There are two previous The Best Of Fra Lippo Lippi releases on CD (1995 and 2003), but this is the first on vinyl.
"Only having limited playing time on vinyl, we had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem of a song from the final studio album "Dreams" that didn´t make the previous 15 track collection, but has in mysterious ways gained new life through organic streaming, with over 20 million YouTube views. Included is also "Angel" featuring the late, great Walter Becker on guitar and production duties."
Lush, reticulated reggaeton, deep house and breakbeat fusions from man o’ many monikers, Brian Piñeyro (Deejay Xanax, DJ Wey, Luis) as DJ Python, following the sterling example of his ¡Estéreo Bomba! Vol. 1 for Antony Naples’ Proibito with an immersive expansion of that sound in Dulce Compañia.
Taking reggaeton along new, instrumental routes intersecting NYC’s rave history, DJ Python has pretty much cooked up his own style of deep reggaeton, a title which should probably be taken with a pinch of salt, but serves well to identify his angle amidst an upswell of LatinX producers who are spinning dembow beats and tropes into all kinds of new spaces - from DJ/Rupture and co, to Florentino and Kelman Duran, for example.
Almost as close to the sound of Ben Cenac’s Dream II Science, new age experiments from Laraaji, or even Andy Stott as any of the above, Dulce Compaña finds Python alloying reggaeton’s nagging, signature bump with chiming electronic meditations in Las Palmas, and with squashed jungle breaks in the style of his Deejay Xanax alias on Cuál, both setting the innovative, deviant agenda for the rest of the set, recoiling from eyes-shut ambient rave infusions on Todo Era Azul (Version Afuera) and its cosmic Siempre Dub, to something like B12 on holiday in Caracas with q.e.p.d, but also making room for more rugged swerve in Acostados and the acidic tang of Yo Ran(Do).
But if any one track is going to melt your pants off, it’s the plasmic, aerial ambient shuffle of Esteban, which provides the sweetest window on Piñeyro’s unique Python sound, and everyone will know what to do next.
New full-length from the New York City-based art pop ensemble Erica Eso.
"Operating within a radical conceptual framework, but channeled through the voice of modern pop music, Erica Eso bridges aesthetic and musical gesture in a way that could only be found in our contemporary post-everything information age. While the band's 2015 debut album '2019' had a more "bedroom pop" essence in its recording and execution, '129 Dreamless GMG' refines, expands, and evolves the Erica Eso sound from home studio experimentation to a full-fledged band format, with live drums (Rhonda Lowry), bass (Nathanial Morgan), back-up vocals (Ellen O, Angelica Bess), and collaboration more central to the arrangements. Under the leadership and compositional vision of Weston Minissali (Cloud Becomes Your Hand; VaVatican), Erica Eso delivers the newness of microtonality fused with enough melody and harmony to satisfy the ears of listeners from all different inclinations."
Ryan Lee West aka Rival Consoles presents his new album ‘Persona’.
"Recorded at his studio in south-east London, ‘Persona’ benefits from Ryan’s exploration of a dynamic production process that combines analogue-heavy synthesisers, acoustic and electric instruments with a shoegaze-level obsession with effect pedals. A greater depth of emotion and confidence can be heard across the album. From the deconstructed movements on ‘Unfolding’ that starts the album with a snap of delayed snares, the apocalyptic drones of the title track and thundering drums in ‘Phantom Grip’ to more restrained ambient feels of ‘Dreamer’s Wake’, ‘Rest’ and ‘Untravel’.
The latter transverses six beatless minutes of undulating melodies representing “a limbo space, a feeling of ennui, of not really ever being known to others and others not ever really being known to you”. ‘Be Kind’ reveals a musical connection with fellow Erased Tapes artist Nils Frahm, with its minimal approach and improvisational nature. On the more complex sounding ‘I Think So’ Ryan aims to replicate a colour collage with sound. Like a musical kaleidoscope, a flashing and convoluted mass. Written after he saw Slowdive perform live last year, ‘Hidden’ builds from whispers to landscapes of controlled noise. In an interview with XLR8R magazine, Ryan explains: “once you start trying to make a sound loud, then you turn your back on thousands and thousands of sonic possibilities. One of the best things to do is to start a track with a really quiet, weak sound.” T
aking this idea to its ultimate conclusion, ‘Fragment’ closes the album as an innocent sounding ambient piece, almost nursery rhyme like, yielding time for reflection on how the persona has changed. ‘Persona’ follows the success of a series of releases — the ‘Odyssey’ and ‘Sonne’ EPs, long player ‘Howl’, and 2016’s mini album ‘Night Melody’ — that saw Ryan mature into what Pitchfork has called a “forward-thinking electronic musician with his own ideas about sound”. Atypical of instrumental-electronic music, Ryan has achieved a signature sound that’s unmistakably identifiable as Rival Consoles. Going beyond typical electronic music production, Ryan defines it as “songwriting with an electronic palette of sounds”.
After a long gap the legendary British dadaist group Hastings of Malawi have finally released their second album.
"Another musique concrète jewel created with the same peculiar, disjointed, uncommercial and totally original Hastings of Malawi aesthetic. 35 years after the release of their critically acclaimed album Vibrant Stapler Obscures Characteristic Growth the British dadaist group Hastings of Malawi have released a new album - an epic sound poem entitled Visceral Underskinnings.
It is a 40 minute film without light that reflects on the human condition, on modern society, on the nature of telephony and electricity and an attempt to make sense of the world in which we live that provides no answers. It is a sound collage of diverse elements including the voices of George Washington Johnson ('the whistling coon' 1846-1914) and Dr Hastings Banda - the first president of Malawi. It includes randomly generated computer music, voice synthesis, recordings of cold war number stations, American military sound weaponry and recordings of the some of the many sound sculptures produced by Hastings of Malawi over the last 30 years. Hastings of Malawi produce sounds that sit in that grey area where sound art and music meet but they reject both labels and cannot be comfortably placed in either camp. This is not an easy album to listen to but persevere and you may or may not be able to decipher its meaning."
Pete Swanson's Freedom To Spend label unearths and dusts off this total killer from Marc Barreca for this handsome, much needed reissue
With 4th world pioneer Marc Barreca’s ace solo debut Twilight now back in circulation thanks to K. Leimer’s Palace Of Lights, Jed Bindeman and Pete Swanson’s promising new label Freedom To Spend present Barreca’s stranger successor album Music Works For Industry (1983) on vinyl for the first time after a necessary issue of Michele Mercure’s Eye Chant oddity.
As opposed to Twilight, which found Barreca working solo with Eno-esque systems-based music, Music Works For Industry finds him taking contributions from members of Seattle’s close-knit community of electronic explorers, and working them - albeit as unrecognisable from the original source - into a series of playfully spiky creations as porous to influence from synth-pop, industrial as ambient music, and sounding much rawer, primitive, skronky and surreal than most else coming from the 4th world nodes at that time.
Rendering the original tape in its entirety - no edits or altered track list - the session slips and slides between cute, almost cartoonish pulses, hooks and voices in Community Life to rudimentary, swampy funk chops in the closer Church and State. What happens in between is akin to the soundtrack for some Canadian TV for schools programme or a series of calisthenic exercises for post-punk and new wave mutants; an assembly of off-grid rhythms and dislocated sounds kerned, smudged and processed to recall a very early iteration of the ‘dances’ from Rashad Becker’s Traditional Music For Notional Species or a colder, distant precedent to the kind of crooked creations coming from Luis Delgado and Eugenio Muñoz’s Mecanica Popular studio.
'London Is The Place For Me 3' is a fantastic collection of African music originally recorded as 78's on the Melodisc label.
The product of Ambrosa Campbell and his West African Rhythm Brothers/Stars, tracks like 'Lagos Mambo' and 'We Have It In Africa' combine a keen jazz aesthetic with gorgeous chiming guitar and Caribbean rhythms. Capable of evoking summer sunshine in slate-grey February, the impact of this music in post-war Britain must have been astonishing - a situation which is vividly documented in the extensive liner notes.
The only authorised reissue of all time classic dub album originally released by Starlight Records on 1981 Now matched with a second disc of original vocal versions...
Includes previously unreleased tracks from Junior Reid and Ranking Dread Roots Radics at Channel One, produced by Linval Thompson and mixed by Scientis. This newly created 2LP combines the classic 1981 album with vocal hits on the same rhythm tracks...
The only authorised reissue of all time classic dub album originally released by Starlight Records on 1982 Now matched with a second disc of original vocal versions...
"Includes previously unreleased tracks from Hell & Fire, Sister Nancy and Papa Tullo Roots Radics at Channel One, produced by Linval Thompson and mixed by Scientist & Prince Jammy New cover art by Tony McDermott
More classic dub sides from Roots Radics band, paired with the vocal versions on the rhythms."
Boy Harsher’s début LP Yr Body Is Nothing is one of the strongest admissions to the recent wave of EBM and darkwave influenced synth-pop. This is a new edition pressing, following self-released version and a DKA Records release.
Revolving around cinema fiends Augustus Muller and Jae Matthews, Boy Harsher really came into their own on first album Yr Body Is Nothing , which paved the way for the Country Girl EP which landed to resounding cult acclaim on Ascetic House in 2017.
On Yr Body Is Nothing they work the barest essentials into slick (but not too slick) songs specially balanced with a classic mix of dancefloor pressure and emotive pathos, generating strong club potential in the grim burn of Suitor, the tight swerve of Morphine, and the pneumatic strut of Deep Well, but it works even better as an album end to end.
E-Unity pursues the astral coordinates of last year’s debut 12” for Oscilla Sound on this first one for another french label, Intramuros. A strong look for fans of Batu, Lanark Artefax or Cheval.
Up top he works out a meter-messing formula of slowed jungle drums and floating pads in CD-ROM-1, then knots up his drums and bass in a sort of weightless 2-step swivel.
Down below, the French producer keeps it low key and shifty with the pendulous house abstraction GDN, and returns to a slow and spectral ambient jungle style on Unknown Graffito.
Boy Harsher’s début EP Lesser Man returns for a fresh pressing on Nude Club, who are also behind a new reissue of B.H.’s Yr Body Is Nothing album.
Thanks to an achingly tight blend of rictus grooves and perfectly gaunt vocals, Boy Harsher have steadily caught the attention of listeners worldwide, leading to the dispatch of their resoundingly acclaimed EP with Ascetic House in 2017.
This one packs some proper heat, tracing the pair’s metamorphosis from Teen Dreamz into the Boy Harsher of today thru the gothic darkwave elan of Lust and the infectious canter of Modulations, to the hypnotic engine of Pain, and taking in Hi-NRG zingers such as Run beside the drone descent Crimea, and the sore, sludgy synth-pop romance of Love.
RIYL Tropic of Cancer, Xeno & Oaklander, The Soft Moon
Pye Corner Audio brings his wood-fired analogue sound to Lapsus Records after touring the houses of Mondo Tees, Polytechnic Youth, Analogical Force and More Than Human already in a productive 2017 cycle.
In a smart play of contrasts, we hear much-loved and lesser-heard sides of PCA’s sound in Where Things Are Hollow. The supple, rolling arpeggios and acid tweaks of Resist, and his wobbly, chromatic cosmic chugger Northern Safety Route both bear the hallmarks of Martin Jenkins’ signature dancefloor romance.
However, fans should be very intrigued to hear him go beat-less and weightless in the other two parts. With Mainframe he conducts a stellar display of piquant bleep motifs and arcing choral pads converging into a gently distorted and dissonant harmonic smudge at the track’s peak, and Continental Drift seemingly operates on the opposite side of that wave with a sullen stir of low end swells and light pollution aurora reflecting the scale of the track title.
Moscow’s Buttechno reverts to his birth name for this tranced-out doozy on his own RASSVET Records, who previously dispatched his 1984  12”.
Coolly adapting Lorenzo Senni’s PointilisticT tekkers to his own ends, Milyakov riffs on virulent, beatless trance arps in four ways on the front, including one perfect locked groove, while the B-side renders a more ragged and unpredictable rogue rhythm called B A D which obstinately bears practically no stylistic relation to the other tracks.
The trance bits are the big reason you need this one, though. DJs, dancers, trancers and MDMA romancers - your time!
Kings is a 2018 crime drama film directed by Deniz Gamze Ergüven (Mustang). Scoring duties for Kings fall to Nick Cave & Warren Ellis of Nick Cave & the Bad Seeds fame.
"In recent years, they have become a force to be reckoned with in the world of soundtracks, thanks to their impressive work on films like Hell or High Water, Wind River, and the National Geographic series Mars. Cave and Ellis, the later a repeat Ergüven collaborator, pull from their rich history in the music world to deliver an unexpected score that immediately transports the listener to a specific place in time – the hot, angry streets of Los Angeles in the summer of 1992"
Osiris have the rare honour of hosting a typically sublime Burial remix on the B-side to Deep Summer, Simon Shreeve (Kryptic Minds) aka Mønic’s melancholic and dusky industrialullaby.
Perfectly measured for the pensive atmosphere of summer 2017 in a Brexiting UK, Mønic’s Deep Summer courses ghostly R&B/folk vocals thru an arid scene of knackered, worn-down drums and keening harmonic pads, barely but stoically keeping its head up against its impending conclusion in a cannily metaphorical narrative arrangement.
Trust Burial, then, to extract and amplify some sense of beauty from the reserved anguish of Deep Summer on the B-side, opening with a filigree collage of seagulls, windchimes and pads recalling the “better days” of ‘90s summers, before lone voices sardonically echoes the sentiments of Nigel Farage (say it like garage) in the recurring phrase ‘we don’t need noone else’ against a rhythmelodic moire of maribas, pealing sax and queasy subbass squirms, perfectly capturing the lucid sleepwalking momentum and frayed socio-cultural fabric of Britain right now in the gauziest, impressionistic terms, replete with an updraft of balearic guitar in the closing stages perhaps predicting our mass exodus to a Ballardian super-city along the mediterranean coast.
Benidorm, you’ve been warned.
Fred Welton Walmsley III (Lee Bannon) completes his esoteric ambient metamorphosis with Dedekind Cut’s melancholic Tahoe album for arch American electronic drifters, Kranky Records - home to some of the some of the finest atmospheric ambient works of recent decades by Stars of The Lid, Loscil, Tim Hecker.
In key with Kranky’s heritage, Dedekind Cut very neatly plays to the label aesthetic on Tahoe with a widescreen suite of slow, windswept synths layered into expansive harmonics evoking cinematic and psychedelic sensations. They range from pop-ambient pockets of bittersweetness to more brooding tracts of durational immersion, with each connected by an overarching feeling of sadness or unresolved strife.
It’s all very much what you’d expect from a Kranky release, until you start paying closer attention. Where Kranky’s chorus of ambient angels have often spent decades on their craft, developing personalised timbral sensitivities and sound identities, the shapeshifting Dedekind Cut’s newness to this particular field is betrayed by the more elusive reach of his soundsphere, but the artist makes up for a lack of tonal richness by conveying his intent more directly thru the arrangement and overall feeling, or soul connoted by his compositions.
One of the most sensitive sets of ears in Paris, GRM affiliate Jonathan Fitoussi meets Clemens Hourriére for a beautiful 2nd orbit of planet Versatile in Espaces Timbrés. As the sibling shuttle to their acclaimed Five Steps  side, it finds Fitoussi & Hourriére tethered again to the classic Buchla modular synthesiser, but this time with Versatile staple I:Cube on board to lend a fresh set of ears in-the-mix and pon-the-desk with subtly majestic, widescreen results.
It’s worth properly mentioning Fitoussi’s credentials at this point. Beside a string of solo and collaborative releases in the last decade, he’s been pivotal in digitising and transferring from tape the legendary INA GRM catalogue for anthologies of Luc Ferrari, François Bayle and Pierre Schaeffer, not to mention the majority of those invaluable Recollection GRM editions, which is no pedigree to be sniffed at.
On Espaces Timbrés he brings that sound sensitivity to the table opposite longtime spar Clemens Hourriére in a lush, wide-eyed suite of synth music elevated from the norm by the infinitely layered and lucid clarity of their constructions, each underlined by a crafty rhythmic suss. The results thusly and semi-naturally oscillate the club and behind-closed-doors headspaces, scaling from evocative sci-fi panoramas such as White Sands and the very Limerence-like flutter of Labyrinth to pulsating dancefloor bewts like Basalt Columns and the creamy glyde of Cymatics, before really coming into their own within the DMT breath glitter of Euclidean Space and the Pye Corner Audio-like propulsion of Lunar Leap, leading to the glassy helix f Oeil at it’s finale.
This is near immaculate stuff, treading the finest line between classic cliché and genuine wide eyed wonder with trustingly high fidelity production.
Martin Jenkins aka Pye Corner Audio aka Head Technician returns with this new album of immersive slow acid enigmas inspired by Brutalist architecture, Detroit house and UK bleep ’n bass.
Taking inspiration from his fascination with Brutalist construction, Jenkins exclusively uses Roland TR-606, MC-202 and TB-303 boxes plus the Roland System 100 modular synth to sketch out a slow, murky sound with results that are even darker and more obscure than his previous work.
Echoes of early Detroit and UK bleep & bass infiltrate the stark corridors of Profane Architecture as much as the hauntological spirits of BoC, combining to make a sound that revels in nostalgia yet yearns for the future. It’s not a new idea, but it is one that Jenkins executes with such classic style and unique character that can only lead to comparisons with acid maestros such as early Plastikman or the Analord, Richard J. James.
For moody dancers, Profane Architecture is perfect; from the oozing elan of opener First Pour thru the spheric momentum of Béton Brut and the mind-weaving acid of Formwork he establishes a slickly hypnotic sound that works its magick with more funk on the flipped, generating the tactile form of Second Pour and the ruggedly hewn groove of The New Brutalism, then closing out with the exquisite darkness of Demolition - a real highlight in his extensive and highly collectible catalogue.
The first Grouper album in 4 years finds Liz Harris stripped of FX, pairing her vocals with skeletal piano gestures in beautifully pregnant space. For anyone familiar with the miasmic fuzz of Grouper’s previous releases, the relative clarity is quietly shocking in effect, revealing her songs and sound at their most vulnerable, and, in the process, locating a newfound strength in fragility.
Grid Of Points was recorded in Wyoming shortly after Liz finished recording Grouper’s Ruins out in Aljezur, Portugal, and on the most immediate level it seems to describe the difference in recording locations between windswept Atlantic coastline and sparse, landlocked insularity. The seven songs were written over a week and a half, with the process curtailed by a bout of what she describes as “high fever”. What remains forms some of Grouper’s most legible lyrics and intimate instrumentation, with each piece framed by stark, unprocessed space working in the same role usually occupied by her billowing sheets of harmonic distortion.
Untreated and unfiltered, Grouper's voice rings plaintively clear, sometimes layered in ephemeral harmonies or curling off with jazz-soul wise inflections shadowed by modest piano phrasing in a crepuscular style that links back to all her previous work. Yet, in places the clarity is such that it almost feels like we the listeners have just been hearing her songs with clogged ears for the past decade and longer.
Ultimately, these results perhaps most acutely resonate with the etymology of Liz’s moniker - ‘Grouper’ as in member of a Fourth Way commune, The Group, which was inspired by the philosophy of George Gurdjieff, whose mystic meditations surely linger in the magick of Grid Of Points.
Master of minimalist ambient house subtlety, Matt Karmil pivots his 4th album on Smalltown Supersound, which feels like an appropriate stable for the ambient-pop-wise turns of phrase and frayed feels in Will. Where Karmil’s preceding album and 12” with Idle Hands found him at the edge of the ‘floor, this album’s drowsy zig-zag between rustling ambient textures and purring minimal house is for the walk home from the club, or the morning after...
“Karmil’s fourth album, Will, is released on the Norwegian Smalltown Supersound label – the home of Lindstrøm among others. Even more than before Matt has managed to combine his love of the graceful forward motion of minimal techno beats with the deeply granular textures and meditative chambers of reverb and delay. Mastered by the careful hand of Rashad Becker at the legendary Dubplates & Mastering plant, this driverless vehicle takes bumps and curves with ease, but passes through enough scuzzy neighbourhoods to make the journey more memorable.
Before you get to the long ambient closing track, ‘Maffé’, Will contains its share of muted bangers like ‘Morals’ and ‘Can’t Find It (The House Sound)’. While these would vibrate well on the dancefloor, the experience for Matt is primarily a private domestic one. ‘I like to try to create a room to visit, and while it's nice to have details and look out the window occasionally, the fundamental is the room/environment itself – my personal enjoyment of music away from the club is often centred around long form and ambient works.’”
Discrepant delve into the rich history of Crète with Tasos Stamou’s hypnagogically impressionistic mesh of field recordings with processed samples of old records and tapes he picked up over three years of research and visits to the Greek island. The results feel ancient yet somehow modern, accreting (pardon the pun) a texturally fascinating deep topographical reading of local history and tradition
“About the artist: Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a “portable electroacoustic music studio”. His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. He has collaborated in recording and performing projects with a wide range of free improvisers and sound experimentalists (Adam Bohman, Steve Beresford, Sharon Gal, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.).”
Young Echo cog Ishan Sound meets Hodge and Muttley on a dread drill and grime session.
Alongside Hodge on C5 they put combined weight behind an icy, slow and mean AF sort of drill mutation compatible with gully dubstep.
With Muttley on Still Smoking, he cooks up a hulking sort of dread grime/dubstep sound leaning heavy on the half step and cloaked in dark blue Bristolian atmospheres.
Sugai Ken keeps us rapt to his genuinely idiosyncratic sound with Tele-N-Tech-Da; a playfully psychedelic computer music suite inspired by ancient Japanese culture and customs.
Like his trifecta of aces released by EM Records, Lullabies For Insomniacs and Rvng Intl since 2016, this album is perceptibly trippy no matter which way you approach it.
Tele-N-Tech-Da appears to be Ken’s attempt at broadening and inhabiting the schism between history/tradition and a form of pure artistic expression unhindered by the weight of historicity. To give some grasp of the results, the artist likes to think of them as “…like an imaginary radio play”, and we’d expand that to an imaginary radio play from another dimension, heard on a cranky DAB with a life of its own, thanks to the album’s brilliantly freeform, abstract logic.
Finding a perfect home on Discrepant, lodged amid Pierre Bastien and Kink Gong records, Ken really takes the opportunity to cut loose, at times sounding like esoteric Coil experiments, and at others like a Sublime Frequencies transmission from parallel planes, ultimately leaving us baffled but ready to try and navigate a way back thru it all.
Plush strutters and jazz-taught boogie budge, fresh outta Glasgow. High fructose levels on this one - well good.
“Rhythm Section INTL continues its quest to unearth the rawest new talent with this stellar debut from Glaswegian duo ‘String Theory’. Opening up with the majestic ‘Dirty High’ we’re treated to a symphony of modular synthesis, swelling strings and the bounciest drums we’ve heard in a long time. Rarely has house music been so fun yet so musical. Live bass-tip toes over an ocean of synth stabs and piano chords to create an anthemic track that’s sure to be the soundtrack to long summer nights and early mornings…. “
Jonny Greenwood presents an elegantly poised OST for Paul Thomas Anderson’s ‘Phantom Thread’, performed by The Royal Philharmonic Orchestra, the London Contemporary Orchestra, and an ensemble including himself and Oliver Coates, among others
“With Phantom Thread, Oscar-nominated filmmaker Paul Thomas Anderson paints an illuminating portrait both of an artist on a creative journey and the women who keep his world running. Phantom Thread is Anderson’s eighth movie, and his second collaboration with Daniel Day-Lewis. The film’s soundtrack includes eighteen compositions by Greenwood. It was recorded in London with a sixty-member string orchestra conducted by Robert Ziegler and is featured more prominently in the film than any of Greenwood’s scores have been before. In addition to the Academy Award nomination, the Phantom Thread soundtrack is up for a BAFTA and was nominated for a Golden Globe. Its many other accolades to date include Best Score prizes from film critics’ associations in Boston, Chicago, Los Angeles, Phoenix, San Francisco, Seattle, and St. Louis.;
The composer spoke to Variety about the process of creating a score that reflected the film’s romance and glamour: “We talked a lot about ’50s music, what was popularly heard then as well as what was being written and recorded. Nelson Riddle and Glenn Gould’s Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections; Ben Webster made some good ones.” Greenwood continues, “The smaller groups, and solo players, work like close-ups [and] not necessarily to accompany [a] visual, but rather, to focus your attention on and make you feel directly engaged with the characters. The bigger orchestral things often worked best for drawing you back to see the bigger situation.”
Anderson and Greenwood’s previous collaborations include the soundtrack for Academy Award–winning There Will Be Blood (2007), The Master (2012), and Inherent Vice (2014), all released by Nonesuch. Indiewire says of their collaboration: “Paul Thomas Anderson fans are well accustomed to how instrumental Jonny Greenwood’s music is to the auteur’s body of work. Whether it’s the foreboding strings in There Will Be Blood or the discordant percussion in The Master, Greenwood’s original scores expertly capture Anderson’s tones. This fact is especially true in Phantom Thread, which marks the fourth collaboration between Anderson and Greenwood.”
Back to roll up and smoke your chakras, Ras G & The Afrikan Space Program found more state funding for their esoteric equivalent to NASA, with Stargate Music relaying their research from a hotboxed studio mission to far out cosmic coordinates.
Unfortunately their research has been dismissed by NASA, but that’s just because the suits were all too uptight to really attune to the subtext of their recorded findings, which, if you listen close enough, and in the right mental state, actually provide the grid references to myriad stargates on earth which could save NASA a lot of money on rocket fuel. Then again they could just read the following press release:
"The womb is The Stargate of Humanity” says Ras G, relating to the concept of his latest proper full-length - an astral ode to woman. "Stargate Music is a record that I livicated to the Womb-man...to the Vagina, The Stargate from which beings emanate life on this planet. I gathered these sound pieces and presented it as a reflection of the life cycle of beings on this planet."
G has always been more to us than an influential L.A. beatmaker, but rather the luminary with an infectiously heartfelt zero-fucks-given philosophy towards raw experimentation in the Los Angeles underground producer scene since the early 2000’s.
"From The Primordial Water Formation we flow thru The Stargate....and one's great journey reconnecting and returning to the sweet nectar that is The Stargate....and this is the soundtrack to the journey." -Ras G”
"It could be argued that this is one of the greatest rock n' roll records of all time! Straight from Zambia, we have My Ancestors. A tough rock and roll masterpiece like no other."
Over ridden Fuzz guitars, pop melodies and even a Black Sabbathesque sounding song. Comes in an old school "tip on" cover. Must be heard to be believed...
Marc Richter (Black To Comm) whips YouTube samples into a psychedelic wormhole of ideas on his outstanding 2nd LP as Jemh Circs; (untitled) Kingdom. Landing somewhere between early James Ferraro and Spencer Clarke, one of Merzbow’s more colourful whirligigs, and an asylum fitted with walls of TV screens playing every YouTube video at once, it’s not for the casual listener, but those who like their musical data dense with compressed information will be left reeling by the end of the record.
"In contrast to Black To Comm's analog tape- and vinyl-based sound, in Jemh Circs he works with digital sources by primarily sampling modern pop music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations. Using similar esoteric methods as on his 2016 self-titled debut album (CELL 001LP) but with very different results the record deconstructs the hypermodern sound of pop music with a post punk attitude, energy, and primitivism.
Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style. (Untitled) Kingdom converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds, and narratives; completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.”
San Fran’s Squirrels On Film squeeze off a brace of sleazy, snotty darkroom rumblers from Mexico-via-Berlin’s Lokier
“Distortion, static electricity & drum machines turned up to eleven, your next Punk-E Rave Party can be appropriately soundtracked with SQUIRRELS ON FILM’s 3rd (or 4th, who’s counting?) EP, ready to de-sanitize any dancefloor prepared for the adventures in sweat-drenched HEAVY RAVING contained within.
Label Headz Solar & C.l.a.w.s. reach beyond their hometown of San Francisco, to Mexico City’s Yoan Rodriguez LOKIER. Her first full EP for the label, following the appearance of “Headless” on the limited edition Various Squirrels Volume Two, contains four tracks of enthrallingly unkempt body music & neo-goth techno depravity. The Artist & DJ currently based in Berlin is half of She Made Monster with Morgan Hammer, & her remix work appears on Throne of Blood, Ivan Smagghe’s Les Disques de la Mort & elsewhere.
“Last One” is first, a gritty workout in horror rave, all overdriven drums, intricately programed to build alongside arpeggiated synth bass and slasher flick strings, at once classic and contemporary. “Not Always Works” is sleazier yet, featuring LOKIER’s distinctive dead-pan distorted vocals, heard recently on Krikor’s LP for L.I.E.S., put to great effect here atop an ear-worm synth riff and again expertly programed drums, never afraid to bleed into the red. Atonal, yet bizarrely melodic strings and pads drift confidently above. “Tmrrw” makes use of vocal samples over a pummeling industrial techno explosion… like a Nitzer Ebb cassette that’s been duplicated too many times, turned up way too loud, with an angry goth banshee queen telling it like it is through a broken fuzzbox. “What Is Truth” rounds things off in the murky dub/electro bog of your most lucid nightmares, the drums and synths awash in tape echo and reverb.”
Kathryn Joseph releases this single as a taster of her forthcoming album, her first for Glasgow’s Rock Action Records.
"The single will appeal to lovers of haunting melodies and beautiful lyrics which will penetrate the corners of your soul. Fans of the recent Out Lines album, which Kathryn appeared alongside James Graham of The Twilight Sad and producer Marcus Mackay, along with those that enjoy the sounds of Björk, Kate Bush, Anohni and Joanna Newsom, will love the unique talent of Scotland’s best kept secret, Kathryn Joseph."
DIV rope in heavyweights Silent Servant and Rudolf Klorzeiger (Heinrich Mueller/Dopplereffekt) to remix You Disco I Freak...
...with hypnotically slick, rolling results in the Silent Servant remix, and to more nagging, psychotomimetic effect in his Version, whereas your mann Rudolf renders Mercury Box as 10 minutes of diaphanous, deliquescent harmonic shifts and spine-tracing arps.
Lee Gamble knocks out two 'floor-ruling edits and exclusives on a surprise PAN white label drop.
Up top: his bucking, aerobic edit of 'Steelhouse Chaconne', reworked in honour of Brumland as 'B23 Steelhouse' with lush drops, screwed vox and slamming, modulated kicks at 130mph-thru-eccie fog momentum - at once pelting but floating.
Down below: 'Motor System' is extracted from the 'Koch' album and extended for your 'floor's satisfaction with tricksy, on-the-fly drum machine fills and filter f**kery.
Both sound much louder and dynamic than the album cuts - primed for the DJs, dancers and big soundsystems.
It was on the 1st January 2016, during the release of their debut album, Young. Independently of each other, Peter Paul Aufreiter and Johannes Mandorfer sent sound snippets over to Hearts Hearts’ singer David Österle.
"Within the same hour, he’d received an aggressive jazzy piano loop ‘Phantom’—and an electronic drum take recorded overseas in ‘Island’ (the German word for the country of Iceland). Österle frantically began attempting to put these disparate pieces together; to synchronize what was never meant to be unified, and start singing over the results.
Though genre-wise nomatch at all, the fragments didn’t only end up as ‘Phantom/Island’—the breathtaking opener to Hearts Hearts’ sophomore album Goods/Gods—but the unusual process itself became the aesthetic basis for the entire record. The band‘s widened approach to disparate musical genres became the key element in the creation of eleven new songs. Hearts Hearts have cracked and evolved their electronic ballads and downbeat pop into something far more sonically expansive and emotionally soulful, driven by higher energy and a growing array of influences. The chance meetings of unrelated options that inspired the writing and recording process is present throughout the titles of Goods/Gods. The record takes its inspiration from those in between spaces and undefined borderlines in meaning, symbolised by the slash in every title on the album. Hearts Hearts explore emotional and moral ambiguities on Goods/Gods, taking aim at the ineffectiveness of the dichotomies and borderlines that define modern society in the process, preferring to “think in options” as Hämmerle puts it.
The group sees the diagonal line of the slash symbol as representing an openness and flexibility in meaning; in similarity as much as difference. Produced by mastermind Peter Paul Aufreiter, the new record conjures a mix of anguish and ecstasy, whether it’s the funky falsetto of ‘Sugar/Money’, or digital monster ballad ‘Do you often think about /’. Taking inspiration from the leftfield pop productions of Bon Iver, Jamie XX, and Son Lux, they skew addictive hooks into drippy song chambers, littering them with lucid samples and cybernetic production licks, conjoining contrasting elements with prisms of electronics and lush acoustic instrumentation. Lead single ‘Phantom/Island’ and instant motorik pop classic ‘Goods/Gods’ are the most addictive and high-energy tracks yet from the quartet, blending groovier verses with increasingly majestic choruses.
This is ultra-intelligent pop from a band that have found their true voice. Somewhere between happiness and sadness, energy and lethargy, electronica and rock - that’s where you’ll find Hearts Hearts."
Brian Leeds a.k.a. Huerco S adopts the Loidis alias for this hypnagogic house turn on Hank Jackson’s Anno label, taken from his archive circa 2014-2016.
Following his recent emergence as Pendant, A Paradise, In The Place I Sit, The Floating World (& All Its Pleasures) appears to inhabit space between that alias and Brian's Huerco S styles, firstly feeling out a dub house blueprint layered with lush pads in A Parade - think Andreas Tilliander meets Shinichi Atobe - then following lusher lines of inquiry akin to 154’s Wherever You Go, I Will Follow on A Place Where I Sit, and then beautifully stretching out in a sun-baked jazz house style on The Floating World (And All Its Pleasures).
A bit of a no brainer if you ask we…
A 14 minute solo piano piece from Terre Thaemlitz alongside an incredible 15 minute Dead End House mix from DJ Sprinkles on the second in this two-part vinyl series, proper head-melters the pair of them...
Presenting vinyl versions of the bonus reworks to his 43 minute Deproduction album track Admit It’s Killing You (And Leave), the A-side includes Terre’s haunting 14 minute Piano Solo, where he drops the unsettling backdrop of samples to leave the keys suspended in reflective space, reverberating in plangent overtones which take on a starker effect if you care to play it at 33rpm.
The B-side is Sprinkles’ uncanny, brilliant Dead End house mix, a more percussive adjunct to the House Arrest mix off EP1, framing traces of the original vocal and keys in a sumptuous, rolling and swinging deep house workout full of rustling congas and lustrous low end that marks up among her most affective, especially in its closing minutes.
So damn good...
Brock Van Wey (bvdub) revives his cult Earth House Hold alias for A Strangely Isolated Place, with his slow-burning, House-music-inspired, long play, ‘Never Forget Us’.
"A Strangely Isolated Place, and label founder, Ryan Griffin has long sought a partnership with Brock, with many believing it may one day materialize in his suitably infamous ambient output known on labels such as n5MD, Glacial Movements and Quietus. But after their relationship grew, Brock and Ryan realized a mutual respect and passion for the classic sounds of house music - the roots and inspiration of Brock's Earth House Hold project.
Whilst followers of bvdub and ASIP may be surprised to hear the two teaming up on this specific alias of Brock's, ’Never Forget Us’ opens us to a new expression of ambient-inspired music, pushing the many boundaries, forms and genres it can evolve into or indeed, evolve from.
A noticeably deeper and more evocative evolution from the first Earth House Hold release, Brock has built an album focused on progression, starting with deep, slow-churning ambient cuts, gradually introducing House elements as the album evolves. Using only instruments and sounds from the early House-era, as is the ethos of Earth House Hold, Brock builds an effortlessly sequenced collage of deep, mystifying, and emotional pieces, combining his signature ghostly vocals with rumbling off-kilter bass-lines and slowly rising atmospheres.
As with many of Brock’s productions, ’Never Forget Us’ is an ode to some of the many memories and experiences that helped influence the producer he is today. From his trademark ambient epics, to his unique brand of ambient house, each reflecting his history, forever lingering in his years DJ-ing ambient chill rooms and deep house basement affairs beginning nearly thirty years ago . With the return of Earth House Hold, the story is told not only through the reflective nature of the music, or the collage of original pin-hole photographs taken by his good friend Mamii, but the mutual appreciation for a sound from years gone-by, brought to life again, yet living its own life, in a way only someone like Brock could.”
Voyage Direct captain Tom Trago works up his 1st album in 5 years with Bergen,
A slinky, low-key selection of house and disco-tech trax executed in a smoky, timeless style indigenous to the Amsterdam sound he’s been pivotal in shaping.
First ever vinyl re-issue, with a new artwork & two bonus tracks...
"Squadra Antigangsters (The Gang that Sold America) is one of over ten films produced between the '70s and '80s in which the actor Tomas Milian plays the role of Police Marshal / Inspector Nico Giraldi, probably the most famous character out of the typical Italian detective films of that period, which were in practice Giallo movies with a strong comedy component.
The film is set in the United States, and the soundtrack sounds very American, starting from the first two songs, interpreted by the warm voice of Asha Puthli, an Indian singer who is also an actress in this movie, "The Whip" and "The Sound of Money" seem to belong to one of the many Stax productions of those years, only that they're played by... Goblin! The Roman band, whose line-up consisted of Claudio Simonetti (keyboards), Agostino Marangolo (drums), Fabio Pignatelli (bass) and Carlo Pennisi (guitar) was in those years nothing less than hyper-productive, but this did not prevent them from producing high-quality works. In fact, the album songs go through various genres - disco music, country, funky, soul, samba ... - with little concessions to some typical 'Goblinian' moments."Squadra Antigangsters" (The Gang that Sold America) is one of over ten films produced between the '70s and '80s in which the actor Tomas Milian plays the role of Police Marshal / Inspector Nico Giraldi, probably the most famous character out of the typical Italian detective films of that period, which were in practice Giallo movies with a strong comedy component.
The film is set in the United States, and the soundtrack sounds very American, starting from the first two songs, interpreted by the warm voice of Asha Puthli, an Indian singer who is also an actress in this movie, "The Whip" and "The Sound of Money" seem to belong to one of the many Stax productions of those years, only that they're played by... Goblin! The Roman band, whose line-up consisted of Claudio Simonetti (keyboards), Agostino Marangolo (drums), Fabio Pignatelli (bass) and Carlo Pennisi (guitar) was in those years nothing less than hyper-productive, but this did not prevent them from producing high-quality works. In fact, the album songs go through various genres - disco music, country, funky, soul, samba ... - with little concessions to some typical 'Goblinian' moments."
Metro Area’s seminal, eponymous debut album of disco resuscitations struts back onto the scene for a 15th anniversary edition, having lost none of its lustre over the interim years.
Morgan Geist has been releasing records for years on numerous labels such as Metamorphic, Clear, and his own Environ imprint, hitting gold with the future-disco purpose built for his Metro Area label.
For a taste of the funk, head for ‘Miura’ with it’s handclap beats and accapella samples enhancing the good side of the 70’s dance craze, but with no brass section in sight. Synth’s galore and floor bound grooves litter the LP and it runs superbly as an album, but also as single tracks, hence the poularity of the 12”s.
Groenland unearth and reissue DAF's 2nd album 'Die Kleinen und die Bösen'.
It predates 'Der Mussolini' by over a year and is actually much more diverse and fruity than much of their later work, yet still adheres to the stringently minimal aesthetics which have always been a prime component in the DAF machine. It was recorded at Conny Plank's legendary studio and hence still sounds amazing...