Schizoid jungle/juke tuffness from Germany’s Dispondant, exerting clinical/soulful Teutonic torque on OG Chicago and UK styles
Smartly dividing his energies between dancefloor dichotomies, one side shows off his whipsmart technoid chops in the palpitating subs and frozen drums of ‘Death’ and the zig-zagging 303 epic ‘Warehouse Acid’, while the flipside plays it cooler with the fluidly jazzy metrics of ‘Acid Jazz’ and the smoky late night Tokyo atmospheres of ‘Sanctum’.
Phillip Sollmann does his effortlessly rolling tech-house thing as Efdemin for Lucy’s Stroboscopic Artefacts
‘Wrong Movements (Circles)’ rolls on a fine line between hypnotic melancholy and something darker lurking below, while ‘Wrong Movements (Left)’ is more forcefully, melodically techno, and ‘Wrong Movement (Right)’ cuts the anchor and heads off on cosmic vectors along spiralling arps into acres of dusty, negative space.
Robin The Fog’s Howlround project takes a noisier, visceral direction in ‘The Debatable Lands’, his spikily psychoactive debut for Touch
Under a title referring to the historic tracts of land between northern England and southern Scotland, which includes his hometown of Carlisle, where the LP was recorded on his parents’ kitchen table, ‘The Debatable Lands’ also acts a metaphor for the abstract no-mans-land of noise he conjures with two 1/4” tape recorders and a microphone.
Allowing the tape recorders as much agency as possible, Robin acts as an improvising conduit or medium in the mode of a gonzo Tony Conrad or Eliane Radigue, with a modicum of Yvette Fielding and The Hafler Trio. He presents four durational pieces ranging from tremulous, plasmic immersion in ‘Threip’, to something like a pummelling, underwater Masami Akita workout in the rhythmic noise of ‘The Black Path’, while ‘Talking Tarn’ invokes imagery of animist pagans worshipping lone, lofty bodies of freezing water, and ‘Moat’ resembles some kind of EVP interception, perhaps from Roman times, or maybe the ancient spirits of Mu, located in the stone circle-littered realms to the north of Carlisle.
A healing and meditative Christmas release from Kira Kira, backed by a Tape Loop Orchestra remix. All proceeds will be donated to UNICEF’s Yemen appeal.
"As with most things in life there is a backstory to how this single came into being. Earlier this year Craig and I invited Kira Kira to contribute an album to our new label Letra Rec, and to our combined delight she agreed! A plan was hatched and we expected to hear results early 2019, and promptly got on with our other activities.
Early December I received an email from Kira Kira with an mp3 and the seed of an idea, to release a single “A miracle is a shift in perception from fear to love” in celebration of the winter solstice, the forthcoming holy season and Kira Kira’s birthday. After a few back and forth mails the idea had begun to take root and things were in motion. I would remix the track as an exclusive digital b-side, and in the spirit of the season we would donate all proceeds to UNICEF’s Yemen appeal (https://www.unicef.org.uk/donate/yemen/).
It has been a mad rush to the finishing line getting all the bits together but with hearts full of hope we are pleased to release into the world “A miracle is a shift in perception from fear to love”. We would also like to send a big hug to our friends at Boomkat for hosting this yuletide release."
Italian library disco business from the main man Alessandroni, dug out and dusted down by Rome’s Four Flies reissue label
Sure to grease the ‘floor for anyone with a kink for vintage Giallo soundtrack sleaze and funk, ‘Background Disco’ was composed by Alessandro Alessandroni in 1976 as the soundtrack to the movie ‘Frittata All’Italiana’, directed by Alfonso Brescia.
The strutting title cut comes in vocal and instrumental mixes, edited for dancefloor potential, as with the R&B-vibing slow dancer, ‘I Get You In My Mind’.
Canny braindance gymnastics from the Colundi pioneer on Clone’s DUB sublabel for IDM and related electronica
Landing one year on from ‘The Colundi Sequence Volume 2’ compilation, Perälä turns out some of his smartest drum programming and trippy tones in ‘Sunshine 1’, none more so than the steel drum band-goes-acid styles of the 5th track, his 2-stepping introductory number, and the Astrobotnia vibes of track 4.
ASC explores the depths of his sci-fi ambient imagination with part 2 of the steeply introspective ‘Trans-Neptunian Objects’ sessions
Trailing in the astral wake of his excellent 2x12” ‘The Outer Limits’, James Clements a.k.a. ASC returns to the farthest quadrants of his vast inner cosmos, where he takes as long as he needs (between 8-12 minutes) to fully scan his widescreen panoramas.
By jettisoning his percussive anchor, ASC frees himself up to explore heady, swirling scenes of shimmering tonal gradients and gaseous hues of colour. But, where so many artists working with these kind of palettes can tend to bore us to death, ASC imbues his scenes with a rich underlying sense of romance and sci-fi suspense, effectively exacting that classic idea of electronic music - a soundtrack for the mind’s eye, for mental travel. We’d wager it’s what NASA staff listen to on their days off.
Rude, swaggering dubstep infiltrated by US hip hop flavours
Leading on from his ‘Dyrge’ for Black Acre, Commodo bowls back to the bosom of Mala’s Deep Medi with sparking drums and offset subs synched to a crystallized sorta Reichian riff in ‘Rikers’, but the B-side leans heavier toward deep south styles, placing a canny UK style spin on woozy trap and Memphis pressure systems.
Synkro takes cues from the ancient Japanese tradition of Gagaku on his 2nd self-released 12”
A-side ‘Gagaku’ is a genteel dramaturgy of Synkro’s signature harmonic progressions, drizzly atmospheres and fragile 2-step beats executed with patience and elegant. B-side, German D&B producer Frederic Robinson offers an early James Blake sort Airhead-like remix of ‘Gagaku’, beside a floatation tank-ready ambient passage, ‘Cloud Musik’.