American Water’ was first released two decades ago. Observing the time between then and now, the album has been half-speed mastered at Abbey Road to provide depth and nuance for all future vinyl listeners.
Steeply immersive, visceral, intimate and extended investigations of the voice and cello.
Intense, stark, and edge-of-sanity sonics that should resonate with extreme music lovers of all stripes, from Black Metal to the experimental avant-garde
Reissue of David Sylvian's album from 1999, reissued on 180gram black vinyl for the first time and expanded with the addition of four non-album tracks, "The Scent of Magnolia", "Albuquerque (Dobro #6)", "Cover Me With Flowers" and "Aparna and Nimisha ( Dobro #5)".
A ghostly seance of post-techno spectres and layered field recordings from Primorje, the Venetian duo of Giovanni Donadini and Matteo Castro, rustled up for Italy’s exploratory label, Holidays Records
“Primorje is the most recent collaboration between Giovanni Donadini (Ottaven, Fantamatres) and Matteo Castro (Lettera 22), focusing on the use of the four-track recorder as their only instrument. Tape loops, field recordings, dub echoes, damaged beats and downgraded tempos creating two short, minimal and slithering compositions.”
Flying D&B juggernauts from Critical’s big gun, Kasra
Snappy 2-step in effect on ‘Ski Mask’ and ‘Miso’ with its fang-toothed atonal bite, along with the gravelly texture and clenched step of ‘Alburz’ and a breezier liquid piece named ‘From The Outside In’.
Stonking EBM/electro/techno session from Moscow’s Pavel Milyakov in Buttechno mode on Veronica Vasicka’s Cititrax
Behind some of the most desirable dancefloor 12”s of recent years, Buttechno has saved some of his sharpest cuts for the six-track ‘Cherskogo Drive’, giving a fine taste of the much vaunted Muscovite rave scene in 2018.
The A-side is toploaded with the salty, puckered EBM twyst of ‘March Cherskogo’ with its sinuous and lip-bitingly sexy torque, along with the trippy bleep techno cadence of ‘Back To The E’, and the very Rudolf Klorzeiger-esque pulse and nosedrip tang of ‘Elektroshirka’, while the B-side also impresses with the Analordian scales and slinky flux of ’Slow Durk’, which almost sounds like a tempered take of his ’861 x 3’ zinger for City-2 St, Giga.
Reissue of Vic Serf & The Villains’ playful 1983 avant-garde concept disc - a suite of skewed Rock ’N Roll played by aliens for earthfolk. It’s nuts in the best way - imagine Joe Meek meets The Residents ...
“War Extension announces the vinyl re-issue of Rok Y Roll by Vic Serf & The Villains, originally released by It's War Boys on cassette in 1982. Musicians on the album comprised Vic Serf (alias of Jim "Amos" Welton), Cathy Spermwrecker, Rita Chulo, and Larry O'Houlihan, along with guest appearances from Ron Dealo, Lepke B., and Sara Fancy. The recording is situated in a particularly fervent and inventive period of 1980s independent and experimental music-making, in which musicians moved freely between such bands as Milk From Cheltenham, Tesco Bombers, and Raincoats, and record labels such as Rough Trade, Y Records, and Barcelona's UMYU.
This album, however, was more part of a rampant recording program by Welton in which he released, with help from many collaborators, an irrepressible number of bands and their albums, such as by the Just Measurers, Milk From Cheltenham, and Amos and Sara, as well as Vic Serf & The Villains. Rok Y Roll imagines an alien race based on a planet far away who have received radio signals beamed from earth in the '50s: rock and roll music. They assume that these signals are the language of the earth people and, inspired to communicate, concoct a suitable reply. Unfortunately, their culture has no concept of music or song and, as a consequence, their replies are somewhat skewed; Rok Y Roll is the result. The music, recorded mostly on lo-fi tape machines, and borrowed four-track cassette machines, found its locus in the various squats and derelict mansions that defined a now long-ago London. Important to this was the ever-present involvement of non-musicians and the untutored approaches and altered techniques they employed. Rejecting the wannabe naked careerism of 80's pop, the scene around It's War Boys's aim was, as Susan B.
Smoothe said, "nothing less than to turn the whole rotting wriggling carapace of music on its back and carefully prod each segment with a perceptually sharpened stick." The question remains, was Rok Y Roll a mining of past forms of inverted science fiction, in which chronologically displaced music functioned as an alien artifact? Or, was it an all-out attack on popular musical forms? Primarily, Rok Y Roll could be read as a celebration of utter naffness. Vic Serf and his collaborators asked the question, "How atrocious could a music and the idea behind it be? What would result?" Here you have the answer!”
Broken English Club flashes his industrial gnashers on the 1st part of a new LP trilogy for L.I.E.S.
Otherwise known as Oliver Ho, Broken English Club has become the bloodied ground for his most unrepentant, grotesque and personalised productions, a place where the bones of EBM/acid/techno rest in pieces beside the desiccated batteries of power electronics and the ghosts of late ‘70s/early ‘80s post-industrial styles.
Leading on from last year’s ‘The English Beach’ LP, Ho focuses his energies into 9 bitter cuts in ‘White Rats’, ranging from the coruscating noise guitar wizardry of the title cut and the clenched industrial strength force of ’Funny Games’ on the front, to thoughts about modern day Brexit Britain in ‘Animal Town’ - “barking nazi’s in plastic tracksuits” - along with the skudgy acid EBM burn of ‘Let’s Play’ and blown-out power electronics of ’Stab Boy’ on the other side.
RIYL Throbbing Gristle, Parrish Smith, Sandra Electronics...
Reissue of a 1990 Chicago house pearl with delectable Mr. Fingers remix and extended percussive version
As one might know or predict, the Mr. Fingers mix is exquisite, working to his deepest side with booty-nutrifying groove underlining some proper saxomaphone sauce on the ‘Jazzy Instrumental’, while the ‘Gallifré Drums & Club’ cut works up a drier, drum heavy groove that blooms into a full body & soul workout.
Reverberating recordings of sound artist Henning Christiansen riffing on the idea of “rock” music in homage to Ken Unsworth, recorded in Sydney, Australia, 1990.
“Holidays Records presents Henning Christiansen's Stone-song. Stone-song is a one-hour performance presented in 1990 at the 8th Biennale of Sydney (The Readymade Boomerang: Certain Relations in 20th Century Art) where time is being scanned and animated by matter and where the genius of Henning Christiansen (with fellow artist Bjørn Nørgaard and Ken Unsworth, to whom this performance is dedicated) establish a deep dialogue with the nature (of sound) watching the time, stone on stone, being at the same time actors and audience of its ephemeral and violent manifestations. What time is it? Is it what time? Time is it what? Released in collaboration with the Henning Christiansen Archive.”
Tom Halstead and Joe Andrews finally inaugurate their long-in-the-making RR label with this deadly new Raime 12”, a precision-tooled exploration of negative space, sinogrime, found Youtube dialogue and colossal subs. The ghosts of grime, jungle, dub, and industrial musicks run deep with this one, here rendered with perhaps the most shockingly pristine, eye-catching production of their career to date.
Following on from ‘Am I Using Content Or Is Content Using Me?’, their 2nd EP of 2018 locates Raime in pursuit of challenging, non linear, and often beat-less structures ruptured by the shrapnel of online culture. The hardcore continuum still haunts their sound, but the concrète soundscapes they create make use of a spectra of techniques to camouflage its presence in any overt way. What remains is a skeletal render that implies delirious momentum. With every chime, sample, snare and sub honed to staggering effect, it becomes an exercise in hyperclarity and propulsion.
There’s no one really honing this sound in quite the same way, while there are parallels with weightless grime and the crystalline electronics of early Arca, Sophie, Rabit etc, Raime trigger a different kind of dynamic, one that fills acres of space with a more nervous, angsty energy directly connected to a lineage of UK club styles. It’s basically anything but background music and feels like a culmination, or perhaps a diversion from a path Raime have been following for almost a decade. If this new label allows them the space to untangle that carefully considered aesthetic, we’re f*cking there for it.
The gobsmacking ‘Selected Early Keyboard Works’ forms the first full length vinyl release by Catherine Christer Hennix, a peerless Swedish polymath whose uniquely diverse yet holistic contributions to early American minimalism and experimental music are cultishly appreciated by those in the know, yet remain sorely overlooked in the broader history of 20th century music.
As anyone who has heard Catherine’s classic ‘The Electric Harpsichord’, her hypnotic ‘Dharma warriors’ with Henry Flynt, or the stunning Chora(s)san Time-Court Mirage and The Deontic Miracle CDs will surely attest, her compositions exist on a whole other plane of musical perception. They naturally embrace a complexity of expression that places science and maths at the service of art, resulting some of the most beguiling, enigmatic and unprecedented combinations of styles - Indian raga, jazz, drone, early electronics - that we’ve ever heard, at the least.
In keeping with that enigma, the label’s notes for ‘Selected Early Keyboard Works’, ambiguously imply they were recorded in 1976 circa The Deontic Miracle’s 1976 performance at the Moderna Museet, Stockholm, which was issued on CD in 2016 as ‘Central Palace Music (From 100 Model Subjects For Hegikan Roku)’. If we use our ears, and take an educated guess, though, we’d date these previously unheard pieces to the same period, which makes them even more remarkable in context of that fertile period of musical thought.
We’ll forever fail to fully place a finger on the magick of Catherine’s music, but there’s a play of paradoxes at work in her music - mischievous yet meditative; light yet somehow driving, and even psychoactively aggressive - which makes it stand way out from her field. It’s definitely not just another new age whimsy or academic exercise. It’s much better described as intuitively daring and hallucinatory, setting out noumenal space for logic-defying feats of imagination and musical virtuosity.
In the two parts of ‘Mode Nouvelle des modalitiés’ for well-tuned Fender Rhodes and sine wave drone, listeners will discover a masterfully alien mix of early electronic music’s mercurial freedom and razor sharp jazz chops, inseparably blending her formative, teenaged experience of listening to jazz luminaries such as Coltrane and Cecil Taylor play in Sweden, with later studies at EMS and playing alongside La Monte Young and Henry Flynt in NYC. In revealing contrast, ‘Equal Temperament Fender Mix’ follows on the same Rhodes but in twelve-tone equal temperament, also using a tape delay system akin to Terry Riley’s, yet with a more reflective, blue and psychedelic appeal that’s far more interesting to us than Riley’s hirsute ecstasies. And ‘The Well Tuned Marimba’ for well-tuned Yamaha, shoeing, sine wave and live electronics completes the set in suitably, subtly breathtaking style with 18 minute of trickling, iridescent rhythmelody and curdling timbre limning a lush lysergic episode.
While we can point to her influences - from Cecil Taylor to Pandit Pran Nath and the EMS facility - what Catherine does with them is little short of alchemy, and provides some of the most curious music you’ll ever hear. We can barely wait to see what this long overdue series brings to the table...
Alga Marghen present these astonishing archival works by Eliane Radigue, originally released along with Feedback Works as a double pack, and now available as standalone LP.
Listening to Radigue's music is a transformative, humbling experience. Her singular sound is best described by Michel Chion as "infinitely discreet... next to which all other music seems to be tugging at one's sleeve for attention." Working since the late '50s under the tutelage of Pierre Schaeffer and Pierre Henry at RTF's Studio d'essai - the birthplace of musique concrète - she created a body of work whose profound simplicity has only begun to be widely appreciated over the last decade or so. Vice - Versa. Etc., originally conceived as a sound installation, was created using multiple tape machines, creating feedback loops and altering their pitch and duration to coax out quavering microtonal harmonics and ultrasound frequencies not usually perceived at their normal setting.
As practically anyone who knows (and probably adores) her music will testify, there's really very little else out there that compares to the elemental tranquility and hallucinatory effect of her works. Add the fact this composition was recently stereo synthesised by Emmanuel Holterbach, and you have a breathtaking document of some of the most intense and involving early electronic works you'll likely ever hear.
An absolute masterpiece.
Sublime charms from Hood co-founder Richard Adams...
“The Declining Winter return after a three year lay off with what is perhaps their strongest statement to date. Pushing on from the pastoral blueprint of the long sold out ‘Home For Lost Souls’ (2015),‘Belmont Slope’ is a bold and varied album, extending the boundaries of their earlier sound, introducing pop sensibilities and daring electronic flourishes.
Truly a Northern English album, Belmont Slope is a haphazard car ride across the M62, a love letter to the hills of Yorkshire and Lancashire, a paean to desolate beauty, unattainable love and lost friends. The Declining Winter is the brainchild of Hood co-founder Richard Adams, an ever changing collective who emerge blinking into the daylight from their Yorkshire enclave with a unique blend of pastoral and lo-fi pop, shimmering electronics and rural post-rock."
Alga Marghen present this new edition - a vinyl-only first release of Eliane Radigue's pivotal, previously unreleased 'Opus17' - her last work made with feedback material.
It's one of the strongest, if not definitive, examples of Radigue's tactile and meditative approach to composition, an engrossing, intuitive refinement of the techniques and practice she honed over prior years at RTF's Studio d'essai under the guidance of Pierre Schaeffer and Pierre Henry's Studio Apsome, and later at the New York University School of the Arts. Created at the Fête en blanc - White Festival - in Verderonne on May 23, 1970, 'Opus17' breaks down to five pieces making up a voyage to the heart of the drone. Using various early tape techniques, Radigue meticulously peels the source samples in a discreet microcosmos of morphing, moebius-like loops and shimmering overtones, rendering their vibrational energy and unique accents with a poetic, dreamlike quality.
It opens with a shock on the 19 minute self-portrait of 'Etude', where she gradually transforms a looped passage of Frederick Chopin into an opiated, howling ghost of itself using practically identical microphone and tape feedback procedures to those on Alvin Lucier's 'I Am Sitting In A Room' (although it should be noted that she wasn't aware of this at the time), whilst 'the shorter 'Maquette' applies the same technique using a part of Wagner's 'Parsifal', but this time with the sample subtracted leaving only a spectral trace of grandeur.
Following this, we're floored by the roiling pulsations of 'Epure' - a sort of rudimentary pre-cognition of industrial and minimal techno building palpitating throbs into a dense yet delicate and ferric-rich flux, sharing rhythmic similarities with the aptly titled trip of 'Safari', where elliptic bass patterns melt and congeal in morphing shapes and curdled overtones with an alien, otherworldly quality presaging the like of Rashad Becker. Yet, the ultimate exposition of Eliane's time-dilating technique is found in the 22 and a half minute panoramic excursion 'Number 17', examining her sonic phenomena at microscopic level, homing in and expanding on its globular bass shapes and radiant harmonics.
Even by Radigue's standards, this is a breathtaking body of work, opening up whole worlds of sound from so little.
Daniel Brandt, co-founder of German ensemble Brandt Brauer Frick, delivers his second solo album for London imprint Erased Tapes.
"Titled Channels, the new record follows the release of the London and Berlin based producer’s solo debut Eternal Something from 2017. The seven-track LP is Brandt’s biggest statement yet, with the album’s thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes, rich electronic textures and hints of dark cinematic pop.
Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich’s Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing meld of expansive works.
Intricate floor-filler and lead track ‘Flamingo’ synthesises the measured pacing of Detroit techno with an orchestral background. As with all of the tracks on Channels, ‘Flamingo’ began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; “It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,” explains Daniel. “The actual typical rock band recording style that I never had the chance to do before.” The album’s most immersive, club-ready track ‘Sailboats III’ is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming cosmos of ‘Cherry Dream’ is informed by Tangerine Dream’s iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. ‘Daze’, co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a rhythmic percussive pulse, whilst the understated ‘Ltd’ was stylistically inspired by Steve Reich’s Electric Counterpoint as well as Daniel and his band’s live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track ‘Channels’ melds instrumental ambient with melodramatic embellishments, whilst the record’s closer ‘Twentynine Palms’ takes its name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature.
With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album’s creative ideas reference a rich visual palette. He directed the video for ‘Flamingo’, a sideways glance at the art world that takes the concept behind John Cage’s 4’33” and turns it on its head. “The video for Flamingo is deliberately non performance — people sitting in a room and watching basically nothing, never really sure if anything is ever going to happen. It’s also a play on John Cage’s 4’33”, except in this instance there isn’t even a performer present.” — Daniel Brandt Daniel’s passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes. Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons."
Brilliantly cruddy sci-fi garage rock skuzz from Dunedin, NZ’s The Futurians - think Black Mecha meets MARS at The Dead C’s gaff
Following dozens of tapes, CDs, lathe-cut 7”s and a few LPs dispatched over the past 15 years, ’Programmed’ is the first time we, like many others, have encountered the raw might of The Futurians and their incendiary sound.
As true offspring of the notorious Dunedin sound forged by Michael Morley and his ends-of-the-earth cohorts, The Futurians are raw as heck and properly up for making an hypnotic racket. On the A-side they do it on a side-long jam of oil-sputtering, churning motorik groove and possessed vocals demonstrating a blend of athletic endurance and locked-in drunkenness, before dividing their energeis into six more succinct bits on the back ranging from raging walls of mentation electronics a la Black Mecha, to clattering death rock swagger, and hammering primitivism recalling MARS’ no wave blatz, and proper, The Dead C-style psych soreness.
A no brainer. Most satisfying.
RAMZi’s smudged ‘Phobiza’ cycle culminates with Vol. 3 and the birth of her highly promising FATi Records label
Taking the artist’s impressionistic trilogy to a natural conclusion, ‘Phobiza Vol 3: Amor Fati’ seals the series with a warm kiss off in 11 parts featuring guest input from Asael, Regularfantasy and Hashman Deejay. It's a lush, blunted, tropical session.
Arriving five years after Phoebé Guillemot's debut, ‘Amor Fati’ is love letter to an imaginary island perhaps unrecognisable from the infamous Ibiza of ‘Uncovered’, and parallels the sensual spaces dreamt up and enacted by white isle dreamers such as Tony Pikes or N.O.W.
Still, even those dreamers stop short of RAMZi’s fantasias, rendering a series of head-melting scenes in flux between hallucinatory dub, early hours house and balearic vapours that work so well as a psychedelic, late night soundtrack for tripping romantics.
Finders Keepers come up roses again with dazzling, never-before-heard live documentation of two Buchla 200 concerts recorded in 1975 by Suzanne Ciani. Rightly heralded as “a distinctive feminine alternative to The Silver Apples of the Moon”. The words “Holy Grail” and “revolutionary” spring to mind! Remarkable stuff for any synth fetishists or historians of the future.
“This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity.
This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.”
Amit showcases a spectrum of D&B, dubstep and mutant bass styles in ‘Splinters’, loaded with tracks by dBridge, Krust, V.I.V.E.K, Oris Jay, Mønic and many more
The compiler sets the tone with a wild halfstep roller ‘Cold Blood’, while other highlights come in the guttural shudders and spectral timbre of ‘Storm Doris’ by Mønic; a tense synth experiment from Krust called ‘Escape From Finland’; the vintage dark garage pressure of ‘Ghost & Darkness’ by Oris Jay & Innasound; and the fluid, sidewinding swerve of dBridge’s drums and ‘floor-scudding subs on ‘Own The Town’.
Unexpectedly terrific little 7” of dubbed-out rufige from Melbourne, Australia’s Pugilist
The A-side is the one for us - a wicked, scuzzy brukbeat licked up with soundsystem chat in a way recalling classic 2562 and Shackleton, but with a fizzing parry that Pugilist can safely call his own. B-side offers a fine contrast with ‘Hemisphere’, where he drifts thru crepuscular scenes of ganja smoke and lone guitar mired in heavy subs for a very trip hop feel.
Italian artist David August blends ambient-pop with Nico Jaar-like grooves, blues vamps and Giallo soundtrack-styled motifs in ‘D’Angelo’, his follow-up to a self-released ambient album and prior outings with Solomon’s Diynamic.
Facsimile reissue of the original Virgin pressing, replete with Bridget Riley’s mind-bending back cover artwork. Includes download code and riso-print insert with notes by Dave Segal
A definitive dose of wry, wigged-out krautrock. Back in vinyl circulation for 1st time since 2010. A massive influence over everyone from Julian Cope to Gnod and far beyond
“Faust stand among the most influential creative forces to have emerged from Germany in the late '60s and early '70s. Along with Can, Agitation Free, Neu! and others, they rejected the Anglo-American norms of rock 'n' roll to start a back-to-basics and uniquely Teutonic revolution in sound – later dubbed by the UK press with the semi-derogatory term "krautrock." They would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio.
As Dave Segal writes in the liner notes, "There's no consensus about which Faust album represents their zenith. But a survey of the group's fans would likely find the collage-heavy messterpiece The Faust Tapes triumphing. Its freewheeling, jump-cut nature and unlikely earworm moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved."
Comprised of twenty odd tape-manipulation experiments and freak-out jams, The Faust Tapes stashes away some of the band's best-known songs. "Flashback Caruso," with its delicate acoustic guitar and Rudolf Sosna's airy vocals, could easily have appeared on So Far or Faust IV, while on "J'ai Mal Aux Dents," Jean-Hervé Peron's playful lyrics and this ecstatic, era-defining riff perfectly represent Faust's magical mischievousness.
This first-time domestic release of The Faust Tapes on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley.”
Reissue of Jah B’s previously unreleased blinder ‘Vampire’ backed with Tony Jackson’s high grade Roots Reggae ace ‘Mother I Love You’, newly reissued on Wackies...
Produced in fine Wackies style, Tony Jackson’s sought-after declaration ‘Mother I Love You’ is placed on the front along with the heat-hazy gauze of the ‘Mother’s Dub’ on Itopia’s original riddim.
B-side is haunted by ‘Vampire’ from Jah B and Wackies Rhythm Force, which has been beautifully transferred from tape (or original copy?) replete with spooky artefacts on the vocal mix, before really coming out of the dub’s nooks and crannies.
Three of the world's foremost extreme sound artists/producers collide 'In The Studio' on a highly limited and opulent spot-gloss gatefold album.
Recorded days after the live performance captured on 'Shall I Download A Black Hole and Offer It To You', this is Keiji Haino and Pan Sonic witnessed in the controlled environs of a Berlin studio, serving eleven utterly compelling examples of freeform noise, vocal gymnastics and power electronics. The track titles, from the hand of Haino, indicate the abstract esoteric nature of the recordings, with 'If I could incarnate this feeling would you consider it a creation' attached to 1 minute of Keiji's blood curdling vocal catharsis, and the jawdropping 'In the hollow created between the eyebrows, what offering would be most appropriate' signifying seven minutes of lucid operatic falsetto descending into diabolical undertones of strafing drones and oncoming clouds of caustic noise.
The dilated scope of the session is perhaps best heard on 'Imperious doppelganger of tears, playing catch with objectivity that evades ultimate responsibility', where spasmodic jazz/metal drums pound clustered chunks of percussive flesh over walloping synthetic bass hits and shadowy, dynamic alien shapes invade the space at will. On '"Without Doubt", an attestation written from that time, will no longer have effect, because the wound has widened so much' Haino riffs away on guitar over Mika & Ilpo's reinforced machine beaten industrial squalls, and appears again in a more sombre form, articulating acutely melancholy axe signatures to bleak, blank bass drones in 'Perhaps there is no need to return', a sublime meeting of mystical and uncompromising minds from opposite ends of the world.
The heavyweight nature of the music is beautifully represented in Stephen O'Malley's stunning sleeve, firmly enhancing the irresistible allure of this album. Very highly recommended.
This is really good; a first taster of Factory Floor's score to Fritz Lang’s 1927 masterpiece Metropolis; with a surprisingly assymetric take on New Beat on the A-side's Transform, and a slowed down, pulsing charmer on the flip sounding something like a more angular take on HTRK. This is the second reease on Factory Floor's own imprint H/O/D Records.
"Transform, a section inspired by Maria's transformation from human into the robot, reveals itself in a haze of accumulating ambience and scattered percussion that evolves into the heavy repetitive bass groove reassuringly stabilizes Maria's journey into metamorphosis.
The slow tempo and atmospheric wash of synths and electronics on side B 'Wonder' offering a hesitant hush contrast."
In the 15+ years that have elapsed since 'Loop Finding Jazz Records' first shuffled out of his ambrosially dusty speakers, Jan Jelinek's most famous album has acquired an almost mythical status. Originally released via Pole's defunct Scape imprint, it now finds new life via Jelinek's own Faitiche label, for a new generation to marvel at one of the finest examples of loop-based electronic music typical of the early noughties.
Taking what reads like a pretty austere set of ingredients, Jelinek's technique revolves around a trio of elements which consist of second long cuts of 1960's-70's jazz recordings, the loop-finding modulation wheel (do your homework!) and the Moiré effect; albeit rendered in the acoustic as opposed to the image and spectral domains.
If all this sounds a bit academic, be assured that on record it is anything but; as crumbling edifices of mealy rhythms slowly pulse into life and swirl around your head like snow storms clashing with a dust devil. Taking sediments of fathom deep static then skimming the best stuff from the top, Jelinek opens through the dampened echoes of 'Moiré (piano & organ)' wherein a slow-motion thrum of spiraling clicks, rustles and analogue tones conspire to give the impression of recondite perspectives that extend well beyond the constituent elements.
Elsewhere, 'Rocky in the Video Age' instills a gratuitously optimistic blush to the aquatic micro-sound ebb, 'Moiré (Strings)' is a perfect companion to Basinski's disintegrating tape archive, whilst 'Them, Their' represents an aural crease so sleight you can only catch its distinctive gleam from the corner of your eye.
Young Paint is Actress’ AI learning programme which has been progressively emulating his transition from greyscale to silvertone since the release of ‘Hazyville’ ten years ago.
For its self-titled debut, Young Paint renders six tracks of baked electronics and techno hydrolicks that sound like the bossman Actress, which means the possibly apocryphal machine is doing its job as instructed.
‘Travel Paint’ and ‘Neutral Paint’ start up sounding like jazzed-up, worn-down Chain Reaction mutations, or the whisked takes on 154’s ‘Strike’ sound, while ‘Boy Paint’ takes time for a gauzier bliss-out (do AI machines bliss out?).
The seond half is strongest, though. The crooked lurch and coruscating textures of ‘Twisty Paint’ connote cranky AI thoughts of a lo-fi Autechre, while ‘Ai Paint’ divines a deep soul in the machine, and ‘Kat Paint’ supplies our percy with a perfectly weighted balance of Detroit ghetto-tech and classical keys that couldn’t have come from anywhere but the Actress studio...
G.B. Beckers’ languid, etheric minimalist guitar and drum machine suite ‘Walkman’  resurfaces in its entirety on the inestimable Music From Memory. Big tip to fans of The Durutti Column, Gigi Masin...
“Music FroM Memory’s latest release sees the reissue of G.B. Becker’ ‘Walkman’ album from 1982. A painter and musician from Achen, Germany, Günther Beckers created his third album ‘Walkman’ to coincide with an exhibition of his latest body of artwork in 1982. Released on his very own ‘Milky Music’ label with a run of just 500 copies and original pieces of artwork included with some copies, most copies of the album however remained amongst art collectors and with the painter himself. Rediscovered a few years ago through a friend of Music From Memory in the archives of a local radio station where all but one of the stations copies has beed destroyed, it has been an album the label have been in love with since the first listen.
Touring as a guitarist with ECM affiliated musicians such as Alex De Grassi, William Ackerman, Ralph Towner & Larry Coryell to name but a few, Günther Beckers also would record on a number of releases of Klaus Schulze’s cult electronic music label ‘Innovative Communication’.
Always exploring new ideas and the possibilities of technology within his music, Günther would record the ‘Walkman’ album utilising the ‘Kunstkopf’ technique of sound recording. Kunstkopf of ‘Dummy Head’ recording is a 3D audio recording technology that enables listeners to define each source of sound as if they were in the original recording situation itself. using two microphones which are usually mounted in the ears of a mannequin (giving it the ‘Dummy Head’ name in English) the technique exploits certain basic principles of human spatial hearing.
Listeners to ‘Kunstkopf’ recordings are in fact encouraged to listen to such recordings on headphones, as the 3D perception is often greatly diminished on speakers. With the title ‘walkman G.B. Becker was very much hoping the album would be enjoyed on headphones, even portably through a Walkman. Minimalist variations around acoustic guitar, guitar synth, rhythm box and with wordless female vocals, G.B. Becker’ ‘Walkman’ drifts in and out of moods; it is a unique and at times hauntingly beautiful album, which the Kunstkopf recording technique further adds to the albums at times often otherworldly feeling.”
Stunning exploration of traditional Arabic music and electronic processing by pivotal Montrealer Radwan Moumneh (boss of the legendary Hotel2Tango studio), including unmissable meshes of rolling rhythms with spectral ‘tronics in ‘Bein Ithnein’, and Coil-like digital vocal manipulation on ‘Thaha, Mish Roujou’, Thahab’, along with entrancing theatric orchestrations of trad vocals, buzuk and zurna with synths and tape FX. TIP!
“Jerusalem In My Heart (JIMH) is a project of contemporary Arabic and electronic music interwoven with 16mm film projections and light-based (de)constructions of space, exploring a relationship between music, visuals, projections and audience. With performances thus far occurring once or twice a year, no two JIMH events have ever been the same: configurations have ranged from solo to 35 participants, with varying degrees of stage theatrics alongside a film & visual component, using multiple projections to construct a space in constant flux. JIMH's vocals and purposefully blown-out sonic sensibility have been the consistent thread, but neither its music nor visual propositions have ever repeated themselves – one of the reasons why JIMH has resisted for eight years any official documentation or definitive recording of the project.
JIMH was formed in 2005 by Radwan Ghazi Moumneh, a Lebanese national who has spent a large part of his adult life in Quebec and has been a fixture of the Montreal independent music community, from his early days in various notable 90s punk bands to his tireless activities over the last decade as a sound engineer, producer and co-owner of Montreal’s Hotel2Tango recording studio. Moumneh is also active in the Beirut experimental music scene, where he spends a few months every year. JIMH now consists of a core trio with French musician & producer Jérémie Regnier and Chilean visual artist & filmmaker Malena Szlam Salazar, whose two-year collaboration with Moumneh has resulted in the co-creation of JIMH’s debut album Mo7it Al-Mo7it.
JIMH forges a modern experimental Arabic music by wedding melismatic singing in classic Arabic styles and electronic compositions with contemporary electronic production. The album equally emphasizes the intimacy and narrative pace that focused, intentional studio recording allows. The result is a unique and profoundly emotive album of contemporary Arabic music, a stunningly subtle first record for a project that resisted documentation or any sort of fixity for so many years. Moumneh's voice has become a powerfully authentic instrument, and his production techniques applying distortion, tape echos and delays to varying degrees transmit a timeless intensity to the recording. Saturated synths and the overdriven signals of Moumneh's acoustic buzuk and zurna reinforce the reigning sensibility, providing a bracing counterpoint to the vocals and lovely, searching instrumental narratives in their own right. Szlam’s work was the source material for the album’s visual aesthetic. Szlam’s visual creation for the album derives from sequences that echo lunar notions and photographic intervals that reverberate and resonate, evoking the oscillation of time. Using frames from various hand-processed 16mm filmstrips, Szlam created a lunar sequence that consitutes the album cover artwork.
Inspired by the Lebanese educator Boutros Al-Bustani’s book Circumference of the Ocean, Mo7it Al-Mo7it signifies, in JIMH’s open and poetic interpretation, “Ocean of the Ocean.” The numeral 7 is pronounced like an h; all titles on the album are rendered in contemporary colloquial “mobile” Arabic (the transliterative characters used in Arabic phone texting). Thanks for listening.”
Melbourne’s Left Ear keep up a stellar run with ‘Antipodean Anomalies’, digging out 9 exceptional bits of mutant dub, plugged-in Estonian folk and Maori reggae from Australia and New Zealand c. 1979-1989
The A-side is focussed on vocals and rhythms, with outstanding moments in Olev Muska’s mad fusion of percolated drum machines and Estonian folk song in ‘Karjapoisi Lugu (A Shepherd’s Tale)’ and the gobsmacking blend of bullroarers (?), whistles and vox with stark drums in Ngahiwi Apanul’s remarkable Maori reggae mutation, ‘He Whakapapa’. The B-side is more synthed-out, with impressive pieces including the lilting ‘Green Chaos’ of Helen Ripley-Marshall and the rustic psychedelia of Rainbow Generator’s ‘City Of The Sun’.
“For musicians inhabiting the Antipodean countries of Australia and New Zealand during the 70’s and 80’s, it was a geographically and culturally isolating environment. Boutique shops, community radio and mail order exchanges championed independent and contemporary music from across the globe. It was, however, this isolation that caused a number of small community-focused scenes to evolve, creating their own unique interpretation and reappropriation of outside influences. Through both these scenes and government initiatives, a vast amount of music emerged on self-released and independent labels.
Yet, even among small scenes that were creating unique sounds, a number of artists seemed to be making music that was neither here nor there, often meshing together numerous genres and influences to create anomalous sounds. Artists like Olev Muska along with Ingrid Slamer meshed traditional folk songs of their Estonian heritage with cutting edge computer technology. Ngahiwi Apanui used his native language of Te Reo and a “cheap drum machine” to create a pulsating tale that highlights the creation of Aotearoa (the Maori name for New Zealand); while the Free Radicals would sing through PVC pipes to construct their vision of post-apocalyptic tribal music. Sydney’s Nic Lyon used his classical training to craft a distinctive gem which matched eastern and African influenced instruments with syncopated drum machines, while artists like Delaney Venn and Toy Division managed to challenge their post-punk sensibilities by blending both dub and atmospheric sounds respectively.”
Yves Tumor lands on Warp with his debut album for the label; more popwise and polished than before, still pitched perfectly between the avant garde and the mass market...
Laced with guest vox and production from Croatian Amor, James Ferraro, Oxhy, Puce Mary and James K, on ‘Safe In The Hands of Love’ Sean Bowie a.k.a. Yves Tumor is the liminal, connecting spirit between a unique push ’n pull of samples and original instrumentation, acting like a porous transducer of style, tone and pattern that absorbs and amplifies lost (but not dead) light and energy and turns it into something wholly his own.
Where previous singles such as ‘Noid’, ‘Lifetime’ and ‘Licking An Orchid’ - the album’s core trio - distinctly nodded to Brit-pop and ‘90s ambient-pop pastoralism, the rest of the album curiously unfolds along those axes to take in nods to Warp’s earliest signings, N.O.W. on the introductory fanfare of ‘Faith In Nothing Except Salvation’, while ‘Economy Of Freedom’ opens out into futurist sci-fi soul, and ‘Honesty’ masterfully melds indie-pop and rugged electro-soul.
And it’s that polysemous definition of soul that continues to be the uniting ligature or filament to the rest of the album, from the raging black metal mutation of ‘Hope In Suffering (Escaping Oblivion & Overcoming Powerlessness)’, to big beat-y psychedelia of ‘All The Love We Have Now’, and the white hot, foaming shoegaze distortion of ‘Let The Lioness In You Flow Freely’, all cannily highlighting a sense of emotive mutualism that transcends style, credo, and vibe.
Survivors of Hawkwind and Killing Joke invoke ancient African and Berlin-skool spirits with little help from Adamski
“Pharaohs From Outer Space is the new collaborative album from legendary saxophonist Nik Turner and the ever-exploring producer known as Youth. This latest effort brings together the chilled out, ambient electronics carefully crafted by Youth, with the the wild and eccentric free jazz stylisations of Nik Turner’s saxophone and flute. The album twists and turns through layers of deep pulsing synths and soaring instrumentation that takes you on a journey through the depths of space, down tunnels of experimentation, and out the other side into another dimension of enticing sonic soundscapes. Featuring collaborations from a whole variety of great musicians, Raja Ram, Jah Wobble, and Adamski. Each one of these musicians bringing something different, and exceptional, helping to heighten the album above and beyond any restrictions that genres might impose.
Nik Turner was one of the founding members of Space Rock pioneers Hawkwind, writing seminal anthems such as 'Master of the Universe', 'Brainstorm', and 'D-rider' as the driving force in the creation of the legend and mythology that created that band's success, to 60's ska 'Skastars'. Nik and Youth met at a Lee Harris (counterculture activist) album launch in portobello road, where they hit it off, and have continued to perform and work together in a myriad of projects, including an all star jam at Youth’s ambient festival, Space Mountain: International Cosmic Arts Lab.
Youth is a multi award winning, legendary music producer, fine artist, poet, songwriter, remixer and bass player of the seminal post-punk band Killing Joke. With a staggering 20 million records sold worldwide, Youth’s career spans over three decades and shows no sign of slowing down. The music he makes has inspired not only the legendary artists he works with, but the next generation of acts who have grown up hearing Youth’s production. He has produced and remixed for a staggeringly large and diverse array of artists including Sir Paul McCartney (The Fireman), Pink Floyd, Yazz, James, Primal Scream, Guns N’ Roses, Blue Pearl, Art of Noise, P.M. Dawn, De La Soul, and U2.”
First ever vinyl reissue for landmark 1984 private press folk-psych album by Connecticut duo. Kath has been covered by Bill Callahan, Mark Kozelek, Devendra Banhart and others. Loren Connors has played with Sonic Youth and others. Includes digital bonus track.
"The extraordinary creative partnership of Kath Bloom and Loren Connors has haunted psych-folk fans ever since the early 80s. Kath taught herself guitar during shifts as a janitor at a New Haven cemetery, while Loren's free-form idiosyncratic style had been developing since the late 60s. Between 1981 and 1984, the duo recorded two live and four studio albums, mostly self-released in tiny quantities.
Early on, their music mixed folk and blues traditionals with a handful of Kath's vulnerable, moving originals. By the later albums the songs were all Kath's - her fragile voice and subdued finger-picking set against Loren's abstract but always supportive playing. Together the duo created a sound almost impossibly emotional and haunting.
Restless Faithful Desperate emerged in 1984, in an edition of 200-300 copies. As her creativity accelerated, Kath's songs became looser and more intuitive, but Restless contains one of her most gorgeously realised composition s Look at Me. Loren's long-term collaborator Robert Crotty contributes extra guitar on a couple of tracks. After reissuing four of Kath & Loren's albums on CD in the late 2000s, Chapter now embarks on the first ever vinyl reissues for these remarkable records."
The unceasingly ace Light Sounds Dark label looks to the dark side of the trip with an expert selection of drone and avant, vocal-based obscurities
By now as much an exercise in winding up scoggers as a genuine treasure trove of lysergic brilliance, whatever your standpoint, these guys are digging beyond the core into furthest deep space with every new release.
Aside from from the identification of Lidija Bajuk’s ‘Paun I Kolo’ on side D (at which point you’ll realise the rest of the LP also plays at 45rpm), all other material on ‘Configuration / Deployment’ remains to be named by you or your mates. We’d bloody love to know what that black hole on side C is called. Answers on a blotter sheet addressed to us, please.
Heart-swelling and matured electronic pop from one of Germany's most endearing modern songsmiths. Four years since his acclaimed 'Walls' LP and the widely loved Moderat album with his MDSLKTR pals, Sascha Ring comfortably fulfils his status as a foremost composer of majestic electronic pop with 'The Devil's Walk', consolidating myriad electronic styles under the Apparat moniker with an unshakable emotive sincerity and elegantly classical yet fresh production style. We can largely attribute that sense of classicism to the prevalence of strings on many tracks, from the opening flush of mandolin on 'Sweet Unrest' to the pomping orchestrations of the Göteborg/Berlin String Theory on 'Escape', or the tensely rising crests of 'A Bang In The Void', but they're always considerately balanced against exquisite electronic backdrops, or vice versa, keeping the vibe timeless yet modern. At times you could be forgiven for thinking you're in the midst of a Radiohead side-project, especially with the quivering restraint of his vocals on 'Your House Is My World', or again at the towering highlight of 'A Bang In The Void'. But then again, he's somewhere between David Sylvian and Morten Harket on the stirring 'Song Of Los' and 'Ash/Black Veil', so essentially he's just got that sense of grand pop melancholy down to a fine art, and the collaboration with gothic Austrian songwriter Soap & Skin is little short of inspired. Recommended.
Digging deep into the Chicago Rave vaults to re-issue the debut EP from Billy Nightmare aka “Mystic Bill” Torres.
"Growing up in Miami, Bill was involved in various parts of the music industry, from working at Flamingo Record Pool, to playing guitar for the band Life In Sodom (80’s Synth/Goth band). His interest in both House & Industrial music inspired him to make his move to the Windy City. Bill quickly became involved in the night scene with residencies at clubs like Shelter, Crobar, & Smart Bar. His studio work began with a remix of Kay Ladrae's “Lack Of Love” with Vince Lawrence, followed by a string of releases, including an LP on Trax Records. He has recently relaunched two record labels and several releases and remixes out each year. ‘Reality Check’ was released in 1996 on Woody McBride’s label Sounds.
Originally the project was to be titled "" Billy's Nightmare"", but to avoid being jinxed for life, Torres decided to switch it to Billy Nightmare. He put the Mystic Bill alias aside, got a hair cut, changed his sound and became this new persona. ‘Reality Check’ consists of 4 tracks, recorded at Mirage Studios in Chicago in 1996. Two tracks on the A-side are dark thumpers and will haunt your head for days. Side B has 2 versions of the same song, lighter and funkier in mood both show the diversity Mystic Bill is capable of producing. All songs have been remastered by George Horn at Fantasy Studios."
30th Anniversary of The Fall’s 11th album ‘I Am Kurious Oranj’ Released by Beggars Banquet in 1988, it contains some of The Fall's most loved songs including ‘Cab It Up!’, ‘New Big Prinz’ and ‘Jerusalem’, which takes its lyrics from a poem by William Blake.
"The album was written as the soundtrack to an avant garde ballet titled ‘I Am Curious, Orange’, produced by the experimental Michael Clark Company and performed in London with The Fall playing live. As stated in the original ballet program, replicated inside this reissue, “Mark E. Smith is a history buff and admirer of Michael Clark, and ‘I Am Curious, Orange’ spawned the idea of a thematic delving into the foibles and little-known psyche of William of Orange.”
According to Mark E. Smith in his book ‘Renegade’, “We adapted the title from a Swedish porno film - ‘I Am Curious, Yellow’. I was trying to make the point that we all share some kind of common knowledge that’s within ourselves; that comes out in all sorts of things. Some
people call it a gene pool. It’s as if you already know subconsciously about historical incidents. You don’t have to have been taught it. It’s in-built. At the time I wanted to put this across, basically as a loose explanation of what was happening in Belfast: it’s in the head and bones and there’s nothing you can do about it. I was on a roll at the time. I’m rarely short of ideas, and I’m not into preserving them much, either. If it’s in your head and you’ve got the right people around you them there’s no better time to tell the story.”
Death Waltz present Alan Howarth's expanded and retuned follow-up to John Carpenter's most notorious synth score, namely 'Halloween II'.
"John Carpenter and Alan Howarth managed to do something not many people have been able to do with their score to Halloween II. They managed to take the blueprint of the first films score and make it bigger, darker and nerve shreddingly intense. Synths wail and stutter as the score progresses to the point where you feel your head might implode from the oncoming onslaught. This score really should be played late at night with all of the lights out."
4-track EP from Austin, Texas analogue hardware enthusiast Bill Converse.
"Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album Meditations/Industry was released on cassette in 2013 and edited for a vinyl release on Dark Entries in 2016 followed by two 12” singles Warehouse Invocation and 7 of 9 the same year. In 2017 Converse released his second album The Shape Of Things To Come followed by the double EP Salt Of Mars. Hulled is a 25-minute journey spread across 4 tracks of glacial abandon.
All tracks were recorded directly to tape with no overdubs, made at Converse's home studio. Bill says these tracks represent “ocean waves in stormy conditions, dark grey blue water, or more generally speaking something ominous and beautiful.” The songs on this album reveal a sublime influence from Detroit techno, IDM, and Acid. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks ebb and flow like the effect of sun shimmering on water, woozy, gauzy and ephemeral. All songs were mastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley."
‘Another Life’ is Amnesia Scanner’s hyperreal début album for PAN. The Finnish production/design duo’s most significant release locates their EDM/pop voice proper after a string of prism-pushing singles, EPs and mixtapes issued since 2015 by Young Turks and Gum Artefacts
Bending EDM pop with warped sound designer sensibilities and a sci-fi visionary’s lust for post-human possibility, Amnesia Scanner’s music has come to define its era with unflinching form. They embrace the most compelling, even grotesque aspects of hyper-commercial dance-pop with an accelerationist alacrity that’s also shared by the boundary-realigning styles of fellow artists such as Arca and Sophie, who, like AS, started out in the sound designer’s playground of mid-’00s electro and tech-house minimalism, but have evolved into something mutant, transcending and redefining conceptions of humanity in their music.
Informed by a singular perspective on technology and the way it mediates contemporary experience, ’Another Life’ is ostensibly binary in the extreme - you’ll probably either love or hate the upfront garishness and unapologetically cybernetic nature of their music. But on another level, the character of AS’ synthesised voice, known as Oracle, and their warped pop conventions, both inherently play with ultra contemporary ideas of ambiguity in a way that’s symptomatic of a socio-political climate dominated by notions of gender fluidity and fake news. In effect ‘Another Life’ can be heard as an attempt to locate the analog nature of human sensation within computerised systems.
The results are effectively an exaggerated, syncretic synthesis of current Caribbean dance-pop, nu-metal, and trashy electro-punk with all elements turned up to 11 on their virtual amp, presenting a shockingly surface level reflection of contemporary culture that’s revealed a line in the sands of time between listeners of differing generations, and how they read meaning into their music. In other words, AS are the ‘ugly’ sneakers of modern music.
Remastered reissue of the haunting score for a Belgian theatre production of the Greek myth, ‘Daedelus’. The operatic, choral vocals are excellent, and the music somehow has that playful yet melancholy Belgian what-do-you-call-it familiar to classics by Benjamin Lew and Steven Brown, or John Avery’s ‘Jessica In the Room of Lights’. Practically worth it for the drum machine driven closing cut alone!
“Like the wings Daedalus crafted for his son Icarus, John Gilbert Colman’s score for sampler, voice and chamber orchestra almost melted away completely, disappearing into the tides of time. The album originally served as the score to an avant-garde production of the Greek myth that toured the Belgian theatre circuit in 1986. Director Guy Cassiers cast the play with 45 developmentally disabled actors enrolled at the Krauwelenhof school in Antwerp, working for six months with the young actors (aged 12-17) to discover and develop their talents, creating (by all accounts) a deeply moving piece of visual theatre. Rather than using dialogue, Cassier used movement, costumes and music tell the fable, words were only present as text fragments within the score, spoken by members of the chorus or sung by Rolande van Der Paal.
Colman’s compositions elevate the experimental narrative with broad shifts in mood, utilizing a pop-concrète style by incorporating sampled squeaking balloons, environmental recordings, tuned percussion, drum computer, and voice to accompany the traditional small chamber instrumentation. The music is reminiscent of other avant-theatrical pieces from that era by Nuno Canavarro, Milesi & Bacalov, Todd Barton, Vito Ricci and Roberto Musci, while standing on its own as a unique and moving piece of minimal music.”
‘Apparitions’ is the superlative debut album by Forest Drive West, steadily scaling from fast, mutant footwork/D&B to beatless ambient via rolling techno variations, and back up to sidewinding 150bpm styles. Dead solid, full spectrum bass business.
“This is the debut long player from Forest Drive West. 'Apparitions' is a fascinating further development of the producer's intricate fusions of techno, dub and jungle. The acclaimed UK artist has released two EPs on the label before now, as well as on its sister label dnuoS ytiviL and the likes of Hidden Hawaii, Appian Sound, and London drum & bass outlet Rupture. Little is known about the London based producer but in just a couple of years he has established his own unique blend of complex rhythms and tactile sound design, distilling a rich history of UK musical influences into fresh new forms.
This record continues in that tradition with a mix of sparse rhythm tracks that contrast heavy weight drum programming with rich and deft sound design. From menacing and mysterious, to cinematic and hypnotic, it makes for a compelling and immersive experience. 'Apparitions' is a landmark release for one of the UK's most exciting new producers.”
Cromby kicks off the Silver Service wing of Denis’ Sulta Selects label with three big-boned house swangers
The Berlin-based Irish producer plays it stealthy and moody with the subtle build and tangy synths of ’Futurola’ leading to a well placed, belting diva sample, before ‘Barneymania’ lends a kinkier touch to the swing with teasing chords and fully greased up bassline, leaving ‘Fandango’ to get your clem twitching with 7 minutes of arp-lead EBM house.
The debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT.
"Recorded in GOAT’s northern Swedish home town of Korpilombolo In late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters. Rhythms is a very apt title for the album as each track is an exploration of the ‘groove’. From the Fela Kuti‘esqe drums and horns jam of Jaam Ak Salam, to the frantic gospel-jazz of Carry the Load. From the fuzzed Can via the ‘Bristol sound’ track of Hum Bebass Nahin, to the cinematic, Spacemen 3‘esqe drones of the album closer Baaneexu.
The end result is quite an astonishing and very unique album, like what you would expect from an album made by a member of GOAT – an album that is hard to put your finger on, but one that you will keep revisiting, the more it’s sounds reveals itself. Goatman plays all the instruments on the album bar some additional drums by Hanna Östergren from fellow Swedish bands Hills and Träd, Gräs & Stenar, and an added horn section courtesy of Johan Asplund, David Byström. One of the standout highlights of the album though is the collection of great guest vocalists Goatman has enlisted. Tracks Jaam Ak Salam and Aduna feature the very special voice of Senegalese singer Seydi Mandoza.
You will also hear the vocals of Swedish based singers Amanda Werne on Carry the Load and Amerykhan on Hum Bebass Nahin. Goatman’s passion for traditional and contemporary music from around the world can be clearly heard when listening to Rhythms. The level of authenticity and willingness for exploration that Goatman has captured truly shows a fanatical respect for the music he is greatly influenced by. But at the end of the day, Rhythms is an album that has a sole purpose, and that is for to you to enjoy, dance and have fun too!"
Pleasantly queered and blue-eyed soul from Stones Throw’s young new signing, including guest vocal by Weyes Blood.
“Jerry Paper is the creative persona of Los Angeles-based multi-instrumentalist, songwriter and producer Lucas Nathan. Like A Baby is his first album for Stones Throw. Nathan cites a vast pool of influences on his music, from fellow pop outliers Prefab Sprout, Todd Rundgren and Steely Dan — “a deep source of inspiration for me” — to classic R&B, Stereolab, avant-garde Brazilian artists, and Japanese electronica. Inspired by a move from NYC back to Nathan’s hometown of LA, Like A Baby explores existential themes tied to “the endless human cycle of desire and satisfaction.””
The french EBM specialist spanks out a 6th album of the steely stuff, also making up his debut LP with Ostgut Ton after delivering them two 12”s in recent years
Skip the obligatory “drone” intro and you’re left with seven protein-fuelled dark dancers shifting weight from the tarry subs of ‘Shout In A Black Hole’ with its AFXian holler, to the slow and wide roll of ‘Mind Event Horizon’, the icy groove control of ‘Accelerate’, the sexy trance hypnosis of ‘A Halo Somewhere’, and the album’s most percussive banger, ‘Phase Shift’.