Recorded immediately after 1974's Rock Bottom, Ruth Is Stranger Than Richard received a less favourable critical reception than its predecessor, consisting of new arrangements of other artists' material rather than entirely new, self-penned songs, as had been the case a year earlier, although 'Soup Song' proves to be of particular interest for stretching back to 'Slow Walkin' Talk', a Wyatt song that had its roots in his pre-Soft Machine songbook.
Apparently, there's a version of this recorded with Jimi Hendrix, but the reworked rendition here is strange and angular enough to fit in with its peculiar surroundings on the B-side. Actually, it's not denoted as a B-side as such: the labelling reflects the album title, and so the first half becomes 'Richard', whose content is markedly more intelligible than the often quite wild and silly 'Ruth' material on the flipside. Awesome.
Inspired by Eno’s “vision of a psychedelic Africa,” English dub producer Adrian Sherwood and master Jamaican percussionist Bonjo Iyabinghi Noah have collaborated on a series of studio experiments under the African Head Charge moniker for over 35 years. This anthology documents the white hot heat of their first 5 years over 5 discs: ‘My Life In A Hole In The Ground’ (1981), ‘Environmental Studies’ (1982), ‘Drastic Season’ (1983), ‘Off The Beaten Track’ (1986) and ‘Unreleased Tracks & Version Excursions’ (11 rare and unheard tracks from the period on CD for the first time).
Eight of the unreleased tracks on CD5 are available concurrently on vinyl as ‘Return Of The Crocodile’ (ONULP133).
Madrid’s Downbeat don Jose Rico is doing some very trippy things with beatdown/deep house grooves here on his debut platter for Jordan GCZ’s Off Minor.
Fair to say it’s maybe harder than ever to make an original house record these days, 30 years into the genre’s lifespan, but thanks to some inimitable chops Rico offers some spellbindingly unique spins on a classic sound in Dreams With The Mirror Planet, working killer clipped percussion into the salted caramel flow of Long To Nowhere and with mystic Afro-latin shuffle in the swirling depths of Community, before uncoiling the sublime, extended rhythm trip of the EP’s title track cut deep and lustrous for optimal immersion across the other side.
Limited edition split 7"
"Fathers of grindcore Napalm Death pushed the envelope of metal to new extremes of ear-splitting intensity, rejecting all notions of melody, subtlety and good taste to forge a brand of sonic assault almost frightening in its merciless brutality. Formed in Ipswich, England in 1982, they trafficked in the usual heavy metal fare for the first few years of their existence but by the middle of the decade they began to expand their horizons by incorporating elements of hardcore and thrash into the mix. Ultimately, Napalm Death’s sonic experiments evolved into a blistering mutation of metal that they dubbed grindcore, a kind of extremist noise attack characterized by incredibly brief song lengths, demonic vocals and eye-openingsociopolitical lyrical commentary.
Japanese noise rock band Melt-Banana found more success in the US and the UK than in their own country, gaining a small but dedicated fanbase among American and European punk rock fans. Although their music sounds noticeably different from any sort of traditional punk, it contains some punk elements: shrieking vocals, overdriven guitars, and one-and-ahalf- minute songs. Melt Banana’s unique style, however, comes as a result of the distinctly piercing vocals of lead singer Yasuko O., as well as the frenzied, effect-charged playing of guitarist Agata. Searing, intense, and mind-blowingly fast are perhaps the first adjectives that come to mind when listening to Melt-Banana’s music. Try to imagine an even more energetic incarnation of The Boredoms."
From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so called Berlin School which had such a profound impact on electronic music. He also enjoyed success as a solo artist. His first two solo works are now being reissued with extensive liner notes and rare photographs.
"Trans Harmonic Nights“, Baumann’s second solo album, sees him continue to break free from the gravitational pull of Tangerine Dream. Hans-Joachim Roedelius was recording the „Jardin au Fou“ album at the same time in his Paragon Studio and some of his carefree positivity seems to have rubbed off on Baumann, judging by the music he came up with.
The production phase for “Trans Harmonic Nights” covered 16 months or thereabouts. Having built the studio and taken care of production on albums for Cluster, Asmus Tietchens, Conrad Schnitzler and Hans-Joachim Roedelius, many of which came out on the French label Egg, he had neither the time nor the inclination to focus on his own compositions. Numerous tracks on the album were actually created at the end of the working day, on downtime, just for fun in the unfinished studio. Peter Baumann explains: “It was a completely different time for music, everything we did was spontaneous, in the moment.
My first two records happened when I was working in the studio, simply expressing myself as a musician, sensing which emotions, timbres, rhythms and melodies were closest to me.” This approach shines through the music, underpinning its authenticity and making the album such a delight to listen to today: carefree, playful, unbelievably euphoric. Synth lines are exhiliratingly entwined with synthetic plucks, experimental sounds crystallize into sweet melodies, building into ecstatic breaks.
Majestic Mellotron choirs and added vocoder tones lend an ethereal, surreal touch. It is virtually impossible not to get caught up in this rapture, to be swayed by the infectiously upbeat nature of the music. Hans-Joachim Roedelius was producing his Jardin au Fou album at the same time and one might be forgiven for thinking that his carefree positivity rubbed off on Baumann. Not long after releasing this album, Peter Baumann relocated to the USA where he recorded two more albums by the year 1983, dominated by wave and synth pop sounds.
In 1984 he founded his own label, Private Music. In the late 1990s he withdrew from the music business altogether, only resurfacing in May 2016 with a new solo album entitled “Machines Of Desire”.
Francesco Tristano puts a big posh donk on it for Derrick May’s Transmat, including four collaborations with the captain of Detroit’s dance music industry himself - his first new productions for 20 years.
Recorded in Barcelona, Detroit, Rome, Paris and Mauritius, Surface Tension can be broadly cleft in two halves; the good bits with Derrick May, and the bits with crap minimal house grooves.
We’ll focus on the former, better parts, where May balances Tristano’s input with a healthy amount of funk in the nervy swang of The Mentor, or underlines the delicate chords of Infinite Rise with a super slinky ride, and with epic effect in the lush roll of In Da Minor.
However, two tracks do cannily buck that trend. On Rocco’s Bounce, Tristano impresses with a nimble fusion of far-Eastern strings wrapped to a bumping Chicago house swerve, and Esoteric Thing catches the pair completely devoid of beats, just drifting along in a placid pastoral ambient scene and blowing sweets nothings at Ryuichi Sakamoto and Brian Eno.
Released in 1982, Nothing Can Stop Us was a compilation album, drawing together various songs recorded as singles and B-sides during the late 1970s and early 1980s.
Only the downbeat, woozy opening track 'Born Again Cretin' is a Wyatt original, the remainder of the material is made up by covers, including a brilliant reworking of Chic's 'At Last I Am Free', Ivor Cutler's 'Grass' and Billie Holiday's 'Strange Fruit'. The arrangements and song selections remain eccentric and experimental throughout the collection, and although it never really feels like an album as such, it's certainly a bold and compelling set of songs - and once again comes with a massive recommendation.
The music from the motion picture ‘Run Lola Run’ (1998) released for the first time on vinyl.
"A heart pounding Möbius strip of cause and effect, ‘Run Lola Run’ (‘Lola Rennt’ in German) follows Lola (Franke Potente) on a quest through Berlin to find 100,000 Deutsche Marks in under 20 minutes to save the life of her boyfriend Manni (Moritz Bleibtreu). The film unfolds virtually in real time, presenting three variations of Lola’s seemingly impossible task.
Writer director Tom Tykwer’s multidimensional narrative and breakbeat soaked score encapsulate the creative energy of late 90’s Berlin perfectly, rendering this an international cult hit upon release. The film contains all the makings of a classic heist - diamonds, a lost bag of money on a train, the mobster it belongs to and the lengths one woman will go to rectify the situation in the name of true love - albeit with a postmodern twist. ‘Run Lola Run’s cinematic adrenaline rush is matched only by the accompanying soundtrack, which until now was never released on vinyl.
The film score was helmed by Tykwer, Johnny Klimek and Reinhold Heil, combining their love of German new wave, classical and techno (and taking the role of auteur to new heights). The result is a sonic journey into split second decisions and sheer determination; an iconic audio counterpart inextricably intertwined with the film that still resonates to this day."
Immersive snapshots of A’dam’s Juju & Jordash jamming Live At Downbeat Night. Madrid, December, 2015, presented on vinyl for discerning DJs and duvet diving at home.
A maze of slo-mo acid woven with samples nudging and winking at highlife, 4th world ambient and electro-jazz thru the most dilated prism of house music and electronic psychedelia.
Kjartan Sveinsson, former member of Sigur Rós, releases his first solo project, a four act opera - ‘Der Klang Der Offenbarung Des Göttlichen’ - which translates as ‘The Explosive Sonics Of Divinity’.
"Sveinsson composed the score for his and Icelandic artist Ragnar Kjartansson’s opera inspired by Nobel Laureate Halldór Laxness’ novel ‘World Light’. ‘Der Klang Der Offenbarung Des Göttlichen’ premiered at Berlin’s Volksbhne theatre in February 2014 where Sveinsson was joined by The German Film Orchestra Babelsberg and the Filmchor Berlin for the 50-minute show.
The live performance sees each of the four movements set to a different theatrical tableau, with scenery changes and slight weather events sweeping in and out of the set, all of which occurs without a single actor gracing the stage. Kjartansson says that ‘Der Klang Der Offenbarung Des Göttlichen’ is a banally romantic opera inspired by Halldór Laxness’s cunning texts about the longing for beauty. Since 2011 Kjartan Sveinsson has collaborated with Ragnar Kjartansson on various projects including the durational performance installation ‘Take Me Here By The Dishwasher’ performed by ten troubadours and ‘S.S. Hangover’, a brass sextet for a sailing boat, as well as the globally acclaimed installation ‘The Visitors’.
These projects have been performed in museums around the world, as well as undertaking multiple film score work, also with the Icelandic director, Rúnar Rúnarsson - ‘Sparrows’, ‘Volcano’ and ‘The Last Farm’. ‘Der Klang Der Offenbarung Des Göttlichen’ is released via Bel- Air Glamour Records, a joint label between Kjartansson, artist Ingibjörg Sigurjónsdóttir and The Vinyl Factory"
This second Galaxie 500 LP (from 1989) tends to be regarded as the band's finest, and in hindsight it sure sounds like a formidable piece of work.
Using a similarly slowed down, thinned out combination of guitar strum and plodding drums the band somehow continue to forge a unique sound that's helped terraform the subsequent indie rock landscape. Bands like Low owe a great deal to this trio's proto-slow core concoctions, and their songwriting never sounded better than on this LP, with great songs like 'Blue Thunder', 'Strange' and 'Tell Me' all helping cement the group's cosmically charged sound.
Further to the originals, towards the end of the album the band's take on a couple of covers, including Joy Division's 'Ceremony', The Red Krayola's 'Victory Garden' and best of the bunch, the George Harrison song 'Isn't It A Pity', which sounds great in this context, rendered in all its weary simplicity.
The starting point for these new recordings was an improvised recording session with Giuseppe Ielasi, but as with all RLW works nothing is quite what it seems to be.
"Cutting out the moments of “glory” and recombining them Wehowsky reassembles them into new more detailed compositions. Further improvised sounds were treated and added to the mix. The result may seem like an authentic representation of a real time improvisation, but in reality the pieces are nothing like that…in fact nothing is quite what it seems to be. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation.
In fact it could be all of these. Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P16.D4 and the label Selektion whose ground breaking releases influenced many working in today’s experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O’Rourke, Achim Wollscheid and Lionel Marchetti."
‘The Complete Works Of Fela Anikulapo-Kuti’ contains an incredible 51 albums across 29 CDs, spanning Fela’s entire career.
This new deluxe edition includes bonus rarities plus previously unreleased tracks. The box set also contains the DVD documentary ‘A Slice Of Fela’, which features live performances as a 52 page booklet with Fela’s biography andalbum commentaries by Chris May
This 1990 Galaxie 500 album draws its title from the classic Ornette Coleman LP of the same name and transpired to be the group's final studio outing.
There seems to be a slight expansion of the Galaxie 500 sound on this outing, expanding upon the dream-pop building blocks of prior outings with a heavier drum sound and more textural guitars. Songs like 'Hearing Voices' and 'Spook' soar magnificently, while elsewhere, the woodwind solos of 'Way Up High' and miniature fanfares in 'King Of Spain Part 2' take the group's aesthetic into fresh directions - there's really not a single moment in Galaxie 500's discography that's not imbued with some measure of magic.
The closing cover of the Velvet Underground's 'Here She Comes Now' makes for a fitting full-stop in the band's lifespan as a recording entity, effectively bringing their sound full-circle.
Immersion is a project by Colin Newman of Wire and Malka Spigel of Minimal Compact/ Githead.
"It was shelved just before 2000 and has now been brought back on their Swim imprint. Analogue Creatures Living on An Island is glorious synthetic dream pop that lacks structure or rhythm, it nears on drone, but with an undeniable sunshine to it.”
Buttered garage-house-pop, RIYL Teresa Winter, Jessy Lanza, Junior Boys
Endearingly raw and soulful proto-house/boogiue vibes from Jayda G, who’s previously collaborated with DJ Fett Burger on a few plates for Freakout Cult and Butter Sessions.
Their 2nd solo flight dips and hustles from the juicy DX7 bassline and tickled 727 drums of Fathom Five and a dusky tropical smooch in Cascabel, to strike on something a bit special with the jazzy garage house authenticity of Heaven Could Be Lately, which sounds something like Teresa Winter meets Mad Musician, or even going for Jessy Lanza’s tiara in the sylvan dream house dimensions of Listen Closely.
Don’t sleep on this peach!
Originally issued in 2014, and now touching down again with a fine bevy of soul-fuelled, swinging heat making neat use of vox on Together, and locating a breakbeat house winner in the blown-out jag of Outside.
Re-issue of Jay Chattaway's soundtrack to the 1980 classic Maniac.
"An absolutely phenomenal, sleazy synth score from Jay Chattaway, perfectly capturing the unease and grime of Times Square in its pre-Disney clean up era. Its minimal synth lines, full to the brim with dark brooding menace, exaggerated ring modulations and discordant strings manage to echo the utter despare of Joe Spinell's character on screen.
This stands head and shoulders above similar 80's synth scores which often riffed on John Carpenter's Halloween score a little too much. Maniac sees Chattaway going wild, adding layers of noise & dialogue into the mix, giving the score an utterly claustrophobic feel that manages to be both terrifying and exhilarating at the same time. This is a genuinely uncomfortable listen and it is easy to see why it has become such a classic amongst synth-heads and horror fans alike."
Strong label showcase for Nous, pulling together six gritty house and techno trax from Juniper, Moon Wheel, Anastasia Kristensen, Fetnat, Dreams, Ayln, and Antigravity.
To be honest, we only recognise two of those names, which is always a good thing. We’re familiar with Berlin’s Juniper, who turn out one of the fastest, if not most rugged, cuts in their small but well shaped arsenal with Movement From The Fade, and we’re also familiar with Moon Wheel, but are taken aback by the strong techno torque of his H.K. 185 D.r ace.
Elsewhere we’re introduced to Dreams with the latinate hustle of Spring Ballade, and to Fetnat with the industrially-reclaimed ballroom slammer, Marbrahh, whilst Ayln impresses with the slippery electro pivot of Wet Dreams and Antigravity get on the broken foot with Mauves Art.
Deep jungle, IDM and ambient offerings from Melbourne, Australia’s Dan White and Cry Baby Records.
Whilst hardly regarded for their junglist culture, White proves the spirit is still burning down under with a fine nod to LTJ Bukem, Omni Trio or Steve Gurley in the luhs, recursive amen roll out, Precognitive Dreams, before turning his attentions to crunching late ‘90s Autechre styles with VP3, and melting out into air with the creamy pastel ambient hues of Fearless Freak.
Rare recordings of a ‘lost’ album, documenting a turbulent affair in the 90’s. Reassembled unreleased and virtually unheard tracks; a softer, relaxed side. Features avant-vocalist Viv Corringham.
"Family Fodder, best known for their string of idiosyncratic, playful experimental post-punk singles such as Debbie Harry, Savoir Faire, Film Music and Playing Golf, have had a slew of recent activity.
New Family Fodder albums ‘Classical Music’ and ‘Variety’ together with vocalist Darlini Singh Kaul (daughter of original Fodder singer Dominique Levillain) were issued on The State 51 Conspiracy label. The early recordings ‘Monkey Banana Kitchen’, ‘Sunday Girls’ and ‘Schizophrenia Party’ were given respectful reissue treatments on CD and LP by German label Staubgold.
Alongside these releases Fodder godfather Alig Fodder has collaborated with Psapp and David Shrigley, and toured Europe with a revived 80’s Fodder line-up with new singer Bee Ororo."
A compilation of the early EPs and singles.
It features all the tracks from Pavement’s first three EPs, ‘Slay Tracks’ (1933-1969), ‘Demolition Plot J-7’ and ‘Perfect Sound Forever’, as well as the single mix of ‘Summer Babe’, its B-sides and two compilation tracks.
An MF Doom classic unavailable for too long.
Tracks compiled originally from the classic Fondle 'Em 12"s, stone genius tracks like 'Dead Bent', 'Gas Drawls', 'Rhymes Like Dimes (with Bobbito aka DJ Cucumber Slice)', 'Doomsday' and 'The M.I.C.'. Referenced to his classics from 2003 it's closer to King Geedorah than Victor Vaughn.
Mika Vainio’s incredible Ambient/Brutalist soundtrack album for a film by Finnish film maker Mika Taanila.
The music for Mannerlaatta was written very early on in the film’s two and a half year development, and subsequently held a strong sway over the rhythm of the film's editing and visual narration. As Vainio tends to use a set-up of homebuilt kit (strictly no laptops) unchanged from his very earliest productions, each new release is effectively a subtle alteration/refinement of his brutalist but tactile process of creation. And, going by that timeline of events, we’d speculate that Mannerlaatta was conceived somewhere in the wake of his staggering Kilo LP and the amazing Konstellaatio side as Ø, which is roughly where its aesthetics also lie.
The hour-long score breaks down to 6 sections, each exploring the full frequency spectrum of his patented, greyscale tonal palette, largely swerving a fixed rhythmic meter to occupy a weightless, outta reach mid-ground that seduces us headlong into his chasmic designs and, we’d imagine, best suits the black and white film imagery.
Key to the recording’s appeal - as with the best Vainio gear - is that peripheral sense of spatial dynamic and his unpredictable manipulation of amplitude; whether dangling us over abyssal subbass dimensions, needling with icy prongs, or occasionally alleviating the tension with teasing pads which evaporate back into the æther as though they were never there, ultimately leaving us rapt and at his mercy for the duration.
Wayward techno deviations from London’s Lawson Benn, committing to vinyl three tracks from his debut beat tape, First One (2014), backed with Best Available Technology and Moiré remixes.
Whilst his NTS show is known to roll from classic jungle, D&B to freshest electronics, the Heat Your Room for Eight pence Per Day They Said EP is perhaps best defined by its murky, outta space-and-time fidelity, hitting a curious spot between the eyes of footwork and concrète-grained sound design with WBD, whereas Blunted seems to feel out a sort of bouncing, swaying East African rhythm with a glitchy blade, and for good measure, Earls Network sees him drift off on a whimsical ambient trajectory.
Remixing, Moiré evens WBD out for DJ and club use, whereas BAT does his level best to literally turn Blunted into a squirming nub of itself in three slompy and progressively ruined version.
Beautiful songs from the golden age of Ethiopian soul by one of its most beloved singers, Tlahoun Gèssèssè, including some absolute pearls taken from his contributions to the legendary Ethiopiques #3 + #17, plus many more from covering a range of styles, from smoky jazz blinders to in-the-pocket funk, originally recorded 1969 to 1975.
For fans of the Ethiopiques and just straight-up, classically soulful music, this is really a bit special largely due to the dizzying vocal technique of your man Gèssèssè, whose flighty ululations and prove equally adept to any accompaniment, but most incredibly so in the jaw-droppingly funereal jazz lament Sethéd Sekètèlat, which is worth twice the admission alone, no messing.
Anthem-maker, Bas Bron a.k.a. Fatima Yamaha ov What’s A Girl To Do fame, brings his debut LP of suave, chromatic electro-funk to land on native Dutch label, Magnetron Music.
Clinically-executed but dripping with soul, Imaginary Lines courses nine songs including Bas’ own vocal in the purple funk curls of Borderless II, whilst Sophie Winterson gilds Citizens with cirrus highs alongside the myriad synth voices and chorales which lie at the heart of the album’s silicon soul.
There may be some complaints that such a warm, richly detailed album would benefit from a 2LP pressing: not from us, though; it sounds more intimate and serves its laidback functions better as a single platter to sling on and lie low with.
Ruddiest acid house buggers from James Booth, channelling the stickiest, most effective darkroom house elements of his 12”s and LP for 100% Silk, Farbwechsel and Church into the first release on his Share XL label (google it..).
For the most part, Share XL finds Booth decluttering the more sickly sweet synth arrangements in favour of lean, experimental grooves and abstracted electronic contours, resulting a smart piece of pendulous, distended acid in KRUELL, and some super deep and rugged modular torque in LAX.
O.I.L. holds the centreground with a warm flush of chords more familiar to his previous releases, but it’s back to the abstract fizzing structures with the nervy electro of M.X.M., and a brittle boned jacker named STUDD.
Downbeat weigh up the classic-sounding return of Son Dexter, who released a couple of 12”s on Larry Heard’s Alleviated back at turn of this century.
The vibe here is super plush funk and soul from the cantering, upbeat I Believe featuring authentic croon by Eric Anderson, to the trim, blue-eyed highlife of Sweet Soothin’ Sound, a lucent downstroke of boogie funk in Eternity Of Love.
As promised, Music From Memory pay up a stellar set of Michal Turtle’s myriad, inventive creations, making available tracks off his keenly sought Music From The Living Room LP together with 13 previously unreleased gems created circa 1983-1985, all in the wake of his remarkable introduction via Are You Psychic in late 2015.
Phantoms of Dreamland forms an in-depth investigation into Turtle’s most fruitful period while he was based out of his parents’ living room in London, joined by a stream of friends with whom he’d jam and record the results; loose ribbons of groovesome “real” and synthesised percussion, overlaid with lissom bass, guitars, synths and tape loops suspended in webs of FX and found sound.
Unless you’re a lucky owner of the OG Music From The Living Room plate then it’s quite unlikely that you’ve ever heard any of the tracks inside. But rather than some completist or elitist exercise, this is best considered a testament to those fascinating corners of the soundsphere, and particularly that which surrounded the early ‘80s advent of new age and home recording, and that private seam which remains tantalisingly beyond the reaches of even the most ardent, frayed cuticles.
Only a cursory listen and educated guess would correctly time-date this collection to the early ‘80s, but you’d also be forgiven for tripping up on its unusually stripped and modern sounding rhythmic axes, whose precise yet sloshing patterns and direct effect clearly foreshadow many strains of house and experimental, electronic rhythm-driven compositions which followed its release.
Turtle’s naive prescience is notable, imbuing each cut with a prototypical, worldly avant-charm that simply comes from following your own nose to wherever it goes; taking time to enjoy the ride, rather than just the end result.
Alga Marghen presents a reissue of Intersystems' Free Psychedelic Poster Inside (1968).
"Intersystems occupied a difficult-to-reach critical nook between the many tropes that had established to frame the various artistic trends of 1960s. Announcing itself with a quivering beam of fluorescent sound, the beginning of Intersystems' Free Psychedelic Poster Inside feels as though it's slowly piercing right through your frontal lobe. Blake Parker's poetry is a dark glimpse into mundane domesticity and the suburbs. One can't help but sense that they're being brainwashed: the slow metamorphosis of sound is juxtaposed against Parker's even-tempered yet electronically-tampered-with speech.
There are occasional hints at the twitchy energy of Peachy (NMN 093-2LP), but everything is braced by a spine of lean, cool tones, making Free Psychedelic Poster Inside a far more stark outing than either of its predecessors. Yet the sense of impending danger and general volatility found in the rest of the catalogue is still present - if not amplified. In contrast to Peachy, the shapes the music cuts are smooth rather than jagged, but one is never sure just when Parker's strangely uninflected voice will emerge from the blinding aggregates of pure color. While these clusters of glowing sustain assert an aggressive mesmerism, they serve as a primer for the ears, ominously readying them for virtually anything to happen. When something does, there's often a sense mild alarm on the listener's part even when said change comes in the form of a reprieve from the relentless swarms of high frequency - cascades of synthetic giggles, sliding slow elastic melodies, vigorous strobing modulations and bubbling passages of electronic fizz.
Musician and insatiable collector Julian Cope, on his exhaustive online chronicle of all things rare and psychedelic, "Head Heritage" calls Intersystems third LP "one of the densest, most oblique collections of sound ever".
After crafting Kykeon, the most detailed and finely intermeshed recording of their output, the cosmic compatriots Rhyton decided to get back to basics and kick out the jams with both ferocity and stateliness.
"Their newest slab entitled Navigating by Starlight features two sidelong improvised slices of molten music recorded by the redoubtable Jason Meagher at apex temperatures at his upstate New York Black Dirt Studio. The first side "Lovejoy Vapor Trail" comprises a journey from an initial solemn invocation, rushing through areas of blinding scree toward a summit of relaxed but rough and tough guitar elevation. The second side with its natural bifurcation was an instant composition of two halves that balance perfectly and exhibit a subdued menace. Rhyton is very pleased to be joining the stellar MIE family, just in time for the rebirth of the sun!"
Alga Marghen presents a reissue of Intersystems' Number One Intersystems (1967).
"Intersystems' works evoke the heightened awareness, intermittent psychosis, intellectual over-stimulation and giddy nihilism of an acid expedition. "Orange Juice and Velvet Underwear" may indeed be the most typically "Psychedelic" cut of Intersystems entire catalog. Its saturated crypto-Indian drone and bent acoustic guitar notes, are upstaged by Parker's lurid-sounding declamations and Mills-Cockell's fierce industrial clatter. From there, it all spirals further into a vortex of frayed cacophony and sober-yet-surreal orations.
The sixteen-minute "Blackout Mix" is a perfect demonstration of just how tenuous their relationship was to even the furthest-out reaches of psychedelia in spite of their own pronounced use of related terminology. All curdled puddles of synth noise and caustic electronic howls, Parker's fragmentary deadpan bark both penetrates, and is enveloped by, the sticky sonic tapestry. He unfurls a series of disparate images, more-than-flirting with the mundane horror enumerated later (and more explicitly) by the likes of Throbbing Gristle. "Vox 3/13/67" is Number One Intersystems' second longest and arguably most varied piece. John's contributions span dimly elegiac textures, evoking distant chimes and striated choral voices.
Parker delivers his writing as staunchly as ever, yet hacks certain words into syllabic mincemeat that spills violently and incoherently into the middles of sentences. It's by no means less anxious than other pieces on the album, but its tension is achieved through an eerily pronounced sense of breath and movement rather more aggressive means. Where elsewhere Number One Intersystems seems to forecast post-punk excursions into avant-noise antagonism, here there's more indication of Mills-Cockell's training and more canonical influences in its careful phrase-shaping. Featured throughout the album was a homespun instrument devised by John, dubbed "The Coffin", which was also employed live in their "presentations". Mills-Cockell recalls: "It was a 6 foot long box line with purple satin, housing a long plank strung with many parallel lengths of piano wire held in place with tuning pegs which were adjustable with a wrench we kept on board for the purpose.
There were contact mikes which were switchable, just like on a Telecaster except that the switches could permit not only selection of different harmonic spectra when the instrument sounded, but of a variety of loudspeakers in various locations in a performance space."
Alga Marghen presents a reissue of Intersystems' Peachy (1967).
"The sound work of Intersystems cannibalized stray bits of McLuhanism, psychedelia, Cagean experimentalism, and even the modernist gestural strains of nascent electronic music, yet it was all couched within a very particular DIY ethos. Peachy pushes the meticulousness of Number One Intersystems (NMN 093-1LP) even further and, as such, represents a more balanced amalgam of Intersystems' various disparate stylistic and emotional elements. The truncated opening cut "Experienced Not Watched" is deceptive, beginning with lush, tuneful organ swells that almost border on the ecclesiastical and washed-out metallic pulsations. Yet, the track comes to an abrupt end. What follows is thinner and more gestural, imbued with both poise and awkward buoyancy, owing more to musique concrète than anything on Number One Intersystems.
Each sound is framed within ample negative space, inviting listeners to savor each moment, yet its dynamism, and boisterousness, mischievous character steer it well away from being too precious. This impression is reinforced by the decidedly rugged and opaque timbre of much of the sonic activity. Peachy's balance can also be attributed to its consistent flow. The album may superficially be divided into discrete tracks yet the pieces follow one another seamlessly, conveying a single arc, with many continuities and recurring motives. Many of these motives are just mere pithy jolts or shudders of white noise that dart in and out of the aural scenery. In "So They Took The Guns", it matches the gestural profile of the opening cut - it's suddenly lopped off, shifting decisively back toward a slice of Parker's grim narrative, planted squarely in the foreground amidst various percolating abstract chatter. Just as the musical textures have a more unified logic, Parker's texts are also more integrated into the total picture, both aurally and thematically. Despite its sharp veerings into death and violence, the abrupt leaps have a more absurd timbre, than one of abjection and morbidity. And the sudden shifts, of course, are complemented well by the restless intensity of Mills-Cockell's contributions.
Parker's voice is subject to a wider spectrum of electronic treatments than before. They're also situated in various places, both spatially and within the mix. "
Coypu is the musical project born from the European-American friendship between Ben Chasny (of Six Organs of Admittance, Badgerlore, 200 Years, Rangda), Paul Beauchamp (Blind Cave Salamander, Almagest!), Fabrizio Modonese Palumbo (Blind Cave Salamander, Almagest!, ( r ), Larsen) and Daniele “Lo Dev Alm” Pagliero.
"Subtle electronics and drones, psychedelic guitar lines and the melancholic sound of the Appalachian Dulcimer and musical saw merge into desertic, watery and evocative soundscapes. Floating is their first full length studio album and it follows the release of the debut EP “Of Tails and Whiskers”
Two pristine Mark Ernestus mixes of legendary drummer Tony Allen, the first with a subtle BC undertone to the brilliantly joyous African rhythms of "Moyege", the second a rediculously deep "Disco Dub" instrumental that will destroy you, we promise.
Totally immense record - snap 'em up!