Ostgut Ton’s own Barker & Baumecker navigate nuanced techno and electronica zones in their 2nd long player for the Berlin-based stronghold.
Long one of the label’s most versatile units, on Turns they zig-zag between vintage-sounding ambient techno in Senden, to pensive electro-techno with a gleaming, futurist chassis in Club Entropicana, with a canny concrète palette cleanser in Technogate precipitating the melodic minimal techno of Turnhalle and a grand, 13 minute closing statement in the dub ambient techno swimmer, Nocturnal.
Dreamy mixtape made in response to Barbara Loden’s Wanda (1970) drama.
side / A
1. Wanda Intro 2. Epiphany Now - 16-01-27-01-00-37-25 4. Odie Ji Ghast / Bad@maths - Aquatic Frolics 5. Shriekback - Hapax Legomena 6. Rachel Margetts & Dice Miller - Double exposure 7. Büchler & Wand - á la Cage 8. Ecka Rose Mordecai - Fog 9. Michael Holland - Sunday Morning 10. Belarisk - Ruined Rig (Contaminated) 11. Yr Lovely Dead Moon - God's Land 12. S/Z - Feeling And Must 13. Enir Da - Desert (Cowboy's Chase)
side / B
14. Fith - L' Echappée Belle 15. Ana Berkenhoff & Michael Holland - Pendolino 16. Crude - Best Man 17. The Polyopia of Purple - A radio play with words by Nissa Nishikawa & sound from Makoto Kawabata (Acid Mothers Temple) 18. Param - Atman 19. Brigitte Fontaine - L' Auberge 20. Negra Branca - Importa 21. Sister Body - Cadillac (On The Way To The Hospital) 22. Dice Miller, Andreas Reihse, Rene Schohe - 'Brixton X Roads'
Kompakt’s ambient almanac returns for 2017 blooming with wistful compositions from regular veterans including Wolfgang Voigt, and returning contributors such as Scanner and Thore Pfieffer.
As definitions of ambient music have naturally morphed with the times, Kompakt’s take on the sound remains classically rooted in gauzy, opiated romance, presenting twelve diaphanous quilts ranging from the new age bliss of Yui Onodera’s Cromo2 thru to the frosted/defrosting timbres of Final 9 and Final 10 by Magazine’s Jens-Uwe Beyer, with distinguished highlights appearing in Wolfgang Voigt’s Lynch/Badalamenti-esque mix of Hal by Soulsavers, and the ‘90s ambient sehnsucht of Dekka by Anton Kubikov (SCSI-9).
Trim touches mic as only he can with the hushed delivery and unsettling voices-in-your-head sound design of 16 Bits, backed by Tom Kerridge ov RAMP Recordings' new band; Shining Path.
By far one of grime’s most versatile gobs, Trim sounds as loose and comfortable as ever over the pointillist melodies and prods of Shining Path’s cowbells, baroque organ and casio monkey howls.
Night Slugs shell down a floorshow of bangers from Bok Bok, Ikonika, DJ C, Hysterics, Girl Unit, Jam City, Neana, L-Vis 1990, NA, a.o. on the 3rd volume of their carefully compiled Allstars sets.
Six years since they first took a hold, the label demonstrates a subtly matured version of its younger self here, running aces from the old firm alongside freshest future boogie and R&G from new signings and pals.
Bok Bok delivers two highlights in the glyding soul swerve of Good 2 U ft. Semma, and again with the pendulous R&G of Unlimited starring Sweyn J, whilst L-Vios follows suit with the get-low cybeR&B of Sweet Spot ft. Ronika, whilst Girl Unit’s brilliant Madonna flip Queen B also gets a look in alongside Jam City’s heads-down boogie banger4, Direct Drums.
From the new class, Neana’s on that tracky flex with the Jersey-via-UKF bounce of Siberia, and Sheen gets it so right with the lush, arcing digital harmonix of My Syrup, but the biggest cuts are found in NA’s irresistible R&G chop up Ecstasy Edit, and the flashin’ future freestyle killlller, Funky 1st from Helix.
Party season is upon us. This is pure fuel to the fire.
Originally released in small numbers as a custom pressing in 1973, the compelling 'Dini Safarrar' by Senegalese drummer Mor Thiam has gained cult status around the world amongst enthusiasts of jazz, funk, hip hop & African music, and grail status among LP collectors.
"This is the first official reproduction of this album, faithful to the original and made with the blessing and cooperation of Mor Thiam himself, as well as his son Aliaume Thiam, otherwise known as hip hop and R&B superstar Akon.
Mor Dogo Thiam (pronounced 'Chahm') is a cultural historian, dedicated philanthropist and genius on the djembe. He began his career as a drummer while a young boy in his native Senegal, before moving to St. Louis, Missouri in the early 1970s, where his unique musical skills earned him the respect of the local jazz community. A fusion of the traditions of his Senegalese upbringing and the funk & jazz sounds of his new environs, 'Dini Safarrar' was entirely self-funded and was also conceived as a benefit album, with all the proceeds donated to famine relief in Africa.
The subtitle and translation of Dini Safarrar is 'Drums of Fire', though it may be more aptly described as 'Drums of Krakatoa', such is the explosive intensity captured within the grooves. The multitude of pulsating percussive elements throughout each track creates an intense rhythmic dissonance, the musical equivalent of an erupting volcano. It can be no co-incidence that the energy & passion of Akon's music was duly ignited by his father's very same Drums of Fire. May the legacy continue."
Hospital Productions collect some of the strongest coldwave pop dirges of a generation in Contrepoison’s Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow’s cherished imprint.
Since the late ‘90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognised as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12” - included here - is a dead firm fixture ‘round these parts.
Arriving at the vanguard of a new slew of coldwave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can’t be ignored by anyone into the original stuff, or who has arrived via the sound’s prevailing, contemporary winds.
Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neofolk cadence of …Until Next Morning’s amazing title cut to the blank-eyed dirge of To Never, Forever, before taking in the stomping Deserted Story from his 2011 split with Vatican Shadow, and committing the frankly fucking addictive hits of I Keep On Searching, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon’s Broken Neck Hangs the Medal of Saint Lazarus.
It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of Nectar of Destiny to the exclusive instrumental, The Moon Has Mad The Eclipse, and a grip of killers off The Thunders Which Collide tape, including the raging banger The Thunders Which Collide and another cut exclusive to this set in the T2-finale-esque instrumental, As The Blazing Sun Enters Scorpio.
Basically, it’s riddled with memorable hooks and rages like a wounded beast trapped down a well. You’ll know within seconds whether you love it or not, and we definitely fall in the former category.
Just in from PAN - Aaron David Ross gets back to basics in the most elaborate, compelling style; presenting a vibrant, refreshing suite of impressionistic R&B, pop and EDM instrumentals made exclusively with his own voice. RIYL Carl Stone’s pop cut-ups, Laurel Halo’s Quarantine, Katie Gately. Mastered by Jeremy Cox featuring artwork by Alex Gvojic.
“‘THROAT’ is the new album by composer/producer Aaron David Ross (ADR). Arriving as the New York artist’s second release on PAN, ‘THROAT’ is made entirely from vocal sounds. It could only be crafted in the ultra-present; an age where the poetry of songwriting is flattened into catchy hooks. As words are sliced into sounds, ideas are reduced to sibilant syllables that still contain a range of emotional power, but deliver it in subversively different ways.
‘THROAT’ exploits these ways, borrowing vocal fragments from everywhere to collage a choral congregation of singing servers; pinging one another to create open-source equal-opportunity electronic pop music. Reichian polyrhythmic EDM drops into Bieber-esque beatboxing. Hypothetical K-pop stars conduct holographic choirs in altruistic ritual. Virtual summer festival DJs transcode into pure phonemes; anthropomorphizing formant-shifted vacuums of communication. When you drop the cargo of making sense, you can go so much faster.
As a classically trained musician inspired equally by pop and contemporary art & technology practices, ADR’s work has distinguished itself through its formal deliriousness and playful tenor. Besides ongoing collaborations with an international community of vocalists, producers, artists and fashion designers, Ross releases solo recordings, composes music for film, TV and advertising, and maintains a practice of live performance and sound installation.”
Quietly alluring debut LP of post punk-tempered avant-pop songs and cinematic mise-en-scene from Fith: a canny proposition revolving filmmaker/vocalist Dalia Neis a.k.a Dice Miller, plus Lori Goldstone (Nirvana, Earth), Alex Paulick (Kreidler), and Enid Da; released on the Berlin/Manchester co-operative, Wanda, who previously issued an excellent, imagined soundtrack-cum-compilation, Wanda is not here earlier this summer.
Crepuscular, oneiric, anchronistic, Fith unfolds a spellbinding narrative guided by protagonist, Dice Miller, a poised and coolly possessed character who flits from dubbed-out glossolalia recalling Negra Branca to an icier, detached aloofness almost recalling John Balance, and even percolated choral arrangements reminding of Maya S.K. Ratkje, but always returning to a hushed delivery, mixed with uncanny presence at front and centre of the soundfield.
Besides her vocals, Dice also shares composition and production duties with Paulick and Enir Da, framing the multiple personalities of her voice against suitably varied backdrops that match her noirish yet curiously ambiguous tone scene for scene, whether anchoring her flighty contrails in rugged drop forge drums and shimmering organ on Oya, or like some spaced-out Anne Clarke in L’Echappée Belle or drily echoic, gothic downbeats of Fire In The Hole, or rent in shatterprone hyaline figures over the gamelan-like delicacy of Muddy Grimoire (which is also an excellent song title), whilst the penultimate song, Gish finds her like Kate Bush placed over impish, Coil-esque chamber melodies and spirit-sawing cello by Lori Goldstone, who also appears in the closing ether dream sequence of Speed.
RIYL Night School, ONO, Julia Holter
No Corner continues to shape up as a prime outlet for mutating, dub-rooted imaginations from the Bristol firmament with Hodge’s deepest trio of tracks to date, following aces from ASDA, October, Lily and Jabu in the last few months.
With Body Drive he takes all the time he needs - nearly 2/3rds of the track - to charge a pent yet diffuse atmosphere, finally precipitating a clubbing kick to the plexus that could really gets things going in the right hands.
However, that’s not what this EP is about, as he promptly moves sideways into haunting synthetic chorales and room-quaking subs with A Break In The Building, and firmly defers the ‘floor’s gratification with something approaching a mix of Lorenzo Senni’s circumscribed trance effect and Peder Mannerfelt’s captivating sound design in the beat-less Personality Shift.
First ever vinyl edition of a very early Haino performance - five years before he started Fushitsusha! Reissue art design by Stephen O’Malley.
“Black Truffle present the first vinyl issue of Keiji Haino's Milky Way. Originally released as a limited CD in Japan by the short lived Mom 'N' Dad Productions in 1993, this release documents a blistering live performance recorded in Kyoto in 1973, five years before the formation of the first line-up of Fushitsusha, and eight years before Haino's first solo album. Working with a mysterious set-up including primitive electronics, homemade acoustic instruments, piano and voice, Haino lets loose a single 48-minute psychedelic maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic 1960s live electronics à la MEV or Robert Ashley's Wolfman.
Despite the absence of guitar, this recording clearly lays the groundwork for the epic blowouts which were to make Haino's name in years to come, building up to a point of almost unbearable intensity in its final minutes as Haino's voice wails over a wall of distorted DIY electronics. At times presaging the psychedelic noise of C.C.C.C., Milky Way shows Haino's singular intensity and ritualistic performance style already in full flower at this early date in his long career. Presented in raw and immediate room fidelity (complete with dramatic tape drop-out), this is both an essential historical document and a classic performance in its own right. Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Haino's poetry in Japanese, with an English translation by Alan Cummings. Original design by Keiji Haino & Yasunori Arai.”
Once a year kinda label Niche N Bump serve their 2016 beans in the of C Powers’ ‘floor-dedicated Fitness Check EP, rounding up five cuts of lean, direct techno-house built to work any ‘floor from Chicago to London or Berlin.
“C Powers was raised in Atlanta, Georgia, USA. He lives in Savannah, Georgia. He is resident DJ for performance art drag collective House Of Gunt. He has also been resident DJ at clubnights Cape Fear in Savannah, Hunger in Atlanta and No Pain In Pop in London. He works in a library and is cat dad to Peppers, Bucchi, and Baby D.
His releases include the Oysters EP for Proper Trax in 2015 and the Up Neck EP for CGI Records in 2014. He produced the single 'Crow' for the group 18+ (from their album Trust) as well as songs on their album Collect.
Fitness Check shows C Powers's experience as a DJ as well as his growth as a producer. From the drum programs to the arrangements, it's obvious that the EP was written and produced by someone who can work a dancefloor. On 'Wysh', which he says is an exit reaction to morose and morbid techno, subliminal speech and warped vocal stabs transition from centered to alert. On 'Fresco' he dices and scatters a song over loops of itself, a technique he calls a grey area between sampling and editing...I break it up into bits, resequence that shit then stuff that shit back into the track.
DJs may get even more service from the 'Wysh Key Beats' and 'Fresco Beatapella' versions, which give jacking rhythm tracks and sub-bass extra room to do their thing. The heavily dubbed 'Ask Less Kick Beats', lighter on drums but with a booming bassline, may prove useful as a set-opener or closer.
The EP has been mastered for club play by Helmut Erler at Dubplates & Mastering, Berlin.”
After inaugurating Astral Plane Recordings with Acheron, a stunning label debut for one of 2016’s breakout artists, Shalt returns with Inertia, his second outing on APR and the final release of the year for the label.
"Building on the laser-focused intensity of Acheron, Inertia is an expansion in every sense, a larger-than-life slab of harsh electronics, hook-like riffs and knife’s edge sound design. Concepts introduced on Acheron (ecological destruction, the consequences of terraforming, stasis vs. velocity) are expounded on at length, embodied in the virulent noise and gut punch sub bass of tracks like “Wavering” and “Inert Indifferent”.
As a club record, Inertia has the ability to dominate space, but it instead exists on the precipice between a quantifiable dancefloor quotient and an intangible world building quality. From the machine chug of “Resistant” to the solipsistic lurch of “Ouroboric”, SHALT’s vision is born out in widescreen clarity and fine-tuned precision on Inertia and all it takes to engage is to listen loud.”
Comprehensive, 65-track compendium of Sun Ra’s hard-to-find, 45rpm meteorites
“The immense output of Sun Ra and his many backing bands, coupled with the limited production of many of his releases has long defied dedicated collectors. Parallel to a vast list of LP releases, Sun Ra released numerous 45 RPM singles; one-off meteorites from his prolific cosmic journey. Working closely with Sun Ra LLC and Art Yard Records, it is with great pride that Strut presents a definitive collection of the rare singles released by Sun Ra across his illustrious career, spanning 1952 to 1991.
Released prolifically during the 1950s and more sporadically thereafter, primarily on the Saturn label, the 45s trace the development of Sun Ra’s forward-thinking “Space-Bop” and his unique take on jazz and blues traditions which remains unlike anything else from the period. As with his LPs, most 45s were only pressed in small runs and have since become extremely rare and sought after. Some have only been discovered in physical form in recent years; some were planned and penciled but allegedly never made it to vinyl and some appeared as one-off magazine singles and posthumous releases.”
Letherette reprise that signature, dazed boogie, hip hop and house sound on a rugged 2nd LP, Last Night On The Planet, three years since their eponymous debut.
When they first arrived on Alexander Nut’s Ho Tep label in 2010, Letherette’s fetish for ruddy boogie and vintage proto-house made them a relative novelty, whereas nowadays they operate in a crowded field of producers juicing the last drops of flavour from the ‘80s soul spectrum.
Last Night On The Planet, then, forms a firm reminder of their authentically new/old, built-from-the-booty-up swerve, proving they can work with original vocals in the Dilla-esque bump of Momma feat. Rejjie Snow, and at a full fat hip hop flex with the title track feat. Pyramid Vitra, but the best best bits are arguably found in the instrumentals, with highlights in the airborne funk swang of Shanel, in the square-bassed Chicago deep house of Wootera, and the glittering flux of chiming exotica and subtle, Gold Panda-esque vocal processing in Rubu.
A very user-friendly, soulful slab.
Prolific Israeli producer Shlomi Aber logs into the Nonplus+ sound with a grip of rudely functional jackers, burning up from the acidic grind of XY Play to the brooding slink of Way Old Story and really putting his weight behind the dry, cavernous kicks of Related Sources.
Julia Holter, Elusive, Cole M.G.N. and Hardland line-up the first remixes spawned from Nite Jewel’s 3rd album, Liquid Cool.
LA’s Alpha Pup proprietor, Elusive resets album highlight Was That A Sign amid a scene of shimmering sleignbells and heady, up drafting synths - warm and over-easy; sorta what we imagine xmas in LA to be like - whilst Nite Jewel band-member Cole M.G.N. reworks the dance-pop bullet Boo Hoo with helium vox and tautly realigned halfstep electro momentum.
Reworking Kiss The Screen, The Samps’ Hardland heads in the other direction with a maximalist, emotive version swelling with a prog-pop chuff on, making the contrast with Julia Holter’s gorgeous, Julee Cruise-like take on Running Out of Time seem even starker by comparison.
Riveting label debut from Berlin’s Gil for Aïsha Devi and co’s Danse Noire, seeing off 2016 with a fierce session of reggateon riddims and deconstructed club shrapnel backed by remixes from fellow prism smashers, J.G. Biberkopf and Imaabs.
Grounded in “emerging post-human theories and the surreal collage culture of underground circles”, Gil’s Orchids & Wasps EP is one of the most compelling examples of current phase shifts from classically conventional structures to increasingly simulacra-like playgrounds where previously mutually exclusive styles collide, invert, and create new, syncretic forms.
On Bruxism he emerges from an unfathomable void to pitch between pelting flashcore and chest-quaking, 100bpm reggaeton kicks alloyed by way of screechy noise flux, whereas Many takes a more warped route via a kiddy’s choir into a sloshing, rabid bout of dembow drums and salty noise that sounds like Russell Haswell mud-wrestling with Florentino, and his Onset comes hardest of all with a brutal display of possessed black metal howl and wretches pinned into place by railgunning snares and claps, eventually resolving to another dutty wine and obliterating outro that sounds unnervingly close to an actual murder on the ‘floor.
The remixers were clearly picked wisely, handing over Onset to J.G. Biberkopf for an hallucinatory, psychoacoustic rush of defibrillating bass pulse and mind-warping chromatic keen, before NAAFI’s Imaabs jettisons the beat almost entirely, leaving the same elements to scare the shit out of each other in a freezing cold anti-gravity chamber.
Strong stuff. Future sickness.
The first ever compilation of Cluster recordings compiled by John McEntire ov Tortoise.
"Cluster's influence on the development of electronic music cannot be overstated. The original trio of Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius released two seminal albums as Kluster before Roedelius and Moebius replaced the K with a C and continued as a duo. They produced eight albums in their most innovative period between 1971 and 1981, two of them together with another pioneer of electronic music, Brian Eno.
Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro and even synthpop."
Archival seeks from African Head Charge, originally dug out for release on a special RSD 10”, now available digitally.
Beri Version bumps a woozy, jazzy version of BeriBeri off Environmental Studies (1982); Realigned Dub deposits a heavy troddin’ display of grounation drumming; The Race (Part 2) is a hum-a-long skanker cantering out with massive bass and heady melodica.
Heavyweight rollers from the Rinse FM and Tempa regular, shotting his 2nd session for Doc Scott’s 31 Records.
Sykura steps out on a proper sort of Doc Scott drum pattern with Virus-style bassline tear-outs and rattling breakbeat switch-ups; Assemble hinges off crisp woodblocks on a quick-stepping, gangsta rolling piece of minimal D&B pressure.
A leading light of contemporary, deep Detroit house, Jay Daniel drops the drum machines for more personalised breakbeats and vibes in his sterling debut album.
Broken Knows is testament to Daniel’s restlessly searching spirit, resulting from his search for unique grooves which ran into a conceptual dead end with drum programming and pushed him to pick up the sticks and keys and start recording himself thru a proper mixing desk in his mother’s basement.
Whilst his grooves for Sound Signature, Wild Oats, Apron, and, most recently, his own Watusi High label, have always demonstrated a killer feel for off-centre rhythms, the drum machine clearly wasn’t ductile enough for his wants. Therefore Broken Knowz presents a sound much closer to his personal ideals.
As heard in the lead single, Knowledge of Selfie the results come as close as any to the original West London broken beat sound of Dego/Cousin Cockroach, with deep highlights for the ‘floor in the percolated shuffle of Squeaky Maya and the tucked bustle of Niiko, but overall this is an album for vibing out pre- or post-party, thanks to its unhurried but insistent flow and predilection for lots of space in the mix.
Check for the Audio/Mathew Jonson-esque electro-house tweaks of Dystopian Daddy and the growling techno ride of Groundwater
“Avalon Emerson’s latest EP, Narcissus In Retrograde, explores four different styles that shape her distinct voice as a producer and songwriter, from symphonic showstoppers to broken acid. Opener "Natural Impasse" ferries massive melodic themes through a network of emotive capillaries that’s underpinned by charging drums, while "Dystopian Daddy" dons a theatrical flare with costume-changing arpeggiators and digital brass beef that command attention like a stage-hogging space alien diva lip-syncing for new wig money.
The B-side takes a more menacing turn with "Why Does It Hurt", the outright techno achievement of the record, and the snarling closer "Groundwater." Ethereal vocals on the former punctuate kicks and growls that sound like they were pulled from a pedal monster’s electric guitar, and on "Groundwater," a crucible of fucked breaks and acid cut a ravine through a bed of off-staccato hats and a sample swamp.”
Heartsick boogie aces from Anthony Naples, poking out his first release of 2016 as a sort of autumnal toddy for chapped dancers and reveries of warmer times.
Leaker swivels out on a slow, shifty electro boogie glyde with a steady core of phasing bass and ticking rimshot smudged by psychoacoustically shifty pads; sounds sorta like a sharpened NWAQ joint.
The sluggish jack of Moments Magicos feels more sore, blue, like one of V/Vm’s saltiest new beat tributes, early trance on 33-not-45, or Pye Corner Audio at their gauziest.
The 5th album from Silver Apples was originally released in 1998 on CD only. A one track album clocking in at over 40 minutes, it features
a sound collage of oscillator noises and sounds with percussion.
At the time it was billed as 'A Voyage of pure exploration beyond the broad established horizons of electronic music.It is an adventure into perceptions of an unparallel universe all it's own'.