars Pharoah Ford, Ju Suk Reet Meate, Oblivia, Vetza; Airway: Ted Byrnes, Dennis Duck, Ace Farren Ford, Juan Gomez, Joseph Hammer, Kevin Laffey, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Recchion, Vetza; Ace & Duck / Artificial Art Ensemble: Ted Byrnes, Dennis Duck, Ace Farren Ford, Oddrocker Orlando Greenhill, Michael Intriere; Dinosaurs With Horns: Joseph Hammer & Rick Potts; Vetza & Joe Potts; Dolphin Explosion: Colette Weber Shaw & Ariel West with Dani Tull; F For Ache: Doug Harvey, Dani Tull, Marnie Weber; Eddie Ruscha, Jim Shaw, Dani Tull; Extended Organ: Paul McCarthy, Fredrik Nilsen, Joe Potts, Tom Recchion, with prerecorded XO contributions by Mike Kelley; Feedback Waveriders: Antony DiGennaro, Michael Jon Fink, Paul McCarthy, Chas Smith, Brian Walsh; Artzenkraft: John Lewis; Small Drone Orchestra: Don Lewis & Eddie Nervo; Albert Ortega; Points Of Friction: Tim Alexander, Damian Bisciglia, Mitchell Brown, Joseph Hammer, Albert Ortega; Rick Potts (on altered turntables between sets; The Jrks: Joe Berardi, Kira Vollman, Rich West; Joe & Joe: Joseph Hammer & Joe Potts; Oolies: Tom Boram, Mitchell Brown, J.P. Jenkins; Rahdunes: Nate Archer & Aaron Coye."
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources…for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots" had promised.
"Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. “I met Lee through my script girl, in Stockholm in 1969,” remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.” The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.
Light In The Attic continue its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.
Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound; lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times”), some beautiful ladies to sing with (“Leather & Lace” & “Hey Cowboy”) and even a couple anti-war protest songs to be topical ("No Train to Stockholm” & “For A Day Like Today”). The David “Bitter Sweet Symphony” Whitaker arranged orchestral pop of “What’s More I Don’t Need Her” and the stone cold Hazlewood classic “The Night Before” cement the album as Lee’s peak on LHI records and ironically the label's swan song."
Severely worn-down, eviscerating industrial experiments from Italy, 1982, dug up and resuscitated in its entirety by Mannequin for the first time, backed with a strong edit by Alessandro Adriani.
Fabrizio Lucarini and Silvia Innocenti’s Plath first bubbled back to the surface when Alessio Natalizia (Not Waving) included their ace I Am Strange Now on his Mutazione (Italian Electronic & New Wave Underground 1980-1988) compilation for Strut back in 2013.
Fast fwd a couple of years and Mannequin now present I Am Strange Now as part of a 12” expansion of Plath, corralling the original’s guttural knot of spat-out vocals and whizz dick electronics alongside the proto-BM meets The Haka style of Proletarian Submission 2 (the Howl) and the burnt throbs of Telik - 12345, which could almost be a stray Conet Project transmission.
However, it’s only the boldest DJs who would dare play those bits, so Alessandro Adriani gives Proletarian Submission 2 a stronger pair of boots to stomp around on the B-side streak of numbly hypnotic, glowering EBM techno.
Bubbling up from the archive, a brilliantly warped, acidic and intoxicating décollage of soundsystem shrapnel rinsed thru the echo chamber. RIYL Tapes, Raymond Scott, Ennio Morricone, Horsepower Productions
“Shimmering hologram oases belie the bone-dry heat inna this ya ghost-bloodcl@$t-town; When tumbleweed beliefs pose as the only sign of life, it's time to step into Death's saloon; Bust down the dusty double-swinging doors even the Preacher-man dares not enter!
The Bartender has run out of liquor and listening; Sullied Doves have danced their last number; Lawmen, levelled and long-gone, litter the dance floor; Bodied outlaws doubled and draped over the bar. When the only exit is a horse-drawn hearse; Face to face with Death, who will shoot first!?!
Step into this rattlesnake-ridden realm! Dancehall Showdown is a crazy non-place world where 60’s Spaghetti Westerns, 70’s Library Synth Records and 90’s Golden Era Dancehall come together for a death-defying communion inna Yard! The old posse of SKRS and MX7 ride once again under the banner of their co-run label, ICS Library Records, off into the fringes of sound-based reality.
SKRS' OG Papa Coolbreeze reinforces their select palette, "This album is our reiteration of influences ranging from Spaghetti Western era Upsetters to Raymond Scott's Manhattan Research Inc. to early Horsepower Productions. Now the soundtrack we paint, however, is something entirely unique on its own". Simply put: there's NOTHING like it out there!
Full disclosure: this LP has been shelved for well over 3 years now with the sudden disappearance of Oklahoma's now-mythical Digitalis Recordings, who were set to release it hot on the heels of their 2012 SKRS debut LP, TheCallFromBelow. Since then, we've laboured to break more ground and lay several more keystones in the growing SKRS/ICS groundation-foundation in order to withstand its intensifying expanse and weight. Now that the ground has been prepared, we've decided to take Dancehall Showdown back into our own hands and give it the proper love and nurturing we had always intended for it.”
Classic kosmiche-skooled, industrial-toned drone works.
“Conceived in the cultural cellars of Bangkok, Thailand, and Geneva, Switzerland, this 9-track LP by Jerome, aka ‘Yantra Mandir’ and ‘The Dude of Stratosphear’, casts a wide net over experimental meditative ambient music, progressive drone, Brahmanic accents, and ritual oscillations.
Together, this work represents a 20 year journey in Geneva of musical production, artistic expression, and the melting pot of experiences fused with the rich legacy of Indian spiritual sounds.
The LP is partly a collaboration between five close collaborators, each contributing a single sound to complete the multiculti jigsaw, and partly comprised of field recordings of Bopa musicians from Rajasthan, in northern India. Added to the confluence are intricate layers of electric bass and electronic vibrations.
The name derives from ancient Sanskrit words emblematic of the overarching sound. Yantra is the Sanskrit word for mystical diagrams found in the Tantric traditions of the Indus Valley. These diagrams are used to worship dieties at home or in temples, as a meditation aid, and to activate the various benefits and occult powers as defined by Hindu astrological and Tantric texts.
Mandir is the Sanskrit word for a place in which a still mind and soul float freely search of life, peace, joy, and comfort. For centuries, the mandir has remained the nexus of a community where people forget their differences and voluntarily unite.”
Necessary reissue of an exceptionally rare solo outing by Giulia Allessandroni, one of few Italian female artists working in the field of experimental and library musics, and also wife of Alessandroni. Includes some cracking psuedo-tribal percussive works and a perky, psychy flute dancer.
“The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop/Abnormal Sensations) combining the ethos of Can’s Ethnological Forgery Series (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks.
Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country’s vibrant, and seldom rivalled musical secret society. The cliché “behind every successful man, there is a strong woman” might not do Alessandro and Giulia’s long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni’s limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo’s finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984 Giulia’s collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens, Revolver, Questo Sporco Mondo Meraviglioso, The Night Evelyn Came Out Of The Tomb, Angoscia, Inchiesta Giudiziaria and Witchcraft ‘70 (Angeli bianchi Angeli neri) earning increasing “Most Wanted” status on the collectors’ market.
It is of no coincidence that Giulia’s nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis’ seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best.”
Reissue of an album originally released in 1982, 'Song of the Bailing Man' is an ‘inspired, invigorating, confounding, disturbing... yeah, one hell of a swinging way to go.
"Still the futility Ubu must have felt making far sighted music in a chronically near-sighted world is pressed hard into these grooves.’ (Melody Maker, David Fricke).
Classic Sega game soundtrack issued on 180g classic black vinyl for the first time Remastered from original console sound chip. Housed in 425gsm yardstick with gold flood printing. Includes 2 x lithographic prints. Sounds way heavier than we remember!
“For our seventh release in partnership with SEGA of Japan, we are delighted to bring together the complete music from the classic Mega Drive games, Golden Axe (1989) and Golden Axe II (1991), in one special package. This release features the unforgettable artwork from both games, supplied on two thick lithographic prints, with the record pressed on heavyweight classic black vinyl.
The outer sleeve features rare artwork from the 1989 Japanese edition, sourced from the SEGA archives and presented on 425gsm cardstock with gold flood printing. As always, the audio has been carefully restored and mastered using the original console as the source, ensuring these memorable soundtracks are preserved for many quests to come!”
Released in 1980, ‘The Art Of Walking’ sees Pere Ubu ‘moving even further from the conventions of rock music - and from their own past - but still moving forward, without a doubt, and losing none of their integrity as a group.’ (Melody Maker, Chris Cutler).
Trippin’ boogie peaches from down under, courtesy of the suitably monikered Pronk and Duk Duk Secret Society, who both make music as west as their names suggest.
Duk Duk Secret Society makes the first move with a slompy bump of knackered groove and sleazy vocals in Five-Thunder Messenger (Down, Down, Down! edit) that calls to mind Design A Wave’s off-kilter disco, whereas Pronk take the rest of the record on the razz between what sounds like a stray Moon Wiring Club dispatch in Nanu Nanu, to the crunchy hip hop instro, Roadside Picnic (bonus track), and a chokingly submerged pseudo-deep house dub, Backward Waterfalls.
RIYL Heatsick, CS + Kreme, Design A Wave
Killer, cusp of the ‘90s-style techno/new beat/EBM from Device Control, coughing up only his 3rd release proper after a pair of self-released 12”s on their eponymous label.
It opens with Most People which is, quite honestly, one of the best new beat/EBM tributes that we’ve heard beyond 1990 or V/Vm’s SABAM series; from the clunky chug to the minor key vocals to that nagging top line and the militant chants, this is BANG on that belgy buck.
Lexington Avenue follows, pushing into a more abstract corner of proto-techno/industrial with wickedly offset bassline, and Pit Dynamics cuts into a seam of teeth-jarring acidic dissonance, leaving Damaged to stomp itself into a Frak-shaped hole.
RIYL Novo Line, V/Vm, Frak
Frisky funk ’n soul fuelled filter house from San Proper, packing the loose but driving disco hustle of Whaddyaknow (The Proper Vocal Version) and a stripped down but bouncing insert, Well, W, No.. (The Dub-Disco-Banger) on the A-side, backed with the much more unbuttoned psych-disco heat of Born Ready (The Rainco Disclub Bow Mix) for those who want to take the ‘floor a step farther.
Reissue of Ron Trent’s I Feel The Rhythm (1999), which is itself a riff on his Chez-N Trent bomb The Choice (1993), cut to the A-side, backed with Paul Johnson remix and an Inner Experience revision by Wamdue Project.
Francesco Baudazzi (Obtane) turns back to his Violet Poison alias for a more nuanced approach to the no-mans-land between techno, dark ambient and abstract electronic spheres.
Voices From The Hell forms the first release on Dub Ito, a new label from VP’s native Italy, with six tracks cycling thru a shady spectrum of styles; gathering momentum in the concrète rattle of Beyond The Door and diffusing that energy into the broad, tumultuous techno dimensions of the title track and a glowering abyssal sound in Prussian Blue.
However, he really comes into his own on the B-side, arching up the neck-craning industrial scope of Like A Pandora’s Box next to the uncannily resonant and majestic synth arrangement of A Blade In The Dark, which ends up sounding like a stately Steve Hauschildt piece by the close.
Canny edits of “modern percussion” from Pocketknife a.k.a. Boonlorm; trading in four nifty variations drum patterns that don’t sit easily in any preordained category.
Whether that’s mixing (what sounds like) native South American, African and gamelan tones in Pernetas, pulling Chicago house backwards thru the jungles of Borneo in Threads, or splicing field recordings from a distant south Pacific island with Dance, before giving himself the full B-side for a piece of Reichian phasing in Marimbas.
New on The Trilogy Tapes...
Burning disco and dub edit hustle from Baba Stiltz; building it up to peak times with the frisky swing and skip of Keep It Lit, bringing it down again with the sloshing skank of BB, and slipping out the side door with a drizzly bumper called We Both It’s The Last Game We Play.
In 1987, Michel Redolfi hit the California Desert road during the Fall, to catch those hypothetical poly-sensorial desert tones. He visited the Mojave Desert, Death Valley, Palm Canyon and came back with an extraordinary album of early electronic music, sparse and bright to express the crude light and the divine silences. Released in the Early Electronic series tracklisting 1 opening 5'49 2 mojave desert 7'11 3 death valley 11'26 4 palm canyon 10'20 5 too much sky / 10'00 extra track CD only
Black Merlin casts three shadowy EBM darkwave cuts for Jealous God, seeing Silent Servant, James Ruskin and Karl O’Connor’s label thru its twilight phase.
A-side is given to the hypnotic choral loops and stygian momentum of Isolation, cantering at a coolly stoic 100bpm thru pensile atmospheres and trepanning snares.
B-side, Klang picks up the pace to a prickling 120bpm jack cracked up with ricocheting claps and 16th note EBM pulses, before Tanksyport cycles off into slow, grungy industrial styles recalling Nick Klein’s sound.
Remarkable discovery of what is believed to be the longest surviving work by Delia Derbyshire, available on vinyl for the first time ever; a beautifully crepuscular soundtrack of electronics and field recordings to the 32-minute film Circle of Light: The Photography of Pamela Bone, directed by Anthony Roland.
"Curated and released by the fabulous Jonny Trunk this is quite simply one of the best records I have ever heard..." Chris Watson.
We can only find fragments of the original film online, where Delia's signature, haunting radiophonics sit perfectly in key with the slow, washed-out imagery of trees, fields and seaside.
Without the need to provide any jingly themes or cues, Delia and Elsa really find the right tone to match Pamela’s imagery, resulting in two pieces that sound much closer to the deeply abstract elements of Delia’s BBC predecessor, Daphne Oram, than her cuter, more widely known commercial works.
As Jonny Trunk explains "As far as I'm Concerned this soundtrack is a recording unlike any other of the time - a sonic tapestry of taped drone, delicate shaped electronics and birdsong..."
A total find - Highly Recommended!
Biting Tongues were formed in 1978 to improvise a soundtrack to the screening of a 16mm experimental film of the same name at Tony Wilson's original Factory Club in Manchester. A core membership was soon established that was to last until 1984: Howard Walmsley (sax) Ken Hollings (texts), Eddie Sherwood (drums,) Colin Seddon (bass) and 808' State's Graham Massey (guitar & noise).
"Their performances, an unpredictable 'post-punk avant-funk' mix of spoken word, percussion, random tapes, films and freeform soloing, were mostly confined at this time to clubs in Manchester and London. The release of their first three albums 'Don't Heal', 'Live It' and 'Libreville' between 1981 and 1983 widened their audience, and Biting Tongues found themselves performing more and more in theatres, arts venues and galleries.
'Still On Hawaiian Time' captures two Biting Tongues performances from this later period. The Library Theatre in the centre of Manchester was a large seated venue with an even larger stage, meaning that the group members could spread out more and incorporate additional percussion, tapes and electronic devices. It also shows Biting Tongues cutting up and rearranging themes from different recordings, allowing for the free play of existing material - the performance also anticipates their work on 'Feverhouse': their full-length experimental feature film released in 1984 by Factory Records' video offshoot IKON, together with a soundtrack album as FAC 105.
'Feverhouse' had its first London screening at the Riverside Studios in Hammersmith as part of Factory's residency there in the summer of 1984. Biting Tongues had played the same venue three years previously at a time when they were beginning to expand and broaden their sound. The improved facilities available in a theatre venue, including greater space, better acoustics and more time for a sound check, meant that Biting Tongues could concentrate on the performance, producing some of their most aggressive and demanding work.
During the early 1980s Biting Tongues excelled as a live band, always seeking to challenge both themselves and their audiences. These two recordings are fascinating documents that conveysome of the immediacy and commitment of their performances - something that can still be felt in these old tapes some thirty years after they were first recorded."
Part of a really killer batch, Quiet Time With Aquarian renders a deeply faded mixtape of illbient, soul, flashcore and jungle from Toronto-via-NYC’s Aquarian to accompany ace Quiet Time instalments from Huerco S, BABY and MONEY.
We’ve had an ear on this producer ever since his technoid mutations began creeping out on UNO circa their pivotal Arca releases in 2012. He’s been relatively quiet since then, with a digital single release Bad Feeling / Insulin to his name in 2016, and this 19 minute mix ’n blend of original material making up his broadest, dankest trench of material to date.
It’s one of those mixes that transcends the sum of its parts, reorganising his original components into a sort of writhing, lurching organism or nocturnal cyber golem that morphs from sludgy crack to palpitating techno and vicious jungle in convulsive, shapeshifting spasms with grippingly haptic twists.
Mickey Pearce has always struck us as the type of producer who has a personal Top 5 Goat Memes.
The bass mongrel / wheeler dealer’s follow-up to debut album, Michael expands on that theme with four bumpy, driving bangers, building it up with the title track’s filtered disco-house thump, pushing into whacked out breakbeats with Rant Over, and casually knocking out one of the best post-UKF riddims we’ve heard in ages with the brilliant Bumpy Chuckles.
Wickedly unhinged, incredible 1981 jams from an early NWW member, Heman Pathak with his pals John Grieve and Dave Hodes as Hastings of Malawi; a heavily beguiling session of dadaist lo-fi concrète, coruscating haywire synths, the speaking clock and lots of acousmatic clangour, all recorded in one night with very little idea of what the f**k they were up to.
Strikingly future-proofed by way of its outlandish, disclocated temporality and punkish disregard for convention, Vibrant Stapler Obscures Characteristic Growth was Hastings of Malawi’s one and only release, and original copies are purportedly rarer than they should be because one of the band members’ parents binned 300 of them. Ouch.
Given that Heman Pathak was one of the three “untrained” or total novice musicians behind Nurse With Wound’s classic debut, Chance Meeting On A Dissecting Table of a Sewing Machine and an Umbrella (1979) and its corresponding list of avant-garde obscurities, commonly known as the Nurse With Wound List, it’s not difficult to draw a line between the impetus of that radical record and the wild cacophony of the one in front of you.
If you subtracted the freewheeling guitar solos of Chance Meeting, and imagined the rest played by a gang of restless poltergeists tooled with drums, clarinet, synth and piano, and anything else within reach, and then played it down the phone to random, unsuspecting recipients who would become part of the recording (presaging Sam Kidel’s Disruptive Muzak by 30 odd years), you’ve almost got a grasp on this album’s untrammelled, explorative madness.
We’ll leave the rest for your indigestion and dilated discovery, but you can trust that it’s one of the wildest records you’ve never heard before.
Icelandic orchestral poppers Amiina used to be part of Sigur Ros in another life and despite not having worked with the band for a few years now, the influence of the epic post-rockers is still often evident.
That's not to say that Amiina's latest full-length 'Puzzles' sounds exactly like Sigur Ros, but there is a distinct similarity to their attempts at the cinematic, the sublime and the quiet-loud dynamic. 'Puzzle' is a beautiful listening experience from beginning to end, and what it lacks in originality it just about makes up for in sheer resolve. There is never a sense that the band is anything less than sincere, and when making music this unashamedly emotional, sincerity is pretty much the most important ingredient.
Through the usual fog of strings and delicate percussion, these precious songs tiptoe and shimmy through your unconscious like the ghosts of Scandinavian faeries, and with all the charm of a well-worn Grimm missive, the album chatters to the wide-eyed child in all of us. Lurvely.
Color Tapes floor us again with a reissue of Modern Art’s debut 1982 album of bitter coldwave and aching pop dirges, forming a perfect entry point to the pivotal world of Gary Ramon, who would go on to record with Coil and Current 93, among others.
Arriving in the wake of inspirational releases from Joy Division, Cabaret Voltaire, Clock DVA and Throbbing Gristle, Modern Art’s Underwater Kites pinched those templates into a range of nervy, minimalist styles porous to influence and defined by the moody character of Gary Ramon’s vocals and his feel for expressive, evocative melody.
As the founder of Color Discs/Color Tapes, there’s reams of evidence that Ramon was a proper locus for the post-punk scene at that time, and his output can be heard as perfectly symptomatic of what was going on in England during that time.
Underwater Kite epitomise the open-ended diversity of that era, adroitly encompassing everything from wiry, Suicide-like night-stalkers such as Hello/Goodbye and spaced-out minimal wave comparable with John Bender or The Normal in TV Screen or Images In Sand, whereas Landscape From A Dream is up there with Martin Hannett and Joy Division’s most atmospheric productions, and the remarkable Tropic Of Cancer shimmies into dubbed-out 4th world electro and Monochrome Dance hits a scratchy blue boogie strut for brilliant unusual balance.
Whether you’re the crankiest wave fiend or fresh-faced newcomer, this one is really worth your time!
Incredibly wide and vertiginous sound designs riven with abstract and experimental post-techno geometries
“Making experimental electronic music as a comparatively rare band-like outfit finds expression in their improvisation colored, peculiar sound. Carried by the exeptional use of all kinds of (non-)instruments, voices, digital & analog hard- and software as well as a modular system »Steno« stands paradigmatically for a modern hybrid of analog-digital soundscapes constantly wandering on the dubious edge between music and noise.
Due to piling up greatly dense tracks SONGS FOR PNEUMONIA is constantly dissenting the concept of the ambient genre. Driven by the band’s enthusiasm for both electro-acoustic noises and more dancefloor sounds this album also contains tendencies of beat-structures which dissolve between shifting synth sequences and reverberant vocalising. It can be assumed that not least the presence of Stanley Schmidt (maybe familiar to you because of his activity as a House-DJ & -producer and co-founder of Rivulet Records) establishes slack connections with more rhythmic music.
As the album progresses overlapping sound-textures flow into contortion, positively poised in oscillation between digital hecticness packed in shivering clicks & cuts, and, on the other side decelerating, spheric moments. Paired with anomalous clangs & chinks plus the subtle, hard to decipher emergence of Clemens Bach’s guitar this record becomes a fascinating, multilayered offering to literally dive into.”
At 26 tracks wide and 2hr 22mins long, Playgroup’s Previously Unreleased collection forms one of the strongest portraits you’ll find for Trevor Jackson’s unique dancefloor style.
Issued over the course of summer ’16 in a series of 9 x 12”s, which are collected here in their entirety, Previously Unreleased rinses Jackson’s archive for still glowing, mongrel mutations of the boogie-disco, dub, hip hop, punk and electro that he grew up with as both a graff writer and nascent B-Boy. By the late ‘80s he’d turned his hand to designing classic record sleeves for the likes of S-Express and Eric B. & Rakim, and was subsequently producing rugged breaks records in the mid-late ‘90s as Underdog.
If you want track by track appraisals, check the individual vinyl release pages, but take it on trust that this is a hefty party load of tricks that sounds properly wide and heavy with amplification.
R&S dip into the UK pool again with two eagerly-awaited fresh Techno killers from Blawan.
The A-side 'What You Do With What You Have' revolves around a canny vocal sample of KDJ taken from a lecture at the RBMA and pitched up and down over a crunching bit of Techno rollidge guaranteed to get the dance going. The flipside 'Vibe Decorium' carves into a more swung sort of rhythm sodden with caustic acid splashes and hyping vocal samples. Imagine Marcel Dettmann smelting Pangaea in a Sheffield foundry and you've got the vibe.
Orient Occident is a more recent recording of the great Estonian composer Arvo Pärt's work, released in 2002, and might surprise those familiar with his better known, sparser works.
Performed by the mighty Swedish Radio Symphony Orchestra and the Swedish Radio Choir the three pieces contained here are markedly busier, but no less spiritual than you would expect with two of the pieces set to Psalms. The opening piece 'Wallfahrtslied / Pilgrim's Song' was written in 1984 as a tribute to a composer friend, and is fittingly melancholic, taken from Psalm 121.
The rest of the record is markedly lighter however, with the final piece 'Como Cierva Sedienta' almost triumphant, jubilant heights and feeling almost cinematic in scope. There are mirrors here somewhat with the work of Philip Glass, and the piece has a similar quality to Glass's operas. It might not be the most obvious of Pärt's records to choose, but 'Orient Occident' is a hugely rewarding disc which will enthral as much as it will challenge listeners. Highly recommended.
Laid-back but gripping sort of radio play-cum-lounging soundtrack by I:Cube and his longtime pal, John Cravache. File somewhere between Chris Marker’s La Jetée, Franceso Cavaliere’s sides for Hundebiss, and KWC 92
“Mystery, poetry, a play of masks: artistic creation according to John Cravache. His collaboration with Versatile dates back to the beginning of the millennium. A childhood friend of I:Cube, he is 44 years old, lives in a Paris suburb, and is not a professional artist. Getting involved in writing, he has been boasting his artistic and economic independence and his crafty attitude outside of the industrial system. He gave himself time to invent a personal world, wild and funny, which eventually gave birth to the album "Cités Nomades". Even though his influences are quite varied and avant-garde (Magma, Captain Beefheart, Tom Waits), they did not really affect this unclassifiable project. Poetry and mystery come before all, because John Cravache is appearing masked.
John Cravache and Nicolas Chaix (I:Cube) have recorded radio creations since the early 90s, in particular for Chimère FM in Paris, as well as numerous long improvised music sessions. At the approach of the millennium, they embarked on the creation of an album that was not completed until sixteen (!) years later. John is a poet, accomplished pianist, and registered truck driver and Nicolas, a self-taught musician, have both made the realisation of "Cités nomades" possible.
This is not an ironic pop album, this album is simply all you want. Listening will do you much good.”
Played by: Gregor Schwellenbach /Hauscka/ Daniel Brauer / Paul Frick / Erol Sarp / Lukas Vogel (Grandbrothers) John Kameel Farah.
"After the widely noticed performance at the „Acht Brücken Festival 2016” at Cologne's Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of „Grandbrothers“), Daniel Brandt, Paul Frick (both of "Brandt Brauer Frick") and John Kameel Farah will be releasing their interpretation of Steve Reich’s "Six Pianos" as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich’s composition but still far more than just that – it is a modern approach to his idea behind it.
The basic idea came up at the beginning of the 70s at "The Baldwin Piano & Organ Company" in New York. During a rehearsal phase Steve Reich spent in this very piano store, the idea emerged of writing a composition for all the grand pianos available to him at the company. By the time of the finished piece, the actual number of pianos had settled down to six, whereof „Six Pianos” developed in 1973.
On the occasion of his 80th birthday, the six pianists declare their love to Steve Reich and his composition with this release. Shaped by electronic club music as well as their classical education, they form "Six Pianos" in dignified modernity and top it off with today’s sound aesthetics and technical recording possibilities.
What you will be hearing is not the recording from the „Kölner Philharmonie” (Cologne Philharmonics) but the ensemble play of six different grand pianos in six different locations, throughout Germany. Each pianist performed his part on his piano using his typical studio equipment and passed the recording over to the next one. Thus the six characteristic and individual timbres of the performers overlay to create the overall picture – „Six Pianos” the way it should be looked at in 2016. "Pianists are soloists and lone warriors by nature”, as Gregor Schwellenbach once said. But the initiator not only won over solo artists to the greatest possible extent such as Hauschka or John Kameel Farah but also musicians from "Brandt Brauer Frick" and "Grandbrothers" as well as their ensemble partners: Jan Brauer mixed "Six Pianos" in the studio while Lukas Vogel provided delays for the b-side.
"Keyboard Study #1" by Terry Riley is a worthy b-side opposed to Reich’s composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach’s assumption: "Especially Terry Riley’s and Steve Reich’s music are open doors for pianists socialized by pop music and their audience."
Collecting six beautiful Arvo Pärt compositions performed by the Estonian Philharmonic Chamber Choir and Estonian National Symphony Orchestra, covering a breadth of styles over 25 years between 1989-2005
“The eagerly-awaited new Pärt: Released 25 years after the Estonian composer started ECM’s New Series (“Tabula Rasa”, 1984), “In Principio” offers six compositions of different scale and instrumentation written between 1989 and 2005 thus allowing for an impressive overview of Pärt’s recent stylistic development.
The dramatic 25-minute “In principio” for mixed choir and large orchestra sets the famous opening of the gospel of St. John, “In principio erat Verbum”. In its five movements, “tintinnabuli”-diatonicism is contrasted with sophisticated harmonic procedures, massive brass chords are juxtaposed with almost stoic calm in the choir.
With most of Pärt’s more recent works, the score (2003) was written in response to a major commission.
The purely orchestral “La Sindone” (The holy shroud), mirroring the textile’s symbolic shine-through effects in delicate string-textures, was premièred in Turin during the 2006 Winter Olympics whereas “Caecilia, vergine romana” for mixed choir and orchestra is a commission from the organisation for the celebration of the jubilee of Rome in 2000.
“Da pacem Domine”, one of Pärt’s most serenely beautiful pieces responded in a very subtle way to the 2004 terror attacks in Madrid’s Atocha station. The piece which could be heard a cappella on the 2005- release “Lamentate” appears here in a striking new version with choir and strings.
The programme is completed by two instrumental compositions, “Mein Weg” (1989 / 1999 / 2000) and “Für Lennart in memoriam” a very still piece for the late Estonian president Lennart Georg Meri.
The exemplary interpretations by some of the best and most faithful Pärt specialists were recorded in Estonia with the assistance of the composer and will surely make for one of the strongest 2009 releases on ECM.”
Marshalling orchestral and choral forces under the direction of Tõnu Kaljuste, this new Arvo Pärt album, produced by Manfred Eicher and realized, like all Pärt's ECM discs, with the composer's participation, is a major event.
"Sacred music predominates, by turns monumentally powerful and tenderly fragile. Compositions featured, in premiere recordings made in Tallinn's Niguliste Church, are: "Adam's Lament" for choir and string orchestra; "Beatus Petronius" for two choirs, eight woodwind instruments, tubular bells and string orchestra; "Salve Regina" for choir, celesta and string orchestra; "Statuit ei Dominus" for two choirs, woodwinds and string orchestra; "Alleluia-Tropus" for choir and string orchestra; "L'Abbé Agathon" for soprano, baritone, female choir and string orchestra. The album concludes with two lullabies - "Estonian Lullaby" and "Christmas Lullaby" - for female choir and string orchestra.
In title piece "Adam's Lament" Pärt uses a poetic text by Silouan of Athos to emphasize our common heritage in the figure of Adam. "Adam is all of us who bear his legacy. This 'Total Adam' has been suffering and lamenting for thousands of years on Earth. Adam himself, our primal father, foresaw the human tragedy and experienced it as his personal guilt. He has suffered all human cataclysms, unto the depths of despair.""
Mineralist techno from Mike Parker, leaving his debut mark on Tresor after some 20 years of productions for his Geophone label and earning rarely paralleled respect as a proper techno DJ.
The Disintegrating Sand EP contains some of Parker’s tightest productions, none more so than the triplet tweaking, nerve-pinching drive of the title track, but also in the scudding subaquatic signals of Angels in Cages and slamming, pneumatic velocity of Gyroscopic Precession.
Boris Bunnik (Silent Harbour, Versalife) bangs out four hi-wire techno pounders under his prolific Conforce alias.
TKY boots up with a stylishly deep and powerful piece of intense 4/4 sound design; Reverse pivots on a tangled, juicy square bass with ricocheting claps; P.O.D. nods to the Christian nu metal pioneers from a whole new perspective; and we find the biggest highlight in the atmospheric lightshow and bouncing, offbeat kicks of Similar Twinkling Lights which bring up the rear like some mutant Detroit dazzler.