Uniquely wicked package from Lisbon’s Príncipe label, hustling cuts from DJ K30, DJ NinOo and Puto Anderson under the crew’s mantle, Firma do Txiga, which translates to english as something like “Come Close”, and coolly signifies the set of ideals which ties their styles together.
After shots dispatched on the Cargaa 3 and Mambos Levis D’Outro Mundo compilations, K30 steps to his solo debut plate with the most mercurial vibes of all three. A-side he explores “a more synthetic approach to the syncopated PALOP sound of the streets, a sort of avant-garde technoid expression of the bated identity” with four mercurial grooves dancing from the plasmic string licks and syrupy bump of Era Uma Ve(z) to curdled organ riffs and nimble drums in Hora da Casa and one rot the oddly stark turn of System and the BIG highlight of warped techno chords, thizzing pads and brittle shuffle in Melodias do K30.
DJ NinOo follows with a deeply sweet but rugged pair on his plate, forming a perfect introduction tot he world at large with the Moments In Love-styled choral voices and downtempo romance of Ambientes Leves backed by the wistfully dusky and up-shuffled bustle of Saudades do Russel, before Puto Anderson charges up the final plate with two archival zingers; the hypnotic pressure of Éh Brincadira and the completely inimitable, scuffling woodblock cadence and parry of Gritos do Infinito, which is surely one of the maddest, distinctive grooves we’ve heard in years.
A total no brainer, this. Highly recommended!
London-based beat slacker Shamos sponges a load of demo cuts and endearingly half-cut ideas on I Can Think Of Nothing Else But This Machine, the 1st release from Role Models, following his batch of deep fried goods dispatched on Andy Lyster’s Youth and Funkineven’s Apron Recordings in recent years.
A strong look for late night smokers and insomniacs, the vibe is deliciously gauzy and low-key, stretching out from frayed ambient beginnings to take in smudged trip hop downbeats, zig-zagging, blunted EBM and knackered, natty house mutations in his wobbly stride.
RIYL Ratkiller, Delroy Edwards, Lord Tusk
A ébut shot of shrieking electronics and jagged post-techno pulses as We Will Fail, including remix reinforcements by Eomac and Ziúr.
Night boots off with febrile arpeggios skittering around distorted bass eruptions and keening sci-fi like Frank Bretschnider or Alva Noto gone manic, whereas Schadenfreude starts out slower, pensive, then congeals in a curdling slosh of rolling techno thumps and worming triplets sure to spin he dance off its axis.
Remixing Night, Eomac firms it up with a swaggering sort of cyber-dancehall swing and and scaly surface of noisy electronics, and Ziúr makes the same elements sound like Ben Frost doing ballroom Breaks - in the best way.
A fine collection of pre-1950’s songs taken from Chinese 78rpm records originally compiled on a CDr released by Dutch label Year Zero Records in 2008.
An otherworldly compilation of Chinese operas and folk songs from old scratchy 78RPM records, featuring such legendary early/mid-20th century artists as Mei Lan Fang, Bai Ju Rong, Fong Yim Fun and many more.
Onra releases his 6th LP on Dublin’s All City, blushing 13 tracks of romantic soul and R&B downstrokes straddling classic ’80s and ’90s vibes with up-to-the-second production. Furtively tucking the vibe away for the lovers, the Parisian producer licks choice samples into slick original arrangements of sticky boogie bass and snares drenched in gated reverb, all chain compressed for that pendulous pressure and a lip-biting sense of tension and release.
“On “Nobody Has To Know”, his fifth album for All City Records, the versatile French producer created music that reflects on the various aspects of a secret relationship pulling from R&B,New Jack Swing and Funk to soundtrack the passions of attraction.
Stylistically “Nobody Has To Know” picks up from the Future Funk style Onra originated on his 2010's “Long Distance” (and its 2012 companion EP “Deep In The Night” for Fool's Gold). Where those two releases mined the early and mid parts of the 1980s for ideas and references, the new album digs into late '80s and early '90s jams for smoother and richer sounds. Bolstering the record are two talented multi-instrumentalists, New Zealand's Lewis McCallum and Belgium's Pomrad, who bring touches of virtuosity to Onra's trademark smooth arrangements. The result is a record that, like its theme, oscillates between tender, torrid and tumultuous.
Over its 13 tracks “Nobody Has To Know” details the ups and downs of a secret relationship, from the excitement of doing something forbidden to the aftermath of living out fantasies. On "Let Me Fantasize" a rolling bassline and sparkling melodies capture the excitement of what is possible, the mind wandering into the forbidden. "No Question" taps into New Jack Swing to act out desires that can't be suppressed, exuberant solos echoing dangerous feelings. With its hard drums and smooth horn solos, and chorus of "Freak" takes you to that place where you can do things you only dreamed about. Balancing this intensity are more introspective moments. "Not Long Ago" rolls out gentle synth solos and nostalgic samples to reflect on past relationships and the very human desire to have what you had or can no longer reach. Rich textures and a languid rhythm underpin the reflective mood of "Nothing To Lose," as you wonder what could go wrong – it's a fine line after all.
The fantasizing, excitement and danger of fatal attraction are all reflected through the prism of the music. With “Nobody Has To Know” Onra deftly evolves the style he first began to explore a decade ago with his unique touch, re-affirming a unique sound rooted in warmth and setting the mood for some late-night escapades.”
Like a cold mojito splashed direct to the ears, Atlas’s Breeze serves a piquant dash of Balearic new age fusion feels from Japan, 1986, on its first vinyl reissue as part of Mule Musiq’s Japanese disco reissue series. Trust it’s a total dream for fans of late ‘80s FM synths and slicked-out fusion, this one
Studio Mule says: “we are proud to announce the vinyl reissue of one of the best and most complex japanese jazz fusion albums, 1987’s breeze by hiroyuki namba, eiji kawamura, and toshiro imaizumi’s band atlas. hiroyuki namba is one of the most important japanese keyboardist of the ’80s with a legacy that includes japanese cosmic classic “who done it?” and “tropical explosion,” a sought-after gem by diggers. in addition to his work with his progressive rock band sense of wonder, he’s also known as a member of tatsuro yamashita’s band. eiji kawamura is a highly respected arranger who has worked on projects by major recording artists like kyoko koizumi and hideaki tokunaga, and atlas’ third member toshiro imaizumi is a skilled studio musician who’s also worked on major projects. the album opens with the soothing sounds of ocean waves that turn into the melancholic fusion number that is “mediterranean breeze,” setting the balearic mood for the whole album.
“simpatia” is an album highlight with a euphoric feel that could be tokyo’s answer to the sounds of ibiza―an obscure japanese gem. 'after brunch with you” is a sunny samba fusion with a playful, bright piano melody, followed by “summer breeze,” an electric fusion jam that sound like holger czukay could have wrote it. a track that was so ahead of its time, i wouldn’t be surprised if international feel picked it up and released it as is. breezy mellow tune “never come into your eyes” reminds you of the sentimental feeling one gets around the time summer’s about to be over. another album highlight, “indige,” is one of japan’s most unique dance tracks of the time, an electric disco stomper that sound like it could’ve been produced by todd terje. “breeze for siesta“ features toshiro imaizumi’s beautiful piano paying, a relaxing song that wouldn’t sound out of place on ecm. “love beach” blends prog influences with fusion in a way only hiroyuki namba can. the album ends with “madrigl,” a magical song with dramatic and melancholic moments, full of quintessentially japanese sense of beauty."
A big bag of foundational Chicago house tracks produced by Frankie Knuckles
Featuring Jamie Pricniples classic vocals on Baby Wants To Ride, Bad Boy (Original 12” Mix), Waiting On My Angel (Club Mix), Your Love (Original 12” Mix), and It’s a Cold World, plus Frankie’s classic with Kevin Irving, Children Of The Night, and the banging jack track, Boom Boom by Dancer.
Trust it wouldn’t be a Trax release without sounding like it was mastered by ten different people or transferred from a rip of a rip!
For fans of moody ‘80s pop pomp, Death of Lovers’ 2nd album, The Acrobat packs all the aching emo swoon and synthy licks you could hope for. Think New Order, Duran Duran, John Hughes movies, montages of Reagan/Thatcher economics in effect, and buckets of salty, sugary nostalgia.
“Since the 2014 release of Philly outfit Death of Lover’s acclaimed debut EP “Buried Under a World of Roses”, many wondered if a full length follow-up for the band was even possible – largely due to the extensive touring schedule of Domenic, Nick, and Kyle’s other band: Nothing. But between 2016 and 2017, the four piece band (that includes keyboard player CC Loo) was able to find the time to focus, demo, write, and carve out a stunning new direction and polished sound for the band. “The Acrobat” represents that labor of love, and Death of Lovers have created one of the most eye-opening alternative records we’ve heard in years.
Thoughtful compositions weave driving synths, drums and guitars through lock-step rhythm and nostalgia before shattering into intricate and spacious instrumental breaks. There is a welcome complexity and depth to the tracks, which dance between moody and sweeping to sparkling and bright – creating a beautiful contrast to the honest and dark lyrics.
On the album single “The Absolute”, Domenic’s vocals (accompanied in harmony by drummer Kyle Kimball) take on the topics of selfishness and greed - “All in all is trembling fear – bound to fall on bludgeoned bell rung ears. A senseless world of worth, deceived by needing, and the crow who perches on your tongue – reminding you it won’t be too long.”
“Lowly People” is the band’s answer to PULP’s “Common People”, cast through the lens of their own upbringing: the streets of Kensington, Philly – where “Broken glass shimmers like the stars, summer air breeds a certain violence.”
Somehow, The Acrobat achieves warm familiarity while sounding completely new. While the tracks could easily have been included on the soundtrack to every one of your favorite 80s films, there is a fresh perspective and process evident in the songwriting that rewrites the “post-punk” rulebook.”
The time-dilating ‘Hearing Metal 1’  renders the amniotic results of investigations into the gong-like TamTam by American composer, Michael Pisaro - an influential collaborator with Julia Holter and mainstay of Edition Wandelweiser.
Focussing on the unique idiosyncrasies of the TamTam - a gong-like metal plate highly sensitive to touch and external vibration - Pisaro’s three durational works in ‘Hearing Metal 1’ coolly harness the TamTam’s reverberant energies in a way that seems to draw order from chaos and, in the process, subtly alter the listener’s temporal perceptions. They generate a rare effect that’s perhaps best compared with Morton Feldman recording in Harry Bertoia’s Sonambient barn, or Eliane Radigue and Stephen O’Malley duetting on an ARP synth and bass guitar whose wires have begun to oxidise and decay. Required listening for anyone who like to hover at the brink of liminality.
“Performer: Greg Stuart (tam-tam). ‘The 60-inch (Mikrophonie) tam-tam is a large piece of metal, a proto-sculpture. Brancusi might have altered it: rounding and tapering the edges, making an oval instead of a circle, polishing the surface into smooth gold. The tam-tam is also a vast sound landscape-an instrument that makes noise at the slightest provocation. A resonance is created just in the act of walking past the instrument or breathing on it ... that is, if your ear (or a microphone) is close enough to hear it. Wherever it is touched with a bow or a hand, it responds with chaotic, unpredictable complexity, never producing the same sound twice.I have attempted to work within the givens of this landscape, to allow some of its implicit contours to reveal themselves-by collecting sounds, giving them a duration, putting them into a clear structure, and cutting a path through them with pure tones. Sleeping Muse is something like a four-part chorale of bowed sounds, with a melody made up of long sine tones buried in the sounds.
The Endless Column is a collection of sixty extremely light, close recorded strikes, randomly ordered, but with a rising scale of sine tones mixed in, more or less within the central frequency range of the tam-tam (from 50 to 671 hz). Sculpture for the Blind arranges eight layers of bowed sounds (which are then released) along a pattern of lengthening durations and combined with a sine tone trio, again woven into the sounds of the tam-tam. Hearing Metal 1 is the product of close collaboration between composer and performer. The piece evolved as Greg made test recordings based on my suggestions and then sent them to me. As it happened we feel we fell into its world, in order to move it slightly towards our own.’ Michael Pisaro”
Portugal’s freakiest house band, Niagara, get loosey goosey on return to Príncipe with four jazz-fizzed and earthen jams mixing punk-funk and Afro-Latin rhythms in a way they can happily call their own.
OK they may display shades comparable with Hieroglyphic Being at his bendiest, or even traces of Pop Dell’ Arte in their musical DNA, but there’s some defiantly offbeat and textured to the bittersweet, cranky yet playful jazz-house of Asa, and even when they simply put a big kick under it, like with IV, they still manage to make it sound warped in their own image; a proper grinning/gurning fizzog.
When they lock down to a beat, they really juice it for all its worth in burred, ferric disco psychedelia of Amarelo, but equally know how to swivel your bones in distinctly fresh but tribalistic style with the splayed snare patter and lysergic, flanged-out flute tickles of Laranja.
Whatever, they’ll make your ‘floor feel weird and bring out the best dancers.
Pivotal UK rave producer DJ Champion knocks out a killer début album with the self-released Snapshot, featuring guest spots by Dread MC, Shantie, Royal-T, Flava D, Slick Don, BKAT, Miss Fire, Jammz, and Four Tet.
As one of the most singular UK rave DJ/producers of the last decade, Reiss Hanson has persistently worked at the leading edge of bass music since his UKF anthems Motherboard and Tribal Affair trampled the scene c. 2009. Since then he’s minted a crucial label, Formula Records, and been named as a favourite of Skrillex, who understandably prizes Champion’s uncompromising sound as much as UK ravers.
Going hard in the gap between garage, bassline house, soca and grime, Champion gives the people what they need, consistently tweaking the formula of Afro-Caribbean and West African-meets-Black British styles in a way that’s oblivious to the posers and successive waves of posh noobs appropriating dance music to their own politics.
Chopping at the bleeding edge of the UK’s ‘ardcore continuum, Champion keeps the pressure gauge ticking with a firm grasp of both aggy and feminine pressure systems, kicking off with a strong nod to his roots with class soca sample sliced into the Intro, before twysting out proper with the martial skank of One Time feat. Dread MC and the instrumental soundsystem ballistics of Duppy Show, then nodding to the ‘unum’s other leading edge on Drill, before serving a stack of signature vocal-heavy killers, right up to the serious grime mutation Young Raiden and a VIP of his stone cold anthem Lighter.
Rated: A++. TIP!!
One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical cross overs which occurred in Mali's post-Colonial period.
"Bamba was born in 1938 in Mopti. This is dissected by both the Niger and Bani rivers and known for its rich cultural diversity. Bamba's father was a distinguished veteran of Emperor Samory Toure's military and a nobleman in Malian society; however, this meant young Sorry was forbidden to make music, as under the nation's caste system, music was an art form reserved for the Griots.
At the age of 10, Sorry's parents died and in traumatic times that followed the young teen found solace in music. He first taught himself to play am African six-holed flute. As he progressed he began to absorbed the rich tapestry of music of his surroundings; traditional Malian music, highlife from Ghana, local accordion master Toumani Toure, European singers and musicians. In 1957 Sorry formed his first band, Group Goumbe, named after a popular Ivory Coast dance style. In 1960 Mali gained independence from France, Bamba and his group benefited from a new openness toward local music on the state-run radio network Radio Mali. Sorry then went on to form two award-winning, further collectives Bani Jazz and later the Kanaga Orchestra. They fused Latin jazz, Western R&B, Psychadelic and funk, and traditional Malian styles made them a favourite in Mali and beyond.
In 1979 Sorry produced his third LP for the Paris based Sonafric group. Long out of print Africa Seven is pleased to be re-issuing the LP with the authorization of the newly reformed Sonafric group. The re-issue benefits from extensive restoration and re-mastering to a spectral analysis level, bringing and polishing long lost and distorted sounds.
The six track masterpiece opens with "Mayel". It blends Afro-space grooves, cowbell and swirling organ with psych guitar and punchy horns. "Kanaga 78" was named after his band of the time. Sounding as fresh (if not more so) in 2016 as it did in 1979 the hypnotic bass, expansive drums, twisting organ and snakelike fuzz-guitar all combine to create a masterpiece of African psychedelia. "Bayadjourou" closes off Side A of the LP with its pulsating, incessant organ hook-line and driving tom drums while adding in layers of Malian vocal from a female chorus and Sorry himself.
Side B opens up with "Tjamantie Kolo" which is powered by driving conga and drums layered with traditional vocals and distorted picked electric guitar lines. "N'Nebakaidi" focuses on the song writing skill and delivery of Sorry who delivers a masterful vocal over grooves which somehow manage to sound melancholy but somehow also forlornly uplifting at the same time. The LP closes with "Nani Nani" which is a brass driven wall of African sound."
Virtuoso percussionist Eli Keszler offers up a defining opus with 'Last Signs of Speed', appearing on the freshly minted Empty Editions to follow his previous solo LP for PAN, and interim collaborations with Keith Fullerton Whitman, Oren Ambarchi and Rashad Becker, who is also among Keszler’s most sympathetic sound artists and the mastering engineer for this record.
Summing up Keszler’s percussive style is like trying to describe the mechanics of a haywire swiss clock, or, in fact, a repair shop full of ‘em, with each chiming to an alternate meter whilst a swarm of nanobots attempt to get them all in synch. However, subtract the clocks and ‘bots and you’re left with one man and his rarely paralleled, utterly captivating twitch spilling from drums to fender rhodes, piano, mellotron, celeste, Vibraceleste, glockenspiel, rocks and gravel without missing a beat, or even doing so and making an amazing virtue of it in the process.
Building on the foundations of his previous releases, which have variably included installation work, improvisations and collaborations, Last Signs of Speed finds Keszler blending his preternaturally fluid patterns of scurrying, brittle small sounds and resonant pulses with subtly layered overdubs of keys and strings, ebbing and swelling with a plasmic schematic that works to laws of physics and rationale perhaps best compared with Rashad Becker’s notional species, and which serves to add a whole new dimension of interest to Kessler’s already remarkable soundspshere.
It’s music that seems to exist in a state of quantum flux, folding the structures of jazz, dub and minimal techno into avant garde anomalies that defy the rules of established practice whilst simultaneously resonating with their underlying, intuitive truths. Between Last Signs of Speed, Rashad Becker’s Traditional Music of Notional Species Vol. II, Les Graciés’ Low Doses, and Valerio Tricoli’s Clonic Earth, you have some of the most involving, adventurous sonic perceptions to be revealed in 2016.
The soundtrack to Surf Nazis Must Die, originally released in 1987 by Troma Entertainment, - the soundtrack has never seen the light of day until now.
"Set in a post-apocalyptic future where Neo Nazi group, the Surf Nazis have taken control of the beaches and terrorize anyone who steps foot in their territory. Jon McCallum’s score suits the post-apocalyptic setting with heavy synth; fans of Tangerine Dream and John Carpenter’s scores will be at home on this record. McCallum is the composer behind Miami Connection, Terror Eyes and Soul Taker. Aside from his composing work he worked on the special effects for Phantasm 2 and George Harrison’s “Got My Mind Set On You,” music video."
Empty Editions follow up Eli Keszler’s dynamic inauguration, 'Last Signs of Speed ', with a spellbinding mesh of energies generated by Jean-Luc Guionnet’s extended alto sax tekkers and the wailing feedback systems of Daichi Yoshikawa.
Under the title Intervivos - Latin for “between the living” - they vividly and obscurely speak to the listener in a spectralist, non-verbal language, recorded during a week long residency at Hong Kong’s Empty Gallery. If you’re familiar with AMM, David Tudor, Rashad Becker or Iancu Dumitrescu, you may be able to understand what Guionnet and Yoshikawa are saying, but even if not, this side is a strong example of modern, boundary-pushing improv that should pique the interests of casual and hardcore listeners alike.
“Although Guionnet and Yoshikawa both come from prolific backgrounds in free jazz and electroacoustic improvisation -- Guionnet plays in The Ames Room with Will Guthrie and Clayton Thomas and Yoshikawa studied with AMM’s Eddie Prevost -- Intervivos sees them developing an approach to improvising which seeks to escape the increasingly narrow stylistic confines of these musical provinces. The album is characterized by a brutal foregrounding of process and material lacking from the experimental music of so many of their contemporaries. Rather than seeking refinement or resolution through existing structures, Guionnet and Yoshikawa prioritize a sort of collaborative musical searching in which the aural entanglement, layering and folding of their scorched intonations creates an emergent musical form -- a non-linear music which sounds both ancient and futuristic.
Corruscating alto saxophone riffs appear suddenly, before disintegrating amidst slabs of feedback and flurries of metallic percussion. Other times, Yoshikawa and Guionnet conjure shifting clouds of sustained tones from the timbral meshing of their instruments - yielding a sound somewhere between the dense textures of Iancu Dumitrescu and the floating harmonics of Gagaku. Far from improvisation as we know it, this album instead gestures towards a speculative “electronic” music created through the ritualistic misuse of acoustic instruments. Intervivos is a fierce, undecorated triumph in the ruinous expression of instruments -- exalted in both its turbulence, and in its extreme testing of improvisational reality. Put summarily by Seymour Wright in the album’s liner notes: “You don’t need me to tell you how it sounds, or how to listen [...] this record begins when you play it.””
Wile-out Kuduro madness from DJ Marfox, kicking off the promising Príncipe label with a rambunctious 4-tracker. The 'Eu Seiquem Sou EP' is his debut release but he's already well known in his native Portugal for his legendary 'DJ's di Ghetto' mixes which have earned him notoriety from Europe to Africa. A-side features the polyrhythmic frenzy of the title track, all cascading fairground melodies and nutty drum pressure, plus the hooting Batida hoedown 'Bit Binary'. Flipside starts the ruckus with exhilarating drops and carnival momentum on 'Mitologia' next to the Garage-infected flex of 'Pensamentos'. If you loved Mental Groove's 'Bazzerk' compilation, this is a must!
Alternating vocal compositions written 900 years apart, the Hildegard von Bingen : John Cage collection is the first release in stock on our site from Edition Wandelweiser Records, a rather incredible, uncommon label full of fringe avant-classical and Quiet goodness that we’ll be listing in the coming weeks.
Sung by soprano Irene Kurka, the suite offers a very canny comparison and contrast between two seminal bodies of work separated by eons but subtly bound by their plaintive stylistic distinctions. As the first introduction to Edition Wandelweiser for many listeners, the Hildegard von Bingen : John Cage release is a sterling demonstration of the label’s tastes, but also perhaps a misleading example of what else lies in their catalogue best known for exploring the liminal border between music and silence.
In three parts, the disc presents nine works by legendary German mystic / nun / philosopher / composer Hildegard von Bingen (1098 - 1179), followed by the nine-part cycle of Sonnekus²  by influential mycologist / philosopher / composer John Cage, before rearranges those same works in a back and forth, smartly and seamlessly segueing some 900 years of songcraft. taken individually, the bodies of work are very much of their time, yet when enmeshed they form a vehicle for temporal transcendance quite unlike any other, not withstanding Akira Rabelais or the VOX recordings.
These are beautifully haunting unadorned recordings, ripe for deep transportation. We urge you to check this one and anything else on the label at the nearest opportunity.
Such a madness, Ismo Laakso’s Ofelia comes off like a wild pre-echo of Mica Levi, Teresa Winter and Paavoharju on its long overdue release thru Sähkö’s Puu after languishing as a demo CD in a drawer for nearly 20 years, only to be rediscovered last autumn.
In a way that resonates with our most febrile musical dreams, Ofelia sounds like a scrambled radio transmission which modulates with jazz-wise logic and timing between myriad sources, juxtaposing their lopped ends in a spellbinding play of anticipation-baiting, oneiric logic.
One moment we’re listening to an almost machine-like english vocal serrated by radioactive electronics (Translucent), while the next we’re in the midst of sloshing, unsteady breaks and ambient soul vocals joined by angelic, Hassell-style chorales (The Favourites of the Emperor), or disoriented by fusions of Finnish monologues with field recordings and visceral electronics (Koskenhaltija). Soon enough we’re drawn into a surreal scene of baroque and jazz-wise chamber music (Smell), and then what sounds like Charlemagne Palestine duetting with Maja S.K. Ratkje (Ofelia), and never with any kind of explanation or reason for how we got from points A to B. For some folk, that actually probably sounds like a nightmare, but if you’re a bit of weirdo, we reckon that it’s all is going to spin you out in the best sense.
Very highly Recommended!
Amsterdam DJ/producer Marcelle van Hoof follows a pile of mixtapes released by Faust’s Klangbad with her 3rd platter of original production.
Clad in hippy cartoonish artwork and text in comic sans, you shouldn’t really judge this one by it’s cover, as DJ Marcelle churns up samples of an Indian lady talking about constipation ailing with her own extended vocal technique, all set to a ragged, primitive dancehall noise lurch on Psalm 3 - verse 1:” To Evacuate Is Difficult And Infrequent, whereas the B-side’s Psalm 3: Verse 3: Walking Around Aimlessly catches her locked in a mazy tussle of reversed loops and whimsical whistles.
You can’t keep a good Italo down - Fockewulf 190’s scandalously strong Itallo classic Body Heat is finally given the reissue treatment it deserves, making its first, DJ-friendly, appearance on vinyl since inclusion on two Clone Classic Cuts releases in 2008, and subsequently on V-O-D’s immense Microcosmos 82-86  compilation, which is an essential purchase if you ask we!
Cooked up by Milan’s Miki Chieregato and Roberto Turatti, performed by Victor Life (electronic drums) and Salavtore Nonnis (guitar, synths), and defined by Fred Ventura’s charmingly mistranslated vocal, Body Heat is nowt less than an evergreen anthem. We can only verify its effect on the ‘floor multiple times, and seriously recommend that every dance music-loving home should own a copy. DJs especially, this is the best-sounding pressing since the original!
Frank Breischneider, arch minimalist and co-founder of Raster Noton, joins Shitkatapult to release his most accessible album in eons, Lunik
Where the last decade has seen him traverse from pure glitch (Rhythm and Exp), to Soviet-era modular electronics (Sinn + Form), this one is relatively full of colour and contoured electronic soul a more conventional, dub-wise sense that’s always lurked in his music, but is now felt firmer than ever in sizzling highlights such as Sputnik and the weightless lope of Logik, or the To Rococo Rot-alike instrumental ambient pop fuss of Optik (For Yen-Nil).
“Frank Bretschneider on the tracks: "It moves, it sings... but does it swing? Anyway, it represents the soundtrack of my life, my musical influences: some San Francisco psychedelia, some London underground, some Berlin school (old and new). Krautrock from Cologne and New York minimalism. A shot of Detroit grit, a bit of Moscow dust, a splash of Paris charm?" Bretschneider was raised in Karl-Marx-Stadt (now Chemnitz) in the German Democratic Republic. He is the founder of the East German underground band AG Geige and co-founder of the Raster-Noton label. He lives as a musician, video artist, and producer in Berlin.”
On a relatively rare excursion for his Ominira label, Kassem Mosse lovingly messes with house and techno formats in Chilazon Gaiden, divining a sort of kabbalistic techno sound that expands on the off centre flex of his Chilazon released by Honest Jon’s.
Counting nine tracks of meter-tweaking rhythms and entrancing electronics, Chilazon Gaiden yields Mosse in aerobic mystic mode with a loosely constructed yet firm acknowledgement of the link between dancing and spirituality that many others like to dance around, yet few producers render in such involving, intuitively attuned form.
Working on, off, and around the beat in delicious, brownian motion and slippery geometries, Mosse deftly realises a long-pursued aesthetic in these tracks, giving the club, DJs and dancers something to really work with and effortlessly interpret, rather than commanding them like a martial drill - pulling toward a sound that consolidates the offbeat swerve of Theo Parrish and Actress with the drily sculpted purism of Sleeparchive thru a devilish sleight of hand .
Dancefloor music for body ’n soul.
Now 55 years old, the John Cage Christian Wolff LP is perhaps best known to avant-garde and noise fiends for inclusion of Cage’s Cartridge Music , which was the venerable composer’s attempt at presenting a live performance of electronic music.
With no disservice intended to Wolff’s side (we’re just not that into it), Cartridge Music is the big attraction here, yielding an unstable tract of fractious small sounds gathered from recordings of various objects pushed, scraped and jabbed on a turntable’s cartridge. The results on record are a superimposition of four performances by Cage and his regular collaborator David Tudor, each working within the chronologic parameters of Cage’s composition, but each slightly different and resulting an unpredictable series of events in time.
Taken in contemporaneous context, Cartridge Music was a bold attempt at opening the story of live electronic music performance, and while it’s maybe fair to say that it seems totally primitive by today’s standards, theres’ still a haphazard klang and magick to the work which still resonates today.
Bass sage Liam Blackburn’s been on the mushies again, tuning into the Ancestral Voices in his head and relaying their psychedelic chorus in Mycelia: the 1st spore from his new label; The Fifth Kingdom.
Picking a most worthy subject for the latest recital of Ancestral Voices, Liam invokes the power of the naturally ubiquitous yet unethically policed psychoactive flora in an undulating suite ranging from widescreen synth panoramas to hyaline peaks and radiant revelations
Oren Ambarchi sniffs out another rare cult classic for Black Truffle: presenting Max Eastley / Steve Beresford / Paul Burwell / David Toop’s assortment of Whirled Music improvisations on bull roarers, bird whistles, spinning gongs, and much more, on vinyl for 1st time in nearly 40 years.
Whirled Music was recorded live in performance at the IKON gallery, Birmingham, at the London Musician Collective, and at various outdoors spots during 1979. It pretty much marks the ground between the early work of instrument builder/musicians Structures Sonores Lasry-Bachet, the modern materials research experiments on Alku by EVOL and Edwin van Der Heide, and myriad, far-flung ethnic rituals ranging from Australian natives to football fans. The A-side is a single performance making use of all instruments at their disposal, whereas the B-side breaks down to a series of shorter recordings of specific instruments.
"It's one of the key documents of the inventive and energetic scene around the London Musicians Collective in the late 1970s and early 1980s. Originally released on Toop's own Quartz label in 1980, the LP features a remarkable series of performances made entirely with whirled and swung instruments and objects. Part of the second generations of British free improvising musicians, the prolific scene centered around the performers heard here chafed at the limitations present within the music and ideology of improvising legends such as Derek Bailey, Evan Parker, Tony Oxley, and John Stevens. Where the first generations of British free improvisers often demonstrated a rigorous commitment to non-idiomatic free improvisation and instrumental virtuosity, musicians like Beresford reconnected with the dada antics of figures like Han Bennink and surrendered to joyful musical promiscuity, gleefully disrupting expectations around 'serious' improvised music through quotations (of anything from Beethoven to reggae) and deliberate amateurism. . . .
Beginning in 1979, Whirled Music was the title given to a series of performances in which a variety of instruments and objects, both home-made and store bought, traditional and invented, would be whirled to produce sound. In addition to variations on traditional instruments such as the bullroarer, Whirled Music also made use of whirled whistles, hand drums, radios, and microphones. Due to the danger this represented for both performers and audiences, the performers wore protective masks and were separated from the audience by a net. . . . Presented in glorious cassette-recorded room fidelity, the LP's first side features a single extended live performance in which percussive chattering, resonant gong-like tones, mysterious wind tones, and swells of delirious noise join together to create a sonic landscape as reminiscent of an environmental recording (wind in the trees, the squawking of birds) as of an ethnographic recording of the music of an unknown civilization. Although purely acoustic, the music has an unstable, dispersed quality reminiscent of the pioneering live electronics of the Sonic Art Union or even early Voice Crack. The LP's second side presents a series of shorter excerpts, including some beautifully sparse outdoor recordings where the sounds of the whirled instruments blend indistinguishably into the backdrop of environmental sounds." --Francis Plagne”
Beamed from Tel Aviv via L.I.E.S., TV Out push a stern EBM sound on their follow-up to a brace of 12”s for Parallax, Fuck Reality and HotMix Records over the past few years.
Made for nights on the white, TV Out’s L.I.E.S. début is all about locked-in, sniffed-up voodoo from the heart-racing thrum and numb drones of Further that march the A-side with unrelenting pressure, thru to the cold arps and scaly sheen of Moon or the needling electro urges of Galaxy on the B-side.
Dragan Lakic tests out a snarling sort of industrial techno sound for Power Vacuum after a string of straighter bangers for the likes of Planet Rhythm records.
Like Limewax or Current Value trying out techno for size, Oleka lunges for the jugular in all four parts, resulting a proper filthy bollocking in Ostentiferous, the skull-cracking bezerker Thereoid, and the dry wretch/hump of Hamartia.
Jung Am Tagen fire one of the strongest, most forward new techno records in recent memory - Agent Im Objekt - for the ever-amazing Editions Mego. In all 12 cuts the Viennese computer techno wizards do their part in closing the gulf between techno’s original, faceless abstraction and thrill of the new, and the current milieu of ubiquitous fizzogs playing to trampling herds in European megabarns.
Where their previous album Das Fest Der Reichen was given to cosmic urges, abetted by Ensemble Economique and friends, this time they get to grips with proper dancefloor / freaky electronics in a balance of severity and playfulness that’s going to light up a lot of heads and make a lot of others ask for some Marco Carola.
Like Florian Hecker on the bosch with DJ Nigga Fox, or NHK executing a courtship ritual for a robot, Agent Im Objekt pushes all the right buttons to short circuit the conventions of rote techno with its mix of probing technical suss and infectiously off-centre rhythms that don’t simply sound like big room templates or sample packs.
Working in a lineage of direct and forward techno native to Vienna since UR visited during the early ‘90s, JAT dare to mess with the form while remaining true to its function, meshing mind-messingly dissonant, curdled tones with both jacking and heavily swung grooves to a mix of delirious and sober effect that makes a lot of other modern techno appear to be made by pedestrian jocks with colouring-in books, rather than the innovative, hypnotic sensual and viscerally exciting sound it can be - just like this LP.
The series’ penultimate instalment...
Rotates the balearic hip-house of Bufiman’s Hymn To The Moonfaced (Break Mix) next to a ruder strip of raw house from Betonkust & Palmbomen II riffing on Art of Noise, while the B-side brings airy Detroit style techno-funk from Space Dimension Controller, and the salty swagger of Neue Obakel from Lena Willikens.
Julio Bashmore and T. Williams harness a 2nd session of supple, rolling UKF mutations on their Conch label.
Returning to base UKF after a number of raids on the house of disco and boogie that no doubt earned them £’s, but inverse returns on decent dance floors, they gets back to basics with cool results in Conch 002; keeping the pressure bubbling down below with the A-side’s bare bones swagger and percolated synth voice, while the B-side strips back down to a sound like early Dettmann or Nodge lost in South London, then like Roska dissolved in a bath of acid.
Mystical, mesmerising jakk trax by Portuguese brethren, Photonz - one of the early releases on one of 2013's finest imprints, Príncipe. Originally released in 2011, these two trax depict Photonz at their most epic and stellar, stretching out over 11 minutes of roiling 303, lush pads, discordant electronics and 'floor-screwing darkside drops in 'WEO', and churning up a mind-melting mix of body-tugging drums, squirrelly synths and oceanside atmosphere in the ten minutes of 'Chunk Hiss'.
Sweden’s Anna Von Hausswolff plays the gothic diva figure with gusto, accompanied by her band and darkside über-producer Randall Dunn on ‘Dead Magic’; her first album since 2015’s ‘The Miraculous’.
Cosmic TRG switches moniker to Com Sin for the fluid techno-house hydraulics of Fiere
Backed with the Matthew Herbert-esque blend of grubbing bass and off-kilter electronic chimes in Vedenie, and meshing monotone bass to keening loops in Miere.
Gully, bittersweet UK pressure on the cusp of grime, hip hop and dubstep
Turning up highlights in JT The Goon’s phthalo-sino grime ace Blizzard, the nimble 16th note shuffle of Nightfall by Dr. Hugo, a crucial sidewinder from Glasgow’s Polonis, and the room-razing shoulder roller Filthy sax from Filthy Gears.
Mango-sweet roots reggae starring the mellifluous tones of Cornell Campbell
...an OG ska and rocksteady artist, here recording later in 1982 on rides played by The Aggravators, produced by Buny Lee and mixed by Prince Jammy at King Tubby’s Studio.
Sniffing at the heels of a smart début 12" for Interstellar Funk's Artificial Dance, Worries, Job Sifre slips into a grimier EBM mode for Amsterdam’s excellent Knekelhuis label.
Charged with a pharmaceutically-enhanced restlessness, the Bestaan 12” goes on darker, tuffer, kinkier than Sifre’s previous 12”, gradually bringing the energies to simmering point with the smudged EBM roil and blunted Dutch vox of Bestaan, then working a wicked ruts of White House White-styled jakbeat in Zodiak and the sourer, metallic recoil of Mars Express, and properly making your body wurk with the pendulous tattoo, Zeno Dicho before sloping off into the darkroom with the slower disco admission, At Least We Try.
CV & JAB is Christina Vantzou and John Also Bennett, two artists that might already be familiar to many of you from their individual work over the years for the Kranky and Spectrum Spools labels. Together they have made this slowly engrossing album for Shelter Press - who else - perhaps one of the most elusive, uncanny and multi-layered “Ambient” albums we’ve heard in what feels like a long time, a worthy follow-up to a frankly astonishing sequence of releases on the label that started with Felicia Atkinson’s modern classic 'Hand In Hand'. If you’re into anything from Chris Watson’s field recordings to Vangelis and Badalamenti at their most romantic and evocative, or even Boards of Canada’s early forays into wildlife documentary pastiche, this one will sooth your mind like nothing else.
The album is a musical interpretation of Thoughts of a Dot as it Travels a Surface, a 90m panoramic wall drawing by Zin Taylor (a reproduction of which is included as a fold-out poster that comes with the vinyl edition). Through 10 tracks they render beautiful electro-acoustic meditations on the passage of time, which follows-on from their co-work on Vantzou's No. 3 album.
Vantzou brings a wealth of experience working between auditory and visual mediums to John Also Bennett’s synthesized and acoustic sound sensitivities, which have recently applied to his action in the Forma trio and a compilation of Pauline Anna Strom’s amazing Trans-Millenia Music for RVNG Intl, with a purposefully slow and immersive flow of acoustic piano and flute wrapped up in remarkably plasmic, spatially detailed synth contours.
In 10 parts, through a combination of literal track titles and abstracted allegorical inference, they describe the movement and feelings evinced by Zin Taylor’s massive tableaux, variously transposing his imagery of Cactus with Vent into webs of crystalline harmonics that acquiesce to brownian motion, or, as with the transition of Alfred Hitchcock Haze to Rock House With Door, a vividly synaesthetic transcription of figurative drawing to brooding, doomily Lynchian sound that brings to mind a wealth of captivatingly dank and alien imagery.
The vinyl package includes a miniaturised print of Zin Taylor’s Thoughts of a Dot as it Travels a Surface to peruse while you listen, so that you, like Christina and Bennett, can also make your own interpretation, and see how far their sonic translation differs with your own. Or then again, you could ignore it entirely and let yourself drift inside their free-formed dimensions without the cues. Either way, you’re in for a beautiful, open-ended and unpredictable trip.
After being enchanted by Sugai Ken’s UkabazUmorezU LP for RVNG Intl, we play catch up with the Japanese artist’s On The Quakefish album from last year, issued by the excellent Lullabies For Insomniacs label who were also behind that mental Lazslo Hortobaygi reissue.
Here, we’re privy to another array of deliquescent electronics and mercurial hooks, framing Ken’s vision of the Japanese nightscape with absorbingly evocative, impressionistic effect. Based in Kanagawa, Japan, on the edge of the Tokyo megatropolis, Ken draws from his surroundings to paint immersive scenes in succinct, pointillist dashes and vaporous strokes that dissolve into acres of enigmatic, negative space.
Quite boldly, Ken is unafraid to embrace sounds perhaps unfamiliar to the classic Japanese records we’ve heard, or the swell of ambient/new age reissues from that region. He freely vacillates these stranger, abstract sounds with more conventional gestures in a way that adroitly brings his subject - the Japanese night - to life in a way that doesn’t simply soothe the listener, but keeps their ears intrigued, moving around the sound sphere attempting to locate their possible sources.
This effect relates to the Zen tradition of Satori, “imagining circumstances and atmospheres that are so silent, one can hear the sounds of the wind and water streaming”. For us this effect also recalls the studied audness of Rashad Becker’s Traditional Music For Notional Species, as much as Luc Ferrari’s poetic concrète scapes, or a very canny first person computer game or avant-garde film soundtrack; exactly the kind of stuff to bed down with during long, dark winter nights over here.
Reissue housed in die-cut jacket designed by Peter Saville with infamous glass paper (or sandpaper) inner, and 7” ‘testcard’ featuring two tracks by Martin Hannett
The Durutti Column’s sublime debut album is back in circulation on vinyl for the first time in four years, presenting a definitive edition replete with the extra tracks featuring drum programming from Eric Random and a bonus 7” of two cuts from seminal producer Martin Hannett, who produced this album and many more for the legendary Factory label.
Not sure what we can add to the gushing rivers of praise for this record already out there?! Save possibly to say that in the 37 years since conception, Vini Reilly’s best loved album, The Return of The Durutti Column has clearly lost none of its evergreen charm and rarified Didsbury air. That’s possibly down to its timeless, fluid ‘simplicity’ and minimalism, or because of Martin Hannett’s future-proofing mixing desk trickery. But, either way it still floods your listening space with light and languorous, lushly introspective feelings that reams of artists have chased ever since.
Highly recommended? Essential!
Killer new tape from Idiosyncratic Estonian artist Mihkel Kleis (Edasi), exploring his funky self as Ratkiller for Jon Rust’s equally wayward Levels label following a dedicated programme on Jon’s much-loved NTS show of the same name.
Keener eared listeners who recognise Kleis’s anomalous black metal output as Edasi from the start of the decade (remember that acetone-stained tape case?!) may have trouble consolidating their memory of that artist with the same guy who released the wigged out side, Meltdown of the Highest Order on Estonia’s Porridge Bullet in 2017, but strangely, and brilliantly enough, it’s one and the same guy - equally adept at conjuring medieval metal fantasy as the severely buckled and hypnotic boogie and exotica on Filtered Relics.
If Fortress Crookedjaw did Star In Their Eyes as Delroy Edwards, it may well sound a bit like this tape, as your man gets properly salty and rugged with a six track cycle of natty, knackered drum machines and synths, sifting an array of pads and choral voices that keen between 2 minute knots of murky library synth nostalgia in Pigfunk, to the alien vignette Filtered Relics via 8-bit EBM in Colourful Guts and Tropical Palms’ lounge music in Gimmick and Clowntown.
This is the kinda gear tapes were made for.
Sound artist Tomoko Sauvage adds the gorgeous, elemental waterbowl recordings of Musique Hydromantique to a wonderful run of 2017 releases on Félicia Atkinson & Bartolomé Sanson's Shelter Press. Quite possibly the most soothing hour of music you'll experience all year
It will become hard to believe once you’ve heard it, but all sounds on the LP were improvised with acoustic technique and recording - meaning no electronics, edits or overdubs - whilst they effectively sound like the microtonal output of some unique, natural synthesiser affected by subtle variables such as temperature, architecture, humidity and human presence. If Philip Corner and Eliane Radigue ever made a record together, it may well sound like Musique Hydromantique.
Using a set-up of hydrophones (underwater mics) and porcelain bowls filled with varying amounts of water, developed by the artist over the better part of this decade, Musique Hydromantique forms a meditative, experimental study in rhythm and pitch which resonates with gamelan and ancient divination techniques as much as it does with minimalist modern electronics. The results are utterly captivating in their fluid timbres and plaintively plangent structure, rendering the elusive, ever-changing and hypnotic phenomena of moving water in three diverse states or sonic sculptures that patently demonstrate a deep, underlying and innate connection between the performer, her medium, and the listener.
Clepsydra - meaning ‘water clock’ - most closely resembles a form of gamelan practice, or, even some form of minimal electronic music. For ten minutes she renders a series of exquisitely variegated sonic glyphs gestured from her struck bowls and hands changing the quantities of water, and by extension, the pitch of each bowl. Tomoko makes a real virtue of everyday sounds, resulting in a time-dilating passage of smooth glissandi, elegantly unshackling our internal clocks from the anticipation of quantised convention.
Fortune Biscuit follows in a very different style. Here, the brownian flow yields a remarkable micro-ecology of sounds that almost mimic animals, cyborganic mechanisms and insect choruses, yet they were entirely generated by a piece of porous terra cotta (biscuit) dipped into water. The scuttling patterns are perhaps understandable in that context, but we’re utterly baffled how they also make those pealing, arcing harmonic partials. In the final, 20 minute piece, Calligraphy those techniques serve to gel and diffuse her water-based sounds in even more bewildering fashion, as she employs the 10 second reverbs of an old textile factory to render her delicate, subaquatic sounds in a play of fractious drips, haptic rubs and their resonant feedback, feeling to melt time entirely and open a tranquil space for divination of your own senses in between those perceptions of time and tone.
This is a record that seems to have been designed to promote ultimate well being, it will completely engulf and subsume your senses and keep your attention rapt from start to finish. And we'd echo Tomoko's request that you listen to it at the start or end of the day for optimal results - far healthier than a spliff or night cap and will set your mood like some kind of ancient tuning fork.
Members of Total Control and Grass Widow converge a mannered, almost eldritch-tinted style of synth-pop crossing lines with Group Rhoda, John Foxx, Carla Dal Forno, HTRK
“THE GREEN CHILD is the long distance musical collaboration of Mikey Young and Raven Mahon, who met in 2013 when their bands, Total Control and Grass Widow played a show in Oakland, California. They started writing songs together in Australia in 2014 and the project has been on a slow burn since. Their self-titled debut album is the culmination of few years of putting ideas together internationally and periodically recording in Mikey's home studio. Some of the lyrical content and the band's name was inspired by Herbert Read's 1935 utopian, communist, sci-fi novel called The Green Child.
With such a choice name, it's no surprise that The Green Child draw their sound from an illusory past as much as they stalk into pastures new. Broadly retro-futuristic in scope, verdant acres of lushly evocative synthesizers and blippy drum machines underpin most of their upbeat yet decidedly uncanny songs. Raven's calmly scenic and measured vocal flits like a will-o'-the-wisp throughout the tracks, proffering a guiding hand as she walks us through the often eerie, electronic concoctions.
'Traveler' opens the album all redolent, beat-minded and labyrinthine. Twisting melody lines swirl and envelop like a sandstorm, whilst Raven coolly projects on a "solitary man" lost to "green oblivion". Similarly, 'Her Majesty II' glistens with its playful yet plaintive vocal and iridescent arpeggios, whilst 'Bertha' slows things down with tumbling chimes and stately use of space.
The Green Child are adept at atmosphere, their songs are refined from gently unfolding ideas that never fail to realise and build to their potential. Tracks like 'Walking Distance' (featuring Al Montfort on saxophone) and 'New Years Eve' are exercises in evolved composition with ideas budding off and blossoming into truly resonant dimensions. The band's cover of 'Marie Elene' (by Keith Pearson) and closing track 'Destroyer' are further crowning achievements, both pieces subtly handled with poise and ample melancholic grandeur. The Green Child fix their sights on the heights they want to reach within their songs and much like the project itself don't want to rush to the finish line. When it becomes more about the unfurling journey, why not take the time to enjoy the trip and burn slower?”
The killer third Errorsmith album contains a selection of live interpretations of classic disco and r'n'b songs. Digitally synthesized, distorted and filtered clubmusic which go far beyond the source material.
More dancefloor compatible than the two previous Errorsmith releases, this album relates closely to stuff from Smith'n'Hack and his MMM project with spar Fiedel, both projects involving Erik integrally. These were live laptop sets like you've never seen, employing a self built digital live tool, a combination of a simple sequencer and a synthesizer. Errorsmith uses this tool to manipulate both rhythms and triggered sounds in realtime.
With a huge degree of freedom playing his instrument, every gig was different. Initially planned as a release of studio versions, Errorsmith decided to keep the raw, live feeling of these amazing recordings.
Mannequin head Alessandro Adriani yields some of his fiercest EBM jackers on this white label for Mannequin.
All three are proper hoofers, rolling out stacked synthlines and rasping drum machines in a Tuning Circuits style with A Man who would come here of his own free will, then on a slightly deeper EBM trance trajectory with he is everything and nothing, and finally in the deathly jack of You never sleep.
Brilliant, mind-bending disco anachronisms from Dutch dude Arp Frique featuring musicians from Surinam and Cape Verde, all recorded in the modern day, although you’d swear it was from the ‘70s!
Arp Frique is Niels Nieuborg from Rotterdam, a key member of the Dutch live music scene who has saved his first recorded works for this session, bringing Americo Brito on vocals for the freaky Afro-disco-dub adventure of Nos Magia, before spinning out like Black Devil Disco Club in Lagos, ’78 with Kamajo, and the Afro-beat burner Ijo Ya, both set off perfectly by vocals from Orlando Julius.
Soichi Terada presents a perfect entry point for any budding J-House connoisseurs with this compilation of slick aces off his Far East Recording label.
Sought-after over there and everywhere else, they amount to a prime seam of early '90s house, with levels of plushness and seductive groove up there with the best stuff coming out of New York, Chicago or Detroit at that time. Best known to collectors and heads willing to shell out for originals, his sound has been championed of late by Ben UFO and Hunee, who're both known to slip his treats into their sets. But now everyone can get on the action thanks to this affordable collection spanning ten Terada originals and collaborations with Manabu Nagayama, plus a couple from his pal Shinichiro Yokota.
The crown prince of Japanese indie-prog-pop yields his Mellow Waves LP on vinyl, his first albumin over a decade, arriving some two years since his Ghost In The Shell Arise O.S.T.
"For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.
With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.
With 2002's Point, Cornelius' music took a quantum shift, going from sampling "found sounds" to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of "Drop" on his vocoder-infused cover of "Brazil", the album dazed and amazed fans and set the path for the next phase of his career.
2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.
The companion piece to the album Sensurround + B Sides, earned the nomination for "Best Surround Sound Album" at the 2009 GRAMMY Awards.
The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's "Best New Reissue".
Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu."
In which members of Caribou, Floating Points, Hot Chip, Junior Boys and Simian Mobile Disco team-up as a synth super-group to render two performances of Frank L McCarty’s 1973 graphic score to Tactus Tempus. The percussive side could find some traction on odder ‘floors
“Tactus Tempus is a, lost, graphics based, experimental score by prolific composer Frank McCarty. The piece was originally conceived and performed in 1973 by McCarty's group BIOME on 5 EMS Synthi synthesizers.
By following a set of simple, yet subjective instructions the piece begins as a sparse moire pattern of bursts and tones before evolving in density and intensity as the players symbiotically interact guided only by the illustrated curve found on the score.
This EP features two new performances of the score featuring members of Caribou, Floating Points, Hot Chip, Junior Boys, Simian Mobile Disco and friends. Gathering in a rare moment of collective down time in London in July 2016 the spontaneously formed group performed the piece at Joe Goddard's basement studio. Each participant used a separate synthesizer or modular synthesizer system and while the original slides were projected on the wall, the ensemble recorded two versions of the piece, each one recorded live in one take, lasting 15 minutes. One version is tonal the other on percussive timbre."