Delroy hitches up to L.I.E.S. again with the fizzing, melodic jack attacks of ‘Wagon Wheels’
After reprising their relationship with the ‘Aftershock’ 2LP in early 2018, the L.A. club guy plays into a signature sound in six cuts built from percolated drum machine patterns and hazy Chicagoan synthlines.
The biggest joint is a jabbing, mid ‘80s styled ace called ‘O.K. Track’ that strongly recalls Le Noiz or Chip E bangers, and we’re also really feeling the wigged-out wriggle of ‘Do Do’ (although we have an inkling those track titles may be the wrong way around), while there’s also some charming, wavy Jamal Moss styles in ‘Miss Mava’, and we’re also partial to the proper, briny Gherkin jerk of ‘Crazy Cool Beats.’
Wonderful suite of archival gamelan minimalism from Bay Area practitioner Daniel Schmidt.
Recital dip into the personal archives of Daniel Schmidt, an integral scholar in the development of American Gamelan. After studying Javanese gamelan at California Institute of the Arts in the early ‘70s, Schmidt set about creating a West Coast movement based around an aluminium version of the instrument – the Berkeley Gamelan - forged of his own design. He’s since gone on to build numerous gamelan instruments, theorise on it’s compositional qualities, collaborate with Lou Harrison, Jody Diamond, and Paul Dresher, and currently teaches at Mills College San Francisco.
‘In My Arms, Many Flowers’ captures the American Gamelan movement in its nascent state, the result of a personal invitation for Recital boss Sean McCann to rifle through three boxes of Schmidt’s studio and live recordings committed to cassette between the late ’70s and early ‘80s. What’s immediately striking here is how Schmidt deviates from the traditional Javanese style of gamelan composition, instead seeking out the minimalist movement of North America for guidance.
Making use of a primitive sampler borrowed from Pauline Oliveros (RIP), lead track And the Darkest Hour is Just Before Dawn pairs a sumptuous looped string arrangement with Schmidt’s delicate caresses of the Berkeley Gamelan which build with quiet melodic complexity into something quite wonderful. The title track sees Schmidt augmenting the mysticism of his Berkeley with the bowed strings of a rebab, another traditional Indonesian instrument, deployed to signify a bird that “calls from far away.”
Ghosts is one of two compositions done solely with the gamelan, Schmidt leading a procession of players using traditional techniques on a detailed 14-minute recording of percussive dexterity and intricacy that highlights the spiritual powers of the instrument. Faint Impressions offers a sombre finale, the ringing melodicism of the Berkeley gamelan set to a backdrop of an understandably captivated audience.
Breezy breakbeat house and downtempo ambient from ANF, otherwise known as the producers behind Dust-E-1 and Priori
Playing deep into Pacific Rhythm’s romantic aesthetic, ‘Mauna Kea’ unfolds between the title tune’s rolling breaks and lip-smacking acid line, the chill-out room special ‘Chi-Motion’, and sweetly pie-eyed moments in the swinging hustle of ‘State/Fucntion’, while ‘Mary Lynne’ heads out into pastoral, Borealis/Balearic vibes.
Free jazz classic ’Vibrations’ - aka ‘Ghosts’ - is the 2nd album by Albert Ayler’s quartet featuring Don Cherry, Gary Peacock and Sonny Murray
This is a facsimile reissue of the original Freedom label pressing, recorded in Copenhagen, September 1964. While out of print in this form for decades, the album has also been made available as free jazz saxophonist Albert Ayler’s ‘Ghosts’. It’s an adventurous, charmingly challenging, 5* free jazz classic.
‘And We Are Passing Through Silently’ is the sublime first survey of reworks/remixes by cult synthesist Abul Mogard, including extended reworks of Brian Eno and Gordon Sharp (Cindytalk), Aïsha Devi, Fovea Hex, Penelope Trappes and more.
Arguably one the bigger enigmas in modern synth music, Abul Mogard has established a reputation for his singular synth works, mostly issued by Steve Moore’s VCO and Alessio Natalizia’s Ecstatic label since 2012. Prized for his slow-building, etheric and beatific style of composition, Mogard has also been in demand as a remixer over the years, and it’s in this role that Houndstooth focus upon, rounding up and presenting a handful of his strongest remixes for other artists, including many on vinyl for the first time. In each case Mogard extracts the artist or band’s essence and diffuses it into his own, billowing soundscapes with a time-dilating, meditative and romantic appeal that’s long been at the core of his synthy magick.
Where Abul’s solo work is purely instrumental, his reworks are the only place you’ll find him handling with vocals, and the best of those are found in ‘And We Are Passing Through Silently’. Perhaps understandably, he’s most impressive when working with other veteran souls. This is most clearly apparent on the 2nd disc, offering a stunning expansion of Gordon Sharp’s plaintive vocal in Massimo Pupillo/Becoming Animal’s ‘The Sky Is Ever Falling’ that surely reminds of his earliest work with This Mortal Coil, while he also deeply enchants with a glacial rendering of Fovea Hex and Brian Eno’s ‘We Dream All The Dark Away’ that sounds like it escapes a Clannad Seance in ’89.
Factor in a vertiginous spin of Aïsha Devi’s ‘O.M.A.’, the gently psychedelic rework of Nick Nicely’s ‘London South’, and a sweetly refined mix of Penelope Trappes, and it’s not hard to hear what all the fuss about, especially if you like Alessandro Cortini or Steve Moore!
"Rounding up divine renderings of songs by Aïsha Devi, Penelope Trappes (The Golden Filter) and nick nicely (heralded by luminaries of the US underground Ariel Pink and John Maus), the album culminates with Brian Eno’s collaboration with Irish avant-folk band Fovea Hex.
Also included is Abul’s brand new rework of Becoming Animal’s ‘The Sky Is Ever Falling’ featuring vocals from Cinder (This Mortal Coil/Cindytalk) and Massimo Pupillo on bass (Zu/Thurston Moore/Stephen O’Malley), exclusive to this release.
A must for fans of Alessandro Cortini, Pye Corner Audio, Fennesz, Gas.
Unmissable, cult Scottish punk zinger from 1986, returning 33 revs later via Good Energy, a new label from Jennifer Lucy Allen (Arc Light Editions) and Kevin McCarvel (Nyali Recordings). Imagine Einstürzende Neubauten in kilts, playing in a cow shed, and punking up Robbie Burns…
“Raw as hell record from the 1980s Scottish underground by Nyah Fearties, who toured Arran in kilts, who built a percussion setup from scaffolding and oil drums, who appeared on The Tube on the back of a moving lorry, and recorded this, their first album, in a cow shed in Ayrshire with just a car’s cassette deck as a monitor.
Don’t expect this to sound soft or slick because it isn’t, and therein lies its glory. Released on vinyl 1986, and later circulated under the counter as an unofficial CD-R, it’s bounced around the Glaswegian underground for decades. The master tapes went missing but with the approval of Davy Wiseman it’s been dragged kicking and screaming back into the world as a limited LP run and digital release, and contains perhaps the most chaotic detournement of a Robbie Burns folk ballad ever laid to tape.
Nyah Fearties are from the village of Lugton, and created a near-unique brand of anarchic modern folk in the 1980s and 1990s. “Simple Minds, Orange Juice and The Jesus And Mary Chain were from Scotland but Nyah Fearties are about Scotland” said one review. Their feral Celtic punk is influenced by industrial groups like Einsturzende Neubaten, who inspired a scaffolding and scrap metal percussion setup that became known as ‘the blatter cage’, making them unwelcome wherever they went. Fearties are a duo of brothers Davy and Stephen Wiseman, and this record also includes, “the Entire Company on anything they can lay their hands on” according to original sleevenotes. The brothers toured, appeared on TV, and later supported The Pogues on tour, and these successes allowed them to release better recordings under improved conditions.
Originally released in 1986 and reissued now by Good Energy, a co-production between Jennifer Lucy Allan (Arc Light Editions) and Kevin McCarvel (Nyali Recordings). Good energy thanks all involved, especially Cal Wiseman and the one with the best energy: Davy Wiseman.
To be Feart is to be scared, but you better be
because A Tasty Heidfu’ is back and it’s coming for you.”
Without question, some of the most beautiful Quiet music you'll likely ever hear, compiled in a 4 hour-long triple disc set.
'Fremde Zeit - Addendum' collects five pieces of engrossingly etheric, liminal composition by Jakob Ullmann (1958), the widely acknowledged master of quiet music and cover star of The Wire magazine.
For us, as we'd imagine many others, this is a striking first introduction to the devoted German minimalist's very particular body of work. Comprising 4 hours of barely-there strings, percussions, wind instruments and voices prefaced by the instruction "Please choose, for each piece, the volume settings of your sound system so as to just barely mask the ambient sounds in the room", this is music made for concentrated listening, recorded and specifically designed to give listeners "the opportunity to hear more, and better" by the simple but essential notion that "We hear better because we make an effort to hear better."
With this is mind, we're invited into a sound world which actively, yet effortlessly and sublimely challenges our perceptions of space and time with a compelling, transcendent effect akin to that of listening to music by, say, Eliane Radigue or Morton Feldman, yet with an alien, detached appeal entirely its own. Due to their extended durations - no piece is shorter than 34 mins, and over an hour at the longest - we form temporal impressions which blur the boundaries between our immediate space and the apparent vastness of the recording, teasing our sixth sense to wander on a knife edge of trepidation and somnolence.
Yet, musically, it covers a far more subtle spectrum of emotions and cabalistic atmospheres casting metaphoric allusions to "…antiquity, to the Middle Ages, to the Baroque, to the 20th Century and to the present" by means of its extreme dilation of space/time and anticipation, and relegation of distortion or any untempered gestures.
Once you've heard this music it should come as little surprise Ullmann studied sacred music in Dresden from 1979-1982 - his music could be the lingering resonance of an Arvo Pärt piece played in a huge cathedral, and it carries the weight of history - spanning over 18 years of work, the results are duly, deeply considered.
A revelatory package, whose impact will surely emerge and manifest as slowly, yet powerfully, as the music itself.
Objekt returns with Cocoon Crush, his first LP since 2014’s Flatland. Over the past four years he has continued to challenge conventions with his club output, while maintaining his reputation as a DJ who deploys impeccable technical finesse in crafting elaborate narratives from a diverse and challenging palette of electronic music.
"Written between 2014 and 2018 in Berlin and on the road, Cocoon Crush once again sees the producer jettisoning the functional requirements of the dancefloor. Marking a further evolution from the youthful exuberance of Flatland, Cocoon Crush explores a more introspective side, with themes of human interaction resonating throughout the record as it ruminates on a spectrum of complex moods rooted in 4 years of sometimes turbulent personal experience.
Cocoon Crush represents an aesthetic departure from Flatland’s largely synthetic tonality, drawing from organic source material and natural textures to illustrate perplexing and unfamiliar sceneries in photorealistic detail. In Cocoon Crush, Objekt diverges further still from his musical influences to craft the purest manifestation of his own musical personality to date: an intriguing and enigmatic album whose reference points are hard to pin down, in which ghostly synth passages weave through mind-bending, weighty drums, and ASMR-triggering foley collages scrape and sparkle.
Through meticulous sculpting, Objekt traces a rich and impressionistic journey through claustrophobia, hope, guilt, anxiety and joy, nested in layers of sonic detail which reward with every listen."
On this newly released work Jakob Ullmann combines his appreciation of Cageian principles with sacred composition in utterly riveting ways, resulting in two of the most extreme and uncompromising examples of his “quiet music” - that is, a music which is composed and realised to be played just above the volume of each listener’s ambient background.
And in case you’re not aware of what we mean by “extreme”, we’re talking seriously quiet - bordering on silent - instrumental gestures; the kind of creaks and klangs that, on the most glib level, recall a “ghost” in your house at midnight, while on a more serious, theological level, are intended to heighten the listener’s sense of the unknown, the metaphysical, the spiritual: the sacred.
In both works the ‘hallmarks’ of Jakob Ullmann’s intently defined yet unfathomably open style of composition come to light. On Müntzers stern, a pre-recorded performance of a hymnal text written by the German theologian is played back at barely perceptible volume into the same space where Dafne Vicente-Sandoval translates the graphic score for bassoon. The result is a totally sparse yet breathtakingly pensive piece where it’s beautifully uncertain what we’re hearing - is that the chance sound of a distant plane or Dafne’s bassoon? Are those voices in your head, outside the window, or on the recording? Either way, the barely-there but complex results are genuinely ambiguous, forming a total breakdown of conventions that leave the listener with far more questions than they answer.
On solo II, part of a group of works relating to the notion of disappearing musics completed in 1992 following Ullmann’s conversations with John Cage, the effect of Dafne’s bassoon, recorded in Kartäuserkirche (Bürgerliches Waisenhaus) is even more extreme. Holistically taking into account everything from the thermal fluctuation of the space and the way it affects Dafne’s reed, to its unique acoustic imprint, and by turns what lies outside its walls, the piece directly builds on Ullmann’s dialogue with Cage, and induces us into a sort of lucid dream state where time dissolves, outside becomes inside, and we feel physically sublimated into the piece and its projected timbral architecture.
As Ullmann’s music has come to light beyond the most rarified classical corridors over the last decade (with thanks to its champions such as Stephen O’Malley and Bill Kouligas, among others), the composer’s radical approach and uncompromising beliefs have given us some of the most memorable and perception-altering musical experiences imaginable. We can surely add these two new Ullmann works to that set of life-affirming and quietly challenging experiences.
Toresch vocalist Viktoria Wehrmeister becomes Decha with a superb solo debut suite of minimalist, mirage-like songs for Berlin’s Malka Tuti label
Also known for her role in La! Neu? with Klaus Dinger during the late ‘90s, Wicki Wehrmeister is the Mexican-German sculptor and artist acclaimed for her schizzy vocals on Toresch’s amazing ‘Essen Für Alle’ EP, where she variously barked, purred and and spat in tongues over Tolouse Low Trax’s sidewinding productions.
On ‘Hielo Boca’ however, Viktoria a.k.a. Decha is shorn of beats, allowing her playful character to really come thru in myriad ways while revealing a true enigma at work in the process. Across the album’s nine songs Viktoria wears as many hats, vacillating snarling, punky personas with more naif, airy stylings and seductive croon, and always unafraid to play around with the frayed, natural imperfections and textures of her voice.
To cut to the chase, there’s one really big standout, ‘Voy A Very’, where Decha multitracks herself in plaintive harmony over a sluggish, decapitated house riff and smeared brass with transfixing effect, but we reckon it’s best heard in context of the full album, after you’ve witnessed her parse and recombine her various voices and sides between the gurning/puckered glossolalia of ‘Nonja’, the layered acapella cadence of ‘Soy Yo’, where she’s alternately rapper/folkalist, and the likes of ‘La Nena’, where she melts into air like a Cucina Povera or Paavoharju hymn to dreamy whimsy.
In the best sense the music on ‘Hielo Boca’ feels in flux, frayed and off-the-cuff, yet highly considered. It’s this play of instinctive and detached nous that makes us sure we’ll return over and again.
Surprise new release on Low Jack’s much sought-after Les disques de la Bretagne series, a tropical spell from Dominick Fernow’s Rainforest Spiritual Enslavement on a lights-out dancehall voodoo tip - the first RSE release outside of Hospital Productions.
Dominick Fernow (Prurient) and Low Jack untie for this latest incarnation of Rainforest Spiritual Enslavement, after stumping one of 2018’s biggest surprises with their dread-filled collaboration ‘Red Ants Genesis’
On the A-side’s noxiously swampy ‘Bridgetown Dub’ they come to bury the dance with mesmerising chants and skeletal drums and powerful electro-dub subs - brought to life in-the-mix by Paul Corley - while lightning and thunder threaten collapsing skies. The synthetic vocal edits and drums take this deeper into steppers territory than any other RSE (or for that matter any of Fernow's many aliases) we can recall - proper vibe.
‘Price To Pay’ on the flip follows in bassy suit, starting off almost shorn of drums and licked with currents of tropical warm air chords that lull you into a state of a most welcome mental paralysis, before those kicks come in again for a delirious sense of momentum.
Powerful spells, strongly recommend to fans of Demdike Stare, Equiknoxx, Shackleton, Burial.
Angel-Ho takes to Hyperdub with her killer debut album proper, ‘Death Becomes Her’
Metamorphosing from the bullet-riddled chrysalis of her ‘Red Devil’ mixtape into a melodically colourful and vital voice in new electronic club music, the South African artist is accompanied by guest vox from K Rizz, Queezy and K-$, plus production by Gaika, Nunu, Bon and Asmara Maroof, who all play their role in “killing the old self, and expressing a poetic way of assuming a new identity.”
The album is thus about “emancipation and trans identity”, and reveals Angel-Ho as a gifted lyricist/vocalist as well as a master of curious, probing arrangements of tone, texture and rhythm. But, for anyone familiar (or even slightly obsessed) with her fractious ‘Red Devil’ mixtape, her advance into far more tempered and filigree sound organisation may come as a shock. Her music now more closely resembles the hard-won styles of Arca and Lotic, with stronger binds to mutant R&B and Rap, as well as core influence from SA musics such as Gqom and Kwaito.
Where her previous releases were effectively dizzying, abstract descriptions of South Africa and the trans-global Black and queer experience, ‘Death Becomes Her’ merges the figurative and brutalist with more literal, and poetic expressions, for a varied and full frontal definition of Angel-Ho as an artist. Songs such as the Kwaito-esque dance-pop of ‘Like A Girl’, and ‘Muse To You’ are just that, proper dance songs with verse/chorus structures and stunningly animated/animating rhythms, while ‘Baby Tee’ offers a smart sidespin on R&B conventions, and others naturally push the prism toward the avant, as with the use of Bee-Gees choruses in the blinding, off-key and jagged ‘Live’ or the Coil-ed poise of ‘Pose’, or the keening, oblique shape of ‘Bussy’.
Incredible, transfixing avant-classical solo piano and dynamic, puristic synthesis from Iranian-American composer Cameron Shafii. Big RIYL Kevin Drumm, Iancu Dumitrescu, Mika Vainio, Luigi Nono
Following the short-run edition of his ‘DzGI’ tape in 2015, it’s fair to call ‘Corpora Vilia’ Cameron Shafii’s definitive release to date. Consolidating the Ph.D. student and Ge-Stell label boss’s fascinations with the physics of sound, specifically digital synthesis and spectromorphology, Shafii’s 2nd release places exacting techniques at the service of a uniquely refreshing, playful, and genuinely bewildering music.
In three durational parts, Shafii presents a wealth of micro-edited sounds arranged into radical synthetic symphonies. Structured around deeply uncanny transitions between acoustic and digital spheres, they each reveal inception-like worlds within worlds, using every integer of the sound field to draw ears between his spectral presences and pointillist acoustic strikes with a quietly breathtaking grasp of proprioceptive chicanery.
With ‘Points and Planes of Potential Future Violations’ he establishes a beguiling soundfield foregrounding insectoid electronics over cascading piano arpeggios in the midground, punctuated by percussive violence and leading to head-wrenching chaos recalling Luigi Nono’s ‘Non Consumiamo Marx’ classic. ‘Text 27 (Lise in Fernsehspiel)’ follows, rendering pink hued ambient harmonics centre stage, surrounded by vertically creeping strings while near-infrasonic bass turns the stage to jelly, before ‘Spatial Envy; or Suture and Cut-Pieces’ again extends the strangest timbral combinations and perception-baiting segues.
Ultimately it’s one of those releases that will constantly make you stop and double-check what you’re listening to. It’s floored us each time we return to it, at least. Lovers of leading edge experimental composition of all stripes need ‘Corpora Vilia’ in their listening lives.
Finally the missing piece of the puzzle arrives, the early and absolute classic slice of genre-defining techno from Basic Channel under their Quadrant guise.
Infinition was originally licensed to Carl Craig's Planet E imprint in 1993, and also Renaat's now sadly defunct R & S label, and became an instant sell out on both slightly differing versions and has been sought after ever since. Here Moritz re-masters the two cut's Infinition and Hyperprism onto a loud and crisp 45rpm press. The demand for Basic Channel records has been hyped of late due to the 10th anniversary re-press of the original 9 releases, this further 12" completes the early evolution of their sound, and the bare 909 drums and classic washy synth's show the early leaning's toward the Phylyps Trak style cuts, and their first foray in to the annals of techno history.
Hyperprism has a more acidic feel, and a definite Planet E/Detroit sound with the lush strings backing the modulating acid line, while the subtle drum programming makes the groove sit superbly under the music, a lush and deep as you like vintage cut from Basic Channel finally available. An unmissable re-issue of a bona-fide classic, and remember kids - we've been waiting for far too long for a record to land with a new Basic Channel catalogue number - here it is. Legendary.
Quiet music conceptualist and practitioner, Jakob Ullmann's 2nd release and first with Editions RZ was first issued in 2005.
It yields a single 73 minute piece written for an ensemble of thirteen solo strings and up to three additional solo parts arranged to explore the filigree infidelities of their range between almost "pure", natural harmonics to diffuse noise at the lowest threshold of perception thanks to masterly feats of restrained technicality and the composer's vision.
Of course, this is much more than an exercise in academic or technical exactitude. Ullmann's score elicits the players to play at the edge of their nerves and skill to reaffirm the piece's sureness and manifest the slightest differentiations, sustaining our attention in pensile equilibrium so that the most minor shifts in pace, tone, timbre ensure optimal effect, and live up to the piece's conceptual power.
Properly Entrancing recordings of Eliane Radigue’s ferric alchemy come to light again on vinyl, this time on a better vinyl pressing with calmer surface noise allowing for a finer grasp of her pulsing, filigree microtones and pealing timbral partials. Also, that new cover art is....!!!
Stunning Alga Marghen issue of two previously unreleased masterworks by Eliane Radigue recorded at Pierre Henry's studio between 1967-68. At this time she was working for Henry at his studio, given the enviable task of organising his vast sound library according to different criteria for use in his future compositions and also helping edit his masterpiece 'L'Apocalypse de Jean'. During downtime she had access to an unrivaled array of equipment and created these two compositions. Jouet Electronique' (1967) or 'Feedback on magnetic tape' features two Studer and two Tolana reel tape machines - Radigue would set one to record another and manipulate the discrepancies of phasing feedback loops, or "larsens" with delicate, fine-tuned pitching, "slightly caressing certain potentiometers" to elicit a range of low pulsations and very high pitched sounds as though she were playing a rather unwieldy instrument. The results are ethereal and often alien, yet conducted with an uncannily restrained and human sleight of hand.
Even more visceral is 'Elemental I' (1968) or 'Feedback of natural sounds on magnetic tape' comprises four movements associated with the four basic elements: water, fire, air and earth. Thanks to her former employer, the artist, Arman, she now had a small, portable Stella Vox which she used to record sounds in open air during walks around her home in Nice, capturing the sea, the wind, the rain and fire to form a small sound library. The sources in each section are discernable, but transformed into breathtaking abstractions at her home studiio.
New Order’s evergreen first single ‘Ceremony’ (technically a Joy Division song, but…) is available for first time since the ‘80s, and on heavy vinyl to boot
‘Ceremony’ was written and recorded as a Joy Division song, but tragic events lead it to become New Order’s first single, re-recorded by Martin Hannett for purpose, and subsequently acknowledged among the greatest of all time. Gloomier than winter skies over Hulme, B-side ‘In A Lonely Place’ only compounds the emotion.
New age ambient cooperative Temple - aka Ramzi, Priori, Ex-terrestrial, and Emmanuel Thibau perceptively probe the space between electro and acoustic, improvised and produced sounds in their lush debut proper following an appearance on New Atlantis Volume 1.
Working at beautifully empathic levels of intuition in four extended movements clocking in at a total of 40 minutes, their multi-stream compositions are steeped in myriad modes of practice, ranging from nods to the ‘60s minimalism of Alvin Curran and the late ‘70s shimmers of Eno and Hassell in ‘Movement 1’, to lush emulations of off-planet tribal music in ‘Movement 2’, before incurring glassy ‘80s FM synth dreamspace perfused by adult contemporary sax bleats in ‘Movement 3’, and melting out into dusky lounge styles in ‘Movement 4.’
The Necks’ dynamo percussionist Tony Buck helms and pushes equally skilled improviser Massimo Pupillo (Zu) to ritualistic drone zones in their densely absorbing debut collaboration
“Atmospheric and pulsating release TIME BEING/UNSEEN brings together, Tony Buck(The Necks) on drums/percussion and Massimo Pupillo(Zu) on bass.
Tony Buck is regarded as one of Australia’s most creative and adventurous exports, with vast experience across the globe. As a drummer, percussionist, improviser, guitarist, video maker and producer, he has been involved in a highly diverse array of projects but is probably best known around the world as a member of the trio “The Necks”.
Massimo Pupillo (Ostia - Roma) is a bass and double bass player and composer. Best known for being the bassist of Zu, which produced bio 15 albums with labels like Atavistic / Touch n 'Go (USA), Southern (EU), Heads (JAPAN), Ipecac Records (USA), TROST(AT) and numerous singles and split with other labels.”
Laurel Halo delivers a deadly instalment for DJ-Kicks with her 29-track sequence of zingers from overlapping zones of the ‘floor...
With a mercurial yet gritty flow owing as much to UK as Detroit and Durban dancefloor styles, Laurel wickedly and coherently keeps the mix in flux between alternating patterns, textures and subtly emotive tones, lacing her own exclusive parts and those from Nick León, Rrose and Ikonika, into a Lovelacian jacquard of iridescent allure and intricacy.
Alongside her 1 hour mix, all the tracks are available unmixed, with a big Gqom highlight in Griffit Vigo’s ‘A.C.I.D. (Electronic Gqom Mix)’ and to an extent, in Panda Lassow’s mutant, EU take on Gqom ‘Lachowa’, while the likes of Siete Catorce’s haunting latinx ace for Hypermedium, and Group A’s sprung EBm ace ‘Ketabil’ highlight the diversity and cross-floor unity at the core of Laurel’s dancefloor nous.
The viny 13 track set that takes in exclusive highlights such as Rrose’s nose-drip techno in ‘Cricoid Pressure’, along with Ikonika’s industrial funk ace ‘Bodied (OG Mix)’, Nick Léon’s kinky ‘Pelican Dub’, and Laurel’s kicking Detroit styles in ‘Sweetie’. Elsewhere, you’ll find smart picks such as Group A’s overlooked EBM zinger ‘Ketabali’, a freaky spin on Gqom from Panda Lassow, and Siete Catorce’s brooding swerve in ‘Canto’, taken from his EP for Hypermedium.
Rio de Janeiro’s Ziminino reconcile various nodes of the contemporary African diaspora in a richly colourful album sung in english, portuguese, and french, Bossa pop style, and laced with rhythms from Chicago footwork, Atlanta trap, and UK grime in a slinky Brazilian style accent
“On a sunny Rio de Janeiro afternoon, in one of the city’s hillside Favela communities, Ricô Santana, Rafa Dias and Boima Tucker sat trading Youtube clips of grime MCs in the UK, footwork dancers in Chicago and trap producers in Atlanta, building a friendship that would develop naturally into a creative collaboration. From the vantage point of that hillside, consuming the output of various international black music scenes, the group realized that they shared a desire to use music to celebrate Africa’s contribution to world culture. So they embarked on a journey to create an album, with lyrics in French, English and Portuguese, and with references to a diversity of black rhythmic genres in order to help bridge the gaps that normally separate people of African descent around the world.”
Youngsta’s Sentry push the boat out with Icicle’s ‘Raising The Dead’ doublepack of dubstep dreadnoughts
Still beloved in these parts for 2010’s ‘Xylophobia/Minimal Dub’ 12”, Icicle marks distance travelled since then with four parts of precision tooled pressure, smartly working on , off and around the halfstep.
Disc 1 comes cold AF with the scudding synth stabs and guttural wrench of the title tune, alongside the dissonant, feral synth chatter and industrial-strength percussion of ‘NT’. On the 2nd plate, ’Shout Me’ working wailing siren calls into a more hypnotic, loping groove underpinned with beastly midrange snarls, and ‘Noughties Riddim’ isolates the original soundtrack to smoking bans and worldwide financial crashes.
Fractal, warped and decayed new age psychedelia, including bass clarinet and FX by Jonathan Sielaff (Golden Retriver, Dreamboat). Imagine D/P/I and Tomuttontu dissolving BoC and Panda Bear tunes, and you have some grasp of Brin’s elusive charms
“Brin is the solo project of Portland, Oregon based percussionist & sound artist, Colin Blanton. Blanton warps, layers and contorts his samples through sensory percussion to create hypnotic rhythmscapes that bend & tumble through intimate, vignette worlds. Dimensional percussives with gelatinous sonics blend into a blanket of ambience composed of vibrational pools of VHS static. Like an audio journal sourced from his surroundings, Loose Leaf is the personification of the northwest rainy season filtered through a dusty Tascam.”
The in-demand Canadian producer serves four electro-house swingers flush with ribboning melodies and harmonised synth vocies
Launched on his own Verdicchio Music Publishing, Just like his debut album ‘Come To Canada You Will Like It’, Pablo’s first single of 2019 sees him get hypnotically loose and psychedelic, charmingly colouring out of the lines with the spiralling lushness of ‘Without Knowing’, then beautifully messing with the meter in the weightless breakbeat pressure of ‘Toes Unstepped’, before stretching out to full swang, electro-soul style, on ‘Wildest Way To Go’, really taking flight with the filigree weave of arps and rollin bass glyde in ‘Low Wings’.
Wickedly deep, raw and rude deep house and rap cuts from Marquavius McDonald, making his 2nd outing on Galcher Lustwerk’s label
Packing more vibes per square inch than most, the ‘Find Ready’ EP sweetly bobs listeners between their toes and their tush, simmering with warmest Detroit beatdown feels in ‘That Beat’, and more uptempo in ‘Heaven Is In You’, before dealing some special square-bass sauce with ‘Find Ready’, and hustling a perfect late night shimmy in ‘Flo Central’.
Separating Quavius form the rest of the house pack are a pair of ace rap joints; the Miami-dreaming peach ‘Let It Rock’, and the dusky cruiser ‘Fa Sho’, while his vocals also make crucial appearance on the rugged bump of ‘The Gist’.
Sugared avant-pop classic, originally on Lovely Music in 1978, remastered for its 40th anniversary.
“”Blue" Gene Tyranny’s first album from 1978 (originally one of the first Lovely Music releases) is here – beautifully remastered, with new artwork. Blue is a Grammy-nominated composer and pianist who has performed on records by Robert Ashley (Perfect Lives), John Cage, and Laurie Anderson, yet this is quite different.
Composing for what is essentially a chamber rock ensemble, a cast of female vocalists, and himself on the Polymoog and RMI synthesizers, Blue has created a song-cycle that reflects his intensely melodic and free piano technique in a polished studio record. Out of the Blue elegantly combines adventurous New Music technique, the style and appeal of pop music, and the grace of classical music to form an unclassifiable and totally revelatory whole. Endearing, exciting, familiar yet unlike anything else – this is a very friendly record.”
Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond.
"Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across four LPs or three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space.
Mastered from a mix of crusty cassettes, decaying DATs, and warbly analog tape, Capsule Losing Contact is housed in a moon dusted slipcase with all four albums secured in heavy weight tip-on jackets. An accompanying lyric book guides the listener through Duster’s lo-fi worldview, adorned with the last gasps of an expired golden age as captured on Polaroid and disposable Kodak cameras."
Strong, soulful debut album from Vancouver, CA’s Jayda G, paying tribute to classic Chicago styles in 9 effortlessly distinctive parts - big highlights in the disco come-on of ‘Stanley’s get Down (No Parking on the DF)’, and the brimming broken beats of ‘Sunshine in the Valley’, while ‘Orca’s Reprise’ beautifully points to her new age inspirations...
“The album is a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen Jayda play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S; be invited by The Black Madonna to play at her Warehouse Project takeover; and perform at festivals like Field Day, Kala, Melt!, AVA and the xx’s Night And Day.
Growing up some 6 hours outside Vancouver surrounded by an abundance of nature sparked an early interest in biology and the natural world, a passion that has endured and intensified to this day and is inextricably intertwined with her musical output. In 2018 she completed her Masters in Resource and Environmental Management specialising in environmental toxicology, wherein she investigated the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility.”
“I just want people to feel not so hopeless… there's a lot of really depressing things going on, but people are doing good work out there and finding out really interesting stuff, so I just want people to be informed of those things, so that they feel inspired in whatever work that they do.””
Something different from Mister Saturday Night Records, introducing the infectious attitude of Brooklyn-based rapper Taphari - a big tip for fans of Mykki Blanco or Lotic
“Taphari was born in Brownsville, Brooklyn, raised by his Bajan grandma, millennial mother and Rastafarian father. He's not much more than a kid, but he's wise beyond his years. Bold and malcontent, Taphari's a flower growing out of the concrete. Focus is his debut single.”
MFM hail a keenly anticipated 2nd survey of electronic music from Brazil with this teaser revolving a massive percy, Individual Industry’s addictive ‘Eyes’, and the worming funk of Bruhahá Babélico
We serendipitously stumbled across Individual Industry’s ‘Eyes’ via searches for Pink Industry some years back, and it’s a joy to now see it properly available. Written and released by Alex Twin and Lilian Vaz’ cult band in 1993, it’s a perfectly icy mixture of early trip hop, ambient-pop and shoegaze lit up with Lilian’s achingly spot-on vocal, which, for us, defines a dark ‘90s sexiness we can’t get enough of. For us it’s 100% essential!
Playful new wave/proto-house moves from Vanessa Worm, Optimo’s new signing, dancing from the woozy jack and cute vocals of ‘I Did A Lava Dance’, to the discoid house of ‘Rando M’, and the simmering, psychedelic swivel of ‘3 222’.
Glyphic synth music and jagged, future-ancient, jazzy machine grooves from Cornish electronica project PoS
Making their 4th orbit of Mordant Music, following an enigmatic self-released tape in 1996, ‘From AtoM’ is a brilliantly curious confection taking in everything from star-eyed synth works to a superb, diverse haul of rhythm-driven excursions somewhere between early Rephlex Braindance, Irdial Discs’ loose and freaky machine funk, and new age ambient house. Make sure to check for the very SAW 85-92 vibes of ‘Gold’, the swingeing swerve of ’850 Grill’, and the frothy charms of ‘Visions of Asphalt’.
If Clams Casino and Burial did a ting with Arca, it may sound like Blue Angels’s music for UNO
There’s still hardly any info about the Maryland-based producer online, but his music and moniker betray an introspective soul, with achingly well-poised R&B vocals laced into the clipped 2-step of ‘Gil’ and the sylvan swing of ‘Cryin’, while ‘Ceo’ shuffles from halfstep torpor to a serotonin-replenishing ending, and ‘Dislocation’ comes off like Arca trapped in a cold cubicle with only an acoustic guitar and his voice for company.
Hieroglyphic Being and Vakula kick Pedro Vian’s ‘Vacant Boat’ song into deep and psychedelic house styles
Jamal Moss aka Hieroglyphic Being vibes out with ‘Flexible Girl’, turning in a restlessly sparking and gasping piece of raw Chicago house nous whereas Vakula opts for the slow burn with his low-key and ruggedly offset spin on ‘Darwin’s Nightmare.’
Paula Temple kills it and buries it on her Noise Manifesto label
Taking no prisoners, she presents the biblical might of ‘Joshua & Goliath’ in a pounding techno version streaked with dive-bombing synths, then like a soundtrack for *that* scene in T2 where Arnie lowers into the molten metal with her slow version.
Animal Collective founder Dave Portner spools off a new Avey Tare adventure, apparently still gassed on the psychedelic surreality of AC’s ‘Tangerine Reef’, and with a killer thing for Maurizio’s eternal M5 groove in ‘What’s The Goodside?’
“Cows On Hourglass Pond was recorded between january - March 2018 by Dave Portner at Lauging Gas in Asheville, NC on a Tascam 48 half-inch reel-to-reel tape machine. It follows the 2017 release of Avey tare’s Eucalyptus, and 2018’s audiovisual album Tangerine Reef, a collaboration between Animal Collective and avant-garde coral macro-videographers Coral Morphologic."
Effortlessly balmy proto-house, balearic and ‘80s boogie vibes from Australia’s Jura Soundsystem
“Following the ‘Transmission One’ Double LP compilation of rarities & edits and the ‘Udaberri Blues’ split Dub single with Len Leise comes an extended EP of new original productions from Jura Soundsystem aka label head Kevin Griffiths. The 6 tracks touch upon a number of influences and styles with proto house opener ‘Carafe Denim’, the Balearic tinged ‘Mamma Capes’, an ode to 80’s boogie on ‘Boogie Tune’, spaced out electronics on ‘Parrot Rhythmic Space Jam’ and two leftfield interludes ‘Monster Skies’ and ‘The Lantern Story’. Mastered By Matt Colton.”
Available on vinyl for the first time in 40 years, Outernational Sounds proudly presents a crucial document from the Los Angeles jazz underground - the Pan-Afrikan Peoples Arkestra at their most together, stretching out on home turf in 1979, with the legendary Horace Tapscott at the helm.
"Horace Tapscott is one of the unsung giants of jazz music. A gifted composer and arranger, a boldly original pianist, and above all a visionary bandleader, Tapscott’s recorded footprint is small, but his legacy continues to vibrate through the Los Angeles music underground. From Freestyle Fellowship to Build An Ark, Kamasi Washington and Dwight Trible, it all traces back to Tapscott. The pianist was an organiser, and instead of chasing a successful recording career, he wanted to build a community band that would act as ‘a cultural safe house for the music.’ ‘I wanted to say, “This is your music. This is black music, and I want to present a panorama of the whole thing right here”’ said Tapscott in the late 1990s. ‘We would preserve the music on our ark, the mothership…’ That mothership was the Pan Afrikan Peoples Arkestra – the Ark. As a culturally radical, communal big band with a visionary approach to American Black music, Tapscott’s group is second only to the other famous Arkestra, that of Sun Ra.
Tapscott had founded the group in 1961 as the Underground Musicians Association (UGMA). It changed its name to the Pan African Peoples Arkestra in 1971, and through the seventies the players lived, played and worked together. Community work and political consciousness were at the heart of the project, and for two decades they played in street, park and coffee house. With Tapscott as their guide and mentor, the Arkestra worked with theatre groups, poets and revolutionaries, ran music workshops and teaching sessions for children and adults, and played fundraisers, benefits and rallies for political and social causes both global and local.
From 1973 to 1981 their main rehearsal and concert space was the Immanuel United Church of Christ (I.U.C.C.) on 85th St and Holmes Ave. The Arkestra played there every second Sunday, developing their sound and hipping new audiences to their vision. Live At I.U.C.C., recorded in early 1979, was the only live recording the band released. In full flow, and at the height iof their powers, the group recorded here features original 1961 UGMA members Linda Hill, David Bryant and Alan Hines, alongside the powerful voices of a new generation including Jesse Sharps, Sabir Mateen, and Adele Sebastian.
Showcasing spiritualised classics from Arkestra’s songbook, including the heavy modal groovers ‘Desert Fairy Princess’ and ‘Macrame’, Live At I.U.C.C. is a rare chance to hear one of the most important, foundational bands in the music stretching out on their own thing. With the great Horace Tapscott at the piano, this is the rarely captured sound of the mothership in full flight!"
Finally, Hospital Productions unveil the long awaited vinyl debut from the elusive Salford Electronics, backed with killer remixes by Ancient Methods and Vatican Shadow. Tipped if yr into Burial, Regis, Silent Servant...!
Plucked from right under our noses, Salford Electronics appears to be a handle for David Padbury, whose credits for industrial units such as Death Pact International and The Grey Wolves stretch back to the ‘80s. Under the SE mantle however, Padbury pursues a stealthy, menacing blend of industrial ambient, rolling techno and even Burial-esque 2-step that cannily resonates with styles you’ll hear any given weekend at Salford venue, The White Hotel - aka the best (and coldest) venue in the world right now.
The Salford Electronics sound is every bit as grim as its moniker implies. Opener ’Shadowfall’ conjures imagery of light dying over Salford’s jagged squarewave horizon of high-rises, Satanic mills and media citadels, before that atmosphere bleeds into the stark negative space and clenched techno tumult of ‘Deconstruction’, streaked with shortwave radio chatter and unheimliuch proclamation from the murk, only to end with a dry echo of Burial’s melancholic 2-step in ‘Breakdown’. And yes, we’re as surprised as you are.
Flipside, the effect is compounded by killer Ancient Methods and Vatican Shadow remixes. First spotted in his RA.645 mix, AM’s take on ‘Deconstruction’ is insanely dead-on but pendulous, driven with hungrier bass and whelmed with waves of biting point noise, while Vatican Shadow comes into his own with a tract of zombied, blank-eyed techno gloom.
L.I.E.S. cut across the face of contemporary American electronics from dark ambient to sludgy industrial offbeats and off-the-wrist noise from label family and acquaintances...
In a way similar to the notorious LSD comps, only with proper artist credits and track titles, ‘Eminent Domain’ effectively sees Ron Morelli limn an narration about the USA’s scuzzy underbelly of ill, odd-shaped, and refusnik electronics. with more enough material to soundtrack the film in his head where he’s a leathered-up tuff guy baddie on the mean streets, spitting on the sidewalk and commanding his gang of rogues over burner phones.
Highlights come from Beau Wanzer with the heavily spiked wobble of ‘Don’t Eat The Ground’, from Nick Klein in the ratty prang of ‘Microscopic Cop’, Skander’s midnight horror theme ‘Running Into Danger’, and the tensile, teeth chattering EBM of ARIISK’s ‘Ominous Playback Transmission’, while the 7” also fires two grotty zingers in Corporate Park’s distended electro workout ‘Benevolent Surveillance’ and the cold ceramic swirl of ‘Fade Out’ from S. English.
Fine shades of deft, rooted and astrally inclined dub techno from Poland’s Ziemia label, debuting with a handful of cuts by Earth Trax, Private Press, and Newborn Jr.
Private Press provides the lion’s share with three pieces of scudding chords, airy ambient touches and kinetic basslines recalling Vainqueur and Substance, while Earth Trax rolls solo on an effortless dub house skank, then in a sloshing acid-dub style with Newborn Jr. reminding us of Andreas Tilliander’s TM404 or a Donato Dozzy workout..
Aril Brikha returns to Mule Musiq with three rolling deep techno trax in signature, Detroit style
Across the A-side he unfolds the proggy, elliptical bassline and sizzling hi-hats of ‘Pattern Recognition’ for the hair-kissing hours of the morning, whereas the B-side works out the stripped down kick and vocal-led electro swerve of ‘Policy of Youth’, saving a melodic flourish for when it matters, and expending his funk in the low key hustler, ‘In The Night’.
A cult star of the UK underground, Yeah You’s Elvin Brandhi strikes solo in stunning fashion with ’Shelf Life’ for C.A.N.V.A.S., hot on the heels of their wide-scoped ‘Cipher’ compilation.
Perhaps best known for her improvised rap/noise project Yeah You alongside her dad, Gwilly Edmondes, the artist known as Elvin Brandhi is a vital creative force to be reckoned with on ‘Shelf Life’, hacking and splicing frazzled electronics and her own voice into utterly singular, mutant designs that could hardly have come from anyone else.
There’s so much going on that we’re kinda lost for words and left reeling from it all. But if we allow our ears to defocus a little, structures begin to emerge from the chaos, kinda like a T-1000 flailing in molten meckle. Variously, we hear a wild flux of crushed flashcore rhythms a la Croww woven with free-metered vocals and Wanda Group-like gunk in ‘Empty Weeping’, while ‘REAP SOLACE’ recalls an Arca or Lotic piece twysted inside-out, gut spilling, before ‘I SAID IF’ runs roughshod with DJ Scud-style Yardcore and Merzbow-esque shards of electronic noise. And just as you think you’ve got a grip, ‘IMBRED WAILE-OCDC’ invest it all, setting blown-out percussion in acres of negative space with discombobulated pop vocals and blasts of dissonance, then ’Skype Warp’ closes the account cannily close to Klein with a burning but elusive, avant sense of soul.
Jaws will drop at the feet of this one. Highly recommended!
Stroom drift wide-eyed into ‘90s chill-out room feels with this delicious split revolving Cold’s 15 minute acid massage ‘Strobe Light Network’ and an ambient electro beauty ‘Lapis Lazuli’ from James Bernard
Reaching deep behind the curtain of ‘90s ambient styles, this imaginatively conjured split plays to the light and dark, yin and yang of rave musick by reappraising its less trendy, but richly flavoursome ambient also rans, finding total beauties in blindspots beyond the usual rave hotpoints.
Icelandic producer Isar Logi Arnarsson aka Cold originally released ‘Strobe Light Network’ on Thule Records in 1995. Traversing iridescent, hallucinatory electronics and submerged, slow dub techno rhythms, the 15 minute beauty was picked up by Sven Väth as the closing track of Love Parade 1996, and now 23 years later it’s lost none of its lip-smacking lustre, surely set to light up a thousand sets over summer 2019.
James Bernard’s B-side ‘Lapis Lazuli’ hearkens to the same era, but sees to the other side of the coin to Cold. Written in the early ‘90s, and released in 1997 on the ’Symphony For a Biomechanical Breakdown’ CD for SPK/Lustmord’s Side Effects label, it’s a serpentine coil of flickering acid lines and reticulated 808 patter with a sublime yet slightly menacing effect particular to that dark and sexy seam of the ‘90s.
Dais offer a very handy portal into Drekka’s cult catalogue of dark ambient, shoegaze, noise and psych-folk c. 1996-2002, with results ripened for followers of Hood, Flying Saucer Attack, Current 93, NWW or even Philip Jeck
“"No Tracks in the Snow" is a collection of tracks from the early days of Drekka’s history; the third offering for Dais Records and an appendix between the second and third parts of the 'Tarwestraat' trilogy of LPs for the label.
For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka. He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams - the real ghosts of time and sound.
Recorded between 1996 and 2002, the album showcases Drekka's early exploratory development across a variety of styles. And yet it is also Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges’ "A Personal Anthology" - or indeed any of Drekka’s own recent work - this recording can be understood as a cohesive narrative more than as a simple compilation.
As Drekka moved from its Bristol UK influenced space folk beginnings, backwards towards Anderson's earlier UK industrial tape culture foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one's own history. This process would become a cornerstone of Anderson's work for the decades to follow.”
Tape Loop Orchestra embark on a new three album series ‘Interiors’ with a ghostly first instalment accompanied by a visual guide of found photos.
Offering a restrained, minimalist approach to core ideas about isolationism, the occult, transcendence and the nature of entropy, ‘Interiors One’ unfurls a soundtrack to interiors bereft of inhabitants. Heard and read in conjunction with a pamphlet of Andrew Hargreaves aka TLO’s found photos, the two sides (and a full length CD of extra material) slowly edge into sighing chorales and sepia keys that act as a gauzily familiar yet detached medium for meditation on the spaces we inhabit.
The results are detectably more tempered, less overwhelmed by emotion than previous TLO outings. Both of the sidelong sections, containing parts 1 thru 6, are more serenely composed and intangibly diffused into the aether, with TLO’s aching heart feeling as though it’s been unchained and is keening into middle distance around the soundsphere like a quietly lost soul divining communion with other energies .
Hargreaves veils emotive signposts and in the process encourages listeners to slow down, find magick in the prosaic, to grasp the extraordinary from the everyday, to listen out for voices, almost like a recording of Alvin Luicier’s most famous work conducted by The Caretaker, retitled “I am sitting in a room, but i’m not actually there, or am I?”
20 years since ‘Flat Beat’, Mr. Oizo and his furry friend front ‘Rythme Plat’; four tracks of tail-shaking electro-fonk, including a guest vocal by Crookers’ Phra
All neon plumage and polyester funk, the EP comes with Oizo’s patented sleazy swerve in every bounce, first working up a sticky funk with the title track’s blatant knob abuse, shackled to a slinky latin hustle, then with bags of Parisian swagger in ‘Viands Légumes Véhicules’, before Phra pipes up with an Italian rap on ‘Dolces Vita’, and ‘Nuque’ sees dancers waddling off like John Wayne after a long ride.
Colourfully feathered Balearic charms from Japan, 1984, fancied by Theo Parrish and DJ Harvey
“Studio Mule presents a reissue of King Kong Paradise's Atsusa Mo Samusamo..., originally released in 1984 on Johnny's Disk. Johnny's Disk was an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata City in Iwate Prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning modern jazz, avant-garde jazz, and left-field pop.
Albums such as Teru Sakamoto's Farewell My Johnny/Left Alone and Eiji Nakayama's Aya's Samba (STUDIOMUL 013LP, 2019) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. Following a cult classic jazz fusion album on Bourbon Records, King Kong Paradise delivered Atsusa Mo Samusamo... an album of alternative, left-field Balearic rock that was way ahead of its time. An anomaly that sticks out in the Johnny's Disk's catalog, this rare record may appeal more to new wave, reggae and rock fans than jazz heads; in fact, one might not be surprised if people like DJ Harvey or Theo Parrish dropped this oddity in their sets. If one digs the kind of weirdness that's being reissued by Music From Memory, one might find this record intriguing.”