Featuring collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova, Mouse on Mars, Francis and the Lights and others...
"The music of CARM features horns in roles typically reserved for drums, guitars and voices, while also escaping the genre categorizations reserved for music featuring an instrumentalist as bandleader. It is not jazz or classical music, nor is it a soundtrack. This is contemporary popular music that features a sound normally used as a background colour and texture as the unabashed lead voice. According to CARM, aka CJ Camerieri, “It started with the question: ‘What kind of record would my trumpet-playing heroes from the past make today?’ I believe they would want to work with the best producers, beat makers, song-writers, and singers to create new, truly culturally relevant music, and that’s what I sought to do with this project.”
Produced in Minneapolis by Ryan Olson (Polica , Lizzo) and featuring collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova, Mouse on Mars, Francis and the Lights and many others. This is a completely unique sound that additionally serves as a survey of the collaborations that have come to define the artist’s career thus far. Says Justin Vernon, “I truly believe there isn’t a more accomplished brass player in the entire world of music. And this is way more than a ‘horn’ record. It’s a discovery of new heights with what is possible in creating music.” The album begins with an orchestral brass choir of French horns, which quickly gives way to a piano sample from Francis, as Stevens and Lupin combine voices over a lush bed of horns to sing ‘Song of Trouble’. The album bookends with the same piano sample used as a springboard to an iconic lyric by Vernon in the album closer ‘Land’. Between these two generation-defining artists we have upward sweeping melodies and fanfares reminiscent of Ennio Morricone.
The acutely original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in ‘Already Gone’ give way to the virtuoso sound of Nova’s voice. A more experimental path emerges before the strings from Music bring us back to the piano sample that started the record. Instead of recycling well-trodden sounds, CARM offers a respite for those seeking an original voice."
Utterly fab off-world lo-fi pop construxions assembled using DX7, TR-909 and early samplers from Italian minimalist Tiziano Popoli. Imagine Visible Cloaks rescoring "Liquid Sky" and ur there.
Freedom To Spend's latest rifles through the catalog of Italian minimalist composer Tiziano Popoli, unearthing a series of unreleased recordings for soundtracks, radio and installations made between 1983 and 1989 with a modest studio setup. Influenced by glittery radio pop music, Popoli used the Yamaha DX7 synthesizer along with the Roland TR-909 drum machine and some early sampling technology to belt out a series of surreal cues and themes that sound almost frozen in time.
The distinctive FM sound of the DX7 was relegated to bargain bins for too long after practically defining the mid 1980s and early 1990s, but it's received a well overdue resurgence in recent years. Now the familiar sound (smooth, shimmering pads, plasticky stabs and bumping distorted basses) is easily available inside or outside the box, and it's become ubiquitous once again - hearing it here though, struck through with possibility, is an all-too-rare treat. Popoli uses these sounds without cynicism or reference, crafting angular pop forms from a backdrop of funk, prog rock and disco.
'Minimal Dance N.1' sounds like a long-lost Goblin cue, with fractured synths following eerie piano loops. Elsewhere, album centerpiece 'Mimetico Erettile' develops over fifteen minutes, blending paper-thin pads with marimba sounds that buzz lovingly like Steve Reich in an isolation booth. Each track sounds as if it could rattle off the hinges at any moment and that's exactly what we love about it.
Fantastic music that sings loud from a place of innovation and discovery.
Editions RZ collects historical recordings of Italy's forward looking and influential Gruppo di Improvvisazione Nuova Consonanza 1967-75, a collective featuring Egisto Macchi (percussion + celesta), Ennio Morricone (trumpet), Walter Branchi (bass), Franco Evangelisti (piano), John Heineman (trombone + cello), Roland Kayn (hammond organ + vibes + marimbaphon), Giovanni Piazza (horn), Frederic Rzewski (piano), and Jesus Villa Rojo (clarinet).
All skilled players and composers, the Gruppo di Improvvisazione Nuova Consonanza were formed in 1964 at the initiative of Franco Evangelisti with an aesthetic agenda looking beyond the boundaries of previous improvisational musics. They focussed on production and the qualities of sound itself, employing innovative recording and playing techniques at the limits of their capabilities as performers and composers in order to discover the "new consonance" inferred in their nomenclature.
These ten pieces spanning eight years are highly considered works of art, aware of the Neo-Dadaists attempts to disassemble the concept of a work of art, and instead attempting to expand its parameters as a transitory body of work in flux. We can hear traces of this work reflected in the more forward thinking Italian film soundtracks of the era and to a further extent, in Ennio Morricone's work for Hollywood, in turn casting an influence over much exploratory, non-academic contemporary music.
For new initiates and avant-garde fiends alike, this Xenakis collection renders a breathtaking survey of works by the radical composer, theorist, architect and engineer, spanning the period 1956-1974 and featuring some of the greatest works of the 20th century, including the awe-inspiring sonic architecture of ‘Persepolis’.
Inarguably one of the most important composers to blend electronic process and classical orchestration, Greek-French artist Iannis Xenakis made an indelible impression on the 20th century with his staggeringly complex feats of musical engineering. Regularly cited as an influence by composers ranging from Russell Haswell and Florian Hecker thru Autechre and Reinhold Friedl, Xenakis’s polymath pursuits in hybridising music, architecture and mathematics generated a bewildering array of sounds and structures which have rarely, if ever, been bettered in terms of their sheer scope, scale and technical ingenuity.
It’s possible to break down Xenakis’ approach to composition, and its results, as an extension of his experiences in armed combat, fighting for Greece’s left wing liberationists against the German army and later the British during WWII, with the latter leaving him blinded in one eye. He would eventually leave Greece in 1947 after graduating university with a degree in civil engineering, and before he could be conscripted into the Greek army, who didn’t look favourably on left wing sympathisers. Moving from Greece to Paris left him with a sense of guilt at betraying his friends, and a sense that “I had to do something important to regain the right to live. It wasn’t just a question of music - it was something much more significant.”
That significant something turned out to be a mind-blowing, multi-disciplinary oeuvre practically unprecedented in the history of music, architecture and art; a radical synthesis of ideas which embraced new technology and abstraction as a means to realise and create a new world in the aftermath of WWII. Like the Italian futurists before him, Xenakis would draw on the chaotic soundfield of war, and combined with a strong knowledge of experimental classical music and a special nous of maths, Xenakis’ subsequent studies with Olivier Messiaen and work with Parisian architect Le Corbusier would prompt him to composing groundbreaking new music during the 1950s.
This 2CD contains works from that era, stretching right back to the pranging clangour and jet-like eruptions of Achorripsis [1956-57], an early example of his stochastic style of composition, thru the dizzying, chronic dynamics of Syrmos , and to some of the earliest work composed by a computer, the 7090 IBM, in ST/48(St/48-1,240162).
But it’s Xenakis’ ’60s/‘70s work where his genius is mst evident, from the breathtaking scope of Polytope De Montréal  - written for four orchestras in the same space in the French Pavilion at Expo ’67 - to the gobsmacking dimensions of his seminal Persépolis , which was realised for the Shah of Iran, plus the frankly terrifying, computerised wormhole of Polytope De Cluny [1972-74].
We can’t reasonably describe this set as anything other than indispensable for fans of electronic music from its inception to the modern day.
’Trippin’ Musik’ is Nurse With Wound’s most significant new dose in a while, collecting 3 epic discs of steeply psychedelic sonics that may well alter your breathing and heart rates and mental state. No tracklisting provided, play however tf you like.
Following from the reissue of NWW’s ’Soliloquy For Lilith’ boxset, ‘Trippin’ Musik’ relays the most recent findings from Steven Stapleton and co’s ongoing psychedelic research / surrealist reconnaissance / occult practice in electro-acoustic and avant-garde spheres. As the title suggests, it’s one for the journey, taking up whole sides of vinyl with intensely and intently focussed recordings that often take over 20 minutes to say their psychedelic piece in a cryptic language of abstraction.
Whether you take drugs to listen to this music or not, the effect is likely to live up to the title, but we’re pretty certain it will be stronger with than without. One disc features a whole side of what sounds like a folk song fractalised and slowed down by Carl Stone, while another also sees them strung out in desert guitar scenes sort of like a digitized interpolation of Earth jamming with Soisong, and the side of rapidly panned gasps is practically guaranteed to send your head into a tailspin given the right conditions, before it all shores up in a deeply lysergic scene of strolling, head-squashing, liminal/laminal electronic timbres that feel like classic kosmische slowed down and exhaled by an AI.
Trust the efficacy of ’Trippin’ Musik’ for psychoactive potential is right up there with the most potent sonic substance. Approach with spare time and a well stocked freezer for best results.
Another totally obscure diamond that we might never have found without Edition RZ’s prompting, and should be strongly recommended to fans of durational, minimal works by Stephen O’Malley, Eliane Radigue, or Jakob Ullmann.
Trauermusiken, or Music for Grief, offers two gravely intense compositions for strings written by contemporary Austrian composer and organist Klaus Lang.First released in 1995 by Lambeart, and reissued by Edition RZ in 2002 (this edition), it ranks among Lang’s earliest works and consists of one relatively short prelude followed by a quietly crushing 69 minute piece.
The five minutes of Der Wind und das Meer, Trauermusik für Bratsche solo (The Wind and the Sea, Music for Grief for Viola solo), performed by Barbara Konrad, foreshadow a glacially unfolding and technically demanding piece performed by the Amras Streichquartett.
In its slow, sustained and keening intensity we’re instantly reminded of Harley Gaber’s The Winds Rise In The North, which was also reissued via Edition RZ. However, Lang’s piece feels like the inverse of that record, trading teeth-chattering high-end for a solemn exploration of lower registers, operating at near-liminal levels of concentration and focus.
It’s yet another totally obscure diamond that we might never have found without Edition RZ’s prompt, and should be strongly recommended to fans of durational, minimal works by Stephen O’Malley, Eliane Radigue, or Jakob Ullmann.
40th anniversary edition of NWW’s second album dating back to 1980, wickedly complicating their enigma with a perplexing surrealist collage of psychedelic freeness and communal industrial jams
Available on LP for first time in 30 years, ‘To The Quiet Men From A Tiny Girl’ is still as strange and twisted an album as its title and that artwork would suggest. It marks the group near the start of their bent curve, with Steven Stapleton joined by early members Herman Pathak and John Fothergill, and French avant-garde legend Jac Berrocal on Conch, for a decimated trip into sub- or pre-conscious sound arrangements that get under the skin and unpredictably writhe with a raw, unsettling sensuality dislocated somewhere between snuff film ambience and post-industrial organism.
Leading down their overgrown garden path from 1979’s legendary ‘Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella’, the band’s follow-up could have conceivably moved in any direction after that unprecedented start, and it bloody well does; tripping balls in a way that juices, un-stitches, and messes with then pre-existing frameworks of free jazz, industrial music, and avant-garde experimentalist expression: or simply what would become known as NWW musick.
In tortuously durational side-long works they morph amp hum into licks of fiery psych guitar and cut-up concrète, initially forging a sort of lysergic caveman rock fronted by clangers, that descends into bestial howls, pockets of squealing guitar abstractions and what sounds like a a flock of jazzy geese. And that’s only the first side. The second is equally un/hinged, with cut-up voices pranging from the ether against backdrops of machine elves unscrewing a cavernous workshop at midnight, then gelling into the sickliest music box mælodies and back to avian jazz frolics from another dimension. The band were apparently unhappy with the results of this album, and it remains a fucking weird piece of experimental history.
Haunting chamber invocation by the Austrian organist, composer and academic; written for flute, voice, percussion and viola. The quietly minimal, single, 50-minute piece is intended for reflection and altered, heightened states of sonic perception. RIYL Jakob Ullmann.
“Through concentration on listening or concentration on what we are listening to we can enter a state of simplicity of mind which is a state of the highest inner clarity or inner silence. In other words:when concentrating on the flow of music we can reach an inner state: The inner silence which is the simultaneity of stasis and flow. This paradoxical situation poses the question: Is the flow of music passing us, is music flowing through us thus evoking this inner stasis or is it not a state at all what we experience: should we not most seriously take into consideration the possibility that it is us who are flowing through the sound?”
'Kompositionen 1950-1972' collects 16 compositions by Christian Wolff. Most of the pieces collected for this portrait of Christian Wolff document the composer’s early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time.
"Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I've used is, as far as I know, the only possible one for the kind of sound I should like. And don't forget, we also like to be surprised. ...and the rhythm produced by that situation is like no other rhythm."
Now of a 20 year vintage, NWW’s pair of haunted works with Czech violinist Petr Vastl aka Aranos resurface in a double pack of deeply spooked out material.
Aranos’ violin ranges from folksy see-saw to abstract extended tekkers in a pair of albums written and released four years apart but both bearing a very similar sort of etheric wanderlust that leads them from midnight darkness recalling Deathprod from roughly the same era in ‘Either Open Or Unsound’, to a stunning 24’ ambient etherfolk vista ‘Every Bower Builder Aims To Be A Polygamist’ on 1997’s ‘Acts of Senseless Beauty’, to take in industrial -cut-up rhythms, concrète haptics in ‘Marbles’, and smoked out death jazz in ‘Mary Jane’, and concluding in the snuff scene atmosphere of ‘Knife Knows His Doing’. With Aranos’ strings resembling a killer’s garrotte.
Sam Amidon considers his new self-titled album the fullest realization to date of his artistic vision.
"It comprises his radical reworkings of nine mostly traditional folk songs, performed with his band of longtime friends and collaborators. Amidon produced the record, applying the sonic universe of his 2017 The Following Mountain to these beloved tunes, many of which he first learned as a child. ‘Pretty Polly,’ for example, was one of the first traditional tunes he learned to play, and ‘Time Has Made A Change’ is a song that his parents – singers who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus – sang around the house when he was young."
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
Raw deep house jams from Will Long (Celer), continuing a cherished series on his own label after a sterling run including DJ Sprinkles remixes on Comatonse
Adorned with Tsuji Aiko’s illustration of Stokely Carmichael, and samples of the civil rights activist inside, ‘Long Trax 3’ stretches out over an hour of blushing pads and stripped down rhythms in a style that’s ostensibly removed, but actually complementary, to Long’s more typical ambient work as Celer.
If anything, it’s an implicit show of solidarity for current BLM movements in Long’s original homeland, USA, offering time and space that suggests contemplation on the current, torrid state of affairs with a humble nod to the original vibes of Larry Heard et al, sparingly using samples of Stokely Carmichael in a series of lean drum trax layered with noctilucent pads.
Sublime first new recordings in 20 years by 4AD’s original dream-pop experimenters J. Tardo and Kirsty Yates as Insides - RIYL Nouvelle Vague, To Rococo Rot, Slowdive
Formerly known as Earwig between ’89-’93, before forming Insides with a now sought-after album and singles for 4AD shortly thereafter, Tardo and Yates also issued one album of Nouvelle Vague-like gallic pop and acid jazz with 2000’s ‘Sweet Tip’ and promptly exited stage left until only recently. They now return to something closer to their original style on ‘Soft Bonds’, reprising a tenderly bleary and endearing sound warmly defined by Kirsty Yates’ breathy, languorous vocals and subtle, supple, carefully minimalist production by J. Tardo that’s prone to exquisite surprises.
The shrugging title of ‘It Was Like This Once, It Will Be Like This Again’ acknowledges a timelessness to their sound that oozes thru on their woozy opener, while they sweetly embrace a sort of Berlin-esque electro-pop minimalism realign To Rococo Rot in ‘Ghost Music’, setting parameters they come to explore in variegated strains of icily puckered synth-pop on ‘Misericord’, and the tip-of-tongue sensuality to ‘The Softest Bonds resist Resistance’ in the album’s first half. At the album’s core they make room for the chamber-like hush of ‘Subordinate’ setting more tender, semi-acoustic aesthetics that blossom into something like a drowsy, wilting Antenna on ‘Half Past 4’, and it all comes together in a a mix of the lovely glow of ‘Undressing.’
Gorgeous, sanguine ambient sound sculpture by Iranian composer Porya Hatami for iDEAL recordings, following blazing sides from The Gagmen, and Stephen O’Malley with Senyawa.
"35.256031, 47.013321, 27.081979" is an experimental sound art piece created by the Iranian composer Porya Hatami. Porya Hatami (b. 1981) is based in Sanandaj, Iran and he works with field recordings and puts these against electronic tones in different ways. He has released his music since 2012 and has released his works on a number of international labels and is collaborating with like minded artists."
Charming Broadcast-adjacent psych-pop from Portuguese band Beautify Junkyards. Acid folk has rarely sounded so jangly and pristine - perfect lockdown escapism, trust us on this one.
There's something magical about Brazilian psych-pop - it inhabits that ethereal space between the faeries-n-goblins prog of the Canterbury set and the melancholy brilliance of Brazilian vocal music. Somehow, Portuguese band Beautify Junkyards manage to touch that same mythical space on their fourth album "Cosmorama", an alchemical concoction that takes the heart of Broadcast and simmers it with the bones of Os Mutantes. The resulting psychedelic soup is just a joy to swim in as the band trade vocals and dip between acoustic and electronic instrumentation.
"Cosmorama" sounds at times like the soundtrack to a long-lost TV documentary series, but Beautify Junkyards aren't entirely wedged in the past - their particular brand of whimsical melancholy sounds strangely current. The kind of psychedelic pop that Broadcast made their calling card has been a touchstone for plenty of contemporary bands, and Beautify Junkyards have found a way to make that more gauzy somehow - a dream pop album for a psychedelic love-in.
Lustmord and pianist Nicolas Horvath breath creepy new life into Dennis Johnson’s pioneering minimalist composition - an inspiration to La Monte Young - with dead spooky results
Horvath reduces the original 1959 piece for solo piano to its barest essence and Lustmord lurks in the spaces beyond, framing the keys with out edge-of-sibilance winds and super low end tones and very neatly blurring boundaries between presences of field recordings and synthetic tones. To be fair he is Hollywood sound designer so you can trust it sounds great alongside your Deathprod and Akira Rabelais records.
“Lustmord - Active since 1980, born of the original 'industrial' scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television and commercials. Recently Lustmord scored the music for Paul Schrader's movie First Reformed. While Lustmord is often credited for creating the 'dark ambient' genre there is much more nuance to its work than what that label implies. The music is not dark, but is a light that shines into and upon the darkness. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park and Robert Rich.
Nicolas Horvath - An unusual artist with an unconventional résumé, pianist and electroacoustic composer Nicolas Horvath is known for his oundariesless musical explorations. Horvath is both an enthusiastic promoter of contemporary music - he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov - and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire,Karl August Hermann.”
Utterly absorbing recording of experimental vocalist Yifeat Ziv sounding into the Amazonian rainforest, following from her brilliant contributions to David Toop’s super trippy ‘Apparition Paintings’ from early in 2020
‘Amazonian Traces of Self’ was created as a response to the artist’s experience in the Brazilian Amazon rainforest as part of the Labverde artist residence in 2019. It premiered at a David Toop event at Cafe Oto, and is based on a live performance she made at IKLEKTIK in London. Ultimately it sounds like recordings from another time, place or planet, imagining the rainforest’s inherently complex geometries as a natural sounding board, filter and FX unit where her voice can totally get lost and wander with delirious results. Honestly it sounds like we’ve just undergone a heavy DMT ritual and the forest is speaking to us from all directions.
"The forest reverberates my voice. The density of the trees and the thick canopy reflects sound waves and creates an echo as if I was singing in a closed space, maybe a chapel. I didn’t expect it. This echo feels like a mirror, it feedbacks my vocal intervention, reflecting traces of my own sound pollution in the Amazon’s dense soundscape."
--- Yifeat Ziv
"Yifeat Ziv’s voice has intensity and precision but what I really love about it is a searching quality, the feeling that it questions itself as it moves around in space, so the strength of it is not dogmatism or force but a genuine curiosity about where it goes, how it absorbs and is absorbed by other sounds, objects, materials and emptiness."
-- David Toop
No fewer than three unreleased Mika Vainio works resurface alongside quieter highlights of his catalogue in a 23 years-overdue compilation originally made for an exhibition in Milan.
First commissioned for the Snow Crash exhibition in 1997, ‘Kiteet’ now sees a posthumous release, reminding of Vainio's subtlest solo standouts in the likes of ’Syväys’ and ‘Radio’, sequenced beside three diverse, unreleased gems of the late, great composer at his piercingly focussed and minimalist best - utterly crucial listening for fans of his seminal mid-’90s output circa ‘Metri’ and ‘Olento’ for any Ø head or lovers of C.20th minimalist music.
For the uninitiated, the album serves as a handy primer on Mika’s most pivotal period, aside to his Chicago-inspired techno, when he forged a style of improvised live electronic music that hold up as some of the purest and most hauntingly life-affirming in a generation. The icy 12’ expanse of sliding sine waves describing endless tundra in ’Syväys’ is a total classic, while the 9’s of hypnagogtic drone and ether voices in ‘Radio’ is another, and ‘Halli’ is the closest we’ll come to shivering in an ice cave in the Arctic. We can now add the whistling bleeps and frozen synths of ‘Kiteet, Pt. 1’, and the characteristically cranky grip of its pulsating ‘Pt.2’, from the album’s unreleased highlights, to that list.
DeepChord’s Rod Modell lists and tilts at 140bpm+ in his banging solo debut LP for Tresor
Landing 20 years since his 1st Rod Modell release, ‘The Autonomous Music Project’ for Lunar, the ‘Captagon’ album finds Modell breaking his usual 120bpm sound barrier to go headlong for a classic early Chain Reaction style, nodding to a mid-late ‘90s era when the likes of Monolake, Matrix and Erosion (T++) kept pace with the rest of techno, but also kept it deep and hypnotic as fuck. While it’s quite possible this uplift in energy may leave some of DeepChord’s older audience out of wind, for many others it’s a breath of fresh air to his exhaustively explored style.
Through a simple gesture of pushing the tempo, Modell’s sound instantly becomes more urgent, as though woken from its sluggish reverie and now properly up for some aerobic mysticism. Along with the Chain Reaction nods, there’s clear reference to classic Detroit and related gear, from Mike Grant’s Black Noise to full flight Mills trax and Convextion at his paciest. However, Modell’s grasp of layered, subaquatic dynamics really places ‘Captagon’ in a league of its own, with a rinsed out and rinseable dynamic and traction brilliantly transposed from his fathoms deep catalogue of cv313, Echospace, and DeepChord productions with inexorable velocity.
Best thing he’s done in years, basically.
Liquid blooz bewts from Young Echo’s Jabu, joined again by Jasmine Butt, and now Daniela Dyson for a necessary dose of lowkey soul kissers on their do you have peace? label, somehow joining dots between Tricky, Tirzah, King Midas Sound and Junior Boys
Appearing from the haze of Bristol’s hotbox after that Cali-grade side from Manonmars, and leading on from Jabu’s earlier split with Sunun, ‘Sweet Company’ holds to a perfectly measured line of soothing, downbeat vibes rendered in soft focus dub in a way that genuinely appears to care for your bruised soul right now.
Trust there are no sharp edges to snag on, as the band’s Alex Rendall and Jasmine Butt share dreamily reverberant vocals with Daniela Dyson, pairing their combined range of caramelised and strung-out tones with softly played, hushed production by Rendall and Amos Childs, with the latter effectively serving a more feminine follow-up to his class work on the Manonmars album.
This CD features the original tape session recording (near 30 minutes of deep space exploration) and a near 40 minute rework from variant.
"This is a step in the evolution with the first tape session laying the groundwork for one of Intrusion's dreamiest productions hazes to date. This was the idea stage in where this project was conceptualized and evolved, minimal and subdued. What has not been heard before comes into glimpse via analog circuitry, obsolete synthesis & sequencers coming to life.. Gorgeous plumes of sound evaporate into the ether in these compositions conveying the purest essence and emotion of vintage signal processing, an absolute beautiful analog tapestry."
The Vanity Box Vol. 1 is an anthology of releases by legendary japanese DIY label vanity, active in the late '70s and early '80s.
The box includes 5 CD's. r.n.a. organism - r.n.a. organism meets p.o.p.o.; bgm - back ground music; sympathy nervous - sympathy nervous; sab - crystallization; a compilation of 7" singles.
Vanity Records is a none-more-legendary Japanese label established by music journo Yuzuru Agi in late ’70s Osaka, Japan. Its small but precious and catalogue of bold experiments with rock and electronics is hugely prescient in its scope, and would loosely fall within and expand the term “techno-pop”, which its label owner first coined to describe the futurist sound of Eno-produced bands like Talking Heads and Devo.
The bands featured were all in their nascent stages, covering a spectre. Form the slimy, munted TG-like sleaze impulses of Salaried Man, to rhythmic experiments by Isolation and Kiiro Radical that properly pre-echo Mika Vainio and parallel Conrad Schnitzler, and the scorched earth blues drags of Nishimura Alimoti, or the exquisite late night Dekkard’s apartment ambience of Wireless Sight.
Proper ground zero gear for the heads and fans of owt from YMO to Skaters, Suicide, Animal Collective, proto-techno and early punk wave mutations.
Shinichi Atobe’s entire discography for DDS, totalling 43 tracks / 4 and a half hours of music, assembled on a special edition USB Card housed in a bamboo box in an edition of 200, all material in WAV format.
Despite persistant rumours to the contrary, Shinichi Atobe is not a pseudonym for anyone else, it’s not T++ or Mark Ernestus or Terre Thaemlitz - he’s a producer based in Japan who released the penultimate 12” on the Chain Reaction label back in 2001 and then disappeared until 2014 when the DDS lads tracked him down with a bit of help from the Basic Channel office in Berlin. In the 6 years since, his five albums and EP for the label have created a singular and inimitable body of work, a stripped-down, bare-boned, feelgood template somewhere between classic Chain Reaction and DJ Sprinkles’ deep House classics, with a bit of added weirdness thrown in here and there.
On the USB card - the Ship Scope 12" (originally released on Chain Reaction in 2001, subsequently re-mastered by Matt Colton), Butterfly Effect (2014), World (2016), From The Heart, It's A Start, A Work Of Art (2017), Heat (2018) and Yes (2020).
Totally absorbing 3rd part in Meitei’s prized trilogy capturing lost Japanese moods, following sides of ghost story-telling and elemental sonics with a frayed suite of cut-up rhythms and samples; imagine Dilla meets The Caretaker on an Anime score…
One of the most distinctive and crafty artists we’ve heard emerge from Japan in recent years, Meitei and his absorbing catalogue have granted his listeners access to surreal, forgotten worlds where, for all intents and purposes, the past truly does feel like a foreign - if strangely familiar - land.
It’s been a real pleasure to immerse in the nuance of each of Meitei’s atmospheric sound-worlds, and ‘Kofū’ is a wonderfully unexpected addition to see out the series, contrasting his knack for shaping quietly rustling, melancholic scenes with more frenetic jump-cuts to colourful, but bittersweet, scenarios that subtly pay homage to working class courtesans of the Meiji era (circa late C.19th-early 20th, and Japan’s industrial and political revolution).
Using his art to give voice to dispossessed citizens of Japan’s past, Meitei’s descriptive skills are at their most sensitive, elusive, and affective here. Mottled vignettes of sampled vintage 78s are tiled with smudged & screwed Mica Levi-esque tekkers and collages of pitched-up vocals, old skool Kanye West style on the album’s two ‘Oiran’ works, dedicated to workers of the red light districts, with ‘Sadayakko’ and ‘Nyōbō’ slipping into something like Matt Wand on the MPC with Dilla or Carl Stone, along with an unmissable eight minute dream sequence cut, ‘Himawari’ recalling us the atmospheres of RZA’s Ghost Dog OST.
Ana Roxanne follows up the short-and-sweet "~~~" with this devastatingly beautiful full-length for Kranky, joining the dots between the label's past and present with heartbreaking sounds that remind us of Labradford, Windy & Carl, Grouper and beyond.
The album was written over the last five years, when the LA-based, Oakland-raised artist released that debut EP. While that record was initially dropped quietly, it was eventually picked up and reissued by Matthewdavid's Leaving Records last year, bringing her almost spiritual vocal-led sounds to a much wider audience.
Ana Roxanne grew up obsessed with her mom's collection of 80s and 90s R&B CDs, singing along to them obsessively while simultaneously training her voice more rigorously as part of a church choir. Years later, she was introduced to Hindustani classical music and her connection to her voice and its potential shifted drastically. When she returned to Oakland, she began to refine her craft studying at the prestigious Mills College, learning to work with synthesizers and becoming obsessed with the deep devotional music of Alice Coltrane. And all of these sounds - these connecting threads - are present on "Because of a Flower".
The album is remarkable in its sublime coherence. Roxanne blends styles, influences and cultural reference points so seamlessly it's almost like reading a diary or a book of poems. From the beginning of the album, which opens on a spoken word piece snipped from a harmony textbook, we're transported to a different world. As billowing drones drift peacefully into view, Roxanne's voice echoes above like kisses from a distant reality. This is deeply personal music, and Roxanne is unafraid to bear her soul and assuredly reflect her identity as an intersex person, imbuing her sounds with a vulnerable sincerity that's impossible to fake.
From there, we're ushered lovingly through songs that unify different elements (muted guitar phrases, fragile drum machine loops, disintegrating film snippets) beneath Ana Roxanne's spine-tingling vocals but retain a rare cohesion. Each track is markedly different, but the album hangs together so perfectly it's almost impossible to separate a single moment from the sublime whole.
It is many things and one complete entity simultaneously. Anyone who's been enthralled by Kranky's classic sounds, from Labradford to Windy & Carl to Grouper, absolutely needs to grab this immediately; utterly unmissable music and one of the best records of its ilk we've heard this year.
Grönland present the definitive Harmonia boxset collecting their groundbreaking debut, 'Musik Von Harmonia' (1974), along with 'Deluxe' (1975), 'Live 1974', their Harmonia & Eno '76 album 'Tracks and Traces', and the previously unreleased 'Documents 1975' collection of early live performances.
The short-lived syzygy, extant from 1973 to 1976 and revolving three members - Dieter Moebius and Hans-Joachim Roedelius of Cluster with Neu!'s Michael Rother - were responsible for a gentle but pivotal phase shift in German experimental music, and also on a wider scale within the world of new pop, rock and electronic music, thanks to the praise of David Bowie and Brian Eno - the latter of whom would join them for 'Tracks and Traces' as Harmonia & Eno '76.
Their history remains one of the most storied of electronic music; a group of imaginative, innovative German composers seeking to make a new music guided by nature and the stars, accompanied by one of the greatest producers of his generation, Conny Plank, and all at an idyllic location in the countryside of Forst, Lower Saxony, next to the Weser River.
From these lush conditions they vibed out, working with an arsenal of "mobile" recording gear (depicted in the accompanying booklet) to realise some of the most beautiful and influential records of the '70s, from the shimmering ambience of 'Musik Von…' thru the "pop" tone of 'Deluxe', along the motorik trajectories of their 'Documents 1975' recordings, and back to space music with Eno in '76.
An incredible set, grab one while you can.
Breathtaking new studio album from The Necks, saddling up for a glorious route taking in fast flowing polyrhythms and revelatory soundscapes - really one of their strongest in a flawless catalogue that now spans 30 years and with a closing track that once again taps into that Talk Talk thing they do so well...
The now legendary trio have always charted their own path thru the backwoods and wilds of jazz, krautrock and avant terrain, but ‘Three’ sees them head off across topographies that were previously only glimpsed on the horizon. In proper beginning, middle and end sections, they thrillingly cultivate and hack thru dense, lush new worlds of psychedelic sound before arriving at a third-eye dilating interzone, and relieving the psychic tension in a tranquil, bucolic final passage, leaving its participants ravished and refreshed.
Effectively 30 years in the making, if we take in their entire run from 1989’s classic ‘Sex’, via 1994’s ‘Aquatic’ and the singular roil of 2018’s ‘Body’, the triad of finely sculpted works in ‘Three’ are the ultimate combination of the instrumental intuition that binds Tony Buck, Chris Abrahams, and Lloyd Swanton, perfectly accentuated by studio processing from Tim Whitten (engineer) and Doug Henderson (master) that portrays their efforts in the best possible, impossible light and studio magick with frankly astonishing, practically psilocybic results.
It’s genuinely difficult to think of another band who could come up this sort of album after three decades together and for it not to sound like they were playing to hoary fans or trying to recapture something. From the barefoot scramble and cascading rush of ‘Bloom’ to the cavernous wonder of ‘Lovelock’ and bluesy resolution in the marshy delta sprawl of ‘Further’ The Necks effortlessly keep their sound flowing into oceanic, hypnotic grace.
High kitsch Moog fancies reaped from the catalogue of prolific ‘60s songwriter Mort Garson, following reissue of his legendary ‘Plantasia’ with a deeper dive into his archive of saccharine space lounge and new age music
Switching between minute long jingles, cod-baroque and delirious porno soundtracks, it all gets a high reading from our dusty kitsch-o-meter and will surely light up a lot of retro-futuristic fetishists out there. It could all be compared to the likes of Patrick Cowley, Bruce Haack or some Italian library jizz, with outstandingly corny gear tucked away in ‘Geisha Girl’, the throbbing space-disco of ‘Dragonfly’, and a ravishing ‘Theme from Music for Sensuous Lovers Part I (Instrumental)’, plus extra twee baroque whimsy in ‘Rhapsody in Green’ and cartoonish absurdity of his ‘Son of Blob Theme’.
“Music From Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ‘70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.”
Magnum opus-weight album from organist and electro-acoustic composer Anna von Hausswolff, the entire record consists of just one instrument - the pipe organ, and represents absolute liberation of the imagination. It's a masterwork of gothic classical beauty - a must check for fans of Kali Malone, Kara-Lis Coverdale.
‘All Thoughts Fly’ was recorded at Gothenburg’s Örgryte New Church and is heavily infused with the space’s atmospheric nuance, which renders the theatric richness of Anna’s compositions at their most billowing and melodramatic. As her 6th album, it’s also her most confident and strikingly original, following the slow steady procession of her sides for Kning Disk, Touch and City Slang with her most sepulchral and steepled refinement of black metal atmospheres and sacred dirges pronounced with an apocalyptic classical grandeur and iconoclastic experimental daring.
“Notes on the recording process: The organ on All Thoughts Fly is situated in Gothenburg and is a Swedish replica of the Arp Schnitger organ in Germany. It is the largest organ tuned in Quarter-comma meantone temperament in the world. With it’s four manuals, one pedal and 54 stops, it was built as part of a ten-year research project reconstructing 17th Century North German organ building craft. The tuning temperament is an important detail to note here, as it deeply affects the sound and tuning, and thus radically changed the process of creating this album. Anna speaks of a pleasant surprise during recording, the organ's ability to create beautiful "pitching" notes through its stops and air supply system. She remarks “We took advantage of this so most of the pitching sounds and notes that you hear on the album comes from the mechanics of this organ, effects made entirely acoustically." The organ was recorded with two room mics for atmosphere and two pairs of close mics placed inside the organ to capture nuances and detail for further organ sound processing by Filip Leyman in his studio.”
Charming and spirited bass and harp quarantine jams from husband and wife duo Dezron Douglas & Brandee Younger - one for fans of Dorothy Ashby and Alice Coltrane.
"If you haven't lost your mind yet, God is good. If you have lost your mind that's cool too." Dezron Douglas and Brandee Younger's "Force Majeure" was recorded during lockdown, when the husband and wife duo would livestream duets every Friday morning. Douglas is a bassist and producer and Brandee Younger a harpist who's recorded with Lauren Hill and Drake, among others, so they have a pretty solid starting point here. The interplay between the artists is the key though. Sure, they are both adept players, but their lightness and humor is infectious - they even kept some of the back-and-forth banter from the streams (the bickering about how to pronounce "Force Majeure" is extremely cute).
If you're looking for something positive to shine through some of the seemingly-endless grey of lockdown, "Force Majeure" offers a spiritual salve that should appeal to anyone into florid harp-led jazz. Sunny and gorgeous stuff.
A release of 400 original CDs, unavailable for 20 years.
"The Raincoats have offered creative and spiritual inspiration for several generations of artists such as John Lydon, Kim Gordon, Kurt Cobain, Carrie Brownstein, Bikini Kill, Angel Olsen... In 1979, The Raincoats helped shape the timeless notion that punk is what you make it to be - an act of raw expression, not any one sound. Their anarchy was poetic. The group’s debut album ‘The Raincoats’, which Kurt Cobain called “wonderfully classic scripture”, was released by Rough Trade Records at its radical beginnings. In 1992, Kurt’s meeting with Ana da Silva sparked a much-documented relationship with The Raincoats, bringing them back together to play live on Nirvana’s final tour that never was, and inspiring Ana da Silva and Gina Birch to write ‘Looking in the shadows’, their final album, released in 1996 on Rough Trade Records and DGC.
Original CD release from Rough Trade Records in 1996. Recorded at Trident II in August 1995. Produced and mixed by Ed Buller. Backing vocals on ‘Love a loser’ by Buzzcocks’ Pete Shelley. Video of ‘Don’t Be Mean’ directed by Gina Birch. “It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression…or the typical female as sex symbol avec irony or sensationalism”. Kim Gordon…
A reintroduction to one of America's finest ever alternative rock bands, 'Quarantine The Past' coincided with Pavement's long-overdue reunion.
Although there are no exclusives on this 23-track collection, as Domino so rightly state: "it definitely goes deeper than the "hits"." For such a beloved band, a single disc Best Of was always going to present a tricky editing job, and sure there are omissions - no 'Zurich Is Stained', no 'Carrot Rope', for instance. In fact, the band's last LP, Terror Twilight is sorely under-represented given that it's the one Pavement album to not yet receive the deluxe reissue treatment, although making up for those absences are rarities culled from 1989's Slay Tracks 7", the Perfect Sound Forever 10", the Watery, Domestic EP and great B-sides like 'Unseen Power Of The Picket Fence'.
Additionally, old favourites like 'Range Life', 'Cut Your Hair', 'Summer Babe', 'Here', 'Stereo' and 'Shady Lane' are all dotted around the tracklist, ensuring that there's a healthy balance between early lo-fi obscurities and the band's best known classics. If you're looking for a gateway into this seminal band - or even if you're just looking for a quick-fix solution to plugging some gaps in your Pavement collection - this predictably magnificent compilation is a must-have.
Burial’s co-production ‘The Second Spell’, starring Prince and Madonna collaborator Ingrid Chavez closes out a smoky album of deep house soul from UK/US/SA journeyman Charles Webster, whose album as Presence ‘All Systems Gone’ is cited as an influence on Burial for its “pillowy sound”. Also includes vocals by Shara Nelson and an earthy house nugget ‘Music’
“‘Decision Time’ is Charles’ first major solo record since 2001’s ‘Born On The 24th July’, and features an array of artists from a number of different eras, guises and genres Charles has been involved with over his prolific career.
After moving to San Francisco in the late nineties, he created an album under the alias Presence entitled ‘All Systems Gone’. The “pillowy” sound design of this classic is cited as a key influence on the music of Burial. For ‘Decision Time’, Burial has paid a further tribute here, contributing a rare co-production, ‘The Second Spell’. This track featuring the words of Prince muse Ingrid Chavez. who also wrote the spoken word poetry in Madonna’s ‘Justify My Love’.
Charles was at the forefront of the halcyon years of deep house, working with vocal talents like Robert Owens, Tracey Thorn, Terra Deva (aka Furry Freaks), who features here on ‘Wait And See’, and Shara Nelson, perhaps best known for her vocals on Massive Attack’s ‘Blue Lines’ album, featuring here on ‘This Is Real’.
Charles’ influence also spreads to the South African house scene with his Presence single ‘Better Day’ becoming a huge radio hit there in 1997. Charles later moved to South Africa and immersed himself in the local scene, collaborating with some of the country's most exciting talent, including Sio, Thandi Draai and Sipho – all of whom appear on this project.
With an album of this quality and the 20-year cycles of electronic culture, it feels like this is the perfect moment to celebrate the brilliance of Charles Webster’s legacy. From the downtempo soul of ‘This Is Real’, to the impressionistic words and ethereal two-step on ‘The Spell’, a new generation of ears are about to discover the influential underground sound of Charles Webster.”
Spiky-elbowed goth, industrial body music, and sleazy ’80s nuggets plucked from Cherrystones’ crypt and dished up by Touch Sensitive.
Pilot of an ace NTS show and a bigger digger than most, Cherrystones pits another killer haul of personal favourites in his 2nd Critical Mass volume, arranging 15 top grade selections into a dead sexy collection spanning highlights from Paul Lemos’ percussive industrial trampler ‘Hog Rhythm’, to devil’s-dusted swag in Neon’s ‘My Blues Is You (Slow Dub)’ and The Neon Judgement’s ‘Antoine’, thru to jagged post punk by The Mud Hutters, pure dirt from Martin Rössel & The Dum Dum Boys, and a hash-eased comedown in JP 118’s mystic beauty.
Fans of the Light Sounds Dark sets should be all over this lot.
Wolfgang Voigt’s ambient techno evergreen mercifully reissued as a standalone release for the first time since 1997, and its inclusion in the sumptuous Gas ‘Box’ set, now remastered.
Right up there with ambient techno’s greatest slabs, ‘Zauberberg’ is a classic balm for overworked minds and stressed bodies. As the 2nd Gas album, following the project’s eponymous debut, it pressed deeper into a uniquely dense yet diaphanous mixture of ambient and modern classical themes, exploring a breathtakingly lush, Black Forested adjunct to the sort of ambient/dub/techno austerities explored by other contemporary German producers such as Basic Channel, Monolake and the rest of the Berlin cabal surrounding Chain Reaction/Hardwax.
As with all GAS releases, It’s possibly difficult to provide any definitive description of ‘Zauberburg’, as we’ve usually fallen under its spell and towards the pillow, or at least drift off into a half-lidded reverie before it finishes. In that sense, we can only limn it from sub- or unconscious recollections, but the two effectively merge into one, as Voigt’s patented, distanced kicks mirror the soft throb of arteries heard muffled in a pillow, and the strings feel to descend with the inevitability of nightfall, all leading to the same conclusion - your head caressed by the sandman.
For obsessives fiending a fresh copy, or those lucky noobs about to pop their Gas cherry, this album is 100% essential.
Master field recordist, author and sound theorist David Toop presents a poignant, deeply trippy tableaux inspired by Chinese ghost stories and including recordings of his grandpa’s memories of 1901, a blind street group in Chiang Mai, and Ornette Coleman in conversation - wonderfully transitory, metaphysical stuff of rare substance.
From David Toop: What are field recordings? “My memory is not what it used to be, David,” my grandfather, Syd Senior, said to me as we huddled round a fireplace in 1979. Thanks to a cassette tape I have the memory of his gradual loss of memory, hearing him speak of Queen Victoria’s funeral and the severity of patriotism back in those old days, 1901. Syd Senior is long dead, no longer part of the field of living relations but still within the field of memories that can be revived by technology, albeit an old one that squeaks like a mouse, hisses like a cat.
Where is the field? The field is populated by all the ravishing, painful, poignant, nondescript moments of remembered life. Field recordings forget, just as memories forget. My recording of Ornette Coleman forgets that he fell asleep as we were talking together. I sat quietly, waiting for him to wake; the tape machine continued its work, oblivious.
During lockdown, a warm spring day, I sat working in the garden. A small fox appeared close to me, started, retreated into the shelter of plants by my pond. I took a photo with my phone but when I looked at the image no fox was visible. Earlier that day I had been reading Strange Tales from a Chinese Studio, a collection of short stories written by Pu Songling during the course of his life in the late seventeenth/early eighteenth century. In many of these tales, fox spirits inhabit the physical spaces of living humans in a variety of guises. Some are malicious; some benign. Their presence in the material world is wrong and yet accepted as either a temporary nuisance or a blessing that would later be regretted.
“All the memories are very incomplete,” said Annabel Nicolson during a conversation I recorded with her in the early 1990s. “It’s like trying to substantiate something that was important to us . . . When I was younger I thought that didn’t matter. I thought everything could be transient because people would always be creating more . . . when you get older it seems rather different because you realise many wonderful things have just vanished. Which in some ways doesn’t matter but it also means that they can’t be shared with anyone other than those who were there.”
The 3LP edition of Wolfgang Voigt’s most treasured Gas release is finally freed of the 2016 boxset and available as a standalone edition to a definitive ambient techno classic
Originally issued as a 2LP in 2000 as the 4th Gas transmission, ‘Pop’ remains among the Kompakt co-founder and European techno catalyst’s finest work. By 2000 Wolfgang Voigt has indelibly carved his name on European electronic music with a huge catalogue touching on myriad strains of rave, techno and trance for everyone from Warp to Sähkö and Force Inc., including very canny lines in flipping pop classics far out of their original frameworks. With the Gas series he refined and applied that latter aesthetic to the grand orchestrations of Wagner in a strolling style of breezy strings and booming bass drum heartbeats designed to accompany his walks through the Black Forest. ‘Pop’ is arguably among the most revered of these rambling soundtracks and has now been afforded the fitting luxury of a 3LP pressing giving each track more room to breath and let the listener take in the scenery.
In our books it’s an evergreen essential that rarely fails to draw us into its gently insistent, ambulating pace and naturally plangent ambience.
Wolfgang Voigt’s deeply romantic, terrifying Gas classic, ‘Königsforst’ returns to vinyl on its 20th anniversary reissue, re-cut over 3LP for optimal immersion.
Finally available following its appearance within the Gas ‘Box’, this is the definitive 8-track vinyl edition of the 3rd instalment to one of deep, ambient dub-techno’s most revered catalogues.
Originally issued by Mille Plateaux in 1998, ‘Königsforst’ is an ideal example of Wolfgang Voigt’s turn away from his early ‘90s acid rave classics toward a more Teutonically-refined hybrid of classical elegance and inexorable techno momentum.
More specifically, the tracks distill Voigt’s experience of walking in the Black Forest into a sort of rhythm-driven meditation, creating a space for reflection upon always-the-same/always-different repetition that most beautifully encourages the mind of the listener to wander, ponder and arrive at similarly rarified conclusions.
In other words it’s a stone cold classic.
Japan’s masters of rock and noise face off in ravishing, symbiotic form on their 7th collaborative album
Eighteen years since their first meeting on record (‘Megatone’), the hybrid unit clearly have lots more energy to expend on ‘2R0I2P0’, with Merzbow shelling signature, wildly overgrown, high-register noise squall to complement Wata and Takeshi’s shrieking guitars, and lend a sharp tonic contrast with the album’s slower, more melodic moments.
The album’s title translates to ’Twenty Twenty R.I.P.’ and is intended as both an elegy for a shitty year, and a catalyst for change, or as they say: "This work becomes a monument to the requiem of the previous era. From here, a new world begins again." As such they take the full limit of playing time - 78 minutes - to scythe thru strains of pulsating quasar rock and absorbingly harsh electronics, starting out all folksy and soothing with ‘Away from You’ before banking up to sky-clawing guitar leads and clamorous noise, sometimes letting Merzbow set the way ahead, as on the crushing ‘Coma’ and the sensory smother of ‘Jounrey’, and locking into freewheeling metal on ‘Absolutego’, but saving their finest for the two longer pieces of epic terraforming, ‘Evol’, and ’Shadow of Skull.’
One of PC Music’s OG avatars, Hannah Diamond does black mirror pop in her debut solo album; ‘Reflections’
Puckered with diamond-polished production by AG Cook (Charli XCX, GFOTY) and EASYFUN (Charli XCX, Rat Boy), ‘Reflections’ is an assuredly hook-riddled volley of pop “perfection” that arrives in time to offer a glossy kind of resolution to this decade and consolidate PC Music’s game-changing, or at least defining, aesthetic.
Enunciated in the primmest middle clarse vowels, syllable by syllable in nursery rhyme pop style, Hannah delivers “frank” thoughts on love and pop in the modern day, set to backdrops that variously draw on ‘90s trance and synth-pop as much as contemporary hardstyle, dancehall, and that sort of trash pop that Farrah Abraham built her name on and is guzzled up by tweeny types everywhere.
It’s difficult to say whether PC Music have reflected stylistic shifts or prompted them, but either way, and depending on your tolerance for upfront shininess, this album is either as welcome as a glitter bomb in your bed, or a U2 album in your iTunes. Are PC Music the new Stock, Aitken & Waterman? Is Hannah a wannabe Sonia?
The master of the tape loop returns with "Lamentations", yet another collection of eroded drone for low-light dreamers, captured and constructed from tape loops and studies from Basinski’s archives – dating back to 1979 – Lamentations is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space – and their collective resonance is infinite and eternal.
Those familiar with Basinski's catalog won't find a lot new here - not a complaint - like the molasses-slow shots that made David Lynch's "Twin Peaks: The Return" so eerily affecting, Basinski's spine-chilling repetition drags u into a state of near-hypnosis, focusing on the tiny details as they crumble in and out of view.
"Lamentations" is the perfect title; we've been spinning this on repeat as the constant chatter of apocalyptic news bubbles thru social media and every newsreel across the planet. It's hard to tell exactly what Basinski is lamenting but it doesn't really matter - each track sounds like a fragment of our past slowly fading from view. As "The Disintegration Loops" mourned a New York City that had been lost, "Lamentations" feels like a memorial for something else huge and all-encompassing. Nostalgia's a hell of a drug.
“25th anniversary compilation. It’s a mid-price cd, a snapshot to show where we are at after 25 years of the label. A selection of our roster and what we’re releasing in 2020. There is one exclusive - Basic Rhythm’s remix of DJ Nate. And six tracks from forthcoming albums for 2021, the tracks by RP Boo, Ripatti (aka Vladislav Delay), Jana Rush, Bogdan Raczynski, Meemo Comma and Eomac.”
22nd anniversary reissue of what is for us one of the greatest albums of the late 20th century, originally released on Rephlex in 1998, now painstakingly remastered by Rashad Becker after being unavailable on any format for more or less two decades. If you’re into anything from Prince to A Guy Called Gerald, Tirzah to Jai Paul, Autechre to Rick Rubin - this really is an all-time great.
When you make a record that doesn’t conform, expect to divide opinion. ‘Like Weather’ was released in 1998, on Rephlex - run by Grant Wilson Claridge and Richard D James - an often great label that had a following that couldn't quite deal with electronic music made by a girl - let alone one that used vocals. Everything those lads couldn’t fathom about ‘Like Weather’ is essentially what makes it untouchable; one of the greatest, most effortlessly esoteric pop albums ever made, not in the lineage of IDM or Trip Hop, genres it has so often been awkwardly lumped in with, but something else that cant quite be categorised - even two decades later.
‘Like Weather’ echoes the world-building energy of Prince’s ‘Sign O The Times’ - every track is a self contained universe all its own, there are no rules or conventions - it’s full of hooks, but also insular as fuck, the production is all over the place and it still sounds like nothing else (although if you’re into the Mica Levi-produced Tirzah album, know that this here is the aesthetic, spiritual blueprint). It feels analog, then digital - it’s R&B, but also baroque music box, drone pop, experimental, electronic, junglist - attempting to define it is like trying to cup mercury in the palm of your hands; it’ll just find something else to slide into.
In 2020 we reckon it’s time to re-appraise ‘Like Weather’ as one of the great overlooked albums of our age, made by a female auteur operating in an overwhelmingly male-dominated scene at the turn of the century. Now newly remastered by Rashad Becker (a long, 6 month process - trust that a lot of work has gone into it) - it sounds fucking amazing, one of only a handful of records that have never left our side since we opened our doors in 1998.
So yeah, we could write a long thing here about Leila’s background playing keyboard for Bjork, her meeting with the Rephlex lads, the Aphex connection etc etc, but ‘Like Weather is a record that needs no hype - for real - listen to it and you’ll know.
One of Coil’s most “accessible” and definitive classics finally resurfaces on Dais for a first *official* reissue 21 years after the fact
‘Musick To Play In The Dark’ is one those records that, like your first f*ck or trip, remains intractably lodged in the memory. At long last rearriving officially on physical formats with blessing of Coil’s Drew McDowell, the album could hardly be better timed to soundtrack the dread and enforced isolationism of our times.
Alongside Coil’s ‘The Ape Of Naples’, it plays to the full breadth of their enigmatic strengths, from sky-lashing doom licks and jazz noir to gibber-jawed druggy nightmares, via soaring kosmiche and breathtaking, unforgettable songcraft that rarely fails to plunge listeners into their wholly realised soundworld; hence it’s widely regarded as a vital entry point to their catalogue for anyone lingering on the fringes and wondering where to start with Coil’s catalogue.
This listener was relatively late to the album, but can still vividly recall being bowled over during the nithering winter of 2007 in Berlin, frozen to the chair and utterly transfixed by its magick appeal, which perhaps owes something to their shift in production methods from “Solar” phase to the “Moon” phase at their new studio, as well as the indelible trace of Drew McDowell’s deep granular synthesis and Thighpaulsandra’s brand of esoteric audness.
From the classic intro of ‘Are You Shivering?’ to their subbass hymn to our favourite brassica ‘Broccoli’, and the sleepwalker slant of ‘The Dreamer Is Still Asleep’; many years later the album has lost none of its capacity to reduce us to a goose-pimpled mess, and we’re just a bit jealous of anyone who’s about to pop their Coil cherry with this new pressing.