Exquisitely bittersweet free folk songcraft by Japanese improv legends Reiko & Tori Kudo of Mahar Shalal Hash Baz, adding to the illustrious roll call of A Colourful Storm’s recent, flawless run - RIYL Noise, Keiji Haino/Fushitsusha, Tenniscoats
Collecting nine songs of a ten year+ vintage, ‘Tangerine’ is as effervescent, tactile and tangy as its name suggests, presenting a “deeply human, romantic recording” that highlights the remarkable versatility, and strength in fragility, of two key players in Tokyo’s incredibly fecund experimental scene. Previously only available on a domestic CD release, the album is also notably Reiko and Tori’s last duo recording, marking the 30 year culmination of their work since their first release, as Noise with ‘天皇’ (1980), with a clear testament to their intimate familiarity - they are married, after all - oozing out of every song; from the outstanding transition from tremulous folk to string dissonance on ‘The Deep Valley of Shadow’ thru the heart strumming blues folk gurn of ‘When Seeing the Setting Sun Alone.’
Recorded during autumn, winter and spring 2011-2012 at Village Hototoguiss - a bucolic studio setting near a spa in the Japanese countryside - and also including one song record at Cafe Oto in 2009, the album feels like we’re privy to a private musical convo between lovers. Each song strikes the finest balance of puckered sweetness and intuitive rawness, each speaking to a lifelong immersion in the punk/psych/folk/free realms, as exemplified on the radical subtleties of ‘Katakana’, which exerts the uncanniest spin on smoky jazz and wizened folk, while ‘Homeless’ plays it beautifully straight for the most, but can’t help but express their slant in its closing strokes of ratty discord, and the title tune itself most curiously elides a sort of Eastern European folk tone with etheric jazz vox in the most spellbinding style.
DJ Sprinkles' classic Midtown 120 Blues, self-released by Terre Thaemlitz through their Comatonse imprint and finally available again.
Bringing deep house back into contact with its club culture roots, Terre Thaemlitz created one of the most essential house albums of the last two decades with 'Midtown 120 Blues'. Terre was originally working as a DJ under her Sprinkles alias in the gay clubs of midtown Manhattan and New Jersey in the late 80's when deep house began to blossom. It's this early period of House history which Terre has beautifully recreated over 10 tracks, making a pointed comment with the intro track taking shots at Strictly Rhythm for becoming 'Strictly Vocal' and pulling no punches towards "Most Europeans who think deep house means shitty hi-NRG vocal house".
With the intentions made clear, Terre develops a masterpiece of serene melancholy and sublime deep house crafted with the skill and dedication of someone who you know lived this music through every fibre of their being. From the rich subbass driven tones of 'Midtown 120 Blues' with plaintive pianos slowly encircling one another, to drag queen monologues over the deepest ambient brushed rhythms on 'Ball'r (Madonna-Free Zone)' or head-meltingly warm chords and caressed percussion of 'Brenda's $20 dilemna' - this will suck in and swallow you whole - transporting you to another place, another time.
A total pleasure.
please remember that we support Terre and Comatonse Recordings' efforts to keep projects offline, minor, and acting queerly. When purchasing this item, we ask you to refrain from uploading and indiscriminate sharing in any form. <3
Follow up to bio-rhythm 1 and bio-rhythm 2 on Network Records.
"It’s not normal to take 31 years to release a follow up album. But then Network was never a normal sort of record label, and often opted for the quirky rather than the quick buck. The logo was launched in 1990 and that year, along with a slew of startlingly good singles, created and issued two bio-rhythm compilations, each of which showcased cutting edge USA techno rubbing shoulders alongside its’ sparse UK bleep counterpart.
At the time the words quality and dance music compilations were not phrases shared that much. bio-rhythm 1 and it’s almost instant follow up bio-rhythm 2 bucked the trend with groundbreaking exclusive tracks, iconic minimal artwork and surreal sleeve notes. Each of the albums have been hailed by many as piece de resistance primers to electronica music.
As well as capturing the zitgeist of a blurry everything of that moment experimental time, they have endured to be acclaimed as all time iconic classics. So why was there no follow up? One reason was that things were moving so bewilderingly fast at the time for Network that the emphasis was always on the next thing, not regurgitating repetitive beat ideas. Another was that the opportunity arose to direct the acumen gained from the bio-rhythm experience at the release of two (now equally acclaimed) compilations from Frank and Karen Mendez’s cult Nu-Groove label."
Debut album from Vivian Girls/Dum Dum Girls' Frankie Rose and Running's Matthew Hord - a low-key synthpop marvel, finding a slippery mid-point between Cocteau Twins' dreamy melancholy and The Cure's flickering gothic glow. RIYL Chromatics, Nite Jewel, Junior Boys.
Rose and Hord's concept for Fine Place was simple; they both wanted to capture the feeling of New York City after its wealthy residents had fled during the COVID-19 outbreak. Serene but uncertain, the duo channeled their restless energy into a suite of songs that are nostalgic, melancholy, but also magical, a glass slippered step removed from the real world.
Opener 'I Can't Shake It' is almost completely electronic, with Rose's vocals reduced to a faint echo over blips and choppy beatbox drums from Hord. It suggests dystopia without claiming one style or another, before the album swerves into a different direction with 'This New Heaven', leaning into The Cure's over-arching influence and centering delayed guitars and reverb-drenched vox.
On 'Tending To Twenty', the pair hit their stride, referencing the bubbly optimism of early Detroit and bleep techno modes, using Rose's voice as a choral texture. Album standout 'It's Your House' lurches through territory marked out by Johnny Jewel's Italians Do It Better imprint but stamped with a disaffected malaise. A sweet synth arpeggio features in place of drums, reminding us of Nite Jewel's excellent "No Sun" album from earlier this year, reflecting loss and precariousness through a tarnished neon prism.
Really good this.
More than just a live session, this set of weighty, radiating interpretations features Anna Von Hausswolff on synth and vocals alongside the Sunn O))) touring band. Heavy-as-fuck ritual drone - you know it.
Recorded after their 2019 UK tour, 'Metta, Benevolence' is an impressive redevelopment of compositions from their two albums released that year - "Pyroclasts" and "Life Metal". After touring with the material for a few months, the band - featuring guest players Stephen Moore, Tim Midyett and Tos Nieuwenhuizen on top of core droners Stephen O'Malley and Greg Anderson - had worked on each composition to evolve them into their emotional final stages. Playing in front of an audience has the habit of shifting material, and O'Malley and Anderson embraced the change, looking to create an "all-inclusive radiation of O)))" that would support each player's interpretation of the themes.
Well, thankfully it sounds incredible. Anna Von Hausswolff's contribution on booming opener 'Pyroclasts F' is particularly noticeable, with her vocals pealing out ritualistically over the band's seismic rumble of saturated guitar and thick, modulated synth. It's Sunn O)))'s open-armed philosophy that's led to their work being so consistently engaging - It would have been easy for them to rest on their laurels years ago, but Anderson and O'Malley have continued to develop their sound and encourage the natural shifts in emphasis.
For many, a BBC session is just a formality, for Sunn O))) - it was an opportunity to basically dub a completely new album.
Posthomous release of some of the barest mechanics and deadliest Chicago House you’ll likely ever hear, mostly recorded in the 80’s and now finally released via Carson’s long time disciples at Sound Signature. Best believe that this is the OG shit, never bettered, most of it previously unreleased - all of it a total fucking education. R.I.P legend.
The cover of LeRon Carson's debut album is a reminder of another era; Carson, smiling in front of a pair of decks, bulky headphones around his neck. The Chicago icon died in 2016, but left behind a vast archive of unreleased music, much of it recorded in the 1980s when the House sound was in its wildly creative infancy. Theo Parrish has made much of his obsession with Carson's production and performances over the years - and has put out a handful of tunes on Sound Signature - but this full-length set might be the most fitting tribute, showing the depth and prescience of the producer's sound.
Only seconds into opener 'Sof n Thik' you know what you're in for - fudgy kicks thud slowly and carefully, surrounded by pillowy, soulful pads and the warmest synbass. If you're looking for the root sound that gave rise to Theo Parrish, and in turn Newworldaquarium, Actress, and Andy Stott - this is pretty much the blueprint. Carson's veil-pierced ferric fuzz has been regularly duped but never quite captured. Carson didn't just pre-empt deep, knackered grooves either - tracks like 'Baby Said to Me' and 'Say It' tickle the same loopy funk euphoric sweet spot that Daft Punk, and the later entire French touch kru, would fire into the mainstream a few years later. MLK-sampling '72nd & Ogelsby' meanwhile can't help but remind of DJ Sprinkles with its spare beatbox shuffle and painfully moving square wave bass wind.
It's impossible to overstate the resonance of Carson's tracks; writing music from the Midwest - the US dance music heartland - in the country's beleaguered '80s, they're charged with a hedonism that's far from empty. It's a jubilant cry from Black America, chiming alongside established classic material from Larry Heard, Ron Hardy, Virgo, Adonis and Steve Poindexter.
Honestly, life-changing music.
Queer deep house pioneer Terre Thaemlitz hustles her entire DJ Sprinkles solo catalogue beyond the seminal ‘Midtown 120 Blues’ album in a crucial 19-track set of NYC-via-Tokyo gold, including many tracks popping their digital cherries for the first time.
‘Gayest Tits & Greyest Shits: 1998-2017 12-inches & One-offs’ sums up twenty years of action deep in the bowels of house with a precious suite drawing from rare and hard-to-find pearls scattered between the late ‘90s and end of the last decade. They span the specificities of a sound rooted in the gay scene of NYC from the late ‘80s onward, testifying to the minimalist, bass-heavy style that Sprinkles played at DJ residencies in transsexual clubs and would later take to Tokyo after moving there at turn of the millennium. For our money they’re some of the strongest, most distinctive deep house cuts of our time, holding true to the fundamentals of a style that would become mistranslated, misunderstood, and coopted by successive waves of deep house dilettantes.
Newly collected and presented in tandem with the ‘Midtown 120 Blues’ reissue, the 19 heavyweight club grooves still kill the old way, focussing on proper jackers drums and sphincter-tickle levels of subbass sparingly ornamented with samples in purist integrations of function and politics that don’t throw the baby out with the bathwater. From the earliest Sprinkles cuts in ’Sloppy 42nds’ (1998), a tribute to the 42nd St. transsexual clubs destroyed by Walt Disney’s buyout of Times Square, and 2001’s ruddy nods to that classic Adonis motif in ‘Bassline.89’, thru to proper red-lit basement pressure in ‘Glorimar’s Whore House’, puckered darkroom suss in ‘Kissing Costs Extra’ or ‘Masturjakor’, and up to the heart-punching 10min+ reworks of his Terre Thaemlitz material, it’s a totally unmissable set for proper house heads and far beyond. It’s a document of phase-shifting times helmed by one of the most interesting and important artists of our age.
Please remember that we support Terre and Comatonse Recordings' efforts to keep projects offline, minor, and acting queerly. When purchasing this item, we ask you to refrain from uploading and indiscriminate sharing in any form. <3
Terre Thaemlitz digs deep into her archive for a dead strong 80 minute CD compilation of all her 'Neu Wuss Fusion’s' releases to date, including adjusted and tweaked versions of classics and hard-to-find gems dating back to ’93, including a remarkable liquid D&B cut and an utterly unmissable take on Tangerine Dream - exclusive to the set.
The overarching vibe here hits even deeper than the recent DJ Sprinkles 'Gayest Tits…' set, hovering between the edge of the floor and a late, late night flex instead of driving club pressure, with a focus on bustling breaks and spellbinding ambient jazz atmospheres.
The material here reaches back to the early ’90s, with the kick-less deep House shimmy of opener ‘Thirty Shades of Grey (Demo Version)’ harking back to their debut solo album ‘Tranquilizer’ (1994), and the ambient jazz house lather of ’Sloppy 42s’ connecting to 1999’s ‘Love For Sale’ album, both elegantly edited here, and shuffled up next to both sides of 1998’s ’She’s Hard,’ in its glorious ambient-to-breakbeat mix and rousing ‘Live At Hug Parade’ take.
The set only gets stronger on its 2nd half. The original 11:30’ mix of ‘A Crippled Left Wing Soars with the Right’ makes a welcome first digital appearance beside a mix of its ‘Steal This Record’ edit omitting the ambient breakdown, while also highlighting its incredible, liquid D&B-like ‘1-Step Forward, 2-Step Back’ version - think Calibre meets MvO Trio - seriously - and, just to absolutely polish us off, they include an e-s-s-e-n-t-i-a-l cover of Tangerine Dream’s ‘Love On A Real Train,’ re-titled and remodelled as their orgasmic ‘Sex On A Real Train’ version alongside the 12 minutes of lush, pastoral flutes and subbass in ‘She’s Hard (2007 Archive of Silence Mix.)
Utterly essential, once again.
Please remember that we support Terre and Comatonse Recordings' efforts to keep projects offline, minor, and acting queerly. When purchasing this item, we ask you to refrain from uploading and indiscriminate sharing in any form. <3
Ulla’s recordings of phone conversations and wildlife diffuse into the most vaporous and unsettling ambient dub textures on the third in our Documenting Sound series, recorded over the last few weeks in Philadelphia and recalling Sam Kidel’s ‘Disruptive Muzak’, DJ Lostboi’s ambient hymnals and Vladislav Delay’s Chain Reaction pearls.
Pieced together from airspun recordings made in Philadelphia during spring 2020, ’inside means inside me’ holds a subtle mirror to the new world’s psychic ambiance of existential, slowburn dread. Prizing the sensitively insightful, lower case manner that made Ulla’s recent 'Tumbling Towards A Wall’ album so memorable, here the sound is more poignant, the dissociative flux used to perhaps more therapeutic effect for an ephemeral reading of the times.
In the first half, Ulla makes a subtly heartbreaking use of crackling phone calls and dub stabs, but embedded in the music’s weft they take on an unsettling resolution that’s hard to place. On the flip, more entwined conversations snag in the breeze with location recordings and scudding hypnagogic washes with a signature low key movement that keep you feeling swaddled but uneasy until the end.
After releasing one of the year’s most remarkable records with ‘iki', Japanese pipe-organ builder and sound artist Yosuke Fujita returns with this remarkable 40 minute contribution to our Documenting Sound series, recorded in a cave at the foot of Mt. Fuji and featuring his custom-built pipe organ in duet with a colony of bats indigenous to the area. It’s a beautiful, quietly extraordinary trip.
Traditional Japanese gagaku, the slow and elegant form of classical court music extant since the 7th century, is once again at the heart of this material, but this time in a modulated, interwoven tapestry with what Fujita calls the "inaudible sounds” of nature around him. ‘KŌMORI.’ Named after the Japanese word for bats, revolves around three long pieces, including one for organ and bats, an organ solo, and one created solely from bat calls, all neatly captured using a Sunken CO-100K microphone capable of recording up to 100kHz, and therefore able to net the bats’ ultrasonic echolocation tekkers.
Furthering Fujiiiiiiiiiiita’s fascinations with sounds on the threshold of perception, in the first piece he presents a duet for organ and bats, tones turn to near silence, and then a strobing attack on the senses, while the 2nd part features organ solo around plaintively enchanting motifs, and the third, perhaps most moving part, commits 15 mins of totally otherworldly bat sounds ready to be deciphered by the keenest ears.
For anyone who copped ‘Iki,’ this will no doubt be a buy-on-sight item, and for everyone else, welcome to a world of utterly enthralling, surprising new sounds.
"I'm always looking for new sounds. That desire is at the heart of my life, so it remained the same in the turbulence of the coronavirus. And, I’m also looking for inaudible sounds, so it's natural for me to focus on the bat's echolocation.
Bats were the source of the viruses causing Ebola, rabies, Nipah and Hendra virus infections, Marburg virus disease, and strains of Influenza A virus. Interestingly, coronaviruses and bats are locked in an evolutionary arms race in which the viruses are constantly evolving to evade the bat immune system and bats are evolving to withstand infections from coronaviruses. My music also has to evolve."
Apartment House's latest set is a hypnotic rendition of Morton Feldman's towering late-period masterpiece, originally recorded in 1991 by Kronos Quartet and Aki Takahashi and here performed by Mark Knoop (piano), Mira Benjamin & Gordon Mackay (violins), Bridget Carey (viola) and Anton Lukoszevieze (cello).
When Morton Feldman wrote "Piano and String Quartet" in 1985, only two years before he died of pancreatic cancer, he had Kronos Quartet and Aki Takahashi in mind, but the piece has been recorded many times since it was released in 1993, and has been endlessly influential, like much of Feldman's work.
On this rendition, the dynamic range is tempered with piano and strings fluttering delicately like a whisper over a silence that feels omnipresent. When notes appear from the void, they do so with purpose, hanging like ghosts before slipping away into the aether.
Anton Lukoszevieze, leader of Apartment House, explains why he chose to record the piece:
"Piano and String Quartet, one of Feldman’s final works, is a seemingly simple work and yet it isn’t. As Philip Guston, a great friend of Feldman, wrote ‘Frustration is one of the great things in art; satisfaction is nothing.’ The length of the work (nearly 80 minutes) and the erasure of musical memory (What did we just hear?) is in fact its identity. Feldman makes simple statements, a piano arpeggio or a sustained string chord, holds these things and examines them over time. Gradually, as the sun’s light moves across a still life through the day, like a drawn out Morandi painting, the work evolves and indeed dissolves in some sense.
Using different transformative processes, Feldman illuminates his basic material and achieves the miraculous, an extended work of great beauty and enigmatic wonder. There are ghosts there, tinctures of late Schubert, Brahms and even Janaček, where beauty is a signature of passing time and an ephemeral focus on hearing and disappearing."
Trunk celebrates 25 years of uniquely British eccentricity with this wyrd and wonderful set of unreleased gems and better-known catalog classics. Newly discovered sounds from Basil Kirchin's tape archive and - oh yeah - an unreleased cut from Delia Derbyshire make this one indispensable.
This sprawling 33-track compilation highlights the imprint's idiosyncratic accent; it's unmistakably British - snippets from Dudley Simpson's unforgettable "The Tomorrow People" soundtrack and Marc Wilkinson's "Blood On Satan's Claw" OST assure us of that - but zeroes in on the dusty jumble sale quirkiness that's slowly been lost to time.
Nothing makes that more clear than the overdubbed sleaze funk of 'Car Boot Sex Tape' or the vibe-led 'Sunbeam' from Kenny Graham And His Satellites. And since it's a celebration of all things Trunk, there are some surprises in store: a short synth jam from Delia Derbyshire, snipped from a Madelon Hooykaas/Elsa Stansfield film; and freshly sourced sounds from Basil Kirchin's tape archive. Other standout moments are more familiar: John Cameron's title music from "Kes", Tristram Cary's shuffling synth nursery rhyme 'The Electron's Tale' and John Baker's psychedelic 'JB Dubs'.
Following his side for Low Jack’s Editions Gravats, ever intriguing french avant-gardist, Èlg is portrayed at his all-over-the-place best on a mad new blast landing somewhere between his erstwhile collaborator, Ghédalia Tazartès, Frank Zappa, and Oï les Ox
Always a guess-again type of artist, Èlg is particularly elusive on ‘Dans le Salon du Nous’, a collection of “sound paintings” begun in 2019, that illustrate “multiple states of being” and deploy a plethora of strategies ranging from quiet minimalism to punkish no wave rabble and chanson with an unmistakably gallic spirit.
The 10 songs describe a transition from birth to bardo, utilising production from his brother, Mim as well as singer and organ player Marie Zachary (Fervent, the Grand Sbam), electronics from Johann Mazé (France Sauvage, Lord Rectangle), and vocals, violin and synth from Aurore Debret (Dragon du Poitou), all live engineered and comically rendered in-the-mix by Alexandre Menexiadis.
Recorded in Heliopolis Egypt between 1968 and 1973, 'Egyptian Jazz' sees the seamless knitting of cultural maxims - with the musical traditions of the North Arabian region of Africa overlapping Western jazz to intoxicating effect. Proper headmelt this one.
Given the interconnected world in which we now live, it's becoming an increasingly rare commodity for any music to remain under the radar longer than it takes for the Youtube algorithm to fling things your way. Yet whilst access to such vast tributaries of music is undoubtedly a good thing, it can take the fun out of hunting down long lost gems and bijou classics - with everything long dissected and consumed by the broiling blog community. It therefore comes with great pleasure to introduce a genuine find that will have your ears blossoming with dusty joy, as Salah Ragab and the Cairo Jazz Band create the kind of music which is vital, immediate and swelling with energy and scope.
Chief of the Military Music Department, Salah Ragab had at his disposal a vast retinue of musicians (almost 3,000!) all versed in the aural language of marches and national anthems, but with little knowledge of the more fluid aspects of contemporary jazz. From this foundation Ragab went on to carve a sound that is at once familiar and completely alien, using his own skills on the drums to inform and sculpt the vivacious music on offer.
Unreasonably broad in its scope, the twenty-five or so musicians involved were essentially anointed full-time jazz mercenaries by the military top-brass. Intuitive and dripping in talent, the opening 'Ramadan In Space Time' sets out their stall perfectly - as a traditional Baza drum rattles into life and soon becomes engulfed by stomping percussion and the kind of ribald horns that simultaneously combine upfront bluster and emotional nuance. 'Dawn' re-imagines a relihgious tract through a 6/8 rhythm and throbbing horns that raise the temperature in frenzied style.
From here the treats keep coming, with 'Neveen' (featuring Ragab's then six year old daughter on bass) bursting into life on top of a sparkling compote of traditional and New York-rooted percussion, 'Oriental Mood' looks to the far-east for inspiration, whilst 'Kleopatra' revolves around a flutter of horns and rhythms.
An unbridled pleasure from beginning to end. King Tut!
Pauline Oliveros’ astonishing drone classicism finally surfaces on vinyl for a definitive 30th anniversary edition newly expanded with material from the slightly later but related ‘The Readymade Boomerang’ album.
Recorded in 1989 in a cistern with a 45” reverb, located 14 feet below the ground in Seattle, ‘Deep Listening’ is a masterclass of intuitively divined harmony helmed by one of the 20th century’s most revered composers, accordionists and musical thinkers; Pauline Oliveros. Accompanied by her long-time Deep Listening Band collaborators Stuart Dempster (trombone, hosepipe, conch shell, didjeridu) and Peter Ward a.k.a. Panaiotis (voice, whistling), the trio generate an utterly atavistic yet future-facing music that sounds convincingly electronic but is actually entirely acoustic in origin, and is likely to leave deep listening types floored at their conception of in-the-moment composition.
Like the plangent call of mother earth lamenting for the ages, it’s hard to avoid comparisons for this record with events practically beyond human conception. Of course, it’s just three people in a very echoic space, but the results directly speak to our sixth senses in a way that really escapes concrete classification and can really only be grasped at the most elusive, spiritual level - unless you want to get into the physics of acoustic phenomenology and psychology, and to be fair that might spoil the effect. Instead, we recommend finding time and space to give this album your full attention - preferably at night, when conditions are similar to the darkness the performers experienced in the cistern - and feel yourself dematerialised, like their sounds, into a perceptive state of pure, finely graded vibrational decay and harmonic mystery.
What were the clouds like when Huerco S was young? The Kansas-raised, New York-based producer’s absorbing ambient album For Those of You Who Have Never (And Also Those Who Have) goes some way to answering The Orb’s fluffy little proposition…
Brian Leeds a.k.a. Huerco S’s 2nd album, following Colonial Patterns (2013) finds him working between the cracks and fissures of what we’ve previously heard from him, drawing out nine pieces of mineral ambient textures and non-percussive rhythms marking his best work since the 20 minute Untitled track off his debut for Opal Tapes in 2012.
Defined throughout by a low lit, low-lying sense of intimacy, rather than oceanic or celestial tropes, Leeds’ appreciation of lower case nuance is in warm, crackling effect with a hazy glow that recalls Wanda Group’s earlier outing as The Hers, or the sweeter touches of Bellows.
Like a well timed gary, once it really begins to sink in, the warbly electronic pitches and subtly chaotic ferric details really get to work in hypnotising and making you forget where you started, suspending disbelief for a 50 minute window of time just long enough to let your mind wander over the horizon.
Time will tell, but this is surely a future ambient classic.
This edition consolidates four significant albums from the 1970s and the 1980s, conflating ambient musical phases of Popol Vuh.
"It sheds light on their central, recurring motives and styles of rock music, folk-ethno-fusion, ambient music and two atmospheric soundtracks for legendary Werner Herzog movies. Ultimately, Fricke personally did not like it when his music was categorized in genres or typologies: “Call it Magic Music, or Love Music, if you like: it’s music for the soul. That’s it.”
The editions contains the albums Seligpreisung (1973), Coeur de Verre (OST for the Werner Herzog Move “Coeur de Verre” 1978), Agape-Agape Love Love (1983) and Cobra Verde (OST for the Werner Herzog Movie 1987). All albums have been newly remastered on heavyweight 180g audiophile vinyl including one bonus track per album. The vinyls appear with adjusted original artworks. The boxset is completed by three picture prints, a picture still from the Movie “Coeur de Verre” and the original movie poster of “Cobra Verde” (both in Din A3 format) and an insert with detailed liners and photos."
LP1 Cobra Verde (OST “Cobra Verde“)
LP2 Agape-Agape Love-Love
LP3 Coeur de Verre (OST „Heart of glass“)
Warsaw-based cellist/composer Resina (Karolina Rec) returns with a first standalone album in three years.
""Speechless" takes a big step forward on a bold and brilliantly expansive record that explores ideas about language, the voice and the unpredictability of nature. Recorded by Resina and Michał Kupicz, with striking additional mixing & production work by Daniel Rejmer (Ben Frost, Björk, Foals, Girls Names), ‘Speechless’ is fluid and muscular, with wide dynamics and a dark and powerful dramatic weight. Across nine tracks, Resina’s cello, voice and electronics are set alongside drummer Mateusz Rychlicki, the 23-piece 441 Hz choir, with Magdalena Gajdzica playing flute (track 1) and Michał Fojcik adding field recording & sound design (track 4).
Removed from their regular, more refined classical contexts, cello and choir are subjected to electronic processing, expanded and deployed in a swirling, visceral sound-world, sometimes pushed into distortion and anchored alongside Rychlicki’s driving drumming. An amalgamation of noise, rock, ambient, choral and classical elements, ‘Speechless’ shifts from gossamer beauty to glowering threat; from pulsing minimalism to full-bore propulsive blow-outs. As well as moments of great beauty, it is shot through with shrieks and howls, cavernous bass drops, sirens and sudden pitch shifts. A bold and adventurous work that synthesises the very best of her previous two albums and packs a powerful punch."
NYC's Veronica Lauren occupies frayed textural space between the physical and liminal on a deliciously smudged echo of West Coast-styles, puckered new age synths and briny Drexciyan beatdown released on the perennially reliable RVNG Intl.
Operating under the VHVL alias - an acronym for Very High, Very Low - Veronica Lauren perceptively explores the fuzzy ambiguity of human/machine relations and responses with an elusive grasp of rhythmelody and vibe. ‘Hem/Sew’ snugly nests that sound inside RVNG Intl's roster of likeminds, resonating the unbleached dub of Sun Araw as much as Robert A.A. Lowe’s wistful wanderings or Lucretia Dalt’s slowburn tang, but with added, hazily baked West Coast beat scene via Andy Stott’s knackered house and a bluesy sort of soul introspection
Using Roland’s SP-303 and SP-404 sampling units, and guided by Jungian psychology and theories of meta-cognition, VHVL generates a spectra of absorbing textural movements in a style that been developed since 2013’s self-released debut ‘Mhyrrh’. That record’s titular synaesthetic connotations are a key to the sound on ‘Hem/Sew’, too. In ten concise parts VHVL deploys smartly short-circuiting and distorting perceptions of tone, texture and timbre between the silty bliss of opener ’Ahi’ and the underwater sublimation of ‘Dwn’, with a fractured crystalline quality to the wavy lattice of ‘Hem’, and sultry slosh of kneaded subbass and bittersweet soul efflorescence in ‘Sew’ at the record’s fuzzy heart, while the highlight ‘RPG’ teases out fizzing fractals in the space between Drexciya and Samiyam.
PAN’s vinyl-only club weapon series pits E-Saggila and Exploited Body in a duel of industrialised dembow, slow-slamming tech, and martial bone rattlers. No digital, limited edition of 300 stamped white labels.
In hot pursuit of their 2019 split sessions by Slikback / Soda Plains, M.E.S.H./Tsuzing, and Toxe/Crystalmess, this one comes hungry for the reopened clubs with two parts brooding, concentrated pressure, to two parts of gnashing attack set to sever limbs and mind.
Toronto's Rita Mikhael aka E-Saggila dispenses her follow-up to a handful of albums for Opal Tapes, Hospital Productions and Northern Electronics with a scowling one-two; holding a deadly line of whirring dembow rhythms hackled with junglist shrapnel in ‘Cluebeat’, before laying the smackdown with the slow darkroom techno thrust of ’83C’ - both bound to do damage in right situations.
Helsinki’s Noah Kin, aka Exploited Body leads on from shots on Posh Isolation and Northern Electronics with the all out rail-gunning machine rhythm of ‘Alive, Expensive & Damaged’, before ramping the drama with radioactive synths and scudding drums in ’Nothing Persona’.
sleep n weep babes.
Ekman (The Trilogy Tapes, Berceuse Heroique, Creme Organisation) back with a 7" of rampant red-lining smudge for Glasgow's Lifeforms label.
'Panische' on the A plays it on a salty & sweet, vintage Dutch tip, while 'Nuance' on the B side deploys the classic Bunker blueprint, all distorted 808's and squashed cowbells - for the good of the squelch.
Dodelijk en smerig.
Dictaphone's Oliver Doerell breaks bread with Iranian percussionist Jawad Salkhordeh, finding a creative meeting point between Eastern and Western classical traditions, folding in elements of jazz and electro-acoustic experimentation.
Born in Northern Iran to an artistic family (his brother is a flute player and his sisters work in theater, painting and calligraphy), Salkhordeh began training on the Tombak - a goblet drum that's considered the main percussion instrument in Persian music - when he was just 15 years old. Now based in Berlin, Salkhordeh has collaborated with musicians from across the globe, and teaches Tombak and Daf when he's not on the road or recording. On "سایه" (say), he creates an effortlessly engaging dialog with Doerell, who sounds completely in his element weaving together cinematic backdrops to Salkhordeh's evocative Persian soundscapes.
Doerell's developed an expertise processing instruments in the past - as a part of Dictaphone and SWOD - and here he sounds laid back and comfortable. That's not to say the work isn't complex, far from it in fact, but it never sounds labored. The two musicians have a gentle back-and-forth on the lazily-paced 'Worud', infusing slow jazz atmospheres, while 'Scratch 19' builds a faded, uneven rhythm section for delicate string sounds. On 'Seh', Salkhordeh's impressive percussion is pushed to the fore, as Doerell adds subtle dub effects, spiking the mix with just enough textural experimentation.
Barely audible vocals underpin hand drum pats on '1979', creating a sound that the duo say is nostalgic for a place that never existed, while on the title track Doerell is let loose on percussion, meeting Salkhordeh with electronic rattles and claps.